Academic literature on the topic 'Sacred poem'

The author analyses A.A. Fet's poem “The Nightingale and the Rose”, included in the collection “Poems” (1850). He points out that the collection aroused the interest of leading critics of the second half of the 19th century such as Apollo Grigoriev, Lev May and Osip Senkovsky. A.A. Fet's poem “The Nightingale and the Rose” particularly attracted their attention. The most significant characteristics of the poem are identified in the present study from the point of view of these critics; similarities and differences in its assessment are noted, and their reasons are explained. In particular, attention is drawn to the lively interest of the romantic era (both in European and Russian art culture) for the East. Characteristics of the image of the East are given, as well as names of writers and titles of their works. The author points to a foreign source of A.A. Fet's poem “The Nightingale and the Rose”, which turned out to be an inaccurate translation of Hafiz, reflecting not so much the specifics of Hafiz's ghazals as their interpretation by the translator with his European vision of the East. The text of A.A. Fet is a version of the Eastern ghazal in Russian. A digression about the historical and philological study of the word “rose” in the works of A.N. Veselovsky, and the tradition of using the theme of love between the Nightingale and the Rose in the poetry of A.S. Pushkin, N.M. Yazykov, A.V. Koltsov are presented. The author notes the original features in the interpretation of these images in the poetic text of A.A. Fet and points out the programmatic nature of the poem “The Nightingale and the Rose”, as testified by the poet's repeated references to the text and the corrections he inserted in view in a new publication.

The theology of Hans Urs von Balthasar can be described as an attempt to provide an exposition of a verse in one of Gerard Manley Hopkin's most memorable poems in which the Jesuit poet declared that ‘The world is charged with the grandeur of God’. This verse, and indeed the poem as a whole, affirms the Christian's cosmic experience of God. Just as the mythological view of the relationship between god and the world is that the world is a sacred theophany, the world is, for the Christian, the theophany of God's glory and beauty.

The paper investigates the literary roots of «night-motifs» in N. Nekrasov`s epic «Who is Happy in Russia?» and his «night» poems «Knight for an Hour» and «Railroad» down to English poetry of XVII–XVIII cc.: metaphysical poetry by H. Vaughan (XVII c.) and greater didactic poem by E. Young (XVIII c.). Both mythological and lyrical «night» motifs of H. Vaughan`s poetry owed to ancient folk traditions of the poet`s Motherland – Wales, with its archaic Celtic language, rituals and sacred festivals (such as Samhein). E. Young`s poem «Complaint or night thoughts on life, death and immortality» (1743–1745) is closely related to later baroque culture, stressing the night-motif in the context of the poet`s contemplation of life, death and christian immortality of human soul. H. Vaughan`s and E. Young`s «night» poetry influenced greatly the sentimentalist and preromantic trends in European poetic traditions of XVIII–XIX cc. N. Nekrasov`s main epic poem with its profound night motifs, though continuing pre-romantic European traditions of H. Vaughan and E. Young, remains greatly indigenous and rooted deeply in both folk and poetic Russian orthodox culture.

The investigation in this article comprises the analysis of a poem by the Flemish author Hugo Claus, namely "De regenkoning". It is one of the poems in a sequence entitled "De ingewijde" (The initiated) which forms part of his volume of poetry "De Oostakkerse Gedichten” (1955). These poems are extremely esoteric and an attempt is made here to “decode” the "hidden mysteries” in this particular poem. Claus’ method of using a kind of secret language corresponds to a basic feature of (universal) initiation ceremonies, namely that everything that takes place is shrouded in secrecy. It was found that the nucleus of traditional initiations, namely sexual and mental maturation, likewise form a fundamental characteristic in Claus’ poem. Yet his "neophyte” is not (re)born into a "new” (sacred) world, but initiated into the broken (profane) realities of modern society.

Abstract Tranströmer’s prose poem Blåsipporna (“The Liverleafs”) is rather cryptic. By reading the text in the light of Kant’s theory of the sublime and by focusing on its mysterious and paradoxical aspects, this essay seeks to unveil the poem’s hidden eschatology. The poem’s transcendence is the result of the rhetorical and literary devices the poet is using to depict an ecstatic experience. Such an experience is beyond rationality, hence the wording’s irrationality. In addition, the poem addresses silence, as the experience of ecstasy can never be expressed by words. Thus, Blåsipporna is a piece of art and a sacred text at the same time.

