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Herve Guibert is a person best acknowledged as Frances best writer of AIDS narratives
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Introduction
Herve Guibert is a person best acknowledged as France’s best writer of AIDS narratives. His scholarly corpus includes, nonetheless, fifteen discourses in which AIDS is not explicitly the issue. Additionally, his work is comprised of auto fictions as well as novels. There are two main collections of photographs that Herve Guibert has to his name. These are the Le Seul Visage that was published in 1984, and the Photographies that was published in 1993. Furthermore, he contributed to the photography column of Le Monde for a period of approximately ten years. Unlike most of his former works, Herve Guibert also put forward a feature well known as L’Image fantome (Minnuit, 1981).
There are several reasons why the collection L’Image fantome can be said to constitute a narrative about Herve Guibert himself. One of the key reasons is that the author uses text in this discourse to discuss photography, which is his passion. He further establishes it as a key thematic preoccupation where he reveals to the audience how intimately he is bound up with both desire and writing.
L’Image fantome is a book that is comprised of sixty four sections all of which bear a title. Most of its pages are haunted by the ghosts of Roland Bathes, who is one of Guibert’s acquaintances from the la chamber Claire. From the feature, readers can see how the works of Roland Bathes par lui-meme exerted a significant level of influence on the writings of L’image fantome collection. Herve later confirmed these assumptions in an interview.
Again, the content of L’Image fantome collection also reveals yet another circumstance, without which the writings would probably never have been written. The content show the importance of Guibert’s work as a journalist on Had, Cinema, Vingt Ans, Les Nouvelles Litteraires and Combat. It was during his career between 1973 and 1977 that his ability as a writer was greatly developed. Similarly, his work as a photographic critic on the feature Le Monde from the year 1977 to 1985 played a great role in inspiring the essay in the L’Image fantome collection.
In ‘Les photos preferees Guibert, who is also the narrator of the feature speaks of the time when he wrote a segment on topical issues for a magazine article and discovered photography. This decoys the reader to think of Vingt Ans. In other parts of the L’Image fantome, most of the texts are founded on the remarks of ‘La Retouchese’ which is put forward on direct speech. This section reveals to its audience about a time during Guibert’s career, where he conducted interviews for the Le Monde. The other story that also seems to have inspired his writings on the fantome collection is the ‘Suite serie, sequence.
A close evaluation of Herve Guibert’s career reveals that it is his job throughout his career that has enabled him to uniquely position himself through the feature L’Image fantome. For instance, through his role as a photographic critic, Guibert was able to have access some of the greatest photographers at the time. He also had a chance to interview them and relate with them in various dimensions. Having had to critique the works of such personalities not only sharpened his acumen in photography it also inspired and expanded his knowledge base. L’Image fantome collection is in fact enriched by the roles, duties and activities that was undertaken during Le Monde.
Thus, the feature ‘L’autoportrait’ shows how extensive Herve Guibert’s knowledge was. The content also demonstrates with what ease and certain grasp of detail Guibert writes about works of great photographers. Even at the scope and level of writing, it is hard for one to be a photographic critic for approximately nine years without suffering some level of ‘deformation professionnelle’ i.e. a form of job conditioning. In the stories put forward in the L’Image fantome collection this blue print is displayed in respect to both newspaper style of writing as well as in regards to the length of articles Guibert writes in the collection. Herve’s journalistic stamp can easily be encountered throughout the stories written in the L’Image fantome collection.
Moreover, the collection L’Image fantome can be thought of as Herve Guibert personal narration because of the use of close personalities that he encountered throughout his career. As a photographic critic, Guibert duties and responsibilities enabled him to frequent not only people known to be great photographers, but also great film stars, French intelligentsia as well as movie directors. At a glance of his film stars encounters, list of Le Monde bibliography shows the names of people such as Brigitte Bardot, Isabelle Adjan, Gerard Depardieu, and Gina Lollobrigida among other stars. What is remarkable about these people is that, apart from Brigitte Bardot, most of these people were utilized in his L’Image fantome feature.
The scope and diversity of his work was such that Herve used characters such as Gerard Depardieu in the Les Lubies d’Arthur article as Arthur at a fictional/ imaginary level. There is hardly any doubt for example, the photographer ‘D.S’ only asks Herve to do his portrait because the latter loved his previous displays and exhibitions and probably wrote about it. The outcome of this request thus gave rise to an act of writing well known as ‘La séance’ Several work remains to be done, utilizing Pierre Bourdeu’s evaluations, on this encounter between Herve Guibert and contemporary culture as illustrated by these Le Monde articles.
