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Prairie Madness: Mental Illness and Norwegian Immigration to North America in the Late Nineteenth and Early Twentieth Centuries 草原疯狂:精神疾病和挪威移民到北美在19世纪末和20世纪初
4区 文学 0 LITERATURE Pub Date : 2023-03-01 DOI: 10.1353/lm.2023.a911451
Virginia Langum
Abstract: In the late nineteenth and twentieth centuries, there was widespread concern about the fate of immigrants to the United States. One area of particular concern was mentally ill immigrants, as illustrated in contemporaneous screening procedures, asylum reports, government commissions, popular media, fiction, and scientific studies. This article examines the depiction of one mentally ill immigrant in O. E. Rølvaag's novel Giants in the Earth within the context of these discussions. The novel, published originally in two parts in 1924 and 1925 in Norwegian, was translated in collaboration with the author into English in 1927. While many explanations were posited for rates of mental illness among immigrants to North America in the late nineteenth and early twentieth centuries, Rølvaag presents a more nuanced view which accounts for mental responses to change of climate, environment, and cultural loss.
摘要:在19世纪末和20世纪,人们普遍关注美国移民的命运。一个特别令人关切的领域是精神疾病移民,这在当时的筛选程序、庇护报告、政府委员会、大众媒体、小说和科学研究中都有体现。本文在这些讨论的背景下,考察了o.e.r ølvaag的小说《地球上的巨人》中对一个精神病移民的描述。这部小说最初于1924年和1925年以挪威语分两部分出版,1927年与作者合作翻译成英语。虽然对于19世纪末和20世纪初北美移民的精神疾病发病率有许多解释,但Rølvaag提出了一种更细致入微的观点,它解释了气候、环境和文化丧失变化的心理反应。
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引用次数: 0
Seeing Horror through the Lens of Health: Embodying Dissociative Identity Disorder in The Babadook 从健康的视角看恐怖:《巴巴杜书》中分离性身份障碍的体现
4区 文学 0 LITERATURE Pub Date : 2023-03-01 DOI: 10.1353/lm.2023.a911447
Paul Mitchell
Abstract: This essay analyzes the representation of dissociative identity disorder in Jennifer Kent's debut feature, The Babadook (2014). Although the film's exploration of psychological themes such as maternal ambivalence, grief, and repression have already been widely discussed in the critical literature, I argue that such readings tend to mitigate the embodied nature of the suffering that Kent's film depicts. Using Arthur Frank's concept of chaos stories as well as Edward Branigan's work on film narrative, I show how The Babadook provides a valuable, fictional example of how dissociative identity disorder can be depicted in cinematic language. Through Kent's use of internal and external focalization, amongst other filmic techniques, the film promotes an ethic of witnessing whereby spectators can actively see the disorienting impact the protagonist's suffering has on her life. In this way, The Babadook gives health care practitioners insight into the complexity of her subjectivized illness experience.
摘要:本文分析了詹妮弗·肯特的处女作《巴巴杜克》(2014)中分离性身份障碍的表现。尽管这部电影对心理主题的探索,如母亲的矛盾心理、悲伤和压抑,已经在评论界得到了广泛的讨论,但我认为,这样的解读往往会减轻肯特电影所描绘的痛苦的具体本质。利用亚瑟·弗兰克关于混乱故事的概念以及爱德华·布莱尼根关于电影叙事的作品,我展示了《巴巴杜克》如何提供了一个有价值的、虚构的例子,说明如何用电影语言描绘分离性身份障碍。通过肯特对内部和外部聚焦的运用,以及其他电影技巧,这部电影促进了一种见证的伦理,观众可以积极地看到主人公的痛苦对她生活的迷失方向的影响。通过这种方式,Babadook让医疗保健从业者洞察到她主观性疾病经历的复杂性。
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引用次数: 0
Amidst, By, Near, With: Locating Recovery and Forgetting in the Shadow of COVID 在其中,通过,接近,与:在COVID阴影下定位恢复和遗忘
4区 文学 0 LITERATURE Pub Date : 2023-03-01 DOI: 10.1353/lm.2023.a911439
Hosanna Krienke
