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Virginás, Andrea. "Embodied Genetics in Science-Fiction, Big-Budget to Low-Budget: from Jeunet’s Alien: Resurrection (1997) to Piccinini’s Workshop (2011)." Acta Universitatis Sapientiae, Film and Media Studies 8, no. 1 (2014): 149–66. http://dx.doi.org/10.2478/ausfm-2014-0031.
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Abstract The article uses and revises to some extent Vivian Sobchack’s categorization of (basically) American science-fiction output as “optimistic big-budget,” “wondrous middle-ground” and “pessimistic low-budget” seen as such in relation to what Sobchack calls the “double view” of alien beings in filmic diegesis (Screening Space, 2001). The argument is advanced that based on how diegetic encounters are constructed between “genetically classical” human agents and beings only partially “genetically classical” and/or human (due to genetic diseases, mutations, splicing, and cloning), we may differentiate between various methods of visualization (nicknamed “the museum,” “the lookalike,” and “incest”) that are correlated to Sobchack’s mentioned categories, while also displaying changes in tone. Possibilities of revision appear thanks to the later timeframe (the late 1990s/2000s) and the different national-canonical belongings (American, Icelandic-German- Danish, Hungarian-German, Canadian-French-American, and Australian) that characterize filmic and artistic examples chosen for analysis as compared to Sobchack’s work in Screening Space.1
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Downes, Sarah. "See, Seeing, Seen, Saw: A Phenomenology of Ultra-Violent Cinema." Acta Universitatis Sapientiae, Film and Media Studies 8, no. 1 (2014): 129–48. http://dx.doi.org/10.2478/ausfm-2014-0030.
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Abstract Vivian Sobchack claims in Carnal Thoughts that human bodies are continually remade by the “technologies of photography, cinema, and the electronic media” (2004, 135). One such sphere of contemporary media that continuously redefines the notion of the human body is horror cinema. The recent advent of so-called ‘gorenography,’ spearheaded by James Wan and Leigh Whannel’s Saw (2004), issues conceptual and philosophical challenges to the presentation and conceptualization of the phenomenal body. Following in the scope of frameworks advanced by both Sobchack and Jennifer Barker this paper aims to explore how the body of the Saw series is constructed and how it emulates both the conceptualized bodies of its viewers and the state of modern information flow in a technological age. It will be argued that the Saw series not only recognises viewers’ enjoyment of its genre conventions but also acknowledges and manipulates their engagement with the film as a phenomenological object through which a sense of re-embodiment can be enacted
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Figueiredo, Ruy Cézar Campos. "Músculos, Exú e axé e no realismo performativo de Esse amor que nos consome." Significação: Revista de Cultura Audiovisual 47, no. 54 (2020): 141–58. http://dx.doi.org/10.11606/issn.2316-7114.sig.2020.160170.
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Analisam-se cenas e se destacam eventos do filme Esse amor que nos consome (2012), de Allan Ribeiro, a partir de uma abordagem fenomenológica e tátil dos estudos fílmicos presente em autoras como Laura Marks, Vivian Sobchack e Jennifer Barker. Tal abordagem chama atenção para a corporificação, que no filme aqui analisado ganha características peculiares do modo afro-brasileiro de se relacionar com o corpo, considerando outras ontologias no relacionamento com a realidade e sua performance cinematográfica.
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Gyenge, Zsolt. "Visual Composition of Bodily Presence. A Phenomenological Approach to Paul Thomas Anderson’s The Master." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (2015): 111–25. http://dx.doi.org/10.1515/ausfm-2015-0018.
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AbstractThe description and interpretation of the visual composition of a film is crucial in understanding the effects of moving images and their specific role in the contemporary context of intermediality. The phenomenological approach, based on the precise depiction of the lived perceptual experience and its integration in the process of interpretation, offers a powerful tool for critical analysis. Although this theoretical framework opens up many different approaches, in this paper I will focus on Merleau-Pontyʼs phenomenological account of perception and on the viewer experience described by Vivian Sobchack with the self-contradictory term “a filmʼs body.” After studying this concept and its role in film analysis, as used by Sobchack, based on the term double-sided and fissured experience the paper offers an alternative approach which, compared to the earlier ones, seems to be more fruitful in understanding the act of vision and the embodied viewer experience constructed by a moving picture. The last part of the paper demonstrates, through the example of Paul Thomas Andersonʼs The Master (2012), how crucial the embodied viewer experience can be in the understanding of moving images. The analysis of the visual system of this film will show how the main problem of the whole story is re-created, re-presented in the visually triggered bodily experience of the viewer.
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Castanheira, José Cláudio Siqueira. "Do Cogito ao Inconsciente: o corpo na experiência cinematográfica." Revista Contracampo, no. 21 (September 21, 2010): 174. http://dx.doi.org/10.22409/contracampo.v0i21.32.
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Este trabalho tem como objetivo apresentar o cinema como uma experiência corporificada. Dentre as várias diferentes concepções de como o corpo participa da experiência cinematográfica, procuro relacionar o engajamento proposto pela fenomenologia existencialista de Merleau-Ponty entre uma subjetividade corporificada e uma condição objetiva de participar do mundo com a relação dialógica e dialética entre o filme e o espectador proposta por Vivian Sobchack. Por fim, apresento uma comparação entre essas perspectivas e aquelas apresentadas pelas neurociências, quanto aos aspectos cognitivos, e pela Teoria das Materialidades, quanto à constituição de um campo não-hermenêutico.
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Feldman, Seth. ": Introduction to Film Criticism: Major Critical Approaches to Narrative Film . Tim Bywater, Thomas Sobchack." Film Quarterly 45, no. 1 (1991): 53. http://dx.doi.org/10.1525/fq.1991.45.1.04a00170.
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Kester, Bernadette. "The persistence of History. Cinema, television and the modern event - Vivian Sobchack (red.), 1996." TMG Journal for Media History 1 (January 1, 1998): 102. http://dx.doi.org/10.18146/tmg.71.
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Hoare, Stephanie. ": New Chinese Cinemas: Forms, Identities, Politics . Nick Browne, Paul G. Pickowicz, Vivian Sobchack, Esther Yau." Film Quarterly 49, no. 1 (1995): 57–58. http://dx.doi.org/10.1525/fq.1995.49.1.04a00180.
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Dantas, Daiany Ferreira. "Elena, de Petra Costa, o sensorium na corporificação de uma elegia." Revista Crítica Cultural 11, no. 1 (2016): 97. http://dx.doi.org/10.19177/rcc.v11e1201697-111.
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O presente artigo analisa o filme Elena (2013), da cineasta Petra Costa, tomando os seus aspectos memorialistas a partir do paradigma do corpo vivido, presente nos estudos de Sobchack (1991) e Marks (2000, 2002). A perspectiva fenomenológica destas autoras, que entende o cinema como um campo onde os corpos tanto resultam quanto partilham da memória corporal, compreendem a experiência da espectatorialidade fílmica como uma possibilidade articulada pelo sensorium, capacidade cognitiva de interpretação das sensações. Deste modo, também consideram a experiência subjetiva de quem realiza o filme como algo que interfere na percepção da obra. Observamos de que forma a presença do corpo, material e sensorial, nos permite uma análise que considere aspectos de autoria fílmica.
