Pub Date : 2019-10-31DOI: 10.7146/tfss.v16i31.116955
Cathinka Dahl Hambro
This article discusses the medieval English mystic Julian of Norwich’s autobiographical text Revelations of Divine Love and the significance of physical pain in Julian’s holy visions. Applying Anne H. Hawkins’ idea of the ‘myth of rebirth’, the article argues that although Julian’s work is not a narrative about illness as such, it may nevertheless be read as a medieval pathography or as a representative for a pre-stage genre of the modern pathography. Moreover, by applying theories on the phenomenology of pain, it discusses whether we may learn something today from the way in which medieval religious writers found a theological meaning in pain and whether painful experiences may help develop positive character traits.
{"title":"Pain and Epiphany","authors":"Cathinka Dahl Hambro","doi":"10.7146/tfss.v16i31.116955","DOIUrl":"https://doi.org/10.7146/tfss.v16i31.116955","url":null,"abstract":"This article discusses the medieval English mystic Julian of Norwich’s autobiographical text Revelations of Divine Love and the significance of physical pain in Julian’s holy visions. Applying Anne H. Hawkins’ idea of the ‘myth of rebirth’, the article argues that although Julian’s work is not a narrative about illness as such, it may nevertheless be read as a medieval pathography or as a representative for a pre-stage genre of the modern pathography. Moreover, by applying theories on the phenomenology of pain, it discusses whether we may learn something today from the way in which medieval religious writers found a theological meaning in pain and whether painful experiences may help develop positive character traits.","PeriodicalId":110718,"journal":{"name":"Tidsskrift for Forskning i Sygdom og Samfund","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129442421","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-31DOI: 10.7146/tfss.v16i31.116958
L. Gammelgaard
This article contributes to research on illness narratives. It revisits Arthur Frank’s notion of the chaos narrative and argues in favour of supplementing it with the concept of tellability, and with Monika Fludernik and David Herman’s postclassical narratological approaches to the definition of narrative that foreground experientiality and what it’s like. Furthermore, it is argued that tellability is recuperated at the discourse level in literary representations of the chaos narrative. Frank argues, that the chaos narrative cannot be represented, but in this article, the case is made that literature can mimick the chaos. It is suggested, to label this particular chaos narrative: The mediated chaos narrative. This is demonstrated in a reading of Danish cartoonist Thomas H. Nøhr’s graphic memoir entitled Cirkus, which chronicles his encounter with the Danish health care system after suffering from stress, depression and severe burnout. The graphic memoir can experiment with the affordances of its multimodality to support the focus on narrative experientiality and to draw attention to issues of social justice. To render the chaos of the experience, Nøhr examines how the affordances of graphic memoir enables one to experiment with narratological building blocks such as the distinction between the narrating I and the experiencing I and with Gérard Genette’s three categories of time: order, duration, and frequency.
这篇文章有助于疾病叙事的研究。它重新审视了亚瑟·弗兰克关于混乱叙事的概念并主张用可讲述性的概念来补充它，以及莫妮卡·弗鲁德尼克和大卫·赫尔曼的后古典叙述性方法来定义叙事强调了经验性和它的样子。此外，作者还认为，在混沌叙事的文学表现中，可诉说性在话语层面得到了恢复。弗兰克认为，混沌叙事是无法再现的，但在本文中，文学可以模仿混沌。有人建议，将这种特殊的混乱叙事称为:中介混乱叙事。这在丹麦漫画家Thomas H. Nøhr的图像回忆录《马戏团》中得到了证明，这本书记录了他在遭受压力、抑郁和严重倦怠后与丹麦医疗系统的接触。图形回忆录可以尝试其多模态的启示，以支持对叙事经验的关注，并引起对社会正义问题的关注。为了呈现经验的混乱，Nøhr研究了图形回忆录的功能如何使人们能够尝试叙事学的构建模块，例如叙述我和体验我之间的区别，以及g拉德·吉内特的三种时间类别:顺序、持续时间和频率。
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Pub Date : 2019-10-31DOI: 10.7146/tfss.v16i31.116964
L. Nesby, M. Johansen
Why do we read pathographies and why have they become so popular? These are the key questions in our paper. In answering these, we will introduce and discuss Rita Felski’s The Uses of Literature (2008) in connection to the American bestseller and Pulitzer prize finalist pathography When Breath Becomes Air (2016) by Paul Kalanithi. We chose Kalanithi’s book because we consider it in many ways typical of the pathographical genre with its first-person narrator, the frequent expression of shock, its reflections on meaning of the illness and the focus on daily life. Rita Felski’s The uses of literature reflects by means of the four concepts knowledge, recognition, shock and enchantment upon what makes us want to read a certain book or genre. However, when working with Kalanithi´s novel we soon found that Felski´s four modes were not only meaning-making for enlightening the question on why we as readers turn to this book. We soon also found that recognition, enchantment, knowledge and shock were concepts that were relevant used in connection with Kalanithi´s own experience of becoming ill and being a patient. The concepts, therefore, seem most useful for reflections on both the reader’s response and the author drives of the pathography genre.
