Showing 391 - 400 of 506 annotations tagged with the keyword "History of Medicine"
The poet conjures up the image of the doctor who delivered him and his siblings ("All of us came in Doctor Kerlin's bag"), the doctor who arrived at the house in his fur-lined coat and ascended to his mother's bedroom, and later came down and arranged the instruments in his bag (a "plump ark"), which by that point was otherwise empty. In the boy's fantasy, Doctor Kerlin's small eyes were "peepholes into a locked room," in which were strung "the little pendant infant parts / . . . neatly from a line up near the ceiling-- / a toe, a foot and shin, an arm, a cock."
On a visit to the ruined temple of Asclepius, the god of healing, the poet finds himself remembering Doctor Kerlin, and also the incident when, as an altar boy, he fainted during a procession at the healing shrine of Lourdes in 1956. Now many years later, he pulls up some tufts of grass from around the temple and sends them to friends suffering from cancer. He remembers entering the bedroom after Doctor Kerlin left, his mother on the bed asking, "And what do you think / Of the new wee baby the doctor brought for us all / When I was asleep?" [94 lines]
Summary:Emma Woodhouse and her invalid father mourn the loss of Miss Taylor, Emma's companion and former governess, to marriage. Emma cheers herself up by taking the orphan Harriet Smith under her wing. Emma discourages Harriet's interest in the farmer Robert Martin, cultivating for her instead the attentions of the minister Mr. Elton (who is actually trying to woo Emma) or the eligible visiting bachelor Frank Churchill, while failing to see Harriet's feelings for Emma's brother-in-law Mr. Knightley. Emma herself flirts with the idea of loving Frank Churchill, until she discovers that he has been secretly married to the aloof Jane Fairfax. Mr. Knightley sets all straight by arranging Harriet's engagement to Robert Martin and marrying Emma himself.
Warren here supposedly presents the papers of a late friend, detailing the interesting cases he had encountered as a physician. In fact, the "cases" are sensational short stories, presented as a novel due to the framing chapter introducing the narrator's "Early Struggles" to make a living as a physician. Other stories investigate typically Gothic themes like ghosts, duels, graverobbing, elopements, and broken hearts, with other scandalous problems like gambling, dissipation, murder, domestic abuse, and suicide. Medical topics include mental illness, epilepsy, hysterical paralysis ("catalepsy"), cancer, toothache, consumption, syphilis, heart disease, alcoholism, disease of the spine, gout, amaurosis (blindness), puerperal hemorrhage, measles, and stroke ("apoplexy").
It is 1832. Europe is in turmoil of revolution and soon to be ravaged by cholera. Italians who resist the Austrian occupation of their country have fled to southern France where they are ruthlessly pursued and killed by special agents. Handsome, young, Angelo Pardi (Olivier Martinez), is an Italian fugitive whose wealthy but revolutionary-minded mother has purchased his rank of colonel. Upon learning that a friend has betrayed his cell of resistors, he determines to return to Italy carrying the funds raised for a defense.
But cholera has struck southern France. Roads and rivers are barricaded, quarantine is enforced, and he encounters death, decay, fear, and angry crowds who accuse every stranger of having caused the epidemic. Pardi meets an anxious doctor who teaches him a treatment for cholera, but moments later the doctor defies his own treatment to die of the illness caught from his patients.
As Pardi runs from both Austrian and French pursuers, he falls through a tiled roof into the life of the abandoned Pauline de Théus (Juliette Binoche). With almost comic formality, he becomes her chivalrous guide--her "angel(o)"--and leads her safely to her elderly husband through an improbable series of narrow escapes, including cholera itself. The doctor's dubious treatment comes in handy not only for saving her life but also as a pretext for nudity in their chaste relationship. A few years later, peace and health returned, Madame de Théus receives a letter from Italy. Her husband knows that he ought to let her go, but the credits roll as she gazes at the Alps and contemplates her decision.
August is divided into two sections: "On the Corner of Fourth & Irving" and "To Marie Curie." The narrator, on a street corner in San Francisco near the teaching hospitals and medical school of University of California, San Francisco, meditates on the recurrence of lymphoma in a patient. Evening is approaching, fog blows in from the ocean, and the city pigeons are unsettled--landing and taking flight.
The meditation includes a tribute to Madame Curie and her discovery of the effects of radium. The patient had had a good chance of cure by radiation treatment--unfortunately, this patient is in the twenty percent who are not cured. The narrator, probably a physician-in-training due to the load of textbooks, had read the patient's chest x-ray as negative (normal) previously.
By the end of the poem, we learn that the physician had felt enlarged lymph nodes in this patient's neck today and he bluntly states: "I have failed. He has not been cured." The poem closes with the sound of the wind and the "beating and beating of wings."
In mid-19th century London, a young nurse is found brutally strangled at the Royal Free Hospital. One of the hospital's Board of Governors, Lady Callandra Daviot, engages her friend former Inspector William Monk to investigate the killing. The victim was not an ordinary Victorian nurse, most of whom were poorly educated, morally suspect, and distinctly lower class. Rather, the dead woman came from a middle class family and was an outspoken professional who had worked side-by-side with Florence Nightingale in the Crimea.
In fact, Nurse Prudence Barrymore had had pretensions of studying to become a doctor--an unthinkable goal for a Victorian woman! As Monk and his colleague, Hester Latterly--another Crimean nurse--investigate the inner workings of the Royal Free Hospital, they soon discover a quagmire of secret passions and deceit.
Monk gains access to letters from Nurse Barrymore to her married sister that appear to incriminate Sir Herbert Stanhope, the hospital's leading surgeon and a paragon of propriety. Was Sir Herbert Nurse Barrymore's secret lover? As Sir Herbert's trial progresses, it appears that he was, but then events suddenly take an unexpected turn.
