Showing 191 - 200 of 490 annotations tagged with the keyword "Women's Health"
Ian Young spent the summer of 1970 as a medical student working at a hospital in the province of Kabylia in Algeria. He was assigned to the Maternity department, where he worked primarily with two Bulgarian doctors. Most foreign medical personnel in Algeria at the time came from Eastern bloc countries, as "Islamic Socialism" was the official political system in the newly independent (1962) North African country. According to Young, obstetrical care for the mostly Berber women of the area was brutal, disorganized, antiquated, and dangerous.
Dr. Vasilev, the head of the department, is a passive and indecisive man, who spends most of his day reading the newspaper. Once roused from his lethargy, which doesn't happen very often, he demonstrates competence and concern for his patients. His colleague, Dr. Kostov, is an aggressively brutal man who introduces himself to pregnant patients by shoving his fist into their vaginas.
Both doctors excuse their behavior by saying, "We just can't do it here they way we do it in Bulgaria." For the most part, they do not use sterile technique, and although anesthetics are available, neither Kostov nor Vasilev typically use them. The Algerian nursing staff provides at least a modicum of organization and care in this dreadful environment.
At first Young approaches the situation with disbelief and anger. He then attempts to improve the quality of care, first by introducing a flow sheet for obstetrical care, and later by submitting a report on the poor conditions to the hospital director.
Mild-mannered Dr. Vasilev supports him, but no one uses the new flow sheets, and the Director considers the report a personal (and political) affront. Meanwhile, Ian Young presents the reader with a seemingly endless series of fascinating patient cases and interesting stories about hospital personnel, as well as about his excursions to various parts of Kabylia.
In this collection, Judith Arcana brings together her long-standing feminist activism, especially for reproductive health and abortion rights, and her gifts as a poet. Although Arcana's activism dates back to the early seventies, most of the poems in the book were written between 1998 and 2004. They draw from "the lives of women and girls I know or have simply encountered" (xi).
The collection is divided into four sections: "Separating argument from fact," "Information rarely offered," "Don't tell me you didn't know this," and "Here, in the heart of the country." Spoken in first, second, or third person, these poems evoke the myriad individual situations in which women of childbearing age become pregnant, and the trajectories their lives may take as a result.
The title of the collection derives from one of its poems ("What if your mother") and the related, immediately preceding poem, "My father tells me something, 1973" (6-7). Arguing back to those who confront her with, "What if your mother had an abortion? . . . they mean me," the speaker/poet answers, "then I say she did . . . . "What if, what if. / What's the point of asking this phony question?"
From the preceding poem, the reader has learned, along with the speaker listening to her father in 1973, that the poet's mother had an abortion in the Depression era, early in marriage. With this juxtaposition of poems we are introduced early in the book to the complexity of the issues surrounding pregnancy, parenthood, and abortion and to the timeline of a continuing national and personal debate. This complexity is the subject of the collection.
Karen Newman traces the visual depictions of the pregnant female body, the fetus, and obstetrical illustrations from the 9th century to the present in western culture. These images, in which the fetus looks baby-like or even adult and in which the female body is truncated or mythologized, have supported the anti-feminist rhetoric where the fetus or embryo is privileged with full human rights. Even in the fetal studies by Leonardo da Vinci (Studies of the Fetus), which were far more accurate than any prior or concurrent renditions, the roles of the uterus and placenta are de-emphasized and the uterus is simply a vessel, "almost a Fabergé egg."
Analysis and critique of medical art history is of relevance for today's society: "Early obstetrical illustration, Bologna's Museo ostetrico, and eighteenth-century anatomical sculpture and engraving are not merely antiquarian esoterica; rather, they constitute crucial political knowledge for the present." In fact, the book begins and ends in the 20th century.
In the first section, a close analysis of the Lennart Nilsson fetal photographs in Life Magazine "Drama of Life Before Birth" (1965) reveals that not only the photo captions, but also the manipulations of the specimens during and prior to photography (all the pictures but one were ex utero), were designed to proclaim and reinforce "fetal personhood." A similar conclusion is reached at the end of the book, when images from the current, widely used obstetrical text and from new imaging procedures are examined.
This fine collection of writings by women involved in health care stems largely from a writing group cosponsored by the Nebraska Humanities Council and the Creighton University Center for Health Policy and Ethics. However, other writings also appear in this volume: in all there are 40 pieces by 16 authors. Writing genres include essay, short story, and poetry. The works are divided into three sections: Power and Powerlessness, Vulnerability and Voice, Connection and Disconnection. As noted in the introduction, these are "major themes in feminist perspectives in ethics" and the works are offered as reflections on modern ethical dilemmas in health care.
Some of the most powerful pieces are stories about being the newcomer--the student or junior trainee. For instance, "Washing Cora's Hair" by co-editor Amy Haddad is a poignant look at the struggle of two young nursing students to wash the long braids of a bed-bound elderly woman in her cramped home, and "The Story of David" by Ruth Purtilo, written as a memoir looking back to when she was a newly graduated physical therapist, concerns her interactions with a young, angry, depressed quadriplegic patient and with her superiors.
