Showing 191 - 200 of 233 annotations tagged with the keyword "Technology"
The author, a Canadian physician-historian-educator, blows the dust off the shelves of medical history with this fascinating text designed for medical students, educators, and those with an interest in history of medicine. Duffin begins this survey of the history of Western medicine with a glimpse at a pedagogical tool designed to spark the interest of even the most tunnel visioned medical students: a game of heroes and villains. In the game, students choose a figure from a cast of characters selected from a gallery of names in the history of medicine.
Using primary and secondary sources, the students decide whether the figures were villains or heroes. The winner of the game is the student who first recognizes that whether a person is a villain or hero depends on how you look at it. This philosophy imbues the entire book, as this treatise is not a tired litany of dates, names and discoveries, but rather a cultural history of the various times in which medical events occurred.
The book is organized by topics which roughly follow a medical school curriculum: anatomy, physiology, pathology, pharmacology, health care delivery systems, epidemiology, hematology, physical diagnosis and technology, surgery, obstetrics and gynecology, psychiatry, pediatrics, and family medicine. The last chapter, entitled "Sleuthing and Science: How to Research a Question in Medical History," gives guidance to formulating a research question and searching for source material. Fifty-five black and white illustrations are sprinkled throughout the book, as well as 16 tables.
Direct quotes from historical figures, such as Galen and Laennec, as well as excerpts from writings of eyewitnesses of events, anecdotes and suggestions for discussion, appear in boxes within the chapters. Many of the chapters contain discussion about the formation of professional societies. Each chapter ends with several pages of suggested readings and the third appendix delineates educational objectives for the book and individual chapters. The other two appendices list the recipients of the Nobel Prize in Physiology or Medicine, and tools for further study, including titles of library catalogues, and resources in print and on-line.
Although the book is a survey covering multiple eras and topics, each chapter contains choice tidbits of detail. For instance, the chapter on obstetrics and gynecology includes the story and photograph of Dr. James Miranda Barry, the mid-nineteenth century physician, surgeon and British military officer, who was discovered to be a woman at the time of her death. The impact of the stethoscope on the practice of medicine is explored in depth in the chapter, "Technology and Disease: The Stethoscope and Physical Diagnosis."
A medical instrument kit from the year 2450 is transported back in time and falls into the possession of old Dr. Full, a retired physician and drunkard who had been expelled from the medical association for milking patients. The futuristic instruments are awe-inspiring and virtually operate themselves. The discovery of the black bag restores Dr. Full's self-worth and dedication to healing.
A street-wise woman, Angie, realizes the value of the medical instruments and their origin. She forces Dr. Full to accept her as a partner. The two of them soon establish a successful medical practice. When Dr. Full decides to donate the instrument kit to the College of Surgeons, Angie murders him.
While demonstrating the safety of the medical bag to a patient, Angie plunges the futuristic surgical scalpel into her own neck, confident it will do no harm. Meanwhile, authorities in the future learn that the medical bag is missing and deactivate it just prior to Angie's demonstration. She slits her own throat. By the time the police arrive, the contents of the black bag had already rusted and are decomposing.
Carl Elliott and John Lantos have brought together a collection of 12 essays that explore the complex work and person of Walker Percy. Personal reflections and stories capture the importance of Walker Percy in the lives and work of several of the essayists, while others offer commentaries on various aspects of Percy's life and work. All of the contributors reveal their affection and appreciation of Walker Percy as physician, novelist, and philosopher.
In addition to the editors, the contributors include Robert Coles, who was Percy's friend; Ross McElwee, the documentary filmmaker; Jay Tolson, Percy's biographer; author and historian Bertram Wyatt-Brown; scholars Martha Montello and Laurie Zoloth; and physicians Brock Eide, Richard Martinez, and David Schiedermayer.
The collection covers many topics and themes. Percy's biography is reviewed: the early losses of his father and grandfather by suicide, the early death of his mother, his medical education and subsequent struggle with tuberculosis, his turn from medicine to philosophy and literature, his marriage and conversion to Catholicism, and his long and productive life as a philosophic novelist.
The essays explore Percy as both physician and patient, and how, as diagnostic novelist, he gives us characters and stories that caution about the technologic-scientific worldview that dominates not only medicine but western life. The many wayfarers are discussed, including Binx Bolling from The Moviegoer, Will Barrett from The Last Gentleman, and Dr. Tom Moore from Love in the Ruins and The Thanatos Syndrome. [These novels have been annotated in this database.]