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Pub Date : 2019-10-31DOI: 10.7146/tfss.v16i31.116966
Katarina Bernhardsson
Illness narratives can be said to reclaim the voice of the patient, and while they draw much of their strength from a position of experience and loss, they are also highly mediated and constructed narratives. This article studies, how these textual self-representations are formed in relation to intertexts, and how the authors explicitly use other literary texts and enter into a dialogue with them. Two pathographies are studied, Anders Paulrud’s Fjärilen i min hjärna (“The Butterfly in my Brain”, 2008) and Agneta Klingspor’s Stängt pga hälsosjäl (“Closed due to health reasons”, 2010, and their specific strategies in incorporating other literary texts: Paulrud through assemblage and community, and Klingspor through resistance and critique, especially of narratives the author feels she is supposed to appreciate. In the end, both authors seem to share a view about literature as potentially helpful and meaningful in conveying experiences and even point to a healing potential in narratives and literature.
疾病叙事可以说是重新唤起了病人的声音，虽然它们从经历和失去中汲取了很多力量，但它们也是高度中介和建构的叙事。本文研究了这些文本的自我表征是如何在互文中形成的，以及作者如何明确地使用其他文学文本并与它们进行对话。本文研究了安德斯·保罗路德的Fjärilen i min hjärna(《我大脑中的蝴蝶》，2008年)和阿格内塔·克林斯波尔的Stängt pga hälsosjäl(《因健康原因关闭》，2010年)两种病态，以及他们在融入其他文学文本时的具体策略:保罗路德通过组合和社区，克林斯波尔通过抵抗和批判，尤其是作者认为她应该欣赏的叙事。最后，两位作者似乎都认为文学在传达经验方面具有潜在的帮助和意义，甚至指出叙事和文学具有治愈的潜力。
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Pub Date : 2019-10-31DOI: 10.7146/tfss.v16i31.116965
S. Pereyra
This article main concern is how professional authors and intellectuals develop illness narratives addressing the experience of having a brain tumour, and how this condition resorts to specific narratological features. Unlike pathographies written by laypersons, autobiographical accounts of illness developed by writers, and intellectuals create a narrative subjectivity that is specifically linked to their professional status rather than to their patient status which is simultaneous with the narrative time. In this article, we analyse two autobiographical novels, addressing the experiences of two European authors and intellectuals suffering from a brain tumour: A Journey Round My Skull (1939[1937]) by Frigyes Karinthy and Until Further Notice, I Am Alive (2012) by Tom Lubbock. These narratives on illness processes related to brain tumours are a place where writers resist the main symptoms and outcomes of this specific disease that, while affecting their cognitive capacities, seem to deprive them of their self-image as writers. Hence, these writings are based on the realignment of their past and present identities (Rimmon-Kenan, 2002: 15-18) always in connection with their images as authors. The comparative analysis presented here is intended as a contribution from the field of literary studies to the understanding of subjectivity in patients, whose narratives are not written to seek cure or to search for a cause or meaning for the disease, but to fight the loss of the writer-patient creative identity and ‘ipseity’ (Derrida, 2009).