Another memorable piece is "The Things You Do" by Kelly Jennings Olsen. This story about being a new volunteer emergency medical technician masterfully controls the tensions of emergency medical care, the anguish of the father whose little girl slipped under his tractor, and the nuances of living in a small town. Several poems also deal with issues of the newcomer and witness to suffering (e.g., "As Ordered" by Ruth Ann Vogel--a poem about shaving the head of a neurosurgical patient on the pediatric ward)
As noted by the multiple keywords listed above, these pieces touch on many topics. Power relations play a key role, both between professionals and between patient and the health care team. For instance, in the polished story, "Procedures" the author Kim Dayton writes from the perspective of a young single mother with a critically ill neonate. This mother is repeatedly prevented from visiting her child because of "important" events like rounds and procedures, and she ironically only gets to hold her baby after the baby dies.
Throughout the collection the patients are described with honesty and vividness. Their suffering can haunt the health care worker ("Maggie Jones" by Veneta Masson) as well as teach ("Back to Square One" by Barbara Jessing). Many of the pieces remind us of our good fortune and the privilege we have in our lives and in providing health care services (e.g., "Spring Semester" by Amy Haddad). Ultimately in this volume our common humanity is emphasized--the connections between people and the remarkable grace that can be exhibited in the face of suffering.
This is an exhibition catalogue for a show of 16 photographers who documented major topics in health over the last century. Carol Squiers, curator of the show, provides ten essays, amply illustrated by photos, on critical topics such as child labor, domestic violence, environmental pollution, AIDS, veterans of war, and aging. Some 80 per cent of the images treat American subjects.
Lewis Wickes Hine's photographs of child labor are dramatic and disturbing; these document children in coal mines, cotton mills, glass works, etc. in the first part of the 20th century. The Farm Security Administration sponsored photographers (including Dorothea Lange) to represent the New Deal Health Initiatives. Topics include farm labor, poverty in the South and Southwest, and inoculations. W. Eugene Smith created a photographic essay for Life magazine about Maude Callen, an African-American nurse-midwife in 1950s rural South Carolina.
Donna Ferrato documented domestic violence in the U.S. in powerful, personal shots, including a series of an actual attack. David T. Hanson created triptychs about environmental pollution: one panel shows a map of the area, a middle panel gives descriptive text, the last panel is an aerial shot in color. Eugene Richards spent time in the 1980s in Denver General's Emergency Room. Eleven black and white photos show the turmoil and drama.
Gideon Mendal documented HIV/AIDS in several African countries. Lori Grinker took photos of army veterans (some without hands) but also noncombatants harmed by war, including children. Ed Kashi presents images of aging Americans, rich and poor, urban and rural. Sebastião Salgado provides photos of vaccination in Africa and Asia.
Summary:Pym’s novels depict ordinary life among middle class Englishmen and women with compassion, humor, and irony. The quartet denoted in this title consists of two men and two women in their sixties, the autumn of their lives. These characters hold menial jobs at the same office in London during the nineteen-seventies; two live in rented rooms, and two own their own small houses. Pym’s opening chapter catches them going to the library, because it is free. She clues us in to their personalities by describing their hair: Edwin’s hair is “thin, graying and bald on top”; Norman’s hair is “difficult”, as he is; Letty wears her faded brown hair too long and soft and wispy. Marcia’s hair is “short, stiff, lifeless” and home dyed. (1-2)
Summary:Act One: The professor, John, receives his student, Carol, who is seeking help with an essay. She readily admits that she does not understand the premise of the course. During the interview, he is animated and cavalier about her difficulty. He is also distracted by preoccupations from home and allows their encounter to be interrupted by phone calls about the sale of his house. Insisting that academic work is not as difficult as some would pretend, he suggests that she simply come to see him from time to time.
Summary:The young Beatrice Cenci (1577-1599) is kept with her stepmother, Lucretia, in the appalling isolation and darkness of a forbidding castle outside the Papal States by her cruel father, Francesco, whose enormous debts and misdeeds make him unable, as well as unwilling, to support his offspring. He wants to prevent Beatrice from marrying to avoid paying a dowry. She has suitors, among them a “smooth” prelate, but is unhappily resigned to her lot until her father rapes her.
Summary:The young and beautiful Beatrice Cenci (1577-1599) is kept with her stepmother, Lucretia, in appalling isolation and darkness in a forbidding castle by her cruel father, Francesco, whose enormous debts and misdeeds make him unable as well as unwilling to support his offspring. He wants to keep Beatrice from marrying to avoid paying a dowry.
Summary:Having remarried after a long and partly happy life with a woman who bore him three sons, novelist Campbell Armstrong lives in rural Ireland with his second wife. He learns that his first wife, who works in Phoenix, has advanced lung cancer and, with his second wife’s blessing, goes to spend time with her and their grown sons. In the course of that trip, he reflects on their life together, their romance, his alcoholism and its effect on their family, their move to the U.S., their losses, and the remarkably enduring affection between them and, surprisingly, between the first wife and the second.