Recognizing that the central figures of their Faith wrote poems, members of the Bahá’í community rightly honor poetry. Unlike non-Bahá’í artists who may feel unappreciated and estranged from society because they have no shared view of the universe and whose poetry may become increasingly obscure, pri­vate, and difficult, the Bahá’í who writes poems enjoys a sense of family with an international audience made up of people who hold similar spiritual values and aspirations, and the Bahá’í poet can joyfully restate the eternal themes traditionally addressed in poetry, taking care to avoid imitating the Sacred Texts. In the process of engaging in this craft, the Bahá’í poet will be performing an act of worship which should not only transform the writer but also hold before readers the possibility of their being transformed too. White’s poem, “Rescue,” is cited to illustrate the point that transformation must originate from within the individual.

The following is a poetic transcription presented as a 12-part poem. The author constructed the poem from an email interview conducted with “Donovan,” a 61-year-old, White, gay man. The interview was part of a larger study on the experience of LGBTQ+ identity as spiritual identity, which focused on individuals who believe their LGBTQ+ identity is imbued or imbues their life with spiritual qualities. Donovan is a monk in a tradition that blends Hinduism, Buddhism, Native American Spirituality, and Paganism and that honors the “Hayamoni,” a Pali word for Two-Spirit people. The narrative poem reflects his perspective on the experience and meaning of LGBTQ+ spiritual identity in his life. The poem is presented without a literature review in an effort to privilege Donovan’s lived experience and perspective.

The article is devoted to the analysis of the creation of the hierotopy of modern warring Donbass in the poem by Elena Zaslavskaja “Novorossia of Thunderstorms. Novorossia of Dreams” (2020). The article shows how the archetypes of cultural memory are actualized under the wartime circumstances and in the situation of ext­reme existential choice. One of the most ancient cultural archetypes of Russian culture is the image of Russia as a sacred space, which synthesizes the archaic image of the holy kingdom and Christian ideas of holiness as the feat of self-sacrifice. The author analyzes the mechanisms of creation in the poem of the image of Lugansk-Svyatograd included in the sacred Christian space due to the self-sacrifice of its inhabitants during the war with the Ukraine since 2014.

Andrés Sánchez Robayna entiende la poesía como una forma de conocimiento, siguiendo la tradición que procede del Romanticismo. La poesía se presenta como liberación del poder espiritual de la palabra, capaz de reunificar al hombre con el mundo. El poema brota movido por el deseo de lo desconocido, que es el fondo invisible de lo visible. Este misterio que late en la realidad es lo sagrado para el poeta, quien experimenta el sentimiento de pertenencia a la tierra que remite al lugar de origen. El poema se muestra como una «auscultación del lugar» que procede del deseo: la belleza del lugar suscita el canto de celebración. De este modo la palabra convoca una presencia que toma cuerpo en la palabra; y al mismo tiempo este nombrar se ahonda en lo invisible, unificándolo con lo visible. Este construir y habitar la imagen-cuerpo del mundo mediante la obra poética constituye una liturgia que reúne a los hombres, el mundo y lo sagrado. La alianza tiene lugar en el símbolo-imagen, que unifica lo escindido y es el cimiento de la liturgia. El artículo concluye con un breve acercamiento a «La alianza», poema perteneciente a La sombra y la apariencia. Andrés Sánchez Robayna understands poetry as a way of knowledge, following the tradition that comes from Romanticism. Poetry is presented as a liberation of the spiritual power of the word, which is able to reunify the man with the world. The poem springs up moved by the desire of the unknown, which is the invisible depth of the visible. This mystery that beats in the reality is the sacred for the poet, who experiences the feeling of belonging to the earth that refers to the place of origin. The poem is shown like an “auscultation of the place” which comes from the desire: the beauty of the place arouses the chant of celebration. In this way, the word summons a presence that is embodied in the word , and, simultaneously, this calling deepens in the invisible, merging it with the visible. This scaffolding and inhabiting the image-body of the world using the poetic work, constitutes a liturgy that congregates humans, the world and the sacred. The covenant takes place in the symbol-image, which unifies what is torn and is the foundation of the liturgy. The article concludes with a brief approach to “La alianza”, a poem belonging to La sombra y la apariencia.

