BackgroundBurnout is a recognized challenge among the oncology workforce. It affects both genders with a higher frequency among women. This study examined the factors contributing to the development of burnout among female oncologists from the Middle East and North Africa.MethodsAn online cross-sectional survey was distributed to oncology professionals from different countries in the MENA region. The validated Maslach Burnout Inventory of emotional exhaustion, Depersonalization, and Personal Achievement plus questions about demography/work-related factors and attitudes toward oncology were included. Data were analyzed (...) to measure BO prevalence and related factors.ResultsBetween 10 February and 15 March 2020, 545 responses were submitted by female oncologists. The responses pre-dated the COVID-19 pandemic emergence in the region. BO prevalence was 71% among female professionals. Women aged 25% on administrative work daily. Nearly half of the respondents expressed a recurring thought of quitting oncology and 70% had no burnout support or education. Inability to deliver optimal care was reported as distressing for career development in 82%. Factors significantly influencing the BO risk were identified. Marital status, having children, academia and years in practice did not impact the risk of BO among female oncologists from MENA.ConclusionFemale oncologists from the Middle East and North Africa were found to have a high prevalence of BO. In this cohort, the majority of women oncology workers were young and in their early to mid-career stages. Burnout was linked to being younger, practicing in North African nations, having a heavy administrative load, and having persistent thoughts of quitting. Practicing a hobby and engaging in oncology communication, on the other hand, reduced the chance of BO. Burnout support and education, specifically for oncology women, is required. (shrink)

"Critique is a form of thinking and acting. It is determined by its objects, yet never accesses them immediately but is always mediated through its own forms of (re)presentation. Since the end of the 18th century, there has been a dynamization and fluidization of the understanding of form, as topoi such as the break, the marginalization, the tearing and opening indicate. However, these multifarious attempts to "build on the structure through demolition" (Benjamin) testify to the dependence of all articulation on (...) the forms of (re)presentation ["Darstellung"]. As a philosophical problem, the question of form arises in critical theory from Marx to Adorno. Since the 1960s, literary practices have proliferated which generate their critical statements less argumentatively than through the programmatic use of formal means. At the same time, the writing self, along with its attitudes, reflections, affects and instruments, visibly enters the critical scene - whereas the theatrical scene as a stage of critique has been contested intensively during the 20th century. This volume examines how the interdependence of critique, object, and form translates into critical stances, understood as learnable, reproducible gestures, which bear witness to changing conditions and media of critical practice. With contributions by Maria Fusco, Eva Geulen, Thomas Glaser, Birgit M. Kaiser, Sami Khatib, Sebastian Kirsch, Chris Kraus, Holger Kuhn, Oona Lochner, Isabel Mehl, Bettine Menke, Beate Söntgen, Heiko Stubenrauch, Kathrin Thiele, Lynne Tillman, Masha Tupitsyn, Mimmi Woisnitza."-Publisher's website. (shrink)