Showing 231 - 240 of 615 annotations tagged with the keyword "Body Self-Image"

Summary:

In this collection, twenty-two medical students and young physicians across the United States eloquently recount the process of medical education for those who do not believe they fit standard measures of student demographics. The editors, Takakuwa, an emergency medicine resident physician; Rubashkin, a medical student; and Herzig, who holds a doctorate in health psychology, group the essays into three sections: Life and Family Histories, Shifting Identities, and Confronted.

Each section is prefaced by an essay explicating the essay selection process, the history of medical school admissions policies and requirements, the basic progression of medical education and the reasons for this collection, such as "putting a human face" (p. xx) on the changing characteristics of admitted medical students: "With their diversity and through their self-reflections, we hope that these students will bring new gifts and insights to the practice of medicine and that they might one day play an important role in transforming American medical education into a fairer and more responsive system." (p. 141)

Additionally, a foreword by former Surgeon General Joycelyn Elders outlines her experience as a black woman entering medical school in 1956, including eating in the segregated cafeteria. The book concludes with recommendations for further reading and improvements to the medical education process as well as with brief biographies of the contributors and editors.

The range of essays is impressive: diversity itself is given a new meaning by the variety of narrative voices in this volume. Contributors include people from impoverished backgrounds, both immigrant (Vietnamese, Mexican) and not. One student, marginalized by his academic difficulties, began a homeless existence during his first clinical year. Others were made to feel different because of being African or Native American.

In two essays, mothers defy labels placed on them (pregnant black teen; lesbian) and describe the trials and triumphs of their situations. Students write of being subjected to ridicule, ignorance and prejudice due to their gender, interest in complementary medicine, political and advocacy views, or religious beliefs. Due to pressures to conform, even students from what might be considered more mainstream in American culture (e.g., growing up in a small town, or being Christian) can experience the effects of being "different" when in medical school.

A number of essays communicate the difficulties of illness, disability and bodily differences. Issues include recovered alcoholism (rather tellingly, this is the only essay that is anonymous), obsessive compulsive disorder, sickle cell anemia, Tourette Disorder, attention deficit hyperactivity disorder, chronic pain, and obesity. The authors balance their narratives of hardship with insights into how their struggles improve their opportunities for empathy, perspective and fulfillment as physicians.

View full annotation

Bedside Manners

Watts, H. David

Last Updated: May-25-2007
Annotated by:
Shafer, Audrey

Primary Category: Literature / Nonfiction

Genre: Collection (Essays)

Summary:

The subtitle to this collection of insightful and compassionate essays by gastroenterologist David Watts is: "One Doctor's Reflections on the Oddly Intimate Encounters Between Patient and Healer." Watts provides 48 narratives, most of which concern his patients and are written in the first person. In the preface Watts states "The stories in this book are true" (xv), that he has received permission from his patients, and that he has "disguise[d]" his patients to respect their right to privacy.

The stories cover a range of settings, from Watts's home and locations in the San Francisco Bay area, to the clinic and hospital. They also cover a range of his experience from medical school ("Sylvester" and "Love is Just a Four-letter Word") to his current position as a practitioner and an attending physician at a teaching hospital.

Stories in which Watts clearly situates himself with the patient and details the encounter are most compelling. For example, in the opening essay, "White Rabbits" and later, in "Flu Shot," Watts allows the reader to discover that patience and listening are required to in order for the patient to expose why he or she is truly there. In that space, Watts becomes present for his patient, and one learns that what may initially appear tangential is central to the patient's concern.

Watts writes of some very difficult patients and families, such as a woman who stalks him ("The Stalker's Bridegroom"), a woman who obsesses over caring for her elderly mother ("Home Remedy"), and a woman who demands narcotics ("The Third Satisfaction"). In one of the longer pieces, "Codger," Watts describes an irascible, elderly Jewish patient who skewers just about anyone with his critiques, including Watts's young son, and yet who later exposes his vulnerability by unfolding the tale of his World War II service and discovery of a Nazi death camp. It is because Watts spends time with the Codger and recognizes that the doctor-patient relationship is above all a human relationship that the doctor receives the gift of the story: this terrible experience which informed the rest of the Codger's life.

A few of the vignettes explore the therapeutic potential of poetry. For instance, in "Annie's Antidote" a piano teacher, fearful of endoscopy, asks Watts to recite one of his poems. The poem concerns the tender relationship between Watts and his son and is a metaphor for Watts's patient encounters as well: "for this is one of those moments / that turns suddenly towards you, opening / as it turns, as if we paused / on the edge of a heartbeat. . . " The poem works, the moment opens, and the woman has her endoscopy.

View full annotation

Summary:

This remarkable collection of short writings, introduced by renowned poet Naomi Shihab Nye, who visited the Sutterwriters (of Sutter Hospital in Sacramento, California) to offer a workshop, provides a broad, compassionate, imaginative window into the life inside and around an urban hospital. Patients, staff, and all interested in healing through writing are invited to come and participate-with an accent on the latter: no one is invited who isn't willing to write.

