Use Of Pseudonyms Research Articles

From “La Mujer Esclava” to “La Mujer Limón”: Anarchism and the Politics of Sexuality in Early-Twentieth-Century Chile

From “La Mujer Esclava” to “La Mujer Limón”: Anarchism and the Politics of Sexuality in Early-Twentieth-Century Chile

Anonymity and Place in Qualitative Inquiry

This article examines assumptions embedded in the routine practice of trying to make the places represented in qualitative accounts anonymous. Anonymity is usually seen as an ethical issue, but like any representational strategy, it conceals assumptions about the nature of entities in the world and our relations with them. Focusing on place anonymization, the author argues that the use of pseudonyms and the omission of identifying historical and geographical information align research accounts with certain ontological assumptions, modes of theorizing, and corporate constructions of the public sphere. The author concludes by suggesting ways that place and identification can be rethought in qualitative inquiry.

Re-casting Mallarmé: Introduction

Re-casting Mallarmé: Introduction Jean-Michel Rabaté and Philippe Met THE RECENT CENTENARY OF MALLARMÉ'S DEATH has capped an already long and rich history of critical studies with a fresh spate of scholarly contributions (books, colloquia proceedings, special issues, tributes, exhibitions and new translations) in France and elsewhere, and generated at least two major landmarks: the first volume of the new Pléiade edition of the poet's collected works, presenting us, thanks to Bertrand Marchal's laudable efforts, with radically new versions of canonical as well as lesserknown texts; and the monumental and meticulous biography of Mallarmé by Jean-Luc Steinmetz (Stéphane Mallarmé. L'absolu au jour le jour), the first one in French in over a half-century.1 One may then wonder whether there is any shaded area left or simply further reducible in the Mallarméan landscape, any blind spot resisting scrutiny, and therefore any pressing need for yet another reexamination of such an iconic poet. The purpose of this issue is not to (pr)offer one more improbable fiat lux on Mallarmé's œuvre. Its premise, rather, is not only that the poet himself has been an unsurpassed beacon of modernity to generations of writers and intellectuals, such as Paul Valéry, Pierre Oster, Yves Bonnefoy, Julia Kristeva , Jacques Derrida or Michel Deguy, but that from one turn-of-the-century to the next Mallarmé remains for us un contemporain considérable. Or conversely , and more aptly perhaps, that we are still striving to be Mallarmé's worthy contemporaries. The various essays included in this special issue2 are thus to be read as a testimony to Mallarmé's literary, and more largely aesthetic, ongoing relevance to the artists of the twenty-first century. "Re-casting" Mallarmé today implies a concomitant reconsideration of the hyphenating potential and efficacy of his gesture whereby relations to music, choreography, the pictorial or visual arts, or various regimes of "translation" are simultaneously emphasized and displaced. If the experimental and modernist thrust of Mallarmé's legacy is mostly privileged, the diverse historical determinations (scientific and technological advances suggesting new possible paradigms) bearing on its genealogy are also closely traced, as one should not minimize the extent to which his mental apparatus was shaped by a fin-de-siècle mentality that cultivated long-lost refinements of expression, while discovering with some amazement Vol. XL, No. 3 3 L'Esprit Créateur the "masses" and their growing social unrest. Mary Ann Caws' study precisely looks at Mallarmé's durable albeit paradoxical gift to modernity via a principle of negative space, from the offcentering he shared with Whistler to the constellation of folds within folds that was an inspiration to Duchamp as well as Boulez and Cage. Anthony Zielonka revisits the adaptations of L'après-midi d'un faune (Debussy's Prélude and Nijinsky's ballet) to show that music as the first mirage of the Gesamtkunstwerk radicalizes the inner theatricality implied by the Faun's erotic reverie. Through a discussion of the erasure of the identity/authority of authorship and provocative parallels between the Mallarméan Book and technology, Felicia McCarren is able to suggest that cinema concretized the three components Mallarmé meant to build into his Livre: three-dimensionality, rhythm and unfeasibility. GayIe Zachmann examines Mallarmé's mechanistic conception of the mind as camera, his photo-graphic cadrage and the various ways in which such topical figures or processes as ekphrasis, mimesis and ut pictura poesis were reevalued, revitalized by his theory and practice. Using some of the key concepts developed by Deleuze in The Logic of Sense, Dan Edelstein delineates a serial relationship between the "Sonnet en -yx," ¡gitur and "Victorieusement fui...." Highlighting the structural reversal and doubling-up of Vs and Xs, he shows the mirror image to be the defining object of the series, its very center, rather than a mere thematic or rhetorical convention. The serial model thus sketched intersects with a specific mythological pattern based on the sunset figure. Focusing her attention on the shift of identities (anonymity, transvestism, use of pseudonyms, transposition of authorial identity and signature) and the confrontation with the Other (translation as both a foreignizing and a domesticating...

