Illness Narrative

This chapter is an act of remembrance, to recall creatively the wounds that my body went through and at the same time to celebrate the transformation that they allowed to happen. It is a speculative fabulation on wounds, coming from an autoethnographic text/diary of the dreams – night and day – experienced and recorded after a surgery aimed to remove a cancer in my uterus. The three hours’ surgery defined a seminal moment for my life and transformed my body on a deep level, introducing me to a sudden menopausal stage  and to a female body without a reproductive system. Although the growth of a cancer in my uterus rendered the vulnerability of my physical life on this planet incredibly palpable, paradoxically, in time, it also made me into a body much more attuned to my nature and desires. The text is an analytical auto-ethnographic account, a constellation of connections about wounds and the female human body in its vulnerability and transition, about pain and shapeshifting, transitioning bodies performing their liveness and getting wounded in the process, and about the immense spiritual dimensions that can emerge from these wounds.

El crítico peruano Ricardo González Vigil, en la presentación de la novela de Róger Rumrrill (Iquitos, 1938) Las estirpes amazónicas (2020), señala cómo esta abre un nuevo camino en el análisis de la literatura amazónica peruana, a través de la exploración de la que él llama la «utopía amazónica», retomando y actualizando el concepto de «utopía andina» popularizado principalmente por los estudios de Alberto Flores Galindo y Manuel Burga. En efecto, tanto en la obra mencionada como en el primer capítulo de la saga de La virgen del Samiria (2012), Róger Rumrrill explora la realidad amazónica a lo largo del último siglo y medio de historia económica y social, proponiendo una ruta hacia el cambio, una suerte de camino mesiánico hacia la Tierra sin mal de la mitología tupí-guaraní. En este trabajo, además de profundizar en el análisis de esta vertiente, se tratará de señalar su detonante y visión especular: la progresiva depredación y la destrucción de los recursos naturales y de las sociedades amazónicas, en el ámbito del proceso que ha llevado a la transformación global y acelerada del sistema terrestre, lo que en distintos ámbitos disciplinarios se define como «Antropoceno» o —según, algunas visiones críticas de este concepto— «Capitaloceno». Se propondrá una lectura ecocrítica de las dos obras del autor, ahondando la reflexión sobre tres ejes fundamentales: el proceso de progresiva destrucción medioambiental y los conflictos ontológicos; el tema del ecofeminismo; y, finalmente, la crítica al modelo capitalista y la construcción de una alternativa al desarrollo

View metadata, citation and similar papers at core.ac.uk provided by University of Saskatchewan's Research Archive i PERMISSION TO USE In presenting this dissertation in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis/dissertation in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis/dissertation work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis/dissertation or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis/dissertation.

View metadata, citation and similar papers at core.ac.uk provided by University of Saskatchewan's Research Archive i PERMISSION TO USE In presenting this dissertation in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis/dissertation in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis/dissertation work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis/dissertation or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis/dissertation.

SICK Magazine is a thoughtful magazine by sick and disabled people.

Issue 6 - July 2024

Designed by Kaiya Waerea
Cover art by Hanna Norberg-Williams
Illustrations by Hanecdote

Essays, features, poetry, art & more from Vida Adamczewski, A/Bel Andrade, Amy Berkowitz, Khairani Barokka, Jax Bulstrode, Sarah Courville, Jen Deerinwater, Amy Dickinson, Mizy Judah Clifton, Alton Melvar M Dapanas, Dead Gowns, Sergey Isakov, Theo LeGro, Elias Lowe, Cathleen Luo, Jameisha Prescod, Olivia Spring, Leigh Sugar, Oriele Steiner, Emerson Whitney, Chantal Wnuk, Caroline Wolff, and Emma Yearwood

Order link:
USA: https://sickmagazineusa.bigcartel.com/product/issue-6
UK & rest of the world: https://sickmagazine.bigcartel.com/product/issue-6

In issue 102, guest editor Therese Estacion asks: “What do we make of a disabled body or, to use disability justice group Sins Invalid’s term, bodymind that desires? A body that knows all too well how it feels to be told that it has no business wanting for love, wanting for more.”

The poems and essays in this issue approach this question from all angles and “fill the space with their desirous voice.”

