Showing 21 - 30 of 236 annotations tagged with the keyword "Anatomy"
Summary:This book represents the 1915 American edition of Brooke's collected poems and is introduced by George Edward Woodberry, an American critic of poetry. A table of contents of titles follows the introduction. Ninety-four poems - all rhymed and almost all of them formal - are thematically arranged on 163 pages.
Summary:This is a collection of essays by (mostly British) artists, performers, and academics on the intersection between medicine and theater. It appears in a series entitled “Performance and Science: Interdisciplinary Dialogues” put out by Bloomsbury Methuen Drama. The introduction makes it clear there are many points of convergence beyond the scope of this volume, such as how medicine is depicted in plays and therapeutic uses of theater (e.g. drama therapy). The focus here, then, is on “the ways in which the body is understood, displayed and represented in performance” (p. 11). And the “medical body” of the title refers to one that is ’acted upon’ by illness or disability and/or by the diagnostic and therapeutic activities of the medical profession” (Ibid).
Summary:Those who are familiar with the Mütter Museum of the College of Physicians of Philadelphia, best known for its anatomical oddities, may have wondered about the institution’s namesake. The author of this book, a poet and native of Philadelphia, endeavors to place Thomas Dent Mütter within the context of 19th-century American medicine.
Summary:The physician-narrator is looking in on a 30 year old patient named Ricky. Readers immediately learn that the patient has cerebral palsy: his ear mashed flat, his neck contorted into a tight C, almost quadriplegic. These first stanza clinical observations are indisputable. The narrator then shifts from the medical facts to more subjective thoughts ranging from Ricky’s previous treatment responses and medications to Ricky’s adult heterosexual response to the proximity of a female, and finally to the narrator’s own wishes for this patient. Ricky’s parents, the narrator notes, have similarly but uncomfortably witnessed their son’s ogling response to a pretty nurse or doctor or a provocative adult television image. The parents’ response, he notes, to these observations has been to redirect Ricky’s focus by switching the channel to Nickelodeon, a program geared towards children. Not unlike situations in several writings by William Carlos Williams, this physician has moved from objective medical information to his own interior thoughts about Ricky’s circumstances and confinement. Rather than sticking with the facts associated with the patient’s medical condition, he wonders, imagines, and expresses in this poem seemingly un-doctorly thoughts.
Summary:In 1816 London, Napoleon has been defeated and troops have returned, including teenaged Will Starling, who survived the wars as assistant to the decent surgeon Alec Comrie. Will now serves Comrie in the city, still in strained circumstances.
Summary:This fine collection of work by Audrey Shafer is subtitled "Poems by a Doctor/Mother." The book begins with a section containing poems of personal history and experience ("that I call home"), descends into the nether world of anesthesia ("not quite sleep"), and in the final section returns to the light with a new perspective on the texture and occurrences of ordinary life ("okay for re-entry").Among the more medically oriented poems, see especially "Spring," "Anesthesia," "Three Mothers," Monday Morning (see annotation in this database), "Gurney Tears," "Center Stage," and "Reading Leaves." "Don’t Start, Friend" takes up the topic of substance abuse among anesthesiologists (or physicians, in general).
Summary:This poem describes how, during the anatomy lesson, the medical student feels curiosity about the wonders of the human body. He is torn between his desire for knowledge and the horror he feels in cutting up a dead body: "the violence of abomination." This marks a transitional point in the student’s medical career path.
Summary:In this haunting poem, Abse compares the colors found around us to colors found in illness and death. The poem begins prettily, "I know the color rose, and it is lovely," an image which is immediately juxtaposed with a tumor ripening into the same color. Similarly in the same quatrain, another image of nature, "healing greens", is compared with "limbs that fester" of the same color. To emphasize the tension of the similarity and difference, Abse ends the two lines with the same word. However, the nature image is "so springlike," while the illness image is "not springlike."By the second quatrain, the images become more grotesque and frightening, as the colors of "the plum-skin face of a suicide" and the "china white" eyes or figure of a car accident victim are described. In the following quatrain, the tensions mount, as "the criminal, multi-coloured flash / of an H-bomb" is described as "beautiful" and compared to the stunning and glorious image of the mesentery dissected during an autopsy: "cathedral windows never opened."The poem closes with the rainbow, seen not only in the sky, but also in "the bevelled edge of a sunlit mirror," as well as in the striped "soldier's ribbon on a tunic tacked." Life and death, nature and pathology, health and illness are hence all united by common colors; colors which are reflected in that "sunlit mirror."
Summary:The speaker has taken "two small femurs of a baby" from the Pathology Laboratory. He keeps them in his pockets. Whenever someone tells him a tale of grief ("woeful, intimate news"), the speaker takes the femurs from his pockets "and play[s] them like castanets."
Summary:In the first part of this four part poem, the medical student climbs “stone-murky steps” to the Dissecting Room, as London is being bombed during World War II. In the second part, the student asks his cadaver, “Who are you?” Probing deeply, cutting the meat, the student concludes that the cadaver was never really a person, the right hand “never held, surely, another hand in greeting / or tenderness . . . . ” In the next part it becomes clear that because of the student’s flip attitude, he hadn’t been invited by the hospital priest to the memorial service for cadavers.Finally, the speaker (now for many years a physician) reflects again on his old question about the cadaver’s identity. He realizes that the cadaver’s name is the name on every gravestone, that his figure is the figure on every human portrait, “always in disguise.” At the end, the physician goes on with his daily activities, climbing the stairs to his bedroom and winding his clock.