Il genere del cosiddetto “poema sacro” fu uno dei più frequentati nella letteratura italiana tra il XVI e il XVIII secolo, ma le opere afferenti a questa categoria letteraria sono state a lungo ignorate dai critici. La mia ricerca si propone di studiare una sezione limitata di tale enorme produzione, ossia le opere in volgare pubblicate nel Ducato di Milano, coprendo un arco temporale che va dal 1566 al 1706. Sulla base di una rigorosa analisi dei componimenti, spesso poco studiati o del tutto sconosciuti, questo lavoro intende delineare le peculiari declinazioni dell'epica sacra nella realtà milanese, fortemente influenzata dall'indirizzo culturale proposto da Carlo e Federico Borromeo. Gli autori dei poemi considerati sono Sisto Poncello, Giovanni Maria Paroli, Cesare Della Porta, Ettore Colombo, Annibale Guasco, Giacomo Turamini, Antonio da Brugnato, Bernardino Baldi, Antonio Biaguazzone, Giulio Fe', Lelio Guidiccioni, Ambrogio Ferro, Francesco Antonio Tomasi, Francesco Pallavicini, Stefano Rossi, Giacinto Faggi, Giuseppe De Maltraversi, Pietro Paolo Giletti, Alessandro Ghirardelli, Basilio Bertucci.<br>The so-called “sacred poem” was one of the most successful genres of the Italian literature between the 16th and the 18th century, but the works belonging to this category have usually been ignored by critics. My research aims at studying a limited part of this enormous literary production, considering the vernacular poems published in the Duchy of Milan between 1566 and 1706. On the basis of a meticulous analysis of the texts, often scarcely studied or completely unknown, I intend to determine the features of the sacred epic in the Milanese environment, which was strongly influenced by the cultural policy promoted by Carlo and Federico Borromeo. The authors of the poems are Sisto Poncello, Giovanni Maria Paroli, Cesare Della Porta, Ettore Colombo, Annibale Guasco, Giacomo Turamini, Antonio da Brugnato, Bernardino Baldi, Antonio Biaguazzone, Giulio Fe', Lelio Guidiccioni, Ambrogio Ferro, Francesco Antonio Tomasi, Francesco Pallavicini, Stefano Rossi, Giacinto Faggi, Giuseppe De Maltraversi, Pietro Paolo Giletti, Alessandro Ghirardelli, Basilio Bertucci.

Il genere del cosiddetto “poema sacro” fu uno dei più frequentati nella letteratura italiana tra il XVI e il XVIII secolo, ma le opere afferenti a questa categoria letteraria sono state a lungo ignorate dai critici. La mia ricerca si propone di studiare una sezione limitata di tale enorme produzione, ossia le opere in volgare pubblicate nel Ducato di Milano, coprendo un arco temporale che va dal 1566 al 1706. Sulla base di una rigorosa analisi dei componimenti, spesso poco studiati o del tutto sconosciuti, questo lavoro intende delineare le peculiari declinazioni dell'epica sacra nella realtà milanese, fortemente influenzata dall'indirizzo culturale proposto da Carlo e Federico Borromeo. Gli autori dei poemi considerati sono Sisto Poncello, Giovanni Maria Paroli, Cesare Della Porta, Ettore Colombo, Annibale Guasco, Giacomo Turamini, Antonio da Brugnato, Bernardino Baldi, Antonio Biaguazzone, Giulio Fe', Lelio Guidiccioni, Ambrogio Ferro, Francesco Antonio Tomasi, Francesco Pallavicini, Stefano Rossi, Giacinto Faggi, Giuseppe De Maltraversi, Pietro Paolo Giletti, Alessandro Ghirardelli, Basilio Bertucci.<br>The so-called “sacred poem” was one of the most successful genres of the Italian literature between the 16th and the 18th century, but the works belonging to this category have usually been ignored by critics. My research aims at studying a limited part of this enormous literary production, considering the vernacular poems published in the Duchy of Milan between 1566 and 1706. On the basis of a meticulous analysis of the texts, often scarcely studied or completely unknown, I intend to determine the features of the sacred epic in the Milanese environment, which was strongly influenced by the cultural policy promoted by Carlo and Federico Borromeo. The authors of the poems are Sisto Poncello, Giovanni Maria Paroli, Cesare Della Porta, Ettore Colombo, Annibale Guasco, Giacomo Turamini, Antonio da Brugnato, Bernardino Baldi, Antonio Biaguazzone, Giulio Fe', Lelio Guidiccioni, Ambrogio Ferro, Francesco Antonio Tomasi, Francesco Pallavicini, Stefano Rossi, Giacinto Faggi, Giuseppe De Maltraversi, Pietro Paolo Giletti, Alessandro Ghirardelli, Basilio Bertucci.

