Sense Of Entrapment Research Articles

A descriptive and interpretive theory of ethical responsibility in public health nursing.

This article presents a descriptive, interpretive theory of ethical responsibility in public health nursing. The theory is based on qualitative empirical studies, a purposeful literature review and meta-ethnography of public health nurses' experiences of ethical responsibility, interpreted within a philosophical framework. Levianasian philosophy provides the main direction for the authors' interpretations. The path for theory development consists of three phases: an inspirational phase, an explorative phase and the third phase 'joining the dots'. The theory illustrates that ethical responsibility in public health nursing is related to the life existentials of temporality and human relationships. Due to blurred boundaries in these essential life structures, public health nurses can experience a sense of satisfaction but also worries, uncertainties and loneliness. The study reveals paradoxical connections between fear and courage, and between freedom, autonomy and a sense of entrapment in responsible relationships. The authors purport that the results of this study are relevant for education and practice and can provide direction for further studies on developing theories of ethical responsibility in other nursing specialities.

Relationship between COVID-19 Anxiety, Professional Self-Efficacy, and Sense of Entrapment

Relationship between COVID-19 Anxiety, Professional Self-Efficacy, and Sense of Entrapment

Practising “Cruel Optimism”: Eight Months on Ghazzah Street by Hilary Mantel

The essay “Practising ‘cruel optimism’: Eight Months on Ghazzah Street by Hilary Mantel” delves into Mantel’s novel through the lens of Berlant’s concept of cruel optimism. Berlant’s construct, rooted in the pursuit of conventional notions of a fulfilling existence, highlights the protagonists’ endeavors in Saudi Arabia as a postcolonial adventure bound to end in disillusionment. Mantel’s portrayal of Frances Shore and her husband Andrew illuminates the tension between their aspirations for financial security and the disconcerting realities of cultural displacement and legal constraints under Sharia law. The city’s architecture mirrors Frances’s sense of unease, resembling oppressive structures associated with fascist regimes. The portrayal of Jeddah’s construction environment, echoing totalitarian aesthetic reminiscent of fascist regimes, serves as a compelling allegory for Frances’s sense of entrapment within a society where her agency is circumscribed by gendered and legal strictures. Casting Frances as a contemporary iteration of the Gothic heroine ensnared within her domicile, Mantel explores the disjuncture between the alleged benevolence of religious doctrine and the punitive nature of its legal apparatus. Frances’s interrogation of this dissonance not only underscores the pervasive nature of cruel optimism but also hints at the inherently paradoxical nature of faith systems that simultaneously offer solace and impose constraints. Through its fluid engagement with concepts of cruel optimism, urbanity, and gender dynamics, the essay invites readers to contemplate the multifaceted interplay between individual aspiration and systemic coercion within the affluent and autocratic socio-cultural landscape.

The experience of loneliness among international students participating in the BBC Loneliness Experiment: Thematic analysis of qualitative survey data

Loneliness is associated with poor mental and physical health in the general population. It is thought to be prevalent among international students, but few studies have investigated this. To capture what loneliness means in the everyday lives of international students we analysed data from 521 international students aged 16–40 years who participated online in the 2018 British Broadcasting Corporation (BBC) Loneliness Experiment. Using the approach of thematic analysis of free‐text responses to a question probing the perceived meaning of loneliness, we identified six main themes: (1) Negative psychological and social aspects of loneliness; (2) The distressing experience of being alone; (3) Disrupted ability to make meaningful connections; (4) Sense of entrapment in a state of loneliness; (5) Awareness of others’ stigmatizing perceptions of oneself as lonely; (6) Perceptions of positive aspects of loneliness. These findings identified a range of negative social and psychological dimensions of loneliness in international students in relation to their well-being, emotional health, and social functioning, hampering the benefits to be gained from their overseas study. Higher education teaching staff, pastoral staff, and mental health professionals need to be more aware of the prevalence and impacts of loneliness and should tackle it in culturally appropriate ways.