In ‘Adjani ou les vertus de l’exces’ which is one of the articles comprised in L’Image fantome collection, another personal narration of Herve Guibert is illustrated again. This article provides an interesting example of what the critical writings of Guibert can achieve. The article bestows an opportunity to display how his critical writings can supplement and complement his work. Through words, the narrator attempted to paint Adjani with words on a physical and spiritual portrait. Here, Guibert began textually painting her from her eyes. He then described here skin then explored the quality of her voice before finally delving onto her body. The portrait displayed here is in fact more like a camera image tracking out i.e. everything explained on the image plays on color. In Adjani’s case Herve Guibert accounts it on the basis of whiteness.
He then turns to her films where the narrator wonders why he likes Adjani; he admitted that his preference to Adjani as a model was for her feminine features. Every time she appeared between lines she bestowed substance in turn Nastassia Philipovna, Charlotte, and she hardly ever let her writings down. From this description, it can be deduced that Adjani played a relevant role in inspiring a novelistic imagination to the Herve Guibert not only at the level of imagined characters who he reads and loves, but also via being a writerly factor herself in his own pieces of work as a writer. The personal narrations of Herve Guibert is again highlighted through Adjani in the L’Image fantome collection where some people claim that she inspired the article, ‘Marine in A l’ami’.
As discussed, Adjani ou les vertus de l’exce is a portrait that was textually painted by words. To a certain extent this discourse provided groundwork for the L’Image fantome collection to be formulated. This is because the collection presents a summation of a series of photograph that is taken by words. This therefore instigates the question whether the photographic critic work of Le Monde’s and that of the writer L’Image fantome are one and the same thing.
In the review of L’Image fantome, Christian Caujolle states that through this feature a restoration of all the sensitive reaction can neither be displayed nor uttered in journalistic criticism. According to Caujolle, the image created in the fantome collection epitomizes the story L’Image cancereuse where the images are not created; rather it is recomposed in reverse, adjacent to the skin. Of all the attributes in the L’Image fantome collection, this attribute is the most significant analogy. This is because the writer presents a narration of his personal life through composing texts and photography in reverse. Here, most of his compositions are demonstrated as mediation of writings where he focuses on writing on the self. On the back cover he adds an unsigned text that speaks of ‘une suite de recits’. As aforementioned, the length and style of the texts used in this collection represents the journalistic criticism comprised in the Le Monde articles.
Reference
Boule, J., Herve Voices of Self, Liverpool, Liverpool University Press, 2009
Foley, J.M. (ed.), a Companion to Ancient Epic, Oxford, Wiley-Blackwell, 2009.
Hughes, A. & Noble, A., Phototextualities: Insertions of Photography and Narratives, New Delhi, UNM Press, 2012
Hughes, A., Reading Guibert’s L’Image Fantome/ reading Desire, New York, Taylor and Francis, Inc., 2008
Ratnagar, S., Trading Encounters: From the Euphrates to the Indus in the Bronze Age, New Delhi, Oxford University Press, 2004
Analytical Paper (2)
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Analytical Paper
In the US, Urinary Tract Infections (UTIs) are among the most common hospital-acquired infections (HAIs). An infection of the ureter, urethrae, bladder, or kidney is known as a UTI (Anggi et al., 2019). In the US, UTIs have roughly 560,000 incidence rates per annum, with roughly 387,550 of these cases being Catheter-Associated Urinary Tract Infections (CAUTIs) (Blanck et al., 2014). CAUTIs are infections in patients who utilize urine catheters for at least three days and are more prevalent among critically ill patients in the Intensive Care Unit (ICU). They are determined by urine culture with over 105 Colony Forming Units (CFU)/mL of a single bacterial species, an indwelling urinary catheter for at least three days, and at least one sign or symptoms such as urgency or dysuria, fever, hypotension, costovertebral angle tenderness, suprapubic tenderness, and increased urinary frequency (Podkovik et al., 2019). This paper presents a substantive analysis of Anggi et al. (2019) study, which examined the CAUTIs risk factors and causative pathogens for CAUTIs among ICU patients. Usually, CAUTIs are connected with various complications including pyelonephritis, bacteremia, prostatitis, cystitis, sepsis, longer stay in the hospital, and a higher risk of death; thus, CAUTIs among patients in the ICU need to be reduced. Understanding CAUTIs risk factors and the CAUTIs causative pathogens assist in reducing CAUTIs among critically ill patients.