Percy's spiritual and religious views are reviewed, along with his moral concerns about a post-modern world before anyone had coined the term. The problems of isolation, alienation, and struggle for meaning are apparent in all of his works, and many of the essayists explore the connection between his novels and these existential concerns. The importance of Kierkegaard in his work, his theory of language, and his early essays are discussed.
The contributors give examples of how Walker Percy's life and work are incorporated in medical education and the practice of medicine, both in personal and theoretical terms. Percy's work reminds practitioners of the necessity for human connection in the midst of scientific and technologic paradigms that distance practitioner from patient. Likewise, medicine and medical education shaped Percy the novelist, where keen observation and sustained searching for answers are to be found in all of his fiction.
A feminist critique of Percy's development of women characters, reflections on physician characters in Percy's work, his personal struggle with a family history of depression, and his attitudes about psychiatry and psychoanalysis complete the collection.
This work touches upon a wide range of issues, more or less closely related to the trauma surrounding, the management of, and the aftermath of sustaining a serious burn. Divided into three sections, the work first defines burns not only on a biological basis, but as distinguished psychologically and historically from other forms of physical trauma.
In Part II the authors explore ancient myths and then images from modern culture that they contend define social perceptions about the meaning of being a burn victim. The final section poses problems that remain in the technique of burn management in its most holistic sense. An extensive bibliography/filmography completes the book.
This story draws attention to subtle ramifications of organ transplantation for the survivor(s) of the donor as well as for the organ recipient. Also at issue is coming to terms with the sudden death of a loved one. Hannah, a woman in her thirties, finds that three years after the violent death of her husband, she is still caught, "unable to grieve or get on with her life . . . . "
The physician in charge had persuaded her both to allow life-support to be terminated for her brain-dead husband, and to agree to organ donation. "That way your husband will live on." Seven different people are the living recipients of his organs. To Hannah, it seems that her husband is both dead and not dead, an intolerable situation.
She becomes obsessed with trying to meet the person who received her husband's heart. This will be the means by which she can re-connect to the living and achieve closure--she will hear and feel her husband's heart in the chest of the recipient, her ear "a mollusc that would attach itself . . . and cling through whatever crash of the sea." At the end of the story, Hannah has succeeded in her quest and the man who is the heart's recipient, at first suspiciously hostile, has become Hannah's co-conspirator and protector.
Editors Angela Belli, professor of English at St. John’s University in New York, and Jack Coulehan, physician-poet and director of the Institute for Medicine in Contemporary Society at the State University of New York at Stony Brook, have selected 100 poems by 32 contemporary physician-poets for this succinct yet meaty anthology. The book is subdivided into four sections, each of which is prefaced by an informative description and highlights of the poems to follow.
Section headings take their names from excerpts of the poems contained therein. There are poems that describe individuals--patients, family members ("from patient one to next"), poems that consider the interface between personal and professional life ("a different picture of me"), poems that "celebrate the learning process" ("in ways that help them see"), and poems in which the poet’s medical training is brought to bear on larger societal issues ("this was the music of our lives").
Several of the poems have been annotated in this database: Abse’s Pathology of Colours (9); Campo’s Towards Curing AIDS (13) and What the Body Told (94); Coulehan’s Anatomy Lesson (97), I’m Gonna Slap Those Doctors (21), The Dynamizer and the Oscilloclast: in memory of Albert Abrams, an American quack (129); Moolten’s Motorcycle Ward (105); Mukand’s Lullaby (33); Stone’s Talking to the Family (79) and Gaudeamus Igitur (109).
Other wonderful poems by these authors are also included in the anthology, e.g. Her Final Show by Rafael Campo, in which the physician tends to a dying drag queen, finally "pronouncing her to no applause" (11); "Lovesickness: a Medieval Text" by Jack Coulehan, wherein the ultimate prescription for this malady is to "prescribe sexual relations, / following which a cure will usually occur" (131); "Madame Butterfly" by David N. Moolten, in which the passengers in a trolley car are jolted out of their cocoons by a deranged screaming woman (142).
