Bruegel's Landscape with the Fall of Icarus.

Ovid's Metamorphoses tells the story of Icarus - his tragic flight with man-made wings, the melting of the wax that bound them, and the ensuing fall to his death. This moment has been immortalized across the arts and through several mediums, but none are more notable than Bruegel's Landscape with the Fall of Icarus. Described as a "painter for poets," Bruegel's work served as inspiration for several writers, with this piece in particular providing the basis for ekphrastic poems by W.H. Auden and William Carlos Williams. Though each of these works has a different focus, the unifying theme is that human tragedy is too often placed on the periphery of notice. They are effective reminders to physicians and other healthcare providers about the human aspect of suffering and pain in medicine.

Allegorical Investigations: Autism, Applied Behavioral Analysis, and Medieval Poetry.

This essay explores the connections between the modern autism intervention Applied Behavioral Analysis (ABA) and medieval personification allegory to show how literature powerfully enables the work of neurodiversity. Invoking the theory of the language game to investigate the clinical history of ABA, the essay puts the fourteenth-century poet William Langland in dialogue with Ludwig Wittgenstein and Stanley Cavell. I argue that the approach to language emerging from this constellation of voices works as a precise tool for diagnosing the ethical liabilities of ABA. By highlighting the shared interest in a set of animated terms across different historical and disciplinary domains, we can see how allegorical writing becomes an essential resource for exposing how ABA travesties human need and emotion. Working against the ethos of this "therapeutic" intervention, Langland, Wittgenstein, and Cavell join with autistic writers in advancing a model of language development based on mutuality, reciprocity, and shared forms of life.

[Waking in the Blue: The representation and the role of the psychiatric disorder in Robert Lowell's confessional poetry].

BACKGROUND: Psychobiographical analyses of the significant representatives of confessional poetry are important in understanding both the genesis of the poems and the history of the authors' psychiatric disorders. Most of the American confessional poets have died by suicide but Robert Lowell avoided this sad faith. AIMS: The purpose of this present paper is to analyze how the psychiatric disorder has been captured in his confessio - nal poetry and what sorts of creative processes can be identified that have possibly contributed to the fact that Lowell avoided suicide. METHODS: Art-, biographical- and document analyses have been performed. The analyzed writings belong to the confessional-lyrical part of Lowell's oeuvre. The reconstruction of the biography- and the illness history have been conducted based on international publications. RESULTS: Robert Lowell was hospitalized for the first time due to a psychiatric disorder in 1949, at the age of 32. The diagnosis was bipolar disorder and he suffered from this disorder through the rest of his life. During his psychiatric treatments obvious relationships have been revealed between his hypomanic states and artistic creativity. Moreover, he felt that his illness had been playing an important part in his art and contributed to his identity. The onset of the episodes of his bipolar disorder and the processes of his artistic self-expression were intertwined. Accordingly, hypo - manic states served as sources for creativity and the illness itself became an important theme in his poetry. CONCLUSIONS: Robert Lowell's artistic viewpoint, his desire for freedom and the sensitive way he was able to show Ame - rica in the mid-twentieth century all might have been in relationship with his psychiatric illness. His unique per - spective and artistic and political sensitivity made him one of the most admired poets of his era and maybe the same sensitivity contributed to his unexpected death at the age of 60. Professional psychiatric treatments, creative generative processes and the received support from family members and friends were those factors that might have been helped him in avoiding suicide.

Ateleological propagation in Goethe's Metamorphosis of plants.

It was commonly accepted in Goethe's time that plants were equipped both to propagate themselves and to play a certain role in the natural economy as a result of God's beneficent and providential design. Goethe's identification of sexual propagation as the "summit of nature" in The Metamorphosis of Plants (1790) might suggest that he, too, drew strongly from this theological-metaphysical tradition that had given rise to Christian Wolff's science of teleology. Goethe, however, portrayed nature as inherently active and propagative, itself improvising into the future by multiple means, with no extrinsically pre-ordained goal or fixed end-point. Rooted in the nature philosophy of his friend and mentor Herder, Goethe's plants exhibit their own historically and environmentally conditioned drives and directionality in The Metamorphosis of Plants. In this paper I argue that conceiving of nature as active productivity-not merely a passive product-freed Goethe of the need to tie plants' forms and functions to a divine system of ends, and allowed him to consider possibilities for plants, and for nature, beyond the walls of teleology.

