Death Of Friend Research Articles

Mental health and smoking behavior

Smoking is a major public health concern with significant social and economic costs. A large literature has established that smoking behavior and mental health are correlated. This study considers the role of mental health in causing people to smoke, and examines how a specific traumatic event, a close friend's death, which negatively affects mental health, affects the tendency to smoke. The results show that good mental health reduces the probability of being a smoker. This conclusion is robust to various ways of addressing the endogeneity of mental health, including the use of both internal and external instruments, two-stage residual inclusion estimation, and dynamic panel methods. As such it underscores the power of people's mental health in shaping their smoking behavior.

A Friend's Death: C.S. Lewis' Disagreement with St. Augustine

Lewis did nothing to conceal his admiration of—and theological pedigree to—Augustine: as he wrote, Augustine “is a great saint and a great thinker to whom my old glad debts are incalculable.”3 This is why the only time he explicitly disagrees with Augustine on an important point concerning love, he does so “with trembling.”4 Lewis’ sentiments in having to disagree with Augustine may be comparable to Stanley Hauerwas disagreeing with Lewis. It is difficult, Hauerwas wrote, “to criticize a writer who has done so much good as C. S. Lewis.”5 The purpose of the present article is to evaluate the gentlemanly engagement between Lewis and Augustine.

Editor's Column

Editor's Column

Do young people prefer older psychotherapists?

In times of demographic change, psychotherapists tend to stay longer in their jobs. Against the background of two contradictory age stereotypes (wise/generous versus senile/outdated old person), this analogue study investigates young adults' preference for old over young psychotherapists, depending on presenting problem. In a within-subjects design, therapy-motivated young female participants (N = 79) received two kinds of hypothetical presenting problems, 'universal problems' (addressing fundamental questions of life virulent across the adult life span) and 'young problems' (life events that are developmentally close to and specific for young adulthood in today's world). For each presenting problem, participants were presented with two naturalistic photographs of an old (55 + years) and a young (< 35years) female psychotherapist; in a two-alternative forced choice decision task, participants were then asked to decide whom of the two psychotherapists they would prefer. Participants had neither an overall preference for old nor for young psychotherapists. As expected, we found a preference for old psychotherapists in case of 'universal problems' (friend's death, natural disaster, quarreling with one's past). In turn, a preference for young psychotherapists was observed in case of 'young problems' (cyberbullying, paternalizing parents, lovesickness). Effect size was medium-to-large. Organizations that provide services to younger people may want to inquire about a patient's preference about age of a therapist prior to treatment. As catering to patient's preferences for therapy has been shown to lead to better engagement and therapy outcomes, health care providers should try to meet the patient's needs.

James Wright: A Life in Poetry

James Wright: A Life in Poetry

Study on the 19(th) century puerperal fever epidemic: Semmelweis-an often neglected pioneer epidemiologist

Puerperal fever was a major cause of maternal death in Europe in the 19(th) century. Many efforts were made to investigate the cause of the epidemic but failed. In 1846, Semmelweis, a young obstetrician in Vienna General Hospital, started his historical investigation. His breakthrough was largely due to his doctor friend's accidental injury during autopsy and his consequential death. Semmelweis found the pathological findings in his friend's post mortem examination were very similar to puerperal fever. He postulated his friend's death might be caused by "cadaverous particles" from cadavers and further inferred that puerperal fever might also be caused by the cadaverous particles that doctors brought to the delivering women after autopsy classes. He advocated hand-washing with chlorinated lime solution to wash off those particles, which rapidly reduced the maternal mortality in his department by 80% (from 10.65% to 1.98%). However, what his unprecedented work brought him was only denial, mockery and career setback rather than support, honor and compliments. Under substantial psychological pressure, he had a mental breakdown and died in a psychiatry asylum at the age of 47. He was a pioneer in epidemiological investigations before John Snow and in aseptic techniques before Joseph Lister, but his work is still often neglected.

