Showing 111 - 120 of 238 annotations tagged with the keyword "Technology"
The first sentence of the introduction indicates the author's intention to talk about "how we do it--and how we could do it". Ending life, she says, is an issue under sustained debate in the United States and in much of the developed world. The argument over physician-assisted suicide is the central framework. The described debates on euthanasia and suicide include two pro and three con arguments in American and international contexts. This collection includes essays, practical notes, historical explorations, policy analyses, fiction, and creative non-fiction written by the author.
The author describes the role of fiction and creative non-fiction as offering a recognition of narrative as a respected form of investigation of social issues. Included are two selections that are in this genre and they are very powerful. The essay on the ethics of self-sacrifice is timely and well written. The author's final conclusion is that Stoic and Christian thinking are still in active collision in much of our consideration of these issues and that this means that advance personal policy making remains in the fullest sense an exercise for each individual.
Summary:This film tells the remarkable story of Vivien Thomas (played by Mos Def), an African-American fine carpenter, who found his way into medicine through the back door and changed medical history. Hired when jobs were in short supply to work as a custodian and sometime lab assistant to Dr. Alfred Blalock (Alan Rickman), a research cardiologist, Thomas quickly becomes an irreplaceable research assistant. His keen observations, his skill with the most delicate machinery and, eventually, in performing experimental surgery on animals, make clear that he has both a genius and a calling.
Summary:After a brief prologue, the book opens with a summary history of the development of medicine in the United State at the turn of the 20th century. The author introduces the reader to the characters—the physicians, the researchers, the officials of both military and civilian life, who will direct and mold the tale of the influenza pandemic of 1918. The story is developed generally along chronological lines with flashbacks where appropriate into the chains of command and the development of the great research institutes of America prior to World War I. The limitations of science going into the epidemic are explored; the struggles the researchers undertook to solve the mysteries of etiologic agent and mode of transmission, and the search for prevention and treatment dominate the exploration of this modern day pandemic. The Afterword opens the questions of when and where the next pandemic will surface and the possibility of learning from the horrors of The Great Influenza of c 19l8.
This is the first full-length collection by pediatrician and international health physician Roy Jacobstein. These 40 poems engage a wide range of topics, settings, and tones, but all demonstrate the same fine craftsmanship and strong voice.
Among the most engaging of Jacobstein’s poems are those dealing with memories of childhood and adolescence. Consider, for example: “Mr. Gardner in 10th grade told us there was no purpose / to mitochondria, only function.” (“Atomic Numbers,” p. 5). Or, “What transgression made fat Mr. Handler / drop his towel, his gloves, everything… to chase you from one end / of Fullerton to the other?” (“The Lesson,” p. 30) The poet displays a delightful sense of humor in pieces like “Bypass” (p. 36) and “Squid’s Sex Life Revealed in USA Today” (p. 59). Poems with explicit medical themes include “Pre-Med” (p. 6), “Admissions” (p. 8), and “What It Was” (p.11).
Summary:It was valuable to me that the friend who recommended this book also suggested that I avoid any hint of its content (including the Library of Congress's classifications on the title page), advice I would pass on to anybody scanning this before reading the novel. Set in England, in the 1990s, this is the story of Kathy H. She is currently a carer, providing support for donors at various stages in the donation process, before eventually becoming a donor herself. As she travels across England to the different sites where her donors are recuperating, she thinks back to her schooldays and her friends, Ruth and Tommy.
The young pathologist David Coleman (Ben Gazzara) arrives to join a hospital pathology lab. He encounters disorganization and a hostile, cigar-smoking chief, Joe Pearson (Frederic March), who declares his intention to keep working until he dies. Coleman tries to implement a few changes, but his suggestions are overruled.
The film revolves around two cases: possible erythroblastosis in the child of an intern and his wife whose first child died; possible bone cancer in Coleman's girlfriend, student nurse Kathy Hunt (Ina Balin). The infant's problem is misdiagnosed due to Pearson's refusal to order the new Coombs' test recommended by Coleman; the baby nearly dies, alienating the obstetrician (Eddie Albert), a long time friend who now presses for Pearson's dismissal.
Coleman disagrees with Pearson, who thinks that Kathy's bone tumor is malignant, but he opts for professional discretion, defers to the chief, and urges her to have her leg amputated anyway. He discovers that Pearson had been right: the surgery, which he thought unnecessary, has provided her with her only chance of survival. Just as Coleman realizes the enormity of his error, he learns that Pearson has resigned and that he will take over the lab.
