Showing 181 - 190 of 273 annotations tagged with the keyword "Spirituality"
When a cousin is scheduled for major surgery, Richard and Joan Maple volunteer to donate blood. They have been married for nine years. During their drive to the hospital, the Maples argue about Richard's behavior at a party. The intern who performs the phlebotomy is clumsy and rough. He needs three attempts to successfully insert the needle into Richard's vein.
Richard and Joan occupy beds at right angles during the procedure and their blood is taken simultaneously. While watching the blood flow from his wife's arm, Richard experiences deep tenderness for her. An elderly man arrives and chats with the intern. Because Richard has never donated blood before, the three others in the room (Joan, the doctor, and the old man) all expect him to faint, but Richard never does.
The Maples have lunch afterwards. When the check arrives, Richard discovers he has only one dollar in his wallet. He and Joan must both pay. That's how marriage usually works.
Summary:This book contains six medical case studies in which hope, or lack of it, played a role in the outcome. Five stories are of Groopman's cancer patients, the sixth the story of his own recovery from severe chronic lower back pain. The book concludes with an account of Groopman's search for scientific answers to the questions that inspired the book: How is the cognitive-emotional complex of hope formed in the mind? How might that complex affect the chemistry of the brain? And how might that, in turn, affect the physiology of the body in a way that would be relevant to healing?
In four lengthy chapters, the biographies of Haydn, Mozart, Beethoven, and Schubert are carefully presented. Special attention is given to health, both physical and psychological, throughout life and at its end. Autopsy information is included. In particular, the author emphasizes the impact of illness on the composers' relationships with family members and doctors, and on their musical composition.
Evidence is derived from a wealth of primary sources, often with long citations from letters, poetry, musical scores, prescriptions, diaries, the remarkable "chat books" of Beethoven. Neumayr also takes on the host of other medical biographers who have preceded him in trying to retrospectively 'diagnose' these immortal dead.
Late eighteenth- and early nineteenth-century Vienna emerges as a remarkable city of musical innovation and clinical medicine. The composers' encounters with each other link these biographies. Similarly, many patrons, be they aristocrats or physicians, appear in more than one chapter, such as the Esterhazy family and Dr Anton Mesmer.
The disease concepts of the era, prevalent infections, and preferred therapies are treated with respect. Rigid public health rules in Vienna concerning burial practices meant that ceremonies could not take place in cemeteries and may explain why some unusual information is available and why other seemingly simple facts are lost.
Biographical information about the treating physicians is also given, together with a bibliography of secondary sources, and an index of specific works of music cited.
An automobile accident left Mary Swander nearly paralyzed and coping with chronic pain. After several incorrect diagnoses, she saw a neurosurgeon who told her that a disk in her neck ruptured "at C6 and punched a hole in the spinal cord. The flu virus went into the cord and infected it." She had central cord syndrome (which can paralyze arms) and myelitis (which can paralyze legs).
Other than traction, the doctors said they could not do anything more for her. She went to New Mexico where herbal medicines of a curandera and spiritual healing by a Russian Orthodox monk helped her. She now walks without a cane.
Film clips of Cary Grant as the consummate anatomy professor in 0100 (see this database) are interspersed with comments from contemporary gross anatomy students, two medical school faculty intimately connected with dissection and the body donation tradition, and a live body donor. In what ways "yes" and "no" could both be proper responses to the statement, "A cadaver in the classroom is not a dead human being" is the key premise, beautifully presented in the cut-aways, organization, and editing of this piece.
The structure of the film is an as-if dialogue between young dissectors and soon-to-be cadaver (the body donor). Interviews heighten and explore the relationship between the living and the dead--and not just medical students and body donors. The medical students do not speak directly with the future donor, though we see him shaking hands with them, visiting (and speculating on) the spot where his remains will eventually be deposited. The video concludes with a moving annual ritual, the disposition of body donors' cremated remains at sea.
Fifty-two year old Pete, the hospital mailman, suddenly experiences severe abdominal pain. He is evaluated and treated in the emergency room. His diagnosis is acute surgical abdomen, but the exact cause of his pain is still unknown. The surgeon-narrator determines that the severity of Pete's condition mandates exploratory surgery. During the operation, "an old enemy" (18) is encountered--pancreatitis.