Amidst, By, Near, With:Locating Recovery and Forgetting in the Shadow of COVID Hosanna Krienke (bio) Here are some perhaps too-personal questions to ask yourself: Have you stopped wearing a mask? When did you stop? Do you even remember? When was the first time you forgot to wash your hands as soon as you got home? Do you still hold your breath when a stranger passes too near you on the sidewalk? It has been more than three years since COVID came crashing down on the world. And now, after all this time, we may be wondering what it all meant. When is COVID "over"? What precautions do we keep? What have we learned? Will this experience help us face the next pandemic, or will we forget it ever happened? These questions can be painful for several reasons. Of course, for many people, COVID never ended because of the grief for lost loved ones, because of the lingering symptoms of long COVID, because of the constant vulnerability of chronic conditions, or because of the continued inaccessibility of mRNA vaccines and boosters across the globe. Yet I imagine that many of us can acknowledge a change—perhaps not an ending per se—only a subtle letting-down-your-guard sometime between 2020 and now. We did it at different times. We did it in different ways. We chose different risks. COVID isn't really over; yet that live-wire attentiveness felt by whole communities in the early days may feel like another reality. My goal here is not to shake a finger at our complacency but to think more deeply about the present moment. What can this transitional period—precisely when a new normal emerges to replace the old—tell us about the experience of recovery? [End Page 8] In early 2023, the Washington Post ran a series of articles under the headline "Pandemic: Three Years In." I was immediately struck by the word "in," as if we are buried, or mired, or "in the thick of." None of these feels quite right. Yet it also makes me question alternate vocabularies, and so (as one does) I try to envision other options by Googling a list of prepositions. I wonder, are we "in" or "out" of the pandemic? Are we "after" or even "beyond"? As I look down the list, it strikes me that perhaps the problem is the fundamental linearity of our most conventional terms, as if illness is a one-way street, or a roadside accident you are supposed to see ahead of you, then inch past, and ultimately leave behind. Yet how can this insistent directionality in our language account for three years of grief and hope, boredom and innovation, abject illness and everyday life? In my own scholarship, I have spent years dwelling on the term convalescence, which describes a period of time between the crisis of illness and the mundane routine of life. To me, the months of COVID restrictions, both self-enforced and mandated, felt like convalescence. My world was small. I taught on Zoom. My dog invited me on walks. The bag of dusty carrots at the bottom of my crisper drawer reassured me that I could eke out a few mo
