Par son rôle déterminant dans la réussite scolaire et professionnelle, ainsi que dans l’insertion sociale, l’apprentissage de l’orthographe lexicale représente un défi majeur pour les élèves du primaire. Dans ce contexte, nombreux sont les enseignants, orthophonistes et chercheurs à s’intéresser à la question des outils utiles à son enseignement et à son apprentissage, et à avoir recours notamment à des bases de données lexicales. Bien qu’elles constituent un apport considérable pour le domaine, les ressources existantes souffrent de plusieurs insuffisances. D’une (...) part, elles s’appuient sur des corpus de référence peu représentatifs du lexique scolaire auquel les élèves sont exposés au primaire, et d’autre part, elles ne permettent pas aux utilisateurs de déterminer la façon dont se développe l’acquisition de l’orthographe lexicale. À la lumière de ces constats, nous avons élaboré une ressource lexicale hybride, rendant compte à la fois de la fréquence et des caractéristiques linguistiques du lexique scolaire présent dans les manuels du primaire au Québec et, pour une partie des mots de ce lexique, de la capacité des élèves à les orthographier à chaque niveau du primaire. Dans cet article, nous revenons dans un premier temps sur la méthodologie d’élaboration de cette nouvelle base de données - nommée ÉQOL - dotée d’une Échelle Québécoise d’acquisition de l’Orthographe Lexicale, à l’origine de la création de la base de données. Dans un deuxième temps, nous évaluons l’apport de cet outil. La comparaison de notre base de données (Stanké, Royle, Rezzonico, Moreau, Dumais & Le Mené 2018) à des outils existants (trois bases de données et une échelle d’acquisition lexicale) témoigne de la pertinence de la création d’un outil propre au lexique scolaire adressé aux élèves du primaire et de la nécessité d’utiliser une nouvelle échelle d’acquisition de l’orthographe lexicale, spécifique aux compétences orthographiques des élèves québécois. (shrink)

The uncanny is the weird, the strange, the mysterious, a mingling of the familiar and the unfamiliar. Even Freud, patron of the uncanny, had trouble defining it. Yet the uncanny is everywhere in contemporary culture. In this elegant book, Nicholas Royle takes the reader across literature, film, philosophy, and psychoanalysis as he marks the trace of the uncanny in the modern world. Not an introduction in the usual sense, Nicholas Royle's book is a geography of the uncanny as (...) it manifests itself - and disturbs our thinking - in a range of disciplines. (shrink)

In this entertaining and provocative introduction, Royle offers lucid explanations of various key ideas, including deconstruction, undecidability, iterability, differance, aporia, the pharmakon, the supplement, a new enlightenment, and the democracy to come. He also gives attention, however, to a range of less obvious key ideas of Derrida, such as earthquakes, animals and animality, ghosts, monstrosity, the poematic, drugs, gifts, secrets, war, and mourning. Derrida is seen as an extraordinarily inventive thinker, as well as a brilliantly imaginative and often very (...) funny writer. Other critical introductions tend to highlight the specifically philosophical nature and genealogy of his work. Royle's book proceeds in a new and different way, in particular by focusing on the crucial but strange place of literature in Derrida's writings. He thus provides an appreciation and understanding based on detailed reference to Derrida's texts, interwoven with close readings of such writers as Shakespeare, Coleridge, P.B. Shelley, Poe, Emily Brontë, Franz Kafka and Elizabeth Bowen. In doing so, he explores Derrida's consistent view that deconstruction is "a coming-to-terms with literature". He emphasizes the ways in which "literature", for Derrida, is indissociably bound up with other concerns, such as philosophy and psychoanalysis, politics and ethics, responsibility and justice, law and democracy. (shrink)

