Journal of Medical Humanities最新文献

Attention is essential to the practice of medicine. It is required for expert and timely diagnoses and treatments, is implicated in the techniques and practices oriented toward healing, and enlivens the interpersonal dimensions of care. Attention enables witnessing, presence, compassion, and discernment. The French philosopher and activist Simone Weil (1909-1943) developed one of the most original and important descriptions of attention in the last century. For Weil, attention is not an attitude of strained focus but of perceptive waiting that leads to the acquisition and integration of knowledge. Contrary to activities often foregrounded in clinical medicine, it requires renunciation of the will, gentle directedness toward the origin of actions, and diminishment of the self. This paper critically examines Weil's concept of attention as it applies to health systems, technical/intellectual work, and interpersonal care, as well as its connection to theology, and considers whether attention might find a home within the contemporary clinic.

This article discusses the complexity of the relationship between “law,” “science,” and “clinical practice” in the age of COVID-19.

From Italian physician Hieronymus Mercurialis’s contention that the stomach was ‘the king of the belly’, to its promotion by the end of the nineteenth century to the ‘monarch of humanity’ in patent medicine, to Byron Robinson’s discovery of the enteric nervous system in 1907 (a mesh of neural connectivity that led him to dub the gut ‘the second brain’), there has historically been a longstanding awareness of the expansive reach of the gut in the functions of the body. In the nineteenth century, the authority of the gut and its allyship with the brain became a focus for writers thinking about the intersections of illness and ‘modern life’. In medical texts, domestic health manuals, patent medicine, and fiction, the electric telegraph in particular became a way of envisaging what we would now call the ‘gut-brain axis’. The telegraphic metaphor enabled a view of digestion as not simply a mechanical or chemical process, but one that was understood in terms of time, space, and communication. However, such a framework also suggested problems of connection that were common to both systems, emphasising not only the healthy body’s quasi-telegraphic networks but also its vulnerability to delay, disruption, and pathological incoherence. This article will explore the use of telegraphic technologies as proxies for theorising gastric connection and more broadly the concept of ‘gastric time’ as a key conceit for understanding digestion as a process that was and is subject to the idiosyncrasies of bodily rhythms.

This essay examines the breast cancer accounts of four Arab female celebrities who have spoken out in public about their illness experience: the Egyptian TV presenter Basma Wahba and the actress Yasmine Ghaith, the Iraqi actress Namaa al-Ward, and the Lebanese pop singer Elissa. By reading their testimonies against the backdrop of critical literature on illness narratives and memoirs, as well as on cancer narratives and activism, the essay asks: how are the accounts of these women’s cancer diagnosis and treatment disclosed and described? In what medium do they communicate and circulate their breast cancer experiences? What significance do these public disclosures have on challenging and breaking the Arab taboo of cancer? In conclusion, the essay argues that these women’s willingness to share their stories in public constitutes an important form of multimedia activist intervention—visual, sonic, and performative—that is playing a key role in the development of a breast cancer movement.

Despite the emerging evidence base to support the therapeutic potential of creative writing and poetry for a variety of mental health problems, the therapeutic potential of poetry for people who have experienced psychosis remains poorly understood. The paper argues that by considering psychosis as meaningful poetics, this epistemological shift has the potential to foster curious inquiry and increase opportunities for meaningful dialogue. The paper introduces and explores the concept of the ‘poetic wavelength’, building on the previously established notion of the psychotic wavelength, which proposes that others need to ‘tune in’ to what is being communicated through psychosis. The concept of the poetic wavelength suggests that the reading and writing of poetry may support this process of ‘tuning in’ both for those experiencing psychosis and those working therapeutically with them.

In a widely cited 2017 study, Robinson et al. (2017) found that 'emotionally expressive' writing makes physical wounds heal faster when compared to writing that did not engage the emotions. The Writing Long COVID project at Aberystwyth University engaged similar territory in a recent pilot study. Participants' writing activities explored how literary production can affect a person's experience of this new chronic condition, as well as contribute to our understanding of its symptoms. In this short essay, I show how we designed a course of short-duration online workshops that increased accessibility for people with Long COVID-related fatigue. I also argue that future Long COVID creative activities should let their timing, venue, content, and structure be influenced by the preferences of the Long COVID patient. The preliminary study suggests that the traditional parameters of the writing workshop, including its duration, could deter participation in potentially beneficial creative activities.

This article engages with the immuno-political juxtaposition of the healthy self and the pathogenic other to critically examine the representation of Nazis and Jews in Art Spiegelman's Pulitzer Prize-winning graphic novel Maus (1996). Written as a postmemory narrative, Maus recounts the horrors experienced by the author's father Vladek Spiegelman as a survivor of the Holocaust that claimed an approximate six million Jewish lives. Beginning with the years leading up to World War II, Spiegelman's novel reimagines the discrimination, dislocation, and dehumanization suffered by Vladek and his family at various prison camps in Nazi-occupied Poland before being transferred to Auschwitz. Deploying an immuno-political reading of Maus, this article investigates how the Third Reich undertook a systematic extermination of the Jewish race by construing them as immunological nonself or pathogenic others. It further argues that Nazism's fantasy of constructing a racially aseptic German identity by eradicating the Jews as vermin or parasites was reinforced by the late nineteenth-century eugenicist ideologies of racial hygiene. This article finally considers how policies of excessive immunization that was deployed by Nazi biopolitics against the Jewish community, as well as exercised by the Jews to survive the Holocaust, eventually assumed the form of an autoimmune pathology that culminated with the attempted destruction of the entire medico-juridical infrastructure of the German Reich on the one hand and the fostering of suicidal tendencies by the Jewish survivors on the other.

In this narrative essay, a happenstance encounter with a journal article rekindles the author's intense memories of a cardiac resuscitation 25 years earlier during internship. Recollections of observations, emotions, and professional interactions around this event prompt reflection about the painful experiences from training that remain seared into memory and the value of  these formative moments across a professional lifetime.