The insertion of a urinary catheter causes the development of UTIs. Before examining the CAUTIs risk factors and pathogens causing CAUTIs, and how these may help in reducing UTIs among critically ill patients, it is important to first understand how the insertion of catheters causes UTIs. According to Anggi et al. (2019), inserting urinary catheters interrupts the innate immune defense by destroying the mucous barrier responsible for preventing uropathogenic movement to vesica urinary as well as its adhesion. Also, once a urinary catheter is inserted, it stimulates an inflammatory response and causes trauma within the mucous of the bladder, neck, and urethra. The mechanical damage and inflammation in the urinary tract increase the risk for UTIs and weakens a patient’s immune response to uropathogenic (Anggi et al., 2019). Urinary catheters also promote the development of UTIs by allowing direct inoculation of microorganisms into the bladder during catheter insertion, during the drainage system, or during the catheter’s post-placement manipulation. Therefore, nurses should be more careful during catheter insertion to avoid exposing patients to infections.
The prolonged duration of catheter use increases the risk of developing CAUTIs. After evaluating the risk factors of CAUTI, Anggi et al. (2019) found that patients who used catheters for at least six days had a higher risk of developing UTI (78.6%) than those who used them for less than 6 days (32.5%). Meddings et al. (2014) advocate for the removal of unnecessary urinary catheters. According to the authors, urinary catheters are frequently left in body when they are no longer needed. This prolonged duration of catheter insertion increases the risk of developing CAUTUIs. As such, nurses should ensure that catheters are removed within the shortest time possible to prevent critically ill patients from developing UTIs. Parker et al. (2017) also agree that prolonged duration of catheterization increases the risk of CAUTI and recommends that catheters are left in place only when need be to reduce the risk of developing CAUTIs. Thus, identifying prolonged catheter use as a risk factor for developing CAUTIs may help reducereduce UTIs among critically ill patients.
Age is also a risk factor for developing CAUTIs. Anggi et al. (2019) established that older patients are at a higher risk of developing CAUTIs than younger patients. Rowe and Juthani-Mehta (2013) reveal that aging increases the risk of developing CAUTIs due to the age-associated changes in the immunity system, a condition known as immunosenescence. By definition, immunosenescence refers to changes in the adaptive and immune response linked with increased age. It increases susceptibility to infections by making the immune system slower to respond. Since older patients are susceptible to infections, using catheters places them at a higher risk of developing CAUTIs. Therefore, nurses should minimize urinary catheter use and the duration of catheterization for the aging population since they are at a higher risk of developing CAUTIs.
Identification of the pathogens causing CAUTIs may also help in reducing CAUTIs among critically ill patients. After exploring the uropathogen bacteria associated with CAUTIs, Anggi et al. (2019) found that a variety of pathogens causes CAUTIs. The researchers identified 11 microorganisms, including Staphylococcus scour, Pseudomonas aeruginosa, Klebsiella pneumonia, Enterococcus faecalis, Acinetobacter lwoffi, Escherichia coli, Burkholderia cepacian, Acinobacter hemolytic, MRSA, Acinetobacter baumanii, and Salmonella enteric. The most common bacteria identified by researchers was Pseudomonas aeruginosa, followed by Enterococcus faecalis, and then Escherichia coli ESBL (Anggi et al., 2019). Research reveals that accurate identification of the causative pathogen for infectious diseases is vital in finding and prescribing effective treatment (Le Doare et al., 2015). Therefore, identifying the causative pathogens for CAUTIs will make identifying the type of antibiotics for treating these infections among critically ill patients easier. In effect, this will help reduce CAUTIs prevalence and incidence rates among critically ill patients.
Overall, to reduce the risk of developing CAUTIs among critically ill patients, it is important to understand CAUTIs risk factors and the causative pathogens for these infections. This is because a comprehensive understanding of CAUTIs’ risk factors will help nurses to know what actions or factors places a patient at a higher risk and how such risks can be minimized. For instance, since the extended duration of catheterization increases the risk of developing CAUTI, nurses can reduce this risk by ensuring that catheters are left in place only when they are needed. Also, since older patients have a higher risk of developing CAUTIs, nurses can ensure catheter use and the duration of catheterization are reduced to reduce the risk of developing CAUTIs among this population.
