Showing 211 - 220 of 234 annotations tagged with the keyword "Anatomy"
This history of western medicine in the nineteenth century chronicles the lives of some men and women who were innovators in the field of medicine. Williams begins the book in the 1700s with the life of John Hunter and his influence on nineteenth century medical practice and research.
The book consists of 16 chapters, many of which, like the one on Hunter are biographic. For example, Williams writes of the contributions, education, and lives of Florence Nightingale, Hugh Owen Thomas (orthopedics), Marie Curie, Joseph Lister, Ignaz Semmelweis (maternal health), Patrick Manson (tropical medicine), Jean-Martin Charcot, and William Conrad Röntgen. Other chapters are more theme-oriented, such as body-snatchers, discovery of anesthesia, homeopathic medicine, blood transfusion, and medical use of spas.
Black and white illustrations, such as Mrs. Röntgen's hand in an X-ray photograph help the reader to appreciate the advances in medical knowledge in the nineteenth century.
Helen Martin is an expert on medical art. She travels by train through Europe--Vienna, Prague, and Munich--looking for her journalist husband who has vanished for a longer time than usual. Their marriage is childless and flat. On the train, she awakens to temporary but surreal changes in her body--her breasts are enormous, her thighs huge. She meets her alter ego, Rosa, an obese and aging woman doctor, and original owner of the sizable breasts and thighs.
Rosa’s gift of a strange book-like box, containing images from Vesalius, bones, vials, leads her to many other people, including a blind intellectual, a philosophical train conductor, and a soon-to-be-murdered museum curator. These people add objects to the box, while removing others and awakening her dormant senses and identity in the process.
Helen learns that her husband disappeared while researching a story about woodblocks from the great 1543 anatomical atlas by Andreas Vesalius. The woodblocks are believed to have been destroyed in the allied bombing of Munich in World War II, but Helen suspects some have survived. She picks up the work where he left it. The rediscovery of her husband--temporarily at home in Vancouver and irritated not to find her there--comes as an anti-climax. Helen realizes she does not want him any more and boards another train to we know not where.
The austere and homesick Breton doctor, René T.H. Laennec (1781-1826) (Pierre Blanchar) and his religious friend, G.L. Bayle (1774-1816) are caring for the hundreds of patients dying of epidemic tuberculosis in the Necker Hospital of Paris. They conduct autopsies on the dead, but cannot predict the findings before the patients' demise, nor can they offer any treatment.
Laennec's sister, Marie-Anne, arrives from Brittany with news of their brother's death from tuberculosis. He confesses his despair over this devastating scourge to his friend, but quickly realizes that Bayle too is doomed. A distant cousin, the widow Jacquemine Guichard Argou, becomes Laennec's housekeeper and companion in philanthropic work for the sick after he is able to reassure her about her health; she engages the widow of Bayle in the same enterprise.
One day in 1816, Laennec is invited by urchins to hear to the scratching of a pin transmitted through the length of a wooden beam. He is thereby inspired to fashion a paper tube to listen to the chests of his patients. With Jacquemine at his side, he joyously announces that he can hear sounds from inside the chest. Feverish research ensues as he links the chests sounds of the dying to the findings at autopsy.
He turns his wooden, cylindrical stethoscopes on a lathe in his apartment, publishes his findings, and marries Argou. Fame and notoriety follow, as Laennec is able to distinguish fatal disease from minor illness and to predict the need for operations; however, he is ridiculed by jealous colleagues. Suffering now himself, Laennec consults his friend Pierre Louis, who tells him that he has tuberculosis. In the final scene, he returns to his native Brittany only to collapse on the stairs of his beloved home and die.
Coulehan speaks to the cadaver (Ernest), beginning with factual observations about his damp face and beard. He then becomes confessional--in fact, by directly paraphrasing the traditional Catholic formula of confession ("Bless me, father, for I have sinned . . . "). He implores the cadaver to reveal himself, to yield the truth of his condition.
In the last stanza, the tears of conjunctival irritation (formaldehyde) become tears of sorrow "for all offenses / to the heart . . . " and "for the violence / of abomination . . . . " Cutting up a corpse is an "abomination," but one that must be accepted and transcended in order to gain the power to heal. In the end, the tears become life-giving rain on the canyon wall.
Alice Jones divides The Knot into three sections. The first is a series of poems evoking the poet's painful and tender relationship with Peter, a former lover who is dying of AIDS. We encounter him first on a rainy day in his hospital bed at St. Vincent's ("The Umbrella"), and then through flash-backs to their earlier lives ("In the Pine Woods," "Painting," "Communal Living"). In the long poem "Blood Clot" the author creates and sustains a dynamism between detachment and engagement, objectivity and subjectivity, medical and personal knowledge: from "This time it's his heart. He has / a tumor" to "The glacier that / freezes us in place for centuries, / the same old separateness, only / this time it's called death. / How dare you do it to me / one more time."
The second, and most intensely personal, section imagines the poet's relationship with her mother. The title poem is the centerpiece here. In it, the knot has two faces: the tie that binds us together and an obstacle to be overcome. While loss is real, she writes, "I refuse to be alone. // There is only one / of us. Loss does not / exist in our vocabulary." ("The Lie") The last section consists of poems on a variety of topics, including a long poem about gross anatomy as an initiatory experience ("The Cadaver").
