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We argue that historical femme life writing forms a rich resource for femme theory that contributes to, challenges, and extends contemporary academic femme literature. We focus on the experiences of femmes during the second-wave feminist movement, specifically within the context of 1970s and 1980s U.S. lesbian feminism. The texts we examine include My Dangerous Desires by Amber Hollibaugh (2000), A Restricted Country by Joan Nestle (1987), Minnie Bruce Pratt's (1995) S/he , and selections from The Persistent Desire: A Femme-Butch Reader, edited by Nestle (1992). Informed by Clare Hemmings' (2011) and Victoria Hesford's (2013) critiques that past feminisms are often retold using reductive narratives, we (re)read this femme life writing to foreground the ways in which femmes have historically troubled and resisted monolithic accounts of lesbian feminism, lesbian identities, femininity, and sexuality. By centering queer feminine voices from this period to highlight major themes of this life writing, and drawing on Andi Schwartz's (2018) positioning of femme cultural production as a basis for theory, we argue that earlier iterations of queer femininities are relevant to and important for contemporary femme theory. Ultimately, we analyze what historical femme life writing reveals about the place of femininity within the lesbian and feminist communities of their time, how these dynamics inform current perceptions of queer and femme politics, and how femmes resist their cultural and critical marginalization.

Objective. To incorporate an artistic, multimedia approach to teaching within a substance use disorder (SUD) elective course to intellectually, visually, physically, and emotionally engage Doctor of Pharmacy (PharmD) students in learning and applying clinical and legal SUD topics. Methods. Faculty members created a two credit-hour SUD elective course that required students to engage in visual, linguistic, and performing art forms, including acting, screenwriting, choreography, dancing, artwork, writing movie reviews, writing book reports, writing journal reflections, create-your-own-adventure storytelling, speech writing, examination writing, policy writing, and creative thinking in an escape room gaming environment to learn about SUD and related topics. Results. Student learning and perception of the activities was evaluated using faculty-created analytic rubrics, pre- and post-intervention tests, student feedback, and student responses on standard course evaluations. Students performed well on the graded assignments. Pre- and post-intervention tests administered for the escape room activity demonstrated an increase in scores from 56.7% to 94.9%. Student feedback and course evaluations revealed student engagement with subject material and enthusiasm for creative applications, critical thinking, and collaborative aspects of the activities. Conclusion. The PharmD students consistently rated the interactive class format highly on course evaluations and reported having the perception of simultaneously learning and having fun. Pharmacy instructors are encouraged to incorporate creative projects and activities in courses to enhance student learning experiences and increase student motivation to engage with the material, their classmates, and other professionals., (© 2020 American Association of Colleges of Pharmacy.)

Writers often report vivid experiences of hearing characters talking to them, talking back to them, and exhibiting independence and autonomy. However, systematic empirical studies of this phenomenon are almost non-existent, and as a result little is known about its cause, extent, or phenomenology. Here we present the results of a survey of professional writers (n = 181) run in collaboration with the Edinburgh International Book Festival. Participants provided detailed descriptions of their experiences of their characters in response to a phenomenological questionnaire, and also reported on imaginary companions, inner speech and hallucination-proneness. Qualitative analysis indicated that the phenomenology of the experience of agentive characters varied in terms of the characters' separateness from the writer's self and the kinds of interaction this did or did not allow for. We argue that these variations can be understood in relation to accounts of mindreading and agency tracking which adopt intuitive as opposed to inferential models., (Copyright © 2020 The Authors. Published by Elsevier Inc. All rights reserved.)

In her 1930 publication, Aveux non Avenus , Claude Cahun used the relationship between her inwardly focused poetic writing and symbolic photomontages to construct a unique reality for self-expression. This article focuses on three chapters and respective photographic images from the publication to relate Cahun's, and by association her partner Marcel Moore's, discussion on sexuality and gender expression. The utopian dreamscape created investigates issues of narcissism and otherness, female homosexuality, dandyism and going beyond gender, individual and social critique, mocking the antiquated views of art and writing, accepting and breaking taboos, while allowing for other departures from the accepted norm. Through analysis of the publication and supporting evidence from early influences, it can be seen that Cahun created a world in Aveux non Avenus where she could exist in a space between the established feminine-masculine binary of 20th-century Europe.