In This Issue
Arc 102 brings you:
- Poems by Matsuki Masutani, Conyer Clayton, Jill Solnicki, Tyler Pennock, Lauren Turner, and more
- New essays from Therese Estacion, Kelly S. Thompson, Olivia Dreisinger, Ash Hernandez O’Gorman, and Jenna McClelland
- Translations of Sanni Purhonen and Alton Melvar M Dapanas
- A feature review of the work of Latif Askia Ba by Amanda Leduc

Order link: https://arcpoetry.ca/editorials/magazine/arc-102/

ISSN: 0705-6397

In Between Spaces, Stillhouse Press’s first ever anthology, centers the experiences of thirty-three disabled poets, short-story writers, and essayists as they navigate the physical and emotional complexities of disability, chronic illness, neurodivergence, and mental illness. Compiled by an editorial team of disabled writers, this timely collection of often-overlooked voices celebrates joy, freedom, and the power of agency, while at the same time confronting and challenging the stigmas and barriers, visible and invisible, that too often come to define life with a disability.

Featuring poetry by Latif Askia Ba, Becca Carson, Kara Dorris, Kimberly Jae, Duane L. Herrmann, C.M. Crockford, Laura Mulqueen, Zackary Medlin, Sarah Allen, Chisom Okafor, Colleen Abel, Elizabeth Meade, Zoe Luh, Jess Skyleson, Kaleigh O’Keefe, Natalie E. Illum, Rob Colgate, and Willy Conley; fiction by Wendy Elizabeth Wallace, Cynthia Romanowski, Cristina Hartmann, Arria Deepwater, and Teresa Milbrodt; nonfiction by Nathan Viktor Fawaz, Anesce Dremen, Ann Zuccardy, Vanessa R. Garza, Zan Bockes, Tessa Weber, Teresa Milbrodt, Lili Sarayrah, and Rhea Dhanbhoora; and cross-genre work from Alton Melvar M. Dapanas and Jill Rachel Jacobs.

Order link: https://www.stillhousepress.org/stillhouse-store/in-between-spaces

ISBN: 978-1-945233-15-9

Our Stories to Tell is intended to be part of a growing movement to reduce stigma, raise awareness and understanding, and amplify voices of those who are often silenced by societal judgements and indifferences. It covers a broad range of topics including depression, anxiety, bipolar, suicide, trauma, mental health and race, and much more.

Order link: https://folkwayspress.com/product/our-stories-to-tell/

ISBN: 978-1-7362701-1-0

This paper, building on Susan Sontag's seminal works Illness as Metaphor (1978) and AIDS and Its Metaphors (1989), aims to offer a framework for reflecting on the meaning of illness and its metaphorical representations, particularly in the aftermath of the COVID-19 pandemic. Sontag's insights into how illness is often depicted using war metaphorscasting disease as an enemy to be fought-remain highly relevant today. The paper seeks to update these reflections by exploring how the same metaphorical language was employed during the recent pandemic. The objective is to critically examine how the limitations of war-based metaphors fail to capture the full complexity of the phenomena we have experienced. Moreover, it argues for a shift towards a new vocabulary centered on concepts like vulnerability and care, which better express the nuances of collective and individual experiences of illness. This shift in perspective compels us to rethink the metaphors that structure our understanding of illness, advocating for a move away from militaristic language that frames disease in terms of conquest and control, embracing a framework that foregrounds interconnectedness and common vulnerability.

This paper revisits Susan Sontag’s work, “Illness as Metaphor; and, AIDS and Its Metaphors” (1990), to examine how disease metaphors intersect with gendered narratives in the context of the increasing global climate crisis and health crises. Sontag’s criticism of disease as a socially constructed metaphor serves to ground an inquiry into how framings around pandemics often reproduce gendered and racialised inequity. It is essential to clarify precisely how women are constituted as the primary caregivers, healers, and victims within these crises, thereby further solidifying existing power structures. Based on Sontag’s work, this analysis will examine the feminisation of care labour, the symbolic contagion of marginalised bodies, and the erasure of women’s experiences within dominant crisis narratives.
The paper goes deeper into this analysis using Albert Camus’s “The Plague”, Katherine Anne Porter’s “Pale Horse, Pale Rider”, and Orhan Pamuk’s “Nights of Plague”. Camus provides an allegorical description of a quarantined town, facilitating a deeper understanding of the universality of suffering and the ethical dilemmas that arise in such collective crises. Nevertheless, the male-dominated narrative gaze diminishes the roles of women, reinforcing social patterns. Porter’s novella, set during the 1918 influenza pandemic, poignantly details illness’s personal and social costs, putting at its core the experiences of a female protagonist struggling with love, loss, and survival in the most devastating epidemic ever. Pamuk’s “Nights of Plague” further expands on this, as sociopolitical and cultural dimensions converge with a fictional plague outbreak, paying special attention to the crises women face when confronted with patriarchy in crisis.
These literary examples highlight feminist interventions that disrupt dominant crisis imaginaries by reframing care and interdependence as radical acts of resistance. It challenges the language of extra-activism, scarcity, and survivalism embedded in the structures and mindsets formed within capitalist modes of subsistence, yet traces ways in which feminist literature creates new paradigms of coexistence and resilience. This article draws on theoretical insights from Susan Sontag to put these texts to work, highlighting the transformative possibilities of feminist storytelling in tearing apart crisis-ridden rhetorics and evoking new visions of equal futures in the face of ecological and social collapse.