Global and local possible selves: Differentiated strategies for positional competition among Chinese university students

AbstractThe term neijuan (in English ‘involution’) has captured feelings of perpetual competition and anxiety among university students in China preparing for their post‐graduation careers. In this article, we develop a neo‐Weberian reading of neijuan to construct a framework using positional conflict theory and the concept of ‘possible selves’. We investigated how final‐year university students from three social class factions—rural, urban non‐elite and urban elite—envisage, plan and strategise for their future careers. We draw on in‐depth interviews (n = 100) and a post‐graduation survey (n = 97) with students at two public universities, one elite and one lower‐tier, in a metropolitan city in Guangdong province. The findings underscore marked differences in the nature and clarity of students’ envisaged future selves along the lines of social advantage and disadvantage. We demonstrate how social class is deeply connected to the scale of the competition—national or global—that students perceive themselves to be implicated in. In doing so, we draw attention to social class differences in expressions of and capacities to realise what we term ‘globally orientated possible selves’, which involved escaping both the sense of entrapment and the prospect of failure evinced by neijuan.

King John

Reviewed by: King John Gemma Miller King JohnPresented by the Royal Shakespeare Company at The Swan Theatre, Stratford-Upon-Avon. 09 24, 2019- 03 21, 2020. Directed by Eleanor Rhode. Design by Max Johns. Lighting Design by Lizzie Powell. Music composed by Will Gregory. With Rosie Sheehy (King John), Bridgitta Roy (Queen Elinor), Charlotte Randle (Constance), Michael Abubakar (The Bastard), Tom McCall (Hubert), David Birrell (King of France), Katherine Pearce (Cardinal Pandulph), and others. Although King Johnhas a far patchier performance history than many of Shakespeare's plays, particularly in the past one hundred years, it is not difficult to see its contemporary relevance. From fake news to breaks with Europe, broken vows to divisive politics, this is most certainly a play that speaks to Britain in the twenty-first century. Director Eleanor Rhode and designer Max Johns gave their 2019/20 production for the Royal Shakespeare Company a 1960s aesthetic of clashing colors which gradually descended into a darker, more medieval feel throughout the second half. This collision of historical settings simultaneously conveyed a sense of timelessness while also suggesting that the post-war boom was a high point in history—one from which we have seen an unstoppable decline ever since. The play opened with a hungover King John (Rosie Sheehy) staggering across the stage shading his eyes and wincing. From a transistor radio nestled between two old-fashioned dial telephones, the clipped voice of a reporter announced news of an impending war with France. John broke a raw egg into a tall glass, topped it up with tomato juice, stirred it vigorously, and drank it down whole. As he slammed the empty glass down onto the table, his courtiers entered dancing exuberantly, seemingly oblivious to threats of a "fierce and bloody war" (1.1.17) from Europe. This opening sequence was a riot of sound, provided by a live five-piece band, vibrant costumes, and psychedelic lighting that established John's rule as one of complacency and decadence. [End Page 259] The set was dominated throughout by a large tapestry hanging over the back wall depicting John at its center, besieged by threats from all sides. It was a historical patchwork of mafia-styled men toting machine-guns, Elizabethan archers wearing pantaloons, a particularly grumpy looking Plantagenet lion, and Chinook helicopters. The aesthetic was a similar pastiche of styles—think the Bayeux tapestry crossed with Grayson Perry. Above the center of the thrust stage was suspended a large metallic coronet with a fleur-de-lys pattern repeated around its circumference. At first the coronet hung unobtrusively over the stage, but as parley descended into physical conflict, it was periodically lit from within with a bloody red light. This was particularly effective when it coincided with lines such as Blanche's "The sun's o'ercast with blood" (3.1.326). The coronet descended in the second half to hang a foot above the stage, functioning as an increasingly insistent and repressive symbol of violence. The blinding of Arthur, which opened the second half, was played out inside the lowered crown. Nurses wearing surgical masks lit candles around the top of the coronet which created flickering shadows around the darkened stage. As Hubert, similarly styled in a hospital white coat, carefully selected implements from a trolley and approached the boy, the coronet added to Arthur's sense of entrapment in a most sinister way. John's claim that his order to murder Arthur was inspired by Hubert's "abhorred aspect" (4.2.224) was literalized by having half of Hubert's face marked with burn scars. He was, like Arthur himself, a victim scarred by tyranny and trapped in the play's harsh and unremitting power struggles. The blinding scene excepted, much of the violence underpinning the play was presented in a farcical way. The initial confrontation between France and England began as a dance-off and then transformed into a boxing match, with foam fingers liberally distributed among the audience. The citizens of Angers, three women positioned on a balcony at the back of the stage, tucked into popcorn as they enjoyed the spectacle. At Blanche and Lewis's wedding, Anglo-French relations broke down...