Chip Spann, the editor, came to Sutter Hospital with a Ph.D. in English, and has the privilege of coordinating this fluid community of writers as part of his work as a staffmember. His conviction, voiced in an engaging introduction, is that literature is a powerful instrument of healing--both the literature we read and the literature we create--and that the experience of literature belongs in community. The individual pieces are accompanied by photographs and short bios of contributors.

View full annotation

Annotated by:
Duffin, Jacalyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

A group of eight women gather for a joint consultation with Dr. Kailey Madrona who is a devotée and colleague of the research endocrinologist, Dr. Jerilynn Prior, a professor at University of British Columbia in Vancouver. Madrona explains that she has arranged for the unorthodox group encounter because she will be leaving practice to pursue graduate studies in medical history.

Dr. Madrona leads an open-ended discussion on the physiological changes associated with perimenopause. Following the controversial research of Prior, she emphasizes that the symptoms are owing to the unbalanced rise in estrogen levels during perimenopause—a period leading up to the cessation of menstruation and continuing for twelve months after the last flow.

Some women patients are skeptical, because they have been placed on estrogen ‘replacement” medication, or they have read that their symptoms are owing to the waning of estrogen. The doctor describes the results of various trials about supplmentary estrogen, including the 2002 Journal of the American Medical Association report. She invites them to keep detailed diaries of their cycles and symptoms.

One by one the women return for private consultation, physical examination, discussion and another follow up visit. Although they have reached roughly the same physiological moment in life, they are a diverse group with different symptoms and needs. Darlene, an angry nurse, is suspicious and non-compliant. Beverley, an Asian immigrant is still hoping to become pregnant. A lesbian wishes to control her moods and hot flashes. A very hard-working waitress needs to understand her strange lack of energy. A wiry, lean athelete wants to improve her performance and is irritated by the inexplicable alterations in her abilities. Others are plagued by sweats, nausea, or migraines. They all are confused about sex.

Dr. Madrona listens to them carefully, examines them with special attention to their breasts, not their genitalia, and recommends treatment with progesterone for everyone. She also urges weight gain for most and readily volunteers personal information about her own perimenopause. All but the nurse eventually comply and are relieved of their symptoms. At the end of a year they meet for a pot-luck dinner to celebrate their recovered health and thank their doctor. Beverley is pregrant.

View full annotation

Broken China

Williams, Lori

Last Updated: May-21-2007
Annotated by:
McEntyre, Marilyn

Primary Category: Literature / Fiction

Genre: Novel for Young Adults

Summary:

At fourteen, China Cameron is trying hard to be a good mother to her two-year-old daughter, conceived while China and her best friend, Trip, were "fooling around" at his house one day. Trip and China's disabled Uncle--her only parent since the death of her mother and her father's early abandonment-do all they can to help her stay in school and parent well. But the child contracts a respiratory infection and dies, leaving China not only devastated, but responsible for a large funeral bill: she insists on ordering the most beautiful casket in the catalogue and funeral services that turn out to be devastatingly expensive. To pay the bill, against the advice of Trip and her uncle, China begins working at the reception desk of a local "gentlemen's club."

Though the job requires that she wear skimpy and revealing clothing, and subjects her to the unwelcome attentions of inebriated patrons, she squares it with her conscience by hanging onto the belief that she is doing the best she can for her daughter. The terms of her employment, however, become more difficult as she is moved toward "dancing" on stage. When she finally decides to quit, she finds that the club is partly owned by the funeral director, who has a history of involving young women in her situation in debilitating debt.

A subplot follows the misfortunes of China's best friend, Yolanda, a young women in her twenties with several children by different fathers who is trying to realign her life after her youngest children are taken temporarily to foster care. Despite their various difficulties, the characters enter with compassion and imagination into each other's lives, and find ways to help one another. At the end of the story, China finally consents to visit her daughter's grave--something she has strenuously avoided--nd concedes to the necessity of coming to terms in a new way with her loss so as to reorient her life beyond funeral expenses, and go back to school with a reclaimed hope of a different kind of life.

View full annotation

Fix

Margolis, Leslie

Last Updated: May-21-2007
Annotated by:
McEntyre, Marilyn

Primary Category: Literature / Fiction

Genre: Novel for Young Adults

Summary:

Cameron, 18, and her sister Allie, 15, have inherited their father’s large nose. Living in Los Angeles, at the epicenter of the entertainment industry, they are familiar with the social currencies of money and beauty. Their mother, a former film actress, auditioning again after years at home, is exceptionally beautiful. Cameron’s “nose job”—the rhinoplastic surgery her parents arranged for her when she entered high school—has changed her life; it is debatable whether altogether for the better. She is now popular and accepted, but also, after a history of rejection and peers’ mockery, fixated on the kinds of beauty that bring social acceptance. Her interest in photography dovetails with this fascination.

At just the time her parents decide to arrange for a similar “nose job” for Allie, who doesn’t want it, and would rather spend the summer at soccer camp, Cameron decides to use her savings, and her new legal freedom as an 18-year-old, to have breast augmentation. Her parents and most of her friends oppose it, her boyfriend most strenuously, who can’t understand why she would take the risks entailed to do something so clearly unnecessary. As the girls learn, their mother has, at the same time, decided to have a face-lift as a return-to-career move.

