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At least 937 records · Page 52Linked to original sources
PubMed1987

King Lear and some anxieties of old age.

The experience of ageing and the resulting emotional difficulties of elderly patients have only recently begun to be understood from a psychodynamic perspective. This paper draws on two sources, literary (Shakespeare's King Lear) and clinical (consultations with elderly patients in primary care) to highlight a fundamental anxiety of old age: the dread of being abandoned to a state of utter helplessness. This state is felt to be caused by the catastrophes of old age, such as stroke and dementia. The defence against this anxiety is often a narcissistic tyranny.

Aged↗
PubMed1986

Acoustical comparison of three theaters.

Three theaters, including both thrust stage and proscenium arch designs, are evaluated using acoustical measures not yet in common use. The unique characteristics of each theater are considered and include a partially covered orchestra pit and a music shell. A computer model is used to estimate the detrimental effects of excessive ceiling lighting holes.

Acoustics↗
PubMed2005

Team assembly mechanisms determine collaboration network structure and team performance.

Agents in creative enterprises are embedded in networks that inspire, support, and evaluate their work. Here, we investigate how the mechanisms by which creative teams self-assemble determine the structure of these collaboration networks. We propose a model for the self-assembly of creative teams that has its basis in three parameters: team size, the fraction of newcomers in new productions, and the tendency of incumbents to repeat previous collaborations. The model suggests that the emergence of a large connected community of practitioners can be described as a phase transition. We find that team assembly mechanisms determine both the structure of the collaboration network and team performance for teams derived from both artistic and scientific fields.

Astronomical Phenomena↗
PubMed1987

Sue's breast lump.

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Breast Diseases↗
PubMedDate not supplied

Death rates of characters in soap operas on British television: is a government health warning required?

OBJECTIVE: To measure mortality among characters in British soap operas on television. DESIGN: Cohort analysis of deaths in EastEnders and Coronation Street, supplemented by an analysis of deaths in Brookside and Emmerdale. MAIN OUTCOME MEASURES: Standardised mortality ratios and the proportional mortality ratio for deaths attributable to external causes (E code of ICD-9 (international classification of diseases, ninth revision). RESULTS: Staying alive in a television soap opera is not easy. Standardised mortality ratios for characters were among the highest for any occupation yet described (771 (95% confidence interval 415 to 1127) for characters in EastEnders), and this was not just because all causes of death were overrepresented. Deaths in soap operas were almost three times more likely to be from violent causes than would be expected from a character's age and sex. A character in EastEnders was twice as likely as a similar character in Coronation Street to die during an episode. CONCLUSIONS: The most dangerous job in the United Kingdom is not, as expected, bomb disposal expert, steeplejack, or Formula One racing driver but having a role in one of the United Kingdom's most well known soap operas. This is the first quantitative estimate of the size of the pinch of salt which should be taken when watching soap operas.

Adolescent↗
PubMed1999

Medical fiction.

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Drama↗
PubMed2006

Faints, fits, and fatalities from emotion in Shakespeare's characters: survey of the canon.

OBJECTIVES: To determine how often Shakespeare's characters faint, fit, or die from extreme emotion; to assess Shakespeare's uniqueness in this regard; and to examine the plausibility of these dramatised events. DESIGN: Line by line search through modern editions of these late 16th and early 17th century works for accounts of characters fainting, fitting, or dying while under strong emotion and for no other apparent reason. DATA SOURCES: All 39 canonical plays by Shakespeare and his three long narrative poems; 18 similar works by seven of Shakespeare's best known contemporaries. RESULTS: 10 deaths from strong emotion are recorded by Shakespeare (three occur on stage); all are due to grief, typically at the loss of a loved one. All but two of the deaths are in the playwright's late works. Some deaths are sudden. Another 29 emotion induced deaths are mentioned as possible, but the likelihood of some can be challenged. Transient loss of consciousness is staged or reported in 18 cases (sounding like epilepsy in two) and near fainting in a further 13. Extreme joy is sometimes depicted as a factor in these events. Emotional death and fainting also occur occasionally in works by Shakespeare's contemporaries. CONCLUSIONS: These dramatic phenomena are part of the early modern belief system but are also plausible by modern understanding of physiology and disease. They teach us not to underestimate the power of the emotions to disturb bodily functions.

Death, Sudden↗