She aimed education current into detecting the relationship between self-compassion and symptoms of physical deformities in adolescents and differences depending on several demographic variables. The study sample consisted of (293) adolescents. The self-compassion scale was used to achieve the objectives of the study. (Neff, Bluth, et al., 2021) The External Appearance Anxiety Scale (Park, 2007) and external rejection sensitivity meter (Roberts et al., 2018). The results of the study indicated that the level of anxiety on the external appearance came with (...) an average degree, as the arithmetic average was (2.63), and that the level of self-compassion among adolescents with physical deformities was at an average level, where the arithmetic average was (3.26), and it was found that there is an influential relationship between self-compassion and sensitivity to rejection due to appearance, as the direct effects have reached 52.2%, and it is also found that sex has a negative impact that is statistically indicative of the relationship between self-compassion And sensitivity to rejection because of appearance, as it turns out that the level of education has a negative impact statistically significant between the relationship between self-compassion and sensitivity rejection because of appearance, and it is also found that weight has a negative effect is statistically significant on the relationship between self-compassion and sensitivity rejection because of appearance. The direct impact of self-compassion on sensitivity to rejection due to appearance reached 36.3%, and sex had a statistically significant adverse effect on the relationship between empathy and deformities. The academic level also has a statistically significant adverse impact on the relationship between self-compassion and distortions. (shrink)

Offers a refreshing take on the relevance of psychoanalytic theory for the analysis of films and cinema.

This article explores the function of Israeli narrative films’ persistent, albeit marginal, portrayal of women as victims of sexual violence during the Holocaust. While the marginalization of such characters may be attributed to the difficulty of representing sexually-related trauma/post-trauma, their portrayal attests both to the ubiquity of sexually-related crimes in the Holocaust and to its aftermath: namely, the persistence of women’s trauma. The first of the two waves of ‘retro films’ examined here evinces the importance of the visual, cinematic representation (...) of women’s trauma. Its main function is to legitimize its disclosure through cinematic aesthetic/artistic mediation, for sexual violence was a crime committed against helpless victims. The second wave includes films made from the point of view of ‘the second generation’, and explores the topic further by dealing with the transmission of post-traumatic symptoms of women’s trauma to the second generation. (shrink)