Showing 141 - 150 of 251 annotations tagged with the keyword "Medical Education"
The contents include dramatized versions of the following classic stories, many of them in this annotated in this database: William Carlos Williams’s A Face of Stone, The Girl with a Pimply Face, The Use of Force, (annotatd by Felice Aull and by Pamela Moore and Jack Coulehan), Old Doc Rivers, Richard Selzer’s Fetishes, Imelda, and Whither Thou Goest, Susan Onthank Mates’s Ambulance, and Laundry, Pearl S. Buck’s The Enemy, Arthur Conan Doyle’s Round the Red Lamp, Katherine Anne Porter’s "He”; Mary E. Wilkins Freeman’s "A Mistaken Charity”; Margaret Lamb’s "Management”.
All but the last three stories enjoy separate entries in this database. Porter’s story is of a family who copes with a handicapped son. Freeman’s describes how local do-gooders move elderly sisters from their dilapidated home. Lamb writes of an aging African American woman living on social security in dangerous surroundings.
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.
Summary:Villagers gather together in the central square for the annual lottery. There is much excitement and interest as the rituals of the event proceed. The familiar discussion of current and everyday happenings in village life is intermingled with commentary on the traditional and modern ways of holding the lottery, as well as observation of the particularities of this year’s proceedings. Finally a winning family is chosen by ballot, and from that family a winning member--Mrs. Hutchinson. Mrs. Hutchinson is then stoned by the villagers, including her family members.
Fowles, and many other well-known Anglo-American writers in this collection, provide marvelous personal rationales for reading: what it has meant in their lives, and most important for our discussion, how reading can work against the "atrophy of the imagination" brought on by this century’s fervor for electronic media.
This essay can be used early in Literature and Medicine courses to discuss the very different experiences of reading fiction and nonfiction, to show how their aims are opposed in many ways. According to Fowles, this includes: "learning to dream awake, against learning to absorb hard facts; almost, to be subjective, to learn to feel, to be oneself--or to be objective, become what society expects . . . . Talking about reading [fiction] is like talking about flight in a world rapidly becoming flightless; like raving about music to the deaf, or about painting to the color-blind."
The surgeon Jack McKee (William Hurt) carries on an outwardly successful practice while treating his patients with aggressive sarcasm and general disrespect. "There is a danger in becoming too involved with your patients," he warns his residents, reminding them of the surgeon’s credo: "Get in, fix it, get out." Then McKee himself is diagnosed with cancer of the vocal chords, and the doctor discovers patienthood. The process is enormously uncomfortable for him, as he experiences a sharp decline in autonomy and everything that goes with it, and he begins to develop some empathy for those he has always scorned.
Particularly inspiring are several encounters with a coldly professional specialist and a platonic friendship with a young cancer patient named June (Elizabeth Perkins) who is dying because her doctors failed to diagnose her brain tumor. By the end of the film, Dr. McKee is both recovered and converted, and in the last scene is requiring his residents to spend 72 hours as hospital patients as part of their medical training.
In 28 autobiographical stories, the narrator writes of his patient encounters (and self encounters) as a medical student, resident, and finally Emergency Room attending physician. "The Unknown Assailant" opens the collection, a tale of a criminal and his victim who are both brought into the doctor-narrator's emergency room. The young doctor chooses "the young one" (p. 1), not knowing he is the assailant, and works frantically to save his life. This criminal allegedly killed two men a year before, but his current victim lives and the doctor learns the story of the attack from this victim's point of view. The assailant, who slowly recovers, has "an aura about him" (p. 5) and the doctor is strangely drawn to him, thankful that this man means him no harm. Perhaps aware of the irony of healing a man who, in another environment, might kill him, the doctor helps the assailant get better.
This underlying theme--that nothing is black and white in medicine or life--shapes every story. "Prelude," is the revealing, three-page tale of a medical student's life outside the hospital juxtaposed with his first encounter with death in the anatomy lab.
Every story deals with significant issues: the physician's inner emptiness when a patient dies ("Through the Dark, Softly"), how a greater power might suddenly intervene ("Faith"), how narrow the margin is between a successful and a missed diagnosis ("Sugar"), how both patients and residents survive because of, or in spite of, their medical attendings ("A Difference of Opinion"), and how things that seem final or sinister--like death and leeches--become instruments of hope and cure ("The Dead Lake"). [Sugar and The Dead Lake have been annotated in this database.)
During World War II two Jewish teenagers in New York meet under unfortunate circumstances. Reuven Malder is the pitcher and Danny Saunders the batter in a baseball game between two rival yeshivas. Danny, the son of the rebbe (or tzaddik) of a strict Hasidic sect, lines the ball straight to Reuven, hitting him in the eye. Later, Danny visits Reuven (the son of a Jewish scholar) in the hospital and they become close friends. The story takes us through the next five or six years of the boys’ lives, as the World War ends, the Holocaust is revealed, and the Jewish state in Palestine is born in dissension and violence.
