IU Indianapolis ScholarWorks :: Browsing by Author "Schultz, Jane E."

Browsing by Author "Schultz, Jane E."

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Alzheimer's Disease Narratives and the Myth of Human Being
(2012-12-11) Rieske, Tegan Echo; Schultz, Jane E.; Johnson, Karen Ramsay; Tilley, John J.
The ‘loss of self’ trope is a pervasive shorthand for the prototypical process of Alzheimer's disease (AD) in the popular imagination. Turned into an effect of disease, the disappearance of the self accommodates a biomedical story of progressive deterioration and the further medicalization of AD, a process which has been storied as an organic pathology affecting the brain or, more recently, a matter of genetic calamity. This biomedical discourse of AD provides a generic framework for the disease and is reproduced in its illness narratives. The disappearance of self is a mythic element in AD narratives; it necessarily assumes the existence of a singular and coherent entity which, from the outside, can be counted as both belonging to and representing an individual person. The loss of self, as the rhetorical locus of AD narrative, limits the privatization of the experience and reinscribes cultural storylines---storylines about what it means to be a human person. The loss of self as it occurs in AD narratives functions most effectively in reasserting the presence of the human self, in contrast to an anonymous, inhuman nonself; as AD discourse details a loss of self, it necessarily follows that the thing which is lost (the self) always already existed. The private, narrative self of individual experience thus functions as proxy to a collective human identity predicated upon exceptionalism: an escape from nature and the conditions of the corporeal environment.
At the center of American modernism: Lola Ridge's politics, poetics, and publishing
(2008-09-23T18:18:47Z) Wheeler, Belinda; Kovacik, Karen, 1959-; Schultz, Jane E.; Marvin, Thomas F.
Although many of Lola Ridge's poems champion the causes of minorities and the disenfranchised, it is too easy to state that politics were the sole reason for her neglect. A simple look at well-known female poets who often wrote about social or political issues during Ridge's lifetime, such as Edna St. Vincent Millay and Muriel Rukeyser, weakens such a claim. Furthermore, Ridge's five books of poetry illustrate that many of her poems focused on themes beyond the political or social. The decisions by critics to focus on selections of Ridge's poems that do not display her ability to employ multiple aesthetics in her poetry have caused them to present her work one-dimensionally. Likewise, politically motivated critics often overlook aesthetic experiments that poets like Ridge employ in their poetry. Few poets during Ridge's time made use of such drastically varied styles, and because her work resists easy categorization (as either traditional or avant-garde), her poetry has largely gone unnoticed by modern scholars. Chapter two of my thesis focuses on a selection Ridge's social and political poems and highlights how Ridge's social poetry coupled with the multiple aesthetics she employed has played a part in her critical neglect. My findings will open up the discussion of Ridge's poetry and situate her work both politically and aesthetically, something no critic has yet attempted. Chapter three examines Ridge’s role as editor of Modern School, Others and Broom. Ridge's work for these magazines, particularly Others and Broom, places her at the center of American modernism. My examination of Ridge's social poetry and her role as editor for two leading literary magazines, in conjunction with her use of multiple aesthetics, will build a strong case for why her work deserves to be recovered.
"Charity Never Faileth": Philanthropy in the Short Fiction of Herman Melville
(2014) Goldfarb, Nancy D.; Schultz, Jane E.; Eller, Jonathan R., 1952-; Robertson, Nancy Marie, 1956-; Tilley, John J.
This dissertation analyzes the critique of charity and philanthropy implicit in Melville’s short fiction written for periodicals between 1853 and 1856. Melville utilized narrative and tone to conceal his opposition to prevailing ideologies and manipulated narrative structures to make the reader complicit in the problematic assumptions of a market economy. Integrating close readings with critical theory, I establish that Melville was challenging the new rhetoric of philanthropy that created a moral identity for wealthy men in industrial capitalist society. Through his short fiction, Melville exposed self-serving conduct and rationalizations when they masqueraded as civic-minded responses to the needs of the community. Melville was joining a public conversation about philanthropy and civic leadership in an American society that, in its pursuit of private wealth, he believed was losing touch with the democratic and civic ideals on which the nation had been founded. Melville’s objection was not with charitable giving; rather, he objected to its use as a diversion from honest reflection on one’s responsibilities to others.
