Mother's anxiety and depression during the third pregnancy trimester and neonate's mother versus stranger's face/voice visual preference

Background: Neonates show visual preference for their mother's face/voice and shift their attention from their mother to a stranger's face/voice after habituation. Aim: To assess neonate's mother versus stranger's face/voice visual preference, namely mother's anxiety and depression during the third pregnancy trimester and neonate's: 1) visual preference for the mother versus the stranger's face/voice (pretest visual preference), 2) habituation to the mother's face/voice and 3) visual preference for the stranger versus the mother's face/voice (posttest visual preference). Method: Mothers (N=100) filled out the Edinburgh Postnatal Depression Scale (EPDS) and the State Anxiety Inventory (STAI) both at the third pregnancy trimester and childbirth, and the “preference and habituation to the mother's face/voice versus stranger” paradigm was administered to their newborn 1 to 5 days after childbirth. Results: Neonates of anxious/depressed mothers during the third pregnancy trimester contrarily to neonates of non-anxious/non-depressed mothers did not look 1) longer at their mother's than at the stranger's face/voice at the pretest visual preference (showing no visual preference for the mother), nor 2) longer at the stranger's face/voice in the posttest than in the pretest visual preference (not improving their attention to the stranger's after habituation). Conclusion: Infants exposed to mother's anxiety/depression at the third gestational trimester exhibit less perceptual/social competencies at birth.

Stranger than Fiction: Métalepse de Genette et quelques univers filmiques contemporains

Dans le présent article, l'auteur examine certains commentaires développés par Gérard Genette à propos d'exemples filmiques dans l'ouvrage Métalepse, et tente de prolonger l'étude de cette « figure » dans le cadre des théories de la fiction en se penchant sur des films réalisés dans la dernière décennie. Il montre ainsi la pertinence de l'étude des phénomènes relevant de la métalepse pour aborder certaines productions cinématographiques contemporaines qui engagent des pratiques réflexives complexes. Par ailleurs, il aborde la façon dont Genette se positionne par rapport à l'objet cinéma - qu'il tient distance -, et propose d'autres ouvertures théoriques, notamment en tenant plus spécifiquement compte des théories de l'énonciation filmique. Enfin, il discute certains problèmes soulevés par la conception genettienne de la « diégèse » appliquée au cinéma, notamment dans le cas de l'analyse des implications du procédé du pont sonore et des sons dits « extradiégétiques ». L'étude s'achève par l'analyse de la transgression des niveaux narratifs dans un film à voix-over, Stranger than fiction (Marc Forster, 2006), qui constitue un lieu privilégié pour éprouver certaines remarques de Genette. This article discusses some reflections developed by Gérard Genette with respect to the filmic examples in Métalepse and tries to pursue the study of this figure within the framework of fiction theories, by focusing on certain films released in the last decade. The article also shows how the study of metalepsis can be important in order to address contemporary movies presenting complex self-reflexive strategies. Furthermore, it gives account of the particular way in which Genette deals with cinema and suggests some other possible theoretical developments, considering in particular the theories about filmic enunciation. Finally, the paper discusses some problems concerning Genette's idea of "diegesis" when it is applied to cinema and analyses the transgression of narrative levels in a voice-over film - in this case Stranger than Fiction (Marc Forster, 2006), which provides a particularly interesting example in order to test some of Genette's remarks.

Stranger than fiction : En studie kring berättarstruktur i en film

Denna uppsats är en narratologisk analys av berättarstrukturen inom filmen Stranger than fiction. Uppsatsen inleder med en terminologi samt en teoridel kring vad som är berättarstruktur. Utifrån detta analyserar jag filmen för att grundläggande redogöra kring hur den är berättad genom att först beskriva filmens totala fabula för att sedan analysera vad som egentligen förmedlas och på så sätt även komma fram till en slutsats kring filmens totala berättarstruktur. Resultatet visar på att Stranger than fiction är berättad genom flertalet olika nivåer som visar på två olika berättare inom två olika diegeser som förmedlas genom samma berättare. Detta resultat leder till en tematisk diskussion ett postmodernt ontologiskt syfte som genom filmens komplicerade narratologiska struktur försöker förmedla budskapet ”lev det liv du vill ha” samt ”livet blir viktigt först när döden gör sig synlig.

Stranger in a Strange Land: The struggle for cultural and personal identity in Haruki Murakami's Hard-Boiled Wonderland and the End of the World

In order to explicate Murakami's version of the official culture, I have analyzed the novel with the works of several different theorists. Primarily, I drew my own understanding of the official culture from Raymond Williams's examination of culture in Marxism and Literature. His terminology became helpful in writing about the operation of the System and the Town, though it did not define that operation precisely. Williams's work also introduced me to the theory behind the official culture's manipulation and exclusion of historical aspects in order to create their "official" version of history, from which the official culture draws its identity. For further analysis of the treatment of history, I turned to Friedrich Nietzsche's On the Advantage and Disadvantage of History for Life. Though it examines the official culture's manipulation of history in a much more in-depth manner, it seems to have influenced Murakami's treatment of individual memories and cultural histories. For instance, the herd ofunicoms in the End of the World resembles Nietzsche's description of the ''unhistorical herd," or has the potential to resemble it. With these theories I was able to access the mechanisms of cultural control that Murakami depicts in the form of the System and the Town, and from there I was able to develop a model for how the narrator struggles to subvert that control. Both sides of that struggle are depicted and re-imagined many times throughout Hard-Boiled Wonderland and the End of the World.

When Cromwell came to Drogheda : a memory of 1649 : edited from the record of Clarence Stranger, a captain in the army of Owen Roe O'Neill /

Mode of access: Internet.

A stranger in Ireland /

Mode of access: Internet.

The stranger in China; or, The fan-qui's visit to the celestial empire in 1836-7.

Mode of access: Internet.

The stranger in the church ...

Mode of access: Internet.

Stranger in Galah

Mode of access: Internet.