Showing 41 - 50 of 233 annotations tagged with the keyword "Anatomy"
Alison Lapper is a friend of the sculptor, and a painter herself, who was born with phocomelia (defined in Stedman’s Medical Dictionary as a defective development of arms, legs or both, so that the hands and feet are attached close to the body, resembling the flippers of a seal). As suggested by the title, the 11 foot, 6 inch sculpture in Carrera Marble shows Lapper naked and pregnant, her severely shortened limbs apparent to all.
Her body, with her heavily pregnant belly, is exposed and elevated in milky marble, subject to the stares of passersby, as well as the elements and pigeons. Its formidable mass, the creamy marble, and the dignified composition support the contention that it celebrates a woman’s pregnancy, her health and her sexuality in the context of a society and a tradition that would rarely assign these values to someone so obviously "disabled".
One of two sons of a broken U.S.-Dutch family, Kiddo chooses to live off the Dutch welfare system spending his state alms on drugs. Although he realizes it is but the bleakest of efforts not to come to grips with a difficult relationship with his older brother, Morton, Kiddo perseveres, forming an uneasy alliance with Pietje, a woman who also knows Morton.
The novel is told by Kiddo with contributions to the multi-faceted story in the form of letters from Morton, who gives up a brilliant future as a genius in physics to travel around the world, and diary entries by Pietje, who has some unpleasant truths to tell about Kiddo's world. Morton, known as Mort, writes Kiddo that he has cancer and not long to live, returning home to die. Honoring the dying request of his brother, Kiddo attends Mort's autopsy (yes, the play on Morte/Mort proves irresistible to Morley, or is it Mor(te)ley), a fairly gruesome scene. This proves not to be the death of Mort/Morte/Death for Kiddo and he requires help from Pietje and more introspection before Kiddo can lay his brother's bones to rest.
This poem is divided into two formally identical halves of eleven lines each. The first part describes a visit to a "dissecting room," a Gross Anatomy laboratory. The female visitor dispassionately observes the four male cadavers, "already half unstrung" by dissection, and the students, "white-smocked boys," who work on them. She observes the fetuses in bottles, "snail-nosed babies," which are given a kind of power and fascination absent from the cadavers. Finally, "he," one of the students, hands her the "cut-out heart" of his cadaver.
This disturbing valentine is indirectly elaborated on in the second half of the poem, which describes Brueghel’s painting The Triumph of Death (1562), a "panorama of smoke and slaughter." The speaker focuses on a pair of lovers who, in the lower right corner of the painting, seem entirely unaware of the horrors around them. Enclosed by their love, they form a "little country," admittedly "foolish" and "delicate," but spared from encroaching death--if not by love itself, then at least by the arresting effect of art’s image, for desolation is "stalled in paint."
Summary:This poem builds by repetition to a climax: "if there is a river /more beautiful than this," if there is a river more faithful, braver, more ancient, more powerful. Each repetition begins a new stanza, a stronger stanza, ending finally in a prayer that, if there is such a river, it should flow "through animals / beautiful and faithful and ancient / and female and brave." (24 lines)
Summary:Open Wound is a novel crafted from the extensive documents of an unsettling, little-known, yet remarkable episode in the history of medicine.
A female figure stands facing us, unclothed, her left side darker than her right, occupying the middle of the frame. She is surrounded with images from the process of human reproduction. The largest of the former is the well-formed male fetus in the frame’s lower left, which is connected by a thin umbilical cord wrapped around the figure’s right leg to a fetus in an early stage of development in the figure’s abdomen, which we see as if by x-ray.
Tear-shaped droplets of blood drip down the figure’s left leg and soak into a dark mass in the earth, where they nourish the roots of several plants. A tear rolls down each of the figure’s cheeks. Just above her to her left is a weeping crescent moon. Below it is an artist’s palette that the figure holds up with a second left arm.
In 1176, King Henry the II of England persuades the physician Adelia Aguilar to accompany his daughter, Princess Joanna, on her long journey from England to marry the King of Sicily. Adelia studied medicine in Salerno, but in the disbelieving, intolerant world of Northern Europe, she must hide her skills. She masquerades as the assistant of her own eunuch assistant, the Arab Mansur. Her task is to protect and preserve the health of the princess. The King convinces her to make the journey by holding Adelia’s own infant daughter as a hostage.
The procession is troubled by a murderer, who could be trying to attack the princess or her doctor. Joanna falls ill, and Adelia diagnoses appendicitis, and then performs an operation to save her life. The question then arises whether or not her future husband will accept a bride with a surgical scar.
As in the other three novels, Adelia also uses her medical skills to solve the murders—a forensic pathologist avant la lettre.
Summary:This short, gripping book describes Taylor's massive stroke, a burst blood vessel in the left side of her brain. Ironically, she was at 37, a neuroanatomist at Harvard, well versed in the anatomy and function of the brain. Her knowledge allowed her to understand from the inside her rapid loss of mental function and, with treatment, her very long (some eight years) recovery to health and, once again, professional activity.
Summary:Johanna Shapiro, Director of the Medical Humanities Program at University of California Irvine School of Medicine, brings her considerable skills and experience as medical educator, writer and literary critic to this unique volume of medical student poetry. Shapiro collected over 500 poems by medical students not only from her home institution but also from other US medical schools and performed a content and hermeneutic analysis. As Shapiro carefully details in her methodology section, she treats "poetry as a form of qualitative data, and [therefore] techniques of analysis developed for other sources of qualitative data (such as interviews, focus groups, and textual narratives) can be applied to an understanding of poetry." (p. 42)