Giovanni Rajberti (1805-1861): An uncompromising physician and poet.

The aim of this paper is to describe the figure of the Italian uncompromising physician and poet Giovanni Rajberti (1805-1861), who was a strenuous opponent of non-scientific medical practices in Italy, including Animal Magnetism, Homeopathy and Hydropathy. In particular, he demonstrated the inconsistency of mesmerist practices in an exemplary yet less-known episode that involved the famous French writer Honoré de Balzac (1799-1850). Although his ideas hindered his career, Rajberti continued to criticize alternative practices, sustaining the value of true medicine and science against charlatans.

"To nitrous oxide, chloroform gives way": Was Dr. W.J.A. DeLancey's poetic license in advertising inspired?

Born in New Hampshire but raised in Massachusetts, 14-year-old William J.A. DeLancey became "the man of the house" after the accidental death of his father. Amiable and good humored, young DeLancey supported his widowed mother and his three sisters until the girls all reached maturity. After he married, DeLancey moved to Illinois and took up dentistry, eventually settling in Centralia. Following anesthesia training back east at Manhattan's Colton Dental Association, DeLancey returned to Centralia. There he practiced the Coltonian method of testing freshly made nitrous oxide upon himself before using the gas upon patients. Before his training at Colton Dental, DeLancey had advertised in Centralia newspapers only in prose. After he began administering laughing gas to his patients and to himself, DeLancey waxed poetic and began advertising in heroic couplets in local newspapers.

John Donne, Spanish Doctors and the epidemic typhus: fleas or lice?

We describe the infections that appeared in the life and work of John Donne (1572-1631), the English metaphysical poet, mainly the exanthematic typhus that suffered and gave arise to his work Devotions upon emergent occasions, and several steps in my sickness. We discuss the vector of transmission of this disease, in comparison of other infections in that period, that Donne´s scholars have related to the flea without mentioning the body louse, the true vector of the exanthematic typhus. Likewise, we mention the exanthematic typhus´s symptoms in his Devotions in comparison with the Luis de Toro´s or Alfonso López de Corella´s works, Spanish doctors in those times and the first doctors in write books about the disease, and the singular treatment of pigeon carcasses on the soles of the feet in English Doctors but not in Spanish Doctors.

Dermatology in Ancient Rome: Medical ingredients in Ovid's "Remedies for female faces".

BACKGROUND: In Roman medicine, face packs, plasters, unguents, and peelings were part of the therapy of dermatological diseases, but also served cosmetic purposes. Ancient medical textbooks inform us about the ingredients for these applications. Beyond medical literature, other genres contain information about dermatological applications. The Roman poet Ovid (43 BC-17 AD) wrote a didactic poem recording five recipes for topical applications for female faces (Medicamina faciei femineae). Researchers debate the relation of Ovid's poem to Roman medicine: Does the poem contain therapeutical or cosmetical information, or is it mere belles lettres? AIMS: The objective of the paper is to conduct a medico-historical classification of Ovid's poem by determining whether the ingredients of Ovid's recipes were thought to be effective by the authors of Roman medical textbooks. METHODS: First, translation and identification of the ingredients were carried out. Second, comparison of the ingredients' functions regarding the therapy of dermatological diseases in two important Roman medical textbooks was realized. For this purpose, several commentaries on the text of Ovid were used and a keyword search in Roman medical textbooks was performed. RESULTS: Ovid's five recipes contain 23 ingredients. All ingredients can be found in medical textbooks. We find that 14 of these ingredients serve cosmetic purposes, 17 serve the therapy of dermatological diseases, and 13 serve both. CONCLUSION: Ovid's recipes contain drugs that were considered effective by the authors of Roman medical textbooks. These drugs were recommended both for therapeutic and cosmetic purposes by the same authors. Therefore, Ovid's didactic poem is not mere belles lettres, but contains serious medical and cosmetical information. As far as we know, it is the first Roman text that contains dermatological recipes.