When we read literary fiction, we are transported to fictional places, and we feel and think along with the characters. Despite the importance of narrative in adult life and during development, the neurocognitive mechanisms underlying fiction comprehension are unclear. We used functional magnetic resonance imaging (fMRI) to investigate how individuals differently employ neural networks important for understanding others' beliefs and intentions (mentalizing), and for sensori-motor simulation while listening to excerpts from literary novels. Localizer tasks were used to localize both the cortical motor network and the mentalizing network in participants after they listened to excerpts from literary novels. Results show that participants who had high activation in anterior medial prefrontal cortex (aMPFC; part of the mentalizing network) when listening to mentalizing content of literary fiction, had lower motor cortex activity when they listened to action-related content of the story, and vice versa. This qualifies how people differ in their engagement with fiction: some people are mostly drawn into a story by mentalizing about the thoughts and beliefs of others, whereas others engage in literature by simulating more concrete events such as actions. This study provides on-line neural evidence for the existence of qualitatively different styles of moving into literary worlds, and adds to a growing body of literature showing the potential to study narrative comprehension with neuroimaging methods.

During my journey from scientist to writer, I confronted similar challenges. Scientists gather factual information to investigate Nature, but they also rely on narration and speculation to link discrete data points into a seamless story that fits current perspectives for acceptance; writers link specific events as steppingstones to write internally consistent stories that relate, however tenuously, to common experiences. The historical development of the gene concept exemplifies the narrative quality of science. Both science and writing, including fiction, always remain as works in progress. In addition to similarities, science and writing have complementary differences. Science involves performing experiments to resolve external mysteries of Nature; writing explores experiences to confront internal feelings. Scientists strive for meaningful conclusions, which are continually subject to change; writers, especially novelists, dwell in ambiguity and conflicts, which are never fully resolved. Taken together, I consider my efforts in science and writing as blended forms of creative self-expression.

Background: The use of arts, literature and reflective writing has becoming increasingly popular in health professionals education. However, research examining its contribution as an educational strategy to promote narrative reasoning capabilities is limited, particularly from the students' perspective., Aim of the Study: This study aimed to explore the final year physiotherapy students' perspectives about the contribution of arts, literature and reflective writing in facilitating narrative reasoning capabilities., Methods: Three focus group meetings using a semi-structured interview schedule were carried out to collect data. Focus group sessions were audiotaped and transcribed verbatim. Interpretative phenomenological analysis was used to conduct the study and analyze the transcripts., Findings: Three themes emerged: (1) developmental understanding of the patients' experiences; (2) developmental understanding about the self; and (3) embedding reflection in clinical practice. Students emphasized an increasing capability to be sensitive and vicariously experience the patient's experience. Through reflective writing, students reported they became more capable of thinking critically about their practice and learning needs for continuous professional development. Finally, students highlighted the contribution of these strategies in making reflection part of their practice., Conclusions: Final year physiotherapy students reported enhanced skills of narrative reasoning. The findings support the inclusion of these strategies within the undergraduate physiotherapy curricula.

Currently, the majority of investigations of linguistic manifestations of neurodegenerative disorders such as Alzheimer's disease are conducted based on manual linguistic analysis. Grammatical complexity is one of the language use characteristics sensitive to the effects of Alzheimer's disease and is difficult to operationalize and measure using manual approaches. In the current study, we demonstrate the application of computational linguistic methods to automate the analysis of grammatical complexity. We implemented the Computerized Linguistic Analysis System (CLAS) based on the Stanford syntactic parser (Klein and Manning, Pattern Recognition, 38(9), 1407-1419, 2005) for longitudinal analysis of changes in syntactic complexity in language affected by neurodegenerative disorders. We manually validated CLAS scoring and used it to analyze writings of Iris Murdoch, a renowned Irish author diagnosed with Alzheimer's disease. We found clear patterns of decline in grammatical complexity consistent with previous analyses of Murdoch's writing conducted by Garrard, Maloney, Hodges, and Patterson (Brain, 128(250-260, 2005). CLAS is a fully automated system that may be used to derive objective and reproducible measures of syntactic complexity in language production and can be particularly useful in longitudinal studies with large volumes of language samples.

