Subsea Well Intervention Readiness in Brazil

The purpose of this study is to assess the subsea well intervention capabilities in Brazil from an operator point of view and how it compares to other regions in the world, in terms of equipment availability, technology and readiness. The object of this assessment will be restricted to the well access systems, given the numerous scenarios that can drive a subsea well intervention. The intent is to identify the main challenges an International Oil Company (IOC) and/or Local Oil Company (LOC) operating in Brazil must overcome in order to keep a robust and realistic contingency plan in case of any well integrity issue. Also, similar challenges are experienced whenever production restoration is needed and/or even opportunities for production enhancement are economically assessed to viable, or not. Last but not least, well access during the last phase of a well lifecycle (plug and abandonment) is also a key element. This will be discussed further in. Until the late 90's, the subsea oil industry in Brazil was restricted to the state-run operator and the supply chain to the business had developed itself around the mindset to maidenly supply a single state-run operator demand. After the market opening and consolidation of the IOC's and LOC's in the subsea market, a lack of local supply of several goods and services started to present itself. Since well access systems are expensive and the base case is that you won't use it unless you have a problem, there's a strong unconscious desire not to worry about it until you really need it. Sharing the same view, service companies tend to enforce the sale of these kits to the operator, rather than focus on a rental solution. Moreover, when service companies provide rental solutions, they are not kept in country and mobilization fees and lead time become a showstopper on many cases. In view of the scenario described above and ways of operation of the Brazilian market IOC's and LOC's a solution will be proposed to mitigate the risk of unavailability and reduce costs based on the sharing economy principles.

A Qualitative Analysis of Unethical Behaviors in Projects: Insight From Moral Psychology

Ethical aspects of stakeholder behavior can have a wide range of implications for other areas of project management. This research critically reviewed project ethics under the philosophical paradigm change from modernism to late modernism, which led to a flexible and realizable ethical framework based on Levinasian and Nietzschean moral psychologies. A qualitative approach was adopted through a multiple-case study to confront the theoretical framework with the empirical world, evaluate its authenticity, and obtain a better understanding of its challenges. Research results showed that stakeholders’ unconscious desire for existential meaning can provide considerable potential for dealing with ethical challenges.

Singing in the Brain

Music that gets “stuck” in the head is commonly conceptualized as an intrusive “thought”; however, we argue that this experience is better characterized as automatic mental singing without an accompanying sense of agency. In two experiments, a dual-task paradigm was employed, in which participants undertook a phonological task once while hearing music, and then again in silence following its presentation. We predicted that the music would be maintained in working memory, interfering with the task. Experiment 1 (N = 30) used songs predicted to be more or less catchy; half of the sample heard truncated versions. Performance was indeed poorer following catchier songs, particularly if the songs were unfinished. Moreover, the effect was stronger for songs rated higher in terms of the desire to sing along. Experiment 2 (N = 50) replicated the effect using songs with which the participants felt compelled to sing along. Additionally, results from a lexical decision task indicated that many participants’ keystrokes synchronized with the tempo of the song just heard. Together, these findings suggest that an earworm results from an unconscious desire to sing along to a familiar song.

CINDERELLA COMPLEX: A META-ANALYTIC REVIEW

Women’s dependency has been a widely debated topic all over the world. A woman is always expected to do only what is appropriate in contemporary society since infancy, and they are not prepared for independence or self-sufficiency from the moment they are born. The idea of female dependency began to cause confusion and discontent among the ‘new independent women’. The fear of being independent then termed as the Cinderella Complex. Cinderella Complex refers to the fear of being independent, causes unconscious desire to be taken care of by others (C. Dowling, 1981). Here the investigator planned to go through the studies conducted in India as well as outside to have a deep understanding on the concept of Cinderella Complex, its dimensions, method of study, related concepts, implications etc. The investigators used meta-analysis as the method for approaching the problem. Six studies which met the inclusion criteria were selected for this study. Findings of the study show that it is interpreted that women having high scores in Cinderella Complex are bound to show negative motivation towards personal growth. Furthermore, an interventional approach is being developed to motivate and train young women towards personal growth. KEYWORDS: Cinderella complex, Meta-analysis, Women, Dependency

IN SEARCH OF A “POSITIVELY EXCELLENT” HERO: PRINCE MYSHKIN BY F. M. DOSTOEVSKY AND SEGELIEL BY V. F. ODOEVSKY

The article analyzes the searches conducted by F. M. Dostoevsky and V. F. Odoevsky for a “positively excellent” hero. It compares the images of Prince Myshkin from The Idiot and the hero of the dramatic excerpt Segeliel, or Don Quixote of the XIX century. The similarity between these two characters is reflected as early as in the history of their creation. The authors hypothesize that in both cases an Easter archetype emerges behind the conscious or unconscious desire to substitute a grim and sinful character with a “positively excelent” one. Myshkin and Segeliel love the world with a compassionate, selfless and active love, but they are alien to other people, differ by their very nature and are aware of this otherness. The heroes do not accept the “earthly” hierarchy in relation to people, they are incomprehensible to others and are laughable from the point of view of “common sense.” At the same time, there are numerous differences between them. Segeliel is a spirit, but he is rational, he believes in laws and in science. Myshkin strives for a mystical experience of life. Failures lead Myshkin to humility, and Segeliel to rebellion. Dostoevsky’s hero seeks to flee from the world. Odoevsky’s hero wants to intervene in earthly affairs. Segeliel wants to remake the world without God. He does not believe in the Creator and repines against him. Segeliel’s throwings are reminiscent of the complex dialectic of good and evil, construed by rebels from Dostoevsky’s novels. At the same time, it is important to distinguish the positions of Segeliel and Odoevsky himself, who is not in complete agreement with his hero. Certain common motifs, i.e., those of childhood and foolishness for Christ, create parallels between Myshkin and Odoevsky, the character and the writer. The many intersections between the image of Segeliel, his author and the image of Prince Myshkin allow us to identify the cultural code that appears in the works of Russian writers who sought to find the earthly embodiment of truth, goodness and beauty in a rough physical shell, inevitably hindered by original sin.