Abstract LB-83: Colorectal Cancer Coalition (C3) and Thomas P. O'Sullivan Foundation: Advocacy, Research Funding, and Education

Abstract Following the death of Doug Sharp's good friend, Tom O'Sullivan, in 2007, his widow and I established the Thomas P. O'Sullivan Foundation with the mission of raising funds for research and increasing public awareness and education about colorectal cancer. The foundation has held three annual golf tournaments which have collectively raised over $75,000. The foundation has provided funds to specific research projects at the University of Kansas Cancer Center. The Foundation is also tentatively funding an education day through the Kansas University Cancer Center in 2012 which will give doctors, scientists, staff and others a chance to speak and network with approximately 300 to 400 people who have an interest in colorectal cancer. Also, in 2012, the foundation is looking into funding a “Day at the Royals”_a major league baseball franchise in Kansas City, to increase education and awareness. Through his involvement in the fight against colorectal cancer following my friend's death, Mr. Sharp became involved in Colorectal Cancer Coalition (C3) in 2010. C3 is a national nonprofit advocacy organization whose mission is fight colorectal cancer through research, empowerment, and increased access to treatment. The Coalition was established in 2005 in order to provide focus, infrastructure and support to the growing colorectal cancer advocacy movement. Nationally headquartered near Washington, DC, the Coalition is the sole colorectal cancer advocacy organization focusing on providing a voice for patients in the Halls of Congress and in research centers and regulatory agencies throughout the country while working to educate patients and caregivers about the disease and empower them to be their own best advocate. Mr. Sharp attended C3's annual “Call on Congress” conference where he, alongside other advocates, was trained to lobby their member of Congress in Washington DC. The group specifically asked for support from the members on three legislative bills: HR 1330, the Colorectal Cancer Screening and Treatment Act; HR 1189, the Colorectal Cancer Prevention, Early Detection, and Treatment Act; and an increase in cancer research funding of $50 million for the fiscal year 2011 in the Department of Defense through an appropriations bill. Earlier this year, he was one of six individuals from across the country asked to serve on C3's Grassroots Action Committee (GAC). The GAC is a steering committee charged with growing the C3 advocacy's membership, increasing awareness for C3 activities &amp; goals, as well as organizing the 2011 “Call On Congress”. This year, advocates will be lobbying for the same pieces of legislation. In addition to those efforts, advocates will also be seeking support for a bill to issue a US Postage Stamp to bring about awareness and proceeds to fund colorectal cancer research. Citation Format: {Authors}. {Abstract title} [abstract]. In: Proceedings of the 102nd Annual Meeting of the American Association for Cancer Research; 2011 Apr 2-6; Orlando, FL. Philadelphia (PA): AACR; Cancer Res 2011;71(8 Suppl):Abstract nr LB-83. doi:10.1158/1538-7445.AM2011-LB-83

Hush (review)

Reviewed by: Hush Elizabeth Bush Eishes Chayil . Hush. Walker, 2010. [368p]. ISBN 978-0-8027-2088-7 $16.99 Reviewed from galleys R* Gr. 9-12. Best friends since forever in their tight-knit New York Chassidic community, Gittel and Devory are rambunctious girls fascinated by the forbidden life of neighboring gentiles, impishly pushing the limits of their ultra-Orthodox social boundaries, and running with ease among each other's large, welcoming families. In 2003, the year they turn ten, everything changes. Devory's older brother Shmuli, a devout and promising scholar, begins to sexually abuse his sister whenever he returns on a visit from school, and one night, when Gittel sleeps over, she witnesses the abuse but doesn't completely understand what she has seen. She does, however, fully understand why Devory begins acting out against her parents, withdrawing into books, and showing up on Gittel's doorstep in the middle of the night, and why, finally, she hangs herself in the bathroom of Gittel's home. The horror of her friend's death reverberates through to 2010, when Gittel, now married and sexually initiated, continues to be haunted by what she understands to be her failure to prevent the suicide, and she is determined to challenge her community's code of silence regarding sexual abuse. Writing under the pseudonym "Woman of Valor" translated into Hebrew, the author balances outrage at the routine cover-up of criminal acts with genuine understanding of the community's fear of assault on their traditions by censorious gentiles. Moreover, she delivers her central message in an engaging coming-of-age story in which tragedy is only one element in a gossipy milieu of school and career decisions and arranged marriages, designer shoes and tasteful cosmetics, and sneak peaks out from a world of restraint and devotion into the world of Oprah. Child predation sadly persists as a leading issue, and this title is a vivid reminder that no society is immune. [End Page 73] Copyright © 2010 The Board of Trustees of the University of Illinois