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Kiełpiński, Łukasz. "Ucieleśniony odbiór tańca w filmie. Przypadek „Climaksu” Gaspara Noé." Kwartalnik Filmowy, no. 111 (November 13, 2020): 54–70. http://dx.doi.org/10.36744/kf.400.
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Taniec ukazany na ekranie kinowym może wywierać silniejsze wrażenie na odbiorcy, niż gdyby był oglądany „na żywo”. Krytycy filmowi pisali o pierwszej scenie tańca w Climaksie (2018) Gaspara Noé, używając określeń sugerujących jej wyjątkowo intensywne, fizjologicznie pobudzające oddziaływanie. Taniec wzmocniony audiowizualną oprawą filmu prowokuje szczególny rodzaj somatycznego zaangażowania, przejawiającego się przede wszystkim na poziomie wrażeń płynących z ciała odbiorcy. Zmysłowa teoria kina wydaje się więc szczególnie użyteczną metodologią do wyjaśniania zjawisk z rejestru ucieleśnionego odbioru tańca w filmie. Podczas analizy tego zjawiska na przykładzie Climaksu autor korzysta z proponowanej przez Vivian Sobchack perspektywy sensuous theory, zagadnień fenomenologii tańca, a ponadto odnosi się do teorii afektu, teorii performansu oraz odkrycia neuronów lustrzanych. W końcowej części tekstu autor przywołuje także psychoanalityczne mechanizmy zaangażowania w filmowy taniec.
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Feldman, Seth. "Review: Introduction to Film Criticism: Major Critical Approaches to Narrative Film by Tim Bywater, Thomas Sobchack." Film Quarterly 45, no. 1 (1991): 53. http://dx.doi.org/10.2307/1212683.
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Morrey, Douglas. "Bodies that MatterOn Vivian Sobchack, Carnal Thoughts: Embodiment and Moving Image Culture(University of California Press, 2004)." Film-Philosophy 10, no. 2 (2006): 11–22. http://dx.doi.org/10.3366/film.2006.0016.
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Hoare, Stephanie. "Review: New Chinese Cinemas: Forms, Identities, Politics by Nick Browne, Paul G. Pickowicz, Vivian Sobchack, Esther Yau." Film Quarterly 49, no. 1 (1995): 57–58. http://dx.doi.org/10.2307/1213504.
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Vallejo, Arturo. "Acerca de «Los ácaros del queso»: el documental como ciencia y como experiencia." Estudios Cinematográficos, no. 2 (October 1, 2020): 28–39. http://dx.doi.org/10.22201/enac.25942670e.2020.2.77.
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¿Tiene el documental tiene una posición privilegiada sobre la representación de la realidad? Detrás de esta pregunta hay una larga tradición de debate teórico que se ha enfocado sobre todo en la imagen documental o en las intenciones del autor. Hasta ahora, pocos la han enfocado desde el espectador. Este trabajo toma como caso el corto científico «Los ácaros del queso» (1903), filmado por Charles Urban y Francis Martin Duncan utilizando la técnica del microbioscopio para mostrar que las técnicas con las que los autores captaron el mundo real no obstaculizan el nexo ontológico entre lo representado y su representación. Abordo la relación entre la imagen documental y la realidad a partir de dos posiciones teóricas: el trabajo de Ian Hacking sobre la representación científica y el modelo fenomenológico de Vivian Sobchack. Con base en estas reflexiones propongo que si bien la cadena de interacciones técnicas que van de la cámara hasta el objeto representado permite establecer el nexo entre imagen y realidad, son las expectativas del espectador las que permiten establecerlo de manera definitiva.
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Vincze, Teréz. "The Phenomenology of Trauma. Sound and Haptic Sensuality in Son of Saul." Acta Universitatis Sapientiae, Film and Media Studies 13, no. 1 (2016): 107–26. http://dx.doi.org/10.1515/ausfm-2016-0017.
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Abstract The winner of many prestigious prizes (Oscar for the best foreign language film, Grand Prize of the Cannes Film Festival, and the Golden Globe among them), the Hungarian film, Son of Saul – according to most critics – represents the Holocaust trauma in a completely new and intriguing way. The filmmakers have invented a special form in order to tackle the heroic task of showing the unwatchable, representing the unthinkable. In this essay I analyse the representational strategy of the film from a phenomenological point of view, and position it in the theoretical framework of haptic sensuality formulated by Vivian Sobchack and Laura U. Marks, among others. I mainly focus on the use of sound, in particular the role of sound design in the creation of haptic space. With the help of the analysis of the representation and artistic invocation of the different bodily senses in the film, I demonstrate how traditional artistic formal elements (characteristic of highly artistic, even experimental productions) are combined with high impact effects often present in popular film forms. I argue that the successful combination of these two factors makes the film an example of artistic immersive cinema.1
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WALKER, ALISON. "Sonic Space and Echoes of the Flesh." Music, Sound, and the Moving Image: Volume 14, Issue 2 14, no. 2 (2020): 119–39. http://dx.doi.org/10.3828/msmi.2020.8.
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This essay argues that the cinematic experience for audiences be reconsidered as a cinesomatic experience. Theorists such as Vivian Sobchack (1992; 2000; 2005) and Jennifer Barker (2009) have done much to conceptualise and theorise a sensory, embodied experience of cinema. These scholars, mainly drawing from either a Merleau-Pontian phenomenology or a Spinozist/Deleuzian theory of affect, have led the wave of new writings probing the ways in which audience engagement with film is corporeal. Their work explores cinema in terms of visual and haptic engagements, congruous with a broader move in scholarship towards the sensorial. However, despite the growth of embodied film theory in recent years, there is an even greater need to take the sensorial model of cinema spectatorship to film sound. This essay addresses cinema sound in specifically corporeal terms, demonstrating how audience experiences of film sound can be reconsidered as cinesomatic. By drawing a textual and phenomenological reading of the sound design in Gravity (Alfonso Cuarón, 2013), this essay aims to reveal new insights into the materially rich experience of a film’s soundtrack and demonstrate how a multiplicity of ‘narratives’ converge during and beyond the cinema encounter.
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Apostolidou, Sofia, and Jules Sturm. "Weighing Posthumanism: Fatness and Contested Humanity." Social Inclusion 4, no. 4 (2016): 150–59. http://dx.doi.org/10.17645/si.v4i4.705.