Emerson's Philosophy: A Process of Becoming through Personal and Public Tragedy
(2019-08) Simonson, Amy L.; Schultz, Jane E.; Rebein, Robert; Graber, Samuel
This thesis explores Ralph Waldo Emerson’s philosophical becoming throughout decades of reflection and experience, particularly regarding death and slavery. Emerson was a buoyant writer and speaker, but the death of his five-year-old son and protégé, Waldo, challenged the father’s belief in Nature’s goodness and the reality of maintaining a tenaciously optimistic outlook. As he was grieving in the mid-1840s, slavery was threatening the Union, and Emerson was compelled to turn his attention to the subject of human bondage. He began his career indifferent to the plight of slaves, but as legislation about the issue brought it closer to his personal sphere, he was gradually yet firmly gripped by the tragedy of human bondage. These simultaneously existing spheres of sorrow – Waldo’s death and slavery – joined in refining Emerson’s personal philosophy toward greater utilitarian and humanitarian conduct. His letters, journals, essays, and lectures reflect the inward changes caused by outward events, and the conclusions herein are supported by modern grief studies as well as numerous philosophers, literary specialists, and historians.
"A field lately ploughed" : the expressive landscapes of gender and race in the antebellum slave narratives of Frederick Douglass and William Grimes
(2013-10-07) Nyhuis, Jeremiah E.; Schultz, Jane E.; Henry Anthony, Ronda C.; Springer, Jennifer Thorington
The complicated state wherein ex-slaves found themselves, as depicted in the narratives of Bibb, Jacobs, and others, problematizes the dualistic relationship between North and South that the genre’s structural components work to enforce, forging an odyssey that, although sometimes still spiritual in nature, does not offer the type of resolutions that might easily persuade fellow slaves to abandon their masters and seek a similarly ambiguous identity in the so-called “free” land of the North. For blacks and especially fugitive slaves, such restrictive legal provisions provided an “uncertain status” where, writes William Andrews, “the definition of freedom for black people remained open.” In those slave narratives that dare to depict the limits of liberty in the North, this “open” status is particularly reflected in the texts’ discursive terrain itself, which portends a series of candid observations and brutal details that actively work to deconstruct any sort of mythological pattern associated with the slave narrative genre, thereby offering a more expansive view of the experience for most fugitive slaves. The Life of William Grimes, a particularly frank and brutal diary of a man’s trials within and without slavery, is one such slave narrative, depicting a journey that, while more consistent with the general experience of ex-slaves in the antebellum U.S., often works outside the parameters of traditional, straight-forward slave narratives like Douglass’s. “I often was obliged to go off the road,” Grimes admits at one point in his autobiography, and although his remark refers to the cautious path he must tread as a fugitive slave, it might just as well describe the thematic and structural characteristics of his open-ended autobiography. Reputedly the first fugitive slave narrative, the publication of Grimes’s Life in 1825 initiated the beginning of a genre whose path had not yet been forged, which likely contributed to its fluid nature. At the time of his narrative’s publication, Grimes’s self-expressed testimony of injustice under slavery was about five years ahead of its time; it wouldn’t be until the 1830s that the U.S. antislavery movement would begin to consciously seek out ex-slaves to testify to their experience in bondage. Once this literary door was open, however, antislavery sentiment became for many early African American authors “a ready forum” for self-expression. Whereas in twenty years’ time Douglass would take full advantage of this opportunity by drawing inspiration from a number of already established narratives, Grimes as an author found himself singularly “off the road” and essentially alone in new literary territory, uncannily reflecting his sense of alienation and helplessness in the North after escaping from slavery aboard a cargo ship in 1815.
