Showing 121 - 130 of 199 annotations tagged with the keyword "Institutionalization"
Beginning with the words, "They are and suffer, that is all they do," this poem describes the experience of those who are recovering from surgery and their treatment at the hands of impersonal doctors ("The treatment that the instruments are giving"). Suffering and pain narrow the patient's world and isolate patients who "lie apart like epochs from each other" and for whom "truth" is "how much they can bear."
The speaker also describes how difficult it is to imagine pain when one does not have it ("we stand elsewhere / For who when healthy can become a foot?"). Finally, the speaker refers to "the common world of the uninjured" where we "cannot / Imagine isolation," but share happiness, anger and "the idea of love."
Miracle McCloy received her name because, as she's been told many times, she was pulled from the body of her mother shortly after her mother was run over and killed by a bus. Raised largely by her grandmother with her depressed and dysfunctional father nearby, she has learned a great deal about séances, contacting the dead, reading auras, and paying attention to energy fields. But she doesn't know much about how to locate her own confused feelings about her parents, her identity, and her relationships with "normal" kids at school who see her has some kind of freak.
She perpetuates this image by casting "spells" to help fellow students connect with boyfriends. But after her father disappears, and her grandfather's house is destroyed in a tornado, she lapses into mental illness and burns herself badly trying to "melt" as she believes her father did by dancing among flaming candles. She is taken to an institution where an astute therapist and an aunt who realizes how much Miracle needed her combine their efforts to help her recover a sense of who she is--a dancer, a strongly intuitive, intelligent girl with an interesting history and a promising life to live, liberated from the obsessions of a superstitious grandmother and mentally ill father.
The narrative of Pilgrim and his psychiatrist, Carl G. Jung, begins with Pilgrim's most recent unsuccessful attempt to kill himself. The surrealistic nature of the tale begins with this mysterious inability of the title character to exit life--a life self-proclaimed to have covered multiple incarnations over millennia each of which he has memory. His friend and his servants take him to Zurich to the renowned psychiatrist's clinic for institutionalization and therapy. Enter Dr. Jung, whose personal and professional life assumes a dominant role in the narrative.
As the story progresses, the reader learns from Pilgrim's journals the interstices of his seemingly endless voyage. While Pilgrim's tale--real or imagined--is progressively revealed, the immediate lives of the Jungs are explored in increasing depth. Layer upon layer of development of plot, past and present, is peeled away until Pilgrim escapes his prison and Jung's emotional chaos is exposed.
A medical school graduate, E. A. Talbot, fails twice his qualifying examination for a position as British Army surgeon. He leaves England and vows never to return to Europe. He lands a job working for the Dutch government as the administrator of Halak-Proot, a psychiatric hospital that houses about 100 mentally ill officers and some colonists. It is located in the jungle of Java. The institution is a magnet for madness. Patients never improve and sometimes get worse there. The soldiers are more inclined to feign psychosis than return to battle.
When his father dies, Talbot inherits property. He sells it and uses the money to transform the psychiatric hospital into a luxurious estate. Cases of dementia soon plummet. The facility no longer accepts any patients except those who are indisputably insane. Soldiers somehow discover their sanity and are refused entry. Talbot grows old in his exclusive paradise that now has room for only him, a guard, and a custodian.
Written as an interior monologue, Destiny begins as Chris Burton receives a phone call informing him of his schizophrenic son's suicide. Burton, a British ex-pat journalist in the final stages of writing his chef d'oeuvre--a cultural history on national character--is married to Mara, a provocative, capricious, flamboyant Italian. The vitriolic arguments and hurtful stratagems that characterize their discordant marriage intensify with the crisis of death and its aftermath--the identification, transport and entombment of Marco's body. Family relationships are further complicated by Mara's distrust and estrangement of her adopted daughter, Paola.
Burton reveals the chaos that schizophrenia imposes not only on the patient, but also on the entire family. In order to avoid prison following an attack on his family and home, Marco had been placed in a psychiatric institute, Villa Serena, and it was at this facility that Marco stabbed himself to death with a screwdriver. The onset of disordered thinking and erratic behavior, the search for therapies, the various repercussions of guilt and blame (including recriminations about the intense, border-blurring maternal love lavished on Marco), are re-examined by Burton as he travels from London to Rome, sits vigil by his son's body in the camera ardente, and confronts his wife at her family's tomb.