Robin Gorna takes the helm at the International AIDS Society

Robin Gorna takes the helm at the International AIDS Society

"good cursed, bouncing losses": Masculinity, Sentimental Irony, and Exuberance in Tristram Shandy

Unhappily, Sterne the man seems to have been only too closely related to Sterne the writer: his squirrel-soul leaped restlessly from branch to branch; he was familiar with everything from the sublime to the rascally; he had sat everywhere, and always with the same shamelessly watering eyes and play of sensibility on his features. If language does not start back at such a juxtaposition, he possessed a hard-hearted good-naturedness; and in the enjoyment of a baroque, indeed depraved imagination he almost exhibited the bashful charm of innocence. Such an ambiguousness become flesh and soul, such a free-spiritedness in every fibre and muscle of the body, have as he possessed these qualities perhaps been possessed by no other man. --Nietzsche, Human, All Too Human At the end of volume 1, chapter 12 of his comic masterpiece, Laurence Sterne famously confronts his readers with a page completely coated on both sides in pure black ink. The most memorable oddity in a book tilled with memorable oddities, the black page marks the first death in Tristram Shandy, that of Parson Yorick, Sterne's whimsical, laughter-loving innocent. All sail and no ballast, Yorick invariably lands into trouble by exposing, all too wittily, the scurrilous hypocrisies of his more serious superiors. According to Yorick, the authorities' grave deportment is best understood as a mysterious carriage of the body [designed] to cover the defects of the mind. (1) Eternally tempted to let loose with such witticisms by the shamelessly underhanded behavior all around him, Yorick acquires enemies even more quickly than he can produce bons mots, until at last the knaves confederate and exact their revenge by attacking Yorick in the press--slandering his character, questioning his faith, distorting his writings, trampling his learning, and burying every trace of his troublesome wit. Wearied by this war of words, Yorick finally threw down the sword; and though he kept up his spirits in appearance to the last,--he died, neverthe less, as was generally thought, quite broken hearted (TS 1:12.33). Alas, poor YORICK! Tristram cries (TS 1:12.36)--and then his startling gesture of absolute opacity. Haunting in its strangeness, Sterne's famous black page offers a particularly dense example of a rhetorical formation that I would like to call irony and sentimentality placed in a mutually constitutive, dialogical relationship. The black page's sentimental appeal both deepens and complicates--and is in turn deepened and complicated by--its ironic implications. An overflow of ink, the black page seems to record Tristram's overflow of feeling at Yorick's death. It is as if, overwhelmed by the task of conveying his sentiments on Yorick's demise, Tristram tries to say everything at once--and therefore can say nothing at all. The black page thus takes to its absolute limit the inexpressibility topos that is the hallmark of sentimental rhetoric: the formula words cannot convey what I then felt surely finds here its most extreme expression. And yet if the black page records all the things that Tristram can't quite say, it also registers all the things that Yorick's enemies actually did say. It is as if, outraged at the circumstances leading to his friend's death, Tristram has collected all the slanderous invectives published by Yorick's enemies and deposited them on one horribly inky page. In this light, the black page satirizes the workings of what Jurgen Habermas has dubbed the public sphere. (2) A synecdoche for all the ink shed in all the vicious logomachies of the world, the black page savagely ironizes the Enlightenment notion that public argumentation inevitably produces the truth. (3) Sentimental inexpressibility here reinforces and is reinforced by satiric irony. In this and other experiments with sentimental irony, Sterne not only hybridizes the satirical and the sentimental, arguably the two most important modes of writing in the eighteenth century; he also brings together a contradictory set of historically specific cultural associations, for the eighteenth century assigned the qualities of mind necessary for composing satire (learned wit, rational judgment, and fortitude of will) to the masculine domain, those necessary for producing sentimentality (naive emotionality, intuitive perception, and delicacy of feeling) to the feminine. …