Masturbation, modernity, and the Swiftian diagnosis re-examined

ABSTRACTThe opening reference to masturbation in Jonathan Swift’s Gulliver’s Travels (1726) provides evidence of not only an embedded cultural commentary on the masturbatory tendencies of modernity but also specific contempt for the novel as a masturbatory literary form. The same point is made elsewhere in Swift’s poetry and his parody of the erotic scene of female masturbation that continued to be a staple of amatory fiction. Yet the same body of writing reveals Swift’s recognition that he too was guilty of producing literary fuel for masturbation, as were the Ancients themselves whose works continued to invite a sexualized response from readers. As such, Swift reveals an ironic point of agreement with female authors of amatory fiction such as Delarivier Manley and Eliza Haywood, who represent instances of the poetry of the Ancients being put precisely to this use, providing tacit excuse for their own erotically charged writing. In his later notorious diagnosis of Swift as a chronic masturbator literary physician Thomas Beddoes is arguably responding at least in part to Swift’s own sense of entrapment within masturbatory modernity.

The Suicidal Vision Towards Autonomy in Marsha Norman's ‘Night, Mother’

لقد انبثقت رؤيا حديثة في مسرح الثمانينات من القرن العشرين كان هدفها دحر حس الاسر الذي عاشه انسان العصر الحديث وفي محاولة للارتقاء بارادته وحرية الاختيار نحو الانعتاق من محاولات المصادرة الفظة لها. وبالرغم من افتراض هذه الرؤيا انها ذات طابع سلبي, الا ان رؤيا الانتحار قدعدت بانها قادرة على ان تجعل في متناول يد الانسان احساسا طموحا بالتحكم على الاقل بنوع النهاية التي يكتبها لحياته. وقد انعكست هذة الرؤيا التحكمية بشكل اساسي تقريبا في الشخوص النسوية في مسرحيات العقود الاخيرة من القرن العشرين وكما هو الحال في مسرحية الكاتبة مارشا نورمان, "عمتِ مساءاً, أًمي".
 ان هذه الدراسة تقتفي اثر رؤيا الانتحار التي سعت نحوها امرأة الاربعين عاماً والتي قد صودراحساسها بهويتها وذاتها الحقيقية ليس بسبب امها وحسب وانما بسبب كل عالمها الذي من حولها.لقد حاولت هذه المراة احياء رؤيا رومنطيقية تجذرت على الوجه الاكمل في علاقتها مع ابيها الراحل في محاولة لاستعادة الصلة بينها وبين ذاتها المستقلة.

