Showing 411 - 420 of 489 annotations tagged with the keyword "Art of Medicine"
This is the third novel in Pat Barker's trilogy about a group of shell shocked soldiers in World War I who are treated by Dr. William Rivers at Craiglockhart War Hospital. The protagonists include historical characters like Dr. Rivers (1864-1922), an eminent psychiatrist and anthropologist, and the poets, Siegfried Sassoon (1886-1967) and Wilfred Owen (1893-1918), as well as fictional creations, like Lieutenant Billy Prior, a working class man elevated to the position of British officer.
As The Ghost Road begins, Prior has been cured of shell shock and is preparing to return to the front in France. Rivers takes care of his patients and his invalid sister, amid memories of his experience ten years earlier on an anthropological expedition to Melanesia (Eddystone Island). He befriended Nijiru, the local priest-healer who took Rivers on his rounds to see sick villagers and also to the island's sacred Place of the Skulls.
Rivers entertains very un-British thoughts about the morality of these headhunting people, and about the power of symbolic healing. As these thoughts intrude upon his consciousness, Rivers is himself in the process of curing by suggestion a soldier with hysterical paralysis. Meanwhile, Billy Prior returns to the front. It is the autumn of 1918 and the last inhuman spasms of the war are in progress. In a futile battle that takes place a few days before the Armistice, Billy and his friend Wilfred Owen are killed.
This is a personal narrative by one of America's most accomplished authors. For the past thirty years Reynolds Price has written novels, stories, poems, essays. In this memoir Price describes his battle with a spinal tumor detected in 1984 which left him with some neurological impairment. He struggled with his own rehabilitation and eventually recovered with the aid of biofeedback and hypnosis.
The most compelling part of the book is near the end. The author muses about the meaning of his illness, "advice I'd risk conveying to a friend confronted with grave illness or other physical or psychic trauma" (p.182). He puts the travails of life into a philosophical perspective that is almost Zen-like.
Dr. Jonathan Hullah writes a memoir of his life in response to a young reporter who questions him about the death, years ago, of an old Anglican priest during Good Friday services. The tale unfolds of three schoolboy friends in Toronto before the Second World War: Brocky Gilmartin, who becomes a noted professor of literature; Charlie Iredale, who enters the Anglican priesthood; and Hullah himself, who begins as a police surgeon and later becomes a practitioner of his own unusual brand of psychosomatic medicine.
The central image of this story is the sudden death of Father Hobbes, the saintly vicar of St. Aidan's Church. Soon after Hobbes' death, the curate Charlie Iredale leads a movement to declare the elderly priest a saint. This movement is aborted by the bishop and Iredale, his vision crushed, goes on to become an itinerant (and alcoholic) clergyman in rural Ontario.
The central story though is that of Dr. Hullah, the "cunning man" who learns that healing is not just a matter of the body, but also the mind and spirit. He practices a type of "holistic" health care that the Canadian medical authorities find very suspicious. Yet, he is quite successful in his work, serving as physician-of-last-resort for many patients who have not been helped by other doctors.
The "cunning man" is a listener; he seems to stay on the outside, observing carefully, but revealing little of himself. In these memoirs he gradually reveals his rich experience and complex character. Only at the very end, however, does he reveal the true story of Father Hobbes's death.
Ingenious Pain tells the life story of James Dyer, a surgeon in eighteenth-century England who is gifted--and cursed--with the inability to feel physical or emotional pain. Beginning with his postmortem, the novel traces the thirty-three years of his life, from his illegitimate conception on a frozen river, through the rise of his career from itinerant quack's assistant to ship's surgeon, and then to the court of Empress Catherine of Russia where he meets Mary, a mysterious woman who performs magical surgery on him with her hands, enabling him for the first time to feel and, as a result, to love.
At first this new ability drives him mad, and he is submitted to the infamous torments of Bethlehem Hospital. He gradually recovers, but his new sensitivity has disrupted his identity as a surgeon. He performs one last operation, saving the life of a Negro wrestler by opening his chest and massaging his heart. His own death, not long after, seems to signify that he has at last become a normal man, and this is a form of redemption.
The action takes place in a mental hospital where Pythagoras is a patient. According to the medical authorities, Pythagoras is a small-time show-biz magician. The patient, however, believes that he is the REAL Pythagoras, the ancient Greek philosopher, mathematician, and mystic. It certainly SEEMS that Pythagoras may have magical powers: when he points to the telephone, it rings; when he raises his hand to the sky, thunder claps.
