Even if the treatment of cancer has developed over the last decades 50% of the patients still die of their cancer. The doctor's way of dealing with his and his patient's anxiety must surely be of significance for the treatment the patient receives. In the first part of the thesis earlier studies of physicians' stress and ways of coping are reported. There is a lack of systematic studies which show how doctors working with cancer patients adjust to this work. The aim of this investigation is to study cancer doctors' difficulties and coping strategies. The theoretical frame of the study embraces parts of psychoanalytical theory and coping models, emphasizing that both unconscious and conscious psychological processes play their part in the coping process. The second, empirical part of the study includes 23 physicians strategically selected out of a population of physicians who work with institutional care and who have daily contact with adult cancer patients. The main method of data collection has been a series of recorded interviews. The focus of the interview was the physician's perception of how he reacts, thinks, talks and acts in different phases of the cancer disease. To illustrate the defence strategies of the interviewers, the projective percept-genetic test, the "Defence Mechanism Test" (DMT) is used. The "Structural Analysis of Social Behaviour" (SASB) has been used to study the doctors' self image. The results indicate that the stated difficulties deeply affect the doctor as a human being. The statements reflect conflicting feelings and wishes in relation to authority, conflicting feelings and wishes in relation to frightening and injuring, conflicting feelings and wishes in relation to intimacy/distance. Thirty themes of coping strategies frequently recur and they have been grouped into seven categories. Most of the doctors "seek knowledge" and support from scientific literature. The majority of them state that attempting to "solve a problem" is their main strategy. Most of the doctors "seek support " as a part of their coping strategy. An interesting observation is that the doctors to a higher extent "seek a relation" to their patients rather than to their colleagues. Almost one third use "denial of the severity of a situation" as their main strategy. All the doctors consciously or unconsciously use "diverting strategies", i.e. undertake tasks which are devoid of contact with patients, such as research and administration or other activities which allow them to avoid the patient. One third use "projective manoeuvres" but this is never a main strategy. In the third part of the study the credibility of the results and their pedagogical and practical implications are discussed. / <p>Diss. Umeå : Umeå universitet, 1994</p> / digitalisering@umu

This is a study of how expository information is presented in the metatext (title, subtitle, prefaces, dedications, the dramatis personae, announcements of act and scene, stage directions etc.) and the dialogue in seven one-act plays by August Strindberg: The Stronger (1889), Pariah (1889), Simoom (1889), Debit and Credit (1892), The First Warning (1892), Facing Death (1892), and Motherly Love (1892). Exposition in this study is defined as a semiotic temporal-structural element that: (1) is not restricted to any specific part of the drama; (2) is present in both the metatext and the dialogue; (3) transfers information about the prescenic time/action (time/action preceding the scenic time/action), interscenic time/action (scenic and non-scenic time/action between scenes), simultaneous scenic time/action (non-scenic time/action that takes place simultaneously with the scenic time/action, and postscenic time/action (time/action that follows the scenic time/action). The study shows that the expository information is presented gradually in the dramas, in both metatext and dialogue, and in all the four categories of time/action presented above. One important result is that the seven one-act plays, despite their naturalistic qualities, also contain components pointing towards Strindberg’s more expressionistic drama. It is possible to talk about a naturalistic or an expressionistic period in Strindberg’s authorship. It is, however, impossible to regard Strindberg as a naturalist or an expressionist in a stricter sense. Strindberg’s drama is too complex and rich to be placed in a certain theoretic doctrine. It is clear from the dissertation that the study of expository information is useful in dramaturgic analyses, and generates various discussions about for example themes, motives, and metaphors. A complete analysis of the exposition, therefore, must also consider elements such as language and imagery.