To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure firstname.lastname@example.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
The period after delivery is characterised by physical, hormonal and psychological changes. Up to 20% of women can present depressive and anxiety symptoms and difficulties in the interaction with the newborn, emotional lability. This condition is also called “Maternity Blues (MB)”.
To: 1) assess the frequency of MB presentation of depressive symptoms immediately after the delivery; 2) identify those characteristics more frequently associated to the onset of depressive symptoms after the delivery; and 3) verify the hypothesis that the presence of maternity blues is a risk factor for the onset of a depressive episode in the 12 months after the delivery.
From December 2019 to February 2021 all women who gave birth at the University of Campania “Vanvitelli” were enrolled. Upon acceptance, they filled in the EPDS Scale. Sociodemographic, gynaecological, peripartum and psychiatric anamnesis was collected at baseline. Women have been reassessed after 1, 3, 6 and 12 months.
359 women were recruited, with a mean EPDS score of 5.51. Among these, 83 reported the presence of MB (EPDS score≥10; 23.12%). Anxiety disorders with onset prior to pregnancy (p<.000), preeclampsia (p<.01), increased foetal health rate (p<.01), conflicts with relatives (p<.001) and anxiety disorders the partner (p<.01) emerged as predictors of Mb. The presence of MB increase 7 time the risk to have higher EPDS score at follow-up assessments (p<.000).
The presence of MB should always be assessed in the immediate post-partum and psychosocial interventions should be provided to women with MB to reduce its potential negative effect on mental health.
It’s hard times. The stock market climbs to a precipitous height while farmers sing, "How Can a Poor Man Stand Such Times and Live?" Cotton prices are down, and they sing about it. Railroad strikes fail, and they sing about it. The Scopes Monkey Trial pits science against superstition, and they sing about it. The musical Show Boat breaks the Broadway color line, but Black blues singers still sing of their own invisibility in a racist culture. Arguments rage over primitivism in Black musical culture. Blind Lemon Jefferson takes on the inhumanity of capital punishment, and many more sing against the unjust execution of Sacco and Vanzetti. There is trouble sung on the Ford production line and in rural holdouts resisting the coming dominance of the automobile. But modernity has arrived with a vengeance – not least in the form of the “Flapper” and the “New Girl,” a subject of worry in the more macho sectors of song. On the Gastonia front line, the striking textile worker and balladeer Ella May Wiggins takes a fatal bullet in the chest, and in Spanish Harlem, Rafael Hernández Marín composes his “Lamento Borincano,” Puerto Rico’s own “Brother, Can You Spare a Dime?”
The Crash of ’29 has come, and the Depression anthem “Brother, Can You Spare a Dime?” is written. The Bonus Army marchers and Cox’s Army descend upon Washington, singing. Rural depression and desperation continue – in folk song, blues, Tin Pan Alley song, and corridos. In “Bloody Harlan,” Kentucky, Florence Reece demands to know “Which Side Are You On?” and Aunt Molly Jackson leads the way in singing the coal miners’ struggle into the national conscience. The nine “Scottsboro Boys” are imprisoned, one of whom – Olen Montgomery – writes his own harrowing “Jailhouse Blues” in condemnation. In New York, Aaron Copland and Charles Seeger agonize over the “correct” way to write revolutionary song, and Black composers Florence Price, William Dawson, and William Grant Still are faced with the mixed blessing of the success of the white-penned Porgy and Bess. The argument over primitivism continues in the Haitian operas of White and Matheus as well as Hall Johnson’s groundbreaking Run, Little Chillun. Down South, the spiritual is transformed into some of the world’s greatest struggle anthems, and John Handcox emerges as the “Sharecropper’s Troubadour” for the Southern Tenant Farmers Union. Strike songs resound across the West Coast and the industrial heartland, while the queer world swings to the defiant songs of Pansies and Bulldaggers.
This chapter traces one of the formative transitions of the Harlem Renaissance in its literary encounter with jazz and blues culture, arguing that its aesthetic was not only shaped by the music’s vital expressive forms but also its means of production, the technical recording apparatus itself. Many Harlem Renaissance writers were motivated in their artistic efforts to preserve the folk culture they felt was rapidly being lost. To do so, they paradoxically harnessed the very recording technologies they believed were hastening the demise of folk culture. Sterling Brown, Langston Hughes, Zora Neale Hurston, and others engaged with popular music and its processes of recording – its possibilities of preservation, representation, and collectivity, but also displacement and alienation – in part, as a way of understanding the craft of writing as a related technology and their own predicament as writers within commercial literary markets requiring specific kinds of raced performances.
In his 1945 essay, “Richard Wright’s Blues,” Ralph Ellison defines the blues as “an autobiographical chronicle of personal catastrophe expressed lyrically.” “Ralph Ellison and the Blues” will examine the ways in which Ellison frames the blues as a quintessentially American form in which its makers tell individual stories that resonate for the collective, while simultaneously creating improvised, self-fashioned American identities. This chapter will consider Ellison’s engagement with the blues through his character Jim Trueblood in Invisible Man; his incisive recollections about Jimmy Rushing, and other blues people; and his own cohered identity created out of (American) cultural chaos.
Richard Wright’s relationship with African American music was fundamentally paradoxical: he was both thoroughly immersed in and profoundly detached from such genres as blues and jazz. While he listened to black music avidly, its presence in his fiction is minimal, and—like other progressives and literary figures of his time—he tended to see blues and jazz not as art in themselves, but as vital and raw folk material out of which the literati might create art. What is more, Wright emerged as an author and produced his most canonical works during a relative hiatus in blues history, as well as at a moment when jazz existed primarily as mainstream entertainment in the form of big-band swing. Although critics conventionally focus upon the few fleeting references to African American music in Wright’s fiction, revisionist scholarship might bring the music to bear on the author’s work instead. There are, for example striking parallels of topic, theme, language, and imagery between Wright’s “Down by the Riverside” (1938) and Charley Patton’s song about southern flooding, “High Water Everywhere” (1930). Critics, then, can fill in the blues and jazz gaps in Wright’s work that he was unable to complete himself.
This essay argues that at the center of Yusef Komunyakaa’s poetics, is a commitment to Gnosticism, a quest to find alternative ways of knowing. As an analogue to his sense that poetry at its best poses questions rather than seeking facile answers, Komunyakaa’s gnostic poetics is built around the impulse to embrace oppositions in which his poems endorse “critical values such as the virtue of transgression and the unity found in oppositions.” This essay argues that Komunyakaa’s poetics pursue a heuristic posture reminiscent of the emotional interiors revealed in blues music. Komunyakaa’s poems seek to explore the “strange debts we owe to others” along with “the strange debts we owe to ourselves, our imagination.” Looking at his later volumes of poems engage a variety of European landscapes and tropes, the influence of jazz and the blues on the poet’s oeuvre remains consistent. Employing Edward Pavlíc’s reimagining of James Baldwin’s notion of the “dark window” as a critical frame, this essay endeavors to provide a nuanced appraisal of Komunyakaa’s career, situating his poetry at the intersection of gnosis and improvisation.
Email your librarian or administrator to recommend adding this to your organisation's collection.