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Our project on fatness begins by turning attention to the multiple cultural instances in which fatness has been intrinsically linked with notions such as self—neglect and poor self—management. In Foucauldian terms, we analyse the fat subject as a failed <em>homo economicus</em>, an individual who has failed to be an “entrepreneur of himself, being for himself his own capital, being for himself his own producer, being for himself the source of [his] earnings” (Foucault, 2008, p. 226). From this perspective, we analyse instances of collective hatred towards fat subjects as direct results of the biopolitical triplet of responsibility, rationality, and morality. Morality is our bridge into the field of posthumanism, in which, as we demonstrate, these biopolitical imperatives also apply, reinforced by the field’s fascination with prosthetics and enhancement. Where, by biopolitical standards, fat subjects have failed to manage themselves, posthuman subjects find themselves guilty of not responsibly, rationally, and morally manipulating themselves to optimal productivity. Using criticism that disability studies scholars like Sarah S. Jain and Vivian Sobchack have voiced about posthumanism, we demonstrate the ways in which, within posthumanism, all subjects can be found as lacking when compared to their potential, enhanced posthuman version.
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Bonner, Marc. "How sf is embodied in level structures." Science Fiction Film & Television: Volume 14, Issue 2 14, no. 2 (2021): 209–34. http://dx.doi.org/10.3828/sfftv.2021.14.
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The experience of game intrinsic space is an architectural mode of perception more congruent to actual experiences of physically real architecture than to filmic space. This paper thus centres on the aesthetics of production, concerning the game worlds’ geometry, level structures and game mechanics, within the broader context of how sf and computer games are inextricably merged. This is to investigate how game intrinsic spaces communicate properties of sf or a media-specific ‘science fiction-ness’ through their aesthetics and digital condition. By first building a foundation on the topic of singular space and its liminality, I will then proceed with a few remarks on sf theory, sf imagery and the staging of (im)possible worlds in relation to the concept of ontological possibility space. For this purpose, I refer to two authors of sf theory: Vivian Sobchack and Simon Spiegel. Based on these two sections, I will give an introductory overview on game intrinsic space, its non-linear properties and the incorporation of the player. Here, differences between filmic and game intrinsic space will also be emphasised through a brief discussion. Thus, sf theory and film theory are interwoven with spatial theory and game studies in order to analyse the ontological possibility space that goes beyond the player-character’s everyday experience in actuality. Several examples clarify the theoretical groundwork while Portal 2 (2011) and Echo (2017) function as case studies.
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Chinita, Fátima. "Derek Jarman’s Allegories of Spectacle: Inter-Artistic Embodiment." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (2015): 143–58. http://dx.doi.org/10.1515/ausfm-2015-0020.
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Abstract Derek Jarman was a multifaceted artist whose intermedial versatility reinforces a strong authorial discourse. He constructs an immersive allegorical world of hybrid art where different layers of cinematic, theatrical and painterly materials come together to convey a lyrical form and express a powerful ideological message. In Caravaggio (1986) and Edward II (1991), Jarman approaches two European historical figures from two different but concomitant perspectives. In Caravaggio, through the use of tableaux of abstract meaning and by focusing on the detailing of the models’ poses, Jarman re-enacts the allegorical spirit of Caravaggio’s paintings through entirely cinematic resources. Edward II was a king, and as a statesman he possessed a certain dose of showmanship. In this film Jarman reconstructs the theatrical basis of Christopher Marlowe’s Elizabethan play bringing it up to date in a successfully abstract approach to the musical stage. In this article, I intend to conjoin the practice of allegory in film with certain notions of existential phenomenology as advocated by Vivian Sobchack and Laura U. Marks, in order to address the relationship between the corporeality of the film and the lived bodies of the spectators. In this context, the allegory is a means to convey intradiegetically the sense-ability at play in the cinematic experience, reinforcing the textural and sensual nature of both film and viewer, which, in turn, is also materially enhanced in the film proper, touching the spectator in a supplementary fashion. The two corporealities favour an inter-artistic immersion achieved through coenaesthesia.
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Hainge, Greg. "To Have Done With the Perspective of the (Biological) Body: Gaspar Noé’s Enter the Void, Somatic Film Theory and the Biocinematic Imaginary." Somatechnics 2, no. 2 (2012): 305–24. http://dx.doi.org/10.3366/soma.2012.0063.
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In this paper, I examine the ways in which the relationship between spectator and screen has been figured in a body of recent scholarship on the cinema that both corporealises the cinematic event by focusing on the body of the spectator and the body of the film whilst, simultaneously, decorporealising it by seeing in the relation between spectator and screen the means to produce a new kind of properly cinematic thought, a new form of philosophy that can only be born out of this relation. Taking as paradigmatic examples of the different ways in which this relationship has been figured in recent film scholarship, I examine the works of Sobchack and Shaviro as examplars of the somatic turn in film studies, before going on to examine Deleuze's philosophy of the cinema. In the final section of the paper, I suggest, through an analysis of Gaspar Noé’s Enter the Void, that, firstly, the potential pitfalls of somatic film theory and Deleuze's philosophy of the cinema as a tool for filmic analysis can be avoided. I then go on to argue that these different approaches do not need to be held apart from each other and that Deleuze's formulations can usefully inform a somatic film theory if we reconfigure the way we think about the cinematic body, moving from a biological understanding of it to an anatomical one. This discussion of the anatomical body is fleshed out in particular via an in-depth examination of the work of Waldby on the Visible Human Project and I conclude by suggesting that the cinematic spectator can be re-imagined or reanimated as a synthetic product of techno-bio-cultural and cinematic processes.
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Jaivin, Linda. "New Chinese Cinemas: Forms, Identities, Politics. Edited by Browne Nick, Paul G. Pickowicz, Sobchack Vivian and Yau Esther [Cambridge: Cambridge University Press, 1994. 255 pp. ISBN 0–521–44409–8.]." China Quarterly 142 (June 1995): 601–2. http://dx.doi.org/10.1017/s0305741000035207.
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Johnson, Colin. "Tensión en la superficie: Improvisando el Performance de la Materialidad Tecnológica en la Obra Glitchbody/Nanostalgia [1454-2015]." Corpo Grafías Estudios críticos de y desde los cuerpos 6, no. 6 (2019): 153–66. http://dx.doi.org/10.14483/25909398.14235.
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En la primavera de 2015, UC (Universidad de California) Davis invitó al artista del performance Guillermo Gomez-Peña a colaborar en una pieza llamada Glitchbody / Nanostalgia [1454-2015]. Glitch intentó involucrar tecnologías de vigilancia social como Google Glass con las carnes, movimientos e imaginarios de cuerpos humanos. La performance final fue precedida por una semana de juegos y talleres intensivos, un ensayo realizado en colaboración con muchos de la comunidad de UC Davis. Este documento comienza repitiendo el marco que Glitchbody promulgó: uno que separaba el juego afectivo e improvisatorio del espacio de ensayo de un más representacional y en ocasiones fetichista, despliegue de tecnología en el performance. Al segregar los procesos para desarrollar el trabajo en el ensayo de las tecnologías digitales y conexiones en red que formaron tanto la ocasión para, como la atmosfera del performance, éste enmarcó la tecnología en un modo “prostético”, descuidando el potencial incorporado y las consecuencias materiales de los medios digitales. En este escrito, yo argumento que las nuevas tecnologías mediáticas, además de ser parte del medio (milieu) socio-situado para el performance, deben ser vistas como cuerpos con los cuales contender e improvisar.
