Showing 1 - 10 of 160 annotations tagged with the keyword "Pregnancy"
Summary:This Side of Doctoring is an anthology published in 2002 about the experiences of women in medicine. While the essays span multiple centuries, most are from the past 50 years. They reflect on a multitude of stages in the authors’ personal and professional lives. In 344 pages divided into twelve sections, including "Early Pioneers," "Life in the Trenches," and "Mothering and Doctoring," the 146 authors recount - in excerpts from published memoirs, previously published and unpublished essays, poems and other writings, many of them composed solely for this collection - what it was then and what it was in 2002 to be a woman becoming a doctor in the U.S.. All but a handful of the authors are physicians or surgeons. There is a heavy representation from institutions on both coasts, especially the Northeast. Four men were invited to reflect on being married to physician wives. There is one anonymous essay concerning sexual harassment and a final essay from a mother and daughter, both physicians. Beginning with the first American female physicians in the mid-19th century, like historic ground-breakers Elizabeth Blackwell and Mary Putnam Jacobi, the anthology proceeds through the phases of medical school, residency, early and mid-careers, up to reflections from older physicians on a life spent in medicine. Many of the authors have names well known in the medical humanities, including Marcia Angell, Leon Eisenberg, Perri Klass, Danielle Ofri, Audrey Shafer, and Marjorie Spurrier Sirridge, to mention a few.
Summary:Set in the loosely fictionalized Jamaican town of Augustown (“loosely,” as it bears a strong resemblance to August Town, which was absorbed over time into the expansion of Kingston), the novel spans three generations of a single family. The novel moves back and forth easily through different moments in time, from the birth of Rastafariansim in 1920 under British colonional rule, through the post-colonial division of the island and its citizens into turbulent threads, to the present day of 1982, where the same tensions run strong as ever.
Summary:Many are familiar with these stories from the author's practice as a midwife among the urban poor in London's East End in the 1950s. Each piece stands alone as a story about a particular case. Many of them are rich with the drama of emergency interventions, birth in complicated families (most of them poor), home births in squalid conditions, and the efforts of midwives to improve public health services, sanitation, and pre- and post-natal care with limited resources in a city decimated by wartime bombings. As a gallery of the different types of women in the Anglican religious order that housed the midwives and administered their services, and the different types of women who lived, survived, and even thrived in the most depressing part of London, the book provides a fascinating angle on social and medical history and women's studies.
Summary:In 1847, one of every six women whose babies were delivered by the medical students and supervising doctors at Allgemeine Krankenhaus (General Hospital) in Vienna died of puerperal fever (also known as childbed fever). In contrast, the incidence of this disease in women delivered by hospital midwives was dramatically lower and puerperal fever was quite rare when mothers had their babies born at home.While a few physicians (most notably Alexander Gordon and Oliver Wendell Holmes) realized that childbed fever was a contagious process, it was Semmelweis who identified the nature of the problem as stemming from the failure of obstetricians and medical students to wash their hands and change their clothing, especially after performing autopsies or doing surgery. He mandated that doctors and students wash with a disinfectant (chloride of lime) before examining any woman in labor.Despite the dramatic reduction of maternal mortality on his obstetrical unit, his ideas and methods were not well received. Semmelweis was reluctant to conduct experiments on animals to prove his theory and resisted publishing his findings in any medical journal. When he finally did write a book, The Etiology, the Concept, and the Prophylaxis of Childbed Fever, it was difficult to read and failed to impress many obstetrical experts.With his health failing and his behavior increasingly erratic and inappropriate, Semmelweis was committed to a state-run mental hospital. He died two weeks later. The official cause of death was sepsis secondary to an infection of his finger. The author is convinced, however, based on the autopsy report and findings upon exhumation of the body in 1963, that Semmelweis was beaten to death by the staff at the asylum. He may well have been suffering from Alzheimer's presenile dementia at the time.
This story centers on Lena, an immigrant teen from Ukraine, whose entire family has been traumatized and uprooted by family deaths during a violent pogrom. Relocated to Chicago, in a tiny apartment on Bittersweet Place, the family struggles to survive in the years prior to World War I. Wineberg’s tale of disrupted life and resettlement is weighted by formidable issues that stretch beyond the ordinary range of family experiences.
Lena, the intelligent, highly observant and resilient adolescent, narrates an unvarnished tale of survival for the extended family clustered together in this strange new world, but especially for herself. While the family’s economic and financial circumstances are difficult, her own life is made worse by an unkind teacher, mean-spirited classmates, and hormonal impulses. Her uncle touches her inappropriately, a favorite uncle goes mad, a cousin dies, and her mother, who is unfamiliar with the new world setting and mores, drives her crazy.
Nevertheless, Lena is a clear-eyed survivor exhibiting a surprising toughness of character and determination. For example, her introduction to sex is far more direct than might occur with most girls of that time. In addition, when her teacher fails cruelly to support her artistic talents, she shows amazing defiance. When she discovers that her father has a beautiful female friend, undoubtedly a lover, her consideration of this circumstance does not render the crushing blow that might be expected. In retrospect she is more adult, more mature than most young women might be in each of these situations. She is a remarkable young woman with a spirited edge.
Summary:In 1632, at the age of only 26, Rembrandt finished a large (85.2 in × 66.7 in) oil painting that was destined to become one of his best known works and certainly one of the linchpins in the nexus between the graphic arts and the medical humanities. "The Anatomy Lesson of Dr. Nicolaes Tulp" depicts the dissection of the flexor tendons of the left arm of a cadaver by the eponymous doctor while an attentive audience of his peers, identifiable members of the medical and anatomical community of early 17th century Amsterdam, looks on. Nina Siegal's novel tells her imagined back story of this richly illustrated anatomy lesson which, once you read her captivating novel, will make you ask yourself, as I did, why no one has thought fit to do so heretofore.