Cancer and the emotions in 18th-century literature.

This essay argues that the emotional rhetoric of today's breast cancer discourse-with its emphasis on stoicism and 'positive thinking' in the cancer patient, and its use of sympathetic feeling to encourage charitable giving-has its roots in the long 18th century. While cancer had long been connected with the emotions, 18th-century literature saw it associated with both 'positive' and 'negative' feelings, and metaphors describing jealousy, love and other sentiments as 'like a cancer' were used to highlight the danger of allowing feelings-even benevolent or pleasurable feelings-to flourish unchecked. As the century wore on, breast cancer in particular became an important literary device for exploring the dangers of feeling in women, with writers of both moralising treatises and sentimental novels connecting the growth or development of cancer with the indulgence of feeling, and portraying emotional self-control as the only possible form of resistance against the disease. If, as Barbara Ehrenreich suggests, today's discourse of 'positive thinking' has been mobilised to make patients with breast cancer more accepting of their diagnosis and more cooperative with punitive treatment regimens, then 18th-century fictional exhortations to stay cheerful served similarly conservative political and economic purposes, encouraging continued female submission to male prerogatives inside and outside the household.

"Los libros y la noche", perspectiva neurológica de la ceguera de Jorge Luis Borges.

The works of Argentinian scholar Jorge Luis Borges (1899-1986) have captivated physicians. An assiduous reader, he was given, with magnificent irony, "books and the night". Borges suffered from chronic and irreversible blindness, which influenced much of his work and has been the subject of different literary and diagnostic analyses from the ophthalmological point of view. However, the characteristics of his visual impairment have escaped the neurological approach, which is why we reviewed his work looking for data suggesting a concomitant brain injury. On his autobiography, he recounts how, during an episode of septicemia, he suffered hallucinations and loss of speech; in addition, in some poems and essays he describes data that suggest "phantom chromatopsia", a lesion of cortical origin. After that accident, Borges survived with a radical change in literary style. Although a precise diagnosis is impossible, his literary work allows recognizing some elements in favor of concomitant brain involvement.

La obra del erudito argentino Jorge Luis Borges (1899-1986) ha cautivado a los médicos. Asiduo lector con magnífica ironía, le fueron dados "los libros y la noche". Borges padeció una ceguera crónica e irreversible que impulsó gran parte de su obra y ha sido objeto de distintos análisis literarios y diagnósticos desde el punto de vista oftalmológico. Sin embargo, las características de su ceguera han escapado al abordaje neurológico, por lo cual revisamos su obra en busca de datos que sugieran una lesión cerebral concomitante. En su autobiografía relata cómo durante un episodio de septicemia padeció alucinaciones y pérdida del habla; además, en algunos poemas y ensayos describe datos que sugieren "cromatopsia fantasma", lesión de origen cortical. Tras dicho accidente, Borges sobrevivió con un cambio radical en su estilo literario. Aunque un diagnóstico preciso es imposible, su obra literaria nos permite reconocer algunos elementos que sugieren involucramiento cerebral concomitante.

"The books and the night", neurological perspective on Jorge Luis Borges' blindness

The works of Argentinian scholar Jorge Luis Borges (1899-1986) have captivated physicians. An assiduous reader, he was given, with magnificent irony, "books and the night". Borges suffered from chronic and irreversible blindness, which influenced much of his work and has been the subject of different literary and diagnostic analyses from the ophthalmological point of view. However, the characteristics of his visual impairment have escaped the neurological approach, which is why we reviewed his work looking for data suggesting a concomitant brain injury. On his autobiography, he recounts how, during an episode of septicemia, he suffered hallucinations and loss of speech; in addition, in some poems and essays he describes data that suggest "phantom chromatopsia", a lesion of cortical origin. After that accident, Borges survived with a radical change in literary style. Although a precise diagnosis is impossible, his literary work allows recognizing some elements in favor of concomitant brain involvement.