 Performance jams’ son las metodologías pedagógicas desarrolladas por Gómez-Peña (2011) en conjunción con el colectivo transdisciplinario de arte “La Pocha Nostra”. El jam es utilizado para germinar nuevas ideas, imágenes y personas para la noche del performance final. En estos espacios de improvisación, cuerpos entrenados de formas distintas se tocan y se mueven entre sí de maneras innovadoras. Al interceptar pensadores como Lipsitz (2013) y Goldman (2007) con trabajos de estudios de los medios sobre prótesis (Sobchack, 2004) glitches (Krapp, 2011), y estudios de la ciencia y la tecnología sobre materialidad (Rubio, 2014), yo argumento que la necesidad política de la improvisación tanto en las artes como en el activismo debe incluir una nebulosa más amplia de contacto y del tocar que incluye cuerpos no humanos y escalas de tecnologías digitales. Involucrar la tensión superficial que existe a los bordes de la piel y la pantalla requiere que atendamos a cómo las prácticas de ensayo excluyen posibilidades a través del enmarcar la tecnología fuera de las técnicas.
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Heisey, D. Ray. "The rhetoric of Anatoly Sobchak: Rule of law vsnomenklatura?" Southern Communication Journal 59, no. 1 (1993): 60–72. http://dx.doi.org/10.1080/10417949309372922.
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Vladimir Frolov. "CANDIDATE OR DELEGATE? WHY KSENIA SOBCHAK FLEW TO WASHINGTON." Current Digest of the Russian Press, The 70, no. 006 (2018): 9–10. http://dx.doi.org/10.21557/dsp.50672679.
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Chong, Woei Lien. "New Chinese Cinemas: Forms, Identities, Politics.Nick Browne , Paul G. Pickowicz , Vivian Sobchak , Esther Yau." China Journal 34 (July 1995): 361–63. http://dx.doi.org/10.2307/2950185.
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Fetveit, Arild. "PLENARY SESSION II. Digital Aestethics. Comments on Vivian Sobchack’s and Tom Gunning’s presentations." Nordicom Review 25, no. 1-2 (2004): 51–52. http://dx.doi.org/10.1515/nor-2017-0269.
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Becker, Karin. "CPLENARY SESSION II. Digital Aestethics. Comments on Tom Gunning’s and Vivian Sobchack’s presentations." Nordicom Review 25, no. 1-2 (2004): 53–56. http://dx.doi.org/10.1515/nor-2017-0270.
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Ефанов, А., and A. Efanov. "Media Image and Political Image: Patterns of Two Constructs Correlation." Scientific Research and Development. Modern Communication Studies 8, no. 5 (2019): 63–68. http://dx.doi.org/10.12737/article_5d77699739ffb6.83949003.
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The article examines the phenomenon of media image and political image. The material for the study was the media representation of V. Zhirinovsky and K. Sobchak as candidates for the presidency of Russian Federation in the fields of television (in the information and socio-political programs of First Channel, ARTRBC (“Russia 1”, “Russia 24”), NTV, “RenTV”, Fifth Channel, “TV Center”) and the Internet (materials of news portals “RIA News”, “REGNUM”, “TASS”, “Interfax”, “Izvestia”, “Vedomosti”, “Meduza”; posts in social networks “VKontakte”, “Facebook”). The methods of contentanalysis, intent-analysis (through the system “Medialogia”), secondary data analysis — the results of sociological studies of All-Russian Public Opinion Research Center (ARPORC), Public Opinion Foundation (POF), Levada Center and the presidential elections in Russia. Chronological framework of the study: November 2017 — March 2018. The author comes to the conclusion about the existence of interdependence and conditional identity of the phenomenon of political image and media image, which influence the construction of each other. At the same time, excessive mediatization of political actors (outside the respective ritualized locales and contexts) leads to their self-discredit — the loss of the “credibility” of both the potential and the real electorate.
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Jerslev, Anne. "The Mediated Body." Nordicom Review 27, no. 2 (2006): 133–51. http://dx.doi.org/10.1515/nor-2017-0235.
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Abstract Taking Vivian Sobchack’s idea of the digital morph as not only a digital practice but also a metaphor for a culture obsessed with the idea of bodily changes, of reversibility and metamorphoses, the article takes a closer look at the visual construction of the body as a site of transformation, modification, and improvement in both television, film and fashion photography. The article focuses on the two reality programmes /Extreme Makeover/ (ABC) and /The Swan/ (FOX), the American drama-series /Nip/Tuck/ and an extended series of fashion photographs from /Italian Vogue/ July 2005 by American photographer Steven Meisel titled /Makeover Madness/. The article argues that this modifiable body is today’s /natural body /and it concludes that even though the modified body, digital or not, is noticable everywhere in contemporary visual culture it may, primarily, point out what our culture wants to deny.
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Severiche, Guillermo. "Cuerpos que caen, cuerpos que sienten. Archivo familiar, memoria queer y lenguaje háptico en tres documentales recientes de América Latina." Clepsydra. Revista de Estudios de Género y Teoría Feminista 21 (2021): 187–202. http://dx.doi.org/10.25145/j.clepsydra.2021.21.09.
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This essay compares the formal elements shared by three recent documentaries from Latin America: 108 (dir. Renate Costa, Paraguay, 2010), Memories of a Penitent Heart (dir. Cecilia Aldarondo, Puerto Rico, 2016), and Silence is a Falling Body (dir. Agustina Comedi, Argentina, 2017). Based on Laura Marks and Vivian Sobchack’s contributions, it is possible to affirm that these films recreate the physical presence of absent subjects by using haptic language and other cinematographic tools that reconstruct a past affective network. To do so, the films use three distinctive resources: 1) the capture of tactile objects that pass from hand to hand and that evoke a physical presence, 2) the use of images from personal archives and 3) the intervention or experimentation of images, either from the archive or from the director’s own camera, to evoke an unrecovered memory.
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Karibayeva, Gulnaz, Аlmagul Мandykaeva, Ardakh Yermentayeva, and Zhazira Abdykhalykova. "Peculiarities of motivational structure of professional activity." Global Journal of Psychology Research: New Trends and Issues 5, no. 1 (2015): 25–32. http://dx.doi.org/10.18844/gjpr.v5i1.138.
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Motivation as a stimulating and regulating force of person’s character influences the result of all kinds of activities. There are many research works devoted to the connections of motivation and activities in psychological literature. Research works about motivation are characterised by counter theoretical concepts, various methodical directions and multi meaning of research objects. Thus, absence of the definite system in the reseach works makes motivational reseach one of the current problems. The peculiarity of professional activity is related to emergence of motives, their structural level and interaction (Sorochan, 2005; Grigorieva, 2006; Sobchik, 2002; Hekhauzen, 2010). Therefore, the novelty of research of the motivational structure peculiarities of professional activity greatly influences increase of effects of professional activity, improvement of employees skills, activeness and interests.
