Re:visit. Humanities & Medicine in Dialogue (Journal)
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In conversation with ... Katharina Sabernig
No full textKatharina Fürholzer and Maria Heidegger in conversation with artist, physician and anthropologist Katharina Sabernig.Katharina Fürholzer und Maria Heidegger führen ein Gespräch mit der Künstlerin, Ärztin und Anthropologin Katharina Sabernig
Von Sinnen: Sinneswahrnehmungen, Experimentierkonsum und Biografie
No full textThe exploration of sensory worlds and sensory spaces has recently opened up new, exciting fields of research. During the 20th century, sensory impressions ‘manipulated’ by drugs and hallucinogens led artists and audiences alike to the limits of the comprehensible. The use of drugs also broke through the barriers of a legally ‘permitted’ sensory perception. This opened up spaces of the political, the religious, of escapism, and even neuroethics, for example in the context of experimental drug use. Life, moreover, consists of the perception and memory of the senses in space. Accordingly, the core question of the present article is when and how intoxication after regulated experimental drug use becomes effective by virtue of the senses in constructing space, but also biographically.Die Erkundung von Sinneswelten und Sinnesräumen hat in jüngster Zeit neue, spannende Forschungsfelder erschlossen. Im 20. Jahrhundert führten die durch Drogen und Halluzinogene "manipulierten" Sinneseindrücke Künstler*innen und Publikum gleichermaßen an die Grenzen des Fassbaren. Der Gebrauch von Drogen durchbrach auch die Grenzen der \u27legalen\u27 Sinneswahrnehmung. Dies eröffnete Räume des Politischen, des Religiösen, des Eskapismus und sogar der Neuroethik, zum Beispiel im Zusammenhang mit dem experimentellen Drogenkonsum. Das Leben besteht aus der Wahrnehmung und Erinnerung der Sinne im Raum. Dementsprechend lautet die Kernfrage des vorliegenden Beitrags, wann und wie der Rausch nach reguliertem experimentellem Drogenkonsum durch die Sinne raumbildend, aber auch biografisch wirksam wird
In conversation with … Daniel Laforest
Full text linkDaniel Laforest, Professor für Französische Literatur- und Medienwissenschaft spricht, unter anderem über Wert und mögliche Entwicklungen von Erzählungen im Kontext der gegenwärtigen Medical und Health Humanities. Daniel Laforest, Professor of French and Media Studies at the University of Alberta, talks, among others, about the value and the possible developments of narratives in the Medical and Health Humanities. The conversation was led by Katharina Fürholzer and Julia Pröll.
Who Cares? : Caring in Literature: the Ambivalence of Caregivers in the French Novel between 1870 and 1945
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Who takes care of whom? And who assumes caregiving responsibilities or medical care under what (work) conditions for children, the sick, and old, dependent individuals – i.e., for those groups identified as particularly vulnerable in care ethics? The research project, ironically titled À votre service (At Your Service or Always at Your Service), funded by the Canadian CRSH/SSHRC, is based, among other things, on these care-related questions. As specified in the project\u27s subtitle, its aim is to illuminate various aspects of caring for others/for oneself (self-care) from a historical perspective, using examples of fictional characters from French literature.Wer trägt Sorge für wen? Und um die Frage noch genauer zu formulieren, wer übernimmt unter welchen (Arbeits-)Bedingungen Fürsorgepflichten bzw. medizinische Pflege für Kinder, Kranke und alte, hilfsbedürftige Menschen, d.h. für diejenigen Gruppen, die in der Care-Ethik als besonders vulnerabel bezeichnet werden? Das vom kanadischen CRSH/SSHRC finanzierte Forschungsprojekt mit dem ironischen Haupttitel À votre service (deutsch: Zu Diensten bzw. Immer zu Diensten) beruht u.a. auf diesen Care-Fragen, um, wie im Untertitel des Projekts präzisiert, diverse Aspekte des Sorgetragens für andere/für sich selbst (self care) aus historischer Perspektive am Beispiel von Romanfiguren aus der französischen Literatur zu beleuchten
"Is Art also a Form of \u27Medicine\u27?": Contesting Classifications in Huang Yong Ping\u27s Art Installations
No full textHuang Yong Ping (黄永砯, b.1954 ˗ d.2019) sought, in his artworks, to criticize the art institution and to deconstruct dogmas concerning official art and art history in order to reform and democratize Chinese contemporary art. This often took the form of contesting established systems, orders and classifications through the use of divination, prophecy, chance and gambling. Becoming increasingly dissatisfied with the medium of painting because it did not represent adequately the realities of life, he shifted his practice to installation and performance art, a move that was reinforced by his immigration to Paris in 1989. While he experienced the ‘death’ of painting in China, his conceptual art was reinvigorated in France. The article explores three installations created in this ‘second stage’ of his life which engage in both form and meaning with imagery and theories relating to health, medicine and healing. They draw on Eastern principles, materials and objects, combining these with Western references in an effort to overturn conventional classifications of East and West, medicine and art. We examine the connections Huang makes between the roles of the artist, diviner and doctor and his belief in the potential for art to be medicine, after the language used by artists has been purged of its impurities – dominant discourses and restrictive ideologies. We consider, also, the importance Huang attributes to Chinese medical