Vue intérieure de la médication psychiatrique : l’expérience des personnes ayant cheminé avec la GAM

Cette recherche aborde la médication psychiatrique à partir du point de vue des usagers. Des entrevues en profondeur ont été réalisées auprès de dix personnes utilisatrices en provenance d’une ressource communautaire et alternative en santé mentale. Les répondants éprouvent ou ont éprouvé des problèmes importants de santé mentale. La majorité des usagers de notre échantillon consomme des neuroleptiques. Les participants sélectionnés ont cheminé avec l’approche de la gestion autonome de la médication en santé mentale (GAM). La GAM constitue un terrain fertile, car l’approche favorise la réflexion critique, la diversité de pratiques autour de la médication psychotrope. Un état des connaissances portant sur l’expérience subjective de la médication est présenté. Les effets de la médication sur les personnes et leur contexte de vie ainsi que les aspects symboliques ont été analysés. Parmi les effets majeurs de la médication, on compte : l’effet de « gel », la grande fatigue, les difficultés d’attribution, le désir d’arrêt et les effets paradoxaux. La médication peut avoir des effets positifs ou négatifs sur l’entourage, le travail, les études ou autres implications sociales. Le rapport des usagers relatif à la médication a évolué vers un usage planifié, modulé et moindre. À cet effet, les dix usagers sont passés d’une phase de « novice » à une « d’expert ». Les résultats de cette recherche indiquent que la notion d’observance au traitement doit être revisitée et la notion d’efficacité élargie. Cette étude qualitative démontre que les versants « intérieurs » de la médication, l’expérience subjective et l’intersubjectif apportent une perspective plutôt rare, mais riche, du médicament en tant qu’objet social.

Peter Celsing en el complejo de Sergels Torg : la Casa de la Cultura de Estocolmo

La tesis ≪Peter Celsing en el complejo de Sergels torg. La Casa de la Cultura de Estocolmo ≫ intenta profundizar en la obra de este autor, en sus conexiones con otras arquitecturas y arquitectos de su entorno físico y temporal, que constituye uno de los episodios más interesantes y menos conocidos de la arquitectura nórdica. El objeto particular de estudio es la Casa de la Cultura dentro del complejo de Sergels torg como pieza clave que marca un antes y un después en su trayectoria. Se observa un proceso de desarrollo constante, que se fue gestando paulatinamente, y que en este ejercicio alcanza su punto álgido. Además, los proyectos que coexistieron con su evolución, y los posteriores, filtraron las inquietudes latentes del mayor reto al que se había enfrentado, dando pie a resultados novedosos en su producción. La investigación se estructura en tres capítulos. El primero, ≪Aprendizaje≫, examina sus experiencias de juventud, viajes de estudios y lecciones de sus maestros; así como sus inicios profesionales en el proyecto de restauración de la Catedral de Uppsala y en sus iglesias junto a Lewerentz. En ese periodo prima lo formal y escultórico, el hormigón y el ladrillo artesanal, y como referencia Le Corbusier y la capilla de Ronchamp. El segundo capítulo, ≪Obra≫, estudia el concurso que da origen a la Casa de la Cultura, su proceso de gestación y diseño, y las modificaciones posteriores durante su construcción. De repente emergen las cualidades espaciales y los sistemas estructurales aprendidos de Mies en el Crown Hall de Chicago, la gran escala de la metrópoli y las soluciones industriales ligeras. El tercer capítulo, ≪Madurez≫, sirve de cierre, y revisa su trayectoria posterior con relación a la obra referida. Tras este edificio, el diseño de las propuestas coetáneas se vuelve más abstracto y sencillo, gana en autonomía, rotundidad, atrevimiento y carácter. Las conclusiones verifican el cambio de actitud y de paradigmas. Hay elementos como las distorsiones, los contrastes y las manipulaciones, aprendidas en sus primeros años de formación y junto a Lewerentz, si bien es cierto que ahora han aumentado proporcionalmente a la escala de sus intervenciones e incluso se observan en el detalle, como sucede en el encuentro de los materiales y su montaje. Su visión, su punto de vista se eleva, y la pieza adopta una volumetría compacta y unitaria. Cada nuevo trabajo sintetiza un enfoque más universal y abierto en conceptos y metodología operativa. Sus preocupaciones nos hablan de un arquitecto consciente de su tiempo y cuya arquitectura final mira ya al siglo XXI. ABSTRACT The thesis ≪Peter Celsing in the complex of Sergels torg. The House of Culture in Stockholm ≫ delves deeper into the work of this author, in his connections with other architectures and architects of his physical and temporal surroundings, which is one of the most interesting and least known episodes of Nordic architecture. The particular focus of this study is how the House of Culture, a key point within the complex of Sergels torg, marks a before and after in his career. There is an observable process of constant development, which was growing steadily, and reaches its critical point in this exercise. In addition, the projects that coexisted during his evolution and those that came before, reveal latent concerns leading up to the biggest challenge he would face, ultimately giving way to new developments in his work. The study is divided into three chapters. The first, ≪Learning≫, examines his experiences as a youth, academic trips and lessons from his masters; as well as his professional beginnings alongside Lewerentz in the restoration project of Uppsala Cathedral and his churches. In that period the formal and sculptural were given preference, also concrete and handmade brick. And as reference, there is Le Corbusier and the chapel at Ronchamp. The second chapter, ≪Work≫, studies the competition that gives rise to the House of Culture, the gestation process and design and subsequent amendments during its construction. Suddenly the spatial qualities and structural systems learned from Mies in Crown Hall of Chicago emerge, the large scale of the metropolis and light industrial solutions. The third chapter, ≪Maturity≫, serves as the closure and examines his subsequent career in relation to said work. After this building, the design of coetaneous proposals become more abstract and simple, gaining autonomy, firmness, boldness and character. The conclusions verify the change in attitudes and paradigms. There are elements such as distortions, contrasts and manipulations, learned in his early years of training and with Lewerentz, that have now undeniably increased in proportion to the scale of their involvement and can even be observed in detail, as so happens in the joining of materials and assembly. His vision, his point of view is heightened, and the piece adopts a single and compact volume. Each new work synthesizes a more universal and open focus in concepts and operational methodology. His concerns speak of an architect aware of his time and whose final architecture now looks toward the 21st century.

