Showing 161 - 170 of 431 annotations tagged with the keyword "Professionalism"
A saxophone-playing, divorced psychiatrist, Dr. Denis, is baffled by the unexplained arrival of a new patient in his mental hospital. The highly intelligent newcomer, called Rantes, has extraordinary gifts and spends long hours in the yard facing southeast, where he claims to receive communications from his home planet. He is visited by the saintly Beatriz, who works in a church, and Denis asks her questions about Rantes.
The bond between the three people begins to transgress the ordinary boundaries between doctor and patient, and culminates in an excursion to a concert in the park. Charmed by Beethoven's "Song of Joy," Rantes instigates generalized waltzing and takes over from an inexplicably obliging conductor. Back in the asylum, the other patients feel the vibrations emanating from Rantes' concert and engage in a good-humored romp. The doctor is reprimanded for the embarrassing situation, and begins to doubt the integrity of the psychiatric enterprise. A weakened Rantes dies after electroshock therapy and the film ends in ambiguity.
Canadian surgeon Norman Bethune, 1890-1939, (Donald Sutherland) journeys 1500 miles into China to reach Mao Zedong's eighth route army in the Wu Tai mountains where he will build hospitals, provide care, and train medics. Flashbacks narrate the earlier events of his life: a bout with tuberculosis at the Trudeau sanatorium; the self-administration of an experimental pneumothorax; the invention of operative instruments; his fascination with socialism; a journey into medical Russia; and the founding of a mobile plasma transfusion unit in war-torn Spain.
Bethune twice married and twice divorced his wife, Frances (Helen Mirren) who chooses abortion over child-rearing in her unstable marriage. By 1939, Bethune had been dismissed from his Montreal Hospital for taking unconventional risks and from his volunteer position in Spain for his chronic problems of drinking and womanizing. As his friend states: "China was all that was left." Even there, Bethune confidently ignores the advice of Chinese officials, until heavy casualties make him realize his mistake and lead him to a spectacular apology. The film ends with his much-lamented death from an infected scalpel wound.
The first seven episodes in the made-for-TV series tracing the remarkably credible story of a woman physician in 1890s London. Newly graduated in medicine, Eleanor Bramwell (Jemma Redgrave) is the daughter of Robert (David Calder), a distinguished physician. He would like her to join him in his private practice, but she has other plans. Bright and ambitious, she is well qualified to pursue her goal of surgery; however, these qualities do not protect her from the chauvinism of her male superiors, including the influential and basically well-meaning Sir Herbert Hamilton (Robert Hardy). In anger and frustration, she leaves the academic hospital, garners philanthropic support from Lady Cora Peters (Michele Dotrice Dotrice) and opens the charitable "Thrift Infirmary,"
In a poverty stricken district. There she is joined by the quiet Scots surgeon Dr. Joe Marsham (Kevin McMonagle) and competent Nurse Carr (Ruth Sheen) of crusty exterior and soft core. Together they encounter a series of clinical problems that clearly document not only the medicine and social values of the late Victorian era, but the troubles of those who live and work in poverty.
Idealistic, nervous, and rigid, Andrew Manson (Robert Donat) takes his first medical job as an assistant to a doctor in a Welsh mining community. The greedy wife of his invalid employer obliges Manson to hand over most of his earnings. But he finds a local kindred spirit in the outspoken Dr. Denny (Ralph Richardson). In a drunken prank, they blow up the town sewer forcing the unwilling government to repair a notorious source of typhoid.
Manson marries a beautiful school teacher (Rosalind Russell) who leaves her beloved classroom to follow him to an even larger mining town. There he is employed by a group practice run on a capitation basis by the miners. In their evenings, the Mansons investigate the problem of chronic cough in miners, linking it to tuberculosis and coal dust--a discovery that they publish. But suspicious miners destroy their laboratory and force them to London and poverty.
A chance encounter with a wealthy hysteric and an old mate (Rex Harrison) raises Manson’s social standing. He opens a Harley Street practice and makes a fortune. His wife regrets the loss of his ideals and the death of his research. She begs him to remember how happy they were in poverty when each day was a noble challenge to take "the citadel" of life. Denny returns to entice Manson into a new group practice funded by community insurance, but Manson flatly refuses. Denny’s accidental death and a blunder by an elite, unethical Harley Street surgeon bring Andrew back to his idealistic senses.
The film closes with his eloquent self defense against charges of irregular practice for having intervened (successfully) in the case of a little girl with tuberculosis. Manson assists as the child is treated gratis with the controversial new pneumothorax operation administered by an American who does not hold a medical degree. Whether or not Manson keeps his license, the audience is confident that his sense of purpose has been restored and that his wife loves him more than ever. He will return both to the comfortably compatible pursuits of research and serving the sick poor.
As a medical student, Martin Arrowsmith (Ronald Colman) approaches the revered Professor Gottlieb (A. E. Anson) wishing to accelerate his studies into bacteriology research. Gottlieb insists that he complete his clinical training first. But Arrowsmith meets the cheeky nurse Leora (Helen Hayes) and throws over his plans for science in order to earn a marriage-sustaining living as a general practitioner in her native South Dakota.
Assuaging his undying passion for research (in the family kitchen), he takes on the problem of an epidemic of black leg disease of cattle and earns the animus of a veterinarian and the admiration of the Swedish farmers by single-handedly disproving the efficacy of a government serum, developing his own serum, and conducting a controlled trial to prove its worth. His frustrated and unemployed wife--now displaced from her own kitchen--continues to support him, answering always "Yes, Martin. No, Martin. Whatever you say, Martin."