[Mask and Self - and the Illness: Injuries of the Soul in Sylvia Plath's Poetry].

The study focuses on two features of Sylvia Plath's poetry that may be directly linked to her illness, her mask poetry and her female Bildung, where the former is informed by her sense of plural selfhood, while the latter gives account of the failures of her creative self-constructions. Although no direct connection can be set up between life and work even in the case of a confessional poet, it is probably safe to claim that multiple personality may manifest in a plural poetic self, while the Self developing in Bildung narratives contradicts the idea of a split personality. Enikô Bollobás explores the heteroclite diversity of artistic vision through discussing the pluralism of poetic masks and identities, insisting that, in the spirit of late modernism, no self-interpretive frame exists for Plath, one that would hold together the diverse identities. The long poems and poem cycles give narratives of female Bildung, portraying the woman's diverse attempts to break out of the traps of patriarchy; some of these are failed attempts, yet others offer allegories of the poet's creative self-constructions.

[Failure in the construction of the ego in confessional poetry - Sylvia Plath and Attila Jozsef].

The two poets, an American Sylvia Plath and a Hungarian, Attila József were separated by a quarter of century of time, they lived and worked in different spaces, cultures, but both created in their poetry a radically new style of self-expression, called confessional poetry. The "Belated Lament" of Attila József was written in 1936, and in the following year its author - after repeated earlier attempts - committed suicide. The "Daddy" of Sylvia Plath was written in 1962. She, again, after several attempts, killed herself the following year. They both talk about the powerful effect of the disruptive effect of unresolved Oedipal memories, both are deeply concerned with mourning of the Oedipal other a father and a mother (who died several decades before), and they also construct the death of their own. They both present themselves as an unsuccessful Oedipus and articulate a disturbing and disruptive arrival to Kolonos.

[From the experience to anger: The elaboration of the feelings against the parents in the art of Sylvia Plath].

AIM: The purpose of this present paper is to demonstrate the biographical antecedents and the adverse childhood experiences, which might have possibly contributed to those ambivalent feelings which can be observed in Sylvia Plath's confessional art in relation to her parents. METHOD: Biographical-, document- and artistic analyzes. The analyzed artistic pieces are the following: Johnny Panic and the Bible of Dreams, The Bell Jar, Collected poems (from The Colossus and Ariel books) and the Journals by Sylvia Plath. The reconstruction of the biography was conducted based on international textbooks. RESULTS: Sylvia Plath at the age of 30, on the 12th of October, 1962 wrote her famous poem, Daddy, which starts with these lines: "You do not do, you do not do /Any more, black shoe/In which I have lived like a foot For thirty years, poor and white,/Barely daring to breathe or Achoo. Daddy, I have had to kill you./You died before I had time/Marble-heavy, a bag full of God/Ghastly statue with one gray toe/Big as a Frisco seal/And a head in the freakish Atlantic /Where it pours bean green over blue/In the waters off beautiful Nauset./I used to pray to recover you. /Ach, du Dreck." A couple of months later, on the 11th of February 1963. Sylvia Plath committed suicide. Her journal entries and her works all testified that the emotional relationship with her parents significantly contributed to her genuine art and at the same time to the onset of her psychiatric illness. According to her journals, Sylvia Plath reported hate and ambivalent feelings several times to her psychiatrists. It is very likely, that the illness and death of Otto Plath and the emotional crises afterwards might have been that primary experience that might have exercised an adverse effect on Sylvia's life, and what have been composed very vividly in the poem called Daddy. CONCLUSIONS: Based on the analyzes of the biography, the journals and the poems, it can be stated, that the adverse childhood experiences, Sylvia had to experience during her father's illness, after his death, and during the restructuring of the family system are vital in the understanding of Sylvia Plath's art and her psychopathology.