Showing 401 - 410 of 495 annotations tagged with the keyword "Women's Health"
The author, a Canadian physician-historian-educator, blows the dust off the shelves of medical history with this fascinating text designed for medical students, educators, and those with an interest in history of medicine. Duffin begins this survey of the history of Western medicine with a glimpse at a pedagogical tool designed to spark the interest of even the most tunnel visioned medical students: a game of heroes and villains. In the game, students choose a figure from a cast of characters selected from a gallery of names in the history of medicine.
Using primary and secondary sources, the students decide whether the figures were villains or heroes. The winner of the game is the student who first recognizes that whether a person is a villain or hero depends on how you look at it. This philosophy imbues the entire book, as this treatise is not a tired litany of dates, names and discoveries, but rather a cultural history of the various times in which medical events occurred.
The book is organized by topics which roughly follow a medical school curriculum: anatomy, physiology, pathology, pharmacology, health care delivery systems, epidemiology, hematology, physical diagnosis and technology, surgery, obstetrics and gynecology, psychiatry, pediatrics, and family medicine. The last chapter, entitled "Sleuthing and Science: How to Research a Question in Medical History," gives guidance to formulating a research question and searching for source material. Fifty-five black and white illustrations are sprinkled throughout the book, as well as 16 tables.
Direct quotes from historical figures, such as Galen and Laennec, as well as excerpts from writings of eyewitnesses of events, anecdotes and suggestions for discussion, appear in boxes within the chapters. Many of the chapters contain discussion about the formation of professional societies. Each chapter ends with several pages of suggested readings and the third appendix delineates educational objectives for the book and individual chapters. The other two appendices list the recipients of the Nobel Prize in Physiology or Medicine, and tools for further study, including titles of library catalogues, and resources in print and on-line.
Although the book is a survey covering multiple eras and topics, each chapter contains choice tidbits of detail. For instance, the chapter on obstetrics and gynecology includes the story and photograph of Dr. James Miranda Barry, the mid-nineteenth century physician, surgeon and British military officer, who was discovered to be a woman at the time of her death. The impact of the stethoscope on the practice of medicine is explored in depth in the chapter, "Technology and Disease: The Stethoscope and Physical Diagnosis."
The author of this memoir is a poet and writer who developed systemic lupus erythematosis (SLE) during her first year at the University of Pennsylvania. Initially, her condition was difficult to diagnose, which led to her first negative encounters with physicians and the health care system. Later, Ms. Goldstein developed unusual neurological manifestations of SLE. Once again, she had trouble convincing her doctors that her symptoms were not only real, but also disabling. She was fortunate enough to come across a few good physicians who respected her as a person and earned her trust.
Despite her chronic illness, Ms. Goldstein thrived throughout college and graduate school. She approached each new challenge with such a positive attitude that some of her doctors considered her emotionally unstable. (I guess they thought it would be more "normal" for her to lose hope and turn herself into an invalid.) Her graduate work in literature focused on the new field of literature and medicine.
In short chapters that alternate between remembered scenes of abuse, reflections upon those scenes, and tributes to the natural beauties and human kindnesses that tempered years of domestic violence, the author provides a galling, but not sensationalistic, record of what child abuse looks and feels like. Only when she was older and mostly beyond the reach of a father who routinely beat and sexually abused her and her siblings did the author find out that her father had been dismissed from a police force for gratuitous violence and had subsequently submitted to electroshock treatments for mental illness.
The title describes the nature of the narrative; in its deliberate discontinuities it testifies to the stated fact that there are places where memory has left a blank. Much of the telling is an attempt to piece together a story of recurrent violence, felt danger, and arbitrary rage that seemed at the time both regular and unpredictable.
The sanity of the narrative testifies to the possibility of healing. The writer makes no large claims for final or complete release from the effects of trauma, but does strongly testify to the possibility of a loving, happy, functional adult life as healing continues.
In this short essay on the status of post-menopausal women, Le Guin examines the special status of older, experienced women who have lived through the trials and tribulations of the advent of sexuality, childbearing, and the end of the reproductive period. The author speaks to the special knowledge and wisdom acquired through these experiences and finally suggests that the most telling and viable representative of the human race on earth is the crone, who has known so much of what it means to be human. Le Guin would nominate such a crone for the space venture to the fourth planet of Altair in order to help the Altairians to "learn from an exemplary person the nature of the race."