In the context of the ‘documentary turn’ that has influenced various artistic disciplines since the late twentieth century, this book presents novel insights into the application of the documentary approach in contemporary narrative, poetry, theater, and film. The essays contained in this volume investigate the diverse methodologies employed by contemporary Latin American art in its engagement with reality and the archive, memory and its manifold representations. These essays further propose an updated concept of community that functions as a form of resistance to capitalist individualism, extending beyond the geographical confines of the American continent.

This literature review explores how researchers have conceptualized resilience, drawing from five key academic sources and a moving TEDx talk by Dr. Lucy Hone. It examines why some individuals emerge stronger while others suffer lasting psychological impacts, and what this means for understanding resilience in real-world contexts.

This paper examines the power of a mediatized President to use reflexive propaganda—the rules and assumptions of digital media—to define a public health crisis. During the 2020 coronavirus pandemic, President Trump engaged in attention‐based politics, or the use of media to draw attention of the largest audience to himself, at the expense of an efficient response to a major public health crisis. The repetitive tweets, with a common form—vulgar and combative language, usually against journalists—converted Donald Trump into a digital meme and enabled the President to dwell on his distorted accomplishments and TV ratings, to downplay health risks, and initially define the lethal virus as a benign hoax.

Rereading a canonic book in medical humanities can generate an immediate sense of how much has changed in the larger conversations still circulating around the issues that book broached in significant ways. The appearance in 2013 of the second edition of Arthur Frank's The Wounded Storyteller, first published in 1995, prompted me to review what has happened in the field of body studies in the intervening decades. Some developments point to the continuing importance of Frank's book, and others raise productive questions about its limitations.

Construir sobre el Derrumbe: Se señala la inaplicabilidad de la intepretación, como recurso técnico, frente a un paciente cuyas mermas neurólogicas eran una suerte de "registro gráfico" de ciertos acontecimientos traumáticos nucleares que reclamaban una "construcción" freudiana..

Dette verket omfattes av bestemmelsene i Lov om opphavsretten til åndsverk m.v. av 1961. Verket utgis Open Access under betingelsene i Creative Commons-lisensen CC BY-NC 4.0. Denne lisensen lar andre dele og bearbeide verket for ikke-kommersielle formål, under forutsetning av at det oppgis korrekt kreditering, lenke til lisens og indikasjon på om endringer er blitt gjort. Du kan gjøre dette på enhver rimelig måte, men uten at det kan forstås slik at lisensgiver bifaller deg eller din bruk av materialet. Lisensvilkår: Denne boka er utgitt med støtte fra de institusjonene der forfatterne har sin tilhørighet:

Drawing on econarratological insights, this article examines the ecological potential of multiperspective narratives by proposing the concept of “framed slowness,” that is, a slow way of experiencing narrative elicited by the use of framing devices. By examining how framing strategies—such as segmentivity, paratextual framing, coordination of perspectives, and rereading—can decelerate the reading experience, this article challenges the typical association of multiperspective narratives with fast-paced, plot-driven storytelling. Such framing strategies can disrupt teleology and narrative progression, thus directing readers’ attention on the multilayered entanglement of character perspectives. I suggest that “character-driven” examples of multiperspectivity are more conducive to slowness, since the juxtaposition of perspectives is not motivated solely by the dynamics of the plot. In the final section, I turn to Mark Z. Danielewski’s Only Revolutions as an experimental multiperspective novel employing the four framing strategies for slowness I discuss throughout the article. Through the adoption of a complex interplay of material and internal framing strategies, Only Revolutions offers insights into the entanglement of a human love story and planetary, more-than-human temporalities. This framing of slowness positions multiperspectivity as a crucial narrative strategy vis-à-vis ecological issues.

