In their performances of Fierce Love, the Pomo Afro Homos (Postmodern African American Homosexuals) enact some of the experiences of black gay men. Through performance, the trio intervenes in the prevailing mythologies around black and gay identities, but especially black gay identities, in the age of AIDS. This essay begins by examining two dominant productions in recent U.S. culture that display and proliferate anxieties about black gay bodies: John Guare's play Six Degrees of Separation and Magic Johnson's unsettling HIV disclosure.
Shakespeare's final play, The Two Noble Kinsmen, contains profound psychological insights. Like all of Shakespeare's reworkings of old material, the result is not merely a variation on a theme but a psychological statement in and of itself, which respects and revisits the past even as it presents a new and original statement.
Shakespeare's famous young lovers, however "star-crossed," contribute crucially to their tragic fate. From a period between before "adolescence" was conceptualized or named, they offer vivid evidence of what we recognize as early adolescent passions, yearnings, and connections, their evocativeness and their dangers. Juliet especially is presented as eloquent in her remarkable awareness of powerful and unfamiliar feelings. The play exemplifies the useful bearings of imaginative literature and psychoanalysis on one another
The author discusses the special role played by Shakespeare's masterpiece Hamlet in the history of psychoanalysis. Freud and many of his followers have treated Hamlet as if he were a real person inhibited by the Oedipus complex. In this presentation, Hamlet is understood as the embodiment of a brilliant artistic endeavor aimed at both revealing and concealing the power of this complex. The author proposes that, if Hamlet is autobiographical, it expresses Shakespeare's inability to mourn and love until a childhood homosexual memory has emerged.
The Journal of the American Academy of Psychoanalysis and Dynamic Psychiatry
Abstract The dynamics of the family of psychologist and philosopher William James and his brother, the novelist Henry James, are explored. The need for love, the hate and rage, the guilt, and the terror arising from their father's four-year confinement in bed as an adolescent due to an accident in which he lost his right leg, haunted him and his children and yet were the source of his and, indirectly, his sons' fierce determination to lead meaningful lives and to share with the world their extraordinary insights into the complicated functioning of the mind.
BACKGROUND: Caring is grounded on universal humanistic values such as kindness, empathy, concern and love for self and others. Nurses need to learn how to implement these values in the care for patients. Nursing students find it hard to assimilate theoretical knowledge in practice. Experiential learning in the form of drama has been used in several studies to enhance nursing students' learning. AIM: The aim of this study was to review empirical and theoretical articles on the use and application of drama in nursing education. DESIGN: An integrative review of the literature.
BACKGROUND: Training in empathy and compassion can foster altruism in medical students. DESCRIPTION: To use the drama Wit in an experiential learning module for first-year medical students. Students and faculty received tickets to a Wit performance. Students heard a pre-play lecture on end-of-life care and attended a post-play discussion with the cast. Each attendee completed an evaluation survey for the Wit Educational Initiative, and site-specific responses were computed. Students reflected on their experience in an e-mail dialogue with clinical faculty.
We set out to formulate a theory that makes counterexpectational conduct expectational. Our contextualist position has led us to the dramaturgical perspective. This perspective guided our examination of the hypnotic performance, and we noted that both the hypnotist and the subject are actors, both enmeshed in a dramatic plot, both striving to enhance their credibility. The dramatistic concepts of actor and spectator helped us make sense of the contradictory self-reports in Hilgard's analgesia studies.