Colette Soler La histérica en el discursi de la ciencia The article was published in Spanish in the collection Anamorfosis. Perspectivas en Psicoanálisis, No. 1, June 1993. The pair of "master" and "hysterical" walk together through history, but I took the theme for this event (jornadas) of hysteria in "Cultural Discontent" as an invitation to grasp its actual configuration. This brings to the fore something... like a diagnosis of the existing state of discourses.

translation from Polish My brother and I wasted a lot of time trying to figure out where Lailonia was located. First of all, we asked all our acquaintances: do they know where Lailonia is? None of our acquaintances knew. Then we started approaching passers-by on the streets and asking them the same question. But they all shrugged their shoulders and said that no, they don't know.

Dario Argento’s "The Stendhal Syndrome," adapted from the book by psychiatrist Graziella Magherini, turns out to be closer not so much to Alfred Hitchcock’s cinema as to the much more flamboyant style of Brian De Palma. Both directors, on the edge of fetishes, borrowed from Hitchcock’s legacy—everything that was lying around badly, as well as everything that had become commonplace and cliché.

Mladen Đorđević's 2009 film *The Life and Death of a Porno Gang* (original title: *Život i smrt porno bande*) emerges as a pivotal work in the wave of extreme Serbian cinema that followed the tumultuous post-Yugoslav era. Set against the backdrop of a fractured Serbia in the early 2000s, during the waning days of Slobodan Milošević's regime and its immediate aftermath, the film chronicles the harrowing journey of Marko, a young aspiring director portrayed by Mihajlo Jovanović.

A Serbian Film (2010), directed by Srđan Spasojević, stands as one of the most provocative and divisive works in contemporary cinema. The film follows Miloš, a retired adult film star living a quiet family life, who accepts a lucrative offer to star in an experimental "art film" directed by the enigmatic Vukmir.

The duology of *Father of the Bride* films, directed by Charles Shyer and co-written with Nancy Meyers—released in 1991 and 1995—stands as a highly successful double remake of Vincente Minnelli’s 1950 comedy starring a young Elizabeth Taylor and Spencer Tracy, along with its 1951 sequel *Father’s Little Dividend*. By today’s standards, these movies present what might seem, good Lord, a downright outrageous spectacle.

(collage - hortusconclusus; images - Goose Boose, Caltech, NSO9019, FlameIsLucky, Anomidae, Nobody, Eyaura) How old is the revolutionary situation? How ancient is the political situation? For example, is it already revolutionary that Lenin was born into a formally noble family, since his father, an actual state councilor, had the right to claim hereditary nobility? Did this lay the foundations for the revolutionary political thinking of the future leader? Or was it an introduction to religion?

As you know, during the year we translated texts on one topic and brought them to the attention of readers - "From national identity to national statehood and nationalism". The chosen topic and texts, their interrelationships, were certainly a premeditated and purposeful project. Now, by the end of the year, when all the texts have been published, we would like to present to your attention a summarized review and analysis of these materials.