Showing 191 - 200 of 565 annotations tagged with the keyword "Physician Experience"
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.
During the Nazi occupation of Paris, the deranged doctor Petiot (Michel Serrault) abuses the trust implied by his profession to "help" frightened Jewish citizens. By day, he conducts his clinic and supports his family with a kindly obsession. By night, he leads his victims from a metro-station rendezvous to his apartment, their worldly possessions dragged in a trailer behind his bicycle. He then administers a "vaccine" and locks the now poisoned refugee in a room to face an agonizing death alone.
The doctor takes the possessions of his victims, and dismembers and incinerates their corpses in a makeshift crematorium in his basement. In March 1944, the nauseating black smoke betrays his activities; however, the now notorious doctor vanishes, abandoning his wife and son. Following the war, he is living incognito as a soldier pursuing war criminals and collaborators. But he is identified by his fascination with the Petiot case and his handwriting. In the final scene, dozens of people stand at a long table silently sorting through clothing, jewelry, books, seeking belongings of their loved ones who became the doctor's victims.
As the two physician-authors suggest, this book is kind of a primer for medical educators who plan to integrate medial humanities materials and approaches into curricula for healthcare providers and trainees. It is a "how-to" manual for teaching medical humanities content to clinicians.
The book's Introduction asks "why use the arts In medical education?" and identifies their utility in understanding the patient's unique and personal experience of illness, and the effects of patients' social locations and psychological responses to their disease and to the healthcare professionals who care for them. And further, the arts offer a way for healthcare professionals to explore and reflect emotionally on their personal interactions with patients, to think creatively and practice empathetically.
The next chapter provides a model of "how to teach the arts" using a non-didactic, interactive approach as a series of questions around the work of art. Illustrative examples are included at each step. In the subsequent chapters, each focuses on an individual art forms-- literature, visual art, sculpture, photographs, music and drama-- with specific examples, exercises and activities for learners that have been piloted by the authors. For the music chapter, a CD with examples is included.
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."
This extraordinary book is ostensibly "about" a doctor caring for persons with HIV/AIDS. That it is, but it is also a book containing multiple texts. It is a doctor's personal journey toward understanding the multiple meanings of HIV/AIDS for those who have it and those who care for them. It is the story of a physician, an Indian, born in Ethiopia to Christian expatriate teachers, in America since 1980, now in Johnson City, Tennessee, still trying to determine the meaning of "home."
It is, at the same time, a glorious pastoral account of practicing medicine in Tennessee--here making a house call to Vicki and Clyde, whose trailer is perched on the side of a mountain, now traveling through the Cumberland Gap to a cinder-block house to see Gordon, another native son who has come home to die. On still another level it is the story of a man trying to understand what it is like to be gay; a man trying to integrate his passion for his work with his life at home; a man trying to explain to his wife (and sadly, even some of his peers) his commitment to caring for persons infected with the virus.
The portraits Verghese draws of his patients are extraordinary: local boys now men, now sick, returning to Johnson City to be cared for by family; a woman infected by her husband who also infected her sister; a highly-respected couple from a nearby city seeking privacy, even from their grown children. Finally, part of what makes Verghese such a fine writer is that he is able to do so without romanticizing his relationships with his patients, and without self-congratulatory accolades for the kind of care he provides.
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.
Antonia Redmond is a young Harvard-trained doctor who has returned to the East African village where she was raised by American parents to establish a medical practice. Her efforts are frustrated by inadequate supplies and funding, an under-trained staff, and patients whose superstitions and mistrust make diagnosis and treatment difficult. She deals daily with a conflict of cultures, trying to maintain her medical methods and standards in an environment where she competes with the authority of native healers.
Esther, daughter of a native healer who has some familiarity with and respect for Western medicine, envies and longs for Antonia’s Western training and attaches herself to her as a disciple. In her encounters with patients, Esther finds that she has an inexplicable gift for healing which baffles her as well as Antonia and complicates their already tenuous relationship. Esther’s gift forces Antonia to reexamine some of her most basic assumptions about what constitutes healing.
This unusual collection of contemporary art features full color prints of what might be termed comic doctor archetypes. Entitled by specialty, paintings feature doctors in a variety of incongruous settings that constitute fantastic anachronistic commentary on the situation of the doctor relative to different social groups or social expectations.
"The Internist," for instance, is represented as a modern female doctor in a medieval setting, commenting ironically on the various institutional pressures that come to bear upon women in the medical profession and expectations of the internist in particular. "The Pathologist" is featured getting his comeuppance as the doctor who usually has "the last word" in a confrontation with the figure of death--a skeleton straddling a Jungian snake among a horde of rats on the office floor. Each of the paintings is accompanied on the opposite page by a brief, but informative and insightful commentary by Spence.
The story of Avram Halevi of Toledo, a late 14th-century Jewish doctor forced to convert to Christianity at the age of ten. He becomes a physician and surgeon in Montpellier and returns to the poor Jewish sector of his native city to live a dangerous professional life, serving the Christian rich. His relationship with the beautiful, ambitious Gabriela founders as his people are scattered in yet another attack by misguided Christian zealots.
His cousin, Antonio, is cruelly tortured and Halevi euthanizes him in prison. Escaping Toledo, he returns to Montpellier where he finds friends, a wife, a family, and eventually a professorship--but religious rivalry again intervenes through the brutality of a worldly cardinal. Try as he might to remain above the fray of religious and political struggles, Halevi is stripped of all he holds dear and dragged into controversy again because he senses what is morally right.
This fine collection of short memoirs and stories by doctors offers a variety of narratives about memorable moments in medical education and practice that raise and explore practical and ethical issues in medicine. An explicit aim of the editors was to focus on some of the rewards in medical life as well as the struggles it entails--those often being inseparable.
Starting with a section on medicine and poetry which includes memories of William Carlos Williams by two of his well-known students, Robert Coles and John Stone, and a reflection on illness in poetry by Rafael Campo, the collection is then divided into two major sections: "Grand Perspectives" and "Intimate Experiences." The former includes narratives that show the development of practices, conflicts, or learning over time spent in hospitals and clinics, observing the careers of elders in the profession or the parade of patients whose expectations and needs stretch the physician's creative resources. Several, including Perri Klass and David Hilfiker write about particular patients whose cases became personal landmarks.
In the latter section, stories focus on single cases or incidents in the lives of doctors, some humorous, some tragic, some bemusing, all attesting to the chronic ambiguities of the work of healing and to the very human tensions that arise in institutions that both enable and inhibit the compassion all good doctors want to exercise.