Showing 441 - 450 of 479 annotations tagged with the keyword "Art of Medicine"
In 1831 Edinburgh, Cabman John Gray (Boris Karloff) delivers a paralyzed little girl and her mother to the office of Dr. Wolfe "Toddy" MacFarlane (Henry Daniell). A body snatcher by night, Gray has a special hold over the doctor, who has lost his clinical nerve and hides in the teaching of anatomy. The earnest medical student, Donald Fettes (Russell Wade), is on the verge of abandoning medicine, but MacFarlane notices his good bedside skills with the little girl, makes him his special assistant, and initiates him into the business of grave-robbing. His wife (Edith Atwater) is opposed to this action, complaining that the student will be "ruined."
Fettes is unaware that Gray and MacFarlane narrowly missed conviction for murder in the Burke and Hare affair of 1823. Obsessed with helping the child, Fettes begs Gray to find a subject on which they can practice spinal surgery. Gray complies by "burke-ing" (murdering) a well-known street singer. MacFarlane forces Fettes to remain silent and they begin their research, but they are overheard by the servant, Joseph (Bela Lugosi), who then tries to blackmail Gray only to be "burked" himself.
The child's operation does not supply immediate results and in a fit of frustration MacFarlane murders Gray as he cries: "you'll never be rid of me." Buoyed up by the news that the child has finally begun to walk and mostly to prove to himself that he does not need Gray, MacFarlane robs a fresh grave.
On the return journey from the cemetery in a driving night rain, MacFarlane is tormented by Gray's last words; the elderly woman's corpse changes into the partially animate body of Gray. The doctor loses control, his horse breaks loose, and the carriage plunges down a bank where Fettes finds the doctor dead beside the woman's corpse.
A comprehensive and quite readable biography of Anton Chekhov (1860-1904) by an eminent scholar of Russian literature. Five aspects of Chekhov’s life (as presented here) stand out as particularly interesting: First, the central importance to Chekhov of his self-image as a physician, even in the latter part of his career when he had given up the regular practice of medicine.
Second, the theme of philanthropy (especially in medical and educational areas) that runs through his entire life. For example, even while he was dying of tuberculosis himself, Chekhov was still actively involved in raising money to build a tuberculosis sanitarium at Yalta for poor writers. Third, the fascinating portrait of a person who was extremely compassionate and emotional, yet very reserved and reluctant to express his feelings to others, even to close friends.
Fourth, his long denial (even to himself, perhaps) that he suffered from tuberculosis, even though the diagnosis must have been medically obvious. For example, he began having episodes of coughing up blood as early as 1887 or 1888. Fifth, Chekhov’s fascinating decision to marry Olga Knipper (1901) at a time when he was already gravely ill and an invalid, after having shown no interest in matrimony (and a generally flippant attitude in his relationships with female friends) throughout his adult life.
This lively biography is a work of love based on newspaper accounts and an abundance of local anecdotes about "Doc Susie," Susan Anderson, who received her M.D. from the University of Michigan in 1907, and who maintained a single-handed rural practice in the almost inaccessible heights of the Rockies from shortly after her training was completed to 1956. She lived to tell a great many stories about arduous and ill-equipped visits to out-of-the-way sites in lumber camps and makeshift farmhouses in several feet of snow through dangerous mountain passes.
After her death at the age of 90 in 1960 her survivors added their recollections to the body of lore. An authentic hero tale about what made it worth her while to withstand tuberculosis, unreliable transportation and supplies, impoverished patients, snow, and solitude, this book may remind readers of a quality of "gumption" that is one of the still admirable aspects of the American pioneer legacy.
Summary:This is the fifth, and final, collection of poems by the surgeon-poet, George S. Bascom, who practiced for over 35 years in Manhattan, Kansas. The poems cover a wide range of topics in a variety of forms, ranging from free verse to sonnet. Many of them are concerned with the poet's medical experiences, both as physician and as patient. The poems arising from Bascom's own illness with prostate cancer are among the most effective in the book; these include, among others, "Operation," "Carpe Diem," "I With My Death," "Notice," "Metastatic Disease," "Progression," and "Medicine Circle." "Gloris," "Post Op," "7-2-59," and "Lydia" are fine evocations of patients and patient care.
The poems in this collection celebrate many of the patients Dr. Schiedermayer has encountered in his practice, and what they have taught him. Most of the poems are vignettes of patients or narratives of medical encounters. The poet begins by "rummaging / with my hand / at the bottom" of his medical bag ("Black Bag"); he needs something more than the usual instruments. He writes wryly about Ricky ("Skin for Ricky"), a 30 year old man with cerebral palsy, who has normal human desires and aspirations; and compassionately about "A Poet Benefactor," who is suffering from breast cancer.
