Intraneural glomus tumor within digital nerve: a case report

A glomus tumor is a soft tissue tumor that arises from the glomus body, a peripheral organ responsible for temperature regulation of the skin. It accounts for about 1% to 5% of tumors occurring in the hand, is mainly located in the subungal, and is less than 1 cm in size. Diagnosis is mainly based on clinical symptoms, and the main symptoms are pain at the site of glomus tumor, pinpoint tenderness, and cold intolerance. The pain is severe and usually requires surgical resection, and the results of treatment are good with complete resection of the tumor. In this case report, the patient is a 37-year-old female who developed pain in the radial side around the proximal interphalangeal joint of the right second finger without any traumatic history. On physical examination and imaging, it was diagnosed as a glomus tumor of the digital nerve and resected. After surgery, the symptoms improved and there was no recurrence. A careful examination and accurate diagnosis and treatment are necessary for symptomatic masses.

A ‘Stain on Silence’: The Registration of Trauma in the Comics Memoirs of Alison Bechdel and Art Spiegelman

<p>The value of comics as a medium for serious literary expression, despite growing popularity and recognition, is still contested. Two of the most successful examples of the medium, Art Spiegelman’s Maus (1986 & 1992) and Alison Bechdel’s Fun Home (2006), use differing and similar strategies to narrate the transmission of trauma from parent to child. Maus records the testimony of Spiegelman’s survivor father’s experiences in hiding in Poland and in Auschwitz and Dachau, as well as the process of this testimony and the conflicted relationship between father and son. Fun Home’s traumatic history centres on Bechdel’s artistically ambitious father’s closeted affairs with teenage boys, and his overbearing influence on her own artistry and queer sexuality. This thesis tracks the narrative and graphic registration of trauma in these two memoirs, through their use of archival materials, consideration of the ethical problems of the representation of extremity and history, and treatment of narrative time.</p>

A ‘Stain on Silence’: The Registration of Trauma in the Comics Memoirs of Alison Bechdel and Art Spiegelman

<p>The value of comics as a medium for serious literary expression, despite growing popularity and recognition, is still contested. Two of the most successful examples of the medium, Art Spiegelman’s Maus (1986 & 1992) and Alison Bechdel’s Fun Home (2006), use differing and similar strategies to narrate the transmission of trauma from parent to child. Maus records the testimony of Spiegelman’s survivor father’s experiences in hiding in Poland and in Auschwitz and Dachau, as well as the process of this testimony and the conflicted relationship between father and son. Fun Home’s traumatic history centres on Bechdel’s artistically ambitious father’s closeted affairs with teenage boys, and his overbearing influence on her own artistry and queer sexuality. This thesis tracks the narrative and graphic registration of trauma in these two memoirs, through their use of archival materials, consideration of the ethical problems of the representation of extremity and history, and treatment of narrative time.</p>

Dub, Utopia and the Ruins of the Caribbean

The weathered stone, collapsed lintels and hollow roofs of the ruin have long evoked a sense of pathos, standing as monuments to the disastrous contours of history and the possibility of alternative futures. In this article, I ask: What is the meaning of the ruin in the postcolonial context of the Caribbean? There are few physical ruins in the Caribbean, resulting in a feeling of lack: the architectural landscape fails to speak to the catastrophes of slavery and colonialism. Dub, a subgenre of Jamaican reggae, responds to this sense of deprivation. The dub producers of the 1970s decomposed reggae songs, creating ruinous constructions where crucial elements of the original version are missing. Fragmented dub compositions act as icons of the traumatic history of the Caribbean and a utopian pique to the imagination, forcing the listener to fill in the gaps and imagine the world remade.

Narrating the Indescribable: Psycho-Traumatic Persona of the She in Rahimi’s The Patience Stone

The paper critiques Rahimi’s novel with reference to the representation of the traumatic experiences of the protagonist. Conversing with relevant postulates of trauma theory, the researchers have identified different dimensions of the excruciating encounters and, also, their ramifications. With the purpose to look for traces of both collective and individual trauma in the novel, the article negotiates the portrayal of the female character to expose multiple layers of the agony triggered by the sense of being victimized unjustly. The mere depiction of trauma is the problem with most literary narratives without shedding light on the healing process, despite the fact that theorists have engaged with the possible solutions for overcoming trauma. However, this novel is an exception that is why the recuperative aspect has been specifically focused. The analysis suggests that the novel is an attempt to give voice to the unspeakable, narrating the traumatic history, with the help of fiction because, in the Freudian idiom, telling a story is a ‘talking cure’ which helps in the healing process. Moreover, the act of narrating the traumatic history of a nation also proves to be palliative for the collective consciousness.