Reference
Anggi, A., Wijaya, D. W., & Ramayani, O. R. (2019). Risk factors for catheter-associated urinary tract infection and uropathogen bacterial profile in the intensive care unit in hospitals in Medan, Indonesia. Open Access Macedonian Journal of Medical Sciences, 7(20), 3488-3492. https://doi.org/10.3889/oamjms.2019.684Blanck, A. M., Donahue, M., Brentlinger, L., Stinger, K. D., & Polito, C. (2014). A quasi-experimental study to test a prevention bundle for catheter-associated urinary tract infections. Journal of Hospital Administration, 3(4), 101. DOI: 10.5430/jha.v3n4p101
Le Doare, K., Barker, C. I., Irwin, A., & Sharland, M. (2015). Improving antibiotic prescribing for children in the resource‐poor setting. British journal of clinical pharmacology, 79(3), 446-455. https://doi.org/10.1111/bcp.12320Meddings, J., Rogers, M. A., Krein, S. L., Fakih, M. G., Olmsted, R. N., & Saint, S. (2014). Reducing unnecessary urinary catheter use and other strategies to prevent catheter-associated urinary tract infection: an integrative review. BMJ quality & safety, 23(4), 277-289. https://doi.org/10.1136%2Fbmjqs-2012-001774Parker, V., Giles, M., Graham, L., Suthers, B., Watts, W., O’Brien, T., & Searles, A. (2017). Avoiding inappropriate urinary catheter use and catheter-associated urinary tract infection (CAUTI): a pre-post control intervention study. BMC health services research, 17(1), 1-9. https://doi.org/10.1186/s12913-017-2268-2Pera, A., Campos, C., López, N., Hassouneh, F., Alonso, C., Tarazona, R., & Solana, R. (2015). Immunosenescence: implications for response to infection and vaccination in older people. Maturitas, 82(1), 50-55. https://doi.org/10.1016/j.maturitas.2015.05.004Podkovik, S., Toor, H., Gattupalli, M., Kashyap, S., Brazdzionis, J., Patchana, T., … & Wang, S. (2019). Prevalence of catheter-associated urinary tract infections in neurosurgical intensive care patients–the overdiagnosis of urinary tract infections. Cureus, 11(8), 1-9. https://doi.org/10.7759%2Fcureus.5494Rowe, T. A., & Juthani-Mehta, M. (2013). Urinary tract infection in older adults. Aging Health, 9(5), 519-528. https://doi.org/10.2217%2Fahe.13.38
Analytic Comparison of Two Works of Art, One of Which Is Post-Impressionist, and the Other Abstract
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Analytic Comparison of Two Works of Art, One of Which Is Post-Impressionist, and the Other Abstract
MoMA or the museum of modern art is an art museum that is located in New York City’s Midtown Manhattan. This museum plays an essential role in collecting and developing modernistic art, and artists and other interested parties have always identified it as one of the most influential museums in the world. The collection the museum offers is uncontestable with its wide range of contemporary and modern art, including works of design and architecture, sculpture, drawings photography, painting and electronic media. The museum holdings and pieces of work are more than 150 thousand individual art pieces and more than 22 thousands films. The museum houses some of the most familiar and crucial arts as the Starry Night, the Cloude Monet and the Love Song among others. It holds the works of familiar and influential artists from both the United States and Europe including such artists as Frank Stella, Paul Gauguin, Pablo Picasso and Vincent van Gogh. Just as well, there are various forms of art presented in the museum ranging from abstract, impressionist, post- impressionist, expressionist, among other forms of art.
This paper, therefore, will look at two of these forms of art, which are the cubism and post- impressionist forms of art, by referring to examples found in the museum of modern art. The two pieces of work that the paper will refer to are found in the museum of art and are Pablo Picasso’s Les Demoiselles d’Avignon and Pablo Picasso’s Les Demoiselles d’Avignon, 1907incent van Gogh’s Starry Night. The paper will compare the techniques used to produce each piece of art, and the concepts behind each of these paintings, which are cubism and post- impressionist.
Cubism was a 20th century art movement pioneered by Picasso himself with the help of another artist called Georges Braque. In this technique, objects are usually fragmented, analyzed and then re- assembled in an abstract from, rather than in a manner, that depicts objects from the viewpoint of an artist. The artist in this case, depicts the object or subject from numerous viewpoints that represent the object or subject in a greater detail. In most cases, the surfaces intersect or cross at angles that are extremely random, therefore, eliminating the sense of depth that is coherent. The planes of the object and the background interpenetrate with each other to come up with space that is both shallow and ambiguous, one of the few distinct traits of cubism.
