Alienation from self in "The Jewel in the Crown".
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There is a belief that a high percentage of male actors are homosexual. The specific linking of actors and homosexuality seems to have first appeared in the Elizabethan Puritan condemnations of the theater. Psychoanalytic theory has tended to further promulgate the linkage between effeminacy, homosexuality, and acting. An analysis of the relevant existing empirical literature indicates that few studies have addressed themselves to evaluating this relationship. Those studies supporting the effeminacy-actor relationship were seriously flawed both in design (e.g., use of indirect measures to infer homosexuality) and interpretation of the data. Only one study used direct measures of sexual orientation. Even though that study had methodological problems, its results indicated that the percentage of homosexuality among actors was not verifiably greater than that found in the general population. It is felt that the current belief of greater homosexuality in actors, as compared to the general population, is a product of our Puritan heritage, the actor's unconventionality, and of public flaunting of the homoerotic behavior of that portion of actors that are homosexual.
Lesbianism in China has a long but usually hidden history. This paper examines the historical and literary sources of the past to illustrate the history of lesbianism and then turns to a survey of lesbianism in the China of today. As in the past, lesbianism remains more or less hidden, and comes to light only occasionally. Data for contemporary China comes from a visit to an institution for delinquent young women, recent police records, and contemporary fiction. It has only been in the past 4 or 5 years that it was possible to talk about lesbianism and most lesbians are fearful of becoming identified.
The therapeutic purposes and effects of specially designed ceremonies in the treatment of persons with post-traumatic stress disorder are described. Ceremonies compartmentalize the review of the trauma, provide symbolic enactments of transformation of previously shattered relationships, and reestablish connections among family and with society in general. Four ceremonies used with Vietnam combat veterans are described which focus on the themes of separation from and return to the family, forgiveness of the living, and releasing the dead. Ritual and ceremony are highly efficient vehicles for accessing and containing intense emotions evoked by traumatic experience. Evaluation by family and veterans judge these ceremonies to be the most effective components of treatment.
Textual and contextual evidence suggests that the French king's fistula, a central plot device in Shakespeare's play All's Well That Ends Well, is a fistula-in-ano. Anal fistula was known to the lay public in Shakespeare's time. In addition, Shakespeare may have known of the anal fistula treatise of John Arderne, an ancestor on Shakespeare's mother's side. Shakespeare's use of anal fistula differs from all previous versions of the story, which first appeared in Boccaccio's Decameron and from its possible historical antecedent, the fistula of Charles V of France. This difference makes sense given the conventions of Elizabethan comedy, which included anal humor. It is also understandable when one looks at what wounds in different locations mean in European legend. In this light, it is not surprising that subsequent expurgations treat Boccaccio's and Shakespeare's fistulas differently, censoring only Shakespeare's. This reading has implications for the staging of All's Well That Ends Well, and for our view of the place of anal fistulas in cultural history.
The "Deutsche Gesellschaft zur Bekämpfung der Geschlechtskrankheiten" (DGBG) used plays as a means of public education. The play "Damaged Goods" (Les Avariés) by the French dramatist Eugéne Brieux (1858-1932) was used extensively for this purpose in Germany between 1910 and 1920. By proliferating a specific image of both the medical profession and the syphilis, it helped established the self-confidence of the then new dermatological discipline. The teaching of Alfred Fournier (1832-1914) provided the medical background for the play. In "The Inheritance of Syphilis" (1882) Fournier had laid the dramatic framework for Brieux' play. Analyzing the Berlin premiere of "Damaged Goods" on June 25 1913 in the German Theatre/Berlin, the interplay between scientific facts and theatrical license and their diverse influences on the public becomes obvious.
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Shakespeare is one of the great creators of human characters of the 16(th) century. Like for many of his contemporaries madness was a central topic of his work. The first part of this paper discusses the sociocultural environment and the semantic field of madness in the Elizabethan age, which forms the background for Shakespeare's characters. In the second part we try to analyze the clinical pictures of the fictive characters of Othello, Hamlet, Lear and Macbeth. While we find melancholy, delusions and hallucinations, other diseases such as schizophrenia are missing entirely. Schizophrenia only appears in the literature more than two hundred years later, in the beginning of modern age.