for awarding me two years as a pre-doctoral scholar. My position allowed me ample time to write and provided wonderful, supportive colleagues. I especially want to thank Rebecca Bordt, Angela Castaneda, and Nancy Davis for enriching my time at DePauw. The Sociology Department at Indiana University also provided financial assistance through the Stuart Simon Fellowship. There are numerous professors who deserv e accolades . First, I credit Katherine Rossier with sparking my interest in sociology when I was an undergraduate at Louisiana State University. I am forever indebted to Bernice Pescosolido and Brian Powell, who co-chaired not only my master's thesis but my dissertation. Bernices' expertise in medical sociology was invaluable for this project as was her support. The emotion work alone by Brian deserves unending praise, not to mention the detailed comments on drafts of chapters. Thank you for believing in me. My other committee members, Elizabeth Armstrong and Stephanie Kane were especially vital with the theoretical and methodological development of the dissertation. I am grateful to my undergraduate research assistants, Stephanie Cecil, Meghan Meyers, Colleen Reilly, Tiffany Stephens, Valarie Taulman, and Sara Wright. Their hard work allowed me to analyze the data much sooner than if I would have been working alone. I must mention my dear colleagues Janice McCabe, Jenny Stuber, and Karen v Kaiser. Thank you for all of your help, support, and kindness over the years. I could not have done this without y'all. Lastly, none of this would be possible without the love, support, and encouragement of my family. Mom, thank you for encouraging my love of reading as a child. I also need to thank my Mom, Dennis, and Patience for housing me (and Bruno) during data collection in Louisiana. My interest in health and medicine was influenced by my father and my research in Louisiana was also facilitated by him. My sister was always there to listen when I struggled. Of course, there is no way I could have done this without the love and very real, daily support of my wonderful partner, Mark. Finally, thank you baby boy, Asher, your sweet smile after a day of writing made me forget all my worries. vii Conrad 1983). Research on illness experience has generally focused on subjective meanings associated with illness including notions of stigma, coping actions including patients' interactions with others, and more recently, the effects of social structure on the illness experience (Pierret 2003). The bulk of this research focuses on well known chronic illnesses (see Joachim and Acorn 2000 as an exception). Although HCV is not rare in prevalence, it is relatively unknown to the public and unexamined in medical sociology. The focus on HCV offers a unique window into lay response to illness that does not have cultural spotlight characteristics of diseases such as cancer, HIV/AIDS, and depression. In essence, I assess the efficacy of applying current understandings of chronic illness experience to an illness lacking in cultural imagery. It is unclear based on prior research whether the existing discourse on chronic illness experience is sufficient to explain the experiences of individuals living with a potentially stigmatized illness that is culturally shrouded. I specifically discuss how persons with HCV navigate their illness careers including their disclosure practices, reactions from others, and the meanings they give to their experiences. More broadly, I explore how social structure affects micro-level processes and interactions. No studies have specifically examined the effects of race, class, and gender and how these dynamics affect the experience of having HCV. Thus, this research addresses how a culturally invisible chronic illness is experienced with attention to locating individuals within the broader social structure. Chronic illness is just one major life-changing event that individuals may experience in their lifetime. The emergent research concepts apply to processes individuals undergo in an array of life-changing events. This study adds to the existing discourse on stigma and how social structure viii affects stigma. My research strengthens social psychological understandings of how issues of race and ethnicity affect meaning making processes. Thus, while my dissertation clearly speaks to the sub-areas of medical sociology and deviance, the study also contributes to knowledge about stratification, in terms of how inequality is distributed and how public discourse or lack thereof affects experiences of illness. In the following chapters, I present the existing literature regarding illness experience, my methodological approach, my analyses and conclude with final thoughts. In Chapter 1, I detail what is known regarding the illness career. I outline what is known about biographical disruption experienced with chronic illness. Chapter 1 addresses the literature about disclosure and stigmatization. The pertinence of race, class, and gender to illness experience is highlighted. I also include a discussion of what is missing in existing discourse, and how HCV can extend our current conceptualization of illness experience. In Chapter 2, I describe my methodology of in-depth interviewing. This chapter addresses experiences at the recruitment sites, the interview experience, and the respondents. I also explain my approach to data analysis including the incorporation of undergraduate research assistants and qualitative data analysis software. The chapter addresses reflexivity with regards to various aspects of the research process, ethical issues in the research, and study limitations. In Chapters 3, 4, and 5, I present analyses of the data. Each chapter incorporates data analysis and the relationship to existing theory and literature. Chapter 3 addresses issues of disclosure. Respondents offered a variety of reasons for disclosing health status and for not disclosing. The reasons were either because of a concern for others or a concern for self. People had different levels of disclosure, which are related to ix race/ethnicity as well as other factors. After the discussion of disclosure, I turn to the reactions from others in Chapter 4. People did engage in deprecatory self-labeling or felt stigma. Some respondents did report acts of enacted stigma, while others were unaware that HCV was stigmatized. Again, race/ethnicity is related to stigmatization. People also had no reactions to disclosure of their health status and positive reactions which involved various kinds of support. Respondents devised a variety of ways to cope with stigma including information control, condemning the condemners and collective action. Chapter 5 examines the diagnostic experience and respondents' reactions. People had xv Research Implications………………………………………………………………201