Moral injury, suicide ideation, and behavior among combat veterans: The mediating roles of entrapment and depression

Combat veterans have been identified as a major at-risk group for suicide. Moral injury (MI) experiences have recently been acknowledged as significant stressful combat events that may lead to psychopathology, such as suicidal ideation and behaviors (SIB). In this study, we aimed to examine to what extent potential MI events may comprise risk factors for SIB and to explore the mediating role of the entrapment experience in this relationship. A sample of 191 Israeli combat veterans (Mage = 25.39, SD = 2.37) completed validated self-report questionnaires in a cross-sectional design study. All potential MI experiences were significantly related to SIB levels among veterans. Moreover, self- and betrayal-based MI experiences were significantly associated with sense of entrapment, which subsequently was associated with high levels of SIB. The integrative model indicated that entrapment and depression served as mediators in the association of MI-SIB. Even years after their release from military service, veterans exposed to potential MI experiences may still feel consumed by their painful memories and still have premonitions of a foreshortened future. Thus, they are more prone to SIB as well as to other mental health problems.

Selling bubbles at sea: pleasurable enclosure or unwanted confinement?

ABSTRACTThe insularity of super-sized cruise ships is simultaneously part of their appeal and a problem. Seagoing tourism enclaves offer a world of fantasy, consumption, familiarity, and diversion. However, problems encountered by passengers with respect to seasickness, boredom, and a sense of entrapment are noted within a range of publications. Selling the desirable aspects of cruise-ship enclosure co-exists with attempts to address the unease, discomfort, and uncertainty associated with bounded domains. These two currents, to use a nautical metaphor, characterize – or steer – the way in which shipboard experiences are sold to passengers. The concept of place marketing can be related to the thrust of the currents. Place marketing has been widely addressed in relation to urban and rural areas but not tourism enclaves such as cruise ships. The insular cruise-ship environment – a contained, consumption-driven place – is sold to (prospective) passengers in different ways. Those who study place marketing have yet to address dissimilar, but complementary, promotional messages (or currents) that are used to sell resort-style environments. Commercial imperatives explain the actions of cruise-ship companies with respect to selling the enclosed nature of their vessels, especially to North American consumers. The way in which place marketers manage place-based images – a response to intensified intercity or inter-town competition – mirrors the careful management of the promotion of shipboard spaces, often a response to intense competition within the cruise industry and part of initiatives designed to attract first-time passengers. This study addresses a research question: How are different but congruous promotional messages deployed as part of efforts to sell shipboard spaces?

Heterotopic Enclosures: Mexican National Spaces in Luis Buñuel’s El ángel exterminador and Juan Rulfo’s Pedro Páramo

This article analyses the subversive depiction of Mexican ‘national spaces’, such as homes, churches, and cemeteries, in Luis Buñuel’s El ángel exterminador (1962) and Juan Rulfo’s Pedro Páramo (1955). Although both of these artists have been studied in considerable depth, a detailed comparison of their works remains to be carried out, particularly with respect to their innovative approach to spatiality. Both Buñuel’s film and Rulfo’s novel feature key physical and conceptual spaces which enclose and imprison their characters and I seek to link this sense of entrapment to a critique of nationalist cultural hegemony. The analysis will be carried out by applying Foucault’s (1986) concept of the heterotopia along with Lefebvre’s (1991) idea of ‘national space’. This new research will contribute towards a deeper understanding of spatiality in mid-twentieth century Mexican Modernism and a greater awareness of the myriad links between these two experimental artists.

Remote Islands as Fictional and Metaphorical Places in Cervantes, Fletcher and Shakespeare

Islands have always occupied a significant place in literature and have been a source of inspiration for the literary imagination. Fictional islands have existed as either lost paradises, or places where law breaks down under physical hardships and a sense of entrapment and oppression. Islands can be sites of exotic fascination, of cultural exchange and of great social and political upheaval. However, they are more than mere locations since to be in a place implies being bound to that place and appropriating it. That means that the islands narrow boundaries, surrounded by the sea and cut off from mainland, can create bridges between the real and the imaginary as a response to cultural and social anxieties, frequently taking the form of eutopias/dystopias, Edens, Arcadias, Baratarias, metatexts, or cultural crossroads, deeply transforming that particular geographical location. This article is concerned with insularity as a way of interrogating cultural and political practices in the early modern period by looking at the works of Cervantes, Fletcher and Shakespeare where insular relations are characterized by tensions of different sort. The arrival of Prospero and Miranda, Periandro and Auristela (The Trials of Persiles and Segismunda), and Albert and Aminta (The Sea Voyage) to their respective islands take us to a different world, revealing different political and cultural interests and generating multiple perspectives on the shifting relationship between culture, society and power.