Both Cameron and her mother go through the surgery—Cameron at the cost of considerable pain in recovery and aware of the long-term risks and costs. Allie, on the other hand, after coming to know an aging actress who was once a beauty, makes an eleventh-hour decision to refuse surgery and with it, the impossible standards of beauty that seem to her to entrap so many like her sister.

View full annotation

Annotated by:
Bertman, Sandra

Primary Category: Performing Arts / Film, TV, Video

Genre: Video

Summary:

West coast dancer John Henry made his life the subject of his final performance. Choreographer Bromberg and film maker Rosenberg collaborate with Henry in the creation of a work for the theatre based on his desire to leave an autobiographic legacy. Filmed during the last few years of Henry's life with HIV/AIDS, the documentary examines the image of self as one individual prepares to separate from body and personhood, and continues after his death.

View full annotation

The Fundamental Pictures

Gilbert and George

Last Updated: May-18-2007
Annotated by:
Henderson, Schuyler

Primary Category: Visual Arts / Sculpture

Genre: Sculpture

Summary:

Gilbert and George's work over the past three decades has largely consisted of grid-like photomontages - note, they consider their work to be "sculpture". These often massive works are at once easily identifiable as part of Gilbert and George's oeuvre (in part because they often have Gilbert and George in them) and unflinchingly referential: to the manufactured sheen and unnaturally bright neons of Warhol, to the confrontational exposure of Mapplethorpe's photography, and, of course, to cathedral stained glass. They draw upon these same influences in their creative self-creation, their transgressive aesthetics, and their repetition and reworking of religious and secular motifs intertwined with abstractions. Gilbert and George are insistently doubles: original and derivative, repetitive and evolving, reactionary and visionary.

The Fundamental Pictures consists of a series of some 39 scultptures, most involving juxtapositions of bodily execretia - sputum, tears, urine, semen, feces - in monumental close-up; the tears, urine and semen are captured through a microscope, dessicated and crystalized. The sensational titles of the individual works, such as 'Piss Faith' and 'Spit on Shit', are fairly accurate in describing the central themes of each work. In some of the montages, Gilbert and George appear, pink and naked, against a kaleidoscopic backdrop of bright, magnified bodily fluids; in others, they are dressed in their familiar suits. They were exhibited at the Lehmann Maupin Gallery, New York, in 1997.

View full annotation

A.D. (1987)

Gilbert and George

Last Updated: May-18-2007
Annotated by:
Henderson, Schuyler

Primary Category: Visual Arts / Sculpture

Genre: Sculpture

Summary:

One of Gilbert and George's very few specific portraits, this is a collage of images culled from their photographs of their friend David Robilliard. Its title, "A.D.", can be taken to mean "Anno Domini" or "After David" or, as the artists suggest, "AIDS David". It is at first an extraordinarily ugly piece, even by Gilbert and George's standards: the uniform flesh tone with pearly globules of moisture (sweat, semen), broken up by the black of shadows, the black bristles of stubble, and the black grid. The image looks like it emerged from one of William S. Burrough's novels, a nightmarish combination of mouth, orifices, bodily cavities.

View full annotation

Annotated by:
Duffin, Jacalyn

Primary Category: Performing Arts / Film, TV, Video

Genre: Film

Summary:

Chicago architect Stourley Kracklite (Brian Dennehy) and his much younger, beautiful wife, Louisa (Chloe Webb), arrive in Italy to work for a year preparing an exhibition on his hero, the post-revolutionary French architect, Etienne-Louis Boullée (d. 1799). They make love as the train enters Italy; however, he scarcely looks at his wife again. On the evening of his welcoming dinner--set in the piazza in front of the Pantheon--Kracklite is wracked by the first of the endless, excruciating pains in his belly.

Louisa is pregnant, but in boredom and frustration, she takes an Italian lover, Caspasian (Lambert Wilson). The dashing, young architect has designs on the American's exhibition as well as on his wife; his photographer sister, Flavia, shares the intrigue. Kracklite entertains the hypothesis that his unfaithful wife is trying to poison him. A doctor tells him that the sinister pains are due to his lifestyle, but he does not believe this diagnosis and drifts into a subdued paranoia with delusions of persecution and of grandeur.

Obsessed with the shapes and contents--the architecture and the anatomy--of bellies in sculpture, painting, and photography, Kracklite photocopies ever larger and larger images which he "maps" on to his own prodigious abdomen. He writes postcards to Boulleé pouring out his fears. He identifies with Roman emperors, Christ, and Isaac Newton, to whom Boullée designed a never-constructed, hemispheric cenotaph, the belly-like model of which appears often, recapitulating Kracklite's obsession and Louisa's pregnancy.

After he learns he has cancer, he ends his life by falling backward in a Christ-like posture through a window during the opening ceremony of his Boullée project. At that same moment, his wife gives birth to their child, having cut the ribbon/cord to open the hemispherical exhibition.

View full annotation