This short communication explores the idea of “stream of consciousness” and considers some of the ways in which scientific writing relies – even or perhaps especially insofar as it does not signal this fact – on the resources of literary language and literary thinking. Particular attention is given to notions of literal and figurative or metaphorical language, including “hydrological” and “ontic” metaphor. A crucial figure is simile (the “like”), discussed here in relation to the Thomas Nagel’s “What is it Like (...) to Be a Bat?”, Todd Feinberg and Jon Mallatt’s Consciousness Demystified, and Anil Seth’s Being You: A New Science of Consciousness. Neuroethics cannot restrict itself to the domain of technology and the human. The deconstruction of anthropocentrism, already underway in literary modernism, calls for responsibility in relation to non-human as well as human life-forms. Virginia Woolf’s Mrs Dalloway provides rich and multifarious resources for exploring these issues. Woolf’s novel is considered as a kind of literary water music, in which sense and feeling is not limited to the human, and distinctions between consciousness and the environment are susceptible to dissolution. Woolf’s work is concerned with a conception of stream of consciousness as telepathic fluidity, as “merging minds” but without restitution of the individual or collective. (shrink)

These are the first published extracts of a Covid-19 diary, co-written over two years (2020–22). The authors are concerned to both record and analyse the ways in which the Covid-19 pandemic altered the sense and experience of inside and outside, home and world, self and other. Grief—both personal and ecological—is uncircumventable. At the same time, the virus provokes critical thinking on how ‘another life is possible’. Literature and music are key forces in the authors' shared and interweaving reflections.

Royle's text considers the importance of psychoanalysis in the writings of Cixous and Derrida, in particular in terms of Cixous's description of Freud as ‘the Shakespeare of the Night’. An exploration of what Derrida terms ‘thinking analysis’ in Cixous's writing is pursued via readings of Freud and Popper-Lynkeus, Derrida's ‘To Speculate — on Freud’, and telepathic or magical thinking in Shakespeare. It concludes with A Midsummer Night's Dream and with what Royle considers perhaps the most beautiful ‘because’ in (...) Shakespeare. (shrink)

This text seeks to analyse a dream in which Freud writes to the author. Particular attention is given to the notion of treatment and, in a memorable phrase from Hélène Cixous, ‘how to treat the dream as a dream’. Royle draws on diverse references, and focuses on a range of Freud's writings, in order to explore the relationship between psychoanalysis and literature. Particular attention is given to free association, deferred effect and the epistolary.

This piece seeks to explore notions of commemoration and autobiography with particular reference to the life and work of Laura Marcus. Special attention is given to her Auto/Biographical Discourses, Virginia Woolf and Autobiography, as well as Paul de Man’s essay ‘Autobiography as De-Facement’, the work of Jacques Derrida, and Woolf’s ‘biography’, Orlando.

Cells can change their function by rapidly modulating the levels of certain proteins at the plasma membrane. This rapid modulation is achieved by using a specialised trafficking process called constitutive cycling. The constitutive cycling of a variety of transmembrane proteins such as receptors, channels and transporters has recently been directly demonstrated in a wide range of cell types. This regulation is thought to underlie important biological phenomena such as learning and memory, gastric acid secretion and water and blood glucose homeostasis. (...) This review discusses the molecular mechanisms of constitutive cycling, its regulation by extracellular agents such as hormones and its misregulation in disease states. BioEssays 25:39–46, 2003. © 2002 Wiley Periodicals, Inc. (shrink)

This essay is an exercise in the phenomenology – and post-phenomenology – of reading in relation to Elizabeth Bowen’s The Hotel (1927), a novel that thematizes and reflects on the uncanny status of reading and provokes in response an experimental critical ABC. Special attention is given to the work of French psychoanalyst Charles Baudouin in foregrounding the role and effects of suggestion in reading. Engaging with the concerns of writing and reading fiction in the ‘Anthropocene’ (especially in the form of (...) what is here called twi-fi) and drawing on notions of literary anachrony, cryptaesthetic resistance, queerness and deferred effect, the essay offers a new critical appreciation of the singularity of Bowen’s novel. (shrink)

This essay takes up the phrase “not now” as a way of trying to explore various aspects of Derrida’s work especially in the contexts of temporality, apocalypse, mourning and spectrality. It focuses on a range of Derrida’s texts, including Of Grammatology, “Ousia and Grammē,” the “Envois” in The Post Card, “No Apocalypse, Not Now,” “The Time is Out of Joint,” and Demeure: Fiction and Testimony. Attention is also given to the strange workings of “not now” in children’s literature (in particular (...) David McKee’s Not Now, Bernard) and Shakespeare’s Hamlet. (shrink)

‘On the Run’ explores various aspects of ‘imagining Derrida’/‘Derrida imagining’, as well as the notion of a deconstructive imaginary. The text is at once critical, autobiographical and phantomatic or fantastical. Attention is given to Derrida's interests in cinema and ghosts, friendship and imagination, telepathy and literature. The question of a ‘deconstructive imaginary’ is pursued through discussion of Defoe's Robinson Crusoe, Wallace Stevens and Sigmund Freud, in particular. The paper concludes with a meditation on dreams about dead people.