在新冠病毒的阴影下找到恢复和遗忘这里有一些可能过于私人的问题要问自己:你已经不再戴口罩了吗?你什么时候停下来的?你还记得吗?你第一次忘记一到家就洗手是什么时候?当一个陌生人在人行道上离你太近时,你还会屏住呼吸吗?新冠肺炎疫情在世界范围内肆虐已经三年多了。现在,经过这么长时间,我们可能想知道这一切意味着什么。COVID什么时候“结束”?我们有什么预防措施?我们学到了什么?这一经验是否有助于我们应对下一次大流行,还是我们会忘记它曾经发生过?这些问题可能会让人痛苦,原因有几个。当然,对许多人来说,COVID从未结束,因为失去亲人的悲伤,因为长期COVID的症状挥之不去,因为慢性病的持续脆弱性,或者因为mRNA疫苗和增强剂在全球范围内仍然无法获得。然而,我想我们中的许多人都可以承认,在2020年到现在之间的某个时候,变化——也许本身不是结束——只是一种微妙的放松警惕。我们在不同的时间做了这件事。我们用了不同的方法。我们选择了不同的风险。COVID并没有真正结束;然而,整个社区在早期感受到的即时关注可能感觉像是另一种现实。我在这里的目的不是要对我们的自满不满,而是要更深入地思考当下。这段过渡时期——正是新常态取代旧常态的时期——能告诉我们什么关于经济复苏的经验?2023年初,《华盛顿邮报》发表了一系列文章,标题为《大流行:三年来》。我立刻被“in”这个词打动了,好像我们被埋葬了,或者陷入了困境,或者“在厚厚的”。这些感觉都不太对。然而,这也让我质疑替代词汇,因此(就像一个人一样)我试图通过谷歌搜索一系列介词来设想其他选择。我想知道,我们是“在”还是“在”大流行之外?我们是“之后”还是“超越”?当我浏览这张清单时,我突然想到,问题可能在于我们最传统的术语的基本线性,就好像疾病是一条单行道,或者是一场路边事故,你应该在前面看到,然后慢慢过去,最终把它抛在脑后。然而,我们语言中这种坚持的方向性如何解释这三年的悲伤和希望、无聊和创新、可怜的疾病和日常生活呢?在我自己的学术研究中,我花了数年时间研究“恢复期”这个词,它描述的是一段介于疾病危机和日常生活之间的时期。对我来说,COVID限制的几个月,无论是自我强制的还是强制的,感觉就像恢复期。我的世界很小。我教的是Zoom。我的狗邀请我去散步。我的保鲜盒抽屉底部那袋满是灰尘的胡萝卜让我放心,下次去杂货店之前,我可以再多吃几顿。这段时间我几乎什么都不做,只是在反思,重新思考我自己的价值观。我决定在疫情期间不离开学术界,我决定完成我关于康复的书。现在不是康复的时候。我的日子很忙。我在外面吃饭。我亲自教学生,当有人在教室后面咳嗽时,我不会退缩。我不再限量吃胡萝卜了。然而,突然之间,我又可以恢复原状了。一位同事得了新冠肺炎(我上次见到他是什么时候?)我坐的距离有多近?)我醒来时喉咙痛(仅仅是因为空气干燥吗?我要取消课程吗?我免疫系统不全的妈妈要来看我(安全吗?我们当地的感染率是多少?)。这种来回的存在对我来说很熟悉。我对康复的研究来自于我自己患严重癌症的经历。
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引用次数: 0
Something Is Wrong 有什么不对劲
4区 文学 0 LITERATURE Pub Date : 2023-03-01 DOI: 10.1353/lm.2023.a911441
Rachel Fein-Smolinski
Something Is Wrong Rachel Fein-Smolinski (bio) "Relief from pain through palliative artmaking can save us from the discomfort of living with this injustice and violence that we see every day, but it does not treat the basis for the pain. […] Is the artist perhaps unconsciously at first trying to fight inevitable death by stacking up the artworks? Hiding the foregone erasure of the body?" —Barbara Hammer, The Art of Dying or (Palliative Art Making in the Age of Anxiety) (2018) "Dr. Bailey: What is the most important step in the treatment process? Anyone? Dr. Avery: Physical Exam. Dr. Bailey: No, no chocolate for you. Dr. Yang: Lab and radiology evaluation. Dr. Bailey: Uh, oh, come on people. Now you're embarrassing me. Dr. Grey: Patient history. Dr. Bailey: Thank you." —Grey's Anatomy, Season 6, Episode 15 (2010) Fun fact: Something is wrong, and it has been for a long time. The epigraphs are from Barbara Hammer's final lecture on death, illness, and art as a prolific experimental filmmaker living with cancer, and Dr. Miranda Bailey, a fictional surgeon who values her patients' voices more than any other character in the medical drama Grey's Anatomy. In Hammer's lecture she used the term palliative artmaking to describe her practice. Palliative care is a medical practice focused on comfort, support, and symptom relief as opposed to cure. Reframing art making (and life) with those goals in mind informs how I make work as a chronically ill artist and educator. The many hours I have spent watching Grey's Anatomy—and other sexy, utopian (at least the early seasons) healthcare fantasies—informs this work as well. [End Page 26] Art and medicine are estranged siblings. Photographs are good at decontextualizing their subjects from the world that they exist in. A medical exam room is good at decontextualizing a person from the world they exist in. A person becomes a patient when their first-person experience is translated into third-person narrative. When looking at medical archives, the preservation of the historical context of the experiences of patients is a vital job of archivists and researchers. I collect and make images of the visual codices of illness, and share my own archive of experiences as a sick artist to explore mythologies of recovery. I began visiting medical