The couple move to New York City where Arrowsmith intends to devote himself full time to science at the side of his old hero Gottlieb in the McGurk Institute (a thinly disguised Rockefeller Institute). In his new laboratory, Arrowsmith utters a prayer for clear vision and humility--a prayer that seems to go unanswered.
Late one snowy night after two years of fruitless work, he discovers that "something" (in the novel, it is bacteriophage) has killed the bacteria he has been incubating. "Is it important, Martin?" asks Leora. He is brutal in his zealous response, his eyes gleaming with the promise of promotion, fame, and fortune. But after days of exhausting labour, he learns that he has been scooped by Felix D’Herelle a (real) researcher at the Pasteur Institute.
Arrowsmith quickly finds a new passion and travels to the Caribbean to conduct research into the effect of a serum on bubonic plague. Gottlieb makes him promise to act like a scientist (not a G.P. or a quack) and to withhold the remedy from half his patients. He tries to convince the colonial authorities of the importance of controlled testing, but is rebuffed with accusations of turning humans into guinea pigs. A black medical graduate of Howard University invites him to a different island where the epidemic is so thick that the people willingly cooperate with the controlled trial.
Leora, who had refused to remain in New York, is now left behind. The film implies clumsily that the now solitary Arrowsmith--ecstatic to be back in the research trenches--has a romantic encounter with Joyce, a beautiful stranded tourist (Myrna Loy). Meanwhile, Leora contracts plague from a cigarette, which has absorbed plague germs from Martin’s sloppy lab technique, and which she smokes because of Martin’s inattention and abandonment. She dies miserably and alone.
Crazed with remorse, Arrowsmith abandons his scientific principles and allows the entire population to be treated with the serum after all. The epidemic is arrested. But Martin knows that his success does not justify his scientific sin. Still grieving for Leora, he returns to New York to much fanfare, but is unable to find absolution from Gottlieb who has just had a stroke. He runs out on his lover, his institute, and a press conference to join a friend who is establishing a Walden-like institute dedicated to pure research in Vermont.
Summary:This is a poem about the doctor-poet's reluctance to view his own mother's X-ray. Addressing his mother, the doctor describes himself as less daring than Harvey and Freud and other "men who would open anything" to advance medical knowledge. In the poem's last line, as the doctor raises the film to the viewing screen, he resists, complaining "I still don't want to know."
Summary:As editor Judy Schaefer writes in her introduction, this collection provides "the rare opportunity to read both the poem and the poet's commentary." It is somewhat like a good poetry reading, where we get to hear about the events, thoughts, feelings and contexts that have stimulated the poem. Often the writer's commentaries have a richness of their own, complementing the poetry but not necessary to it. Also the commentaries describe some of the writing process the nurse poets go through in creating the poem. The fourteen nurse poets in this volume have all published their work in journals and anthologies, but this is the first collection to include commentaries along with the poems.
Richard Selzer’s memoir is subtitled “A Doctor Comes of Age.” The book is structured around childhood memories, interspersed with stories from more recent times. Selzer’s father, a general practitioner in Troy, New York, serves as the focal point for most of his early memories--a commanding figure of warmth and goodness in his son’s life: “If I have failed to describe father… it is because none of his features did him justice. I should have had to mention wings in order to do that.” (p. 152)
While his father brought science into Selzer’s life, his mother represented the world of art. She was an amateur singer with a “small pure soprano voice” (p. 15), as well as being the doctor’s wife. After the doctor’s death from a massive heart attack when Selzer was 12 years old, his mother had numerous suitors, at least some of whom she eventually married. When he went to college, she began a life-long practice of writing her younger son (Selzer has an older brother William) weekly letters, including such advice as “Rise and flee the reeling faun,” “You do not take enough chances” and “You must learn to be absurd.” (p.227)
Toward the end of Down from Troy, Selzer writes of his parents, “Of all the satisfactions of my life, the greatest is that I have at last fulfilled each of their ambitions.” (p. 251) This is in reference to his having practiced both surgery and writing. He goes on to enumerate the many unexpected similarities between the two professions. The book ends with a narrative that brings together narrative and medicine, the story of a retired surgeon who reaches out to help a young man dying of AIDS.
Dr. Aloysius Lana, a "Black Doctor" of Spanish ancestry, settled in a Lancashire town and courted Miss Frances Morton, a young woman of the local gentry. After he unexpectedly broke off their engagement, he was found dead, and Frances's brother was arrested. At the trial, Dr. Lana himself appeared: the corpse was instead his dissipated twin brother Ernest, dead of a heart attack. Ernest's secret arrival had forced Aloysius to dissolve his engagement, not wishing scandal; Ernest's death allowed Aloysius to create a new identity abroad, his future shattered. But, hearing that the death had been misdiagnosed as murder, Aloysius explained the situation, and he and the Mortons were reunited.
Winter surveys the rise and fall of mesmerism in Victorian Britain, from animal magnetism to hypnotism, including electrobiology (a form of group hysteria), table-turning, and other fads. The book offers rich detail about the different stages of the use of mesmerism in medicine: its initial appearance in staged experiments; its uncertain status and the struggle to locate the boundary demarcating alternative medicines; its performance by professional medical men as well as travelers and quacks; its importance in the development of anesthesia; and its role in prompting skeptical scientists to consider the possibility of mental reflexes as one way to explain away mesmeric phenomena.
Winter argues that mesmerism was not "illegitimate" so much as it brought "legitimacy" itself - of medical authority, of evidence, of knowledge -- into question. Thus, she argues, mesmerism crucially inspired many of the considerable changes in nineteenth-century medicine as well as the reorganization of science and the educational reforms of the later nineteenth century. The book also discusses mesmerism as a form of religion, as a conduit for spiritualism and communication with the dead, as a catalyst in orchestral conducting, and as a model for liberal political consensus.