Linda Bishop tells the story of her early years as a nursing student. She soon realizes that she doesn't actually want to be a nurse, but she continues in training, "waiting for some unspeakable horror that I could hold up to the light to prove to myself that the hospital was a truly monstrous place."
While Linda is quiet and sexually inexperienced, her first roommate, Holly Bostwick (Boss), is reputed to have a sensational sexual history and to be afflicted with syphilis. When Linda brings Holly home for Thanksgiving, Linda's mother is impressed with her daughter's new friend, a young woman much more confident and articulate than ambivalent Linda.
Somewhat later, after Boss becomes engaged to a gas station owner, Linda returns by train from visiting her parents. She is determined to make a final decision. She lists what she hates about the hospital and what she likes about it. Will she leave or will she stay?
This play is based on the life of John Merrick, a horribly deformed man who lived in London in the late 19th century. After being abandoned by the traveling freak show in which he had been exhibited, he was admitted to Whitechapel Hospital under the care of Dr. Frederick Treves. Merrick is given a permanent home in the hospital.
Treves educates him and introduces him to London society, including the famous actress, Mrs. Kendal. Merrick becomes quite the favorite of the "in" group. However, as he learns more about society and human nature, he realizes that he will never be accepted simply as an ordinary person. Eventually, he dies in his sleep, presumably because he tries to sleep lying down (like ordinary people do) and the size and position of his enormous head compresses his windpipe and he suffocates.
The writer, a comparative literature professor, elected to spend one full semester as an up-close observer in a medical school anatomy lab during the student dissection experience. He approached the experiment with the clearly articulated intention of writing about the lab, the instructors, the students, and their subjects. The book takes the reader dissection by dissection through the socialization process, as well as the technical content, of the class--from the first cut to the final memorial services for the cadavers at the closure of the term.
This thoroughly researched book helps us understand John Keats's life and work in terms of his medical training. Goellnicht argues that, contrary to some critics' view that Keats was "anti-scientific" or "anti-intellectual," Keats incorporated much of the knowledge gained from his six years of medical training into his poetry.
The book begins with a chapter of biographical information about Keats, emphasizing the nature of medical training in the early nineteenth century, but includes Keats's self-diagnosis of tuberculosis. The heart of the book consists of four chapters, organized by scientific topic, which relate the specifics of Keats' s medical training to his writing: Chemistry, Botany, Anatomy and Physiology, and Pathology and Medicine.
Excerpts of Keats' poetic and epistolary writing are examined in each of these chapters in light of Keats' scientific and medical knowledge. For instance, in the chapter on Botany, the uses of specific botanical species in his writing are examined in terms of what was known of materia medica (see annotation for Ode on Melancholy. Furthermore, the author explores Keats's interest in plants and trees as metaphors for life, such as his interest in "the flower as a vital, but passive, being that exists in a state akin to negative capability."
The author concludes the book with a summary statement about each of the chapters (e.g., " . . . from pathology he adopted the approach of viewing aspects of life, in particular love and poetic creativity, in terms of morbid and healthy states . . . ") and also the caveat that the book is not meant to in any way diminish other profound influences on Keats, such as his interactions with other Romantic poets. Goellnicht notes, however, that Keats himself united the worlds of medicine and poetry in his poem, "The Fall of Hyperion," in which he describes the poet as a physician.
In 1831 Edinburgh, Cabman John Gray (Boris Karloff) delivers a paralyzed little girl and her mother to the office of Dr. Wolfe "Toddy" MacFarlane (Henry Daniell). A body snatcher by night, Gray has a special hold over the doctor, who has lost his clinical nerve and hides in the teaching of anatomy. The earnest medical student, Donald Fettes (Russell Wade), is on the verge of abandoning medicine, but MacFarlane notices his good bedside skills with the little girl, makes him his special assistant, and initiates him into the business of grave-robbing. His wife (Edith Atwater) is opposed to this action, complaining that the student will be "ruined."
Fettes is unaware that Gray and MacFarlane narrowly missed conviction for murder in the Burke and Hare affair of 1823. Obsessed with helping the child, Fettes begs Gray to find a subject on which they can practice spinal surgery. Gray complies by "burke-ing" (murdering) a well-known street singer. MacFarlane forces Fettes to remain silent and they begin their research, but they are overheard by the servant, Joseph (Bela Lugosi), who then tries to blackmail Gray only to be "burked" himself.
The child's operation does not supply immediate results and in a fit of frustration MacFarlane murders Gray as he cries: "you'll never be rid of me." Buoyed up by the news that the child has finally begun to walk and mostly to prove to himself that he does not need Gray, MacFarlane robs a fresh grave.
On the return journey from the cemetery in a driving night rain, MacFarlane is tormented by Gray's last words; the elderly woman's corpse changes into the partially animate body of Gray. The doctor loses control, his horse breaks loose, and the carriage plunges down a bank where Fettes finds the doctor dead beside the woman's corpse.