Complex PTSD, interpersonal trauma and relational consequences: Findings from a treatment-receiving Northern Irish sample

Background:
The relationship between PTSD and complex PTSD remains unclear. As well as further addressing this issue, the current study aimed to assess the degree to which DESNOS (complex PTSD) was related to interpersonal trauma and had relational consequences.

Methods:
Eighty one treatment-receiving participants with a history of exposure to the ‘Troubles’ in Northern Ireland, were assessed on various forms of interpersonal trauma, including exposure to the Troubles, and measures of interpersonal and community connectedness.

Results:
DESNOS symptom severity was related to childhood sexual abuse and perceived psychological impact of Troubles-related exposure. A lifetime diagnosis of DESNOS was related to childhood Troubles-related experiences, while a current diagnosis of DESNOS was associated with childhood emotional neglect. PTSD avoidance predicted current DESNOS diagnosis and severity. Feeling emotionally disconnected from family and friends (i.e., interpersonal disconnectedness) was related to all three indices of DESNOS (i.e., lifetime diagnosis, current diagnosis and current symptom severity).

Limitations:
Sample characteristics (i.e., treatment-receiving) and size may limit the generalizability of findings.

Conclusions:
Complex PTSD is associated with PTSD but when present should be considered a superordinate diagnosis.

Situating relational ontology and transformative activist stance within the ‘everyday’ practice of coteaching and cogenerative dialogue.

This paper attempts to advance the thinking in Stetsenko’s paper by situating the concepts of relational ontology and transformative activist stance in the context of coteaching and cogenerative dialogue. In so doing, we hope to make Stetsenko’s ideas more operational in terms of access and application by researchers, teachers, policy makers and other stakeholders in education. Stetsenko argues that moving from relational ontology to a transformative activist stance can be considered as moving from participation to contribution. When this model was applied to coteaching and cogenerative dialogue, it was apparent that the coteaching and cogenerative dialogue moved further, from contribution to shared contribution, adding even greater potential for transformation. The paper also discusses the use of cultural historical activity theory in articulating the relationships, dynamics and interpretations of coteaching and cogenerative dialogue in relation to the wider context of their application.

Towards a Poetics of the Cinematographic Frame

In delineating a poetics of the cinematographic frame, this article presents a typology of framing styles, and demonstrates how filmmakers use the frame as an expressive resource and how the frame uses them. The examples discussed are modernist in orientation, and each has a particular association with a city - its history, architecture, and cultural character. Although it is common practice to refer to some framing situations as instances of 'deframing', the article enquires into the problematic nature of this term, suggesting alternative visual and cinematographic contexts more amenable to its deconstructive implications. As the boundaries between cinema and the other arts continue to converge and relations between frame, image, and screen become more complex, this article offers a reassessment of some first principles of film language, especially the aesthetic integrity of the cinematographic frame.

The 'stance' in the poetics of Paul Celan

This article deals with the ethics of Paul Celan's poetics, presenting and analysing his notion of 'Stehen'.

Beyond the Sign. Henri Meschonnic's Poetics of Rhythm and Continuum. Towards an Anthropological Theory of Language

Basing the conception of language on the sign represents also an obstacle to the awareness of certain elements of human life, especially to a full understanding of what language or art do, Henri Meschonnic’s poetics of the continuum and of rhythm criticizes the sign based on Benveniste’s terms of rhythm and discourse, developing an anthropology of language. Rhythm, for Meschonnic, is no formal metrical but a semantic principle, each time unique and unforeseeable. As for Humboldt, his starting point is not the word but the ensemble of speech; language is not ergon but energeia. The poem then is not a literary form but a process of transformation that Meschonnic defines as the invention of a form of life by a form of language and vice versa. Thus a poem is a way of thinking and rhythm is form in movement. The particular subject of art and literature is consequently not the author but a process of subjectivation – this is the contrary of the conception of the sign. By demonstrating the limits of the sign, Meschonnic’s poetics attempts to thematize the intelligibility of presence. Art and literature raise our awareness of this element of human life we cannot grasp conceptually. This poetical thinking is a necessary counterforce against all institutionalization.