Frederick Douglass’s Foray into Fiction: Considering the Context of Recent Work on The Heroic Slave
(University of Chicago Press, 2017-01-01) McKivigan, John R.; Schultz, Jane E.; History, School of Liberal Arts
In February 2015, the Frederick Douglass Papers, a documentary editing project at work since 1973 to collect, edit, and disseminate the various works of Frederick Douglass, the most influential African American of the 19th century, published the first-ever scholarly edition of Douglass’s sole work of fiction, his 1853 novella, The Heroic Slave. Edited by Robert S. Levine of the University of Maryland, John Stauffer of Harvard University, and John McKivigan, the longtime editor of the Frederick Douglass Papers, based since 1998 at Indiana University-Purdue University-Indianapolis (IUPUI), and published by the Yale University Press, The Critical and Cultural Edition of The Heroic Slave provides, for the first time, an authoritative text, along with assorted contemporary and scholarly documents to help readers engage the novella in its historical, biographical, and literary contexts. Those documents assist readers to better understand what Douglass chose to emphasize and leave out in his telling of the story of the 1841 slave revolt aboard the brig Creole. The Heroic Slave has emerged as a major text in Douglass’s canon, a novella that continues to fascinate readers with its compelling vision of reform, black revolution, and the quest for human freedom.
"Great Expectations" : Communication between standardized patients and medical students in Objective Structured Clinical Examinations
(2007-11-20T16:10:48Z) Budyn, Cynthia Lee; Schrader, Stuart M.; White-Mills, Kim D.; Goering, Elizabeth M.; Schultz, Jane E.
In relationship-centered care, the relationship formed between physician and patient is critical to the creation of positive patient outcomes and patient satisfaction (Inui, 1996; Laine & Davidoff, 1996; Tresolini, 1994). Medical educators have increasingly utilized Objective Structured Clinical Examinations (OSCEs) to assess medical students’ abilities to utilize a relationship-centered approach in clinical interviewing. OSCEs, however, have recently come under scrutiny as critics contend that the overly scripted and standardized nature of the OSCE may not accurately reflect how medical students build and maintain relationships with patients. Although some studies have looked at how standardized patients help teach medical students interviewing skills, few studies have looked specifically at how the structured nature of the OSCE may influence relationship-building between standardized patients and medical students. Therefore, this study asks the question “How is relationship-centered care negotiated between standardized patients and medical students during a summative diagnostic OSCE?” Using an ethnographic methodology (Bochner & Ellis, 1996), data consists of an ethnographic field journal, transcripts of semi-structured interviews with SPs and medical students, and transcripts of headache and chronic cough videotaped scenarios. Using grounded theory (Strauss & Corbin, 1990, 1998), a back-and-forth thematic analysis was conducted in discovering the saturation of conceptual categories, linking relationships, and in critically comparing interpretive categorical concepts with relevant literature (Josselson & Leeblich, 1999). Findings suggest that standardized patients and medical students hold differing expectations for 1) diagnostic information gathering and 2) making personal connections upon entering a diagnostic summative OSCE. SPs “open up” both verbally and nonverbally when medical students “go beyond the checklist” by asking discrete diagnostic questions and when overtly trying to connect emotionally. Fourth year medical students, however, expect SPs to “open-up” during what they experience as a rushed, time-constrained, and overly structured “gaming” exercise which contradicts their own clinical experiences in being more improvisational during empathetic rapport building. Differences between SPs and medical students’ expectations and communication practices influence how they perform during summative diagnostic OSCEs. Findings may suggest the re-introduction of more relationship-focused OSCEs which positions SPs as proactive patients who reflexively co-teach students about the importance of making personal connections.