Regardless of the ongoing interest that attempts to bridge the gap between literature and medicine, this field of research is still unfathomable. There are insufficient amounts of critical assessments of illness narratives related to the investigation of the effects of cancer experience on the patients’ psyche; consequently, little practical examples on how literature operates to reach a healing end can be found. Hence, this dissertation aims at providing a descriptive illustration on the psychological upheavals that terminally ill patients undergo; in doing so, it
tries to unfold the functionality of literature in helping them overcome the illness experience. Thereby, by focusing on the analysis of Paul Kalanithi’s memoir, When Breath Becomes Air (2016) written after cancer diagnosis, and building on existing theoretical foundations, this research work provides an analytical framework on the grieving process that Kalanithi experienced following the “five stages of grief” model. Moreover, it studies the way facing
mortality provides him with a new meaning to life and shapes his new identity. In doing so, it deductively assesses the extent to which literature, by means of writing and reading of literary works, aids the author in overcoming the challenges of cancer experience. The results indicate
that expressive writing and reading have a positive distinct impact on promoting the psychological healing process, encouraging future in-depth research to investigate the correlation between literature and medicine as cross-disciplines.

Comics is a sequential art that appeals to a diversified audience, a medium of reflection on culture, society, and history. Graphic literature is a discourse of dynamic interaction of graphics in literature, including literary comics, graphic novels, sequential art, juxtaposed images, and other dimensions of visual and printed images. A Graphic novel is the collaborative medium of the interaction of word and image, visual and verbal imagery to create numerous meanings and multiple interpretations. The term Graphic medicine was coined by Ian Williams who is a doctor, comic artist, and writer; He defined Graphic Medicine as the intersection of the medium of comics and the discourse of healthcare. Graphic medicine analyzes and interprets the medium of comics which serves as an innovative platform for disturbing, risky, and taboo ideas of illness. Ian Williams's graphic novel The Bad Doctor (2014) is a verbal and visual illustration of Obsessive Compulsive Disorder (OCD). The protagonist Ian a general practitioner tries to cope with his OCD, his obsessions are comically and satirically represented through the artistic medium of graphic narrative and iconography of illness. Graphic Narrative of psychological illness like OCD by the sufferer of the illness gives a whole new perspective on the experience of psychological illness. Graphic narrative and iconographic representation of illness break down the traditional stereotypes of illness and give voice to the muted patient whose stories are unheard.

Oslo: Vidarforlaget 2016. Da den franske general Pétain i 1940 ble utnevnt til statsminister, var han 84 år gammel. Så sent i livet åpnet han nesten aldri munnen. Men da han en dag ble spurt hvordan han ville forklare det franske nederlaget overfor tyskerne, svarte han: «Kanskje vi har gitt for tidlig avkall på dueoppdretterne og brevduene.» 1 Han husket tydeligvis hvor viktige de hadde vaert tidligere, skriver Beauvoir etter tørt å ha kommentert at hans likegyldighet overfor nåtiden og fiksering på fortiden forklarer endel fakta som ordet senil ikke kan gjøre rede for. Alderdommen [La Vieillesse], opprinnelig utgitt i 1970, er en gullgruve av slike anekdoter. Et fellestrekk ved dem er at de viser hvordan relasjonen mellom nåtid, fortid og fremtid er avgjørende for våre muligheter til å skape prosjekter, og hvordan de innskrenkes med alderen. For alderdommen er et så vel biologisk, psykologisk, sosialt som kulturelt fenomen, som uansett hvor friske og spreke vi holder oss, byr på begrensninger. Det er neppe saerlig overraskende at Beauvoir forbinder alderdom og minne. Noe mer overraskende er det at hun forbinder alderdom og barndom, og gjør barnet til en riktignok marginal, men etter mitt syn ikke desto mindre emblematisk figur i boka. Delvis henger det sammen med at hun har Victor Hugo som et av svaert få eksempler på at alderdommen blir betraktet som kronen på et liv. Hugo utga diktsamlingen L'Art d'être grand-père (Kunsten å vaere bestefar) i 1877. Da var han 75 år gammel, og hadde fem år tidligere påtatt seg oppdrageransvaret for sine to sønnedøtre etter at sønnen var gått bort. Beauvoir berømmer Hugo for som den første å ha kastet lys over slektskapet mellom barndom og alderdom. I L'Art d'être grand-père gir han et sosialt faktum mytisk verdi og dybde, hevder hun: De voksnes moral og fornuft passer verken for barnet eller den gamle, som begge hever seg over menneskets lodd. Ved sin naivitet og visdom er de naer ved verdens mysterier, naer ved Gud.

