Showing 171 - 180 of 273 annotations tagged with the keyword "Spirituality"
This documentary video follows the making of an opera, based on the illness experiences of four Australians who have been diagnosed and treated for cancer. Their feelings about these experiences are translated into music (with lyrics) as they work closely with music therapist/composer, Emma O'Brien. As the three women and one man tell their stories of physical debility and emotional pain, the music therapist asks them to think in terms of color (they choose purple, black) and tones and rhythms that she plays for them on the piano.
When the narratives and their musical representations have evolved sufficiently, trained singers take on the roles "written" for them by the four former patients; the latter continue to be intimately involved in the opera's production, directed by David Kram. At the end of the project, which is also the conclusion of the film, the opera is performed in front of an audience (with musicians playing instruments, singing, and dramatic enactment) and the four people whose illness experience is performed take their bows together with the singers.
This concise and well-written biography is meant to be, as Sherwin Nuland tells us, "a guide for the perplexed," for those who may recognize the name of Maimonides and his historical importance to Jewish religion and culture, or who may even have read some of his works, but have no knowledge of the man behind the name. The story begins, as it should, in Medieval Spain with its vibrant Judaeo-Islamic culture, in which the historical relationship between Judaism and medicine developed and later expanded throughout the European and Islamic worlds. Though they were outsiders in both civilizations, Jewish physicians became the most sought after healers in the Christian and Muslim worlds.
Moses son of Maimon (also known as Maimonides and the Rambam, 1138-1204) was born in Cordoba, the cultural and political center of Muslim Spain. He and his family had to flee Cordoba to avoid persecution in 1148. They wandered through Spain until 1160, when they settled in Fez, Morocco. Again fleeing from persecution, Maimonides moved to Fustat, Egypt, when he was 30 years old and remained there for the rest of his life. During these early years, the young rabbi wrote numerous biblical commentaries, culminating in the Mishneh Torah, his great code of Jewish law. Later, he attempted to reconcile faith with reason in another great work, The Guide for the Perplexed, completed in 1190.
Maimonides's specifically medical work is difficult to characterize and evaluate. The traditional historical assessment is that he was "unique in his time in the theory and practice of medicine." Essentially, he practiced Galenic medicine, as transmitted and developed in the flourishing Islamic tradition. We don't know how he acquired his medical knowledge, but by the time he reached Fustat, Maimonides was acknowledged to be a leading physician and in 1190 he was appointed personal physician to the vizier of Egypt. Late in life, Maimonides wrote a number of medical treatises, most importantly his Medical Aphorisms, which presents a coherent, well-organized, and practical medical system based on Galen and Aristotle.
Summary:At 23 years old, James is brought by his parents to a drug and alcohol rehabilitation center in Minnesota to get treatment for his alcoholism and drug addictions. Physically and emotionally shattered, he slowly recuperates, sometimes insistently conquering his addictions with his own willpower, and at other times with the help of those around him. The consequences of his addictions, his struggle against the platitudes of the Twelve Step programs, and his relationships with his counselors build the tension in the book; his relationship with his family and several of his fellow addicts forms the heart of it.
This collection contains all the stories in Arthur Conan Doyle's Round the Red Lamp, six additional medical tales (three of which are from the Sherlock Holmes oeuvre), and the published version of "The Romance of Medicine" (1910), an awards ceremony address to the medical students at St. Mary's Hospital Medical School.
Round the Red Lamp (see annotation in this database) received almost universally negative reviews when it was published in 1894. They deplored the fact that Conan Doyle wrote about such "nauseating" and "ghastly" topics. All but one of the stories deal with doctors, disease, or medical practice. (The exception is a gothic tale that has a medical student as its hero.)
For example, "Behind the Times" contrasts the behavior of old fashioned humanistic physicians with that of modern scientifically-oriented physicians; "The Doctors of Hoyland" conveys a very positive image of women physicians; "His First Operation" depicts a first-year medical student fainting in the operating room; and "A False Start" presents a humorous account of Conan Doyle's difficulties in starting his own medical practice.
The three Sherlock Holmes stories are "The Dying Detective" (1913), "The Creeping Man," (1923) and "The Blanched Soldier" (1926). "The Romance of Medicine" is an inspirational essay on professionalism and medical history, somewhat similar in tone to, and contemporaneous with, the essays of William Osler.
In three sections of remarkable narrative poems, Fraser reviews how his own and his family's lives are utterly changed by the birth of his youngest brother, Jonathan, who is profoundly disabled by spina bifida and has survived into adulthood--long beyond what doctors predicted. An introduction provides the context: the poems chronicle a hard journey from denial, shame, and anger to acceptance. As Fraser writes toward the end of the final, title poem: "We must learn to cherish chance to have one." But chance has dealt his brother, and so his family, a particularly hard blow.
The first section focuses primarily on his own remembered reactions and reflections--his guilt, his cluelessness--as a child and adolescent; the second on relationships with family and friends as an adult, all of them partly shaped and shaded by the ongoing suffering of his disabled brother; the third and longest, an exercise in empathy-with his mother and with Jonathan, neither of whose suffering, he realizes, is entirely imaginable to him. The poems are regular free verse, rich with allusion, emotional precision, and narrative detail.
A variety of figures, all of them Tahitian, sprawl across the wide frame of the painting, each engaged in a particular and significant act. In the center of the image, a man wearing a simple loincloth picks an apple from the top edge of the image. To his right, a nude person examines his or her underarm, two clothed women in the background walk together with their arms around one another, three women sit together around a babe, and a dog looks inward from the exterior of the right edge.