Making my bed : Tracey Emin's hysterical confessions of the abject

Tracey Emin's My Bed (1998) presents an alternative representation to normative notions of the body, offending hegemonic propriety so greatly that it caused a tabloid media sensation when it was shortlisted for the 1999 Turner Prize. Emin applies certain feminist notions as she continues the motif of the reclining nude, offering semiotic gestures that indicate evidence of the body rather that the body itself. My Bed is the site of trauma and disgust, with all of the abjection left intact, and above all, a self expressionist piece documenting her personal trauma. The expressionist qualities harkens back to cultural discourse of hysteria, reinforcing the legitimacy of the feminist lens. Hysteria is a performance that Emin represents through confessing her traumatic history. Like the archetypal reality television star, she confesses personal emotions and histories, but breaks the status quo by offering an alternative representation with the abjected authenticity of the bed.

Making my bed : Tracey Emin's hysterical confessions of the abject

Tracey Emin's My Bed (1998) presents an alternative representation to normative notions of the body, offending hegemonic propriety so greatly that it caused a tabloid media sensation when it was shortlisted for the 1999 Turner Prize. Emin applies certain feminist notions as she continues the motif of the reclining nude, offering semiotic gestures that indicate evidence of the body rather that the body itself. My Bed is the site of trauma and disgust, with all of the abjection left intact, and above all, a self expressionist piece documenting her personal trauma. The expressionist qualities harkens back to cultural discourse of hysteria, reinforcing the legitimacy of the feminist lens. Hysteria is a performance that Emin represents through confessing her traumatic history. Like the archetypal reality television star, she confesses personal emotions and histories, but breaks the status quo by offering an alternative representation with the abjected authenticity of the bed.

Re-membering Syria’s Traumatic Past: Gender, Poetics, and Loss in Manhal al-Sarrāj’s As a River Should

In a system where the state maintains a monopoly over historical interpretation, aesthetic investigations of denied traumatic memory become a space where the past is confronted, articulated, and deemed usable both for understanding the present and imagining the future. This article focuses on Kamā yanbaghī li-nahr (As a river should) by Manhal al-Sarrāj, one of the first Syrian novels to openly break the silence on the “1982 Hama massacre.” Engaging the politics and poetics of trauma remembrance, al-Sarrāj places the traumatic history of the city of Hama within a longer tradition of loss and nostalgia, most notably the poetic genre of rithāʾ (elegy) and the subgenre of rithāʾ al-mudun (city elegy). In doing so, Kamā yanbaghī li-nahr functions as a literary counter-site to official histories of the events of 1982, where threatened memory can be preserved. By investigating the intricate relationship between armed conflict and gender, the novel mourns Hama’s loss while condemning the violence that engendered it. The novel also makes new historical interpretations possible by reproducing the intricate relationship between mourning, violence, and gender, dislocating the binary lines around which official narratives of armed conflicts are typically constructed.

The Spontaneous Retropharyngeal Space Hematoma: How to Manage?

Introduction: Spontaneous Retropharyngeal Hematoma (SRH) is a rare affection which occurs without traumatism. Case report: A 68 years old woman brought to the emergency department with a cervico-thoracic swelling rapidly increasing in size without any previous traumatic history or anticoagulant medication. Complicated by dysphagia and dysphonia without signs of dyspnea. The clinical examination revealed a painful anterior cervico-thoracic swelling with an ecchymotic cupboard on it. Cervico-thoracic CT scan found a voluminous retro-pharyngeal collection, spontaneously hyperdense, extended to the oropharynx and antero-superior mediastinum without further lesions. Biological assessment was without abnormalities. The diagnosis of retropharyngeal hematoma was retained. The treatment was based on corticosteroids and antibiotics drugs with strict clinical and radiological monitoring. With conservative treatment, the evolution was favorable, marked by progressive regression of the hematoma until its disappearance and an absence of recurrence after a retreat of one year. Conclusion: The clinical presentation of a retropharyngeal hematoma out of an evocative context is misleading and lead to radiological investigation without delaying the treatment which varies from supervision to surgery according to respiratory status and evolution under strict control.