archives in 2018 while I was working a 9 to 5 job, teaching part time, and unsuccessfully trying to manage worsening chronic pain that I have had since I was a child. I started going to the Archives and Special Collections at SUNY Upstate Medical University Health Sciences Library in the morning before work to photograph objects from their collections and to look through unprocessed negatives, usually large-format portraits of patients. Through this I have found a deep well of documentation of intimate patient experience in a field whose narrative is often told from the perspective of the clinician. I have been hearing the term "evidence-based" a lot lately, mostly from my health insu
蕾切尔·芬-斯莫林斯基(传记)“通过缓和性的艺术创作来缓解痛苦,可以让我们摆脱每天都看到的不公正和暴力带来的不适,但它并没有解决痛苦的根源。”[…]也许艺术家最初无意识地试图通过堆积艺术品来对抗不可避免的死亡?隐藏着早已被抹去的肉体?”——芭芭拉·哈默,《死亡的艺术或(焦虑时代的缓和艺术创作)》(2018)贝利医生:治疗过程中最重要的一步是什么?有人知道吗?艾弗里医生:体格检查。贝利医生:不,不给你巧克力。杨医生:实验室和放射学评估。贝利医生:哦,别这样。现在你让我难堪了。格蕾医生:病史。贝利医生:谢谢。”——《实习医生格蕾》,第六季,第15集(2010)有趣的事实:有些事情不对劲,而且已经不对劲很长时间了。这些引文来自芭芭拉·哈默(Barbara Hammer)的最后一场讲座,主题是死亡、疾病和艺术,她是一位多产的实验电影制作人,身患癌症;还有米兰达·贝利(Miranda Bailey)医生,她是虚构的外科医生,在医疗剧《实习医生格蕾》(Grey’s Anatomy)中,她比其他任何角色都更重视病人的声音。在哈默的演讲中,她用缓和艺术创作这个词来描述她的实践。姑息治疗是一种专注于安慰、支持和症状缓解的医疗实践,而不是治愈。带着这些目标重新构建艺术创作(和生活),告诉了我作为一名患有慢性病的艺术家和教育家是如何工作的。我花了很多时间看《实习医生格蕾》,以及其他性感、乌托邦式(至少是前几季)的医疗幻想,也为我的研究提供了素材。艺术和医学是疏远的兄弟姐妹。摄影擅长将拍摄对象从他们所处的世界中分离出来。医学检查室擅长将一个人从他们所处的世界中分离出来。当一个人的第一人称经历被转换成第三人称叙述时,他就成了病人。在查看医疗档案时,保存患者经历的历史背景是档案保管员和研究人员的重要工作。我收集和制作疾病的视觉图像,并分享我自己作为一个生病的艺术家的经历档案,探索康复的神话。我从2018年开始访问医疗档案,当时我做着朝九晚五的工作,兼职教学,并试图控制我从小就患有的不断恶化的慢性疼痛,但没有成功。上班前的早晨,我开始去纽约州立大学北部医科大学健康科学图书馆的档案和特别收藏馆,给馆藏中的物品拍照,并浏览未经处理的底片,通常是病人的大幅肖像。通过这一点,我发现了一个深井的亲密的病人经验的文件,在这个领域的叙述往往是从临床医生的角度来讲述。最近我经常听到“循证”这个词,主要是在我的健康保险公司拒绝批准治疗时听到的。我以为我就是证据。在美术摄影界,许多以理论为基础的工作者关注于对摄影图像的索引性(假定的真值)的质疑。虽然证据价值至关重要,但要使其发挥作用,必须建立信任。在我们用“photoshop”这个动词来描述对照片进行处理之前,我们用了“to doctor”这个动词:比如,“这张照片看起来像是被处理过的。”“医生”和“文件”这两个词来源于同一个拉丁语动词“docere”,意思是教授。这些语言上的重叠告知了我与摄影的证据价值和背景力量的关系,并在软硬科学的教育实践中变得非常明显。毕竟,第一人称叙述是艺术和医学的核心,证据功能并不依赖于价值中立的客观性概念。当这些故事被用于教育时——这在硬科学和软科学中都有发生——他们所属的人不再存在。每一张有病人脸的临床照片都是由于照片的日期而被推定死亡的人。在…
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引用次数: 0
Allegorical Investigations: Autism, Applied Behavioral Analysis, and Medieval Poetry 寓言调查:自闭症、应用行为分析和中世纪诗歌
4区 文学 0 LITERATURE Pub Date : 2023-03-01 DOI: 10.1353/lm.2023.a911445
Kate Crassons
Abstract:This essay explores the connections between the modern autism intervention Applied Behavioral Analysis (ABA) and medieval personification allegory to show how literature powerfully enables the work of neurodiversity. Invoking the theory of the language game to investigate the clinical history of ABA, the essay puts the fourteenth-century poet William Langland in dialogue with Ludwig Wittgenstein and Stanley Cavell. I argue that the approach to language emerging from this constellation of voices works as a precise tool for diagnosing the ethical liabilities of ABA. By highlighting the shared interest in a set of animated terms across different historical and disciplinary domains, we can see how allegorical writing becomes an essential resource for exposing how ABA travesties human need and emotion. Working against the ethos of this "therapeutic" intervention, Langland, Wittgenstein, and Cavell join with autistic writers in advancing a model of language development based on mutuality, reciprocity, and shared forms of life.