Neural bases of situational context effects on social perception

Neural bases of situational context effects on social perception

Jane Eyre's American daughters: from The wide, wide world to Anne of Green Gables: a study of marginalized maidens and what they mean

Eyre's American Daughters is about the influence of Charlotte Bronte's romance on North American writers, including Susan Warner, Louisa May Alcott, Martha Finley, Frances Hodgson Burnett, Kate Douglas Wiggin, Jean Webster, Eleanor Porter, and L M Montgomery. John Seelye demonstrates that the reception of Bronte's Gothic romance in America was filtered through Elizabeth Gaskell's biography of the author, published shortly after her friend's death in 1855. A sentimental classic in its day, Gaskell's book promoted an image of Charlotte as a long-suffering creative genius with high moral standards. Her biography necessarily overlooked Bronte's obsessive love for her Belgian professor. Constantin Heger, an older and married man. Though Heger did not return Charlotte's affection, he was the model for the lovers in Bronte's novels, including the passionate, adulterous Edward Rochester, who inspired censorious reviews questioning the moral character of the author when Jane Eyre was published in 1847, a reputation that Gaskell's biography successfully countered.

Refiguring Authorship, Ownership, and Textual Commodities: Meridel Le Sueur's Pedagogical Legacy

n 1937 Meridel Le Sueur authored a textbook, Worker Writers, for use in writing classes she offered under the auspices of the Works Progress Administration in Minnesota. To illustrate for her students the basic principles of storytelling and narrative technique, Le Sueur included an annotated version of her short story, Biography of My Daughter. The story focuses on the firstperson narrator's visit to a state-run sanitarium to see a young friend, Rhoda. Upon arriving at the hospital, the narrator learns she has come too late: Rhoda has died. Although her friend's death will be officially attributed to tuberculosis, the narrator knows that months of anxiously searching for a job; of working sixteen hours a day when employment was to be had; and of standing in long relief lines when no jobs were available had punished Rhoda's body beyond repair. The narrator recognizes that Rhoda has died of starvation (29; all page numbers refer to the first edition of Worker Writers). As the narrator drives back to Minneapolis with Rhoda's grieving family, they pass through fields with round pumpkins [...] corn fattening, [and] melons like the crescent moons of the season (34). The abundance of the natural world stands in stark contrast to the privations known by Rhoda and other women like her during the Great Depression. From the narrator's perspective, a system of proprietary control of resources by private individuals has led to grotesque social inequities and created a world in which young women like Rhoda starve amidst abundance. In using Biography of My Daughter as an illustrative short story in Worker Writers, Le Sueur astutely highlights important tensions between public property and private ownership. For Le Sueur, a social activist and member of the Commu-

The Other Diana

This essay is written in memory of my friend and colleague, anthropologist Diana Elizabeth Forsythe, who predeceased Princess Diana by several weeks. News of my friend's death, memorials, and academic journals dedicated to her memory traveled by listservs and word of mouth. The San Francisco press also published an in-depth article about her. Word of Princess Diana's death was conveyed by a media-produced spectacle that spanned days and was broadcast throughout the world. Both women were mourned publicly but in rather different ways. In the course of unbraiding my own responses to each woman's death, I have reflected on Diana Forsythe's strategic use of her research to refract crucial moments and relationships in her life, our friendship, and the phenomenology of grieving.

Gender differences in clinical correlates of suicidality among young adults.

