Earticle

To evolve a management plan for rheumatoid arthritis, it is necessary to understand the patient's symptom experience and disablement process. This paper aims to introduce and critique two models as a conceptual foundation from which to construct a new model for arthritis care. A Disability Intervention Model for Older Adults with Arthritis includes three interrelated concepts of symptom experience, symptom management strategies, and symptom outcomes that correspond to the Theory of Symptom Management. These main concepts influence or are influenced by contextual factors that are situated within the domains of person, environment, and health/illness. It accepts the bidirectional, complex, dynamic interactions among all components within the model representing the comprehensive aspects of the disablement process and its interventions in older adults with rheumatoid arthritis. In spite of some limitations such as confusion or complexity within the model, the Disability Intervention Model for Older Adults with Arthritis has strengths in that it encompasses the majority of the concepts of the twomodels, attempts to compensate for the limitations of the two models, and aims to understand the impact of rheumatoid arthritis on a patient's physical, cognitive, and emotional health status, socioeconomic status, and well-being. Therefore, it can be utilized as a guiding theoretical framework for arthritis care and research to improve the functional status of older adults with rheumatoid arthritis.

Kaite O’Reilly’s richard III redux, one of her ‘d’ monologues, combines the formal flexibility of solo performance and disability politics to dramatize issues like ableist ideology and representations of physical difference. This paper discusses the play as a testimonial narrative that employs testimonial theatre strategies in order to elicit the audience’s ethical response. Created around actor Sara Beer, the monologue presents the monologist’s three personas who bear witness to oppression in as many realms: from her experience of spine-straightening treatment to social discrimination to the cultural construction of “evil” on the scoliotic body of the historical Richard III. The narrator traverses across representational frames, directly addressing the spectators and interacting with video and live camera, to appeal to them to trust the truthfulness of her story. Her three personas’ stories are interwoven together to constitute a collective testimony. Thus, this paper suggests, the narrator ultimately asks the audience to respond to her testimony, which is their ethical responsibility.