An investigation into community psychiatric nurses' use of humour during client interactions.

Community psychiatric nurses' (CPNs') accounts of interactions with clients often reflect benefits of using humour appropriately. This is despite the use of humour as a specific therapeutic form of communication generally being ignored during CPNs' professional development. With the growth in community care, mental health nurses are required to function more autonomously within the client's home environment, thus the contextual nature of the nurse's use of humour may have to be adjusted accordingly. How nurses makes this adjustment of their use of humour appears to be left to their own experiences. Yet inappropriate use of humour may be costly to the nurse-client relationship. The research described in this paper used a descriptive qualitative methodology to explore the perceptions of seven CPNs working in Scotland in relation to their use of humour during client interactions. As this study did not specifically access clients, ethical permission was not required from the local research and ethics committee. This did not excuse the author from recognizing ethical considerations of the subjects in relation to sharing information about being volunteers, their rights of withdrawal and the risks and benefits of the study. Confidentiality and anonymity were also maintained by the use of pseudonyms. Data collected through critical incident analysis and interviews were subjected to content analysis. Findings confirm the paradoxical nature of humour. Humour, when used appropriately, assisted the development of trust and changing the client's restrictive perceptions. Damaging effects were reported, however, if the humour was misinterpreted or perceived by the client as demeaning their experience. Although the CPNs had not received any formal education about the use of humour, recommendations centred on raising student nurses' and CPNs' awareness about their own use of humour.

'And the Word Was Made Flesh and Dwelt among Us...'

'And the Word Was Made Flesh and Dwelt among Us...'

Adoptive Parents a Practice Perspective

The advent of changing adoption legislation, policy and practice is impacting on all people touched by the adoption experience. Open adoption is now considered to be best practice. In South Australia adoption legislation was changed in 1988. All adoption records were made available retrospectively to adopted people and birth parents unless a five-year veto was placed by either the birth parent or adopted person requesting no contact with the ‘seeker’. As a consequence to these changes, the role of adoptive parents has changed considerably. This change has not been adequately planned for and adoptive parents have few supports in redefining their role in the adoption experience. Susan Mann presents a practitioner's view of the experiences of adoptive parents with recommendations about how to create a more positive and productive dialogue among all parties affected by varying adoption practices. Confidentiality is maintained throughout the paper by the use of pseudonyms.

Maternal fictions: Stendhal, Sand, Rachilde, and Bataille

Stendhal, George Sand, Rachilde, Georges Bataille: Forgoing the patronym, with its weight of meaning, these modern French writers renamed themselves in their work. Their use of pseudonyms, as Maryline Lukacher demonstrates in this provocative study, is part of a process to subvert the name of the father and explore the suppressed relation to the figure of the mother. Combining psychoanalytic criticism, feminist theory, and literary analysis, Maternal Fictions offers a complex psychological portrait of these writers who managed at once to challenge patriarchal authority and at the same time attempt to return to the maternal. Through readings of Armance, Le Rouge et le noir, La Vie de Henry Brulard, and Les Cenci, Lukacher exposes Stendhal's preoccupation with his dead mother, who is obsessively retrieved throughout his work. George Sand's identity is, in effect, divided between two mothers, her biological mother and her grandmother, and in Histoire de ma vie, Indiana, and Mauprat, we see the writer's efforts to break the impasse created by this divided identity. In the extraordinary but too little known work of Rachilde (Marguerite Eymery), Lukacher finds the maternal figure identified as the secret inner force of patriarchal oppression. This resistance to feminism continues in the pseudonymous work of Georges Bataille. In Ma mere, Le coupable, and L'Experience interieure Lukacher traces Bataille's representation of the mother as a menacing, ever subversive figure who threatens basic social configurations. Maternal Fictions establishes a new pseudonymous genealogy in modern French writing that will inform and advance our understanding of the act of self-creation that occurs in fiction.

