Showing 131 - 140 of 219 annotations tagged with the keyword "Public Health"
This is an exhibition catalogue for a show of 16 photographers who documented major topics in health over the last century. Carol Squiers, curator of the show, provides ten essays, amply illustrated by photos, on critical topics such as child labor, domestic violence, environmental pollution, AIDS, veterans of war, and aging. Some 80 per cent of the images treat American subjects.
Lewis Wickes Hine's photographs of child labor are dramatic and disturbing; these document children in coal mines, cotton mills, glass works, etc. in the first part of the 20th century. The Farm Security Administration sponsored photographers (including Dorothea Lange) to represent the New Deal Health Initiatives. Topics include farm labor, poverty in the South and Southwest, and inoculations. W. Eugene Smith created a photographic essay for Life magazine about Maude Callen, an African-American nurse-midwife in 1950s rural South Carolina.
Donna Ferrato documented domestic violence in the U.S. in powerful, personal shots, including a series of an actual attack. David T. Hanson created triptychs about environmental pollution: one panel shows a map of the area, a middle panel gives descriptive text, the last panel is an aerial shot in color. Eugene Richards spent time in the 1980s in Denver General's Emergency Room. Eleven black and white photos show the turmoil and drama.
Gideon Mendal documented HIV/AIDS in several African countries. Lori Grinker took photos of army veterans (some without hands) but also noncombatants harmed by war, including children. Ed Kashi presents images of aging Americans, rich and poor, urban and rural. Sebastião Salgado provides photos of vaccination in Africa and Asia.
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.
Summary:Act One: The professor, John, receives his student, Carol, who is seeking help with an essay. She readily admits that she does not understand the premise of the course. During the interview, he is animated and cavalier about her difficulty. He is also distracted by preoccupations from home and allows their encounter to be interrupted by phone calls about the sale of his house. Insisting that academic work is not as difficult as some would pretend, he suggests that she simply come to see him from time to time.
Starchenko, a country doctor, and Lyzhin, an acting coroner, travel through a snowstorm to reach the village of Syrna, where they are to hold an inquest regarding the death of Lesnitsky. Three days earlier, Lesnitsky had shot himself in the office of the village council.
When the two officials finally arrive after sundown, the witnesses have gone home for tea; only the talkative old constable remains. Starchenko and Lyzhin eventually proceed to the von Taunitz mansion for comfortable quarters and an evening of entertainment. The storm is so severe that the next day they remain at the mansion, rather than conducting the inquest.
On the third day, as they prepare to return to the village, where the witnesses have been waiting for them, they see the old constable standing in the snow. "Very restive them peasants are," he says. "Have pity on them, kind sirs."
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.
After working with the Parisian physiologist, François Magendie, Dr. John Leggate returns to England to practice in the town of Middlethorpe in the late 1840s. He is obsessed with making a research discovery that will help humanity and establish his name. He falls in love with the intelligent and gifted Marian Brooks who aspires to a career as a concert pianist after study in Leipzig with Felix Mendelsohn. They marry and find happiness at first, but she is troubled by discovery of his past affair in France, and he is troubled by her abandoning music simply to be the type of wife he never wanted.
Leggate has a theory about the origins of cholera, but his painstaking work shows him two things: 1. his original idea is mistaken, and 2. the disease is spread by water. He does not publish, though he announces his intentions to do so. Intimidated by skeptical colleagues, he is unable to write, and the problem is exacerbated by a newspapermen who makes unwarranted accusations because he holds a grudge against Leggate’s wife.
Marian wants to help him, but he rejects her offers and retreats into himself. Their marriage is threatened. Just as cholera returns and the town learns from Leggate’s insights, John Snow publishes his famous observations on cholera. Leggate is scooped. He and Marian migrate to Canada where he is accepted for his skills and desire to be of service and she establishes a conservatory of music. Their marriage is restored.
In their introduction to this anthology, the editors write that their goal is "to illustrate and to illuminate the many ways in which medicine and culture combine to shape our values and traditions." Using selections from important literary, philosophical, religious, and medical texts, as well as illustrations, they explore, from a historical perspective, the interactions between medicine and culture. The book is arranged in nine major topical areas: the human form divine, the body secularized, anatomy and destiny, psyche and soma, characteristics of healers, the contaminated and the pure, medical research, the social role of hospitals, and the cultural construction of pain, suffering, and death.