history, especially how it produces spatiotemporal incongruities when received by both a contemporary Chinese audience and a foreign public. This disruption of expectations extends beyond medical objects and images to art institutions themselves and we investigate, lastly, the way in which Huang brings ‘non-art’ objects into exhibition spaces, offering a possible corrective to West-centric histories of science and international art and to reductive comparisons between East and West that are anachronistic in our age of transnational modernity.Huang Yong Ping (黄永砯, b.1954 ˗ d.2019) sought, in his artworks, to criticize the art institution and to deconstruct dogmas concerning official art and art history in order to reform and democratize Chinese contemporary art. This often took the form of contesting established systems, orders and classifications through the use of divination, prophecy, chance and gambling. Becoming increasingly dissatisfied with the medium of painting because it did not represent adequately the realities of life, he shifted his practice to installation and performance art, a move that was reinforced by his immigration to Paris in 1989. While he experienced the ‘death’ of painting in China, his conceptual art was reinvigorated in France. The article explores three installations created in this ‘second stage’ of his life which engage in both form and meaning with imagery and theories relating to health, medicine and healing. They draw on Eastern principles, materials and objects, combining these with Western references in an effort to overturn conventional classifications of East and West, medicine and art. We examine the connections Huang makes between the roles of the artist, diviner and doctor and his belief in the potential for art to be medicine, after the language used by artists has been purged of its impurities – dominant discourses and restrictive ideologies. We consider, also, the importance Huang attributes to Chinese medical history, especially how it produces spatiotemporal incongruities when received by both a contemporary Chinese audience and a foreign public. This disruption of expectations extends beyond medical objects and images to art institutions themselves and we investigate, lastly, the way in which Huang brings ‘non-art’ objects into exhibition spaces, offering a possible corrective to West-centric histories of science and international art and to reductive comparisons between East and West that are anachronistic in our age of transnational modernity
In conversation with... Stefanie Jahn
No full textDr. Stefanie Jahn, Fachärztin für Anästhesiologie, spricht mit Maria Heidegger und Julia Pröll über die Bedeutung von Kunst und Kultur in der Schmerzbehandlung.Dr. Stefanie Jahn, specialist in anesthesiology, discusses the significance of art and culture in pain treatment with Maria Heidegger and Julia Pröll
The Mountain Man and the Politics of Pain: Dalit Personhood, the Caste System and \u27Scar Cultures\u27
No full textKetan Mehta’s 2015-film Manjhi: The Mountain Man tells the story of Dashrath Manjhi, a Dalit from a small village in Bihar, India. The villagers’ access to the closest hospital in Wazirgani, the nearest town is blocked by a nameless mountain, resulting in the death of the protagonist’s wife, Phaguniya. Phaguniya’s grieving husband copes with this loss by spending twenty-two years to single-handedly cut a road through the mountain.
In this paper, I will discuss Mehta’s film – which is based on real events – as an expression of what Pramod Nayar calls ‘scar cultures’. Here the mountain symbolises the protagonist’s grief and becomes a spatial signifier for India’s traumatic, post-colonial upheavals in general, and the realities of the caste system in particular. Mehta refuses to transform this tale of man versus mountain into a heroic biopic. While Manjhi’s struggles and the attendant goal exceed the ordinary, this character still appears marginalised and is used to shed a light on the pain on the Dalit community around him. He becomes a vehicle of representing those caught in the shadow of the caste pyramid. More importantly, The Mountain Mantells a painful narrative and depicts dissolving identities, cultural fragmentations, and social disruptions.Ketan Mehta’s 2015-film Manjhi: The Mountain Man tells the story of Dashrath Manjhi, a Dalit from a small village in Bihar, India. The villagers’ access to the closest hospital in Wazirgani, the nearest town is blocked by a nameless mountain, resulting in the death of the protagonist’s wife, Phaguniya. Phaguniya’s grieving husband copes with this loss by spending twenty-two years to single-handedly cut a road through the mountain.
In this paper, I will discuss Mehta’s film – which is based on real events – as an expression of what Pramod Nayar calls ‘scar cultures’. Here the mountain symbolises the protagonist’s grief and becomes a spatial signifier for India’s traumatic, post-colonial upheavals in general, and the realities of the caste system in particular. Mehta refuses to transform this tale of man versus mountain into a heroic biopic. While Manjhi’s struggles and the attendant goal exceed the ordinary, this character still appears marginalised and is used to shed a light on the pain on the Dalit community around him. He becomes a vehicle of representing those caught in the shadow of the caste pyramid. More importantly, The Mountain Mantells a painful narrative and depicts dissolving identities, cultural fragmentations, and social disruptions
A Book in Dialogue: Anita Wohlmann: Metaphor in Illness Writing. Fight and Battle Reused. (Contemporary Cultural Studies in Illness, Health and Medicine). Edinburgh: Edinburgh University Press, 2022.