Oslo: Vidarforlaget 2016. Da den franske general Pétain i 1940 ble utnevnt til statsminister, var han 84 år gammel. Så sent i livet åpnet han nesten aldri munnen. Men da han en dag ble spurt hvordan han ville forklare det franske nederlaget overfor tyskerne, svarte han: «Kanskje vi har gitt for tidlig avkall på dueoppdretterne og brevduene.» 1 Han husket tydeligvis hvor viktige de hadde vaert tidligere, skriver Beauvoir etter tørt å ha kommentert at hans likegyldighet overfor nåtiden og fiksering på fortiden forklarer endel fakta som ordet senil ikke kan gjøre rede for. Alderdommen [La Vieillesse], opprinnelig utgitt i 1970, er en gullgruve av slike anekdoter. Et fellestrekk ved dem er at de viser hvordan relasjonen mellom nåtid, fortid og fremtid er avgjørende for våre muligheter til å skape prosjekter, og hvordan de innskrenkes med alderen. For alderdommen er et så vel biologisk, psykologisk, sosialt som kulturelt fenomen, som uansett hvor friske og spreke vi holder oss, byr på begrensninger. Det er neppe saerlig overraskende at Beauvoir forbinder alderdom og minne. Noe mer overraskende er det at hun forbinder alderdom og barndom, og gjør barnet til en riktignok marginal, men etter mitt syn ikke desto mindre emblematisk figur i boka. Delvis henger det sammen med at hun har Victor Hugo som et av svaert få eksempler på at alderdommen blir betraktet som kronen på et liv. Hugo utga diktsamlingen L'Art d'être grand-père (Kunsten å vaere bestefar) i 1877. Da var han 75 år gammel, og hadde fem år tidligere påtatt seg oppdrageransvaret for sine to sønnedøtre etter at sønnen var gått bort. Beauvoir berømmer Hugo for som den første å ha kastet lys over slektskapet mellom barndom og alderdom. I L'Art d'être grand-père gir han et sosialt faktum mytisk verdi og dybde, hevder hun: De voksnes moral og fornuft passer verken for barnet eller den gamle, som begge hever seg over menneskets lodd. Ved sin naivitet og visdom er de naer ved verdens mysterier, naer ved Gud.

Et spørreskjema ble sendt til 2 000 tilfeldig utvalgte norske kvinner i alderen 22 -55 år. Spørsmålene var om kosmetisk kirurgi, demografiske data, om selvfølelse og omgivelsenes grad av aksepterende holdning til kosmetisk kirurgi. 907 kvinner (46 %) besvarte spørreskjemaet. 7,7 % angav at de hadde gjennomgå én eller flere kosmetiske operasjoner, mens 22,6 % indikerte at de ønsket å ta en slik operasjon. Omgivelsenes grad av aksept for kosmetisk kirurgi predikerte både ønsket om å ta en kosmetisk operasjon og det å ha gjennomgå en kosmetisk operasjon. Lav selvfølelse korrelerte med ønsket om å ta en operasjon, mens de som har ta en kosmetisk operasjon ikke hadde lavere selvfølelse enn ikke-opererte.

Aufbruch zu neuen Ufern, Entdeckungen neuer Welten, Fortschritt ohne Grenzenmit Stichwörtern wie diesen schmückt sich die neuzeitliche Wissenschaft gerne. Doch in Wirklichkeit stösst der Erkenntnisdrang zunehmend an Grenzen, die manchmal sogar unüberwindbar scheinen. In der Physik wird es immer schwieriger, in das Innerste der Materie vorzudringen. In der Ökonomie begrenzt die Komplexität der Phänomene die Möglichkeiten, genaue Vorhersagen zu liefern. Die Fremdheit anderer Denkmuster limitiert unseren Zugang zu anderen Kulturen. Und manchmal ist die Forschung auch durch die Grenzen des moralisch Erlaubten eingeschränkt, wie etwa in der Medizin.

