Dancing in War. Perception of Theater in Wartime Sarajevo: Pippo Delbono, Giorgio Strehler and Peter Schumann

„When I went to Sarajevo, I met a boy“, Pippo Delbono tells us. They talked, and suddenly the boy told him, „I saw an entire city in anger. I’ve seen people become monsters“. And Delbono replied, „And I’ve seen people look at me like I’m a monster. And all the things that turn into monstrosity“. Traveling, for Delbono, is a life experience that turns into a theatrical one at the same time. In 1998, Delbono created a play called War. The story of the boy he meets during his trip to Sarajevo is an introduction to Delbono’s magical world of theater through which he expresses the need to present a life that is born from suffering, illness, war, but in which we still „dancing“. Danzare nella guerra, „dancing in the war“, for Delbono means to oppose the war to the beauty, joy, and poetics of the movement. In 1995, Strehler directed a play called Mother Courage of Sarajevo based on the text written by Bertolt Brecht. For Strehler, Mother Courage of Sarajevo is not just a play, it is a symbol, a political act that portrays war as a human failure. Strehler based his vision of theater on Brecht’s epic theater. One year before, in 1993, with his puppet troupe, The Bread and Puppet, Peter Schumann came to Sarajevo to provide his support. In the first place, we want to show how Delbono’s conception of theater and experience during his trip to Sarajevo intertwine with the primary goal of Sarajevo theater in those years, as „spiritual resistance“, „spiritual needs“, „call to heal wounded souls“, a „super theater“, as Izudin Bajrović calls him, in which theater and life were the same. Through Strehler’s theater, his relationship with Sarajevo, and the breaking of the „fourth wall“, we will talk about theater as research of those eternal human values, but also returning to humane theater. In the third place, through Schumann’s work, we will show how the external theatrical reality intertwines with the internal one as a feature of strong political engagement.

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Being parent of a child with congenital heart disease, what does it mean? A qualitative research

BMC Psychology ◽

10.1186/s40359-021-00539-0 ◽

2021 ◽

Vol 9 (1) ◽

Author(s):

Nahid Dehghan Nayeri ◽

Zahra Roddehghan ◽

Farzad Mahmoodi ◽

Parvin Mahmoodi

Keyword(s):

Congenital Heart Disease ◽

Heart Disease ◽

Congenital Heart ◽

Healthcare Professionals ◽

Life Experience ◽

The Body ◽

Spiritual Needs ◽

Structured Interviews ◽

Financial Condition ◽

Data Saturation

Abstract Background Childbirth is one of the invaluable human experiences and is associated with parental happiness. However, when a child is born with congenital heart disease, it creates emotional and mental distress. As a result, it changes the parents’ response to their child birth. Exploring parenthood experiences add to the body of knowledge and reveal new perspectives. In order to make healthcare professionals able to support these children and their families, they should first understand the meaning of this phenomenon. This study aimed to explore the meaning of parenting a child with Congenital Heart Disease in Iran. Methods A qualitative study was adopted with a conventional content analysis approach and constant comparative analysis. Participants in this study were 17 parents, including parents of children with congenital heart disease who were selected by purposeful sampling method. Semi-structured interviews were used for data collection and continued to data saturation. Data were analyzed via MAXQDA 10 software. Results Four categories and twenty three subcategories emerged as meaning of parenting a child with Congenital Heart Disease. Categories include “Emotional breakdown”, “The catastrophic burden of care”, “Spiritual beliefs of parents” and “The hard road” Conclusions Fully understanding the life experience of these families will allow the implementation of targeted health interventions. Hence, by understanding the meaning of parenting a child with Congenital Heart Disease, healthcare professionals can asses parents emotional statues, information and spiritual needs, financial condition, insurance and marital status using CHD standards so that support is individualized, sensitive and time appropriate.

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Can Sustainable Consumption Trigger Political Activism? An Empirical Investigation of the Crowding-in Hypothesis

Sustainability ◽

10.3390/su12219082 ◽

2020 ◽

Vol 12 (21) ◽

pp. 9082

Author(s):

Frédéric Vandermoere ◽

Robbe Geerts ◽

Raf Vanderstraeten

Keyword(s):