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Bédard, Philippe. "Disembodied perspective." Alphaville: Journal of Film and Screen Media, no. 9 (October 27, 2015): 74–88. http://dx.doi.org/10.33178/alpha.9.05.
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Used as much in extreme-sports videos and professional productions as in amateur and home videos, GoPro wearable cameras have become ubiquitous in contemporary moving image culture. During its swift and ongoing rise in popularity, GoPro has also enabled the creation of new and unusual points of view, among which are “third-person images”. This article introduces and defines this particular phenomenon through an approach that deals with both the aesthetic and technical characteristics of the images in question. An analysis is presented of the peculiar and unfamiliar appearance of third-person images, in which the head of the user remains fixed in space while the world around it moves independently. Technical descriptions are provided to explain why the perception of the world presented in third-person images differs so radically from our own “first-person” mode of perception. Throughout the article, descriptions and analyses of GoPro videos are supported by parallels to theories of movement and perception in the cinema, specifically Vivian Sobchack’s film phenomenology.
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Larin, A. N. "Personality characteristics of children in an orphanage as criteria for the developing of proactive attitude and successful social integration." Psychology and Law 6, no. 2 (2016): 107–19. http://dx.doi.org/10.17759/psylaw.2016060208.
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The article presents the results of a personality characteristics study of orphans and children left without parental care growing up in an orphanage. It is assumed that examined personality characteristics have an effect on the socialization and integration processes after graduating from the orphanage. The paper gives a comparative analysis of personality characteristics in 18 boys and 14 girls aged from 12 to 17 years in orphanages, as well as finds out the personality characteristics undermining the developing of child’s proactive attitude. The study used a children's version of "Individual typological questionnaire" by L.N. Sobchik and Cattell 14 PF method of multivariate personality study. Statistical significance of the results is due to Mann–Whitney U test and Student t-test for nonrandom access. Cattell 14PF study shows that boys and girls in the test groups have personality differences (p≤0.05). A pattern of the results may indicate a general trend of personal characteristics negatively affecting the success of adaptation after graduating from the orphanage.
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Boldyreva, T. "The Style of Interpersonal Relationships as a Determining Factor in the Social-Psychological Adaptation of Adolescents with a Slight Degree of Mental Retardation and with Normotypical Development in the Context of Co-Education in Secondary School." Клиническая и специальная психология 8, no. 1 (2019): 33–57. http://dx.doi.org/10.17759/cpse.2019080103.
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The article presents and describes the style models of interpersonal interaction revealed through regression analysis, providing socio-psychological adaptation of adolescents with mild mental retardation and with normotypical development, studying in secondary schools. 75 adolescents from rural schools were examined, who had a sufficient level of social and psychological adaptation, identified through the methods of diagnosing the social-psychological adaptation of R. Rogers and R. Diamond. Characteristics of interpersonal interaction studied using a modified version of T. Leary's interpersonal diagnosis in the adaptation of L.N. Sobchik. The differences in the structure of interpersonal relations, contributing to the adaptation of adolescents with normotypical development and with a slight degree of mental retardation revealed. The analysis of the correspondence of the presented results to modern studies of interpersonal relations among adolescents made possible to discover originality in the determination of socio-psychological adaptation not only among adolescents with mild mental retardation, but also with their normally developing peers in inclusive education.
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Baykal, Asena. "Joel D. Rayburn/Frank Sobchak (Hrsg.): The U.S. Army in the Iraq War. Carlisle PA: United States Army War College Press, 2019, 2 Bände, 696 und 668 Seiten." SIRIUS – Zeitschrift für Strategische Analysen 3, no. 4 (2019): 434–35. http://dx.doi.org/10.1515/sirius-2019-4023.
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Kocherova, O. Ju, L. A. Pykhtina, H. D. Gadzhimuradova, O. M. Filkina, and A. I. Malyshkina. "Psychological Characteristics of Mothers of Children Conceivedwith Use of In Vitro Fertilization." Клиническая и специальная психология 5, no. 3 (2016): 69–77. http://dx.doi.org/10.17759/cpse.2016050305.
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The article is devoted to the study of the psychological characteristics of mothers who gave birth to children conceived using in vitro fertilization. The results of a comparative study of personality characteristics, gestational dominant psychological component, and parent-child relationship 105 mothers of infants conceived via IVF children and 89 mothers who conceived naturally. The methodology used MINI SMIL L.N. Sobchik, test for pregnant I.V. Dobryakova and methods of E.S. Schaeffer, R.K. Bell revealed that mothers of children conceived via IVF, characterized hyperthymic, anxiety and ambition, at least – masculine traits and deliberately. Women often anxiety related to pregnancy and child euphoric attitude towards childbirth. After birth, they are often too much care of their children. Mothers who gave birth to premature babies are more likely than mothers of full-term children, are original and hyperthymic traits. During pregnancy, they often «gipognostichesky type» (little conscious) of relationship to leave, depressive attitude towards yourself and your child, anxious attitude towards strangers. These factors are risk factors for premature birth, therefore, require psychological treatment.
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Gryshnjaeva, Olena V., Oleksandr A. Меlnychenko, Galyna V. Yeryomenko, Victoria V. Grigoruk, Vita V. Antsupova, and Yana A. Vanina. "MOTIVATION AS ONE OF THE CONSTITUENT COMPONENTS OF THE MODEL OF THE SYSTEM OF MEDICAL AND PSYCHOLOGICAL SUPPORT FOR THE PROCESS OF ADAPTATION OF MEDICAL COLLEGE STUDENTS TO WORK IN PRIMARY POSITIONS." Wiadomości Lekarskie 73, no. 6 (2020): 1164–68. http://dx.doi.org/10.36740/wlek202006116.
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The aim: Based on previous studies, develop medical and psychological recommendations to increase the motivation for the work of nurses and medical assistants. Materials and methods: During 2015–2018 Students of the Kharkov Regional Medical College (100 experimental people and 100 control groups) studied the types of motivation of medical personnel to work in key positions. The article analyzes the relationship between motivation and the individual – typological characteristics of the person using the psychodiagnostic methodology of the individually – typological questionnaire L.N. Sobchik and author’s profile A.V. Grishnyaeva. Results: Аfter analyzing the above data, we can say that a combination of motivation or its absence with certain individual and typological characteristics of individuals leads to different results of adaptation to the primary positions of future medical workers. The imbalance of individual-personality structures and motivation leads to an accentuation of character, which contributes to maladaptation and professional burnout. Conditions: Given the connection between motivation and individual – typological characteristics of the personality, it is possible to make the correct personnel distribution and prevent the professional burnout of employees.