No full textAnita Wohlmann hat ein bemerkenswertes Buch über die Metaphern ‚Kampf ‘ (fight) und ‚Schlacht‘ (battle) geschrieben, die als sprachlicher und bildhafter Ausdruck im Umgang mit schwerer Erkrankung häufig verwendet werden. Wir, Gabriele Werner-Felmayer, Biologin und Bioethikerin, und Ulrike Nachtschatt, Linguistin und Diversitäts- und Genderbeauftragte, beide an der Medizinischen Universität Innsbruck, haben es gelesen und darüber gesprochen.Anita Wohlmann has written a remarkable book about the metaphors \u27Kampf\u27 (fight) and \u27Schlacht\u27 (battle), which are frequently used as linguistic and figurative expressions in dealing with serious illness. We, Gabriele Werner-Felmayer, biologist and bioethicist, and Ulrike Nachtschatt, linguist and diversity and gender officer, both at the Medical University of Innsbruck, have read it and discussed it
Dental Medicine and the Oral in Contemporary German Literature: A Software-based Analysis at the Interface of (Oral-)Medicine and Literature
No full textDieser Beitrag zielt auf die Erfassung und Analyse von zahnmedizinisch relevanten Textstellen in mehr als 100 deutschsprachigen belletristischen Werken. Die Untersuchung von von über 15,000 Belegen und den darin enthaltenen Suchwörtern ermöglicht einen differenzierten Blick auf die Zahnmedizin als Thema der Belletristik. Die Zahnmedizin als Teildisziplin der Heilkunde und die im Fokus stehenden anatomischen Strukturen der Mundhöhle reflektieren in ästhetischer Hinsicht, funktionell wie pathologisch sowie in zahlreichen darüber hinaus gehenden Bezügen, eine besondere Disziplin. Orale und dentale Eingriffe und Erlebnisse greifen nicht selten schicksalhaft in unser Leben ein. Daher besitzen Zähne respektive das Orale eine weit über die Kaufunktion hinausgehende Bedeutung in der Gesellschaft. Mit Hilfe einer speziell zu diesem Zweck entwickelten Software zur Suche und Erfassung von zahnmedizinischen bzw. auf die Mundhöhle bezogenen Suchbegriffen in belletristischen Werken und einer eigens entworfenen Klassifikation zur daran anknüpfenden manuellen Codierung der Zitate inklusive der Suchworte, gelingt es, die Ergebnisse der Auswertung im Kontext der erweiterten Sinnhaftigkeit und Wertung der Literatur zu situieren.This paper aims to record and analyse passages relating to dentistry from over 100 works of German-language fiction. The analysis of more than 15,000 extracts and the search terms they contain provide us with differentiated insight into dentistry as a subject of literature and art. From an aesthetic, functional and pathological perspective, and in so many other ways, dentistry as a subdiscipline of medical science as well as the anatomical structures of the oral cavity are reflections of a very special field of expertise. Oral and dental interventions and experiences quite often have an impact on our lives and destinies. As a consequence, our teeth, and the oral sphere in general, carry meaning within society that goes far beyond the function of just chewing food. The image of the dental profession and the potential of oral power and strength have always been used in art and literature as a vehicle of transference and literarisation. The obsession with our teeth and oral cavities is a physical and psychological reflection of an evolutionary achievement that has taken on a special identity as part of the cultural evolution of our species. Within the connection between healing and behaviour, this identity is multifaceted and symbolises a variety of meanings, feelings and human traits. In this context, the basic dataset that underlies the scientific analysis of the topic consists of an individual corpus of contemporary literary fiction with citations of themes relating to both dentistry and the extended oral dimension. Using a software specifically designed to search for and record terms relating to both dentistry and the oral cavity in works of literary fiction as well as a classification developed for the purpose of manually coding the citations and search terms, the paper attempts to position the results of the analysis in terms of their extended meaningfulness and the valuation of literature within the paradigm of dentistry and the oral sphere in human existence
Editorial
Full text linkRe:visit geht in sein zweites Jahr und die Herausgeberinnen freuen sich, diesmal eine vorwiegend englischsprachige Ausgabe vorzulegen. Die Ausgabe widmet sich dem Thema Pain & Compassion, Ergebnis eines Forschungsprojekts mit dem Titel “Patients and Passions: Catholic Views on Pain in Nineteenth-century Austria”.
Abseits dieses hochaktuellen Schwerpunkts, verfügt die Zeitschrift erstmals über eine offene Sektion, die drei Beiträge, einen Bericht, ein Interview und eine Buchrezension (in Form eines Zwiegesprächs) beinhaltet. Re:visit celebrates its second year of publication and the editors are delighted to unveil an edition predominantly in English. This edition revolves around a thematic exploration of Pain & Compassion, a product of the research project “Patients and Passions: Catholic Views on Pain in Nineteenth-century Austria”. Beyond the thought-provoking focus of the thematic issue, this issue also introduces, for the first time, an open section with three original articles, a report, an interview and a book discussion