Within each section, a cluster of well-chosen (and often provocative) texts and drawings illuminate the topic. Specifically, literary selections include poems by W. D. Snodgrass ("An Envoi, Post-TURP"), William Wordsworth ("Goody Blake and Harry Gill: A True Story"), and Philip Larkin ("Aubade"); and prose or prose excerpts by Robert Burton ("The Anatomy of Melancholy"), Zora Neale Hurston (My Most Humiliating Jim Crow Experience), Sara Lawrence Lightfoot ("Balm in Gilead: Journey of a Healer"), William Styron (Darkness Visible: A Memoir of Madness), George Orwell ("How the Poor Die"), Ernest Hemingway (Indian Camp), and Paul Monette (Borrowed Time: An AIDS Memoir). (The full texts of the pieces by Hurston, Styron, Hemingway, and Monette have been annotated in this database.)
This anthology frames a rich selection of fiction and nonfiction with astute and helpful introductions to issues in nineteenth-century medicine and the larger culture in which it participated. The fiction is comprised of Mikhail Bulgakov’s The Steel Windpipe in its entirety; Sir Arthur Conan Doyle’s story, "The Doctors of Hoyland" from Round the Red Lamp; and selections from George Eliot’s Middlemarch, Gustave Flaubert’s Madame Bovary, Sarah Orne Jewett’s A Country Doctor, Sinclair Lewis’s Arrowsmith, Thomas Mann’s Buddenbrooks, W. Somserset Maugham’s Of Human Bondage, George Moore’s Esther Waters, Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde, Eugène Sue’s Les Mystères de Paris, and Anthony Trollope’s Doctor Thorne [the full-length versions of many of the above have been annotated in this database]. The nonfiction consists of two versions of the Hippocratic Oath, two American Medical Association statements of ethics, and selections from Daniel W. Cathell’s The Physician Himself (1905).
Dr. Slocum leads his readers through some of the high (and low) points of his 34 years of general medical practice in the Hell’s Kitchen neighborhood of Manhattan. The work opens as he and his wife and nurse of as many years close the office they have shared for the last time. Then moving backward for a few chapters, the author discusses briefly his training, including a critical four-month period in Vienna in the year 1932. Slocum was awaiting the results of his Medical board examination and while doing some advance study, experienced first hand the early stages of Nazi activity against Jews in Austria.
After their return to the states and the doctor’s completion of his internship, the young couple located office and home in Manhattan. The remainder of the book is devoted to descriptions of critical events and important professional encounters in more than three decades, organized by chapter, most of which encapsulate a patient and, when present, his or her family.
Sontag argues against the use of illness as metaphor. She states her main point on the first page of this long essay : "The most truthful way of regarding illness--and the healthiest way of being ill--is one most purified of, most resistant to, metaphoric thinking."
Tuberculosis and cancer serve as her two central examples of the human tendency to use metaphoric thinking about illness. In the 19th century, tuberculosis was considered a disease of passion, of "inward burning," of the "consumption" of life force. Sufferers were thought to have superior sensibility; the illness purified them of the dross of everyday life. The romantic image of the TB sufferer became "the first widespread example of that distinctively modern activity, promoting the self as an image" (p. 29). Metaphoric thinking about TB declined in the early part of the 20th century as the disease succumbed to science and public health measures.
Cancer has now become the predominant disease metaphor in our culture. Cancer is considered a disease of repression, or inhibited passion. The cancer sufferer characteristically suppresses emotion, which after many years emerges from the unconscious self as malignant growth. As in Auden’s poem, Miss Gee, reproduced on page 49, (see annotation in this database): "Childless women get it, / And men when they retire . . . . " Sontag uses the 19th century view of insanity as another example of malignant metaphoric thinking, while metaphor related to syphilis was somewhat more benign. She concludes the essay with an eloquent prediction that, as we learn more about the etiology and treatment of cancer, its metaphorical system will die on the vine. (I wonder if Sontag would consider my "die on the vine" an appropriate metaphor here?)