Showing 141 - 150 of 205 annotations tagged with the keyword "Psycho-social Medicine"
The subtitle of this photographic essay is "The Story of a Country Doctor." Berger and Mohr give the reader an imaginative portrait of Dr. John Sassall, an English general practitioner who lives and practices in a remote rural community. The book begins with several stories of Sassall’s work with patients, gradually introducing the man himself and revealing his thoughts about his profession, his life, and the nature of healing.
Berger explores what people in the community think about this unusual doctor who has given up his chance to "get ahead" in the world in order to remain with them. They are sure he is a "good doctor," but what does that mean? How does one judge "goodness" in a physician? Berger comments in an impressionistic way on the nature of Sassall’s relationships with patients--a complex mixture of authority, fraternity, and intimacy.
The latter part of the essay expands its focus to the community as a whole and the nature of contemporary medicine. Throughout the book, Jean Mohr’s photographs serve as indispensable features of the story.
A junior doctor goes to visit the daughter of a wealthy factory owner. (The professor was too busy to go.) The daughter had been ill for a long time and had just suffered "heart palpitations" the previous night. At first the doctor finds nothing wrong with her heart, and says that her "nerves must have been playing pranks" on her.
The patient’s family presses the doctor to stay for the night. During the evening, he reflects on the oppression of the dreary factory town and relates the sense of loneliness and confinement ("like a prison") to his patient’s condition. Later, in conversing with the young woman, he actually listens to her empathically, rather than just focusing on her symptoms or the function of her heart. He is then able to respond empathically to the young woman’s plight.
This is another Molière fabliau on the practice of medicine in his 17th Century culture. Sganarelle, the woodcutter turned doctor in spite of himself, is the object of a joke orchestrated by his wife Martine. She determines to punish him for his bad behavior toward her by setting him up as a learned, albeit somewhat eccentric, physician.
Falling for her bait, the stewards of the rich landowner, Geronte, implore Sganarelle to come to the rescue of their master’s daughter, who has become unable to speak. The woodcutter-turned-doctor begins to play the game, and through a series of happenstances and ruses, solves the enigma of the girl’s disability, comes upon a solution, and, in the process, determines that perhaps doctoring is more salutary than cutting faggots.
The scene is painted on the diagonal, which is both destabilizing and draws the viewer immediately into the picture. In the right foreground looms a large oval or round brown table on which sit a box of matches and a half-full tumbler of clear liquid. As the viewer’s eye follows the tumbler diagonally back, a gray-haired, balding man wearing a brown suit or robe is seated at the table, leaning back in his chair, smoking a cigar.
Behind the cigar smoker, near a corner of the room, standing with her back to the man, is a woman dressed in a white blouse and black skirt. She leans with her bent left arm on a chest of drawers and rests her chin on her right hand, leaning on her bent right elbow. Her features are not clearly visible, but her eyes appear to be closed. A painting of a woman’s upper body hangs above her on the wall that faces the viewer.
Summary:Written with controlled elegance, this is an absorbing autobiographical account of psychiatric hospitalization. Twenty-five years after the fact, the author describes the two years during her late adolescence in which she "slip[ped] into a parallel universe." The surreal nature of the experience is reflected in darkly comedic recollections of her inner life, the other patients, their families, the staff, and of forays into the outside world.
James Norton travels from Boston to Paris at his domineering mother's urging to bring home his fragile sister, Ellie, and their journalist brother, Rafael. He discovers Rafael devastated by the death of his Jewish lover, Olympe. Suicide, accident, or murder? Ellie is confined to a wheelchair owing to an unexplained paralysis. James is drawn into finding solutions to both problems and his investigations lead him to seedy brothels, the bureau of a hypnotist, the morgue of aspiring neurologists, and the wards of la Salpetrière, the famous neuropsychiatric hospital for women. The autopsy reveals that Olympe had been pregnant and the questions about her death multiply. The exoneration and return to France of Dreyfus plays as a backdrop.
The novel is set in a small, Southern town. Velma Henry, a long-time civil rights activist and feminist, sits in a hospital gown on a stool listening to the musical voice of Minnie Ransom. Old Minnie is a healer; she heals people by contacting the points of physical or psychical pain in her patients and relieving them. She is helped by her spirit guide, Old Wife. Scars heal and wounds close in minutes under her touch.
Velma needs her help because she has just tried to kill herself, sick of the painful fight for change that never comes. Her healing takes a long time, for Minnie must first convince her that she wants to be cured. The two are surrounded by tourists, doctors, and passers-by. They are in a clinic that focuses on traditional medicines of all kinds. The novel describes the inner-healing process of Velma, the efforts of Minnie and the thoughts of people looking on or associated with the scene.
This documentary, narrated alternately by the daughter-filmmaker and mother whose stories it tells, focuses on how two women move apart and together while experiencing, respectively, adolescence and mid-life. The mother has cancer, a mastectomy, and then rheumatoid arthritis, and these experiences intertwine thematically and structurally with the narrative of the mother-daughter relationship.
Another provocative juxtaposition cross-cuts scenes from the daughter's modeling career (and the social and erotic body that context constructs for her) with scenes of the mother's illness, stigmatization, and erotic daydreams. Both women come to a new awareness of the social meaning of mastectomy within heterosexual and same-sex contexts by the documentary's end; they also come to a place of recognition of the mother's personal and social value and the nature of their relationship.
Three novellas by a master storyteller. For the title story, see the separate entry in this database (Epiphany). "Harmony Ain't Easy" is a tale in which Dr. and Mrs. Sams (he retains his own name here) get stranded when their car is disabled on a country road, thanks to Dr. Sams's bull-headedness. After a warmly humorous series of reverses, they are finally saved.
In the last story, "Relative and Absolute," aged Mr. McEachern is approached by three high school students who want to interview him for their oral history project. They ask him questions about living conditions and race relations in their county when he was young. During the series of interviews, as he tells them anecdote after anecdote heavy with homey wisdom, the old man and the adolescents learn to like and respect each other.
The story consists of a series of Dr. Mark Goddard's dictated office notes regarding the care of his patient Gregry McHune, interspersed with the narrator's description of these physician-patient interactions. McHune first presents as a standard case of high blood pressure; however, in subsequent visits the man tells his harrowing story.
Goddard learns that his patient was unjustly jailed for killing a black man in self-defense. McHune tells him about racism in the penitentiary and his fight for survival, both in prison and later. Eventually McHune and his family are hounded out of town by the son of the man he killed.
Through all these losses, McHune maintains his sense of humor and easy-going integrity. Meanwhile, the elderly Dr. Goddard is repeatedly harrangued by the clinic administrator (a vacuous young man) for including extraneous details and poetic language in his dictations. As time goes on, and he is transformed by his relationship with McHune, Goddard includes more and more poetry in his office notes.