Political Action ◽

Sustainable Consumption ◽

Positive Association ◽

Political Engagement ◽

Political Activism ◽

Future Research ◽

Media Activism ◽

Online Forms ◽

Political Act ◽

Political Actions

In this article, we address the question whether political activism can be triggered by sustainable consumption. Specific attention is given to the crowding-out and crowding-in hypotheses. The first hypothesis is driven by a conflict view as it assumes that sustainable consumerism displaces the willingness to act collectively. In contrast, the latter hypothesis—crowding-in—frames conscious consumption as a potential political act whereby individual sustainable consumption may trigger political acts such as signing a petition, demonstrating, and voting. To address this issue, German survey data were analyzed (n = 936). Our analysis appears to confirm the crowding-in hypothesis. However, the results of multiple logistic regression analyses also show that the relation between sustainable consumption and political activism depends on the type of political action. Particularly, sustainable consumption does not relate to traditional political actions such as voting, but it does relate positively to less conventional (e.g., attending a demonstration) and online forms of political engagement (e.g., social media activism). Our findings also indicate that the positive association between sustainable consumption and less conventional politics may be moderated by educational attainment, suggesting that it is weakest among less educated groups. The paper ends with the empirical and theoretical conclusions that can be drawn from this study, and indicates some directions for future research.

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Shame as an Interpersonal Dimension of Communication among Doctoral Students: An Empirical Phenomenological Study

Journal of Phenomenological Psychology ◽

10.1163/156916292x00036 ◽

1992 ◽

Vol 23 (1) ◽

pp. 30-49 ◽

Cited By ~ 6

Author(s):

Halina Ablamowicz

Keyword(s):

Doctoral Students ◽

Phenomenological Study ◽

Life Experience ◽

Human Life ◽

Conscious Experience ◽

Research Literature ◽

Phenomenological Method ◽

Verbal Protocols ◽

Human Failure ◽

Interpersonal Dimension

AbstractCurrent conceptions of shame emphasize its negative communication value as a phenomenon of conscious experience. A tendency in our contemporary society is to view this phenomenon as an extremely disparaging and undesirable experience that every person should avoid or eliminate. It has become a cultural norm now that shame, perceived as human failure or sickness, is to be rejected, hidden, and not discussed. It is believed to stand in the way of personal progress and self-realization. The research literature mirrors not only the lack of interest in understanding but the ignorance of this central-to-human-life experience. The present study examines the meaning and communicative structure of shame through an application of the phenomenological method of Merleau-Ponty and Lanigan. My analysis is grounded in empirical phenomenology and focuses on meaning as reflected in verbal protocols. The results obtained dispel the misleading notion of shame as primarily a negative, to-be-avoided experience. Rather, reflection on the empirical data indicates that the subjects do not adopt the negative theoretical model of shame but accept it as a universal positive experience of communication that is fundamental in their self-improvement process.

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Spirituality and end-of-life experiences: Meeting the spiritual needs of the dying

Spirituality and Mental Health Across Cultures ◽

10.1093/med/9780198846833.003.0025 ◽

2021 ◽

pp. 413-434

Author(s):

Peter Fenwick ◽

Bruno Paz Mosqueiro

Keyword(s):

End Of Life ◽

Spiritual Care ◽

Life Experience ◽

Scientific Evidence ◽

Spiritual Needs ◽

Spiritual Experiences ◽

Life Care ◽

Practical Guidance ◽

To Receive

Most patients in palliative care report that it is very important to receive health care that is respectful, compassionate, and culturally sensitive to their spiritual needs. Providing spiritual care to people approaching the end of life and understanding that their mental and spiritual experiences constitutes a key aspect to providing a more effective treatment and quality of life at this moment. End-of-life experience (ELE) provide comfort, and represents a source of spirituality and meaning to the dying. Spiritual experiences also give hope, meaning, and strength to family members and healthcare professionals dealing with terminal conditions and suffering. This chapter reviews the scientific evidence about ELEs and discusses the potential clinical implications of these experiences to healthcare practice. Different patients’ vignettes are presented to illustrate and provide practical guidance to understanding and addressing ELE and spiritual care in end-of-life care settings.

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Mobilising Maurya: J. M. Synge, Bertolt Brecht and the Revolutionary Mother

10.3366/edinburgh/9781474424462.003.0005 ◽

2018 ◽

Author(s):

Susan Cannon Harris

Keyword(s):