Afterwards, the surgeon assures Pete that he will get better. One week later though, the mailman dies. His death has been painful. An autopsy is scheduled, but the surgeon deliberately arrives 20 minutes late. He does not want to view the intact body of his deceased patient. No matter, the pathologist has waited for him to arrive before beginning the post-mortem examination. The pathologist closes Pete's eyelids before starting the autopsy, mindful of how the mailman's "blue eyes used to twinkle" (21) when he delivered the mail everyday.
Selzer begins by describing an anonymous painting of Vesalius at the dissecting table, about to cut into the cadaver in front of him, yet glancing over his shoulder at a crucifix on the wall behind him. He then tells two medical stories in which spirituality has played a crucial role.
In the first, a man who has repeatedly refused to have a brain cancer operated on turns up one day healed, attributing it to the holy water a family member brought back from Lourdes. In the second, the Dalai Lama's personal physician does rounds in an American hospital and, using ancient techniques, diagnoses correctly, and in some detail, a case of congenital heart disease.
This is a collection of 14 contemporary patients' accounts of dealing with their illness or injury. (The patients, four men and ten women, including the editors, are all writers.) Among them the stories cover numerous medical conditions: erythroblastosis, environmental illness, obsessive-compulsive disorder, hip dysplasia, osteoarthritis, hip replacement, H.I.V., Crohn's disease, broken leg, ruptured cervical disc, myelitis, rheumatoid arthritis, paroxysmal nocturnal hemoglobinuria, lupus, alcoholism, multiple sclerosis, diabetic retinopathy, breast cancer, severe facial scarring, and depression. The collection is unified by a focus on selfhood--the recovery, discovery, or reconstruction of the psyche that the editors propose is the deepest form of healing.
A sick woman (dying mother) in a comfortably made-up bed serenely occupies the center of the canvas's diagonal composition. She lies between a seated doctor focused on his hand-held watch while he takes her pulse, and a nun who holds the woman's child and extends her a drink (tea, medicine). The simple, calm, orderliness of the sparse setting is echoed in the postures and countenances of the four figures.
In his biographical study, Robert Maillard documents that Picasso's father--art teacher and model who posed as the doctor--worked out both the composition and the title of the painting for his 16-year-old son (Picasso. New York: Tudor, 1972, p. 180).
An earlier watercolor draft of this work sketches the child with arms outstretched reaching forward to the sick mother. In the draft, the physician and nun, too, are more concerned with the mother's condition. Though strengthening the allegorical significance of this academic composition, the dramatic intensity is lessened if not lost in the final version (1897), which was awarded an honorable mention in Madrid and a gold medal at the Exposición de Bellas Artes in Málaga.
A stray bull has been grazing on Mrs. May's farm for several days. She is outraged that her tenant/farmhand, Mr. Greenleaf, hasn't chased the bull away; and her outrage only grows stronger when she learns that the bull belongs to the tenant's sons, who have settled not far away with their French wives and bilingual children.
Mrs. May is a widow lady whose two sons, both in their mid-30s, live on the farm with her, but have no interest in farming. One sells life insurance to black folks; the other is an intellectual. Mrs. May thinks she knows how to "handle" Mr. Greenleaf; she has employed him for 15 years despite his stupidity and shiftlessness. His wife is a religious fanatic and faith healer. His twin sons, unlike Mrs. May's, went away to the war in Europe, rose in the ranks, came home with European wives, and now each had a piece of good land and three children in a convent school. They also have a bull that escaped, but they evidently don't it want back.
Mrs. May becomes more and more obsessed with the bull that is eating her out of house and home. Finally, she demands that Mr. Greenleaf shoot it and insists on accompanying him to make sure the deed is done. When the bull escapes to the woods, Greenleaf follows it. Shortly thereafter, it comes charging out of the wood directly toward Mrs. May. Mr. Greenleaf finally shoots the bull just after it has gored Mrs. May in the chest and killed her.