This pocket-sized book contains stories from the home front--poems about patients the nurse-author tends in their apartments and in her clinic. Often, the patients speak, teaching us not only what it's like to be elderly and lonely, but also how to view mainstream healthcare from a different perspective.
Most important, we learn about the courage with which these patients cope with illness and poverty, and how nurses honor their patients' choices through non-judgmental caring. Outstanding poems include "The Language of Hearts," "Passages," "Lower Midline Surgical Scar," "The Screamer in Room 4," and "Home Remedies for the Blues."
The first-person narrative of Catherine who is desperate for her seemingly indifferent mother’s love. Raised from infancy by grandparents following her parents’ divorce, Catherine seeks her indifferent but devout mother’s affection by emulating her saintly namesake. She mortifies her flesh in the pursuit of thinness based on an ideal of purity as self-denial and on her mother’s esthetic expectations.
The obsessive behavior extends from anorexia to willful insomnia and severe illness. At college she recovers by discovery of a happier, more direct faith. The essay begins and ends in the narrator’s later life, as she contemplates her own revulsion and pain in caring for her mother who lies dying of breast cancer.
When six fifty-year-old women gather for an annual reunion they've come laughingly to call "Camp Men-o-pause,” at an idyllic midwestern lakeside bed-and-breakfast they face a bewildering and sorrowful difficulty unprecedented in their many years of friendship since college: Micky, in many ways a leader and intellectual bright light among them, has been diagnosed with early Alzheimer's disease. She is present and functioning, but has bouts of confusion and memory loss.
She knows a great deal about her own condition and has shared it with the others. Only with one other, Jan, has she shared her desire to be helped to commit suicide when she becomes seriously incompetent, and, enjoined to secrecy, Jan has to bear the burden alone of deciding whether to make Micky that promise.
The story chronicles the week the women spend together, their various thoughts and conversations about their lives, and the ways in which Micky's disease leads them all to reframe their feelings about friendship, loyalty, aging, and medical options. Much about the week is bittersweet; the story ends inconclusively as Jan is unwilling to promise to help Micky die, but all come to some sobering understandings about what it might mean to "see their friend through” a gradual leavetaking that may erase them all from her memory.
The story covers the months from early diagnosis of a retinal disorder through stages of treatment and loss of vision to a six-month stay at a residential facility to train the newly blind in life skills, including Braille. Sally Hobart was a 24-year-old elementary school teacher when she began suddenly and rapidly to lose her vision.
In the months that followed, she went through several surgeries and other treatments that are sometimes successful in restoring vision, but all efforts failed. She was left with very cloudy partial vision--only enough to distinguish colors, light and dark in the lower half of the vision field.
She tells about the fear, the frustrations of partial information and false hope, the tension between herself and her fiancé (they finally called off the engagement), the support (and also confusion and pain) of friends and family, and the emotional adaptation to a whole new life while learning to become independent as a blind person.
The 18 poems in this chapbook (26 pages) focus on caring relationships, especially between nurse and patient. In "Standing There" the poet admits that "our history isn't an album of healers." There is little to be triumphant about in the world of nursing and medicine: "Our story is how we did not break / and run--no matter how close / the lightning gouged." In "Blue Lace Socks" she evokes a nurse beside the bed of a dying child, "listening for the whisper of her blood pressure."
"Butterfly," a poem about caring for young men with AIDS, is characterized by honesty and sensitivity: "They cough as I enter their room, / and something in me stiffens." Yet, the nurse is able to close the gap between herself and the patients and demonstrate her care: "they are migrating back to the cocoon, / the place where brown masks / protect the unbeautiful." Some of the other poems deal just as sensitively with the explosive topics of childhood sexual abuse ("Taste of Tin") and rape ("This Red Oozing"). Blue Lace Socks", Butterfly, and This Red Oozing have been annotated in this database.
In my dreams, now, in my re-imaginings, I leap away as easily as a deer, and with as little hesitation. My spandex-covered legs scissor the ditch, and my feet ride the ground instinctively. My brown hair sways as I dart off into the forest . . . In real life, I got into the truck. (p.25)
A young woman retells the story of her rape--to herself, to the reader, and to a therapist who possesses "no startling answers--just a quiet ability to receive and transmute pain." The art of transcending pain through communication is at the heart of this story. The narrator survives by talking to her rapist and challenging his human core, by revealing everything to caregivers, by allowing herself to replay and dissect the details of this trauma.