A man walks through the countryside after a night of rain. The creatures around him are lively and refreshed. At first, he shares their joy, but his mood soon turns as he reflects that care and pain are the inevitable balance to the care-free life he has lead so far: "We poets in our youth begin in gladness; But thereof come in the end despondency and madness."
He comes upon an old man staring into a muddy pond. The man seems weighed down with care; he is so still he seems dead. He greets the man and asks what he is doing. The old man is a leech-gatherer, leeches being needed by eighteenth-century doctors. He wanders the moors, sleeping outside, and thus makes a steady living. The wanderer resolves not to give in to misery, but to think instead of the courage and firm mind of the leech gatherer.
Hamlet's father, the King of Denmark, is dead and has been succeeded by his brother Claudius, who has married the old king's wife, Gertrude. The King's ghost tells Hamlet that Claudius murdered him, and makes Hamlet promise to avenge his death. The play traces the process by which Hamlet negotiates the conflict between his need to take violent action and his uncertainty about the rightness of doing so.
He pretends to be mad and contemplates suicide. He unintentionally murders Polonius, the new King's counselor, and violently confronts his mother for what he sees as an unfaithful and incestuous marriage to her brother-in-law. He also verbally abuses Ophelia, the daughter of Polonius, whom Hamlet had loved before, contributing to her mental illness and eventual death.
Hamlet finally decides that he must submit to his fate--or his dramatically determined role as the hero of a revenge tragedy--and agrees to a fencing match with Ophelia's brother, Laertes. Arranged by Claudius, the match is rigged. Laertes's rapier is poisoned, and both Laertes and Hamlet are killed with it. Gertrude drinks the poisoned wine intended for Hamlet and dies. Hamlet's last action is to kill Claudius, but whether this counts as the successful culmination of a revenge plot is dubious. As a new order takes over in Denmark, and as the dying Hamlet asks that his story be remembered, we realize that his existential quandaries remain largely unresolved.
Macbeth, Thane of Glamis, is told by a trio of witches that he will soon be promoted to Thane of Cawdor, and later will be King of Scotland. When the first of their prophesies comes true, he tells his wife, who is filled with ambition and determines to ensure that the second is realized as well. She persuades her husband to murder King Duncan, and so Macbeth becomes King.
The rest of the play traces the couple's downfall as a result not only of the murder and hence the political injustice of Macbeth's reign, which leads to war in Scotland, but also because of the terrible psychological effects of guilt. Neither of them sleeps soundly again; Macbeth sees ghosts and appears to go mad; Lady Macbeth sleepwalks, endlessly washing her hands of the metaphysical blood that stains her, and eventually commits suicide. Macbeth dies when Macduff, rightful heir to the throne, besieges his castle and beheads him in battle.
This is the second anthology from Donley and Buckley derived after many years of teaching "What's Normal?"--a literature and medicine course at Hiram College where they explore the cultural and contextual influences upon the concept of normality. With the first anthology, The Tyranny of the Normal, the editors focused on physical abnormalities (see this database for annotation). In this second anthology, the focus is exclusively on mental and behavioral deviations from societal norms. With this edition, Donley and Buckley present their case that, as with physical abnormalities, there is a similar tyranny of the normal that "dominates those who do not fit within the culture's norms for mental ability, mental health and acceptable behavior (xi)".
The anthology is divided into two parts. Part I is a collection of essays that introduce various clinical and bioethical perspectives on the subject of mental illness. These essays bring philosophic and analytic voices to the topic. Stephen Jay Gould's terrific essay on Carrie Buck and the "eugenic" movement in the United States in the early part of the 20th century illustrates one of the major themes that can be found throughout the anthology.
Oliver Wendell Holmes wrote the majority opinion in the 8-1 Supreme Court decision that sealed Buck's fate. Gould begins his essay reminding his readers of the often referenced Holmes quote, "three generations of imbeciles are enough." He then takes us on a fascinating historical adventure that uncovers a deeper and more complicated drama that led to this unfortunate period in American history, and the tragic incarceration and sterilization of Carrie Buck.
This essay, as with other stories, poems, and drama in the anthology, contemplates the relationship between societal values and mental illness, and illustrates how society through medicine can turn to the myth of "objective" diagnostic labels as a way to compartmentalize and control behavior and imaginations that are "abnormal." D. L. Rosenhan's essay from "On Being Sane in Insane Places" further illustrates the failure of the mental illness label. Irvin Yalom's story from Love's Executioner and Other Tales of Psychotherapy provides an example of what is possible when diagnostic labels are avoided, when health care professionals with power turn with humility, curiosity, and kindness toward others, substantiating that these qualities are far more powerful than statistical notions of "normal."
Part II is a collection of fiction, poetry and drama. Intended as a complement to part I, part II engages the reader in the lived experience of the narrators. It is divided into six sections. Section one considers children and adolescent experience of mental illness. Included are Conrad Aiken's "Silent Snow, Secret Snow," an excerpt from Susanna Kaysen's Girl, Interrupted (see annotation in this database), and an excerpt from Peter Shaffer's Equus (see annotation).
Section two includes stories that capture the world of mental disability and retardation. An excerpt from Of Mice and Men and Eudora Welty's short story Lilly Daw and the Three Ladies are included. Charlotte Perkins Gilman's The Yellow Wallpaper (annotated by Felice Aull; also annotated by Jack Coulehan) is in section three where women's experiences with mental disorders is the theme (these are annotated in this database).
Section four and five focus on men and mental illness. War experience is considered in the works of Toni Morrison and Virginia Woolf. Section six concludes the anthology. Alzheimer's disease and dementia are examined in Robert Davis's My Journey into Alzheimer's Disease, and in the story, "A Wonderful Party" by Jean Wood.