{"title":"The Writer as a Patient with a Brain Tumour","authors":"S. Pereyra","doi":"10.7146/tfss.v16i31.116965","DOIUrl":"https://doi.org/10.7146/tfss.v16i31.116965","url":null,"abstract":"This article main concern is how professional authors and intellectuals develop illness narratives addressing the experience of having a brain tumour, and how this condition resorts to specific narratological features. Unlike pathographies written by laypersons, autobiographical accounts of illness developed by writers, and intellectuals create a narrative subjectivity that is specifically linked to their professional status rather than to their patient status which is simultaneous with the narrative time. In this article, we analyse two autobiographical novels, addressing the experiences of two European authors and intellectuals suffering from a brain tumour: A Journey Round My Skull (1939[1937]) by Frigyes Karinthy and Until Further Notice, I Am Alive (2012) by Tom Lubbock. These narratives on illness processes related to brain tumours are a place where writers resist the main symptoms and outcomes of this specific disease that, while affecting their cognitive capacities, seem to deprive them of their self-image as writers. Hence, these writings are based on the realignment of their past and present identities (Rimmon-Kenan, 2002: 15-18) always in connection with their images as authors. The comparative analysis presented here is intended as a contribution from the field of literary studies to the understanding of subjectivity in patients, whose narratives are not written to seek cure or to search for a cause or meaning for the disease, but to fight the loss of the writer-patient creative identity and ‘ipseity’ (Derrida, 2009).","PeriodicalId":110718,"journal":{"name":"Tidsskrift for Forskning i Sygdom og Samfund","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127864909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-29DOI: 10.7146/tfss.v16i31.115633
P. Mikalsen
This article proposes, a reading of Jane Austen’s Northanger Abbey (1818) as a case study for discussing infectious literature, storytelling as therapy and the interconnectedness of Gothic methodologies and medical humanities. Northanger Abbey was written in a period when women’s reading habits was a contested topic, so I will provide a quick historical overview of the period and the problematic Gothic novel, which Northanger Abbey satirizes. Where previous research has focused on Catherine Morland, the protagonist and ‘misreader’ in this Gothic satire, this article will focus on Austen’s feminized hero, Henry Tilney, and read him in the role of a mesmeric healer. His goal is to cure Catherine of her obsession with Gothic novels, in order for her to fulfil the feminine ideal of the time. The mesmeric method is to produce a crisis in the patient, however, I will show how Henry’s plan fails and he inadvertently produces a crisis in himself, and forces him to realize the extent of his own ‘reading illness’. He is ‘infected’ by the masculine literary canon, which in his mind entails literary superiority over Catherine and his sister Eleanor. Storytelling as therapy is a term that connects literature and trauma into a method of organizing experience. My analysis will focus on a selection of dialogue between the main characters and Henry’s monologues, to highlight where Austen’s hero is compelled to take narrative control as a way to control his own trauma; his troubled relationship with his father and the death of his mother.
{"title":"Pre Press Gothic Infections","authors":"P. Mikalsen","doi":"10.7146/tfss.v16i31.115633","DOIUrl":"https://doi.org/10.7146/tfss.v16i31.115633","url":null,"abstract":"This article proposes, a reading of Jane Austen’s Northanger Abbey (1818) as a case study for discussing infectious literature, storytelling as therapy and the interconnectedness of Gothic methodologies and medical humanities. Northanger Abbey was written in a period when women’s reading habits was a contested topic, so I will provide a quick historical overview of the period and the problematic Gothic novel, which Northanger Abbey satirizes. Where previous research has focused on Catherine Morland, the protagonist and ‘misreader’ in this Gothic satire, this article will focus on Austen’s feminized hero, Henry Tilney, and read him in the role of a mesmeric healer. His goal is to cure Catherine of her obsession with Gothic novels, in order for her to fulfil the feminine ideal of the time. The mesmeric method is to produce a crisis in the patient, however, I will show how Henry’s plan fails and he inadvertently produces a crisis in himself, and forces him to realize the extent of his own ‘reading illness’. He is ‘infected’ by the masculine literary canon, which in his mind entails literary superiority over Catherine and his sister Eleanor. \u0000Storytelling as therapy is a term that connects literature and trauma into a method of organizing experience. My analysis will focus on a selection of dialogue between the main characters and Henry’s monologues, to highlight where Austen’s hero is compelled to take narrative control as a way to control his own trauma; his troubled relationship with his father and the death of his mother.","PeriodicalId":110718,"journal":{"name":"Tidsskrift for Forskning i Sygdom og Samfund","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114689530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-05DOI: 10.7146/TFSS.V16I31.115206
Christian Lenemark
Through three case studies, thearticleexploreshow digital media have been used in recentyears to depict and comprehend experiences of cancer.Itfirstinvestigatesthe illness blog,specificallySwedish journalist and musician Kristian Gidlund’s immensely popular blogInMy Body, in which he,from 2011 to2013,shared the narrativeofhis struggle with anaggressive,incurable,andultimatelydeadly stomach cancer. ItcontinuesbydiscussingItalianengineer, artist, and hackerSalvatore Iaconesi’sdigital open-source projectLa Cura–TheCure(2012),whichhasgreat relevancefromboththedigital andthemedical humanitiesperspectivesin the way Iaconesi useshispersonal narrative ofbraincancerto encouragepeople tojoinhis struggletofind a cure.Finally,it analyzesthe American coupleRyanandAmyGreen’svideogameThat Dragon, Cancer(2016).Agamedifferingsignificantlyfromvideo and computer games in general andfrom othergames taking cancer as their subjectbyletting the player enter the role of caregiver to a small child dyingofcancer.Expanding onLisa Diedrich’s theoretical concept of “doing illness”, thearticleemphasizes theperformativedimension ofnarratingillnessin digital media, consideringhowtheseauthorsandcreatorsnegotiatewith narrative, cultural,and medialscripts when portrayingtheircancerexperiences.Ithighlights the interactive and participatory dimension of doing illnessin digitalmedia, by exploring howthe blog,open-source project, and videogamebothinviteand limittheaudience’s opportunitiesto interact and participatewith the illness narrativeconveyed.