摘要:本文探讨了现代自闭症干预应用行为分析(ABA)与中世纪人格化寓言之间的联系,以展示文学如何有力地促进神经多样性的工作。本文援引语言游戏理论来研究ABA的临床历史,将14世纪诗人威廉·朗兰与路德维希·维特根斯坦和斯坦利·卡维尔进行了对话。我认为,从这些声音中出现的语言方法可以作为诊断ABA道德责任的精确工具。通过强调在不同历史和学科领域的一组动画术语中的共同兴趣,我们可以看到寓言写作如何成为揭示ABA如何歪曲人类需求和情感的重要资源。为了反对这种“治疗性”干预的精神,朗兰、维特根斯坦和卡维尔与自闭症作家一起,提出了一种基于相互、互惠和共享生活形式的语言发展模式。
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引用次数: 0
Diagnosing Desire: Imaginative Experiments with Sexuality and the Nerves 诊断欲望:性与神经的想象实验
4区 文学 0 LITERATURE Pub Date : 2023-03-01 DOI: 10.1353/lm.2023.a911450
Ira Halpern
Abstract: American fiction often tells us that there is something sick about romantic desire. But the writers who I discuss in this article told their readers this even as they critiqued the medical profession's pathologization of women's desires and non-normative sexual subjectivities. In particular, this article looks at two literary responses to the medical notion that marriage was a cure for hysteria and other nervous disorders: Oliver Wendell Holmes's A Mortal Antipathy (1885) and Elizabeth Stuart Phelps's Doctor Zay (1886). While the medical rhetoric of nervous pathology could be repressive and stigmatizing, these fictions sought to reclaim and reimagine the medical treatment of nervous desire in subversive ways.
摘要:美国小说经常告诉我们,浪漫的欲望是病态的。但是我在这篇文章中讨论的作家告诉他们的读者这一点,即使他们批评医学界对女性欲望的病态化和不规范的性主体性。这篇文章特别关注了两种文学作品,它们分别是奥利弗·温德尔·霍姆斯的《致命的反感》(1885)和伊丽莎白·斯图尔特·菲尔普斯的《扎伊医生》(1886),对医学上认为婚姻是治疗歇斯底里症和其他神经紊乱症的方法的回应。虽然神经病理学的医学修辞可能是压抑和污名化的,但这些小说试图以颠覆性的方式收回和重新想象神经欲望的医学治疗。
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引用次数: 0
Editor's Foreword: Remembering Carol Donley 编者前言:纪念卡罗尔·唐利
4区 文学 0 LITERATURE Pub Date : 2023-03-01 DOI: 10.1353/lm.2023.a911437
Editor's Foreword:Remembering Carol Donley Michael Blackie The field of Literature and Medicine has lost one of its most passionate early proponents. Carol Donley, cofounder of Hiram College's Center for Literature and Medicine and the Literature and Medicine book series published by Kent State University Press, among other remarkable achievements, died this past April from complications of Covid. I met Carol in 2008, when I joined the faculty at Hiram to teach in the Biomedical Humanities program there, the first of its kind in the US, and to participate in the Center's programming. But her influence on me as a mentor began years before, when in the Modern Language Association publication Teaching Literature and Medicine I came across a course she had codesigned and taught at Hiram called "The Tyranny of the Normal."1 What an inspiring gift. I developed a course based on Carol's class that followed it closely, down to the name. But as I became more comfortable asking the kinds of questions the course modeled, and as my knowledge of the field expanded, I renamed it "Perils of the Normal." I've since taught numerous permutations of the class in two baccalaureate programs and two medical schools over the last twenty years, each iteration becoming more reflective of the dynamic field Carol helped create. Another example of Carol's vision for what we now call the Health Humanities is captured in an essay she wrote for Literature and Medicine's 10th anniversary.2 Beginning by praising the journal for its analysis of healers beyond the white, heroic male physician to celebrate contributions from nursing and other allied health professions, she then puts forth a list of research topics for future work. The list is prescient. It anticipates developments in the field, like the emphasis on illness experiences as a genre and the importance