New York ◽

New York City ◽

Soviet Union ◽

Spanish Civil War ◽

Bertolt Brecht ◽

Modern Drama ◽

Epic Theater ◽

The Soviet Union ◽

The Impact ◽

Special Case

This chapter examines the impact on modern drama of the establishment of the Soviet Union, through in-depth investigation of a special case: Bertolt Brecht’s transformation of J. M. Synge’s 1904 Riders to the Sea into a 1937 Spanish Civil War play called Señora Carrar’s Rifles. Synge and Ireland were not, for their own sakes, important to Brecht; he was drawn to Riders as a model which might help him solve the problem of how to radicalise the working-class mother. After the disastrous 1935 production of Brecht’s The Mother by the New York City-based Theatre Union, Brecht concluded that the technical demands of epic theater were beyond the capacity of these amateur ensembles. Synge’s unusual treatment of maternal grief in Riders helped Brecht envision a means of producing the effects of epic theater while using the techniques of realism. Helene Weigel’s performance as Teresa Carrar was crucial to his later thinking about acting and spectator emotion. Re-presenting Maurya’s refusal to grieve for Bartley in both Senora Carrar’s Rifles and Mother Courage helped Brecht refine his understanding of alienation in ways which made epic theater more pleasurable for spectators without requiring Brecht to acknowledge that pleasure as a desired effect.

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THE LIFE EXPERIENCE OF PATIENT CHRONIC KIDNEY UNDER HEMODIALYSIS TREATMENT AT BANDAR LAMPUNG ADVENTIST HOSPITAL

Abstract Proceedings International Scholars Conference ◽

10.35974/isc.v7i1.901 ◽

2019 ◽

Vol 7 (1) ◽

pp. 99-115

Author(s):

Ernawaty Siagian ◽

Enni Junia Habeahan

Keyword(s):

Kidney Failure ◽

Life Experience ◽

Sampling Technique ◽

Chronic Kidney Failure ◽

Maintenance Hemodialysis ◽

Role Function ◽

Hemodialysis Treatment ◽

One Year ◽

The One ◽

Patients Experience

Chronic Kidney Failure (CKD) is a global health problem that shows a very high mortality rate. The one of the treatments in patients with chronic kidney failure is hemodialysis. Hemodialysis (HD) is very important for patients with chronic kidney failure because hemodialysis is uses to sustain life for people with chronic kidney failure and can prevent death but hemodialysis will not cure the kidney disease itself. Patients with chronic renal failure should undergo lifelong hemodialysis therapy. Patients’ experience under hemodialysis therapy is very phenomenal because have a number of important problems both physically and psychologically as the effect of hemodialysis therapy. The objective of the research was to find out the life experience of patients chronic kidney failure under hemodialysis treatment. The research was a phenomenological descriptive study. The data were gathered by conducting in-depth interviews. The samples were 5 people, they were 3 male and 2 female, participants age ranged between 25- 60 years, with duration of received maintenance hemodialysis least one year. The samples taken by using purposive sampling technique. The interview was conducted at the hemodialysis room in Bandar Lampung Adventist Hospital. The result of the interviews was analyzed by using Creswell method. It was found that there were eight categories. The categories found in this research are cognator, regulator, role function physiological-physical, change of self-concept, role function, interdependence, development of self-efficacy and adaptive. The life experience of patients with chronic kidney failure and the coping mechanism they use is a way to develop knowledge in treating patients with chronic kidney failure comprehensively.

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Corta! A diáspora da imaginação cinematográfica e a heterogênese entre técnica, estética e política

AVANCA | CINEMA ◽

10.37390/avancacinema.2020.a139 ◽

2021 ◽

Author(s):

Leonardo da Silva Souza

Keyword(s):

Burkina Faso ◽

Political Engagement ◽

Caste System ◽

African Society ◽

African Cinema ◽

Political Act ◽

Relations Of Power

Rabiger and Hurbis-Cherrier published a chapter whose title is related to other discussions about cinema: Who can invoke the term ‘Cut!’? To deal with a question like that, it is essential to return to the foundations that contextualize filmmaking as a political act, and not only aesthetic or technical, wich is full of colonial relations of power. Considering the colonial forces that have tensioned, and still tension the environment of work and creation in cinema, the filmmaking process can be understood through a diasporic act of imagination, which goes through procedures of work, aesthetic proposals and political contexts in which the movie lies. In this sense, the Cinema Novo in Brazil, the Modern Cinema and African cinema, present themselves as references of an independent and decolonial filmmaking that shares an act of freedom: the heterogenesis that permeates technique, aesthetic and politics. As an example, we take the role of a griot author, realizing a comparison between filmmaking and a popular figure in the caste system of African society, taking notes about the film Impasse, by Issa Saga, a short filmmaker from Burkina Faso. The term author-griot proposes political engagement, not only through thematic treatment, but also in the subversion of production modes. Thus, broadening the scope of the question posed by Rabiger and Hurbis-Cherrier, about film directing and the power of interruption delegated to the role of the director, we seek to redirect the debate, shedding light less on movie directing but more on the direction of the cinema.

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