Showing 231 - 240 of 242 annotations tagged with the keyword "Medical Advances"
A journalistic account of the CIA-funded experiments in "psychic-driving" of Dr. Ewen Cameron at Montreal's Allan Memorial Institute in the 1950's and early 1960's. Cameron investigated "treatment" for various forms of depression, consisting of high-dose electroshock (Page-Russell variant), heavy sedation, and the repetetive playing of patient's or the doctor's recorded voice.
Many patients did not respond; some were destroyed by the technique. Particularly moving is the story of Mary Morrow (Chapter 9), a physician-patient whose career was damaged by her experiences. Cameron held the most prominent positions in professional psychiatry; he died unscathed by his questionable research and in pursuit of yet another goal, a mountain peak.
This is a fascinating book on the relationship of science, medicine, and medical education to the rise of modernism in literature. Crawford uses Williams' work to connect the worlds of literature and medicine. He discovers in Williams' early poems and stories the dominant themes of clarity, cleanliness, objectivity, and authority; these themes also characterize early 20th century science. In Williams' later work, Crawford shows how the poet moved toward a more subjective and relativistic aesthetic, a change that reflects subsequent developments in science, especially physics, and signifies the emergence of "post-modernism" in literature.
Williams' first principle was clarity. As a physician, it was important that he observe human reality with a clear eye so that he could intervene to transform it. Direct apprehension of reality was also for him the source of poetry. He found beauty in the concrete experience of everyday life, but was skeptical of theories and abstractions. Along with clarity, cleanliness and objectivity also characterize Williams' worlds.
But clarity is not, in reality, so clear. To see clearly in a medical way, the physician must first learn to observe the world in a specialized manner in the "theater of proof," a metaphorical extension of the stage on which professors demonstrate anatomical structures or surgeons demonstrate operations. Like medical educators, the poet also creates a theater of proof. While the reader may experience clarity and simplicity in the poem, these effects are actually staged by the poet, who chooses "clean" words and manipulates reality to achieve the desired simplicity. In both medicine and poetry, the practitioner unveils the truth by using manipulative and authoritarian techniques.
In the last chapter, Crawford shows that Williams' later work presages a post-modern, relativistic world. While the earlier Williams speaks of clarity, simplicity, science, and authority, Patterson and the post-World War II poems reveal complexity, fragmentation, and subversion.
Summary:In typically terse poetic structure, utilizing fresh new images, Holub visualizes removal and replacement of a human heart during a transplant procedure. He describes the throb of the extracorporeal circulation mechanics as an "inaudible New World Symphony" as he elevates the imagery of the hole in the chest where once resided the "king of Blood" transiently into the cosmos. With the arrival of the "new heart," the imagery again becomes earth bound: the structure is sewn in place, the beats resume and the "curves jump like / synthetic sheep" as the EKG rhythm resumes.
Dr. Papper, a revered figure in the field of anesthesiology, questioned why it took so long for anesthesia to be "discovered": after all, pain and suffering existed long before the mid-nineteenth century. This book is a result of Papper’s graduate studies in literature and history and explains his thesis that "societal concern with pain and suffering, and the subsequent development of surgical anesthesia in the Romantic era . . . are outgrowths of Romantic subjectivity."
The book provides biographies of scientists, physicians and poets, such as Humphry Davy, Thomas Beddoes, Sr., Samuel Taylor Coleridge and Percy Bysshe Shelley, along with analyses of Romantic poetry as related to pain and suffering. Papper theorizes that the exchange of ideas amongst these intellectuals and the political upheavals of the time paved the way for society to recognize that the pursuit of happiness could include the relief of pain.
This autobiographical account of Dr. Lown's five decades of practice and research in cardiovascular medicine is both a history of the field and a history of a man passionately interested in people and healing. The book is divided into six sections: Hearing the Patient: The Art of Diagnosis; Healing the Patient: The Art of Doctoring; Healing the Patient: Science; Incurable Problems; The Rewards of Doctoring; and The Art of Being a Patient.
The first three sections comprise the bulk of the book: Lown chronicles his early medical training and career through stories of memorable patients, anecdotes about key role models (particularly Dr. Samuel A. Levine), and histories of medical mistakes, diagnostic acumen, and his remarkable research innovations. These achievements include the introduction of intravenous lidocaine, cardioversion and defibrillation, and development of the coronary care unit.
The core of the book, however, is about how deeply Lown cares for his patients. He states, “This book is a small recompense to my patients, ultimately my greatest teachers, who helped me to become a doctor.” The book contains many reflections on medical practice, such as this definition of medical wisdom: “It is the capacity to comprehend a clinical problem at its mooring, not in an organ, but in a human being.”
In a thoughtful chapter on death and dying, Lown muses on his emotional and spiritual responses to encounters with death, and bemoans the medical profession's increasing tendency to “put technology between us and our patients, to spare us the grief of failing to confront our own mortality.” In the final chapter, Lown takes an unusual twist, and writes a treatise to patients on how to get the doctor to truly pay attention to them and what are reasonable expectations to have of one's doctor.
Summary:Virginia (Olivia de Havilland) marries Robert (Mark Stevens), but she soon becomes profoundly disturbed and her caring husband sends her to a psychiatric hospital. Using Freudian techniques combined with physical modalities of electroshock and isolation, her psychiatrist (Leo Genn) leads her to overcome her amnesia and to understand that her illness is the result of unresolved yet misplaced feelings of guilt over a boyfriend and her father. Just before Virginia is happily restored to Robert, the asylum patients are gathered together at a hospital party where they sing of their yearning for home.
A depressed housewife, Eve White (Joanne Woodward), is brought by her husband (David Wayne) to consult a psychiatrist (Lee J. Cobb) because her behavior has been strange. Although she denies it, she has purchased uncharacteristically seductive clothing and has been singing and dancing in bars.
Her surprised doctor is soon confronted with a different but equally inadequate personality, the sexy Eve Black. He recognizes the case as an example of the rare condition, multiple personality disorder, and embarks on a course of psychotherapy in search of the woman's missing memories.
Eve's unhealthy marriage disintegrates when she chooses to remain in therapy rather than move away with her violent husband. Psychotherapy helps her to the repressed memory of an instance of childhood abuse: being forced by her mother to kiss the corpse of a dead relative. A third personality, that of intelligent, insightful Jane, slowly emerges to replace the other two. Jane establishes a new life with a loving man.
Summary:Frankenstein's monster is speaking. "Bigger than the best, but not the best," he will do anything, he will not rest until "the earth is rid of that Creator / who dared to make a thing without a soul." He tells us that he is "the dark body . . . / made . . . to symbolize your dread." He warns us that he is not really something exterior or alien--we can find him in our sons and daughters, even in ourselves: "While you disperse in every dark theater / in streams of light, inside you I am whole."
Summary:In the future envisioned in the novel, many children are born with severe physical handicaps, the result of toxic environmental conditions. Their brains, however, are perfectly healthy. Scientists place the infants' stunted bodies in mechanical shells, then train them to perform complex technical tasks. At adolescence, their brains are removed from their bodies and placed in machines. Their machines are their bodies, over which they have complete control. The Ship Who Sang is the story of one of these children who is placed inside the hull of a space ship. She falls in love with one of the fleshly men who board her. The resulting trauma is resolved when it is decided that they will be partnered forever.
Summary:The narrator is a physician who has just saved an elderly woman from a "natural death" only to lead her to an "ungraceful one" as her life is maintained and monitored by machines. Images of a distant farm are conjured as the doctor wishes instead for his patient's spirit to rest peacefully at home.