Imagining the other: the possibilities and limits of the sympathetic imagination in J.M. Coetzee's recent fiction
(2011-11-18) Caldwell, Christine Sego; Hoegberg, David Erick; Schultz, Jane E.; Springer, Jennifer Thorington
In three of J. M. Coetzee’s recent novels, Disgrace (1999), Elizabeth Costello (2003), and Slow Man (2005), the South African author explores notions of authorship and challenges the possibilities of the sympathetic imagination. The notion of the sympathetic imagination has roots in Romanticism, and it connotes inhabiting another in order to understand or interpret. Romantic poet John Keats described the poet as “continually in for [sic] and filling some other body” (Letter to Richard Woodhouse), and Coetzee addresses the notion of the sympathetic imagination in his work. There are two facets of the sympathetic imagination: that which governs social relations and that which authors and creative minds attempt to claim as a driving force behind their work. It is important not to conflate the two separate facets of the sympathetic imagination. The social facet encourages good citizenship and allows humankind to behave in humane ways. It counters one’s private desire for mastery and balances self-interest with self-sacrifice; the sympathetic imagination helps others attain their goals and places others’ needs alongside one’s own selfishness. A sympathetic imagination is an essential quality in society, yet it will always yield only partial success. It cannot achieve complete success because truly inhabiting and embodying another living person is simply impossible, but in fiction, Coetzee explores the possibilities and limits of the sympathetic imagination at the level of language and metaphor. The other facet of the sympathetic imagination is often claimed by authors, poets, and artists to allow them to inhabit the subjects of their creativity. Coetzee tests the limits of authorial claims that writing is accomplished by applying a sympathetic imagination. In doing so, he creates metaphysical frames in which his own author-characters interact with other characters to reveal that some characters resist being written. In these metaphysical frames of fiction, Coetzee suggests that an author’s sympathetic imagination will never have total success; he sets forth a notion of partial success that helps address what is gained when the sympathetic imagination runs up against limits. My argument is that the authors and characters in these three novels attempt acts of sympathetic imagination and recurrently encounter limits. Coetzee questions perceived notions of authorship and the possibilities of the sympathetic imagination without offering alternatives. He critiques common notions of authorship and character writing but offers no real solutions.
Infinite regress: the problem of womanhood in Edith Wharton's lesser-read works
(2015-05-01) Smith, Alex; Schultz, Jane E.; Goldfarb, Nancy D.; Johnson, Karen Ramsay
Wharton’s heroines are ordinary women who fight to secure material comfort and create selves that satisfy their emotional and sexual needs. These women often find that the two goals are mutually exclusive, since society strictly dictates appropriate behavior. This code of behavior stems from their relation to men: as objects to be won, as wives, and as mothers. In many instances, women are not even aware of their prescriptive roles and confuse their search for self with a search for security. Material comfort does not nurture Wharton’s heroines’ inner selves and they feel a metaphysical dissatisfaction, often seeking to find contentment through divorce or affairs. What they find in either case is that the cure to their ennui is not material, but mental. Wharton’s women seek a transcendent self—a self that is not dependent upon popular notions of respectability; a spiritual state that is independent from any attachment to social imperatives.
Poetry "Found" in Illness Narrative: A Feminist Approach to Patients' Ways of Knowing and the Concept of Relational Autonomy
(2009-10-29T14:29:25Z) Kauffman, Jill Lauren; Brand, Peggy Zeglin; Capshew, James H.; Gunderman, Richard B.; Schultz, Jane E.
This project contributes to the improvement of the healing encounter between physician and patient and broadens the scope of medical ethics via application of a methodology that creatively communicates patient experience. Contemporary medical training and socialization can create emotional distance between patients and physicians, which has both positive and negative effects. A physician’s “detached concern” often renders patients’ ways of knowing irrelevant to their care. This has a negative effect on patient autonomy, trust, and the healing encounter in general. Herwaldt (2008) developed a pedagogical tool of distilling patient interviews in narrative form into “found poems,” in which the patient experience is expressed in verse; Herwaldt contends that the resulting poems hold the possibility of cultivating empathy in medical practitioners. My research extends Herwaldt’s work with a new set of ten patients currently in cancer treatment, translating their stories of illness into verse. The resulting poems have the potential to empower patients by legitimizing their narrative or experiential ways of knowing as complementary to physician perspectives and approaches to treatment. Clinical and feminist ethics are similar in their attention to case context, empathy, and legitimacy of narrative. However, there are aspects of feminist ethical theory that are not thoroughly delineated in clinical ethics—specifically, attention to power imbalances in medical structures and variations in ethical perspectives. When the poems are examined using a feminist bioethical framework, patients are empowered by expanding both the idea of justice and the principlist definition of autonomy to include the feminist conception of relational autonomy.

Browsing by Author "Schultz, Jane E."

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