On the other hand, post- impressionism is a word that was formulated by the British artist, also a critique, called Roger Fry in the 1900s to describe the establishment of art by the French since Manet. The artist, therefore, used the tern when he organized and arranged for the 1900s exhibition called Manet and Post- Impressionism. This concept of producing art extended impressionism while rejecting and not conforming to its limitations. They, therefore, kept on making the use of thick application of paint, vivid colors, subject matters based on real life and distinguishable brush strokes, but they were more inclined to focus on forms that were more geometric, to distort or ruin form produced by expressive effects, and to make use of arbitrary and unnatural color.
For one to completely distinguish these two forms of art from each other, it is essential to look at an example of each form art, so as to compare and identify the distinguishing features and characteristics of each. An excellent example of the cubism form of art is one piece of art by Pablo Picasso that can be found in the museum of modern art in New York. Les Demoiselles d’Avignon is a 1907 oil painting by Pablo Picasso, a Spanish painter. This painting is considered one of the most significant works in the beginning of modern art. The painting shows five naked women, who are usually interpreted as prostitutes in a brothel. Two of these prostitutes are depicted pushing aside the curtains around the area where the rest of the prostitutes strike erotic and seductive poses. Their figures are made of splintered, flat planes rather than volumes that are round or circular. Their eyes are lopsided, asymmetrical and also staring. Two women on the right of the large piece of art have threatening and frightful masks on their heads. In normal circumstances, the space would recede, but in this case, it comes forward in shards that are jagged, like glass that is broken. At the bottom is a still life, which seems to be pieces of sliced melon or some other red fruit, slicing the air like a scythe.
The faces of the women on the right seem to have been influenced by some African art, or spirit, which the painter assumed would play the role of a magical protector against menacing spirits. He later implied that this piece of work was his first painting of exorcism. It seems, therefore, as if he had a certain danger or fear in mind, like a sexual disease, one of the many sources of fear and anxiety in Paris at the period. In its clashes of style and color and its brutal treatment of the female body, the painting marked the radical break from traditional perspective and traditional perspective.
In addition to defying the traditional or conventional subject matter if painting, Picasso also dismissed the existing guidelines on composition, handling of space and accuracy of real- life subjects r objects. A number of aspects in the piece of art show this. For instance, the two central figures in the painting seem to be staring at the audience directly, and even suggestively, therefore, managing to engage the audience in the painting. Additionally, all the women depicted in the painting are deformed. Legs and arms look like flat planes, breasts re misshapen and three of the women have funny masks on their faces. The colors used in the painting are also only accurate in a sense that is general. Rather than the painter using colors to reflect coloring of real life people, they are used mainly to differentiate and suggest the various painting forms. Added together, all of these traits led to the production of a rare painting. In this work, the painter refuted and incorporated the renaissance artistic ideals and introduced the ideals of a new form of painting. The painting was among the first large examples of cubism, an attempt to show three dimensions without the need of perspective. The characteristics of cubism in this painting are shown by a focus on the formal geometrical criteria, rather than the utilization of color.
The differences between this form of art and post- impressionist are seen with the analysis of Vincent van Gogh’s 1889 Starry Night. This piece of art is a field filled with rolling energy. The village is depicted as a place of order and calmness below the exploding stars. The flame like cypress connects the sky to the earth. The tree is traditionally related to mourning and graveyards. The painting is rooted and based on memory and imagination. This makes it possible to leave behind the doctrine of impressionists of truth to nature in the favor of the seemingly restless intense color and feeling, as it is seen in this extremely charged picture.
Much of the response to the painting today is not only based on its fame, but also universality. Throughout the eras individuals and lovers of art have been drawn to the piece of art by its sublimity, stillness and infinitude, which when combined evoke in viewers emotions of humility and peace, wonder and awe. In the Starry Night, the painter mixed these feelings with a surging sense of energies of the terrestrial nature, which he depicted through his style, with the confidence in his style and composition, the dynamism of his painting techniques and the resonance of the colors he chose to use. This painting was painted from memories derived from observed experiences, memories of pictures viewed long ago and in creative competition with other painters.
Conclusion
The purpose of the paper was to compare two pieces of work derived from the cubism and post- impressionist forms of art. It we have seen in the above paragraphs, the two forms of art are extremely different in style, use of color and ideas. Just as well, we saw in the paper that the two forms of art were developed and furthered by different artist in different periods. Overall, the two forms of art are extremely essential in the world of art, as they serve as examples of some of the ancient concepts in art that led to the development of modern art.
Work cited
Wilson, Kristina. The Modern Eye: Stieglitz, MoMA, and the Art of the Exhibition, 1825-1934. New Haven: Yale University Press, 2009.