Cancer Flashcards
Timmerman (2011), cancer memoirs
Some commentators have dismissed the recent proliferation of cancer memoirs as an expression of sentimentality, but even cultural historians trained to steer clear of essentialism may do well to recognize that those facing the inevitable reality of death have tended to look at life differently, searching for meanings and aspects of their biographies addressing the ‘why me’ question, be this in the Victorian period or the early twenty-first century.
Arnold-Forster (2016), Johnstone, Baines, 2015
claim that in the early
years of the twentieth century, leukaemia would not have been described as a cancer by researchers or clinicians. While it is beyond the scope of their book, in the nineteenth century the disease was defined by its materiality and could only be treated by surgical methods
they argue that in the 1930s the category was subdivided. Childhood cancer was
made substantively different from adult afflictions, but still recognizably the same
disease with the same name
In post-war Britain the number of cases of acute leukaemia in children
rose substantially
Not only were more children being accurately diagnosed after the Second World War, but also the introduction of antibiotics likely affected the incidence of leukaemia, as children who might have otherwise been killed
by infection were now surviving infancy.
also, a ‘real’ increase, caused by pregnant women receiving X-rays
Arnold-Forster (2016), 20th C disease
cancer is conceived of as a twentiethcentury
disease. Running through popular perceptions of cancer, as well as academic histories,
is an association between the disease and modern life
widely held and persistent belief that cancer only emerges onto the stage in the mid-twentieth century.
This emergence is understood as political and social – that is, when cancer was supposedly
first subjected to public programmes of research, provided with large-scale fundraising
plans and debated in Parliament. It is also understood as epidemiological: cancer
is, for many, an unintended consequence of modern styles of living and post-industrial
life.
Arnold-Forster (2016), key recurring theme
is cancer’s burden on society increasing, or are ‘cancer epidemics’ the product of improved diagnosis, increased hospitalization,
longer life expectancies and the reduction of infant mortality
Arnold-Forster (2016), what does modern life mean?
Is it accurate diagnosis, is it effective public and preventive health, is it pharmacological advance, is it improved life expectancy, or is it increased environmental toxicity?
Arnold-Forster (2016), Skuse (2015)
She argues that cancer
was made into a knowable ‘object’ through its discursive connection to the crab
cancer’s relation to the early modern gendered body
was made, in part, through its metaphorical links to generation and reproduction.
Not only did the disease appear to manifest most frequently in female sex-specific organs – breasts and uteruses – cancer tumours’ semi-sentient status also shared much with the nascent life of conception and pregnancy.
Skuse covers the period between 1580 and 1720, and argues that cancer was
prominent in life and medical discourse in early modern England.
challenges the association between cancer and modern life
Toon (2014), Through the Night
BBC1, early December 1975
the story of a young working-class woman with breast cancer and her encounters with the medical establishment.
estimated 11 mil viewers
teleplay’s airing, and the media debates that followed, thus illustrate a crucial shift in the history of cancer in
Britain, a shift that made sufferers’ experiences of cancer and its treatment a central element in representations of the disease.
Toon (2014), TTN = radical
explicitly encouraged viewers to see cancer treatment—and medical care in general—
through the patient’s eyes.
But not a challenge to medicine’s authority, but a call
for doctors, nurses and hospitals to reform themselves and deliver care more humanely
Toon (2014), cancer in the British media before the late 1960s
nation’s newspapers, magazines, and radio and television programmes generally presented cancer as a diffuse scourge to be conquered by science, charity and the state, and their discussions of cancer usually highlighted biomedical research news or announced new equipment and facilities
Toon (2014), newspapers and magazines early 1960s
began to trumpet early detection of cervical cancer
through smears, feeding a vocal campaign by women’s groups to make screening a national priority
even these - little to say about treatment/ everyday experience
Toon (2014), Caroline Nicholson and rising attention to breast cancer experiences
1968, briefly discussed her
own experience with breast cancer in the Guardian.
1973, Nova featured a lengthy investigative piece by Nicholson, who interwove her own and other women’s personal experiences into
her review of treatment trends at home and abroad
The next month leading weekly Woman’s Own took the subject to a much broader audience, devoting several pages to a personal narrative by the American child actress-turned-diplomat Shirley Temple Black, reprinted from the US woman’s magazine McCalls
Toon (2014), TTN background
- written by Griffiths based on observing experience of his wife Jan - social worker - undergoing breast cancer treatment
Toon (2014), Through the Night, key storyline events
- surgeon Seal performs combined biopsy-mastectomy w/o Christine having understood that this was a possibility
- C locks self in toilet stall - Nobody says anything. They treat you as if you were already dead. The specialist, he never even looked at me, let alone spoke
-Pearce, trying to talk her out: we have lost all idea of you as a whole, human being, with a
past, a personality, dependents, needs, hopes, wishes. Our power is strongest when you are dependent upon it. We invite you to behave as the sum of your symptoms. And on the whole you are pleased to oblige
Toon (2014), med reviews of TTN script before production
reviewers included, for example, John Wakefield,
who led the Christie Hospital, Manchester’s pioneering Social Research Department, and the Health Education Council’s A. Dalzell-Ward.