In 1996, at the age of 31, David Biro is preparing for his specialty examinations in dermatology and is set to share a practice with his father. But he develops a visual disturbance. After repeated testing, he is found to have the rare blood disorder of paroxysmal nocturnal hemoglobinuria. The diagnosis was problematic, but the treatment choices are overwhelming. His youngest sister is a suitable donor, and he opts for a bone marrow transplant. He realizes that his decision was influenced not only by the diagnosis, but also by his personality and his reaction to the physicians.
Advance preparations are hectic and sometimes comic, especially his deposits at a local sperm bank. The pain of the transplant and the six weeks imprisonment in a small hospital room are told in graphic detail. The athletically inclined doctor suffers many complications: exquisitely painful ulcers of the scrotum, mouth, and esophagus; inflammation of the liver; unexplained fever; drug-induced delirium; weakness and weight loss.
His parents, sisters and friends leap into action to provide round-the-clock presence, but his independent wife, Daniella, resents the invasion. While David’s body is wracked with drugs and radiation, his family and his marriage are subjected to destructive forces too. Yet all--body, family, and marriage--emerge intact, though changed, by their experience.
Most of the film takes place inside the body of a slob, a widower named Frank (Bill Murray). The live-action sequences trace Frank’s illness: because of his unhealthy habits, he contracts a virus, develops an extremely high fever, and almost dies. After a miraculous recovery, he decides to follow the advice of his sensible daughter, Shane, and get more exercise, eat healthy food, and so on.
The rest of the film is animated, and tells the story of the illness from inside Frank’s body, a city with its own police force (the immune system, its precincts in the lymph nodes), organized crime (microbes who have a steambath in Frank’s armpit), the media (NNN, the Nerve Network News). The town is run from Cerebellum Hall by the corrupt Mayor Phlegmming, who discourages healthy eating habits because the huge number of fat cells vote for him. Chaos threatens with the arrival of Thrax (the voice of Laurence Fishburne), a virus who, as he puts it himself, "makes ebola look like dandruff."
The heroes are Osmosis Jones, a white blood cell (who is literally blue, and voiced by the black comedian Chris Rock), and Drix, a cold capsule (voice of David Hyde Pierce). Jones has been suspended for using "unnecessary force," by making Frank throw up in public (and in fact saving his life by expelling a toxic oyster), and Drix develops an inferiority complex when he realizes that he does not cure disease, but is only "for the temporary relief of symptoms." The two team up as vigilantes and, along with the attractive Leah, another immune cell who works as the Mayor’s Aid, they defeat Thrax and save the city.
This poem, written in five sections of free verse, begins with the speaker remembering the old steel bridge he used to drive over on his way to work. He describes how the gaps between the steel beams had given him access to the world beyond the bridge: he had been able to see the river bank and railroad tracks and, most importantly, the people down there, "wild dangerous men" living near the edge of the river.
The poet next describes the new bridge, with its smooth speedy surface and solid concrete sides concealing the view. He then steps back and reflects: "what now?" He compares the engineer making the bridge with his own writing, "diminish[ing] the homeless to a poetic abstraction," and asks where this leaves him. Both bridge and abstraction, he implies, take the life, untidy and dangerous but valuable, out of his experience of crossing the Missouri.
He cannot view the material for his poetry now, unless he were to stop, back up the traffic, and risk his life climbing the walls of the bridge, and even then he does not know what he would say, because the new bridge has made him realize something about himself: "I am partly the leech come to feed, / yet I cannot waver from my groove." As a poet, he needs access to the lives of others, an access he likens to parasitism. But his career, the work to which he is going, requires him to speed on across the bridge without pausing.
He now elaborates on his distance from the world of the homeless people (and, by implication, all the other material for his poetry), saying that he has "safely bled away the guilt, / and pity and compassion," from his involvement or complicity in the meaning of his material, and "channeled it" into the poem. The leech image is now applied to the poem which, once filled with those ambivalent emotions, becomes separate from the poet and attaches itself instead to the reader, who now becomes the one feeding on the "dark spurt of old blood," the horrifying riches of which the speaker has rid himself.
This collection of poetry evolves from one woman’s experience with the discovery of a lump in her breast, the removal of the breast, the assault of follow-up treatment and its impact on her sense of self as well as the relationship with her husband and her environment. The poems are brief, pointed, and deeply reflective of the author’s relationship with her surroundings and her history.
Among the issues the poems most effectively address is that of loss: "I dream of losing / my car, my purse, my period" (from "On First Learning of the Lump"); and "The world’s not keeping things safe / The world’s taking away what I want" (from "What I Want"); and "You believed your dead body / would have all its fingers / all its knowledge" (from "Apologia").
The author also speaks to the importance of breasts ("Terrain") as an integral part of who she is, and the memories of times past in which she was whole as one with nature ("Bird Feeder," "Pine Forest," "Peonies").