The research discussed in this exegesis outlines the development of a visual language to evoke the experience of the sacred space as expressed through the nineteenth century poet Emily Dickinson, particularly her poem number one hundred and twenty four, Safe in their Alabaster Chambers1. I propose that this poem refers to a fluid space where the imaginings of the soul and the body co-exist and is an expression of Dickinson’s ambivalence towards religion and its framing of mortality (L. Freedman 2011, p. 1). I suggest that Dickinson used poetry to grapple with the space between the material and the spiritual worlds. In order to make visual my concerns I propose a re-reading of the poem and re-working of the poet’s modus operandi, through my print practice. Rather than illustrating Dickinson’s poem in a literal way, my work seeks to evoke the conflicted feelings aroused by Dickinson as she seeks to express her relationship with religion and negotiate the expectations of her gender (Freedman 2011, p. 3). My perspective employs a feminine lens through which I contribute to the work of other women artists who have grappled with the idea of spirituality and pushed against the confines of religious belief. I work with the concept of the sacred space, particularly absent for women in religious iconography, making a further contribution to the challenge of how to make the ‘invisible’ visible. Printmaking, with its traditional links to religious texts and imagery, is a particularly appropriate medium to explore the sacred. The two print techniques I have employed are stone lithography and mono printing. Stone lithography allowed me to facilitate a unique series of prints through drawing directly onto the stone where deletions and over printing meant each print has a unique state. Mono printing has been especially appropriate, as it has allowed for the layering of inks, stencils and textures to create a series of prints to invoke the two stanzas of the poem. Layering techniques have been used with subtle tones and textures to suggest the invisibility of the sacred space. The issues pertaining to the poem and my visual explorations are the subjects of the following chapters. This exegesis is set out in three chapters. In Chapter One I discuss my concerns with religious belief as expressed through the words of Julia Kristeva, ‘This incredible need to believe’ (2009, pp. 3 -12). Kristeva’s words are complicit with my intentions to re-fold back to the nineteenth century to engage with the poet and the poem as a foil for my concerns. This is manifest in the re-folding of roles between Dickinson and myself as the poet expresses her concerns related to mortality and religion through her poetry and I re-imagine these through my visual language. To develop this, I delve into how the poetry reflects her ideas, both in language and structure. Dickinson used syntactic devices, such as dashes between words and phrases to denote the ‘inexplicable’ problem of mortality and the soul. She structured her poem into stanzas, the first of which can be seen to evoke the material world while the second is suggestive of the infinite realm of the spirit, whilst maintaining fluidity between the two realms. Gilles Deleuze’s concept of the Fold is introduced as a way of conceptualizing this relationship between the two realms. I argue that there is a connection between the structure of the poem and Deleuze’s idea of the two levels of the Baroque House, where one level is for the body and one for the soul, with movement between the two levels (G. Deleuze 1993, pp. 4, 5 & 100 -107). In Chapter Two the idea of the sacred space, and mortality is developed and contextualized through a number of artists. As I have proposed to view the sacred space through a feminine lens, I have researched women artists who have either employed Dickinson’s poetry in their practice or who have found new ways of visualizing the invisible realm of the ‘sacred’. Three contemporary artists who have taken Dickinson and her poetry to focus on spirituality and language are Kiki Smith (1954 -) who has recently collected and illustrated a limited edition book of Dickinson’s poems, called Sampler (Arion Press), employing the skills of embroidery artisans; Lesley Dill (1955 -) who has referenced Dickinson through her dramatic and large-scale installations and Roni Horn (1955 -) a contemporary American artist who has found an affinity with Dickinson through ‘place’ and the syntactic devices she employed in the poems. Horn became especially pertinent to this investigation as she took Dickinson’s poetic structure and sought to express this through spatial configurations of the components of her work. Twentieth century artists whose works have been referenced for their explorations of the intangible world of spirituality are Mira Schendel’s transparent mono prints, and Agnes Martin’s translucent pastel hued paintings as an expression of ‘nothingness’. This chapter concludes with a discussion of Tacita Dean’s installation in the church tower, now art gallery, St Agnes in Berlin. How these artists have influenced the methodologies of my art practice is discussed in detail throughout Chapter Two. All the artists I discuss are women except for Fra Angelico from the mid fourteenth century. The art critic Georges Didi-Huberman’s interpretation of Fra Angelico’s fresco, with specific focus on the four panels under the main fresco, has been influential in bringing new understanding to the disruptions in my work. The magnificent fresco Madonna of the Shadows (1450) will be discussed in the final chapter. The methodologies employed throughout the investigation and subsequent influences are the subject of the third chapter, Modus operandi. An engagement with New Materialism has been central to making sense of the methodologies I employed for the investigation, especially Karen Barad’s theory of ‘hauntologies’. Barad’s proposals have been integral to framing the processes I employed and combined with serendipitous events, interacted to bring about new possibilities in understanding and making. There have been fortuitous discoveries that have led me to bring a sense of Dickinson’s manner of working – discoveries where there was a need to let go of the materials and the medium to allow the intra-action of events to bring new understanding between the maker and her materials and the poet and her poem. This has led to the exploration of how to image the text as an absence and has encouraged new insights and questioning of my own practice.