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Gavrichkova, A., N. Kravtsova, A. Gerets, G. Terekhova, Yu Mikhailova, and E. Milovidova. "Psychosomatic Behavior Style of Patients With Syphilis in Connection With Their Psychological Defenses." Bulletin of Science and Practice 7, no. 1 (2021): 188–99. http://dx.doi.org/10.33619/2414-2948/62/19.
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The article presents the results of the clinical and psychological study of the styles of psychosomatic behavior and psychological defenses. Patients with confirmed diagnosis of syphilis (30 people) took part in the research. The following methods were used: questionnaire “Lifestyle index” by R. Plutchik, H. Kellerman and H. R. Conte; questionnaire of psychosomatic behavior styles by V. М. Byzova, A. E. Loviagina, E. I. Perikova; “Individually typological questionnaire” by L. N. Sobchik; the projective technique “Drawing of a Man”. The patients of the selected group demonstrate the predominance of cognitive and behavioral styles of psychosomatic behavior and such psychological defenses as projection, denial, rationalization. Types of connections that were determined between styles of psychosomatic behavior and psychological defenses: the direct connection of the cognitive (r=0.317, P<0.05) and behavioral (r=0.657, P<0.01) styles of psychosomatic response with rationalization; moderate positive connection between the behavioral style of psychosomatic behavior and repression (r=0.380, P<0.05) as well as regression (r=0.398, P<0.05); reverse connection (r= −0.327, P<0.05) between the emotional style of psychosomatic behavior and displacement.
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Zlatkina, N., L. Polonskaya, I. Mustafaev, and D. Tarkinskaya. "GENERAL PSYCHOLOGICAL WELL-BEING IN HYPOMOBILITY SYNDROME AND MOTIVATION IN ELDERLY PERSONS TO OVERCOME MOTOR DISORDERS." ASJ 1, no. 47 (2021): 9–12. http://dx.doi.org/10.31618/asj.2707-9864.2021.1.47.85.
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Resume. Relevance. The process of population ageing is global in nature and poses a challenge to the economic relations and social policies of all countries. In this regard, the question of an adequate tool for monitoring the well-being of the elderly, which is a multidimensional integral indicator based on statistical indices, becomes relevant. Such complex phenomena as the psychological well-being of the elderly in a particular ageassociated disease can be a criterion for the development of organizational measures to improve not only the overall psychological well-being, but also the quality of life in general.
 Objective: to assess the overall psychological well – being in the main geriatric syndrome – hypomobility syndrome-among elderly patients.
 Research methodology: the main methods of Russian and foreign authors for assessing the index of psychological and general well-being were used (the method of K. Riff, the method of "Individual-typological questionnaire" by L. N. Sobchik, the method of "Scale of subjective well-being" by A. Perue-Badu). To obtain the reliability of the study data, the Student's correlation coefficients and the determination of the average values (M±m) and the maximum permissible error - ꝺ were used.
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Filina, Natalia, Irina Akhmetshina, Dmitrii Soldatov, and Raniya Izmaylova. "The features of socio-communicative and environmental competence of youth." E3S Web of Conferences 258 (2021): 07022. http://dx.doi.org/10.1051/e3sconf/202125807022.
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The study of the orphans’ communicative competence is a topical thing. The situation of the orphanhood disrupting the function of communication, affects the subsequent development of the child, hindering his intellectual and personal development, preventing the formation of confidence in the security of the surrounding world, initiative, autonomy and identity. The orphanhood can destroy the children’s’ emotional connections with the environment, the world of peers and adults, causing the deepest secondary disorders of a mental, physical, and social nature. Method of the theoretical analysis and systematization of scientific ideas, individual-typological questionnaire L. N. Sobchik; method of the research of communicative-characterological tendencies T. Leary; method of expert assessment of the communicative development level A. G. Samokhvalova; method of communicative control research M. Schneider; diagnostics of communicative social competence; diagnostics of “emotional intelligence” N. Hall; and the assessment were used. We identified the neediness of special psychoeducational work for the successful adaptation of the orphans. It will ensure the mastery of a complex of social roles and the formation of communicative competence. The results complement the existing theoretical positions on the problem of the communicative competence of orphans can be used in the correctional psychological work with orphan-graduates.
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Kreneva, Julia, Elena Suroedova, Olga Korzhova, and Tatiana Ozerova. "Personal characteristics of wives of law enforcement officers as predictors of the formation of the psychological climate in the family system." E3S Web of Conferences 210 (2020): 19015. http://dx.doi.org/10.1051/e3sconf/202021019015.
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The article deals with the psychological climate in the families of law enforcement officers, which largely depends on the personal characteristics of their wives. Since it is a woman who is historically the "home keeper" and one of her family functions is to provide and maintain an optimal psychological atmosphere in the family, the topic of the article is particularly interesting and relevant. The empirical sample was made up of 205 women who are the spouses of law enforcement officers. The following methods were applied: "Individual typological questionnaire (ITQ) L.N. Sobchik, "Questionnaire of the level of subjective control" (LSC) of the E. G. Bekhterev’s research Institute, "Analysis of family anxiety" (AFA) Eidemiller and V. Justitskis, "Understanding, emotional attraction, authority" (UEA) by A. N. Volkova, "Marriage satisfaction Questionnaire" (MSQ) by V. V. Stolin, T. A. Romanova and G. P. Butenko, statistical linear method of regression analysis. The influence of personal characteristics and locus of control of the wives of law enforcement officers on these components of the psychological climate of the family is established. The results were analyzed and conclusions were drawn about the quality of influence of personal characteristics of the wives of law enforcement officers on the components of the psychological climate in their families.
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Majer, Krzysztof. "“Receive with Simplicity Everything That Happens to You”: Schlemiel (Meta)Physics in the Coens’ A Serious Man." Text Matters, no. 5 (November 17, 2015): 79–94. http://dx.doi.org/10.1515/texmat-2015-0007.
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Before Joel and Ethan Coen’s 2009 production A Serious Man, Jewish motifs have consistently appeared in their cinematic output. However, the Jewish characters functioned in an ethnically diverse setting and rarely took centre stage, with the notable exception of the eponymous struggling leftist playwright in Barton Fink. Nevertheless, even here the Jewishness seemed to be universalized into “humanity.” Elsewhere, through their accessory characters, the Coens primarily offered a nod to the illustrious and/or notorious Jewish presence in various spheres of American society (e.g., smalltime gangster Bernie Bernbaum in Miller’s Crossing or movie mogul Jack Lipnick in the aforementioned Barton Fink). In addition, steadfast religious observance has been an object of affable ridicule (e.g., store owner Walter Sobchak in The Big Lebowski). A Serious Man, however, reveals an unprecedented strategy. Described by the Coens as their most autobiographical film to date, it has a predominantly Jewish cast, deals almost exclusively with a Jewish community in the Midwest, and is heavily steeped in themes which have long been the staple of the Jewish literary tradition. Most evident is the familiar figure of the schlemiel, the eternal loser, embodied in the protagonist Larry Gopnik, whose seemingly endless predicaments form the spine of the plot. Marketed as a comedy, A Serious Man nevertheless consistently exhibits a dark, existential undercurrent, which renders its decidedly grim ending a rather logical payoff. Drawing on the research of seminal scholars on the subject of schlemiel narratives (e.g., Ruth Wisse, Sanford Pinsker), the essay is an attempt to situate the film within this tradition. Furthermore, I argue that the Coens reinvest the figure of the schlemiel with a philosophical charge that it possessed in folk legends and Yiddish literature; at the same time, they adapt the schlemiel to the postmodern condition. This allows them to address the fundamental uncertainty of our age, signalled in the film through the formulae of Heisenberg and Schrödinger.
