Showing 101 - 110 of 234 annotations tagged with the keyword "Anatomy"
Summary:This 2002 DVD, copyrighted by WHYY in Philadelphia and narrated by Blythe Danner, consists of a one-hour documentary about Philadelphia-born painter, photographer, and sculptor Thomas Eakins (1844-1916) and eight short films about different facets of his life and work. Photographs by and of Eakins, his paintings, letters, and sketches are interspersed with commentary by his biographer Elizabeth Johns, and by art historians and historians. The DVD describes Eakins’s training, art production, and aspects of his personal life.
Summary:A suspended skeleton and a beautiful nude woman face one another. The skeleton, perhaps used by medical students or artists, hangs by its skull from a wire. At its feet are cluttered a few pieces of debris – a stone head and foot. A label attached to the skull reads “La Belle Rosine.”
Wagoner dedicates his poem "to the students of anatomy at Indiana University" and later confirms this clue that he is writing about the donated bodies of his parents. He briefly connects the post-mortem physical characteristics of the couple to the lives they led. Then he pleads for respect: "You should treat them / One last time as they would have treated you." Wagoner hopes students will learn from the bodies "as he did" and begs them to learn "politely and truly." Then the kicker as third person: "They gave away the gift of those useful bodies / Against his wish" and closes: "be gentle to everybody."
In this vanitas poem a mother's brushing of her pubescent daughter's "dark silken hair" becomes an occasion for meditation on the "story of replacement": the child's impending womanhood and her own mortality.
As the speaker's own skin begins to dry, the daughter's "purse" fills with "eggs, round and firm as hard-boiled yolks." The purse, the speaker knows, is about to snap its reproductive clasp. In her child's handheld mirror the biological differences are noted when the narrator observes her graying hair and folds in her neck that are clearly visible.
Young Robinson Crusoe defies his father's recommendation to seek a "middle way" of life, and runs off to find his fortune at sea. After a series of misadventures including storms at sea and capture by pirates, he succeeds in becoming a plantation owner in "the Brasils." When he sets out to add slave trading to his income, a storm shipwrecks him alone on a desert island. Here he must learn to support himself through farming, hunting, and simple carpentry, making whatever he could not salvage from the ship.
Cannibals from a nearby island use his domain for occasional feasts, but Crusoe rescues one "savage" from certain consumption and finally gains a companion, Friday, whom he teaches English and Christianity and learns to love. In Crusoe's twenty-eighth year on the island, Friday helps him engineer the takeover of an English ship with a mutineed crew nearby, and they journey to England with the ship's grateful captain.
This collection by a physician-poet covers a wide spectrum in topic and tone. The poems in the first of the four sections speak in voices of those waiting surgical outcomes, those whose loved ones are about to undergo invasive and dangerous procedures, those who are coming to terms (partly clinical terms) with death. The poems in the second section focus more explicitly on Jewish experience, and on experiences of suffering that take place in the wider context of biblical tradition and recent history.
The third section features lighter-hearted poems, many rhymed, that make playful reference to moments in domestic life and relationship which, while not free of suffering and anxiety, are also the stuff of laughter. The fourth focuses on love--erotic, romantic, familial--and death, which includes the ordinary losses that living through time entails. Elegiac, wistful, musing, and poignant, they end the collection in a complex, sustained key that holds an elegant tension between sorrow and hope.
The setting is the children's ward of a hospital in Paterson, N.J. during the Great Depression. Alternating between a cynicism born of desperation, and empathetic concern, the physician-narrator describes the sorry condition of his young patients, virtually abandoned by their parents. He muses that they would be better off left untreated so that they would not have to live the inevitably wretched lives ahead of them.
One child in particular has captured his attention. She is Jean Beicke, an eleven month old, malnourished, deformed girl suffering acutely from broncho-pneumonia. The nurses and he look after her, and she responds to their care by taking nourishment and gaining weight. This is tremendously rewarding and reinforces their interest in her, but to their consternation she continues to be very ill. "We did everything we knew how to do except the right thing." "Anyhow she died." The benumbed mother is persuaded to allow an autopsy; the physician wants to understand what went wrong although he "never can quite get used to an autopsy."
The postmortem uncovers an infection of the mastoid process which has spread to the brain. The narrator and the "ear man" berate themselves for having failed to take proper steps to identify and treat the infection. In the end, however, the physician is still unable to resolve the dilemma of wanting passionately to have saved his patient's life, and knowing that the life saved would have been one of misery.
Sims sees his book in the tradition of blazons anatomiques, “poetic tributes to the individual parts of the female body” originating in France in the mid-sixteeenth century. He adds, of course, men, including Adam. Working from head to toe, Sims assembles a very wide variety of scientific facts, cultural perceptions, and representations of the human body by artists, writers, and scientists.
Sims sticks to the outside of the body—no internal organs, nor, it follows, no sense of the integrated body. After a brief Overture (on skin), Part One, Headquarters, treats hair, face, eye, ear, nose, and smile (mouth). Part Two, The Weight of the World, discusses arms, hands, breasts, and the navel. Part Three, “A Leg to Stand On” (but no mention of Oliver Sacks), deals with “Privy Members” (the genitals), the buttocks, legs, and feet. There is no concluding chapter.
Sims draws on sources as diverse as Greek myth, Darwin, Lombroso, French painters, movies, popular culture, Jane Goodall’s chimps, the Bible, feminist writers, William Blake, etymologies, anthropologists, and modern science writers. There are some references to Native American cultures, Africa, and the East, but he stays mostly in the Western tradition.
Chapter 8, “The Monkey’s Paw,” is a good example of Sims's method. He discusses (in this order) handshakes, carpal tunnel problems, Michelangelo’s God and Adam on the Sistine ceiling, the “phalangeal formula” of handbones in mammals, Jesus’s crucifixion, Robert Schumann’s hand troubles, the importance of the thumb for humans, fingerprints, palmistry, and handedness (Ben Franklin was left-handed) and more in 40 pages. The interesting facts keep coming, but there is no basic theme or concluding overview.
This 15-line poem considers how, through the ages, dwarves have been ridiculed. Something about their appearance makes us, in our "big, proper bodies" laugh at them. We "snicker" at the immensely obese as well, even as we are aware of the danger to their health. Then the narrator takes us one step further: "And imagine the small political base / of a fat dwarf."
In the final stanza, the "we" becomes restricted to the narrator and his friends, who are socializing over dinner and can "hardly contain" themselves. But does that let the rest of us--the complicitous larger audience--off the hook?
In this book Sacks takes the reader into the world of the prelingually deaf, a world in which spoken language is incomprehensible. He describes the visual language, Sign, and considers the development and culture of American Sign Language. Sacks evokes the conflict between those who seek to teach the deaf to communicate via voice and lip-reading and those who affirm Sign, the native culture of the deaf.
In the latter part of the book, Sacks re-creates the student rebellion at Gallaudet University in 1988 when a "hearing" president was chosen from among three finalists, two of whom were deaf. The back cover summarizes this book as "a provocative meditation on communication, biology, and culture."