The Conditional Autonomy of Tafuri's Historian / De Provisorische Autonomie van de Historicus bij Tafuri

This article considers the conditions placed on the autonomous architectural history discipline often understood at stake in Manfredo Tafuri's 1968 book Teorie e storia dell'architettura.

Autonomy: an important component for nurses' job satisfaction

This quantitative pilot study (n = 178), conducted in a large Brisbane teaching hospital in Australia, found autonomy to be the most important job component for registered nurses' job satisfaction. The actual level of satisfaction with autonomy was 4.6, on a scale of 1 for very dissatisfied to 7 for very satisfied. The mean for job satisfaction was 4.3, with the job components professional status and interaction adding most substantially to the result. There was discontentment with the other two job components, which were Cask requirements and organisational policies. Demographic comparisons showed that nurses who were preceptors had significantly less job satisfaction than the other nurses at the hospital. (C) 2001 Elsevier Science Ltd. All rights reserved.

Heterodox Autonomy Doctrine: realism and purposes, and its relevance

The Autonomy Doctrine, elaborated by Juan Carlos Puig, is a realist point of view of International Relations. It is an analysis, from the periphery, about the structure of world power, and a roadmap (from a theoretical point of view) for the longing process of autonomization-regarding hegemonic power-for a country whose ruling class would decide to overcome dependency. The elements its author took into account when analyzing its own context are explained in this text and, afterwards, are reflected over its relevance nowadays. For that purpose, it is necessary to answer certain questions, such as which are the concepts and categories that may explain its relevance, its applicability to regional integration and cooperation models and projects, and what would be the analytical method to compare reality versus ideas, among others. The methodological proposal to analyze the relevance of Puig's doctrine is to compare it to different visions of regionalism that are currently in effect in Latin America.

Towards an uncertain future? The strengthening of Japan's autonomy in Asia-Pacific

Recently, Japan has been increasing tensions with China regarding the Pinnacle Senkaku/Diaoyu islands. Due to the Chinese military development, Japan has been working on its political and military strengthening in Asia. This essay presents two possible scenarios for Japan.