„Twardego snu pieczęcie”. Świat dziwów w „Zaklętym mieście” Edwarda Leszczyńskiego

The article offers an analysis and interpretation of the poem Zaklęte miasto [Enchanted city] from the volume Ballady i pieśni [Ballads and songs] by the Young Poland poet Edward Leszczyński. The poem is first analysed based on the oneiric convention. For this purpose the author refers to the philosophy of Arthur Schopenhauer and explains the symbolism of the wheel, which indicates the sense of entrapment in the world, a situation with no way out. The dreaming-wandering from Leszczyński’s poem, the gaining and losing of faith, is then examined in the context of August Strindberg’s A Dream Play. The two works, ostensibly so different, address with a similar kind of poetic “dreaming.” In both cases, the life in question is inauthentic, asleep, affected by a curse, kept under a spell. The last stanza of the poem indicates the Dionysian tradition, and therefore makes it necessary to refer to the philosophy of Friedrich Nietzsche and his idea of eternal return. The examination lead to the conclusion that Leszczyński’s work refers to the dual meaning of circularity, or rather two attitudes towards life. In the first case Schopenhauerian determinism is revealed, according to which life is a monotonous, enchaining, ominous dream. In the second case we are dealing with the worship life of Nietzschean provenance – one may, therefore, conclude that a curse can be a blessing and being asleep can be being awake, if we accept the eternal return.

Les buveurs d'absinthe (The Absinthe Drinkers): Jean-François Raffaëlli.