The final chapter explores several prominent fifth- through seventhcentury female saints who do not have surviving medieval vitae but who help broaden our understanding of the complexity and empowering aspects of female religious experience in medieval Ireland. Three have early modern adaptations of medieval Lives or legends. Lasair was so renowned for her wisdom that Finnian of Clonard’s own Life claims her as his student. She also shows that women could unleash some seriously righteous wrath, while also being a source of comfort and healing. Attracta, said to be a contemporary and associate of Patrick, was particularly active in County Sligo, where she is well-remembered in several churches and wells. Her legend celebrates her ability to slay dragons and resurrect the dead. Cranat emphasizes connections with the earth, as her eyes are said to have become trees, one devoured piece by piece by the desperate hopes of Ireland’s emigrants in the mid-nineteenth-century, as it was said to protect the bearer from drowning; another survived and indeed thrived into the last century. Cranat sacrificed her eyes to retain control over her body and fate, to remain a nun rather than become a wife. Gobnait inspired many legends attesting to her great holiness and harmony with animals and nature, but none survive from the medieval period. Medieval litanies and calendars invoked her protection and honored her memory, but her preservation is primarily a credit to the importance that her monastic site, Ballyvourney, retained through the centuries as well as to oral traditions and cultural customs that accompanied her cult. The chapter finishes with Dígde, the probable poet behind one of Ireland’s most celebrated poems, Aithbe damsa bés mara, or “The Lament of the Old Woman of Beare.” Her poem may preserve an authentic echo of a medieval Irishwoman’s perspective; its haunting, complex, and evocative beauty and frank sensuality challenge assumptions about gender and sanctity and provides striking contrast to claims made by hagiographers.

In chapter 14, J. Kameron Carter offers an interpretation of the poem Zong! by M. NourbeSe Philip. Zong is the name of a British slave ship on which around 150 African slaves were murdered in 1781. Philip produces her poem Zong! with words from a 1783 court case that absolves the British slavers. This is a fragmented poem that recovers the memory of the dead slaves, but does so not as an imagined whole, only through the apparatus of death that rendered their deaths legally justified by colonial jurists. Carter reads this poem as a sacred mystical text that renders blackness visible through its devastation and deformation by colonial violence in act and word. Carter’s counter-political theology of the black sacred as read through Philip’s poem opens us up to other practices of the sacred, other forms of what is called political theology, and a mystical otherworldliness without any self-evident or self-contained world.

This chapter presents a case study of one myth that we have from pictorial sources in the Viking Age, from poems almost certainly composed in the Viking Age, and from thirteenth-century sources, namely the encounter between the god Þórr (Thor) and his cosmic enemy, the World serpent, a beast that encircles the earth, in the deep sea. In this myth, Þórr fishes up the serpent, and depending on the variant, Þórr may or may not kill the serpent. I present and analyze the texts in more or less chronological order, from the older skalds through the Eddic poem Hymiskviða, through Snorri Sturluson in Edda, and compare the texts to the rock carvings that portray the myth. I argue that the issue of the death or survival of the serpent is less important than the simple fact that Þórr had the serpent on his hook.

Persian poets competed with each other through their literary output as they vied for patronage when the prison poem came into fashion in Shirvan in the northeastern Caucasus, under the aegis of the Shirvanshah dynasty. Khaqani Shirvani was at the centre of the Caucasus’ borderland literary culture, but he was far from the only prison poet in his milieu. Others included Mujir al-Din Baylaqani Falaki Shirvani, and Abu’l ʿAla Ganjevi. The tensions that circulated around him, and related signs of animosity among poets that affected the intellectual atmosphere of literary Shirvan, were rooted in a range of factors: competition for resources and patronage from the Shirvanshahs; multi-confessional tensions among Muslims, Christians and Zoroastrians; transformations in the locus and meaning of sovereignty as an older concept of a sacred caliphate ceded ground to a secular concept of the sultanate; and the increasing authority of the poet that followed from these transformations.