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Gavrish, Alesya D., and Marina R. Zheltukhina. "Censorship and self-censorship in the modern political media discourse of the USA and Russia: comparative linguocultural aspect." Current Issues in Philology and Pedagogical Linguistics, no. 2(2021) (June 25, 2021): 16–27. http://dx.doi.org/10.29025/2079-6021-2021-2-16-27.
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This article is devoted to studying of the phenomenon of censorship and self-censorship in the modern American and Russian political media discourse. The authors analyse the pre-election speeches and the publications in the social networks of K. A. Sobchak and V. V. Zhirinovsky, as well as of D. Trump and H. Clinton. The purpose of the article, which consists in conducting a comparative linguocultural study of the mechanisms of censoring and self-censoring information in the modern American and Russian political media discourse, is achieved by using a comparative method, linguocultural analysis, a complex method of lexical and semantic, stylistic, interpretive, and emotive analysis. The analysis of the material shows that traditional forms of censorship in Russian political media discourse are not identified, but they can be found in the media space of the USA, causing a relatively weak public reaction among the communicators. In media space of the USA and Russia, the absence of formal external censorship restrictions leads to the updating of self-censorship to maintain the integrity of the manifestations of the language personality of a politician. Censorship in modern American and Russian media environment lies in such a structuring of information, that deliberately prevents the addressee from interpreting the information in an undesirable way. Self-censorship in modern media environment of the USA and Russia is characterized by an increase of the volume of information and the relative preservation of its valuable aspect. In addition, media discourse can be implicitly censored by filtering the comments under social media publications or by artificially increasing the number of approving reactions to them (by getting «cheat likes»). Self-censorship may use some features of the response to visual elements, when the picture and text supplement each other, causing the desired for the addressee emotional response. Hypertext can also direct the emotional response in the desirable direction, referring to the beneficial for the addressee elements of media discourse.
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Rice, D. Andy. "Weaponizing Affect: A Film Phenomenology of 3D Military Training Simulations during the Iraq War." Catalyst: Feminism, Theory, Technoscience 2, no. 1 (2016): 1–39. http://dx.doi.org/10.28968/cftt.v2i1.28830.
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This article critically considers the relation between simulation design and human experience through the analysis of three-dimensional military training simulation scenarios developed between 2003 and 2012 at the Fort Irwin National Training Center in the Mojave Desert of California. Following news reports of torture at Abu Ghraib, the US military began to implement “cultural awareness” training for all troops set to deploy to the Middle East. The military contracted with Hollywood special-effects studios to develop a series of counterinsurgency warfare immersive-training simulations, including hiring Iraqi-American and Afghan-American citizens to play villagers, mayors, and insurgents in scenarios. My primary question centers on the military technoscience of treating human bodies as variables in a reiterative simulation scenario. I analyze interviews with soldiers and actors, my own experiences videotaping training simulations at the fort, and the accounts of many other visiting journalists and filmmakers across time. From this, I contend that the stories participants tell about simulation experiences constitute one key outcome of the simulation itself, blunting dissent and aiding the fort’s long-term efforts to retain clout and funding in the face of wars whose intensity fluctuates. I treat the ongoing cinematic performances on the fort as a kind of “simulation body” unbounded by skin, a theoretical framework drawn from Vivian Sobchack’s (1992) film phenomenological concept of the “film body” and affect theory grounded in the work of Kara Keeling (2007), as well as Eve Sedgwick (2003), Sedgwick and Adam Frank (1995), and Lisa Cartwright (2008), by way of American behavioral psychoanalyst Silvan Tomkins (2008).
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Korneeva, Yana A., N. S. Bobyreva, N. N. Simonova, and G. N. Degteva. "COMPLEX EVALUATION OF THE FUNCTIONAL STATUS OF OIL AND GAS WORKERS DURING SHIFT PERIOD IN THE ARCTIC CONDITIONS." Hygiene and sanitation 98, no. 2 (2019): 159–65. http://dx.doi.org/10.18821/0016-9900-2019-98-2-159-165.
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The article is devoted to the study of functional status dynamics (working capacity, stress) of oil and gas workers of various professional groups during the shift period in Arctic conditions. The survey involved 70 specialists from oil and gas producing companies working on a shift basis in the Nenets Autonomous District of five professional groups: operators for oil and gas production, operators of the boiler and treatment facilities, drivers, engineers and maintenance technicians. The research methods are studying documentation, monitoring the work process, questioning, psycho-physiological and psychological testing, statistical methods of data analysis. The study of the functional status was carried out with the help of biochemical (analysis of saliva on cortisol), psychophysiological (complex visual-motor response) and psychological (questionnaire: “Feeling. Activity. Mood.” by V.A. Doskin and co-authors; the test of color preferences of M. Lusher in adaptation L.N. Sobchik) methods. As a result of the study, By the end of the shift period the statistically significant increase was revealed in the stressful status of the operators of the boiler and treatment facilities, maintenance workers and drivers. According to the dynamics of the functional status, one can observe a decrease in the working capacity of all specialists by the end of the shift period. The specialists, working in the open air (drivers and engineers), had more negative dynamics of functional status in comparison with other professional groups. These workers can be referred to the risk group.
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Khrisanfova, Lyudmila A. "The contribution of the driving forces in a person to the structure of motives in males and females." Vestnik of Kostroma State University. Series: Pedagogy. Psychology. Sociokinetics 26, no. 3 (2020): 47–53. http://dx.doi.org/10.34216/2073-1426-2020-26-3-47-53.
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The work studied the participation of the driving forces in a person, some emotional characteristics and personality qualities in the structure of motives. Hypothesis: the driving forces in a person group certain motives, emotional and personal qualities around them. Grouping is influenced by the gender of the subject. Methods: portrait election method (Lyudmila Sobchik), method of colour metaphors (Igor’ Solomin), Max Lüscher's colour test, Manifest Anxiety Scale of Janet Allison Taylor Spence, “Five-factor personality questionnaireˮ, cluster analysis. Subjects include 203 males and 156 females. It was found that the “need for recognition and approval” is combined into one group with motives of social significance. Males and females have similar motivational formations in this case, but differ in implementation in specific motives. Women have a group of “personal and interpersonal significanceˮ based on “an actualised need for personal loveˮ. There is a combination with demonstrative behaviour, with motives of personal and interpersonal significance, with an energetic attitude towards activity. Personal motives of males “dissolve” in social significance, anxiety in males is also associated with motives of social significance. “Tendency to depressive states, emotional instabilityˮ of females is combined with motives reflecting negative events and stages of life, values and needs for self-affirmation. “Excitabilityˮ with the manifestation of socialised rough affects of females is accompanied by the significance of the power motive and the figure of the father. The “tendency to demonstrative behaviourˮ of males is grouped with the influence of socially significant people, negative events and stages of life, values and needs for self-affirmation.
