Showing 171 - 180 of 196 annotations tagged with the keyword "Psychiatry"
This is the third novel in Pat Barker's trilogy about a group of shell shocked soldiers in World War I who are treated by Dr. William Rivers at Craiglockhart War Hospital. The protagonists include historical characters like Dr. Rivers (1864-1922), an eminent psychiatrist and anthropologist, and the poets, Siegfried Sassoon (1886-1967) and Wilfred Owen (1893-1918), as well as fictional creations, like Lieutenant Billy Prior, a working class man elevated to the position of British officer.
As The Ghost Road begins, Prior has been cured of shell shock and is preparing to return to the front in France. Rivers takes care of his patients and his invalid sister, amid memories of his experience ten years earlier on an anthropological expedition to Melanesia (Eddystone Island). He befriended Nijiru, the local priest-healer who took Rivers on his rounds to see sick villagers and also to the island's sacred Place of the Skulls.
Rivers entertains very un-British thoughts about the morality of these headhunting people, and about the power of symbolic healing. As these thoughts intrude upon his consciousness, Rivers is himself in the process of curing by suggestion a soldier with hysterical paralysis. Meanwhile, Billy Prior returns to the front. It is the autumn of 1918 and the last inhuman spasms of the war are in progress. In a futile battle that takes place a few days before the Armistice, Billy and his friend Wilfred Owen are killed.
This is a collection of autobiographical essays, most of them previously published in magazines or adapted from radio talks. "Return Ticket to Cardiff" describes Abse's pilgrimage in 1978 to visit the house in which he was born. "A Skull in the Wardrobe" and "Notes Mainly at the Clinic" draw upon the author's medical training and practice experience. Other pieces like "Pages from a Princeton Journal," "A Voice of My Own," and "Pegasus and the Rocking Horse" reveal Dannie Abse, the poet and writer.
The action takes place in a mental hospital where Pythagoras is a patient. According to the medical authorities, Pythagoras is a small-time show-biz magician. The patient, however, believes that he is the REAL Pythagoras, the ancient Greek philosopher, mathematician, and mystic. It certainly SEEMS that Pythagoras may have magical powers: when he points to the telephone, it rings; when he raises his hand to the sky, thunder claps.
Dr. Aquillus, the superintendent, has no sympathy with these pranks. The patients believe in his power, but even they sometimes question Pythagoras. For example, in response to the Greek's boast that "I was philosopher, mathematician and magician," one patient says, "You shoulda specialized, buster. You won't get anywhere unless you specialize." At this point Pythagoras responds that it is "difficult to wear both the white coat of science and the magician's purple one. You have to be--very great!" In the end Pythagoras is reduced to Tony Smith and the truth is revealed. Or is it?
Dr. Ernest Lash, single and around 40, discovers his enthusiasm and love for psychoanalysis, the talking therapy, after several years of practice as a psychopharmacologist. As the novel opens, we meet a smart, somewhat smug and self-absorbed Dr. Lash who practices from his office located in the privileged community surrounding Sacramento Street in San Francisco. He has an active psychoanalytic practice, ambition for respect and notice by the seniors of his professional community, and some aspiration to greater success as a theoretician and writer on the subject of psychoanalysis. Central to his character is a love for his work, where it appears that pride in technique and outcome shadows genuine concern for his patients and their unhappiness.
Early in the novel, a male patient, Justin, who has been working with Ernest for several years, announces that he is leaving his wife, Carol, for another woman. Ernest is pleased since he views the marriage between Justin and Carol as unhealthy, while a bit dismayed that Justin fails to acknowledge Ernest's contribution in helping Justin develop the confidence to take this step. Justin ends his relationship with Ernest Lash--feeling that he no longer needs his help--as the beginning of the novel takes an intriguing direction.
Justin's now abandoned wife, Carol, in a state of betrayal and desire for vengeance--she has a hateful attitude toward all psychiatrists after her psychotherapist of many years ago had an affair with her--decides to enter therapy with Dr. Ernest Lash in the hope of seducing him. She disguises herself with a name change and enough distortion of her past and present so that Dr. Lash will not be able to connect her to Justin. She wishes to expose him as a charlatan, and destroy his career.
Carol is an attorney, and smart. Dr. Ernest Lash is lonely and drawn to Carol. The therapy sessions and the progression of their relationship are central to Yalom's exploration of the intersubjective experience, where strangers struggle with the ambiguity of their own motives and intentions in the intimate world of psychoanalysis. Who is giving, who is receiving? Who is being helped, and who is helping?
Yalom weaves this central element of the plot with many other relationships. Dr. Marshal Streider is a senior psychoanalyst with ambitions for national recognition and a preoccupation with money. He is Dr. Ernest Lash's supervisor. He takes great pride in the fact that he treats many wealthy patients, and is engaged in his own boundary dilemmas when he invests, using insider information from one of his patients.
Dr. Seymour Trotter is a senior psychoanalyst who is condemned and removed from psychoanalytic practice after entering a sexual relationship with one of his patients. We learn that Seymour Trotter was once president of the American Psychiatric Association, and a mentor to Marshal Streider. His maxim, "My technique is to abandon all technique" (p. 7), both haunts and guides Ernest Lash throughout the novel as Ernest grapples with his own passions and temptations, while striving in his goal to achieve humane and healing therapy for his patients.