Space prohibits descriptions of all 100 poems, but each should be read and savored. Some others are particularly memorable. "Carmelita" by D. A. Feinfeld tells of the physician’s encounter with a feisty tattooed prisoner, who ends up with "a six-inch steel shank" through his chest as the physician labors futiley to save him (23). In "Candor" physician-poet John Graham-Pole struggles with having to tell an eight-year old that he will die from cancer (27). Audrey Shafer writes of a Monday Morning when she makes the transition from the "just-awakened warmth" of her naked little son to tend to the patient whom she will anesthetize "naked under hospital issue / ready to sleep" (72).
In "The Log of Pi" Marc J. Straus muses about being asked "the question / I never knew" that he "pretend[s] not to hear" whose "answer floats on angel’s lips / and is whispered in our ear just once" (113). Richard Donze wants to know why "Vermont Has a Suicide Rate" (132). Vernon Rowe remembers the "hulk of a man" who shriveled away from an abdominal wound and begged, " ’Let me go, Doc,’ / and I did" (44).
The book begins with a "Twenty Question Multiple Choice Self-Help Quiz." Each question is actually a short chapter. For example, the first chapter deals with the "amnesic self" and asks why amnesia is a favorite device in fiction and especially soap operas. Other chapters deal with the nowhere self, the fearful self, the promiscuous self, and so forth.
The second part of the book is an essay on the nature of the self, complete with numerous diagrams and arrows. The third section presents discussions of various manifestations of the self as transcendent, orbiting, exempted, lonely, and demoniac. The last part is called "A Space Odyssey" and is captioned "What to do if there is no man Friday out there and we really are alone?"
Obviously, this summary says virtually nothing about what the book is about. Suffice it to say that Percy brings his playful humor to the central existential question of human meaning and he presents it in the form of a self-help manual.
This remarkable collection of essays, both personal and scientific, is written by a remarkable man, Stephen Hawking, theoretical physicist and Lucasian Professor of Mathematics at Cambridge University (a chair once held by Isaac Newton). Unlike Hawking's earlier bestseller, A Brief History of Time, which was written for the lay public to explain current theories of the universe, this book is a mix of essays, speeches, and even a radio show transcript that were originally produced from 1976 to 1992 and whose intended audiences were varied, although none of the works are purely technical.
Hawking was diagnosed with amyotrophic lateral sclerosis (ALS or Lou Gehrig's disease in the USA, motor neuron disease in the UK) at the age of 21 during his first year of graduate school at Cambridge, though he had already noticed weakness the prior year at Oxford. As he describes in "My Experience with ALS," Hawking experienced a rapid deterioration of function and hence depression.
However, during his hospitalization, he also saw a boy die of leukemia, which made him realize that things could be worse. Hawking married, finished his dissertation, fathered children, and went on to develop innovative theories in physics, such as thermal emission by black holes.
The book begins and ends with personal topics-–the first two essays concern his childhood and education, and the last is a transcript of the BBC radio show, "Desert Island Discs," in which the celebrity is asked to name and describe 8 musical selections and one book he or she would choose to have if stranded on a desert island. Hawking describes how important communication is to him, and the computer program designed by Walt Woltosz, which enables him to have an artificial voice (albeit with an American accent), since he lost his natural ability to speak due to the tracheostomy that was required in 1985. Hawking's incredible will to live and his sense of humor come through in this broadcast, as they do in the scientific curiosity so evident in the essays about physics.
In Gain, Richard Powers interweaves two narratives. One is the story of Laura Bodey, a forty-two-year-old divorced realtor with two adolescent children, who lives in the midwestern U.S. town of Lacewood. Sometime in the late 1990s, Laura is diagnosed with ovarian cancer. The account of her illness, treatment, and eventual death is set against the story of the Clare Soap and Chemical corporation, whose headquarters are in Lacewood, from its inception as a trading company at the beginning of the nineteenth century.
The Clare corporation is implicated in Laura's death: pollutants from its Lacewood plant have been associated, not quite unquestionably, with abnormally high cancer rates in the area. A class-action suit against the company succeeds, but Clare, globally powerful and massively differentiated, is ultimately immune: no matter how much we might sympathize with individual members of the Clare company (and Powers ensures that we do), the corporation has become a kind of monster beyond human control.
Summary:As the title explains, the painting depicts Rene Laennec, French physician and inventor of the stethoscope, in a hospital room, his ear pressed to the chest of a male patient, who is sitting up in his bed. In his left hand he holds an early model of the stethoscope. Three other figures appear to the back and right: one is likely another physician, another is a sister/nurse.