Showing 141 - 146 of 146 annotations tagged with the keyword "History of Science"
This novel was inspirational for several generations of pre-medical and medical students. It follows the hero, Martin Arrowsmith, from his days as a medical student through the vicissitudes of his medical/scientific career. There is much agonizing along the way concerning career and life decisions. While detailing Martin’s pursuit of the noble ideals of medical research for the benefit of mankind and of selfless devotion to the care of patients, Lewis throws many less noble temptations and self-deceptions in Martin’s path. The attractions of financial security, recognition, even wealth and power distract Arrowsmith from his original plan to follow in the footsteps of his first mentor, Max Gottlieb, a brilliant but abrasive bacteriologist.
In the course of the novel Lewis describes many aspects of medical training, medical practice, scientific research, scientific fraud, medical ethics, public health, and of personal/professional conflicts that are still relevant today. Professional jealousy, institutional pressures, greed, stupidity, and negligence are all satirically depicted, and Martin himself is exasperatingly self-involved. But there is also tireless dedication, and respect for the scientific method and intellectual honesty.
Martin’s wife, Leora, is the steadying, sensible, self-abnegating anchor of his life. In today’s Western culture it is difficult to imagine such a marital relationship between two professionals (she is a nurse). When Leora dies in the tropics, of the plague that Martin is there to study, he seems to lose all sense of himself and of his principles. The novel comes full circle at the end as Arrowsmith gives up his wealthy second wife and the high-powered, high-paying directorship of a research institute to go back to hands-on laboratory research.
Jordanova posits that medicine and science "contain implications about matters beyond their explicit content." Namely, they have historically made assumptions about women and their relation to science/medicine. Jordanova explores this relation through seven chapters.
Particularly interesting is Chapter Three, "Body Image and Sex Roles." Here Jordanova discusses the wax models used by medical students in the nineteenth century to learn about anatomy. These models were almost always female and sometimes even had flowing hair, pearl necklaces, and other realistic details. Jordanova argues that this gendering was no accident. The route to knowledge is historically associated with looking deep into the bodies of women.
Chapter Five pursues this theme, commenting on how nature is often configured as a female whose secrets will be revealed by masculine science. The final two chapters address twentieth century representations, including the gendered nature of drug advertisements in in-house medical magazines.
This poem is in the voice of a faith healer who calls upon the reader to witness the marvels of God's healing power, a holy power that shows the terrible evil embodied in the theory of evolution: "Darwin's demon apes of hell / howl the name of blasphemy." The narrative centers on a young boy with diabetes, whose father brings him to be healed. He and his father prayed and their faith grew strong; "he threw away the pills, those ugly / relics of his doubt-- / and the boy cried out, rejoicing!"
Later, though, during the night, the boy became ill again and begged his father for the pills. But the congregation prayed and the father's faith held . . . and the boy died. The healer rejoices, though, because "he is not dead--the boy / only sleeps in the Lord." The healer believes the child died because " Darwin's great beast" rose that night and "passed his hand over the boy's / sick faith."
This long poem tells a story within a story. The framing story is Charles Darwin falling asleep and thinking, "as he always does, of animals . . . . " His dream turns into the story of the Deluge and Noah and his ark. Poor Noah is a bumbling 600 year old man, who much against his own inclinations, is told by God to build the ark and, later, to stuff it with a pair of every kind of animal. Well, Noah's sons think this whole project is stupid, but they eventually go along with it.
The most difficult part was finding and capturing the animals, two of every species, including in the end, "sixteen thousand hungry birds / lusting for the eighteen hundred thousand insects, / and the twelve thousand snakes and lizards / nipping at the seven thousand mammals, / and everyone slipping and sliding around / on the sixty-four thousand worms / and the one hundred thousand spiders--." When the deluge began and the waters rose, the ark floated past all the desperate, dying people, until the last woman "holding her baby over her head" went under "and God was well pleased."
Summary:This remarkable poem notes the contrast between the mechanical, technologically manipulated heart today (without faith or spirit) and the mysterious, spirit-creating heart of Riverius. In the days of Riverius, the heart created spirit which "descended like dew" into the body and "ascended like steam" into the head--"how souls and bodies blended!" But now all mystery and spirit are gone. Cadaver-cutting scientists made an ox of the heart which pumps "the blood in dispirited circles" (note the wonderful use of "dispirited").
Summary:Frankenstein's monster is speaking. "Bigger than the best, but not the best," he will do anything, he will not rest until "the earth is rid of that Creator / who dared to make a thing without a soul." He tells us that he is "the dark body . . . / made . . . to symbolize your dread." He warns us that he is not really something exterior or alien--we can find him in our sons and daughters, even in ourselves: "While you disperse in every dark theater / in streams of light, inside you I am whole."