Showing 261 - 270 of 294 annotations tagged with the keyword "Surgery"
Yalom begins her examination of the breast with the following statement: "I intend to make you think about women's breasts as you never have before." This she accomplishes by organizing the nine-chapter book around the following: (1) the sacred breast, (2) the erotic breast, (3) the domestic breast, (4) the political breast, (5) the psychological breast, (6) the commercialized breast, (7) the medical breast, (8) the liberated breast, and (9) the breast in crisis. Throughout the book, which covers twenty-five thousand years, she situates breasts' meanings as dependent on particular social, political, historical, and cultural phenomena.
A story with several implications for the profession of medicine, this short tale concerns three itinerant surgeons who "thought they knew their art perfectly." Boasting of their surgical/curative skills, they state that they will be able to re-attach their own body parts--hand, heart, and eyes--which they propose to excise. The body parts are entrusted to an innkeeper's servant girl to be saved overnight, but instead they are eaten by a cat.
Unbeknownst to the surgeons, substitutions are made: the hand of a gallows thief, the eyes of a cat, and the heart of a pig. These the surgeons successfully re-attach to themselves. But the organs confer on the transplantees the characteristics of their original owners (thief, cat, pig). Blaming the innkeeper for their problems, they threaten to burn down his inn unless he gives them all the money he can raise. This sum allows them to live comfortably, "but they would rather have had their own rightful organs."
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.
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.
Dr. Pensack writes in the first chapter of his memoir: "Through a lifetime I have been in the process of dying, consistently surprised when reminded that life is appallingly brief, and briefer still for me. The prospect of an early death has amounted to little more than embarrassment and loneliness, even though the routine of living can be, and usually is, just one goddamn thing after another. A new heart was somehow supposed to be my bloody-red carpet of victory." (p. 7)
At age 4, Pensack's mother died of IHSS, Idiopathic Hypertrophic Subaortic Stenosis--now known as HCM, Hypertrophic Cardiomyopathy, a genetically inherited, progressive disease of heart muscle that results in early death. At age 15, Pensack receives the terrible news of his own fate--the disease afflicts both Pensack and his older brother--and thus launches a life of near death experiences, numerous hospitalizations, early experiences at the National Institutes of Health with early investigators of the disease, pursuit of his own medical training and eventual specialty training in psychiatry, marriage and children, and ultimately, the waiting and eventual transplantation of a younger man's heart into his chest at the University of Colorado Health Sciences Center when Pensack was 43.
Raising Lazarus tells of Pensack's journey through much of this, including his descent into madness, his fury and anger with medical colleagues, his poignant relationship with the heart surgeon who eventually performs the transplant, and the importance of his family in his refusal to die. While much of the book tells of the events leading to the transplant and post-operative period of Pensack's life, the reader learns of Pensack's early losses, including the death of his mother, and how these experiences shape the values of a gutsy and determined survivor, a man who continually returns to the struggle.
Izzy, a popular, active cheerleader, happily accepts a date with an attractive senior she doesn't know well, flattered to be noticed by him. At the party her date drinks too much, insists on driving her home anyway, and smashes the car into a tree. Marco suffers only surface wounds, but Izzy's leg is crushed and has to be amputated just below the knee.
During her weeks in the hospital Izzy finds that not only is her whole physical orientation to the world required to change--she suddenly sees every path in terms of obstacles--but her relationship to family and friends changes, too. Her three closest friends begin to avoid her, uncertain what to say or how to include her in their plans. In the meantime Rosamunde, a marginal classmate whose slightly unkempt appearance and quirky behavior makes her entertaining, but excludes her from the "in" crowd, moves into Izzy's world with curiosity, frankness, inventive amusements and a steady, if offbeat compassion.
In her impassive and demanding African American physical therapist Izzy discovers another unexpected source of comfort on terms she doesn't at first recognize as kind. As the story ends, Izzy is back at school, finding her way into a new, more challenging relationship to her body and her peers, and a friendship with Rosamunde unlike any she's known before.
This award-winning essay is the germ for Grealy's later book, Autobiography of a Face (see this database). In this piece, Grealy describes the influence of her experiences of cancer, its treatments, and the resulting deformity of her face on her development as a person.
She explores how physical appearance influences one's sexual identity and over all self worth. She also explores how one's own interpretation of one's appearance can be self fulfilling. Only after a year of not looking at herself in the mirror, ironically at a time when she appears more "normal" than ever before, does Grealy learn to embrace her inner self and to see herself as more than ugly.
This is the 17th of Patrick O'Brian's novels about the adventures of Captain Jack Aubrey of the British Navy, and his friend, Stephen Maturin, the ship's surgeon and secret intelligence agent. Aubrey is a large, hearty, cheerful man who loves music and astronomy, and whose fortunes wax and wane as O'Brian follows him through numerous engagements and exploits around the world, roughly from 1800 to 1815. (While the early books in this series place Aubrey in some of the actual sea battles of the British war against Napoleon, "real time" gets suspended in the later novels.)
Maturin is small, dark, and secretive; of Irish and Basque descent; and a Roman Catholic. Nonetheless, he hates Napoleon so much that he becomes an agent for the British, working under the intelligence chief, Sir Joseph Blaine. Maturin is also a famous physician and naturalist, and he plays the cello to Aubrey's violin. The two men are the closest of friends, despite their many differences; in fact, this series of novels is the story of two complex and engaging characters and their years of friendship, as much as it is a series of sea yarns and adventures.
In The Commodore, Aubrey and Maturin have returned to England after a protracted trip around the world that occupied the previous four novels. Aubrey happily spends time with his wife and children, but Maturin discovers that his wife, Diana, has disappeared and his young daughter appears to be autistic.
Shortly, Aubrey receives orders to lead a squadron of ships to the west African coast, where he is to harass the slavers and, on the return voyage, to engage a French squadron being sent (secretly) to attack Ireland. Maturin joins the squadron after carrying his daughter to safety in Spain. They successfully knock off some slaving ships and terrorize the Coast of Guinea, before hurrying back to the southwestern coast of Ireland where they catch up with the French ships and defeat them.
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").
Eleanor Lightbody (Bridget Fonda) and her husband Will (Matthew Broderick) travel to the Battle Creek Sanitarium for the cure. On the train, they meet Charlie Ossining (John Cusak) who hopes to make his fortune in the booming breakfast food industry. The san is run on strict rules of vegetarianism and sexual abstinence by John Harvey Kellogg (Anthony Hopkins), inventor of the corn flake. Regular enemas, exercises, outings and baths are prescribed, but Will repeatedly breaks the rules and is lured into liaisons with a chlorotic fellow patient and his nurse.
Eventually, he and Eleanor turn to other unconventional treatments, which are not sanctioned by Kellogg, including nudism and sexual stimulation. Meanwhile Charlie joins up with George Kellogg (Dana Carvey), the Doctor's adopted but estranged son, who taunts his father when he is not extorting money from him. George sets the san on fire, but is reconciled with Kellogg during the conflagration when he sobs "Daddy give us a cuddle." The Lightbodys go home to a moderate pursuit of health.