of narrative, while also foreseeing the challenges of our present moment. For example, she demands that our scholarly agendas "include more research on images of black Americans as healers and on the images of other minorities [End Page 1] in America (Native American, Hispanic, Asian American)" (30). She provides a series of guiding questions for this work, such as "What do healers within these groups mean to the members of the groups?" and "What limits do the prejudices of the majority impose on them?" (30). Another research agenda she identifies is the essential but largely unacknowledged contributions of informal caregivers. "We need," she argues, "studies of the images of healers out in the streets and in the homes, members of the family, as often as not, who have taken on that role" (31). These questions are as relevant today as they were in 1991 and make clear how much work remains to be done in the field—and in the pages of this journal. I came across Carol's reflective essay when I was writing my own for Literature and Medicine's 40th anniversary. Reading it reminded me of how much I've gained from her mentorship,
编者前言:纪念卡罗尔·唐利迈克尔·布莱基文学和医学领域失去了一位最热情的早期支持者。卡罗尔·唐利(Carol Donley)是海勒姆学院文学与医学中心的联合创始人,也是肯特州立大学出版社出版的文学与医学丛书的创始人之一,她在今年4月死于新冠肺炎并发症。我是在2008年认识卡罗尔的,当时我加入了海勒姆学院,在那里教授生物医学人文项目,这是美国首个此类项目,并参与了该中心的项目。但她作为导师对我的影响早在几年前就开始了,当时在现代语言协会的出版物《文学与医学教学》中,我看到了她与人合作设计并在海勒姆教授的一门课程,名为《常态的暴政》。多么鼓舞人心的礼物啊。我根据卡罗尔的课程开发了一门课程,与之密切相关,甚至连名字都是如此。但随着我越来越习惯于提出这门课程所模拟的问题,随着我对这一领域的知识的扩展,我把它改名为“正常的危险”。在过去的二十年里,我在两个学士学位课程和两所医学院教授了大量的课程排列,每次迭代都更加反映了卡罗尔帮助创建的动态领域。Carol为《文学与医学》创刊十周年所写的一篇文章中,也体现了她对我们现在所说的健康人文学科的看法她首先赞扬了该杂志对白人英雄男医生之外的治疗师的分析,以庆祝护理和其他相关医疗专业的贡献,然后提出了未来工作的研究主题清单。这份清单很有先见之明。它预测了该领域的发展,比如强调疾病经历作为一种体裁和叙事的重要性,同时也预见了我们当前面临的挑战。例如,她要求我们的学术议程“包括更多研究美国黑人作为治疗者的形象,以及美国其他少数民族的形象(美洲原住民、西班牙裔、亚裔美国人)。”(30)。她为这项工作提供了一系列指导性问题,例如“这些群体中的治疗师对群体成员意味着什么?”以及“大多数人的偏见对他们施加了什么限制?”(30)。她确定的另一个研究议程是非正式照顾者的重要贡献,但在很大程度上没有得到承认。“我们需要,”她说,“研究街头和家庭中的治疗师形象,家庭成员,往往不是,谁承担了这个角色。”这些问题在今天与1991年一样具有相关性,并明确了该领域还有多少工作要做——在本杂志的页面上。我是在为《文学与医学》40周年纪念写自己的文章时偶然发现卡罗尔的这篇反思文章的。读了这本书,我想起了我从她的指导中收获了多少,无论是在印刷品上还是在她面前。在她的整个职业生涯中,她坚持认为人文学科是健康专业的完整组成部分。我深深感激她慷慨的智慧,她无畏的想象力和她不朽的榜样。谢谢你,卡罗尔。注释1。霍金斯和麦金太尔:《文学与医学教学》;唐利和巴克利,《正常的暴政》2. Donley, <改变治疗师的形象>本文的进一步参考文献将在正文的括号内加以引用。参考书目卡罗尔·唐利。“改变治疗师的形象。”文学与医学10(1991):18-33。谷歌学者唐利,卡罗尔和谢丽尔巴克利。"正常的暴政"《文学与医学教学》,由安妮·汉萨克·霍金斯和玛丽莲·钱德勒·麦克泰尔编辑,163-74年。纽约:现代语言协会,2000。谷歌学者霍金斯,安妮·汉萨克和玛丽莲·钱德勒·麦克泰尔。文学与医学教学。纽约:现代语言协会,2000。版权所有©2023约翰霍普金斯大学出版社
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引用次数: 0
Paraphrasing Finitude: Seeking Refuge from Death in Thomas Bernhard's Wittgenstein's Nephew 释义有限性:在托马斯·伯恩哈德的《维特根斯坦的侄子》中寻求死亡的庇护
4区 文学 0 LITERATURE Pub Date : 2023-03-01 DOI: 10.1353/lm.2023.a911449
Madalina Meirosu
Abstract: Thomas Bernhard's novella Wittgenstein's Nephew is typically read as a quasi-memoir about Bernhard's relationship with Paul Wittgenstein, the nephew of the philosopher Ludwig Wittgenstein. But Bernhard is up to something else. The novella dramatizes the different ways that language and storytelling defend against anxieties associated with illness and mortality. Bernhard is able to show this defense mechanism at work while simultaneously crafting a broken narrative that tells a story of its own, a story of an illness that cannot be contained in usual narrative threads and that asks for new forms of storytelling. He thus reveals at once both the concealing and disclosive potential of language in the face of illness as he finds innovative ways to embody the experience of illness in the very fabric of the text.