{"title":"Prepress Doing Illness","authors":"Christian Lenemark","doi":"10.7146/TFSS.V16I31.115206","DOIUrl":"https://doi.org/10.7146/TFSS.V16I31.115206","url":null,"abstract":"Through three case studies, thearticleexploreshow digital media have been used in recentyears to depict and comprehend experiences of cancer.Itfirstinvestigatesthe illness blog,specificallySwedish journalist and musician Kristian Gidlund’s immensely popular blogInMy Body, in which he,from 2011 to2013,shared the narrativeofhis struggle with anaggressive,incurable,andultimatelydeadly stomach cancer. ItcontinuesbydiscussingItalianengineer, artist, and hackerSalvatore Iaconesi’sdigital open-source projectLa Cura–TheCure(2012),whichhasgreat relevancefromboththedigital andthemedical humanitiesperspectivesin the way Iaconesi useshispersonal narrative ofbraincancerto encouragepeople tojoinhis struggletofind a cure.Finally,it analyzesthe American coupleRyanandAmyGreen’svideogameThat Dragon, Cancer(2016).Agamedifferingsignificantlyfromvideo and computer games in general andfrom othergames taking cancer as their subjectbyletting the player enter the role of caregiver to a small child dyingofcancer.Expanding onLisa Diedrich’s theoretical concept of “doing illness”, thearticleemphasizes theperformativedimension ofnarratingillnessin digital media, consideringhowtheseauthorsandcreatorsnegotiatewith narrative, cultural,and medialscripts when portrayingtheircancerexperiences.Ithighlights the interactive and participatory dimension of doing illnessin digitalmedia, by exploring howthe blog,open-source project, and videogamebothinviteand limittheaudience’s opportunitiesto interact and participatewith the illness narrativeconveyed.","PeriodicalId":110718,"journal":{"name":"Tidsskrift for Forskning i Sygdom og Samfund","volume":"1951 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128029519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-30DOI: 10.7146/TFSS.V16I31.115195
C. Stage
Cancer narratives shared on social media platforms have received increased academic interest over the last decade but often without sufficiently acknowledging the media specific narrative affordances of these platforms. The article will address this problem, by first presenting a ‘small stories’ approach to studying illness narrative on social media and then putting the approach to work in a case study of a Danish cancer patient’s Instagram profile (@jannelivsnyder66). The paper argues, that the storytelling practices on the profile can be analytically approached by focusing on the interplay between three co-constitutive levels of interaction: 1) a level of the desired illness narrative and position that the narrator, influenced by available cultural discourses and interaction with followers, hopes to be able to tell; 2) a level of sharing everyday posts, which can either support or disturb the desired narrative; 3) a level of follower responses, where relations between the desired narrative and singular posts are monitored through processes of liking and commenting. Followers of social media cancer narratives should in light of this not be understood as an audience witnessing an individual telling his/her “own” story, but rather as crucial contributors to the social interaction and co-creation of desired narratives, subject positions, narrative progress and tellability. In conclusion, the article thus stresses that cancer storytelling on social media, despite the strong biological connection of the disease to an individual body, emerges through inherently social processes of reading, liking, commenting, monitoring and co-deciding narrative practices.