“Poetry, Animality, Derrida”: this title is traced by a play of the letter, by the chance of an acronym: “pad.” This pad – the random drawing up of these three letters, p, a, d – is perhaps untranslatable. As such, it might bear witness to Jacques Derrida's memorable remark about poetry, translation, and the materiality of words: “The materiality of a word cannot be translated or carried over into another language. Apocalypse distracted: deranged, absent‐minded, diverted apocalypse. Not in some merely (...) maniacal or else nihilistic manner: it is necessary to reckon, as always in Derrida's writing, with the workings of deconstruction as what he calls a “strange strategy without finality”, with “distracted apocalypse” as a figure of that. Derrida's commentary on Lawrence's poem is too rich and suggestive to be readily summarized. (shrink)

Esther Rashkin, Family Secrets and the Psychoanalysis of Narrative (Princeton: Princeton University Press, 1992). Pages: 228. ISBN: 0-691069-51-4. Price: 1750/US$29.95.

The popular image of Japanese society is a steroetypical one - that of a people characterised by a coherent set of thought and behaviour patterns, applying to all Japanese and transcending time. Ross Mouer and Yoshio Sugimoto found this image quite incongruous during their research for this book in Japan. They ask whether this steroetype of the Japanese is not only generated by foreigners but by the Japanese themselves. This is likely to be a controversial book as it does not (...) contribute to the continuing mythologising of Japan and the Japanese. The book examines contemporary images of Japanese society by surveying an extensive sample of popular and academic literature on Japan. After tracing the development of "holistic" theories about the Japanese, commonly referred to as the "group model", attention is focused on the evaluation of that image. Empirical evidence contrary to this model is discussed and methodological lacunae are cited. A "sociology of Japanology" is also presented. In pursuit of other visions of Japanese society, the authors argue that certain aspects of Japanese behaviour can be explained by considering Japanese society as the exact inverse of the portayal provided by the group model. The authors also present a multi-dimensional model of social stratification, arguing that much of the variation in Japanese behaviour can be understood within the framework as having universal equivalence. (shrink)

