Showing 301 - 310 of 496 annotations tagged with the keyword "History of Medicine"
This series of 28 poems plus an envoy describe, from the patient's point of view, a 20-month stay in an Edinburgh hospital in the 1870s. The narrator delineates--from the cold and dread of Enter Patient through the giddiness of "Discharged"--his reactions to hospital personnel (from doctors and nurses to scrub lady); to his fellow patients (from children to the elderly, during bad days and holidays), to visitors, and to death.
Because he stays for 20 months, we also witness his seesawing emotions about his own state of health. The epigraph from Balzac suggests that a person in bed and ill might become self-centered, so the narrator purposefully maintains a dispassionate tone. It is a tone so distinct yet distanced that Jerome H. Buckley (William Ernest Henley: A Study in the "Counter-Decadence" of the 'Nineties, New York: Octagon Books, 1971, c. 1945) compares the poems to steel engravings.
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.
This book interweaves an American love story with the development and repercussions of x-ray technology and atomic energy. It is an intriguing and beautifully written story. The setting is the southeastern United States, where the male protagonist, Fos, meets and marries Opal. Fos is a returning World War I veteran when the story begins; the story ends some years after the atomic bomb is dropped in World War II.
Fos is stationed in France during World War I. His assignment is to produce chemical flares. He shares a trench bunker with "Flash," the regiment photographer. After the war is over, Fos and Flash open up a photography shop in Flash's hometown of Knoxville, Tennessee. Fos is fascinated by natural phenomena such as phosphorescence, radiation, and the application of scientific discoveries for practical use. Flash is a good businessman and has a way with the ladies.
After Fos marries Opal, the three are in business together--Opal has accounting experience and handles the shop's "books." On the side, Fos and Opal have a traveling show that features an "x-ray box" where people can view the skeleton of their own feet. Opal is part of the show, on exhibit to demonstrate how this works as Fos x-rays her feet. A baby comes into their lives--they name him Lightfoot. The novel takes these characters and a few other connected figures through the 1920s into the Depression of the 1930s and formation of the Tennessee Valley Authority, to the work on the atomic bomb at Oak Ridge National Laboratory. Fos is recruited by the government to work at Oak Ridge--to take photographs. To say any more about the plot would spoil the pleasure of reading this absorbing book.
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.
This is a remarkable collection of poems about the Holocaust by a poet who himself survived horrific abuse during his childhood and adolescence (see The Endless Search: A Memoir in this database). "He had in mind a thousand year Reich," Ray writes (p. 16), but it has become "the thousand year Kaddish." But the grief of the Holocaust has begun to move away from us after only 60 years, and we turn our backs on continuing atrocity and death, the Khmer Rouge in Cambodia, for example, (p.22) and the Death Squads of South America.
While the author was a small boy in Mingo, Oklahoma, "Dr. Mengele was cutting girls in half, twins." (p. 28) This evil remains in the world. Ray celebrates the survivors and acknowledges the very real grief that exists in the world, but he also understands that evil is an inextricable dimension of human nature. In the words Ray attributes to Adolf Eichmann just before he was hanged, "Your world is full of me, I am all over the place . . . and whether you like it or not, what I have done will be done." (pp. 66-67)
Framed on one side of the painting by a luxurious fabric curtain, a doctor, wearing the robe and hat of a degreed physician, stands in the centre of a well-appointed room, examining a specimen of urine in a glass flask. To his right the patient, an older woman, sits languidly with her face turned towards the light of an arched glass window.
A well-dressed middle-aged woman has evidently been feeding the patient, leaning towards her, concerned and attentive, holding a spoon. She is looking at a young girl who is seated on the floor holding a cloth with one hand and the patient’s hand with the other and looking anxiously at the face of the patient. The patient is possibly a grandmother being cared for by her daughter and grandchild.
The triangle of women is physically close, and the emotional intimacy of the two caregivers, their anxiety for the health and physical comfort of the patient, are finely rendered; the disengagement of the patient is conveyed in her gaze beyond the figures in the room towards the light. The physician, whose gaze is directed to the flask, is part of a second triangulation of caregivers surrounding the patient.