Dr. Aquillus, the superintendent, has no sympathy with these pranks. The patients believe in his power, but even they sometimes question Pythagoras. For example, in response to the Greek's boast that "I was philosopher, mathematician and magician," one patient says, "You shoulda specialized, buster. You won't get anywhere unless you specialize." At this point Pythagoras responds that it is "difficult to wear both the white coat of science and the magician's purple one. You have to be--very great!" In the end Pythagoras is reduced to Tony Smith and the truth is revealed. Or is it?
Today, Friday June 5th, I am going to meet the man who killed my father. So begins the narrator of this novel, who is about to drive to New Jersey to visit the physician (now retired) who took care of his father during his final illness 20 years previously. The narrator (Peter Cave), who was an adolescent at the time, is now a physician himself.
Most of the novel is a flashback in which the narrator describes his life during the several days prior to June 5th, "the white life," which is the term he uses for the practice of medicine. We learn, in particular, about his patient George Dittus, a difficult man who definitely doesn't want to play the hospital game. "I need to get home" is the first thing Dittus says. Dr. Cave wants to save the life of this gruff, eccentric man who may well have had a serious heart attack, but at the same time, he tries--sometimes painfully--to respect the patient's desire to be in charge.
Cave's encounter with the retired Dr. Gresser, who remembers the elder Cave as a difficult patient, is surprising--"You know he refused to take the medicines I suggested." Cave is disappointed; he wanted a confrontation with the man who "killed" his father, but, instead, is confronted with the realities of human nature. Back at the hospital, he discharges George Dittus, who disappears into the inscrutable future.
This short, anecdotal autobiography begins with the author's birth in Cardiff in 1923 and ends in the mid-1960's when the author had become a successful writer and physician in London. Much of the story concerns Abse's childhood and youth. The theme is self-definition: how did it come about that, like Anton P. Chekhov, the young Dannie Abse chose to devote his life to "chasing two hares" (medicine and writing).
His lower middle-class Jewish parents, especially his father, found no redeeming social value in having a poet in the family. Influenced by his older brother Wilfred (who became a psychoanalyst), Dannie gravitated toward medicine as a career, although he almost fainted when he observed his first surgery.
When Dannie was a student in London, poetry energized his life. He published "After Every Green Thing," his first volume of poetry, while still in medical training (1949). He also met Joan, his future wife, in 1949 and they were married in 1951.
He was assigned to reading chest x-rays while serving his time in the Royal Air Force. Subsequently, Dannie took a part-time job as a civilian in the RAF chest clinic in London and began his dual career as chest physician and writer. Near the end of A Poet in the Family, Dannie describes the death of his father in Llandough Hospital in 1964.
This is a study of the influence of medicine and medical practice on Chekhov's writing. While the material is presented in a roughly biographical manner, the chapters are thematically organized. In "University Years" the author discusses Chekhov's experience at Moscow University Medical School (1879-1884) and the influence of several of his professors. "Diseases of the Mind" focuses on the play "Ivanov" and several stories that demonstrate Chekhov's keen interest in and understanding of mental disorders, including endogenous depression (Ivanov), neurotic depression or dysthymia (Uncle Vanya), and reactive or exogenous depression(An Attack of Nerves (A Nervous Breakdown)).
The next chapter covers Chekhov's extended trip to Sakhalin Island in 1890. "Tolstoy Versus Science" describes Tolstoy's position that scientific and technical progress lead to moral regression. For several years Chekhov was sympathetic to Tolstoy's ethical position, although he never embraced the older man's opposition to science.
"The Country Doctor" deals with Chekhov's medical and public health work during the years he resided at Melikhovo (1892-1897). The last chapter describes Chekhov's own battle with pulmonary tuberculosis.
Summary:As the title explains, the painting depicts Rene Laennec, French physician and inventor of the stethoscope, in a hospital room, his ear pressed to the chest of a male patient, who is sitting up in his bed. In his left hand he holds an early model of the stethoscope. Three other figures appear to the back and right: one is likely another physician, another is a sister/nurse.
Summary:This is a tight, short poem that takes its central metaphor from the uncredited quote, ". . . a madman attacked Michelangelo's Pietà with a hammer." The speaker is presumably a physician who, with a pathology report on his desk, contemplates the task before him. He likens himself, as bearer of grim news, to an avenging creature about to assault his patient, the Pietà, with a catalogue of cutting and pounding tools as images for the effect of such news on the recipient. The speaker also reflects on his own anger, the anger he feels about his patient's bad fortune, yet ". . . not wanting to judge / the cracked face of God."