La Belle Epoque was an era of peace and prosperity in France that lasted from the defeat of the Paris Communein1871 totheonsetof theFirstWorldWar.Thearts and sciences flourished during this golden age: Edgar Degas painteddancersat theParisOperaBallet,EmileZolawrotenovels about nature and nurture, and Louis Pasteur developed a “germ theory” of infectious diseases. The economic success of La Belle Epoque was dependent in large part on the contributions ofworking class communities such as themunicipality of Asnieres-sur-Seine, several kilometers from the heart of Paris, where Jean-Francois Raffaelli (1850-1924) painted Les buveurs d'absinthe (The Absinthe Drinkers) in 1881. Inthispainting, twoshabbymennursetheirdrinks inthepatio of awinebar. The spirit is absinthe, turned cloudyyellow in theglassbyaddingwater toproduceamicroemulsion.Thecrisp angles and parallel lines of the patio fencing convey a sense of entrapment in a tedious existence. One of the men extends a paint-smearedhandacross the table. Inhispocket is apainter’s rag—perhapstheartistputhimself inthispaintingtoexpressempathyformenwhowereoutofwork. Intheearly1880s,Raffaelli was invitedbyDegas to joinhisexhibitionofoutsiderart.Degas wasattunedtothecircumstancesofworkingpeople—hepainted balletandcircusperformers(JAMAcover,April 15,2009)toshow howmucheffortwas required toput ona show—butRaffaelli’s subjectswere even lower on the social scale. Raffaelliwasborn inParis in1850.Asayoungmanheserved in amilitia that briefly controlled Paris after the fall of the Second Empire.When the French Army took back the city, he enrolled in the Ecole des Beaux-Arts and was mentored by the Frenchartist Jean-LeonGerome.Raffaelli’s firstpaintingswere historicalscenesandlandscapes.In1876hechangedsubjectsand format topaintpicturesof individualsonthemarginsofsociety, such as ragpickers and declasses. Ragpickers were scavengers who collected cast-off clothing fromwaste bins and sold it for anyprice they could get. They lived inbeggar camps andcould rarelyafford tobatheor shave.Declasseswere formermembers of themerchantclasswhohadlost their livelihoodsandcouldn’t orwouldn’t take jobs as laborers. Theywore suits tatteredwith ageandoveruse,asseeninLesbuveursd'absinthe (itsoriginaltitle wasLesdeclasses). Thesettingof thispainting is awateringhole near the railway line inAsnieres, an industrial district ofweedy fieldsandshacksonthenorthernedgeofParis.ThoughRaffaelli came from a well-to-do family, he identified with people who were trapped inpoverty; the subject ofhisArtist Painting (circa 1879-1880)isadisheveledpainterinadirtycoatcompletingaportraitofamanwithasimilarappearance.Thepublicwasintrigued byRaffaelli’sportrayalof theunderclass.His skill at representationwascomparedfavorablytotheworkofFrenchrealistpainter Jean-FrancoisMillet, andLesbuveursd'absinthewasspecifically praisedatan1881exhibitionofpaintingsbyDegasandotherupand-comingartists. In1884Raffaelliheldasoloexhibitionof153 paintings, etchings, and sculpture, and for the catalog he contributed an essay on character and beauty. It isdifficulttodiscernthecharacterofthemeninLesbuveurs d'absinthe.Apparently theyhavenothingbetter todothanwhile awaytheafternoonwhenmostofParis ishardatwork.Their attire indicates they may previously have been shopkeepers or clerks.Perhaps they lost theirpositions in theeconomicdepressionof the 1870sor gambled their livelihoods away.Many contemporaryviewerswouldhaveattributed theirdownfall to the adverse effects of absinthe, and Raffaelli probably shared that opinion.Absinthehadagreateralcoholconcentrationthanwine, and itsbotanical flavoringswerereputedtohavehallucinogenic properties. Itwasalsomoreaffordablethanwine,whichexplains the irony of the sign on thewall of the bar promoting “Vins de Bourgogne.”Ostensibly toprotect thepublic fromahealthhazard, France’s winemakers joined forces with the temperance movement to lobby forabanonthemanufactureandsaleofabsinthe,andpaintingsof intoxicateddrinkersbyRaffaelli,Degas, and others were presumed to support this proposition. Before composingthesceneinLesbuveursd'absinthe,Raffaellimadeobservationsofabsinthedrinkers in theirneighborhoodsandhospitals anddranka fewglasseshimself toexperience its effects— heclaimedthatthreedrinksofabsintheproducedsymptomsakin to madness. In retrospect, it is likely that absinthe sold in the 1880s was no more harmful than any other cheap and widely available alcoholic beverage. Whetheralcoholconsumptionisacauseoreffectofthemen’s idleness inLesbuveursd'absinthe, it doesappear theyaredrinking topass the time. Inhismemoirofvagrancy,DownandOut in ParisandLondon, theBritishnovelistGeorgeOrwelldescribesthe boredom of having nowhere to go and nothing to do. Orwell’s trampscouldn’taffordtopurchasealcohol, sotheysmokedcigarettes and loafed until eveningwhen a homeless shelterwould openitsdoors. InLesbuveursd'absinthe, theonlybreakinthemonotonyof a dreary day is themeticulous constructionof a cigarettefrompaperandtobacco.Oneofthemenrollsacigarette, the othermanwatcheshimmakeit,andviewersofthepaintingstand quietlyobserving themboth. Itwascustomary for realistpaintingsofthe1800stomarkthepassageoftime.Viewersweremeant to imagineasequenceofevents thatprecededandfollowedthe activity inthecomposition.Paintingarealistpicturewasadeliberate, thoughtful task,andviewingthe finishedworkcouldalso takesometime.Before long,however, theprocessofmakingand viewingpaintingswouldpickupspeed, andrealismwouldgive way to abstraction and the instant impression.