This paper focuses on the narrativity in wordless comics, that is, in comics that do not use words or use them only scarcely. The verbalvisual duality of comics is always semiotically challenging. The absence of words in wordless comics foregrounds their visual component which carries additional narrative or aesthetic meaning for the comic as a whole. First, several contemporary narratological models are considered. Most often narratives are considered as a description of a series of situations and events, independently of the medium in which they occur. Among scholars of comic studies, the author presents Eisner and McCloud's concept of sequence as a focal point of plotting in comics, which has similar characteristics to narrating and storytelling in literature. The author also explores several models of medium-specific modifications such as comic focalization markers, monstration, and graphic enunciation with special attention paid to wordless comics. Finally, the author demonstrates the proposed analytical model through two examples: Mirko Ilić's Horizontal and Vertical (1978) and Ileana Surducan's The Quest (2014).

Disability is a fundamental facet of human diversity, yet it lags behind race, gender, ethnicity, sexual orientation, and class in recognition inside and outside the academy. Disability has its own history (or histories) and culture(s) which deserve to be studied in their own ...

In ihrer 2017 erschienenen Monographie, die kurzlich als Taschenbuch bei Edinburgh UP mit dem Titel Medicine and Empathy in Contemporary British Fiction: An Intervention in the Medical Humanities veroffentlicht wurde, fuhrt Anne Whitehead eine hochrelevante Intervention an den gangigen Literaturlesarten in den Medical Humanities durch. Whiteheads zeitgemase Kritik an der Verwendung von Fiktion in diesem Feld fokussiert dabei Empathie, welche weg vom individuellen Bewusstsein hin zu einer politisierteren Sichtweise betrachtet werden sollte. Diese kritische Literaturanalyse eroffnet dem Fachgebiet weitere Moglichkeiten, die sich nicht nur auf literarische Fiktionen beschranken sollten.

Tous droits réservés © Spirale magazine culturel inc., 2011 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de

Tous droits réservés © Spirale magazine culturel inc., 2011 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de

Humans tend to seek their identity as entities existing over a period of time by making narratives. The paper argues that seeking diachronic self-identity through narratives or stories results in the self-experience being one of separation or alienation from the real world. This happens because language is primarily a form of secondary representation, and the means by which we attempt to find identity often appear in the form of narratives. The dominance of the metaphor of life as a journey shows this. The remedy is to reduce the hold of narrativity by making selfexperience fundamentally episodic.

È un titolo singolare, un argomento inaudito, ma a cui l'autore tiene da tempo, specialmente durante quei due anni e mezzo del periodo Covid, in cui molti hanno riflettuto sul rapporto tra letteratura e malattia. Per chi scrive, il tema del "polmone solo" (katahai) è particolarmente caro sin da quando portava avanti le indagini sulla letteratura della prigionia, e di conseguenza sulla letteratura del trauma. Spesso malattia, prigionia, trauma e letteratura si intrecciano, ma in questo articolo ci si concentrerà su determinati casi in cui scrittori ammalatisi di tubercolosi hanno esperito non solo l'internamento nel sanatorio, ma anche la resezione polmonare, che comporta lo stato di katahai, un "polmone solo".

Cet article assure que les recberches qualitatives ne rendent pasjusticeh l'expe'riencedesfemmes commeaidantes, patientes, coordonnatricesdessoins etsi on adoptait uneanalysedessoins bake sur la di~ersite'des~enres, on serait en mesure d'kvaluer et de mieux dkcrire ce que veut dire la qualite'des soins.