摘要:托马斯·伯恩哈德的中篇小说《维特根斯坦的侄子》通常被解读为一部关于伯恩哈德与哲学家路德维希·维特根斯坦的侄子保罗·维特根斯坦关系的准回忆录。但伯恩哈德另有图谋。这部中篇小说戏剧性地展现了语言和故事讲述抵御与疾病和死亡有关的焦虑的不同方式。伯恩哈德能够展示这种防御机制在起作用的同时,创造一个破碎的叙事,讲述一个自己的故事,一个无法被常规叙事线索所包含的疾病的故事,这需要新的叙事形式。因此,他在面对疾病时同时揭示了语言的隐藏和揭露潜能,因为他找到了创新的方法,将疾病的经历体现在文本的结构中。
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引用次数: 0
Contributors 贡献者
4区 文学 0 LITERATURE Pub Date : 2023-03-01 DOI: 10.1353/lm.2023.a911454
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引用次数: 0
Recovering a Literary Legacy: The Life of Delores Phillips 《恢复文学遗产:德洛丽丝·菲利普斯的一生》
4区 文学 0 LITERATURE Pub Date : 2023-03-01 DOI: 10.1353/lm.2023.a911442
Delia Steverson
Recovering a Literary Legacy:The Life of Delores Phillips Delia Steverson (bio) In 2002, after suffering a heart attack, author Delores Phillips miraculously drove herself to a Cleveland hospital. Recovering from complications during her hospitalization, Delores later recalled to her only daughter, Shalana Harris, "Man, I should've died." But Shalana rebuffed, "No, there's a reason why you didn't die. You still have more life to live."1 Less than two years later, in 2004, Shalana's prophetic utterances appeared to be fulfilled when Phillips published The Darkest Child, the only novel she would publish in her lifetime. The story takes place in the fictional town of Pakersfield, Georgia, in 1958, and follows Rozelle Quinn—a resourceful yet cruel and manipulative mother—and her ten children as they attempt to reconcile generational trauma and escape racism and poverty in the Jim Crow south. The narrative is told through the lens of Tangy Mae, the titular "darkest" of all Rozelle's children, who believes that her education is the quickest pathway for fleeing her abusive household. The novel won the Black Caucus American Library Association First Novelist Award in 2005 and was short-listed for the Hurston/Wright Legacy Award that same year. With the reception of The Darkest Child, Phillips appeared to have a promising literary future. But after a short and brutal battle with pancreatic cancer, Delores passed away in relative obscurity at the age of 63 in 2014. I was introduced to The Darkest Child in 2017 by a friend and colleague who knew I was researching representations of disability in African American literature. She suggested that the novel—with its attention to a variety of human experiences, including deafness (one of Rozelle's children is deaf and creates her own form of sign language) and madness (there is debate if Rozelle is "mad" or just downright evil)—might be a rich text to enhance my scholarly pursuits. When I read the novel, I found it