Percepción y etiquetado de la experiencia violenta en las relaciones de noviazgo juvenil

ObjectiveTo describe the intimate partner violence suffered by youth and to identify the descriptions that best classify it according to gender. MethodsA cross-sectional study was carried out among a sample of 3,087 adult Spanish students. The CUVINO questionnaire was used, which measures 8 forms of intimate partner violence and uses 3 descriptions to classify it (abuse, fear and entrapment). Logistic regressions were carried out to identify differences by gender and associations between the subtypes of intimate partner violence and descriptions of the violent experience. ResultsNearly half of the sample (44.6%) had some situation of unperceived violence, mainly of “detachment” (30.0%) and “coercion” (25.1%). All subtypes of intimate partner violence were more frequently perpetrated by women. The largest difference by gender was found in “emotional punishment” (experienced by 20.9% of men vs. 7.6% of women) and “physical violence” (6.6% vs. 2.3%). A total of 28.7% felt trapped, 11.8% felt fear and 6.3% felt mistreated. Men more frequently described themselves as trapped, but less often as afraid or abused. The subtype of intimate partner violence most associated with the feeling of entrapment was coercion in both men (OR=3.8) and women (OR=5.7). ConclusionsMen and women face intimate partner violence while dating differently; resources are needed to address them specifically. The inclusion of routine questions about the sense of entrapment may contribute to the early detection of intimate partner violence. Subtle forms of violence, such as coercion, should be taken into account in awareness campaigns.

Nielsen's 'Saul and David' as Tragedy: The Dialectics of Fate and Freedom in Drama and Music

In previous studies of Carl Nielsen’s opera Saul og David , Einar Christiansen’s libretto as been compared to the biblical story, and the similarities and differences duly noted. Recently, Pat McCreless suggested that, beyond the biblical narrative, Saul and David might constructively be viewed as a tragedy. Indeed, in this paper I will demonstrate that this perspective illuminates not just Christiansen’s take on King Saul’s demise, but also Nielsen’s methods of underscoring it musically. My title alludes to Paul Ricoeur’s The Symbolism of Evil in which the author states: ‘Without the dialectics of fate and freedom, there would be no tragedy.’ In other words, tragedy depends on the tension between forces beyond a person’s control, and actions taken of his own volition that may postpone, but ultimately cannot alter, his fate. I will argue that Nielsen was drawn to this subject for his fi rst opera in part because Saul’s struggle against the inevitable unfolds in much the way his music does: ‘fate’ is the tonal goal, and ‘freedom’ is the volatile harmonic language and serpentine voice-leading that thwart progress toward that ineluctable goal. This is perhaps why many reviewers have noted the opera’s symphonic nature; Nielsen’s instrumental works depend on these same techniques precisely because he infused all of his compositions with drama. He once admitted as much: ‘I have always felt strongly attracted by the ‘dramatic’ in art, for is not all art actually dramatic?’ It is also tempting to consider the dialectics of fate and freedom in regard to Nielsen’s life at the time that he was writing Saul og David . He was just over thirty when he began, yet already had one illegitimate child, a wife and three kids depending on him. Attempting to develop a career that requires imagination and inspiration, while burdened with the mundane necessities of making a living and raising a family, he may have identified intuitively with Saul’s sense of entrapment, and viewed him more sympathetically than the less complicated David. Saul’s humanness surely resonated with Nielsen’s own.