We describe the design and evaluation of a sub-clinical digital assessment tool that integrates digital biomarkers of depression. Based on three standard cognitive tasks on which people with depression have been known to perform differently than a control group, we iteratively designed a digital assessment tool that could be deployed outside of laboratory contexts, in uncontrolled home environments on computer systems with widely varying system characteristics. We conducted two online studies, in which participants used the assessment tool in their own (...) homes, and completed subjective questionnaires including the Patient Health Questionnaire —a standard self-report tool for assessing depression in clinical contexts. In a first study, we demonstrate that each task can be used in isolation to significantly predict PHQ-9 scores. In a second study, we replicate these results and further demonstrate that when used in combination, behavioral metrics from the three tasks significantly predicted PHQ-9 scores, even when taking into account demographic factors known to influence depression such as age and gender. A multiple regression model explained 34.4% of variance in PHQ-9 scores with behavioral metrics from each task providing unique and significant contributions to the prediction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Phaedra's Labyrinth as the Paradigm of Passion: Racine's Aesthetic Formulation of Mimetic Desire Jacques-Jude Lépine Haverford College The actual model of Racine's Phaedra is no more the one that he claims to follow in his preface than one ofthose which his critics have sought in vain to find in the works of his immediate predecessors.1 Indeed, the comparative reading ofRacine's last profane tragedy against his sources shows (...) that Seneca and Euripides only provided a very general framework, one might say a traditional theme, which Racine completely recasts on the level of the plot, structure, characters, poetic esthetics, and theatrical performance. On the other hand, the myth of Phaedra's involuntary passion for her stepson Hippolytus, the hunter who was supposed to be atavistically insensitive to erotic seduction, could very well have been reorganized on the basis of another mythological episode which precedes it, the killing of the Minotaur by Theseus in the Labyrinth. There are many explicit references to this episode throughout Racine's Phaedra. There are even more than a rich but strictly thematic critic has been able to detect (see Racine), underscoring the fundamental point of my essay that the intensely poetic character of the Labyrinth, and particularly its function as a fantastic spatial frame, is not simply of a decorative nature. In Racine's work, as in any other genuine literary masterpiece, there is a unity ofcontent and form. The many references to the Labyrinth are determinant for the very subject ofPhaedra, which is the representation of passion, the only subject of interest for Racine. In fact, I intend to demonstrate that Racine used the unique topography of the Labyrinth as a paradigm of the logic of the relationships between his ' These works are Garnier's "Hippolyte" (1573) and Quinault's "Bellérophon" (1671). 48Jacques-Jude Lépine characters because of its capacity for fully expressing the mimetic origin of passion, a decisive discovery the gradual stages towards which may be traced in all his previous works. The Monster Hunt as a Metaphor of the Dramatic Action In order to demonstrate this point, I will start from the textual data, even though it will be necessary to go beyond a simple inventory of the themes explicitly connected to the Labyrinth. The first of these themes is obviously the one of monstrosity. At some point in the play, all the main characters accuse themselves, or are accused, of being a monster (Barthes 115). The relationship between this moral monstrosity (expressed in ambiguous statements suggesting a physical sign) and the return of Theseus, whose numerous monster hunts Hippolytus recalls in the opening scene,2 is easy to see. As has been already noted, the theme of the monster hunt is present from beginning to end of the play, where the fight between Hippolytus and the sea monster occurs (see Jasenas). But the monsterpar excellence is the Minotaur, whose death at the hands of Theseus Phaedra recalls in a famous speech which serves to reveal her passion to Hippolytus through a series of substitutions in the original cast of characters: Oh, why were you too young top have embarked Within the ship that brought him [Theseus] to our shores? You would have been the monster's killer then, In spite of all the windings of his maze. To find your way in that uncertain dark, My sister would have armed you with the thread. But no! In this design I would have been Ahead of her, my sister! Me, not her, It would have been whom love at first inspired; And I it would have been, Prince, I, whose aid Had taught you all the Labyrinth's crooked ways. A single thread would not have been enough To satisfy your lover's fears for you. I would myself have wished to lead the way, And share the perils you were bound to face. Phaedra, into the Labyrinth, with you Would have descended, and with you returned, To safety, or with you have perished. (647-62) 2 See verses 73-90. References to Margaret Rawlings's translation of Phaedra will be given parenthetically in the text. The verse numbers refer to the French edition... (shrink)

While readers of Euripides' Hippolytus have long regarded Phaedra's deltos as a mechanism of punitive revenge, I argue here that the tablet models itself on a judicial curse (defixio) and that its main function is to ensure victory for Phaedra in the upcoming “trial” over her reputation. In support of my thesis I examine three interrelated phenomena: first, Hippolytus' infamous assertion that his tongue swore an oath while his mind remains unsworn (612); second, Phaedra's status as a (...) biaiothanatos; and third, Phaedra's claim that Hippolytus “will learn sophrosune” (731), a speech act that, I conclude, anticipates the silencing effect on Hippolytus of Phaedra's death and her writing. (shrink)

the aidos of phaedra and the meaning of the hyppolytus.

When Seneca comes to describe the appearance of the monstrous bull which appears out of the sea to kill Hippolytus in answer to his father's curse, he uses a metaphor of birth: the sea's wave is said to be ‘heavy with burdened womb’ . If line 1016 is genuine – it was athetized by Leo – the sea is said to be ‘pregnant with a monster’ . The metaphor has not passed unnoticed in modern commentaries but it has not been (...) fully appreciated. I want to examine further linguistic aspects of the metaphor, and to consider its significance in its literary context. Seneca is a writer who likes – as he himself acknowledges – to re-work tradition: all the more significant, then, when he introduces a conspicuous metaphor into his text which does not appear to have literary antecedents. (shrink)