There is growing evidence that some individuals engage in both self-harm and aggression during the course of their lifetime. The co-occurrence of self-harm and aggression is termed dual-harm. Individuals who engage in dual-harm may represent a high-risk group with unique characteristics and pattern of harmful behaviours. Nevertheless, there is an absence of clinical guidelines for the treatment and prevention of dual-harm and a lack of agreed theoretical framework that accounts for why people may engage in this behaviour. The present work (...) aimed to address this gap in the literature by providing a narrative review of previous research of self-harm, aggression and dual-harm, and through doing so, presenting an evidence-based theory of dual-harm – the cognitive-emotional model of dual-harm. This model draws from previous studies and theories, including the General Aggression Model, diathesis-stress models and emotional dysregulation theories. The cognitive-emotional model highlights the potential distal, proximal and feedback processes of dual-harm, the role of personality style and the possible emotional regulation and interpersonal functions of this behaviour. In line with our theory, various clinical and research implications for dual-harm are suggested, including hypotheses to be tested by future studies. (shrink)

Può il brusio di una voce essere anche il luogo di una lingua? E vale questa topica anche nel caso in cui la voce sia quella di uno strumento musicale? Queste domande sono alla base della indagine sulla tecnica compositiva della tintinnabulatio, inventata e sperimentata dal musicista estone Arvo Pärt . I tintinnabuli consistono di due elementi apparentemente contraddittori: la sonorità pastosa dello zvod e l’armonia della triade perfetta. Muovendo da un disco ricevuto in dono e dalla interpretazione in parte (...) inedita di un passo di san Paolo, l’autore cerca di individuare il punto di articolazione dei tintinnabuli, quella “grana” dove – come disse una volta Roland Barthes – una lingua incontra una voce. Il problema musicale sottende le interminabili discussioni trinitarie dell’Oriente cristiano – qui per sfortuna solo accennate – e si manifesta nella figura dell’iconografo medievale Andrej Rublëv, cui il regista russo Tarkovskij ha dedicato, nel 1966, un denso e ispiratissimo film. Could the rustling of a voice be also the place of a language? And does it happen all the same, when the voice at issue is that of an instrumental body? Such questions are the basic ones for any inquiry into Arvo Pärt’s tintinnabuli—the technique invented and experienced by the famous Esthonian composer . It consists of two seemingly conflicting elements: the doughy resonance of the zvot ; and the harmony of the perfect triad. The present paper moves from the personal memory of listening Pärt’s elegy Silouans Song. The delicate instrumental piece is said to conceal a prosodical calque of the voice of the famous staretz Silouan the Athonite . Silouan’s song —to use Barthes’ words—is the very place where “a language does meet a voice”. Some interpretive consequences lead off such a meeting: from a misunderstanding of a Pauline passage to the art of sacred Icons; and from the Trinitarian controversies of Byzantine church fathers to the medieval painter St.Andrej Rublëv and his most famous icon: “The Holy Trinity”. A work where—as Andrej Tarkovski has shewed in his celebrated movie of 1966—Abraham’s oak is a like a bell concealing the threefold person of God. (shrink)

Discusses conceptions of freedom displayed in Tacitus' Agricola. Tacitus seems to have had a clear-cut conceptual grid in which the German defectors, the Usipi, mirror the futile demonstrations of freedom by senators seeking a "ambitious death." The British provincials, including Calgacus and his followers, correspond to the ordinary Roman people and their leadership. It is in the army that a form of non-debasing hierarchy for the common benefit can be conceived, as long as the army and their leader is in (...) the field. Problems arise when the military meets the civilian sphere. (shrink)