Summary:This three-quarter portrait of a man is painted in brown tones which, by accentuating the contrast with his skin and the white cravat surrounding his neck, allows the viewer to concentrate on the man's troubled features. His hair is ill kempt, and his averted eyes seem concentrated on some inner grief or turmoil.
Dr. Pensack writes in the first chapter of his memoir: "Through a lifetime I have been in the process of dying, consistently surprised when reminded that life is appallingly brief, and briefer still for me. The prospect of an early death has amounted to little more than embarrassment and loneliness, even though the routine of living can be, and usually is, just one goddamn thing after another. A new heart was somehow supposed to be my bloody-red carpet of victory." (p. 7)
At age 4, Pensack's mother died of IHSS, Idiopathic Hypertrophic Subaortic Stenosis--now known as HCM, Hypertrophic Cardiomyopathy, a genetically inherited, progressive disease of heart muscle that results in early death. At age 15, Pensack receives the terrible news of his own fate--the disease afflicts both Pensack and his older brother--and thus launches a life of near death experiences, numerous hospitalizations, early experiences at the National Institutes of Health with early investigators of the disease, pursuit of his own medical training and eventual specialty training in psychiatry, marriage and children, and ultimately, the waiting and eventual transplantation of a younger man's heart into his chest at the University of Colorado Health Sciences Center when Pensack was 43.
Raising Lazarus tells of Pensack's journey through much of this, including his descent into madness, his fury and anger with medical colleagues, his poignant relationship with the heart surgeon who eventually performs the transplant, and the importance of his family in his refusal to die. While much of the book tells of the events leading to the transplant and post-operative period of Pensack's life, the reader learns of Pensack's early losses, including the death of his mother, and how these experiences shape the values of a gutsy and determined survivor, a man who continually returns to the struggle.
With regret, Veta Simmons (Josephine Hull) decides to have her affable brother Elwood P. Dowd (James Stewart) committed to an asylum. His drinking and his unshakeable delusion of Harvey, a six-foot rabbit who is his constant companion, are interfering with her plans to find her daughter a suitable mate.
The young doctor is a psychiatric zealot, and when Veta claims that she is so fed up that she can sometimes "see that rabbit," he cleverly commits her instead. The error is discovered and rectified, but the gentle manners of Dowd (and his rabbit) eventually convince the young doctor, his nurse, their boss, and even Veta herself that he does not deserve to be locked up. They release him at the very moment he is about to receive a new chemical treatment guaranteed to rid him of the delusion. Dowd happily sets out to share the rest of his life with Harvey.
Summary:A psychiatrist who is skilled at hypnotism is asked by an oncologist to hypnotize a difficult patient prior to a bone marrow biopsy. The psychiatrist is able to achieve excellent pain relief through hypnotism, much to her own surprise. She is exhausted by the mental energy she has expended in this experience, and is discredited by the oncologist, who doesn't really believe that hypnotism is anything special.
Sidney Winawer is a New York physician specializing in gastrointestinal cancers. When his wife, Andrea, is diagnosed with stomach cancer, he is made to see his own work from a new perspective, that of the patient and her family. The experience gives him new insights into aspects of health care he had not considered before, such as the alienating effects of some hospital routines on patient and family, the patient's need to find hope from any source, regardless of its intellectual provenance, and, encouragingly, the life-enhancing effects on his family as they join Andrea in her determined struggle to prolong and enrich whatever time remains for her.
For the first time, Winawer explores alternative and complementary approaches to cancer treatment, including meditation, antioxidant therapies, hyperthermia, and other attempts to stimulate the immune system. At first resistant, he comes to recognize the need for the terminally ill and their families to have access to as many resources as possible, and eventually it becomes his "mission" to emphasize the need for practitioners of conventional medicine to learn as much as possible about integrative medicine.
An interesting subplot is the story of Dr. Casper Schmidt, Andrea's psychiatrist, whose remarkable knowledge of new treatments for terminal illness is explained when he dies of AIDS. As another physician led by personal experience of disease to explore beyond the boundaries of conventional therapies, Schmidt forms an illuminating counterpoint to Winawer himself.
This is the story of a family struggling to deal with the accidental death of a teenage son. Calvin Jarrett (Donald Sutherland) and his wife Beth (Mary Tyler Moore) and their surviving teenage son Conrad (Timothy Hutton) live in a wealthy Chicago suburb. Some months before the time of the film, Conrad's older brother Buck drowned when the small boat he and Conrad were sailing capsized in a windstorm.
In the present we see Beth as cold, withdrawn from Conrad (Buck had been her favorite) and at times actively hostile to him and to her husband, too. Conrad, recently back home from three months in the hospital (including electro-convulsive shock therapy) after slitting his wrists, is between uneasy and agonized in his high-school and family world. Calvin remains emotionally open but is befuddled and often caught between his wife and his son, talking about things that don't matter.
Within that setting, the film tells the story of Conrad's attempts to deal with the guilt he feels after his brother's death. A series of psychotherapy sessions with Dr. Berger (Judd Hirsch) plays a crucial role. Seeing Dr. Berger also helps Cal understand some things, and when in a midnight confrontation he tells Beth of his sorrow that she has substantially changed for the worse, she proudly packs her bags and leaves. The film ends early the next morning, with Conrad and his father in an emotional embrace on the front steps of their home.