This chapter discusses the light-hearted ways in which Sa’di connects to his readers as a comedian. His goal the chapter argues is to infuse the most sacred and serious moments with laughter. For this purpose the chapter makes use of Sa’di’s long and celebrated poem the tarji’band, and provides the full translation of the poem.

The book as a whole emphasizes a productive discontinuity between various eighteenth-century poets and both their Miltonic sources and their Romantic successors. Two interludes, however, qualify this picture by showing how a mortalist poetics, shared by the late Milton and some early Romantic writers, persisted in between the two in certain quarters of Enlightenment England. The first interlude focuses on the poet James Thomson. It identifies and discusses a few of the theological implications of his Poem Sacred to the Memory of Isaac Newton (1727) and his revisions to The Seasons (1730).

‘The Fasti’ is a study of the Fasti, Ovid’s poetic version of the Roman calendar. Each book of this poem corresponds to a month of the Roman calendar, and the books, like the Roman calendars they imitate, detail the religious observances associated with individual days. The Fasti is Ovid’s most topical poem, indirectly inspired by the great calendrical reform of Julius Caesar, from which our modern calendar derives. Of all Ovid’s poetry, then, this brings him closest to the concerns of Augustus, heir to Caesar, and his reformist regime. It is the most Roman of his poems, too, directly engaged with the religious, and hence political, culture of the city, and its sacred and secular topography. At the same time, this chapter explains, Ovid reverts to elegiac form from the epic form of the Metamorphoses, and while the poem contains much in the way of celebration of Augustus’ Rome, Ovid’s trademark wit and self-awareness are undiminished, and hints of a more dangerous irreverence are to be found.

Introdução: O tailgut cyst ou hamartoma cístico retrorretal é um remanescente embriológico do intestino posterior, geralmente benigno, localizado no espaço retrorretal. Ainda que a malignidade seja pouco frequente, o cisto pode alcançar dimensões consideráveis, com compressão das vísceras pélvicas, e deve ser considerado no diagnóstico diferencial dos tumores pélvicos. Malformações dos sistemas genital e urinário podem estar presentes. Relato de caso: D.S.G., branca, 24 anos, nuligesta, apresenta queixa de dismenorrea secundária, com sensação de peso na pelve com duração de seis meses. O exame ginecológico revelou presença de massa com limites mal definidos abaulando a parede posterior da vagina, pouco móvel, de consistência firme mas não parecendo sólida, com cerca de 5 cm de diâmetro. A paciente realizou ultrassom transvaginal, que revelou massa heterogênea no fundo de saco de Douglas, adjacente à parede posterior do útero, com 63x32 mm de diâmetro, com áreas císticas, diversos debris e aglomerados de microcistos. O eco endometrial era espessado e duplicado no fundo da cavidade, provavelmente por septo na cavidade com 10,2 mm. Foi realizada ressonância nuclear magnética da pelve com gel vaginal, que confirmou lesão expansiva multicística com conteúdo proteico/hemático no espaço retrorretal direito, com 6,2x2,6x3,5 cm; útero com duas hemicavidades endometriais na região corporal e fundo uterino, separadas por septo parcial; discreto espessamento do ligamento uterossacro direito. A vídeo-histeroscopia confirmou a presença de septo muscular com 3 cm de espessura; pólipo glandular de 2 cm na hemicavidade direita. A paciente foi submetida à cirurgia por via transperineal, com ressecção da massa retrorretal. O estudo anatomopatológico da peça cirúrgica confirmou o diagnóstico de hamartoma retrorretal. Realizou-se a ressecção do septo uterino e do pólipo endometrial por vídeo-histeroscopia. Com três meses de seguimento pós-cirúrgico, a paciente não apresentou melhora significativa da dismenorreia. Conclusão: O hamartoma retrorretal origina-se de remanescentes embrionários do intestino posterior e localiza-se no espaço pré-sacral. O tumor pode alcançar volume considerável, como no caso relatado, e a ele são atribuídos sintomas como constipação, dor abdominal baixa e dor na nádega direita. Mas frequentemente ele é um achado incidental em exames ginecológicos de rotina. É relatada a concomitância com malformações dos tratos genitais e urinários. No nosso caso, havia septação parcial da cavidade uterina e não houve melhora importante da queixa de dismenorreia, o que leva a crer que o achado de hamartoma retrorretal foi incidental na pesquisa da dismenorreia. A malignidade é rara, porém a possibilidade de ela alcançar grandes volumes e a sua localização, com a qual o ginecologista está pouco familiarizado, podem trazer dificuldades inesperadas na ressecção cirúrgica se o diagnóstico não for suspeitado previamente.