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Art forms (music, painting, sculpture, literature and theatre) are essential components in all social and human contexts. The role of art, in this case of theatre, is to express a visual event that aims to help the spectator identify himself/herself in the characters. The play presented here is "A...come non so" and shows the characteristic aspects of Alzheimer's disease from the first stage of the disease to the last stage: amnesia, aphasia, agnosia and apraxia. It tells the story of Carlo Pontercoli, a gerontologist and specialist in cardiovascular disease, who, while writing his paper on "The elderly and sexuality", manifests the first signs of the disease that killed his mother not so long before. The monologue aims to be a new contribution to the whole understanding of the problems concerning Alzheimer's disease through observation and visual communication of those problems.
The debate of whether body-mass index (BMI) or waist-to-hip ratio (WHR) is the primary visual cue to female physical attractiveness (FPA) has generated considerable interest. However, experiments addressing this question typically have limited ecological validity and do not capture the ultimate goal of FPA, which is to elicit male sexual arousal. Hence, using an unobtrusive measures design, we retrieved movie and magazine starring frequencies of 125 adult media actresses from a company's database, operationalized starring frequencies as FPA measures, and tested their relationship to actresses' anthropometric data. Low BMI was related to frequent movie starring, while WHR, waist-to-bust ratio (WBR), and bust size were not. Conversely, low WHR, low WBR, and larger bust size were related to frequent magazine starring, while BMI was not. Visual cues to FPA might be domain-specific, with androgenousness cues salient for attractiveness evaluation of moving bodies and curvaceousness cues salient for posing bodies.
Previous research has suggested that Mexican migrant farmworkers are at elevated risk for contracting HIV/AIDS and that they are in need of receiving HIV/AIDS-related education. The present study evaluated the impact of the Infórmate adolescent theater program on HIV/AIDS knowledge and attitudes among farmworker audience members of various ages. Audience members from 7 migrant farmworker camps completed a self-administered questionnaire before and after they observed the Infórmate performance. Paired-samples t-tests and McNemar tests indicated an increase in knowlege in "modes of HIV transmission," "body fluids that can transmit HIV," and items assessing HIV/AIDS "myths." In addition, a greater percentage of farmworkers at posttest reported that they believed that condoms should always be used during sex. The overall findings from this study suggest that theater can be an effective medium for increasing HIV/AIDS-related knowledge among migrant farmworkers. However, it is suggested that, because some farmworkers held false beliefs regarding modes of HIV transmission after viewing the theater program, theater used in combination with other prevention activities may provide for a more comprehensive educational experience.
Using the ideal of the puppet as model and foil, this article looks at ideas about presence, play, animation, and belief. Puppetry's role as a vital, theatrical form has deep roots in universal, cultural experience, and the notion of an inhering spirit that acts for and through image, idol, toy, or fetish is perhaps the central thread running through all attempts to represent and simulate animate life. Through a discussion of the phenomenology of the puppet--the source of its sensory, aesthetic, and metaphysical power--questions are raised about the projection of desire and purpose onto other transitional things, real and imagined.
Sleep disordered breathing has come to public awareness in the last 10 to 15 years. However, the roots of medical knowledge about sleep disordered breathing reach back several hundred years farther. Greek and Roman publications reported heavy snoring and breathing pauses as diseases that impaired social life. In our day, popular comic strip figures like "Obelix" remind us that the mysterious noise of heavy snoring has been nerve-racking to people since ancient times.
The "typhoid state" occurs classically with typhoid and typhus fevers but is also seen in other infectious diseases. Clinical descriptions of this state as "muttering delirium" or "coma vigil" refer to the peculiar preoccupied nature of the stupor. Picking at the bedclothes and at imaginary objects (carphology and floccillation) are characteristic, as is muscular twitching (subsultus tendinum). There is strong evidence that the death of Falstaff in Shakespeare's Henry V is a vivid description of the typhoid state.
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