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- Erlandsson, Kerstin, et al.
(författare)
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Mothers' experiences of the time after the diagnosis of an intrauterine death until the induction of the delivery : a qualitative Internet-based study
- 2011
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Ingår i: Journal of obstetrics and gynaecology research. - : Wiley. - 1341-8076 .- 1447-0756 .- 0144-3615 .- 1364-6893. ; 37:11, s. 1677-84
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Tidskriftsartikel (refereegranskat)abstract
- AIM: This study aims to describe how mothers spend the period of time between being diagnosed with a dead baby in utero and the induction of the delivery.MATERIAL AND METHODS: Data were collected using a web questionnaire. Five hundred and fifteen women who had experienced a stillbirth after the 22nd week of gestation answered the open question: 'What did you do between the diagnosis of the child's death and the beginning of the delivery?' A qualitative content analysis method was used.RESULTS: The results show that some mothers received help to adapt to the situation, while for others, waiting for the induction meant further stress and additional psychological trauma in an already strained situation.CONCLUSION: There is no reason to wait with the induction unless the parents themselves express a wish to the contrary. Health care professionals, together with the parents, should try to determine the best time for the induction of the birth after the baby's death in utero. That time may vary, depending on the parents' preferences.
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- Eulau, Louise
(författare)
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Notes on the Discography of Ingmar Bergman's Record Collection
- 2020
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Ingår i: Fontes Artis Musicae. - : Project Muse. - 0015-6191 .- 2471-156X. ; 67:4, s. 349-362
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Tidskriftsartikel (refereegranskat)abstract
- There is plenty of documentation that strengthens the fact that music, and music played on a record player, were a lifelong source of creativity for the legendary Swedish theatre director and filmmaker Ingmar Bergman (1918-2007). Thanks to a scholarship received from The Bergman Estate on Faro, Sweden in 2017, I was given the opportunity to make a thorough examination of Bergman's record collection. This resulted in a discography of a private as well as limited collection that was published in Fontes Artis Musicae in December 2018. In this follow-up article, which is an expanded version of the paper Ingmar Bergman's Record Collection - A Discography, presented at the 2019 annual IAML Congress in Krakow, I have dug deeper into the findings. With the purpose of understanding Ingmar Bergman as a person in light of his phonograms, as well as tracing patterns between the discography and the choice of music in Bergman's oeuvre, four major themes are presented. One theme is linked to dance scenes in Bergman's productions; another relates to creativity, inspiration and mediating of emotions and atmospheres in staging. A third theme explains how Bergman used the phonogram as an artifact to spread his productions to a broader audience outside of the theatre and cinema framework. A fourth theme processes the musical influence on comfort and music as a base from which discussions that regard feelings and emotions stem. This theme is associated with music therapy.
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