Introdução: O parto humanizado preza o processo fisiológico da gestante e a individualidade de cada nascimento, as intervenções são cuidadosas, visto que o trabalho de parto envolve fatores como dor, sofrimento, solidão e insegurança. A humanização do parto tem a essência o parto normal, a redução dos riscos e por ser um processo natural da mulher. A fisioterapia pélvica trazem benefícios durante a gravidez, e no puerpério. Porque o fisioterapeuta conhece a biomecânica da mulher, assim, prepara o parto vaginal de maneira fisiológica. Objetivos: Apresentar a importância da fisioterapia pélvica para a preparação do parto humanizado com ênfase no parto vaginal. Metodologia: O presente estudo trata-se de uma revisão bibliográfica com abordagem qualitativa. Resultados: Estudos apontam que os exercícios respiratórios aplicados no parto promove o relaxamento, oxigenação sanguínea da mãe e feto e diminui riscos de trauma perineal no momento expulsivo. As massagens e mobilizações no tecido conjuntivo nas zonas reflexas do baixo ventre, e região sacral no trabalho de parto são capazes de tranquilizar a parturiente, aliviando a dor e a ansiedade. A cinesioterapia reduz o estresse cardiovascular da gestante e a redução da frequência cardíaca ao nascimento do bebê é evitar complicações como: pré-eclâmpsia, diabetes gestacional, depressão pós-parto, complicações obstétricas. Os exercícios Kegel para fortalecer a MAP,. Epi-no promove o efeito de alongamento do assoalho pélvico e evita as lesões e a episiotomia durante o período expulsivo. O estímulo a deambular e adoção de posturas verticais, podem diminuir o período de dilatação. Conclusão: Ao considerar que a humanização do parto preza o trabalho de parto normal, a fisioterapia pélvica prepara o corpo da gestante para a concepção natural e recuperação no puerpério. A fisioterapia dispõe de técnicas que facilitarão o período expulsivo, reduzindo o quadro álgico e tempo de trabalho de parto por meio do controle da musculatura do assoalho pélvico.

Introdução: O Atendimento Domiciliar (AD) é caracterizado por um conjunto de ações de promoção à saúde, prevenção e tratamento de doenças e reabilitação prestadas em domicílio, podendo ser realizado através do Programa Melhor em Casa (MemC), via Sistema Único de Saúde (SUS). O MemC é um programa multidisciplinar constituído prioritariamente por médico, enfermeiro, técnico em enfermagem, fisioterapeuta e assistente social. De acordo com a necessidade da equipe e população atendida, outros profissionais podem ser inseridos, como o psicólogo, nutricionista, farmacêutico, entre outros. Receber os cuidados dos profissionais da AD pode significar, para o usuário, uma perspectiva de melhora, do prolongamento da vida com qualidade, do entendimento do seu estado clínico. Objetivos: Objetiva-se relatar o caso de uma paciente idosa atendida pelo MemC, em uma cidade do interior do Estado de Goiás e mostrar como esse atendimento domiciliar interfere na saúde do paciente. Material e métodos: Trata-se de um relato de caso descritivo e qualitativo realizado, através de informações presentes no prontuário, no período de agosto de 2019 a julho de 2021, com uma paciente idosa em atendimento pelo MemC. O projeto de pesquisa foi submetido à Plataforma Brasil e aprovado pelo Comitê de Ética, sob o número 4.348.814. Resultados: A paciente apresentou multimorbidades (7 patologias) e polifarmácia (uso de 10 medicamentos) e demandou atendimento médico, de enfermagem, fisioterapia e nutricional. A equipe atuou na orientação dos cuidadores, principalmente em relação a dieta, realização de curativos, consultas médicas, posicionamento correto da paciente a fim de evitar úlceras de pressão. Conclusão: O Programa Melhor em Casa proporciona melhores condições de atendimento médico devido ao tratamento e acompanhamento serem realizados no próprio lar do paciente, proporcionado maior adesão ao tratamento. Atualmente, a paciente apresenta bom estado de saúde, dentro de sua possibilidade, regressão de 90% em sua escara sacral, e melhora do estado nutricional.