Cinematic Mirages of Theodor Dreiser

The article examines the history of cinematic versions (film adaptations) of T. Dreiserʼs novel An American Tragedy, the key concept of the analysis being that of a mirage (phantasm). It is the unattainable and unconscious desire for the mirage of wealth and luxury that guides Clyde Griffiths in the novel (not accidentally one of its early titles was “Mirage”). The plotline of Dreiser’s attempts to film the novel during his lifetime is marked by the same illusory, fantasmatic character: the script by Sergei Eisenstein, approved by the author, was rejected by Hollywood, the movie by Joseph von Sternberg, who eliminated sociological motives, was not accepted by Dreiser who tried to sue Paramount but lost the trial. George Stevensʼ post-war film adaptation of the novel titled A Place in the Sun, where the action was transferred into the early 1950s with their less rigid class stratification, became a tragic story about love and protagonist’s desire to dissolve into cinematic fantasy. A Place in the Sun was to become a cult film both among the intellectuals (Jean- Luc Godard) and among the mass media audience, the embodiment of which can be seen in the main character of the novel by S. Erickson Zeroville and of the eponymous movie by J. Franco. The history of the relationship between Dreiserʼs text and cinema can be perceived as a hypostasis of Roland Barthesʼ “death of the author”: appropriating a well-documented text of a real-historical author, cinema gradually and increasingly turns it into a space of intertextual play, from which the real author is eliminated and becomes a “mirage”, visible only to readers familiar with Dreiserʼs novel.

Castoriadis, racist and anti-racist ontologies

Castoriadis explains racism as a mode of hatred of the other and as a feature of the self-institution of heteronomous societies built on ethnocentrism. At the level of the psychical human being he identifies two forms of racist fixation on others: hatred of the other as the flip-side of self-love and as the other side of self-hatred, which he analyses, respectively, as a mode of pseudo-reasoning and as unconscious desire. We argue that attention to the ontology that underpins the modern European subject’s epistemological deployment of racism in the context of coloniality reveals the limits and a blindspot of Castoriadis’s analysis.

Question tags in Cameroon English

Although English is one of the two official languages in Cameroon, it is seldom used out of official circles where indigenous languages, French, and Pidgin English reign supreme (Jikong & Koenig, 1983). This has made the language a matter of concern for teachers, learners, and researchers. An aspect of the language which has so far been little investigated, but which is significant to English proficiency, is question tags. In fact, question tags contribute tremendously to the flow of language. They are ‘a very conspicuous phenomenon of spoken language’ (Tottie & Hoffman, 2006: 284). These short questions (tags), tagged onto a main statement (the anchor) play an important role in spoken English. While the question tag is taught from Sixième to Terminale (Grade 8 to Grade 13, i.e. the first to last years of secondary education in the Francophone subsystem of education), and from primary to secondary school in the Anglophone subsystem of education in Cameroon, researchers are still to question its teaching against the backdrop of its actual use in a country where the nativisation process of English is generally agreed upon (Schneider, 2009). Also, given that the canonical ‘type of tag question with reversed or constant polarity, (. . .) is typical of English’ (Tottie & Hoffman, 2006: 283), its teaching (textbooks focus solely on question tags with reversed or constant polarity) in a non-native setting like Cameroon is likely to foretell a conscious or unconscious desire to keep a certain standard of English. If one concurs with Schneider (2009) that Cameroon is on Phase Three of the Dynamic model (at least in the Anglophone part of the country) – that is, Nativisation where ‘structural nativization has made substantial progress’ (p. 298) – then keeping a native-like standard on school programmes (Ministry of Secondary Education, 2014), textbooks (see for illustration the English textbook Forbin et al., 2019), and official examinations would be likely to indicate some contradictions as per the apparent desire to cut the umbilical cord with the former colonial power.

Unraveling Electra Complex in Kanza Javed’s Ashes, Wine and Dust

The aim of this study is to explore the Jungian Electra complex in Kanza Javed’s Ashes, Wine and Dust. This is a qualitative research. Electronic media including reviews and interviews form the secondary source of this study. The researcher substantiates that Javed’s young protagonist Mariam Ameen is father-fixated for her beloved grandfather, who is simply known as Dadda. The concealed unconscious desire for her grandfather is unveiled by dint of establishing the fact that Dadda is the true father figure for Mariam. He overshadows the role of the biological father, taking up the position of an immediate father for Mariam. This accentuates the underlying Electra complex in Mariam’s heart. Moreover, the use of double roles is also deciphered as a leitmotif in Javed’s novel. Mariam serves as the doppelganger of Parakneeti which further aids the prevalence of the Electra complex. Dadda’s incessant influence in Mariam’s life even after his death and her self-imposed spinsterhood is discerned in terms of her infatuation for her grandfather. This study also analyses Mariam’s journey to the land of her grandfather as a metaphorical voyage of regression to the phallic stage which renders in a metaphysical union of the lover and the beloved. As a result, it is a journey of self-discovery in terms of love. The significance of this critical study is that it broadens the research horizons on Javed’s work as a psychoanalytic novel. It also enables the researchers to explore theories by other psychoanalysts, since only Freud and Jung share the limelight in the field of psychoanalytic research.