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Symptoms as Meaningful Tamily Culture" Symbols in Palliative Care unpleasant sensations that arise from an interference with or a departure from normal function, sensation, or appearance. However, these are not directly observable by another person (7,8). The obscure intrapersonal nature of symptoms is revealed in findings where symptoms are not necessarily reported as distressing by patients despite their "frequent" or "severe" occurrence (9). The mere naming of symptoms as "severe" or "frequent" is not adequate in understanding symptom experiences (10). In accordance with Rhodes and Watson's (8) formulation of symptom experience, severity and frequency are elements of "symptom occurrence", which is one underlying component of a wider symptom experience phenomenon. The second component of symptom experience is "symptom distress", which is described as how the symptom makes the individual feel versus how the symptom is experienced, as in severity or frequency. Symptom distress is a phenomenological experience that reflects one's subjective or personal meaning of the illness symptom; it is often influenced by the everyday life context of, for example, one's family cultural patterns, values, and orientations to health and illness (11). Understanding the meaning of symptom events in palliative care therefore requires a broad symptom model that can guide therapeutic responses in providing relief from the occurrence and distress arising from symptoms. According to the University of California at San Francisco (UCSF) School of Nursing Symptom Management Group's symptom management model, symptom experiences are comprehended on three dimensions (12). First, the patient's "perception of a symptom" dimension is depicted as the patient's awareness and cognitive interpretation of a deviation from normal behavior that is embedded in and interacts with contextual demographic, sociocultural, and health/illness factors. The second dimension is the "evaluation of the symptom". Evaluation of symptoms is characterized by elements of the symptom occurrence component of symptom experience (e.g, intensity, location, duration,

The monumental statues of the Canadian small town are a well-recognized folk art form. Communally sponsored and constructed, town monuments announce the presence of a local social system and are the symbolic expression of some key aspect of a settlement’s social life. Stylistically diverse and varied in subject, they speak of nature, history, ethnicity, economic activity, the regional origins of townspeople, and the achievements of residents. In some sense sacred, town monuments may commemorate an ancestral pioneer population or venerate a cultural heritage, a prized articulation with the land, or a characteristic occupation. More than mere tourist attractions, town monuments make perceptible an intangible set of social relations and are sites for various community events and celebrations. Proclamations of identity are encoded in town monuments, and the structure of signs that results from the creation of each is ultimately a system of totemic representation. Collectively, town monuments facilitate the appreciation of local difference along with a concomitant recognition of the shared presence of community and have come to establish thereby a contemporary form of totemism.

The arrival of the digital age has not only reshaped and refocused critical research in the humanities, but has provided real opportunities to innovate with pedagogy and classroom structure. This article describes the development of a new pedagogical model that integrates learning by teaching with student access to electronic archival resources. This teaching approach counters many of the drawbacks of conventional post-secondary instruction by engendering a more participatory learning environment, facilitating the deformation of restrictive critical categories, deepening students' interpretative abilities, and at the same time giving faculty opportunities to broaden their own research.

Les auteurs de The Witch of Edmonton (1621) se servent d’une stratégie d’ambivalence en représentant sur scène Elizabeth Sawyer, qui avait été dernièrement exécutée pour sorcellerie. L’intertissage complexe d’un scepticisme rationnel avec un traitement sensationnaliste et superstitieux à l’égard de la sorcellerie permettait à ces professionnels du théâtre de s’approprier le personnage de la sorcière afin d’explorer leur propre relation à la marginalité, la criminalisation et la transgression sociale.