Architecture, City and Home: A Personal Narrative of a Globetrotter

Based on a narrative approach, this contribution analyses a personal life journey to discuss the relationships between architecture, city and home.

A Parodic Tale in “Sovy” (Soviet Texts) by D. Prigov

The article aims to study D. Prigovs series of prose texts Sovy (Soviet texts) artistic subtleties as a conceptualist work. The author of the article analyzes genre and style modifications owing to use of parodic stylization. The research exemplifies how a fairy tale, epic, legend, anecdote, hagiography are modified by the Soviet myth content, whereas creating a quasi-history. Historical characters, politicians, poets and writers, mythologized by ideology and commonplace consciousness in the Sovy, are presented as cultural and progenitor heroes. Life journey of characters, cultivated by the Soviet myth, is often depicted according to the hagiographic canon. The mask of a storyteller/propagandist is the starting point of folklore stylizations and parody imitations of the Soviet art in the Sovy series. Parodic tale was crafted by mimicking folklore and journalistic styles, their hybridization at the lexical-grammatical and rhythmic-syntactic levels. Styles, genres and masks mocking in D. Prigovs Sovy series is examined at the methodological perspective of text narratological analysis for the first time, thus emphasizing the studys novelty and relevance. The author of the article concludes that D. Prigov deconstructs Soviet mythologems, showcasing transformations of a myth to an anecdote, a famous name into an empty sign, a story into a simulacrum.

Self-Participation Experiences among Well-Adapted Hemodialysis Patients

A successful self-participation experience empowers patients to adapt to living with hemodialysis. However, few studies regarding the subjective experiences of such patient participation have been conducted. This study’s purpose was to describe hemodialysis patients’ perspectives on integrating hemodialysis into a new life regarding self-participation experience. A qualitative study using the grounded theory method was applied. Thirty-two well-adaptive hemodialysis Taiwanese patients attended in-depth interviews. “Integrating hemodialysis into a new life journey” was identified as the core category guiding the entire self-participation experience of hemodialysis patients. The three antecedent themes were “Sense of worthlessness”, “Life is still worth living”, and “Friendly and joyful atmosphere of the hemodialysis room”. Once the patients went through the three antecedent themes, they gradually began making efforts to participate more fully in their hemodialysis. Within this participation experience, the hemodialysis patients exhibited these four interactive themes: “Overcoming one’s predicament”, “Integrating self-care skills into my life”, “Resuming previous roles and tasks”, and “Adapting to independent living”. Finally, most adaptive patients master the hemodialysis life. Encouraging patients to discover that their life is worth living and providing a friendly and joyful atmosphere in hemodialysis units are the keys to facilitating patients’ self-participation more fully.

Nilai Pendidikan Karakter Motif Batik Dewa Ruci Karya Sapuan Ditinjau dari Perspektif Thomas Lickona

Dewa Ruci's Batik motif is the work of Sapuan a Junior High School (SMP) teacher from Pekalongan. Dewa Ruci is a unique batik work that represents the life story of the journey of Bima, a puppet character. The story of Bima's life journey visualized through this motif brings the value of character education which is full of goodness values. This research will examine the value of character education contained in the Batik Dewa Ruci motif in terms of the perspective of character education Thomas Lickona. The method used in this study is a qualitative descriptive method, using interview data with the creator of the batik to see the intrinsic motivation of the work, observations of the batik, and supported by library data. Data analysis uses a hermeneutic approach, which is interpreting the expressions that appear in the visuals of the batik. The results of the study show that the Batik Dewa Ruci by Sapuan contains the character values of Thomas Lickona's kindness, It is hoped that this research can inspire educators and artists, to be able to insert value of character education into works of art, and for readers to be able to understand the philosophical meaning of Dewa Ruci's batik.

Sacred Memories: Creative Art Therapy for Children in Grief

<p>This paper explores the creative opportunities children might have to attend to their emotions and feelings following the death of a parent, grandparent or close friend. It presents the position that often children are left out of the process of caring for an adult when they are terminally ill and that has long term psychological implications. It also suggests that this has antecedents for the white New Zealand culture that were noted historically. Hospice palliative care services in New Zealand identify the need to be proactive in their holistic care for the family when a person is dying and this care must include the family which invariably includes children. In this research the author describes a personal journey that has shaped her current work as a hospice practice manager. She has chosen to highlight a neglected aspect in services in New Zealand. The writer explores literature in psychological aspects of removing children from the dying room, creative therapies and the importance of sacred memories for the living child to be enfolded in through their life. The need to create memory that will embrace the child as a cloak enfolds them in their crisis stimulated the writer to offer a text in the personal narrative form. This text is presented in this form to enable other clinicians to access their own memories as survivors of grief in their own families. Through enabling children and family to explore the importance of relating in the palliative phase of a person’s life journey it is suggested that doors open that build good memories for the survivors. I regard my specific form of interest as pursuing the idea of building memory creative ‘corners’ and fun experiences for children at my work. The reasons why such an experience would be beneficial now and in the future for children and their families will be the focus for conducting my literature research. Children were important in the final days of her father’s life. He directed the family to accept the roles he saw would be theirs. Memories became their treasures.</p>

