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The Transference In Culture Molly Anne Rothenberg James Penney, The Structures of Love: Art and Politics Beyond the Transference, Albany, NY, SUNY Press, 2012, 246 pp; $24.95 paperback James Penney belongs to the valiant band of theorists who reach out to their cultural studies colleagues to explain why certain of their cherished assumptions derived from Derrida, Foucault, Butler, and Deleuze, among others, demand interrogation and to show how psychoanalytic theory, properly understood, would benefit them. [...]the subject experiences that opacity not as evidence of the Other's inherent inability to offer up the subject's meaning (for the subject is thoroughly invested in locating its own meaning in the Other) but rather as the spur to create an unconscious fantasy of how best to provoke the Other into disclosing that meaning. In the course of this discussion, Penney takes up the standard arguments charging Freud with androcentrism, heterosexism, and bourgeois ideological biases not in order to refute them per se but rather to show, in a series of linked readings, how the places in Freud's texts that warrant these charges disclose the structure of the transference as a double and paradoxical representation, 'an edifying but troublingly inaccessible ideal and a degraded partial object that must remain outside at all costs', each of which corresponds to a different idea of love (p34). Illuminating as this chapter is, the most important contributions to cultural studies appear in the subsequent four chapters. Because Penney is so careful to present his arguments in detail, with all of their warrants, it is impossible to summarize his achievements in each.

[...]knowledge neither accounts for Mary's personality nor for her specific circumstances and priorities; nor does it challenge her GP to consider whether his actions are influenced by wider contexts, such as a local pay-for-performance scheme which incentivises new diagnoses of dementia, or by his unease at deviating from standard practice. Empirical knowledge is often summarised, distilled, and decontextualised in guidelines and ultimately requires translation to the individual, considering context and priorities—eg, longevity versus quality of life. [...]we need to interpret empirical knowledge with care; we also need to be aware that when we use it in isolation, there is an implicit assumption made that a medical intervention is needed to achieve better health, such as referral to a memory clinic in Mary's case. [...]it might be as important for the physician as for the patient to keep in mind all four ways of knowing. Without an acceptance of this separation, perhaps medicine might have evolved differently and physicians would have been less inclined to reduce patients to the sum of their parts, “wage war on disease”, and overlook what it means to the individual to experience ill health.

This article is a “thought experiment” that takes recourse to Lucien Freud's youthful portrait of himself as Acteon—the hunter whom the goddess Diana turned into a stag, as famously narrated by Ovid. In his drawing, Freud's crisis of presence is mobilized by a play on gender differentiation. More broadly, the piece is an exploration of what it involves being present as a person and of how personal transcendence opens up a propositional ontology that differs from the intentionality of life. The possibility of loss of personal transcendence is an ever-present preoccupation of humans wherever they are.

Francis Bacon, Lucian Freud, and Jean-Michel Basquiat were key figures in the resurgence of expressive figurative painting in the late twentieth century. All three made personal visual art, drawing their subjects from among the people and things they cared most about. Yet they worked in very different ways, toward very different goals. This paper considers how their differing motivations and methods resulted in radically differing life cycles of creativity, measured both by auction market outcomes and by the judgments of art scholars. The experimental art of Bacon and Freud developed gradually and produced masterpieces late in their long lives, whereas the conceptual Basquiat made his most innovative art well before his premature death.

This special issue of Plants, People, Planet brings together a wide range of perspectives on the topic of “plant blindness”—the widest to date in one issue—with contributions from scholars working across a diverse range of disciplines, from the humanities and social sciences to plant science, conservation, and ecology. We also take this opportunity to showcase the work of visual artists working at the interface of art and plant science, and educators who use plants as a key subject in their education practice. The geographical reach of the contributions is also extensive with contributions from around the globe and the Twittersphere.

Článek se zabývá propojením informací o skupině dětí, které přišly v útlém věku o rodiče během 2. světové války, byly umístěny do koncentračního tábora Terezín a po osvobození Československa poslány do Anglie, kde jim byla poskytnuta všestranná podpora. Článek se zaměřuje na dva zdroje psychoanalyticky orientovaných autorek - studii Anny Freudové a Sophie Dannové s názvem Experiment se skupinovou výchovou (Freud a Dann, 1951), která je ukázkou ročního sledování vývoje deprivovaných dětí, a studii Sarah Moskovitzové (1983, 1985) dokumentující další vývoj terezínských dětí v dospělosti. Z psychologického hlediska sledování ukazují na možnost dobré adaptace i po těžké deprivaci v dětství. Z historického hlediska jde o dokumentaci osudů židovských dětí spojených pobytem v Terezíně a angažmá řady zainteresovaných pomocníků včetně Anny Freudové.

The aim of this article is to reveal with an overall approach, how the psycho-social background, starting from woman image in first periods and reach modern day, is embraced by outstanding theorists of modern psychology, and also how these collected works are reflected in their definitions of woman. If it is considered that woman has been discussed with reflections against and not from primary sources throughout history, it can be seen that the most essential roots of woman narrations can be found in oral culture and the parts of written texts are made over symbol, metaphor, proposition and story. However myths (stories) that take place in oral and partly written culture about primitive man, are sacred tales, they will also present data regarding human image. Therefore with a limited effort of human being to understand the infinite, it can be understood what human being think, feel and how they interpret rather than gods/goddesses ontology. From this point of view, this article that consists of two parts, first of all will mention especially about perception of Goddess in those reflected to image of God, maintaining its efficiency in conscious or unconscious as a system of symbols intrinsic to human nature and cultural code background and then the woman image will be roughly discussed with a descriptive style over the world of mythology, psychology and faith. In the second part, it will be examined in detail how all the written and oral information about understanding woman by modern anthropologists are interpreted with the perspective of modern psychology specific to theorists such as Freud, Jung and Fromm. Eventually, it will be emphasized that past and future are integrated with information, experience and feelings with an active relationship; perception and approach of woman have stayed up to date in time continually; mythology, psychology and religion are important factors within this matter.

[...]the majority of pre-Renaissance art was line based. [...]life drawing can be helpful in learning medicine, enabling students to familiarize themselves, much like the artists do, with the structure of human body and its movements. [...]active engagement with drawing as means of intellectual exploration is an important and probably underused part of learning in science and medicine. Author Contributions: All authors confirmed they have contributed to the intellectual content ofthispaper and have met the following 3 requirements: (a) significantcontributions to theconception anddesign, acquisition of data, or analysis and interpretation of data; (b) drafting or revising the article for intellectual content; and (c) final approval ofthepublished article.