Showing 241 - 250 of 424 annotations tagged with the keyword "Professionalism"
A down-and-out attorney, who has become somewhat obsessed with the case of a severely impaired woman who had suffered brain damage during the course of a surgical procedure, presses forward to prove medical malpractice. In the course of developing the case he is opposed by the Bishop of the diocese which owns the hospital in question; one of the most powerful law firms in the city; and, acting as "spy" for the defense team, a beautiful woman lawyer.
Galvin, the protagonist, is encouraged to continue his pursuit of justice by an honest former partner and his own belief in the patient's childrens' right to a settlement. Galvin wins his case by proving that the medical records have been altered.
The aim of this collage of anecdotes from medical history is largely to entertain, though it is pointedly instructive in its focus on reasons for and results of medical mistakes, misapprehensions, and serendipitous breakthroughs. Gordon's dryly humorous skepticism and general irreverence is balanced by an obvious delight in the intellectual play that characterizes the history of science.
The stories he tells range from Hippocrates to the present with a heavy focus on the 18th and 19th centuries. The book includes a good representative collection of visual art and photography documenting moments in medical history upon which Gordon casts a cold but twinkling eye. Chapter titles such as "Discoveries in the Dark," "Sex and its Snags," "Odd Practices," and "Freud, the English Governess and the Smell of Burnt Pudding" give a bit of the book's flavor.
Set sometime in the near future, Cast of Shadows has as its protagonist Davis Moore, a successful private practice physician specializing in cloning human babies for infertile couples. Early in the book, Anna Kat, his high school senior daughter, is murdered and raped. (For a while a likely suspect is Mickey the Gerund, a right wing extremist member of the Hands of God with a fascinating grammatical moniker never explained, who shoots cloning physicians, including Dr. Moore, in the abdomen, a short time before his daughter, Anna Kat, is brutally killed. However, Mickey is only a shadow of a suspect and quickly becomes supplanted by another much more likely villain. Mickey goes on to kill, by various methods, dozens of cloning physicians and staff by book's end.)
After a year of unsuccessful detective work, the local police return Anna Kat's belongings, including a plastic vial with the suspected murderer-rapist's semen. In an act never fully explored by Dr. Moore or the author, an otherwise rational and ethical physician surreptitiously uses the suspect's semen to fertilize a married woman patient.
The offspring, a clone of the suspected killer-rapist, is Justin, who becomes a formidable presence in the book. He is very intelligent--at his psychologist's advice, his parents provide him at an early age with advanced reading materials like Plato (hence one of the allusions to shadows, i.e., Plato's cave, in the book's title and referenced directly on page 118 and indirectly on page 208) and other philosophers. By the time he is a senior in high school, Justin has become a dominant player in the affairs of Dr. Moore; Sally Barwick, a private investigator-turned journalist; and the suspected killer-rapist--his origin of the species as it were.
This book has a number of subplots all of which radiate from the initial cloning and the various members of the extended family and professional staff involved in it, some knowingly, most not. There are narrative threads involving the suspected murderer rapist-now-prominent attorney, Sam Coyne; the triangle of Dr. Moore and Jackie, his alcoholic wife, and Joan, his attractive pediatrician associate; Mickey the Gerund's various murderous and obsessional religious activities and reflections; Justin's life in school and involvement with Sally Barwick's investigation of a serial killer called The Wicker Man; and, most especially, the development of Shadow World, a computer game and a virtual replica of the real world--the world as Justin, Sally, Sam Coyne, and Dr. Davis Moore know it.
Since this is a thriller, it would be inappropriate to divulge more of the plot, which is intricate, often a little far-fetched but always engaging, highly readable and more labyrinthine than most medical thrillers.
In 1950 London, lower middle-class (but upper middle- aged) Vera Drake (Imelda Staunton) devotes herself to family and "helping" others. With empathic cheeriness, she visits shut-ins, provides tea for the bedridden, feeds lonely men, and "brings on their bleeding" for girls in trouble. She also tends her cantankerous, ailing mother, who has never revealed the identity of Vera’s father.
The men in Vera’s life are bruised and confused by end of the war. Exuding affection, she cooks, irons, sews, and listens to their litanies of loss and derring-do. Her son, Sid, is an extroverted clothing salesman and her dowdy daughter, Ethel (Alex Kelly), is a pathologically shy factory-worker; neither seems adequate for the task of living alone. But Vera and her husband, Stan (Phil Davis), are happy in each other, their offspring, and their modest existence.
Only the friend, Nellie, knows of the help for young girls. She extracts a secret two-guinea fee for advising the girl, but Vera receives not a penny. Over the years, the two women have solved problems for mothers with too many children, mothers with no man, and mothers who were raped. They also safely abort insouciant party girls who are blas?about men, sex, and consequences.
But a young girl falls seriously ill following an abortion and is sent to hospital. Under pressure from police, the girl’s mother divulges Vera’s name. The police barge in to arrest her just as the Drake family celebrates Ethel’s engagement to one of the lonely men, Reg (Eddie Marsan).
The criminal charges come as a complete surprise to the family. Sid seethes with anger and disbelief, but Stan’s implicit faith in his wife brings him and the others to support her through the long trial. The judge hands her a stiff thirty-month sentence intended "as a deterrent." But in prison, Vera meets two other abortionists who tell her that she is lucky: both are serving much longer, second sentences, because their "girls" had died.
This biography, first published in French in 1971, was written by a Soviet émigré living in Paris. She begins her introduction with a quotation from Chekhov, "Happiness and the joy of life do not lie in money, nor in love, but in truth" (1). She follows this statement with an observation of her own, "Chekhov makes no prognoses, never raises his voice, does not explain, insist, and above all, does not instruct. . .