As Dr. Schiedermayer notes in "Amputation," his first serious lesson in medicine is "what you must lose." You must certainly lose a sense of invulnerability--but by becoming vulnerable to your patients' stories, you may also become a source of healing. In the end he gives thanks "for more love than I deserve."
Nilov and Kuprianov are returning from a hunting trip and stop for a meal at the mill. An old man tells them about the mad wolf that has been terrorizing the village. They make light of the tale that there is a man in the village who can cure hydrophobia (rabies). Later, Nilov goes out for an evening walk. Suddenly, he sees a suspicious shadow--the wolf!
Nilov doesn't have a weapon with him. When the wolf gets close, the hunter grabs him by the neck. Ultimately, Nilov's cries for help are answered and the wolf killed, but not before he inflicts a deep bite on Nilov's shoulder. Nilov is terrified of contracting hydrophobia and goes first to the folk healer and then to a local physician, Dr. Ovchinnikov. Ovchinnikov reassures him that he almost certainly won't get rabies; after all, the wolf bit him through his clothing and he bled a lot, so the poison "probably flowed out with the blood."
In the first version of this story (1886), Nilov was so delighted that he paid Ovchinnikov 500 rubles, went merrily along his way, and a year later had not contracted the disease. In the later version (1899-1901), Chekhov changed the ending: Nilov embraces Ovchinnikov and leaves in his carriage, thinking about what a great tale his encounter with the wolf will be.
Summary:Many of the poems in this volume bring historical figures to life; these include figures as varied as "Wallace Stevens, Walking," "The Death of Shelley," "Rembrandt's Head," "Immanuel Kant," and "David Hume and the Butterfly." Some, such as "The Miracle," "Dr. Beaumont's Miraculous Hole," and "The Corpse in the White House," focus on specifically "medical" aspects of history. Dr. Young also includes a number of poems that arise from his own experience as a practitioner; e.g. "The Rodeo Queen," "The Medusa," and "Night Call."
Although he could be a court physician in Macedonia, Hippocrates has returned to the island of Cos, at least temporarily, to take over his dead father's practice. He is summoned to the villa of a wealthy citizen to consult on the fits of a daughter of the house. Using precise clinical observation, he diagnoses hysteria instead of epilepsy. Then, he relates the girl's psychological problems to the neglect of her selfish and adulterous mother, Olympias, who prefers her handsome, athletic, but rather dense (and as it turns out, illegitimate) son, Cleomedes.
A marriage is to be arranged with Cleomedes's obsession, Daphne, the exquisitely beautiful and intelligent daughter of a physician from Cnidus. But Daphne falls in love with Hippocrates, and he with her. In between solving clinical problems, including a real case of epilepsy, a botched abortion, and a broken hip in his own grandmother, Hippocrates is led along a tangled path of intrigue, seduction, and false accusations.
A fire destroys the medical library of Cnidus, killing Cleomedes, who, for once in his life had risen to heroism in attempting to save an invalid woman and her son. When the newly orphaned child reveals that Olympias and her old lover have committed arson, Olympias leaps from the highest wall to her death. Hippocrates is now free to marry Daphne. Adopting the child as their own, they return to the island of Cos.
In early 1847, the young Quebec city doctor, Lauchlin Grant, struggles to extract a living from his boring practice and pines over his childhood sweetheart, Susannah. She is now the wife of a prominent journalist, Arthur Adam Rowley, who has charged Lauchlin with her care, while he travels in Europe to report on the ghastly potato famine in Ireland and his predictions for its effects on immigration.
Even as Rowley's letters are read at home, waves of starving Irish land at Grosse Ile in the St. Lawrence River where thousands are ill or will sicken of ship fever (typhus), and die. Lauchlin is called to help at the quarantine station. Of the hundreds in his care, he rescues only Nora. Having lost her family, Nora decides to remain as a nurse, because she is now immune.
Lauchlin sees Susannah only once more, learning that she too cares for victims of typhus, which is also ravaging the mainland, despite the quarantine. He senses her unspoken love for him and, filled with an inner peace, returns to Grosse Ile, only to contract typhus and die. Nora takes the doctor's belongings to Susannah's home, hoping to meet the woman whose name he had mumbled in his delirium. Instead, she finds Susannah's newly returned husband dreading the loss of his now dying wife.
Osler’s famous essay was first delivered as a valedictory address at the University of Pennsylvania School of Medicine in 1889. Osler urges the graduates to develop two qualities or virtues. First is the "bodily" virtue of imperturbability or "a judicious measure of obtuseness." This means the outward expression of calmness and coolness, even under difficult circumstances. This virtue suggests that physicians should be relatively "insensible" to the slings-and-arrows of patient care, always maintaining a degree of detachment from their patients.
The complementary "mental" virtue is aequanimitas, which is the personal quality of calmly accepting whatever comes in life. These virtues, however, should not lead to "hardness" in dealing with patients. Osler also urges his students and colleagues to develop the other gentlemanly virtues of courage, patience, and honor.