Articulating Health Humanities in Graphic Narratives by Medical Illustrators

Author(s):  
LISA DeTORA ◽  
THOM GIDDENS
Author(s):  
Lisa Detora

Using a theoretical model of “articulation” gleaned from the rhetoric of health and medicine, this chapter situates graphic narratives by medical illustrators against two strains of health humanities: medical education and humanistic inquiry. It might seem that medical illustration, itself a hybrid discipline that bridges art and medical science, would de facto account for both registers of health humanities, yet the reality is more complex. Ultimately, medical illustrators operate within their own rich traditions. Thus, work like Héloise Chochois’ La Fabrique Des Corps: Des Premièrs Prostéhses à l’Humaine Augmenté (2017) or Kriota Willberg’s The Wandering Uterus (Furor Uterensis) and Contemporary Applications of Ancient Medical Wisdom (2016) present a fertile ground for building an understanding of graphic narrative and medicine that extends beyond the experiences of illness that characterize most current understandings of Graphic Medicine.


Author(s):  
Mark Vonnegut ◽  
Arthur W. Frank ◽  
David H. Flood ◽  
Rhonda L. Soricelli ◽  
Lisa Keränen ◽  
...  
Keyword(s):  

Author(s):  
Jason Tougaw

This chapter examines a small number of recent graphic brain narratives that experiment with novel methods of visualizing the brain—including David B.’s Epileptic, Ellen Forney’s Marbles, and Matteo Farinella and Hana Ros’s Neurocomic. Tougaw argues that these narratives both draw from and challenge cultural responses to high-profile neuroimaging techniques, including PET and fMRI. Graphic narratives are a subcultural genre celebrated for their rebellious aesthetics and emphasis on narratives that challenge mainstream social and political assumptions. Brain scanning technologies are highly specialized tools that have revolutionized brain research and gained considerable mainstream attention. The mainstreaming of these technologies oversimplifies the images they produce, creating a widely held sense that they offer direct access to the brains they visualize. By contrast, graphic narratives put heavy emphasis on the aesthetic process involved in their making of brain images. While careful not to minimize these differences, the chapter argues that key similarities between neurocomics and neuroimaging techniques can be a means for clarifying the roles played by the sciences and the humanities in the cultural laboratory of contemporary neuromania.


2021 ◽  
Author(s):  
Lauren Sinnenberg ◽  
Craig A Umscheid ◽  
Frances S Shofer ◽  
Damien Leri ◽  
Zachary F Meisel

BACKGROUND The use of graphic narratives, defined as stories that use images for narration, is growing in health communication. OBJECTIVE The aim of this study was to describe the design and implementation of a graphic narrative screensaver (GNS) to communicate a guideline recommendation (ie, avoiding low-value acid suppressive therapy [AST] use in hospital inpatients) and examine the comparative effectiveness of the GNS versus a text-based screensaver (TBS) on clinical practice (ie, low-value AST prescriptions) and clinician recall. METHODS During a 2-year period, the GNS and the TBS were displayed on inpatient clinical workstations. The numbers of new AST prescriptions were examined in the four quarters before, the three quarters during, and the one quarter after screensavers were implemented. Additionally, an electronic survey was sent to resident physicians 1 year after the intervention to assess screensaver recall. RESULTS Designing an aesthetically engaging graphic that could be rapidly understood was critical in the development of the GNS. The odds of receiving an AST prescription on medicine and medicine subspecialty services after the screensavers were implemented were lower for all four quarters (ie, GNS and TBS broadcast together, only TBS broadcast, only GNS broadcast, and no AST screensavers broadcast) compared to the quarter prior to implementation (odds ratio [OR] 0.85, 95% CI 0.78-0.92; OR 0.89, 95% CI 0.82-0.97; OR 0.87, 95% CI 0.80-0.95; and OR 0.81, 95% CI 0.75-0.89, respectively; <i>P</i>&lt;.001 for all comparisons). There were no statistically significant decreases for other high-volume services, such as the surgical services. These declines appear to have begun prior to screensaver implementation. When surveyed about the screensaver content 1 year later, resident physicians recalled both the GNS and TBS (43/70, 61%, vs 54/70, 77%; <i>P</i>=.07) and those who recalled the screensaver were more likely to recall the main message of the GNS compared to the TBS (30/43, 70%, vs 1/54, 2%; <i>P</i>&lt;.001). CONCLUSIONS It is feasible to use a graphic narrative embedded in a broadcast screensaver to communicate a guideline recommendation, but further study is needed to determine the impact of graphic narratives on clinical practice.


2018 ◽  
Vol 11 (2) ◽  
pp. 221-237 ◽  
Author(s):  
Courtney Donovan ◽  
Ebru Ustundag

In this paper, we explore the relevance of graphic novels to understanding and responding to the complex nature of traumatic experiences. We argue that graphic narratives of trauma, which combine visual images and written text, significantly differ from biomedical and legal accounts by presenting the nuances of traumatic experiences that escape the conventions of written testimony. Building on the literature that integrates social justice concerns with visual methods and graphic medicine, we contend that graphic narratives effectively convey the complexities of traumatic experiences, including embodied experiences that are not always apparent, intelligible, or representable in written form, leading to greater social recognition of the dynamics and consequences of trauma. To illustrate this claim, we analyze Una’s Becoming Unbecoming (2015), a graphic novel that explores themes relating to trauma and social justice. Una relies on the graphic medium to explore the interconnections between personal and collective experiences of gender-based violence, and to show how physical embodied experience is central to her own experience of trauma. Graphic narratives like Becoming Unbecoming also offer a space for addressing the emotional, physical and financial costs of survivorship that usually are not available in legal written testimonies, potentially leading to better justice outcomes for trauma survivors in terms of social intelligibility and recognition, and access to social resources for healing.


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