Burton's physical distress mirrors his mental anguish. Burton has heart disease and obsesses about lacking his anti-coagulant medication. In addition to the worry of clot formation, urinary retention prevents Burton from emptying his bladder. These physical ailments of containment, confinement, obstruction and blockage form resonances throughout the book: the tomb, the strictures of marriage and the leakage of adultery, the oppressive family 'house of ghosts,' the separateness of interior thought from observable behavior, the barriers of language, the herky-jerky redirections of emergency travel.
Furthermore, the will to create permanence, to make one's destiny more than a transient destination, informs Burton's moves. In the midst of his exploding marriage and tormented trek home, Burton agitates over his work, and in particular, his book, which "must serve to transform a respectable career into a monument" (p. 1).
High-school freshman Barry Wilson enrolls in Bay Area Social Concerns and must visit 83-year-old Miss Pierce at Cherry Garden Convalescent Hospital. Barry, short, shy, and miserable at his first visit, thinks of pictures of mummies he's seen in National Geographic; Miss Pierce thinks he's somebody named Willie.
But as Miss Pierce talks about her brother Willie and her childhood as a cripple, Barry gets interested. The story isn't a happy one, and Barry, himself adopted, identifies with Willie's abandoned child and becomes angry with the world until he comes to realize how important he is to his parents.
Intended for both the general public and medical professionals, Reel Psychiatry is a comprehensive catalogue of mainstream films that accurately portray psychiatric conditions. Robinson combines his "two passions: teaching psychiatry and watching films" to create a classroom resource for medical educators who want to use film to teach the diagnosis and treatment of psychiatric disorders and a critical compendium for anyone else who has more than a passing interest in cinematic works that dramatize the personal experience of patients and professionals grappling with mental illnesses.
The book is organized in three sections: primary psychiatric disorders such as schizophrenia, depression and bipolar disorder; personality disorders and mental retardation; and substance-related disorders and general medical conditions. The general symptoms and associated features of each condition are first set forth and then followed by descriptions of individual films that depict those symptoms and features.
The story is told by Katy Thatcher, an old woman in 1987, about a critical period in her life from 1908 to 1911. Katy, whose father is a doctor, takes an interest in Jacob, a boy from a neighboring farm, who can't speak, who sings quietly to himself, but who seems able to communicate with animals. Jacob occasionally comes to the Thatcher home to be in the barn with the animals. Katy comes to feel she can communicate with him in a rudimentary but sympathetic way.
When the live-in housekeeper next door, sister to the Thatcher's housekeeper, has a baby out of wedlock, Jacob, aware of the trouble, abducts and brings the baby to the Thatcher's house on a stormy night, hoping, Katy believes, to save it the way he has saved orphaned lambs by bringing them to a substitute mother. But the baby dies of exposure and Jacob is taken to a mental institution. Katy becomes a doctor.
St. Luke’s Hospital was founded in 1750 to provide free care to the impoverished mentally ill. It mixed benevolence with "unconscious cruelty" in the treatments used by the "practitioners of old," from restraints and drugs to swings and a key to force-feed recalcitrant patients. Dickens describes this gloomy edifice as he saw it on December 26, 1851, although he notes a "seasonable garniture" of holly.
The inhabitants of St. Luke’s largely sit in solitude. Dickens decries the absence of "domestic articles to occupy . . . the mind" in one gallery holding several silent, melancholy women, and praises the comfortable furnishings--and the relative "earnestness and diligence" of the inmates--in another. He uses statistics to show the prevalence of female patients, "the general efficacy of the treatment" at St. Luke’s, and the unhealthy weight gain of the inhabitants due to inactivity. Dickens describes the behavior of various distinctive inhabitants during the usual fortnightly dance, the viewing of a Christmas tree, and the distribution of presents.
This tightly researched documentary opens with the tragic auto accident in which Ms. Kowalski is rendered comatose. During the early period of her prolonged hospitalization, tensions arise between Kowalski's domestic partner and the patient's parents, leading to a highly contentious battle for the rights not only to visit, but also to assume long term care responsibilities. As the patient regains consciousness and limited physical and cognitive skills, the drama moves from the hospital and nursing care facility to the courtroom.
For ten years, the battle for custody and the ultimate care of Ms. Kowalski rages. Drawing on trial transcripts, medical records, newspaper archives, and personal interviews, Casey Charles's work brings to life emotions and personalities that dominated the courtroom dramas and illuminates the highly contested judgments emerging from supposedly objective authorities in journalism, medicine, and the law.