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Browsing by Author "Sheeler, Kristina K. Horn"
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Item The Story of Medicine: From Paternalism to Partnership(2013-01-09) Marks, Jennifer Lynn; Parrish-Sprowl, John; Sheeler, Kristina K. Horn; Karnick, Kristine Brunovska, 1958-Physicians were interviewed and asked about their perspectives on communicating with patients, media, and the ways in which the biomedical and biopsychosocial models function in the practice of medicine. Fisher’s Narrative Paradigm was the primary critical method applied to themes that emerged from the interviews. Those emergent themes included the importance of a team approach to patient care; perspectives on physicians as bad communicators; and successful communication strategies when talking to patients. Physicians rely on nurses and other support staff, but the most important partnership is that between the physician and patient. Narrative fidelity and probability are satisfied by strategies physicians use in communicating with patients: using understandable language when talking to patients; engaging in nonverbal tactics of sitting down with patients, making eye contact with patients, and making appropriate physical contact with them in the form of a handshake or a light touch on the arm. Physicians are frustrated by media’s reporting of preliminary study results that omit details as well as media’s fostering of expectations for quick diagnostic processes and magical cures within the public. Furthermore, physicians see the biomedical and biopsychosocial models becoming increasingly interdependent in the practice of medicine, which carries the story of contemporary medicine further into the realm of partnership, revealing its humanity as well as its fading paternalism.Item Subversive Voices in Contemporary Motherhood: The Rhetoric of Resistance in Independent Film Narratives(2011-11-18) Davidson, Rachel Diana; Dobris, Catherine A.; Sheeler, Kristina K. Horn; Goering, Elizabeth M.Interpretive textual analysis, informed by a feminist perspective, is applied to five independent films written and directed by female filmmakers in order to understand to what extent the rhetorical construction of motherhood as presented in the films deviates from or supports a patriarchal Western vision. This study provides a rich textual analysis of Amreeka (2009), Frozen River (2008), Waitress (2006), The Dead Girl (2006), and Lovely and Amazing (2001); five films that each considers the role of contemporary mothering as a central part of its plot. Each film has been distributed within ten years of the inception of this study, is considered an independent film, has received some degree of critical acclaim, and is written and directed by a female filmmaker. Using a feminist critical interpretive lens, this study investigates the public and private sphere identification of the mothers, the mother-child relationships, and the family systems that work to unveil a vision of motherhood in contemporary independent film and identify the extent to which this vision challenges or adheres to traditional representations. The readings of these films rely on theoretical insights of feminist film criticism and feminist theory. In addition, feminist rhetorical perspectives provide the framework to reveal the broader cultural implications of the representation of contemporary motherhood in public discourse. The analysis reveals a subversive reading of contemporary mothering characterized by the rejection of domesticity and other traditional mothering ideologies. Informed by resistance theory, the findings suggest the female filmmakers utilize the symbolic inversion tactic as a tool to resist their subordinate status. The subversive discourses give voice to female filmmakers attempting to negotiate power in a traditionally patriarchal forum by invoking a rhetoric of resistance. However, the rhetorical construction of the “indie” mother is characterized by maternal sacrifice and maternal autonomy which ultimately forces women to negotiate their mothering identity in relation to the hegemonic childrearing model of intensive mothering. The production of contradictory messages illustrates an attempt to adapt to existing conditions rather than transform the patriarchal system suggesting that independent film is a dynamic medium that both reflects hegemonic discourse while remaining open to ideological variance.