Gender differences were examined in risk factors for suicidality among young adult friends of suicide victims. Data were derived from a follow-up community survey of 76 members of the social network of 23 consecutive adolescent suicide victims 6 years after the friend's death. The Beck-Kovacs Scale for Suicidal Ideation was the outcome measure. Multiple regression analyses revealed aggression to have the only significant effect on suicidality among men, whereas depression and posttraumatic stress disorder had significant independent effects on suicidality among women. Results suggest that young adult men who are aggressive and female subjects with elevated symptoms of depression and/or posttraumatic stress disorder may be at increased risk of suicidality.

The Strange Death of Patroklos

The account of the death of Patroklos occupies a strategic position in the narrative economy of the Iliad: before this event, Achilles has withdrawn from combat out of indignation against Agamemnon; afterwards, his anger turns against Hector, whom he holds responsible for his friend's death. Achilles returns to battle and kills Hector in an act of vengeance that, as we have known from the beginning of the poem, will lead to his own demise, which is not actually recounted in the Iliad. This episode stands out because it is atypical both in the contents of the narration and in the means of expression used (what are generally termed “formulas”). I will give some examples of these oddities and then propose an interpretation. Here is the text, in the translation by Richmond Lattimore:So long as the sun was climbing still to the middle heaven, so long the thrown weapons of both took hold, and men dropped under them; but when the sun had gone to the time for unyoking of cattle, then beyond their very destiny the Achaians were stronger and dragged the hero Kebriones from under the weapons and the clamour of the Trojans, and stripped the armour from his shoulders. And Patroklos charged with evil intention in on the Trojans. Three times he charged in with the force of the running war god, screaming a terrible cry, and three times he cut down nine men; but as for the fourth time he swept in, like something greater than human, there, Patroklos, the end of your life was shown forth, since Phoibos came against you there in the strong encounter dangerously, nor did Patroklos see him as he moved through the battle, and shrouded in a deep mist came in against him and stood behind him, and struck his back and his broad shoulders with a flat stroke of the hand so that his eyes spun. Phoibos Apollo now struck away from his head the helmet four-horned and hollow-eyed, and under the feet of the horses it rolled clattering, and the plumes above it were defiled by blood and dust. Before this time it had not been permitted to defile in the dust this great helmet crested in horse-hair; rather it guarded the hear and the gracious brow a godlike man, Achilleus; but now Zeus gave it over to Hektor to wear on his head, Hektor whose own death was close to him. And in his hands was splintered all the huge, great, heavy, iron-shod, far-shadowing spear, and away from his shoulders dropped to the ground the shield with its shield sling and its tassels. The lord Apollo, son of Zeus, broke the corselet upon him. Disaster caught his wits, and his shining body went nerveless. He stood stupidly, and from close behind his back a Dardanian man hit him between the shoulders with a sharp javelin: Euphorbos, son of Pantho(s, who surpassed all men of his own age with the throwing spear, and in horsemanship and the speed of his feet. He had already brought down twenty men from their horses since first coming, with his chariot and his learning in warfare. He first hit you with a thrown spear, o rider Patroklos, nor broke you, but ran away again, snatching out the ash spear from your body, and lost himself in the crowd, not enduring to face Patroklos, naked as he was, in close combat.

Death and Adolescent Bereavement

The author reviews research conducted in the 1980s regarding death and adolescent bereavement. Prior to 1981 little research attention was given to this subject. A plethora of material has appeared since then, with attention paid to adolescents bereaved over (a) a parent's death, (b) a sibling's death, and (c) their own impending death. Adolescent bereavement over a friend's death has mostly been overlooked Research needs in this field of inquiry include (a) longitudinal investigations to study the trajectory of adolescent bereavement, (b) development of theoretical models to explain adolescent bereavement, and (c) integration with the traditional areas of adolescence inquiry, such as cognitive developmen4 moral reasoning, gender socialization, and identify formation.

Genetic basis of disease specificity of nondefective Friend murine leukemia virus.