Nurse Moira is caring for three different women in labour: two have female birth partners; one is alone.
Teenage Stacey with her school friend Jeannine adopts a punk, devil-may-care attitude to the whole process, but shrieks in agony with her pains; she plans to keep the baby in defiance of all her family members and advisors. Unknown to Stacey, Jeannine once had a baby and gave it away for adoption; it is a secret that Jeannine wants to believe was for the best.
The solitary Jane had once adopted a baby like Jeannine’s only to lose it again within the requisite month-long waiting period. Heartbroken Jane and her husband paid for a woman to have IVF so that Jane could become pregnant. She is thrilled that she will finally become a mother, but her earlier experiences make her sympathize with mothers who cannot conceive or who have lost babies through adoption or death.
Eva an immigrant from Kosovo had been brought to Canada as a housekeeper by the driven businesswoman Carol, who is "coaching" her. Because Carol is no longer fertile, she deliberately goaded Eva into becoming a surrogate mother, inseminated artificially through her husband’s sperm. Should Eva refuse or break the contract, she will be returned to Kosovo. For fear of the slightest damage to the child that she intends to claim, Carol will not let Eva speak or have any analgesia. Eva is miserable; the audience hears her thoughts, but Carol and the nurse cannot.
Moira copes with the three radically different scenarios, succeeding in giving egalitarian care. Moira and Jane inform Eva of her rights, and she takes her baby and returns to Kosovo.
Kitty Fane is a beautiful young woman whose mother has raised her to make a suitable match. But Kitty refuses a number of suitors; several years pass and eventually she is reduced to marrying Walter, the colonial bacteriologist in Hong Kong. Walter is a shy and awkward man who loves Kitty passionately, but has no idea how to express it; Kitty is charming and socially adept, but vacuous. In Hong Kong Kitty engages in a yearlong affair with Charles Townsend, the assistant colonial secretary, and a married man whose celebrity potential far eclipses Walter's stolid scientific work. The novel opens when Walter discovers his wife's infidelity.
Kitty believes that Townsend is madly in love with her and prepared to divorce his wife and sacrifice his career to marry her. Walter, who suffers from a broken heart, gives Kitty an ultimatum--either Townsend must promise to divorce his wife and marry her, or Kitty must accompany Walter to a city in the interior where he has volunteered to go to fight the cholera epidemic. Townsend demurs; Kitty is crushed; and the desperately unhappy pair travels to the cholera-ridden city, where they move into the house of the newly-dead missionary.
There, Walter (who is also a medical doctor) sets to work, day and night, to institute public health measures and care for dying patients. Meanwhile, Kitty meets Waddington, the British consul, a cynical alcoholic, who is at heart a good and honest person; and the French nuns, who labor tirelessly to care for orphans and the ill. Impressed by the nuns' selflessness, Kitty begins to devote herself to assisting them and trying to understand their spirituality.
When he learns that Kitty is pregnant, Walter asks if it is his child; Kitty responds, "I don't know." This completes the destruction of Walter's heart, and he soon dies of cholera--presumably as a result of experimenting on himself to find a cure. Kitty learns that the nuns, the soldiers, and all the people of the city consider Walter a saint, who has sacrificed himself for their welfare. However, while Kitty has learned to respect her husband, she could never love him.
Kitty stays only briefly in Hong Kong before returning home to London. Shortly before her arrival, she learns that her mother, whom she believes is responsible for her (Kitty's) shallowness, has died. The novel ends with Kitty vowing to bring up her daughter as a strong and independent woman, and preparing to move with her father to the Bahamas, where he has recently been appointed Chief Justice.
Alison Lapper is a friend of the sculptor, and a painter herself, who was born with phocomelia (defined in Stedman’s Medical Dictionary as a defective development of arms, legs or both, so that the hands and feet are attached close to the body, resembling the flippers of a seal). As suggested by the title, the 11 foot, 6 inch sculpture in Carrera Marble shows Lapper naked and pregnant, her severely shortened limbs apparent to all.
Her body, with her heavily pregnant belly, is exposed and elevated in milky marble, subject to the stares of passersby, as well as the elements and pigeons. Its formidable mass, the creamy marble, and the dignified composition support the contention that it celebrates a woman’s pregnancy, her health and her sexuality in the context of a society and a tradition that would rarely assign these values to someone so obviously "disabled".
A woman stands in the center of this work, her head tilted to one side and slightly back. Her eyes are closed and her black hair falls around her shoulders. She is nude, although no details of her bust are given; instead, she hovers as though a ghost, her pallid skin defined by the darkness engulfing her. Swarming around her form are bands of color--red, blue, and shades of gray--that add to the painting's eerie affect. Wrapped around the crown of her head, one red, swirling band alludes to the halo so often seen in traditional depictions of the Lady Madonna.
In the frame's bottom left corner, a small figure that is perhaps a fetus or newborn looks out at the viewer with huge eyes devoid of pupils. Its arms are crossed over its chest and its lower body trails off like a vapor. A slight downward turn of the figure's mouth adds to its pathos.
A red border full of squiggly lines evocative of sperm runs around almost the entire perimeter of the painting; only the bottom of the frame and the area around the small figure are unbounded. The sperm swim clockwise from the small figure around the top of the painting, down the right side, and into the bottom of the black background. Lines trespassing from the border into the Madonna's space suggest movement of the sperm into the nether regions of the Lady--i.e. her genitalia--and imply pregnancy.