On risque d’être surpris en découvrant qu’un des livres les plus traduits du monde est réputé intraduisible; qu’un des livres pour enfants les plus emblématiques n’est pas tout à fait un livre jeunesse; que l’auteur d’une aventure livresque parmi les plus insolites était connu pour sa personnalité traditionnelle, conservatrice, voire austère, et que sa figure est aussi controversée qu’entourée de mystère; qu’un narratif plutôt opaque s’est gagné un tel attachement de la part du public.
Alice in Wonderland est un effectivement livre tissu de contradictions, à l’instar de son auteur. Pour les traducteurs d’aujourd’hui et d’antan, il a toujours incarné un défi particulier, ce qui explique en partie le désir jamais assouvi de s’y essayer encore et encore, que ce soit sous la forme d’une traduction au sens propre ou de diverses adaptations ciblant des publics et des objectifs éditoriaux variés.
Une des principales singularités du livre, et ce qui le rend si défiant pour les traducteurs, consiste dans le rapport particulier qu’il entretient avec la langue et la culture. Profondément ancré dans son contexte socioculturel victorien (par les composantes satiriques qui s’attaquent à des réalités d’époque), lié d’un lien organique à la langue (par les nombreux jeux de mots) et à la culture (par son exploitation de formes littéraires traditionnelles sur le mode de la parodie) anglaises, il revêt néanmoins un caractère universel, et ce grâce à une catégorie esthétique particulière : le nonsense. Le nonsense s’avère un véritable langage supranational qui, telle une oeuvre musicale, enjambe facilement les frontières et interpelle l’imagination des lecteurs.
Les traductions que j’analyserai illustrent deux approches sensiblement différentes du texte. Deux traducteurs que sépare à peu près un siècle de distance ont laissé des textes qui traduisent des imaginaires1 et des projets esthétiques très différents. Henri Bué, contemporain et connaissance personnelle de Lewis Carroll, publie sa traduction à Londres à peine quatre ans après la parution du texte source en anglais, c’est-à-dire en 1869. À Paris, dans l’année effervescente 1968, Henri Parisot signe une traduction fantaisiste et provocatrice. À ces deux lectures-traductions, j’ajouterai ma propre traduction, réalisée pendant la bien morne 2021, à Montréal. Le texte de Carroll se prête aisément à une variété infinie de lectures et de traductions, le nonsense étant une catégorie suffisamment versatile puisque délestée de tout ancrage sémantique fixe.
Cet essai se propose de comparer deux traductions phares d’Alice in Wonderland et une troisième, effectuée par moi spécialement aux fins de cet exercice. Avant de passer au travail de comparaison, je cernerai certains des enjeux littéraires qui caractérisent le texte et sa traductibilité. Je commenterai ensuite les deux traductions analysées, et je poursuivrai le développement par la définition de ma propre approche traductionnelle. Pour terminer, j’effectuerai une juxtaposition approfondie des trois traductions autour d’un court extrait du livre, et je formulerai les conclusions déduites de ce cheminement.

Kérem ismertesse, hogy a sokéves orvosi tevékenység után milyen jellemzői vannak az orvos tudatának, és mik a főbb eltérései más ember tudatától, továbbá sorolja fel a szerzőket, akik ezt a kérdést elemezték, és ismertesse részletesen műveiket! ChatGPT4o1pro Az orvosi hivatás gyakorlása-különösen hosszú éveken (évtizedeken) át-sajátos módon formálja az orvos tudatát. A képzés és a folyamatos gyakorlati tapasztalat nemcsak szakmai ismereteket ad, hanem mélyen hat az orvos világlátására, érzelmi mintázataira, interakcióira és önazonosságára. Az alábbiakban összefoglaljuk a legfontosabb jellemzőket, amelyek a "sokéves" orvosi tevékenység következtében alakulnak ki, és felvázoljuk a főbb eltéréseket más ember tudatához képest. Ezt követően felsoroljuk azokat a fontosabb szerzőket és műveiket, akik kifejezetten (vagy tágabb összefüggésben) e témakörrel foglalkoztak.

Background:Sexual and reproductive healthcare services and needs (SRHSN) are essential for improving overall health and well-being. Queer people face obstacles not just in obtaining and receiving SRHSN, but also in provisioning of these services by healthcare professionals (HCPs). Methods: In this article we have performed a total of 55 qualitative one-one interviews. Purposive sampling was employed to select all HCPs, and respondent-driven sampling (RDS) was used to choose all queer people. Data was collected in seven district public hospitals and two non-governmental clinics which focused on queer-related healthcare in Gauteng Province, South Africa (SA) and data was analyzed using thematic content analysis. Result: Six main themes emerged from the data demonstrating that HCPs and queer people had similar, contrasting, and different challenges when rendering and receiving SRHSN. These themes include HCPs belief that queer people are afraid, while queer people believe that HCPs have negative attitudes, and are perceived to be gatekeepers. HCPs highlighted being surprised and confused about gender identity, healthcare disparities and familial problems, and highlighted HCPs' incompetence in queer-related healthcare, and queer people engagement as a barrier.

Toen in 2006 het Handbook of narrative inquiry werd aangekondigd, keek ik met ongeduld uit naar de publicatie ervan. De redactie werd bovendien verzorgd door de gerenommeerde dr. Jean Clandinin, een pionier in het narratief onderzoek. Sinds een tweetal jaren verricht ik onderzoek binnen deze onderzoeksbenadering, maar inzicht krijgen in de theoretische en methodologische benaderingen bleek een moeizame onderneming. Ik was dan ook zeer benieuwd hoe de redacteur het handboek zou vormgeven en invullen.

Inspired by the rising inclusion of graphic works in classrooms, the conversation highlights the potential of comics, especially recent graphic medicine titles, as records of events such as the COVID-19 pandemic, capturing healthcare workers' experiences.