The Parrot Wallpaper in ‘Prelude’

Leanne Davies’s Wallpaper (2009) almost conveys the sensation of Lewis Carroll’s Alice falling down the rabbit-hole, the picture’s deep focus leading the viewer down the passage to a door into the future. Alice is asleep when she falls into the tunnel; Kezia at this point in the story is nearly asleep. The sensation of entering a strange world –when she is on the boundary of waking and sleeping – is the end of a perplexing day. The story opens in the afternoon with Kezia gazing at her mother who is about to set off in a buggy with her ‘absolute necessities’,1 which include Linda’s mother and piles of domestic items but not her two smaller daughters. From this point in the story until the episode of the parrot wallpaper the perspective is Kezia’s, though as she is probably only about five years old her sense of abandonment is conveyed obliquely, through her senses. Unlike her adults, she has nothing by which to measure what is happening to the family, whereas her aunt says the new house is ‘a million times better than that awful cubby-hole in town’ (117). Kezia’s senses are heightened by fear of the unknown, each of them threatening to reduce her to panic. After her humiliation by Stanley Josephs she wanders into her own empty house where the ‘Zoom! Zoom!’ (82) of a blue-bottle knocking against the ceiling increases her sense of entrapment. The familiar is made terrifyingly strange. Her perception of what was the known world is distorted as she looks through the yellow glass in the dining-room window and sees ‘a little Chinese Lottie . . . . Was that really Lottie?’ (82). The cold feel of the window against her fingers calms her briefly but then the sound of the wind ‘snuffling and howling’ (82) and the banging of a piece of loose iron on the roof terrify her. She is only reassured by the storeman who ‘smelled of nuts and new wooden boxes’ (83) and whose sleeve ‘felt hairy’ (84). She tells him that she hates ‘rushing animals

Sociocultural Determinants of Negative Emotions Among Dementia Caregivers in the United States and in Korea: A Content Analysis of Online Support Groups

Despite the growing interest in Alzheimer's disease, issues of ethnicity and culture associated with dementia are still under-studied. In this study, particular attention was given to Korean caregivers who seem to suffer the most in terms of family burdens and emotional distress. Content analysis was performed on 798 messages posted to online support groups for dementia caregivers. The results indicated that Korean caregivers expressed more family burden (“impact on finance” and “sense of entrapment”) than U.S. caregivers. Also, the Korean caregivers expressed more negative emotions than the U.S. caregivers, and consequently sought more emotional support from online support groups than the U.S. caregivers.

The Perceived Caregiver Burden Scale for Caregivers of Elderly People in India

The objective of this study is to analyze the 31-item Perceived Caregiver Burden scale (PCB-31) formulated by Stommel, Given, and Given (1990). A multistage probability sample was used to derive a sample of 259 caregivers of the elderly in Allahabad City, India. Prior to the study, Indian experts in aging reviewed the perceived burden scale and recommended a more concise 17-item scale with four subscales. Confirmatory factor analysis was conducted to determine the factor structure, and results failed to support all the items; however, it did suggest a 12-item, three-factor model. This 12-item scale, which includes impacts on financial burden, abandonment by extended family, and sense of entrapment, fit the data well. The PCB-12 also had concurrent validity as it correlated with the revised Center for Epidemiological Study—Depression scale, role conflict, role overload, and age of the caregiver. Researchers and practitioners can use this scale for estimating burden.

Jane Eyre de Michael Berkeley et de David Malouf : La transposition opératique d’un grand classique de la littérature anglaise

This article discusses Michael Berkeley’s opera Jane Eyre. Premiered on June 30, 2000 by Music Theatre Wales at the Cheltenham International Festival of Music, this opera is based on the novel by Charlotte Brontë and the libretto is written by the Australian poet, novelist, playwright and librettist, David Malouf. It was risky and daring to try to adapt this famous and long novel for the stage. We will particularly focus on the similarities and differences between the novel and the opera as well as on the strategies used both by David Malouf and Michael Berkeley to adapt it. Through the analysis of the similarities we will see how Michael Berkeley set to music some of the great themes and elements of the novel: passion, a sense of entrapment, the “Gothic” atmosphere. On the other hand, the analysis of the discrepancies between the novel and the opera as they appear in both the libretto and the music will lead us to a modern apprehension of the characterization of madness as well as of the metafictional dimension of the rewriting of Jane Eyre by David Malouf and Michael Berkeley.