{"title":"Pre-Press Cancer narratives on social media as ‘small stories’","authors":"C. Stage","doi":"10.7146/TFSS.V16I31.115195","DOIUrl":"https://doi.org/10.7146/TFSS.V16I31.115195","url":null,"abstract":"Cancer narratives shared on social media platforms have received increased academic interest over the last decade but often without sufficiently acknowledging the media specific narrative affordances of these platforms. The article will address this problem, by first presenting a ‘small stories’ approach to studying illness narrative on social media and then putting the approach to work in a case study of a Danish cancer patient’s Instagram profile (@jannelivsnyder66). The paper argues, that the storytelling practices on the profile can be analytically approached by focusing on the interplay between three co-constitutive levels of interaction: 1) a level of the desired illness narrative and position that the narrator, influenced by available cultural discourses and interaction with followers, hopes to be able to tell; 2) a level of sharing everyday posts, which can either support or disturb the desired narrative; 3) a level of follower responses, where relations between the desired narrative and singular posts are monitored through processes of liking and commenting. Followers of social media cancer narratives should in light of this not be understood as an audience witnessing an individual telling his/her “own” story, but rather as crucial contributors to the social interaction and co-creation of desired narratives, subject positions, narrative progress and tellability. In conclusion, the article thus stresses that cancer storytelling on social media, despite the strong biological connection of the disease to an individual body, emerges through inherently social processes of reading, liking, commenting, monitoring and co-deciding narrative practices.","PeriodicalId":110718,"journal":{"name":"Tidsskrift for Forskning i Sygdom og Samfund","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115766041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-23DOI: 10.7146/TFSS.V16I31.115107
Katarina Bernhardsson
Illness narratives can be said to reclaim the voice of the patient, and while they draw much of their strength from a position of experience and loss, they are also highly mediated and constructed narratives. This article studies, how these textual self-representations are formed in relation to intertexts, and how the authors explicitly use other literary texts and enter into a dialogue with them. Two pathographies are studied, Anders Paulrud’s Fjärilen i min hjärna (“The Butterfly in my Brain”, 2008) and Agneta Klingspor’s Stängt pga hälsosjäl (“Closed due to health reasons”, 2010, and their specific strategies in incorporating other literary texts: Paulrud through assemblage and community, and Klingspor through resistance and critique, especially of narratives the author feels she is supposed to appreciate. In the end, both authors seem to share a view about literature as potentially helpful and meaningful in conveying experiences and even point to a healing potential in narratives and literature.
疾病叙事可以说是重新唤起了病人的声音，虽然它们从经历和失去中汲取了很多力量，但它们也是高度中介和建构的叙事。本文研究了这些文本的自我表征是如何在互文中形成的，以及作者如何明确地使用其他文学文本并与它们进行对话。本文研究了安德斯·保罗路德的Fjärilen i min hjärna(《我大脑中的蝴蝶》，2008年)和阿格内塔·克林斯波尔的Stängt pga hälsosjäl(《因健康原因关闭》，2010年)两种病态，以及他们在融入其他文学文本时的具体策略:保罗路德通过组合和社区，克林斯波尔通过抵抗和批判，尤其是作者认为她应该欣赏的叙事。最后，两位作者似乎都认为文学在传达经验方面具有潜在的帮助和意义，甚至指出叙事和文学具有治愈的潜力。
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Pub Date : 2019-07-20DOI: 10.7146/TFSS.V16I31.115101
S. Pereyra
This article main concern is how professional authors and intellectuals develop illness narratives addressing the experience of having a brain tumour, and how this condition resorts to specific narratological features. Unlike pathographies written by laypersons, autobiographical accounts of illness developed by writers, and intellectuals create a narrative subjectivity that is specifically linked to their professional status rather than to their patient status which is simultaneous with the narrative time. In this article, we analyse two autobiographical novels, addressing the experiences of two European authors and intellectuals suffering from a brain tumour: A Journey Round My Skull (1939[1937]) by Frigyes Karinthy and Until Further Notice, I Am Alive (2012) by Tom Lubbock. These narratives on illness processes related to brain tumours are a place where writers resist the main symptoms and outcomes of this specific disease that, while affecting their cognitive capacities, seem to deprive them of their self-image as writers. Hence, these writings are based on the realignment of their past and present identities (Rimmon-Kenan, 2002: 15-18) always in connection with their images as authors. The comparative analysis presented here is intended as a contribution from the field of literary studies to the understanding of subjectivity in patients, whose narratives are not written to seek cure or to search for a cause or meaning for the disease, but to fight the loss of the writer-patient creative identity and ‘ipseity’ (Derrida, 2009).
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