I met Charlotte Friend just once. Sometimes it's intimidating to finally meet a scientist one has respected greatly from afar. Perhaps it's the fear that such a person will have no interest in you, or, worse, that he or she will turn out not to be as impressive as the work one has so long admired. Neither was the case with Dr. Friend. In the course of our meeting it was a pleasure to see so clearly and so quickly that Dr. Friend's revolutionary discoveries were no accident but the work of a brilliant and imaginative mind. On the personal level I had no doubt that we would become close colleagues and friends. Here I was wrong. Not long after our meeting I read of Dr. Friend's death in the New York Times. I still regret the loss of the friendship I had anticipated and also the missed opportunity to tell Charlotte Friend how much her courageous and independent life has meant to me.

Augustine: Search for a Fail-Safe God to Trust

At 21, Augustine suffered a wrenching grief pours out twenty years later in the pages of Confessions by far the most passionate paragraphs of this book with the same soul-searing intensity with which he had poured himself into the friendship now sundered He had invested himself totally with reckless abandon into fusion he had trusted: thought my soul and his soul were but one soul in two bodies (IV, 6). So yearning for intimacy he permitted himself to relish in it without reservation, Augustine had found himself kept on the boil by the heat of shared enthusiasms (IV, 42). And when the man, unnamed to us, except as a second self was snatched away (IV, 4), Augustine felt as hollowed as though his own soul had been lodged with the other and was now buried with the corpse, for it had been: My life was but a horror to me, because I would not live as but a half (IV, 6). carried about my pierced and bloodied soul, rebellious as being carried by me, but I could find no place where I might put it down ... All things grew loathsome ... except groans and tears (IV,7). God became But an empty phantom (Ibid). For that most dear one whom (my soul) had lost was more real and more good to her than God, whom Augustine now called a fantasy (IV, 4). Without the friend whom he had endowed with the power to endow daily events and daily scenes with meaning (I hated things, because they no longer held him (IV, 4), Augustine found his native town a torment and fled it, launching the spiritual pilgrimage took him, via Carthage and Rome, to the garden conversion in Milan a resolution, exactly ten years after the friend's death, which permitted a return to his native town, where he founded a religious community. I take his grief to be the clearest definition Augustine gives us of his tormented spiritual search telling us just how his heart is restless until it rests in You (I, 1). It is the vivid portrayal Augustine gives us of the religious quest. For something sternly unquenchable in the human breast yearns to lodge itself, vigorously, intensely, intimately, safely, yearns to trust. The soul strains to pour itself out but not upon the sand. The longing to become totally alive by becoming totally present, unreservedly committed to an other, all there in firmly reliable bond, to love God with the whole heart,

Pictures of Fielding

IF IT IS TRUE, as Addison observed in commencing The Spectator, a Reader seldom peruses a Book with Pleasure, 'till he knows whether the Writer of it be a black or a fair Man, Fielding's works have become classics of our literature despite a considerable handicap: we have had no very clear idea of how he looked. What were, literally, the aspect and complexion of the author of Joseph Andrews and Tom Jones, of Amelia and the stern social tracts of his last years? No contemporary portrait of him, it has seemed, survives: Hogarth's famous one (Fig. 1), served as the frontispiece to the so-called Murphy edition of Fielding's Works (1762), was produced from memory, and apparently with difficulty, nearly eight years after his friend's death. According to Murphy, Hogarth, when asked to draw the portrait, was unable to oblige, until a certain lady showed him a cutting she had made of Fielding's profile, which gave the distances and proportions of his face sufficiently to restore his lost ideas of him.1 Whether or not the lady in question was Fielding's acquaintance Margaret Collier, as Dobson and Cross believed, this story-published by the editor of the Works while Hogarth was still living-is not improbable; whereas another account, propagated by Garrick, is clearly preposterous. Long after Hogarth's death Garrick told Fielding's translator, Pierre Antoine de la Place, that he had appeared to the painter disguised as Fielding's ghost, intending, successfully as he claimed, to terrify him into drawing the picture.2 This yarn, with little need for embellishment, was later made into a one-act comedy entitled Le Portrait de Fielding (1800), by Alexandre Joseph Pierre de Segur.