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Zalevskaya, Yana Gennadievna. "Real-Self and ideal-Self in the context of studying interpersonal relations of future psychologists." Психолог, no. 2 (February 2021): 77–88. http://dx.doi.org/10.25136/2409-8701.2021.2.34091.
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The goal of this research is to analyze the semantic characteristics and conformity of the real-Self and ideal-Self of future psychologists, as well as to determine the key trends in building interpersonal relations. The subject of this research is the images of real-Self and ideal-Self in the context of studying interpersonal relations of future psychologists. The ability to effectively build interpersonal relations, properly assess yourself in the course of communication is the basic skill of future psychologists, which plays a significant role for success of their professional activity. The novelty of this work consists in the analysis of semantic characteristics and coherence of the images of real-Self and ideal-Self in the context of studying interpersonal relations of future psychologists. For achieving the set goal, the author employs T. Leary&rsquo;s methodology &ldquo;The Diagnostics of Interpersonal Relations&rdquo; (adapted by L. N. Sobchik). The conclusions consist in determination of the two opposite trends in interpersonal relations of future psychologists: dominance and cooperation (the first trend prevails in real-Self). The author also established that most octants have the optimal level of coherence between the images of real-Self and ideal-Self, which promotes the effective professional and personal development of future specialists. The acquires results can be used for improving the quality of professional education of future psychologists, as well as in counseling and coaching activities on the development of skills for building interpersonal relations and images of the real-Self and ideal-Self.
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Meshcheryakov, Denis A. "Dynamics of indicators of interpersonal relationships of courses of a military university at different stages of military and professional socialization." Izvestiya of Saratov University. New Series. Series: Philosophy. Psychology. Pedagogy 21, no. 1 (2021): 62–67. http://dx.doi.org/10.18500/1819-7671-2021-21-1-62-67.
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The article deals with the actual problem of interpersonal relations among military personnel. The urgency of studying this problem is determined by the high importance of this special social group, which performs the function of protecting society and the state. The purpose of the paper is to study the dynamics of indicators of various characteristics (styles) of interpersonal relations among cadets of a military higher educational institution in the process of military-professional socialization in the context of studying the specifics of interpersonal relations among military personnel. As a hypothesis, it is suggested that the specifics of military service presupposes cadets’ preference for certain styles of interpersonal relations at all stages of military socialization. The study involved 182 male cadets of Saratov Military Order of Zhukov Red Banner Institute of National Guard Troops, aged 18 to 26 years, M = 20.5 years. Sample size: 1st academic year – n = 38; 2nd year – n = 48; 3rd year – n = 28; 4th year – n = 32; 5th year – n = 36. To determine the individual style of interpersonal relations, the methodology “Diagnostics of interpersonal relations” by T. Leary (modified by L. N. Sobchik) was used. In the course of empirical research, it was found that the characteristics of interpersonal relations in the process of military socialization are developing quite actively. There is a constant positive dynamics of the styles of interpersonal relations aimed at cooperation, mutual assistance, and acceptance of responsibility. Based on a comparative analysis, it was revealed that the most preferred styles of interpersonal relations are authoritarian, selfish, friendly and altruistic styles.
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Wilson, Laura. "Redefining the Self: The Human Centipede and Physical Spectatorship." Excursions Journal 5, no. 1 (2020): 1–16. http://dx.doi.org/10.20919/exs.5.2014.190.
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As I watch the infamous scene in Tom Six's 2009 release, when Katsuro, the front segment of the centipede, defecates into the mouth of the second, my body rocks back and forth in a futile attempt at self-soothing. I hear the distant whine of a voice uttering, 'I don't want, I don't want to', before I realise it is my own. Finally, in a mixture of horror and relish, my back arches, my shoulders hunch forward and my chest heaves as I retch once, twice, three times.
 The Human Centipede belongs to a large and varied group of films released in recent years that have become notorious for eliciting intensely physical responses, from anxiety and nausea, to the fear of, desire to or even act of vomiting. In this paper, I build on current research into the embodied spectator by creating a detailed analysis of how physicality is constructed and manipulated by representations of faeces in this scene.
 Engaging with Richard Rushton's theories of spectatorship, Vivian Sobchack's studies of phenomenology and film, and Elizabeth Wilson's work on neuroscience, I explore the concept of physical spectatorship - the idea that embodied responses to film are textual constructions that return the viewer to a sense of their own corporeality. The notion of physical spectatorship challenges the dichotomy of film as object/viewer as subject, as well as the language we use to theorise the film-viewer relationship. By acknowledging the disgust this film generates, I question the extent to which notions of the viewer are strained against the concept of spectator as textual construction. Finally, I aim to theorise that which often escapes analysis in relation to film spectatorship: those body parts that make up the gastrointestinal tract, or the gut, that are brought into play in films designed to revolt.
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Arbuzova, Elena, and Anastasiya Semakova. "Assessment of psychological status and coping resources of students of the educational organization of the MIA of Russia in the conditions of self-isolation." Vestnik of the St. Petersburg University of the Ministry of Internal Affairs of Russia 2020, no. 3 (2020): 218–26. http://dx.doi.org/10.35750/2071-8284-2020-3-218-226.
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Introduction. The paper examines the emotional sphere of students of the educational organization of the Ministry of internal Affairs of Russia in conditions of self-isolation. At the same time, the phenomenon of self-isolation is considered from the point of view of the impact on the subject of both stress factors and the situation of partial, including social, deprivation. It is the complexity of such an impact that caused the relevance of the study. Purpose of research. Study of dynamics of changes in States and resources of coping behavior in the process of self-isolation of students of the St. Petersburg University of the Ministry of internal Affairs of Russia. Method of research. The structure of the research methods was included Luscher test, CHOICE ln. Sobchik, the questionnaire of the current emotional state (SUPOS-8), method of multivariate study of personality by R. Cattell (form C) questionnaire IHC Plutchik R., Kellerman H., questionnaire (SACS) S. Hobfoll. The main results of the research. the research process identified the key indicators in the structure of the emotional sphere of students as a primary indicator of personal change, the main quality parameters of these changes included the increase of General dissatisfaction, of pessimism, apathy, powerlessness, resentment of life, relaxation, anxiety levels and fears on the background of General decrease of parameters of motivation. The specificity of transformation of the system of protective reactions during the quarantine period from 1 month to 1.5 months is shown. Conclusion. The conclusion is made about the forms of correctional work that can stabilize emotional States at a comfortable level for continuing education.