Marcas corporales autoinfligidas y desarrollo psíquico

El presente artículo está orientado a analizar los fenómenos de marcación corporal autoinfligida desde el psicoanálisis anglosajón y bajo la luz de la teoría sobre la relación de objeto y la línea de desarrollo psíquico derivada del psicoanálisis infantil. Dentro de la revisión de la literatura se hacen paralelos entre la teoría del desarrollo del self, los estudios derivados del psicoanálisis culturalista y las investigaciones hechas en el campo de la psicosomática, con el fin de estudiar desde diferentes perspectivas el fenómeno de las marcas corporales autoinfligidas.

Tatuagem, unheimliche e identificação: desvelamentos

The tattoo is a social phenomenon found in all social strata, with broad inclusion in all age groups and their motivation is commonly related to aesthetic pleasure, beauty and interest in body art. These references, however, are insufficient to understand the B side of the experience: the nightmares, attempts to erase, the compulsion and the concern about stop tattooing. Something happens between the search of beauty and the execution of the tattoo, that drags out the person to the anguish dimension. In detailing this, the specificity of distress Unheimliche will serve as our guide and, in the epistemological function of uncovering, allow an approximation to the concept of identification. Reading of the concept, the identification function will appear and, with it, the uncovering of the infinite pulse of desiring, when the object wants to talk,represent itself and manifest.The tattoos psychic function in the neurosis is the same for each step every morning: find the object and with this North, calibrate the compass of neurosis.

Fingermarks and Other Impressions Left by the Human Body - A Review (August 2007-July 2010)

The purpose of this paper is to review the scientific literature from August 2007 to July 2010. The review is focused on more than 420 published papers. The review will not cover information coming from international meetings available only in abstract form. Fingermarks constitute an important chapter with coverage of the identification process as well as detection techniques on various surfaces. We note that the research has been very dense both at exploring and understanding current detection methods as well as bringing groundbreaking techniques to increase the number of marks detected from various objects. The recent report from the US National Research Council (NRC) is a milestone that has promoted a critical discussion on the state of forensic science and its associated research. We can expect a surge of interest in research in relation to cognitive aspect of mark and print comparison, establishment of relevant forensic error rates and statistical modelling of the selectivity of marks' attributes. Other biometric means of forensic identification such as footmarks or earmarks are also covered in the report. Compared to previous years, we noted a decrease in the number of submission in these areas. No doubt that the NRC report has set the seed for further investigation of these fields as well.

Body art, existência e conhecimento :a percepção do corpo na Educação Física

In the Renaissance, the anatomy project a map of the body. Since then, the human body has been investigated for innumerable techniques, configuring new landscapes on the condition human being and the proper knowledge. In accordance with Merleau-Ponty (1975), All technique is body technique. It configures and extends the Metaphysical structure of our meat. In this direction, any intervention in the human body, a tattooing, a surgery or a performance, extends the perception and the directions of the existence of the subject. Merleau-Ponty (1975) still affirms, that all technique presents objective interventions. However, the body, ahead of these interventions, doesn t have to be considered only object, but subject that, from the interventions, attributes sensible and meanings through the movements, also being this its way of being in the world. Searching to extend this reflection on the discontinuities between the object body and the subject body, as well as, with the objective to reflect on the relation between the corporal techniques and the production of the subjectivity and the knowledge of the physical education, we reflect on the body art, as one technique of body that marks the exterior of the body, exteriorizing the subjectivity, to search new means to the body and that ahead of this, we believe being able to project innumerable directions for the corporal transformations in the contemporarily. As a method for our reflection in we will support them in the phenomenology. IT presents as a new ontology, in which distinction does not occur enters the operating paper of the citizen that knows and the influence of the known object. The phenomenological understanding of body will be able to contribute with the knowledge of the Physical Education, a time that gives us important arguments on the experience of the body in relation with the nature, the culture, history. To be a body is to be tied to a world that we do not possess completive, but that we do not cease to search it

Saint Margaret's Tattoos: Empowering Marks on White Skin

Saint Margaret, as presented in the “Katherine Group” life of the virgin martyr, claims to have Christ’s “marks” and “seals” on her. Bringing together postmodern theories of body modification and Paul Zumthor’s concept of mouvance, this essay reads these marks as tattoos that consist of virtual (tattoo fantasies), oral (tattoo narratives), and written elements (the actual marks on skin). Margaret defends and empowers herself by claiming to possess Christ’s ownership tattoo. Her oppressor Olibrius, in turn, intends to overwrite that mark palimpsestically and hence to empower himself, not unlike slave-owners in antiquity. While the gruesome torture scenes suggest that Olibrius wins the upper hand in this contest, the outcome of the narrative instead proves that Margaret triumphs. She dies a virgin after defiantly appropriating, in her tattoo narrative, the torture marks as her own, divine tattoo.

“My people seem to be falling to bits”: impotence, memory, and the co-possibility of body and mind in Samuel Beckett’s works

The present thesis examines the representation of the impotent body and mind in a selection of Samuel Beckett’s dramatic and prose works. Aiming to show that the body-mind relation is represented as one of co-implication and co-constitution, this thesis also takes the representation of memory in Beckett’s work as a key site for examining this relation. The thesis seeks to address the centrality of the body and embodied subjectivity in the experience of memory and indeed in signification and experience more generally. In these terms, Chapter 1 analyzes the representation of the figure of the couple in Beckett’s drama of the 1950s – as a metaphor of the body-mind relation – and, in light of Jacques Derrida’s theory of the supplement and Bernard Stiegler’s theory of technics, it discusses how the relationship between physical body and mind is defined by an essential supplementarity that is revealed even (or especially) in their apparent separation. Furthermore, the impotence that marks both elements in Beckett’s writings, when it is seen to lay bare this intrication, can be viewed, in important respects, as enabling rather than merely privative. Chapter 2 discusses the somatic structure of memory as represented in four of Beckett’s later dramatic works composed in the 1970s and 1980s. Similarly to Chapter 1, the second chapter focuses on the more “extreme” representation of bodily impotence in Beckett and demonstrates that rather than a merely “mental” recollection, memory in the work of Beckett is presented as necessarily experienced through, and shaped by, the body itself. In this light, then, it is shown that despite the impotence that marks the body in Beckett’s work of the 1970s and 1980s, the body is a necessary site of memory and retains or discovers a kind of activity in this impotence. Finally, Chapter 3 shifts its attention to Beckett’s prose works in order to explore how such works, reliant on language rather than the physical performance of actors onstage, sustain questions of embodied subjectivity at their heart. Specifically, the chapter argues that, on closer inspection, Beckett’s “literature of the unword” is not an abstention from meaning and its materialization, but one that paradoxically foregrounds that “something” which remains an essential part of it, that is, an embodied subjectivity.