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Engaging with discussions surrounding the culture of disease, Disrupting Breast Cancer Narratives explores politically insistent narratives of illness. Resisting the optimism of pink ribbon culture, these stories use anger as a starting place to reframe cancer as a collective rather than an individual problem. Disrupting Breast Cancer Narratives discusses the ways emotion, gender, and sexuality, in relation to breast cancer diagnosis and treatment, all become complicated, relational, and questioning. Providing theoretically informed close-readings of breast cancer narratives, this study explores how disruption functions both personally and politically. Highlighting a number of contributors in the field of health and gender studies including Barbara Ehrenreich, Kathlyn Conway, Audre Lorde, and Teva Harrison, this work takes into account documentary film, television, and social media as popular mediums used to explore stories of disease.
Communicating Intimate Health presents an edited collection of original, empirical research, personal essays, autoethnography, critical reviews, and theoretical work showcasing advances in intimate health research from the field of communication studies. Intimate health includes sexual and reproductive health, sexual activity, sexuality, gender, and reproductive justice. The contributors vulnerably engage subjects including: parent-child, partner, patient-provider, and larger societal discourse and communication about sexuality education, HIV, family planning, purity pledges, (in)fertility, breastfeeding, and Black maternal health, sexting, boundary setting, consent, border justice, trauma, contraception, and menstruation, among others. Featuring both new research and vulnerable reflections on the research process, Communicating Intimate Health showcases the potential of communication scholarship to engage intimately with intimate topics.
An absorbing portrait of a groundbreaking Black woman filmmaker. Kathleen Collins (1942–88) was a visionary and influential Black filmmaker. Beginning with her short film The Cruz Brothers and Miss Malloy and her feature film Losing Ground, Collins explored new dimensions of what narrative film could and should do. However, her achievements in filmmaking were part of a greater life project. In this critically imaginative study of Collins, L.H. Stallings narrates how Collins, as a Black woman writer and filmmaker, sought to change the definition of life and living. The Afterlives of Kathleen Collins: A Black Woman Filmmaker's Search for New Life explores the global significance and futurist implications of filmmaker and writer Kathleen Collins. In addition to her two films, Stallings examines the broad and expansive and varying forms of writing produced by Collins during her short life time. The Afterlives of Kathleen Collins showcases how Collins used filmmaking, writing, and teaching to assert herself as a poly-creative dedicated to asking and answering difficult philosophical questions about human being and living. Interrogating the ideological foundation of life-writing and cinematic life-writing as they intersect with race and gender, Stallings intervenes on the delimited concepts of life and Black being that impeded wider access, distribution, and production of Collins's personal, cinematic, literary, and theatrical works. The Afterlives of Kathleen Collins definitively emphasizes the evolution of film and film studies that Collins makes possible for current and future generations of filmmakers.
"Crises radically alter lives. The Covid-19 pandemic and its consequences on our daily lives have questioned traditional modes of practice (Castigloni & Gaj, 2020). This is true for many clinicians and practitioners but also for the academic context and the discipline of Psychology. While many of us are still recovering from the collective longings for a 'back to how things were before the pandemic,' we have also realized that circumstances keep changing in unpredictable ways"--
Jennifer Zilm's poetry collection, The Missing Field, concerns themes of translation, preservation and the engagement with the transitory documents of everyday life, whether a snapshot of a Vancouver bus, postcards from the Middle East, lecture notes on Euripides, a van Gogh museum catalogue or marginalia in a water-damaged collection of Rilke poems.
Narrative practice has come under attack in the current "post-truth" era. In fact, many associate "narrative hermeneutics"--the field of inquiry concerned with reflection on the meaning and interpretation of stories--directly with this putative movement beyond truth. Challenging this view, The Use and Abuse of Stories argues that this broad arena of inquiry instead serves as a vitally important vehicle for addressing and redressing the social and political problems at hand. Hanna Meretoja and Mark Freeman have gathered an interdisciplinary group of esteemed authors to explore how interpretation is relevant to current discussions in narrative studies and to the broader debate that revolves around issues of truth, facts, and narrative. The contributions turn to the tradition of narrative hermeneutics to emphasize that narrative is a cultural meaning-making practice that is integral to how we make sense of who we are and who we could be. Addressing topics ranging from the dangers of political narratives to questions of truth in medical and psychiatric practice, this volume shows how narrative hermeneutics contributes to topical debates both in interdisciplinary narrative studies and in the current cultural and political situation in which issues of truth have gained new urgency.
Through vivid and engaging narrative accounts, written and collected by women, Women's Narratives of Health Disruption and Illness: Within and Across Their Life Stories explores how women experience the health disruptions and illnesses that span their lives. The collection examines how women’s broader and ongoing life stories impact and are impacted by health disruptions and illnesses. Organized into three parts, the chapters explore “Beginnings” in which health disruptions and illnesses impact early life, motherhood, and where early choices create the origins of health issues that impact later life; “Middles” which explores health experiences in and around middle age, or from the standpoint in middle-age looking back and forth; and “Endings” which explores narratives of ageing and end of life communication. Personal, revealing, and often beautiful, the women’s narratives featured in this book will invite the reader into the stories and lives of others, and toward the reflection, learning, and personal transformation that comes from truly connecting with the experiences of others. This book will be helpful for scholars of communication, health, women’s studies, family studies, and sociology.
While breast cancer continues to affect the lives of millions, contemporary writers and artists have responded to the ravages of the disease in creative expression. Mary K. DeShazer’s book looks specifically at breast cancer memoirs and photographic narratives, a category she refers to as mammographies, signifying both the imaging technology by which most Western women discover they have this disease and the documentary imperatives that drive their written and visual accounts of it. Mammographies argues that breast cancer narratives of the past ten years differ from their predecessors in their bold address of previously neglected topics such as the link between cancer and environmental carcinogens, the ethics and efficacy of genetic testing and prophylactic mastectomy, and the shifting politics of prosthesis and reconstruction. Mammographies is distinctive among studies of contemporary illness narratives in its exclusive focus on breast cancer, its analysis of both memoirs and photographic texts, its attention to hybrid and collaborative narratives, and its emphasis on ecological, genetic, transnational, queer, and anti-pink discourses. DeShazer’s methodology—best characterized as literary critical, feminist, and interdisciplinary—includes detailed interpretation of the narrative strategies, thematic contours, and visual imagery of a wide range of contemporary breast cancer memoirs and photographic anthologies. The author explores the ways in which the narratives constitute a distinctive testimonial and memorial tradition, a claim supported by close readings and theoretical analysis that demonstrates how these narratives question hegemonic cultural discourses, empower reader-viewers as empathic witnesses, and provide communal sites for mourning, resisting, and remembering.
In The Cancer Plot, Reginald Wiebe and Dorothy Woodman examine the striking presence of cancer in Marvel comics. Engaging comics studies, medical humanities, and graphic medicine, they explore this disease in four case studies: Captain Marvel, Spider-Man, Thor, and Deadpool. Cancer, the authors argue, troubles the binaries of good and evil because it is the ultimate nemesis within a genre replete with magic, mutants, and multiverses. They draw from gender theory, disability studies, and cultural theory to demonstrate how cancer in comics enables an examination of power and responsibility, key terms in Marvel’s superhero universe. As the only full-length study on cancer in the Marvel universe, The Cancer Plot is an appealing and original work that will be of interest to scholars across the humanities, particularly those working in the health humanities, cultural theory, and literature, as well as avid comics readers.
A searingly honest account of one woman's ordeal with cancer that offers insights into all the emotions and reactions that illness evokes---sometimes noble, sometimes selfish, often despairing