All commentators commended the script, agreeing that while TTN depicted many uncomplimentary examples of careless practice and bureaucratic mistakes, such practices and mistakes were, sadly, accurate depictions of the realities of hospital care
surgeon Wheeler, pointed out that doctors were aware that they were legally bound to make sure patients
understood consent forms
Griffiths and the production team held firm, bc hurried presentation of modified consent form was what had actually happened
All these commentators commended the script, agreeing that while TTN depicted many uncomplimentary examples of careless practice and bureaucratic mistakes, such practices and mistakes were, sadly, accurate depictions of the realities of hospital care
In fact,
medical professionals and
health educators hoping to change practices around cancer treatment threw their
support behind the production of the play, as it provided them with more ammunition
Toon (2014), Peter Maguire
Published in the Nursing
Mirror and later in the BMJ, the work done by Maguire and his colleagues was amongst the earliest British research to consider how counselling and aftercare could improve women’s experiences of mastectomy
One widow remembered
that At night another doctor asked me to sign a form agreeing to the operation…just a vague possibility of further surgery…but he thought it most unlikely. He inferred it was just a formality…but I couldn’t sleep. I hadn’t thought I’d need a big operation. No one had told me anything
Maguire’s later work argued strongly for specialist nurses providing aftercare and counselling to mastectomy patients.
Toon (2014), audience response to TTN
BBC’s Audience Research Department, surveyed sample of viewers
Many viewers cited by the audience researchers stressed how ‘real’, how true to life the play’s depiction
of Christine’s experience seemed to them, with several respondents even ‘confirming, from their own experience, the accuracy of the picture’.
Toon (2014), Agony aunt Marie Proops, Sunday Mirror
letters to her:
even amongst those who had had positive experiences of treatment, the majority believed that Christine’s ostensibly fictional experience was entirely possible in real life.
Glamorgan woman
wrote that she had been reassured that the consent form was ‘just a formality, and that her lump couldn’t be anything serious’ but then awoke in the ward to find her breast gone.
Proops and those who wrote to her sustained a largely positive attitude towards
breast cancer treatment generally—or at least about the treatment’s ultimate medical value and their own abilities to eventually adjust to it.
One Birmingham woman - To every woman I say, go as soon as possible, have no fears at all. To lose a breast
is better than losing your life.’
Toon (2014), Tonight discussion aired after TTN
Griffiths noted that even if Christine’s experience in hospital had been bad, she was better off for having received treatment.
Toon (2014), BBC survey questionnaire after TTN
showed that a greater percentage of those who viewed both TTN and The Changing Face of Medicine rated themselves as ‘more
worried’ about cancer than those who had only seen the documentary
Bingley and others (2006), rise in cancer illness narratives in English
last half century - combination
of technological revolution and changes in medical
treatment and expectation around survival have fuelled
an unprecedented increase in written narratives of illness and facing death.
exponential growth w rise of internet
Academic interest has been prompted by the volume of
‘illness narratives’ in the public domain. These narratives, defined as ‘pathographies’ by Anne Hunsaker Hawkins (controversially because the narrators never refer to their
writings in these terms),are ‘book-length narratives about the author’s illness’.
Narratives about ‘dying-of-cancer’ are a recent phenomenon, only starting to emerge as a distinct genre in the 1970s.3,6 Up to this time, a writer might make
mention of a final illness at the end of an autobiography, but examples of specifically writing about dying / as the
main purpose for writing the text / are rare
many published illness narratives are written by those already skilled in the medium of language.
Bingley and others (2006), non-cancer illness narratives
lack of narratives about facing death as a result of heart disease or stroke
may be due to the fact that people either die immediately, are severely disabled by the effects of the stroke, or they are very old and affected by multiple ailments which
compromise expression or confidence in writing
diagnosis stories, in particular of neurological, organ failure and heart failure, tend to focus less on the circumstances around the diagnosis than those of cancer narratives
Bingley and others (2006), four recurrent themes in illness narratives
- the moment of diagnosis
- the story of subsequent treatment and sufferings
- the experience of medical interaction
- the self as an individual; with an independent life and
relationships when outside the world of medical
interaction
Bingley and others (2006), stories of diagnosis
probs most written about
Almost all narratives record that the diagnosis had been preceded by suspicions over many months or weeks
Jo Hatton found to have terminal heart disease aged 14 years old, as a result of congenital heart defects, was left to guess the truth of her fatal prognosis for weeks until she finally demanded that her mother tell her what
doctors had told both parents, but refused to discuss with her
Helen Scott-Davies describes the delivery of her cancer diagnosis as ‘blunt and direct’
Every cancer text, from the 1950s to 2004, tells a litany of missed or wrong diagnosis, in some cases spanning more than 3 years.
Bingley and others (2006), body image
Anne Charlesworth, in the last stages of cancer, writes in her poem The polar bear at Chester zoo comparing her situation locked in a sick body to the situation of the polar bear locked in the zoo.
Hair loss due to chemotherapy was a major concern for cancer sufferers, most likely to be discussed by
women.
Rachel Clark - found myself staring into the eyes of a creature who would not have looked out of place on the set of ‘Star Trek’. I was horrified. Before this point I had known I
was ill but now I looked ill.