Difficulties generating self-compassion: An interpretative phenomenological analysis

The aim of the present study was to make an idiographic investigation about the difficulties that are encountered by people who self-identify as having difficulties with self-compassion. Although a growing number of studies have been carried out concerning the concept of self-compassion, most research designs were quantitative. Based on this gap, the current study expanded the scope to include a qualitative dimension of the recent literature on self-compassion and Interpretative Phenomenological Analysis (IPA) was adopted as methodological preference, which particularly monitors the lived experience of participants. In consequence of four in-depth semi-structured interviews, four super-ordinate themes emerged; the double-edged-sword: perfectionism, the flaws of compassion, the effects of a third person, and the advantages of self-criticism. In line with pre-existing research, these findings explored the reasons behind self-undermining behaviours and misconstructions about self-compassion, which are a barrier to gentle self-talk. Furthermore, unfavourable effects of the social environment prime participants to maladaptive perfectionism and excessive self-criticism, which are considered a success formula by the participants. This study's purpose is to present a detailed roadmap about the self-destructive journey of the people with low self-compassion. It will help researchers and clinicians to develop future interventions in order to cultivate kind and encouraging attitudes in self-critical people.

‘Why are there always three?’: The Gothic Occult in Dario Argento’s Three Mothers Trilogy

Thomas De Quincey’s essay ‘Levana and Our Ladies of Sorrow’ provided Dario Argento with the spark of an idea, which was further ignited by tales from his then wife, Daria Nicolodi, who told him of her grandmother’s stay at a music school which was run by a coven of witches. From these sources Argento came up with the mythology of The Three Mothers, which were to feature in three of his films: Suspiria (1977), Inferno (1980) and La terza madre/The Mother of Tears (2007). This article will examine the occult and esoteric sources of The Three Mothers trilogy, and explore how these references work to create a series of films that may superficially appear to use the supernatural and occult to create scares, but actually incorporate elements of Western Esotericism rather than traditional Christian images of evil. By doing this, these films transcend their apparent flaws (in terms of shallow plot and character development, a common complaint directed toward many Italian horror films) and instead imbue the mise-enscene itself with meaning, character and narrative. Although the films are situated within the Gothic genre, and in many respects follow traditional Gothic lines with witchcraft and the occult becoming synonymous with evil, I will argue that the films actually belong to the long tradition of art forms that have attempted to investigate the allure and the danger of occult exploration.