incredibly poignant, funny, hopeful, and tragic, all at the same time, and I was driven to find out more about this mysterious author. Much to my dismay, other than a short biography [End Page 45] in the back of the book, a bare Wikipedia page, and Phillips's obituary, there seemed to be no substantial information about this formidable artist. Thus armed with Phillips's obituary, I reached out to Shalana on Facebook—and surprisingly, she messaged me back. After a few months of communication, I flew to Cleveland, Ohio, where Shalana and Phillips's sister Linda Miller reside, to discover more about this amazing writer whom I never had the opportunity to meet. Opening their homes and their lives to me through several interviews—over Linda's homemade desserts and Shalana's tuna sandwiches—they shared honest and transparent details about their sister/mother. Over the years, we would sift through boxes of what we would determine were pages of Phillips's unpublished writings, which had been tucked away in Lin
2002年,在心脏病发作后,作家德洛丽丝·菲利普斯奇迹般地开车去了克利夫兰的一家医院。德洛丽丝从住院期间的并发症中恢复过来后,后来对她唯一的女儿沙拉纳·哈里斯(Shalana Harris)回忆说:“天哪,我真应该死了。”但沙拉纳拒绝了,“不,你没有死是有原因的。你还有很长的路要走。不到两年后的2004年,莎拉纳的预言似乎应验了,菲利普斯出版了《最黑暗的孩子》,这是她一生中出版的唯一一部小说。故事发生在1958年虚构的乔治亚州帕克斯菲尔德镇,讲述了罗泽尔·奎因——一位足智多谋却又残忍又爱操纵人的母亲——和她的十个孩子试图调和代际创伤,逃离种族主义和南方种族歧视的贫困。故事是通过唐吉·梅(Tangy Mae)的镜头讲述的,她是罗泽尔所有孩子中名义上“最黑暗的”,她认为自己的教育是逃离虐待家庭的最快途径。2005年,这部小说获得了黑人核心小组美国图书馆协会第一小说家奖,并于同年入围赫斯顿/赖特遗产奖。随着《最黑暗的孩子》的畅销,菲利普斯的文学前途一片光明。但在与胰腺癌进行了短暂而残酷的斗争后,德洛丽丝于2014年去世,享年63岁。2017年,一位朋友兼同事向我介绍了《最黑暗的孩子》,他知道我在研究非裔美国文学中的残疾表现。她建议说,这部小说关注各种各样的人类经历,包括耳聋(罗泽尔的一个孩子是聋子,她创造了自己的手语形式)和疯狂(罗泽尔是“疯狂”还是彻头彻尾的邪恶存在争议),这可能是一本丰富的文本,可以增强我的学术追求。当我读这本小说时,我发现它令人难以置信的尖锐、有趣、充满希望和悲剧,所有这些同时发生,我被驱使着去更多地了解这位神秘的作者。令我非常沮丧的是,除了书后面的一篇简短的传记(End Page 45)、一个光秃秃秃的维基百科页面和菲利普斯的讣告之外,似乎没有关于这位令人敬畏的艺术家的实质性信息。因此,拿着菲利普斯的讣告,我在facebook上联系了沙兰娜——令人惊讶的是,她给我回了信息。经过几个月的沟通,我飞往俄亥俄州的克利夫兰,沙兰娜和菲利普斯的妹妹琳达·米勒住在那里,去了解更多关于这位我从未有机会见到的了不起的作家的信息。通过几次采访,他们向我敞开了自己的家和生活——吃着琳达的自制甜点和沙兰娜的金枪鱼三明治——他们诚实而透明地分享了关于他们姐姐/母亲的细节。多年来,我们会在盒子里筛选菲利普斯未发表的作品,这些作品在琳达的阁楼里藏了很多年。当我们开始收集后来成为菲利普斯档案的东西时,包括她的电脑硬盘、杂志剪报、几百页的打字文件、日记、笔录和医疗文件,我了解到德洛丽丝毫无疑问不是一个一次性的奇迹。相反,她的文学生涯贯穿了她的一生,她写了十几首诗,一本短篇小说集《伦伍德圈故事》,在她去世时,她又写了两部小说,尽管尚未完成:《最黑暗的孩子》的续集《绊脚石》和一部独立小说《不寻常的雨》。这次调查之旅不仅是恢复她的文学遗产的关键一步,而且还揭示了她与慢性疾病、医疗种族主义和个人悲剧的复杂经历,这些经历突显了她的小说、公众形象和内心自我之间的和谐与紧张。Delores Faye Phillips于1950年出生在佐治亚州的卡特斯维尔。菲利普斯是砌砖工人莱尼·米勒(Lennie Miller)和家庭佣工安妮·露丝·班克斯(Annie Ruth Banks)四个孩子中的老二,她和家人住在这个乡村小镇的几个隔离区。德洛丽丝童年时受到安妮·露丝的启发,开始写诗。
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引用次数: 0
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LITERATURE AND MEDICINE
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