Danny is destined by tradition to follow his father as tzaddik of his community, but he really desires to become a secular psychologist. Reuven is gifted in mathematics, but his desire is to become a rabbi. From his father Reuven learns about the historical roots and practices of Hasidism. At Reb Saunders’s synagogue, he experiences Hasidism in practice, especially the practice whereby the Reb makes an intentional mistake in his sermon every week and challenges Danny to identify the mistake and elucidate it from the Talmud and commentaries.
Reuven learns to hate Reb Saunders, who strangely never talks to his son, except when they are studying Talmud. Danny and Reuven both attend Hirsch College. At one point Reuven’s father, David Malter, openly supports the creation of Israel and Reb Saunders, who is violently anti-Zionist, forbids Danny to speak with or associate with Reuven.
Meanwhile, Danny has never spoken with his father about his plans to attend graduate school in psychology. Finally, the rebbe asks to see Reuven and for the first time in a year the three men meet in Reb Saunders study. The rebbe explains that he has known about Danny’s plans all along. He also explains why he raised his son in silence--it was to teach him to listen to silence, to learn compassion, to develop a soul to go with his magnificent mind.
Summary:Williams's autobiography recounts his life from his first memory ("being put outdoors after the blizzard of '88") to the composition of "Patterson" and a trip to the American West in 1950. The book's 58 short chapters epitomize the writer's episodic and impressionistic style, presenting a series of scenes and meditations, rather than a narrative life story.
This is an ambitious and far-ranging book, the result of years of thinking, teaching, and working with patients. An internist at the College of Physicians and Surgeons at Columbia University, Charon sees a wide range of patients in an urban setting. Also a Ph.D. in English literature, Charon has devised a "Parallel Chart" and other means for caregivers to write personally about the dynamics between healer and patient, to read texts--narratives in particular--and, as a result, to listen better to patients, thus improving the delivery of medical care.
Charon defines narrative medicine as "medicine practiced with these skills of recognizing, absorbing, interpreting, and being moved by the stories of illness" (4). She calls this a "new frame" for medicine, believing that it can improve many of the defects of our current means of providing (or not) medical care. Caregivers who possess "narrative competence" are able to bridge the "divides" of their relation to mortality, the contexts of illness, beliefs about disease causality, and emotions of shame, blame, and fear.
Charon finds that medical care and literature share five narrative features; she argues that careful reading of narratives builds skills that improve medical care, including intersubjectivity between caregiver and patient, and ethicality. Beyond the theory, there are powerful and persuasive examples of interactions between caregiver and patient, many from Charon's own practice. A mother of a sick daughter experiences stress that makes her ill; when she sees a narrative connection, she begins to heal.
Charon sees wider applications. As caregivers understand better concepts of attention, representation, and affiliation, they become more ethical, more community minded, and better healers to their patients. Patient interviews will be different: instead of following a grid of questions, physicians will converse with patients in an open-ended way. What is most important will emerge and emerge in ways that are most beneficial to the patient. Yes, this method will take more time but it will be more efficient in the long run. Bioethics, Charon argues, has been limited by legal approaches and philosophical principles. For her, narrative bioethics offers more human values in how people feel, experience reality, and relate to each other. Finally, there are implications for social justice: why are the poor underserved in this country and in many others?
One of the most exciting and radical formulations comes late in the book: ". . . practitioners, be they health care professionals to begin with or not, must be prepared to offer the self as a therapeutic instrument" (p. 215). This notion links up fruitfully with concepts of energy medicine (v1377v), therapeutic touch (Tiffany Field), and intentionality (Wayne W. Dyer).
Born in 1728 the tenth child in a struggling Scottish farm family, John Hunter was a wayward and unteachable child who spent most of his time outdoors. At the age of 20, with no prospects and having lost his father and 6 siblings, he wrote for help to his older brother William, who was practicing midwifery in London and had just opened England's first anatomy school, one featuring the revolutionary opportunity for students to dissect their own cadavers.
John rode the 400 miles to London on horseback, apprenticed with great success under William, learned dissection, then surgery, and went on to become a supremely gifted anatomist and surgeon, one whose brilliant and tireless experimentation broke with ancient and outmoded medical traditions and established the foundation for modern science-based surgery. (When John arrived in London, the city's Company of Barber-Surgeons had only just dissolved to allow surgeons to organize themselves independently of barbers.)
One of his most important activities in working for his brother--and which continued when he made his own way--was the procuring of cadavers, which because of the customs of the time involved him intimately in the grisly business of grave-robbing.