Effects of a positive emotion-based adjuvant psychological therapy in colorectal cancer patients: a pilot study

Objective: To examine the effectiveness of an “Enhancing Positive Emotions Procedure” (EPEP) based on positive psychology and cognitive behavioral therapy in relieving distress at the time of adjuvant chemotherapy treatment in colorectal cancer patients (CRC). It is expected that EPEP will increase quality of life and positive affect in CRC patients during chemotherapy treatment intervention and at 1 month follow-up.Method: A group of 24 CRC patients received the EPEP procedure (intervention group), whereas another group of 20 CRC patients did not receive the EPEP (control group). Quality of life (EORTC-QLQC30), and mood (PANAS) were assessed in three moments: prior to enter the study (T1), at the end of the time required to apply the EPEP (T2, 6 weeks after T1), and, at follow-up (T3, one-month after T2). Patient’s assessments of the EPEP (improving in mood states, and significance of the attention received) were assessed with Lickert scales.Results: Insomnia was reduced in the intervention group. Treatment group had better scores on positive affect although there were no significantly differences between groups and over time. There was a trend to better scores at T2 and T3 for the intervention group on global health status, physical, role, and social functioning scales. Patients stated that positive mood was enhanced and that EPEP was an important resource.Conclusions: CRC patients receiving EPEP during chemotherapy believed that this intervention was important. Furthermore, EPEP seems to improve positive affect and quality of life. EPEP has potential benefits, and its implementation to CRC patients should be considered.

The Narrative Value of Dance Communication: "habitus", musicality and emotion

The richness of dance comes from the need to work with an individual body. Still, the body of the dancer belongs to plural context, crossed by artistic and social traditions, which locate the artists in a given field. We claim that role conflict is an essential component of the structure of collective artistic creativity. We address the production of discourse in a British dance company, with data that spawns from the ethnography ‘Dance and Cognition’, directed by David Kirsh at the University of California, together with WayneMcGregor-Random Dance. Our Critical Discourse Analysis is based on multiple interviews to the dancers and choreographer. Our findings show how creativity in dance seems to be empirically observable, and thus embodied and distributed shaped by the dance habitus of the particular social context.

La metáfora en los museos de historia social

Antes de la puesta en práctica de los archivos en papel en el siglo XIX había muchas formas líricas de conocer el pasado, por ejemplo, a través del canto y de la pintura. En la evolución de los museos del siglo XIX, los artefactos ocuparon el lugar del conocimiento correspondiente de la “verdad” que se creía existente en el papel archivado. El trabajo del Museo procedió con la certeza del sentido común de una correspondencia individualizada racional entre un artefacto y su significado. La confianza en la capacidad denotativa del artefacto era así la estrategia para transmitir significado a los visitantes. Los museos están alejándose ahora de la denotación como estrategia de comunicación primaria, y uno de los modos que surge es la metáfora. Así como se entendía antiguamente que el significado fijo de los objetos residía en su pura materialidad, ahora vemos el resurgir de la materialidad en los museos, pero esta vez a través de la metáfora, teóricamente entendida como apoyada en la experiencia material del mundo por parte de nuestros cuerpos humanos.