The article investigates literary subjectivity in some texts by Samuel Beckett. The article proceeds by relating the ways of how narration and speech acts constitute literary subjectivity to the problems of subjectivity that scientific investigations deal with. While successful self-regulation of the organism nourishes the roots of subjectivity, i.e., the habits, subjectivity decomposes in states of exhaustion, when self-regulation breaks down. As soon as a certain threshold is transgressed, fatigue sets in, alters the personality and eventually leads to exhaustion--a state, which psychiatrists compare to mental illness. Notwithstanding the different explanations given, scientists agreed about the effects of exhaustion. According to their investigations, the decomposition of personality by exhaustion generally does not involve apathy, withdrawal from activity or termination of movements, but rather mere action. Similarly, in Beckett's novels and plays exhaustion is much more than tiredness, as French philosopher Gilles Deleuze observed. For Beckett, exhaustion is rather the model for both literary innovation and a new concept of subjectivity, which he explores on the basis of a detailed knowledge of physiology, psychology, and psychiatry, but using his own literary means. The exhausted subject is beyond any calculus of activity. It will perform an activity even if he or she makes mistakes or loses control, and will thus act in an unpredictable way. This unpredictable action is not an exception in the continuation of the habits, but rather points to the moment when a new subjectivity emerges. Such new subjectivity suraces in Beckett's novels and plays in forms of literary innovation.

The author applies Bion's intersubjective theory of thinking to study the influence of imaginative literature on the development of the capacity for figurative or metaphorical thought in response to affect-laden experience. Using a selection from Emily Dickinson's poetry and a soliloquy from Shakespeare's Hamlet in a study group model to illustrate this application of Bion's theory, he proposes that such literature may itself serve as a potential container/contained of unique affective power to maturation of the thinking apparatus and sustain the capacity for reverie and creative interpretive thought in the midst of intense emotional engagement.

A sample of 33 eminent Italian writers was studied. They were nominees of three of the most important literary Italian awards (Strega, Campiello, and Viareggio). The Seasonal Pattern Assessment Questionnaire was mailed to 105 writers during the period October 2003 and January 2004, of whom 39 replied. 33 (M age=54.5 yr., SD= 12.5; 8 women and 25 men) completed the questionnaire. Among respondents, spring and summer months showed highest ratings of "feel best." During the summer a decline in creativity was not significant; respondents also reported sleeping least. Scores on the Global Seasonality Score suggested writers appeared to show higher seasonal sensitivity than the general population. Seasonal changes were considered as a problem by a majority of them. Although writers showed high seasonal sensitivity, no significant relationship was found between the seasonal pattern of mood and self-reported creativity.

Sound plays a prominent role in narrative description of characters and environs in mainstream American literature. A review of American Deaf literature shows that the representations of sound held for deaf writers are in extensional and oppositional terms. American deaf writers, in their descriptions of entities, characters, functions, and settings, have created different representations of sound. In American Deaf literature, the representations of sound are filled with altered-acoustic and extra-acoustic images of sounds. The representations reflect psychophysiological experiences that presume the existence of an acoustic world by American deaf and hard-of-hearing writers, independent of the age when their hearing was lost, and changes in American Deaf culture.

Maria Tena is a writer. She has published numerous articles, stories, and the novel "Tenemos que Vernos", or "We Have to Meet", edited byAnagrama. At the present time, she is the Ministry of Health and Consumption Cabinet Head. This article has its origin as a reflection to the thread laid in the conference titled "Sciences and Letters: Women's Vision", organized by the Health Sciences Foundation; as a means to encourage debate, reflection and common meeting points among the contributions made by the scientific and the humanistic cultures, with an understanding that both the sciences and the letters contribute to their development. Since the Nursing Profession should apply both focuses in order to offer a human treatment, feelings, and a quality treatment, scientific, what better way to enter into this topic than a commentary by Maria Tena.

Despite significant clinical and research efforts aimed at recognizing and managing "difficult" patients, such patients remain a frustrating experience for many clinicians. This is especially true for primary care residents, who are required to see a significant volume of patients with diverse and complex problems, but who may not have adequate training and life experience to enable them to deal with problematic doctor-patient situations. Literature--short stories, poems, and patient narratives--is a little-explored educational tool to help residents in understanding and working with difficult patients. In this report, the authors examine the mechanics of using literature to teach about difficult patients, including structuring the learning environment, establishing learning objectives, identifying teaching resources and appropriate pedagogic methods, and incorporating creative writing assignments. They also present an illustrative progression of a typical literature-based teaching session about a difficult patient.

The author attempts to evaluate critically the application of psychoanalysis to literature by examining problems of method and the assumptions psychoanalysts unwittingly make about texts they are about to interpret. The special advantages of psychoanalysis over other interpretive systems are discussed, and several examples of the possible use of psychoanalysis in the study of literary texts are presented.