He is the least Russian of the great Russian writers." To a large extent, her short biography is devoted to presenting a particular vision of Chekhov that might be called "compassionate objectivity." Although her subject may not have insisted or instructed his readers, Ms. Laffitte does. In fact, there is a hagiographic quality about this book that leads the reader to conclude that if Chekhov had been a believer, by now he would have been canonized as Blessed Anton of Moscow.
Ms. Laffitte proceeds in multiple short chapters. While they are generally in chronological sequence, each one also takes up an issue or theme in Chekhov’s life. She makes copious and skillful use of her subject’s letters and notebooks. She also devotes considerable attention to Chekhov’s medical career, unlike V. S. Pritchett, whose short biography entitled, Chekhov. A Spirit Set Free (1988, see annotation in this database) portrays medicine as more of a hobby than a serious enterprise for Chekhov.
Ms. Laffitte also has a habit of tying up loose ends without presenting much evidence for her point of view, or acknowledging that uncertainty exists. For example, when dealing with what she calls Chekhov’s "moral depression" of the mid-1890s, she concludes, "By a logical exertion of willpower, Chekhov was gradually to emerge from this moral depression" (168). It seems here that she considers depression--assuming this is the correct term to use in the first place--a weakness or failure of will, rather than a clinical disorder.
Nonetheless, this short literary biography (not out-of-print) provides much easier reading than most of the major Chekhov biographies that have appeared since it was published.
Film clips of Cary Grant as the consummate anatomy professor in 0100 (see this database) are interspersed with comments from contemporary gross anatomy students, two medical school faculty intimately connected with dissection and the body donation tradition, and a live body donor. In what ways "yes" and "no" could both be proper responses to the statement, "A cadaver in the classroom is not a dead human being" is the key premise, beautifully presented in the cut-aways, organization, and editing of this piece.
The structure of the film is an as-if dialogue between young dissectors and soon-to-be cadaver (the body donor). Interviews heighten and explore the relationship between the living and the dead--and not just medical students and body donors. The medical students do not speak directly with the future donor, though we see him shaking hands with them, visiting (and speculating on) the spot where his remains will eventually be deposited. The video concludes with a moving annual ritual, the disposition of body donors' cremated remains at sea.
The narrator is an inexperienced and overworked doctor in a remote region of Russia. Although accustomed to seeing as many as a hundred or more patients in a day, a blizzard brings him unexpected relief. Only two patients show up in the clinic. He welcomes the prospect of a leisurely day but soon receives a summons for help from a physician in a nearby district.
A bride-to-be has fallen out of a sleigh and is unconscious. The narrator travels more than 2 hours to lend his help, but she is already dying. He later realizes the young woman had a fracture at the base of the skull. Ignoring advice to stay the night, the doctor insists on returning home. Four hours after departing in a sleigh, the doctor and driver are lost and trapped in the snow. With great effort, the two men free the sleigh and horses from the drifts.
As their journey resumes, wolves chase the sleigh until the doctor fires his pistol. Finally, he sees the lights of his hospital in the distance. Once safe in his house, the doctor picks up a manual containing information about skull fractures but decides instead to go to sleep.
A sick woman (dying mother) in a comfortably made-up bed serenely occupies the center of the canvas's diagonal composition. She lies between a seated doctor focused on his hand-held watch while he takes her pulse, and a nun who holds the woman's child and extends her a drink (tea, medicine). The simple, calm, orderliness of the sparse setting is echoed in the postures and countenances of the four figures.
In his biographical study, Robert Maillard documents that Picasso's father--art teacher and model who posed as the doctor--worked out both the composition and the title of the painting for his 16-year-old son (Picasso. New York: Tudor, 1972, p. 180).
An earlier watercolor draft of this work sketches the child with arms outstretched reaching forward to the sick mother. In the draft, the physician and nun, too, are more concerned with the mother's condition. Though strengthening the allegorical significance of this academic composition, the dramatic intensity is lessened if not lost in the final version (1897), which was awarded an honorable mention in Madrid and a gold medal at the Exposición de Bellas Artes in Málaga.
It is 1905, and a young doctor just out of internship in Chicago has decided to head for the southwest to seek his fortune. He finds himself on a slow train in southern New Mexico, sitting across from a Sister of Mercy "in her black robes, skirts and sleeves, and heavy starch." When the train stops, the doctor inquires about a group of men huddled on the platform. They surround a severely ill Mexican worker, who turns out to have appendicitis. The doctor insists that only an immediate operation will save his life, but the Mexicans are violently opposed to surgery. Eventually, the doctor enlists the nun’s help to persuade them.
In the blistering heat, they carry the man to a shed where the doctor performs an appendectomy with instruments in his black bag, including morphine and chloroform. For the next 24 hours, he and the nun watch over the man, and then carry him to the nearest town on the next train. He survives, which is good because otherwise the Mexicans have threatened to kill the doctor. The nun, who throughout has been cool toward the doctor because of his use of "rough" language, proceeds on her way to Texas.
The narrative of Pilgrim and his psychiatrist, Carl G. Jung, begins with Pilgrim's most recent unsuccessful attempt to kill himself. The surrealistic nature of the tale begins with this mysterious inability of the title character to exit life--a life self-proclaimed to have covered multiple incarnations over millennia each of which he has memory. His friend and his servants take him to Zurich to the renowned psychiatrist's clinic for institutionalization and therapy. Enter Dr. Jung, whose personal and professional life assumes a dominant role in the narrative.
As the story progresses, the reader learns from Pilgrim's journals the interstices of his seemingly endless voyage. While Pilgrim's tale--real or imagined--is progressively revealed, the immediate lives of the Jungs are explored in increasing depth. Layer upon layer of development of plot, past and present, is peeled away until Pilgrim escapes his prison and Jung's emotional chaos is exposed.