Author Horace Davenport is a retired professor of physiology who had a distinguished career in medical science. This book reflects his more recent interest in the history of medicine and physiology in the 19th and 20th centuries. The best summary of this transcription with commentary resides in the author's own introductory paragraph, paraphrased here: From 1899 to 1900 fourth year medical students at the University of Michigan doing their medicine and surgery rotations attended a diagnostic clinic twice a week with George Dock, A.M., M.D., professor of theory and practice of clinical medicine. Dr. Dock had a secretary make a shorthand record of everything that was said at these clinics by Dock himself, the patients, and the students.
The clinics and recording of the interactions continued until the summer of 1908 when Dr. Dock left Michigan for a position at Tulane. The typed transcripts of these sessions fill 6,800 pages. This book is Davenport's distillation and, on occasion, clarification of these documents. In these transcriptions resides not only a view of the practice of academic medicine at the turn of the 20th century, but also a glimpse at one clinician's interpretation of clinical material in his own time.
The young and upwardly mobile engineer, Joshua Jeavons, is obsessed with finding a solution to the water problems of 19th-century London. He spends almost every spare moment drawing and re-drawing maps of his precious drainage plans destined to save the city from the stench of effluent, which everyone believes is the source of cholera. His boss, Augustus Moynahan, is unimpressed with Joshua's plans, but allows him to continue analyzing sewers and drains. They work in conjunction with a master plan of coercive bureaucrats, led by Edwin Sleak Cunningham and manipulated by private interest.
Joshua has married the boss's daughter, Isobella, who had seemed more than eager to have him over her father's objections; however, she rebuffs all his physical attentions and the marriage is unconsummated. Brimming with sexual need and self-pity, Joshua continues a sporadic liaison with a friendly prostitute, all the while resenting what he decides must be his wife's infidelity.
When Isobella vanishes on the night of a disastrous dinner party, Joshua's fortunes plummet. He is reduced to poverty and shame, as he replaces his first obsession with the quest for his lost spouse--to reclaim her or kill her, he knows not. But his contact with urchins and beggars brings him to discover the real causes of pollution and disease--both environmental and moral.
A young art student falls off a ladder and literally lands into the arms of a middle-aged doctor. Daisy Whimple is a poor, homeless woman with multiple body piercings. She has volunteered to decorate the Gynae Ward of the hospital where she had once been a patient undergoing surgery for a complicated abortion.
Dr. Damian Becket is an obstetrician and gynecologist. He is a lapsed Catholic who is separated from his wife. Becket is interested in modern art and attracted to an art historian, Martha Sharpin. The hospital has a collection of medical antiquities in need of cataloging. Some of the pieces are treasures but others are horrible relics. Martha is in charge of organizing the collection, and Daisy is paid to assist her.
Because she has nowhere to live, Becket invites Daisy to stay at his apartment. They make love every night for one week until she leaves. While attending an art exhibit, Becket and Martha spot a sculpture of the goddess Kali. The figure is comprised of artifacts "borrowed" from the hospital's collection including prosthetic arms, antiquated instruments, and body parts. It is designed by Daisy.
The sculpture is not the only unexpected thing created by Daisy. She is pregnant by Becket. Daisy requests an abortion but he insists that she have the baby. The pregnancy is almost miraculous given the damage done to Daisy's fallopian tubes from her previous abortion. It turns out to be a difficult delivery and Becket must perform it since he is the most qualified obstetrician at the hospital. The baby is a healthy girl. The newborn child radically changes the lives of Daisy, Becket, and Martha, yet the three of them have no clue what to do next.
Dr. McKechnie begins his overview of the history of the practice of medicine in British Columbia with records of Coastal Native practices encountered by the first explorers of the Northwest Territory in the 18th century. This opening section of the work contains interesting folklore regarding some of the methodologies and medicinals utilized, and terminates in descriptions of the rites surrounding the initiation of a new Shaman.
Moving forward in time, the author explores the early naval medicine of the seamen and their captains, including the early intermingling of the explorers with the Coastal Indians. The plagues of smallpox, measles, syphilis, and tuberculosis attributed to the arrival on the western continent of organisms to which the natives were not immune are covered briefly.
The third portion of the book is devoted to the changes in medical practice on this particular frontier as the emerging science of the 19th century moved gradually westward. The final chapters cover the century of the great world wars and the progressive advances in medical science as they affected the residents and physicians of British Columbia.