On the left of the apple-picking man, two white kittens play with one another next to a clothed young girl who eats an apple. Behind her lies a goat. In the far background stands a blue religious statue, to the right of which stands a lone fully clothed woman. At the far left of the painting, a dark-skinned unclothed old woman sits with her head in her hands, next to a seated, nubile young woman with firm, full, bare breasts. A white bird sits to their immediate left.
This is a comprehensive social history of European (or "Western") attitudes toward death and dying over the last thousand years. Ariès organizes his history into five sequential cultural constructs, each of which conveys the meaning of death to the individual and community, as well as the social institutions around death and dying, during a different period of Western history, beginning in the Middle Ages.
Cultural responses to death must begin by acknowledging that death is mysterious and overwhelming; a wild beast; a meaningless monster. Death lurks at the edge of our consciousness, ready to destroy us and demolish whatever meaning we attribute to our lives. In medieval Europe Christianity had domesticated this monster by establishing a comprehensive set of beliefs and practices that Ariès calls the "tame death." Death was merely a transition to eternal life. The individual was understood as an integral part of the community and not as autonomous and isolated. Therefore, death and dying were communal events, supported by specific prayers and practices (i.e. ars moriendi) that "tamed" the unknown.
In the centuries that followed, Ariès's "tame death" evolved through five stages into the radically different cultural conception of death that characterizes Western society--especially in its American form--today. These changes result largely from the gradual replacement of community-oriented personal identity with today's radical individualism; and the gradual sequestration of death to a position behind the scenes, so that dying and death become remote from ordinary experience.
In today's world we encounter "invisible death," a somewhat paradoxical name because its invisibility allows the savage beast free rein. Death is no longer "tame" because we deny its existence so effectively we no longer develop personal and communal resources to give it meaning. Death's invisibility enhances its terror; our culture's loss of spirituality enhances death's meaninglessness.
Healy focuses on the social and cultural meaning of disease in Britain during the early modern period (roughly the sixteenth and seventeenth centuries). Her chapter on "The Humoral-Paracelsan Body" discusses how the humoral theory of Galen, at this time still dominant in constructing a notion of the human body and its functions, was challenged by a new Paracelsan medicine, with its emphasis on spirit and on experiment instead of book-learning, and by the emergence of syphilis. She also establishes the genre of the "regimen[t]," a text advising how to achieve personal and social order.
Her two chapters on "The Plaguy Body" review the late-medieval and Renaissance history of the plague and argue that the social meaning of the plague as a trope of violence and rebellion shifts over the course of the sixteenth century, from a judgment on Britain's "rich extortioners," careless of the welfare of the poor, to the threat represented by London's unruly urban underclass.
Healy's two chapters on "The Pocky Body" argue that the new disease of syphilis became another dominant metaphor for social disorder because it helped focus anxieties about cultural hypocrisy, corruption, and degeneration, linked to the problems of sin generally and excessive appetite in particular. Her final chapter examines "The Glutted, Unvented Body," another powerful figure of excessive appetite, threatening that the body (and its appetites) would dethrone the head (the site of reason).
Healy demonstrates the importance of debates over the glutted, headless body as a way for British writers to negotiate the problems of a trade imbalance and the tricky terrain of resistance against the intemperate Stuart monarchs, culminating in the execution of Charles I in 1649. In the book as a whole, Healy reads literary and historical texts by authors as diverse as William Bullein, Thomas Dekker, Lucretius, Erasmus, William Shakespeare (Measure for Measure and Pericles), and Milton (Comus).
The narrator suffers from depression and a pain in the right side beneath his ribs. Surgery will be performed at his home by Dr. Haddon and Dr. Mowbray, but the narrator worries that he might die during the operation. During an afternoon nap on the day before surgery, he dreams of death and resurrection. Chloroform is administered prior to the operation, but the narrator continues to be aware of everything taking place.
He can see into the minds of the surgeons and learns that Dr. Haddon is afraid of inadvertently cutting a vein. Almost on cue, the vein is slashed and hemorrhaging occurs. The narrator has a near-death experience associated with an extraordinary clarity of perception. He senses movement upward - beyond his body, beyond the town, and beyond the world. He believes his soul is streaming through space past the solar system and nearby constellations.
His impression of absolute serenity is eventually replaced by a sensation of loneliness. All matter becomes condensed into a single point of light, then a fuzzy glow, and finally the image of a colossal hand clenching a rod. A faint sound punctures the silence followed by a voice proclaiming, "There will be no more pain" (63). He awakens and sees the surgeon standing next to the rail of the bed. The narrator has not only survived the operation, but his pain and melancholy are vanquished.
This anthology of "healing poems" is designed, according to the editors, "to find readers who might not usually read poetry." They say it should also be read "by those sitting in waiting rooms in surgeries and outpatients' clinics." These are definitely large tasks to expect this small collection of poems to accomplish, but in a different world (for example, a world in which people believed in the power of poetry to heal), this particular anthology would have a good shot at becoming a standard waiting room fixture.
The therapeutic intervention is well thought out. The editors have arranged the book into eight sections, each containing poems that exemplify a different theme, or situation, or style of treatment. The sections include: Admissions, Poems to Make You Feel Better, What It Feels Like, For Those We Love, The Language of Pain, Healing Rhythms, Body Parts, and Talking to the Dead. There is considerable overlap among these categories, because good poems speak several languages and can't be pinned down to a single feature. However, the classification does serve a heuristic purpose. It is another way to hook the reader, by choosing a topic he or she likes; once inside the covers, the reader may explore at will without regard to categories.