Kierkegaard: A Kind of Poet (review)

BOOK REVIEWS 421 gemeine Algebra, als die Differential- und Integral-Rechnung, und einen Anhang yon den voraehrnsten mathematischen Schriften in sich begreift, und zu mehrerem Aufnehmen der Mathematick so wohl auf hohen als niedrigen Schnlen aufgesetzt worden" fl-Ialle, 1750). The sentence about the mountain and the grain of sand is a literal quotation. In the part on Natural Philosophy Hegel talks about Galilei's law of free fall as follows: "The law of this notion which Galilei has found and which is one of the few belonging to modern times, mathematics has in vain tried to prove; its proof rather presuppose it and are only descriptive expositions of it." The editors think that Hegel here refers to Schelling's criticism of Le Sage's attempt at adducing proof of Galilei's law and also to K~tner's criticism of that attempt. They mention G. L. Le Sage's "Essai de chymie m~chanique," which received a prize by the Academy of Rouen in 1758, and also A. G. K~istner's "Prilfung eines yon Herrn Le Sage angegebenen Gesetzes fur fallende Ktrper." Schelling discusses it in his book: "Ideen." HENRY WALTER BRAN/4 Takoma Park, Maryland Kierkegaard: A Kind o! Poet. By Louis Mackey. (Philadelphia: University of Pennsylvania Press, 1971. P. xiii + 327. Cloth: $12.50. Paper: $4.25) Kierkegaard has been attacked, explained in dozens of ways, trivialized, mindlessly admixed, quoted without being understood, and even psychoanalyzed a distans. Now comes Louis Mackey with an interpretation tam antiqua quam nova of Kierkegaard as a poet. This point has been made by, among others, Peter Rohde, who writes: The relationship with his [S. K.'s] father had activated his abilities as a writer by strengthening his imagination. The relationship with Regine had furnished him the material to write about: the relationship between man and woman. Regine had made him a poet, but he couldn't start to write until she was out of the picture. 1 Kierkegaard frequently mentioned in a variety of ways, through thinly coricealed allusions in the pseudonymous works, and in rather clear statements in the Papirer, that his unfulfilled love for Regine made him a poet. Mackey, quite correctly, does not overemphasize the romantic motivation for S. K.'s becoming a poet, but instead concentrates on an investigation and explication of the meaning and ramifications of Kierkegaard's view of himself as a poetic thinker. S. K.'s often puzzling and sometimes involuted use of pseudonyms has intrigued and exasperated many of his interpreters. Many have had a go at explaining the real meaning, function, and significance of the pseudonyms. In the early chapters of his book Mackey does not directly enter the lists with his own specific unravelling of the pseudonyms themselves, but in a sort of "indirect communication" that S. K. might well have welcomed, Mackey does offer some interesting insights and comparisons. However, in the final chapter, Mackey returns to the topic of the pseudonyms directly. Although he does not claim to give us the definitive explanation, one finds here one a Peter Rohde, Seren Kierkegaard: An Introduction to His Life and Philosophy (London: Allen and Unwin, 1963) pp. 70-71. 422 HISTORY OF PHILOSOPHY of the clearest treatments of this mind-boggllng issue that this reviewer has seen.2 For example, Mackey observes: A Kierkegaardian pseudonym is a persona, an imaginary person created by the author for artistic purposes, not a nora de plume, a fictitious name used to protect his personal identity from the threats and embarrassments of publicity . . . his purpose was not mystification but distance. By refusing to answer for his writings he detached them from his personality so as to let their form protect the freedom that was their theme.3 The casual reader of Kierkegaard is very likely to stumble on much of S. K.'s ideosyncratic use of otherwise familiar terminology. One good example of this is Kierkegaard's use of the word "aesthetic." Mackey helps the uninitiated reader over this hurdle by distinguishing between the traditional or common meaning of aesthetic as "pertaining to beauty and the fine arts," and the etymological meaning as "sense perception," which is closer to Kierkegaard's use of...

SVEVO AS A JEWISH WRITER

AbstractThat Italo Svevo is the pseudonym—or, to be more precise, one of the pseudonyms—of the Triestine Jew Aron (detto Ettore) Schmitz is a fact so well known that it is almost obligatory for monographs on Svevo to begin with some reference to it. Yet one is surprised to discover that few attempts have been made to assess its significance. Does Svevo's Jewishness influence his writing? And if so, how? These are clearly important questions, which have not been answered in a satisfactory manner. There are, of course, a number of reasons why this should be the case. Svevo himself, in his published works, drew no attention to his Jewish background; indeed, one might say that in his Profilo autobiografico, by misleadingly describing his father as ‘un assimilato’, he deliberately directed attention away from it. One could perhaps say the same of his use of pseudonyms—E. Samigli, Ettore Muranese and Italo Svevo. Whatever they revealed, they certainly concealed one fact—that the author was a Jew. Nor are his ch...