Introdução: O câncer de colo do útero (CCU), também denominado carcinoma de útero cervical, é o terceiro tipo de câncer que mais acomete as mulheres no Brasil. Essa neoplasia maligna ocorre quando há o crescimento de uma lesão na cérvice, em sua maioria devido a infecção pelo Papiloma vírus humano (HPV). Essa lesão pode atingir os tecidos localizados na parte exterior do colo uterino e as glândulas linfáticas anteriores ao sacro. Objetivo: Esse estudo tem como objetivo identificar a dinâmica de desenvolvimento do câncer de colo do útero, o mecanismo de diagnóstico e a importância do diagnóstico precoce. Material e métodos: A pesquisa foi realizada a partir de artigos publicados nas plataformas Google acadêmico e Pubmed e a partir de dados coletados no site do Instituto Nacional do Câncer (INCA). Os descritores utilizados foram: câncer uterino, mutações genéticas e neoplasias do colo de útero. Resultados: A maioria dos cânceres de colo do útero se inicia nas células escamosas, mas ainda existem os adenocarcinomas ou carcinomas adenoescamosos mistos que originam-se nas glândulas produtoras de muco, sendo em sua maioria decorrentes de infecções pelo Papiloma vírus humano. Além da exposição ao HPV, outros fatores de risco como início precoce da vida sexual, multiplicidade de parceiros, tabagismo, entre outros, podem contribuir para o desenvolvimento do CCU. Pesquisas comprovam que o câncer de colo do útero é uma doença que evolui lentamente. Por isso, é importante o diagnóstico precoce, que pode ser feito através da coleta de células cervicais para a realização do exame Papanicolau, o qual é um exame simples, de baixo custo e imprescindível no diagnóstico dessa doença. A realização do exame preventivo é fundamental, pois o CCU quando detectado em sua fase inicial, aumenta a sobrevida da paciente. Porém, a realização desse exame ainda é um desafio para muitas mulheres. Conclusão: Dessa forma, é evidente que a detecção inicial do câncer de colo do útero aumenta a chance de cura da paciente, entretanto muitas mulheres ficam constrangidas com a realização do exame ou desconhecem a sua importância prejudicando o diagnóstico precoce.

Introdução: A COVID-19 apresenta diferentes níveis de complicações e nos casos mais graves, quando o paciente é hospitalizado, muitos necessitam de equipamentos de suporte à vida e são internados em UTI. Dependendo do tempo de internação do paciente, podem ocorrer complicações como as lesões por pressão (LP). As LP ocorrem na pele, geralmente nas proeminências ósseas, pelo contato corpo com o colchão em função do paciente manter a mesma posição por tempo prolongado. Objetivo: analisar a prevalência de LP em pacientes hospitalizados pela COVID-19. Material e Métodos: Todos os participantes assinaram eletronicamente o Termo de Consentimento Livre e Esclarecido, sendo incluídos somente os pacientes hospitalizados pela COVID-19. Para a coleta dos dados utilizou-se um questionário desenvolvido na plataforma Google Forms, com 29 questões, que foi aplicado como entrevista e disponibilizado no formato online, pelas redes sociais. Os dados foram analisados no SPSS v.22.0. Resultados: participaram 28 indivíduos, de ambos sexos, na faixa etária de 20 a 89 anos. mostraram média de idade dos participantes de 49,6(17,7) anos e a maioria do sexo feminino (68%). A média do tempo de internação foi de 19,1(19,8) dias (entre 4 e 89 dias), sendo que a maioria (71,4%) apresentou internação entre 1 e 2 duas semanas. Os equipamentos de suporte à vida foram oxigênio (67,9%) e respirador (32,2%), com tempo médio de uso de 13,6(16,4) dias (entre 3 a 89 dias). Para LP observou-se prevalência de 17,9% (5 pacientes), com frequência de 1 e 4 lesões por paciente, totalizando 14 LP. As regiões das LP ocorreram no sacro e coxa(3 cada), ísquios, perna e cabeça(2), cóccix e região peitoral(1). A idade dos pacientes com LP variou de 34 a 65 anos e o tempo de internação foi superior a 10 dias (de 11 a 89 dias) e 4 pacientes com LP utilizaram respirador. Conclusão: Conforme resultados, mesmo com amostra pequena, observou-se uma tendência que quanto maior o tempo de internação e uso de respirador maior a probabilidade da ocorrência de LP. Destacamos a importância da continuidade do estudo aumentando a amostra, tendo em vista que as LP são um problema de saúde pública.