Sacred Memories: Creative Art Therapy for Children in Grief

<p>This paper explores the creative opportunities children might have to attend to their emotions and feelings following the death of a parent, grandparent or close friend. It presents the position that often children are left out of the process of caring for an adult when they are terminally ill and that has long term psychological implications. It also suggests that this has antecedents for the white New Zealand culture that were noted historically. Hospice palliative care services in New Zealand identify the need to be proactive in their holistic care for the family when a person is dying and this care must include the family which invariably includes children. In this research the author describes a personal journey that has shaped her current work as a hospice practice manager. She has chosen to highlight a neglected aspect in services in New Zealand. The writer explores literature in psychological aspects of removing children from the dying room, creative therapies and the importance of sacred memories for the living child to be enfolded in through their life. The need to create memory that will embrace the child as a cloak enfolds them in their crisis stimulated the writer to offer a text in the personal narrative form. This text is presented in this form to enable other clinicians to access their own memories as survivors of grief in their own families. Through enabling children and family to explore the importance of relating in the palliative phase of a person’s life journey it is suggested that doors open that build good memories for the survivors. I regard my specific form of interest as pursuing the idea of building memory creative ‘corners’ and fun experiences for children at my work. The reasons why such an experience would be beneficial now and in the future for children and their families will be the focus for conducting my literature research. Children were important in the final days of her father’s life. He directed the family to accept the roles he saw would be theirs. Memories became their treasures.</p>

P.137 A qualitative study of families’ experiences with medical assistance in dying (MAiD) in Nova Scotia

Background: MAiD became legal in Canada in 2015, with Bill C-14 delineating eligibility criteria and access. Previous research found families are intimately involved with decision-making, with conflicting perspectives on how they cope. Our study sought to learn about the experiences of family members, and determine what supports might be beneficial to improve MAiD delivery and aftercare. Methods: We conducted hour-long semi-structured interviews with 20 family members of individuals who had MAiD. Interviews took place by telephone or virtually via MS Teams, and transcripts were analyzed using an iterative coding process and thematic analysis. Results: Prominent themes emphasized the importance of respecting autonomy, decision-making, and allowing people to regain a sense of control, particularly with so much taken away. The death itself was described as peaceful. Interviewees were overwhelmingly filled with relief and gratitude for being able to respect the individual’s wishes. Interviewees spoke of importance of support for themselves, and the desire to build a network of individuals with similar experiences; to share their stories, grieve together, and support the next generation. Conclusions: These results will help improve MAiD delivery and aftercare in Nova Scotia, by informing, developing and enabling access to resources for individuals who accompany a family member on their end-of-life journey.

“The Star of Venusˮ in Russian poetry of the 20th century: mythopoetic symbolism

Being a part of the astronomical, temporal, anthropomorphic linguocultural codes, Venus as a celestial body has a significant place in the Russian verbal culture. This statement can be proved not only when analysing linguistic units, but also when referring to literary works, in particular to Russian lyric poetry. Twenty four poetic contexts, which include the image of Venus, have been analysed in the article (the works by Alexander Pushkin, Georgy Adamovich, Pavel Antokolsky, Leonid Martynov, Mikhail Zenkevich, Alexander Blok, Vyacheslav Ivanov, Nikolay Gumilyov, Marina Tsvetaeva, Fyodor Sologub, Mikhail Kuzmin, Georgy Shengeli, Ilya Selvinsky, Konstantin Simonov, Anatoliy Demyanov). The authors focus on the Russian 20th century lyric poetry because it is there that Venus appears as a star rather than a planet, and this corresponds to the archaic notions of this celestial body. Mercury and Mars are also called 'stars' in the 20th century poetry, but in a much smaller number of contexts than Venus. The authors come to the conclusion that Venus in Russian poets’ works can symbolise the onset of morning / evening, love, paradise, loneliness, fate, youth, old age, life journey. Moreover, Venus is included into poetic conceptions (it corresponds to the image of the Beautiful Lady in Alexander Blok’s poetry). The set of the above-mentioned symbolic meanings correlates with the archaic notions of Venus, widens them and makes the image of this celestial body mythopoetic.