Showing 471 - 480 of 504 annotations tagged with the keyword "History of Medicine"
Summary:Angelo Pardo, an idealistic young Piedmontese freedom fighter and cavalry officer, is living in exile in Provence and making his way to join his best friend in Manosque, when a cholera epidemic transforms the countryside, towns, and social structure of the region. By turns, he aids an altruistic doctor in futile attempts to save the dying, lives as a fugitive on the roofs of Manosque, helps a nun to dispose of the dead, and accompanies a beautiful young woman, Pauline, to her home near Gap. His adventures illustrate the transformations produced by an epidemic and the means taken for survival.
Despite its provocative title, this lyric never refers directly to a plague or epidemic, unless both the inevitability and the social indifference of death could be deemed "plagues" in themselves.
The litany of the title is a catalogue of the inability to escape death--the rich, the beautiful, the strong, the witty-- have no extraordinary claim to immunity. Like the poet whose refrain reads, "I am sick, I must die. / Lord, have mercy on us, " the reader is encouraged to "welcome destiny," as he mounts to Heaven, his heritage.
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."
Summary:This collection includes a number of poems that speak directly to healing and the medical experience; for example, "The Wound Man," "Blood of a Poet," "Carmelita," and "Alzheimer's Disease." Others bring the author's medical sensibility to totally different topics and experiences; for example, "Freud's London House," "Square One," "The Path Through the Irises," "To Anne Sexton's Analyst," and "Orienteering."
Summary:In his introductory notes, Pritchett calls his book a "biographical and critical study." The author presents Chekhov's life chronologically, while at each stage concentrating on the relationships between life events and art, particularly with regard to the incidents and characters that find their way into Chekhov's stories. A typical chapter begins with the events of a given period and then presents lucid analyses of several stories or plays written during that time.
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.
A journalistic account of the CIA-funded experiments in "psychic-driving" of Dr. Ewen Cameron at Montreal's Allan Memorial Institute in the 1950's and early 1960's. Cameron investigated "treatment" for various forms of depression, consisting of high-dose electroshock (Page-Russell variant), heavy sedation, and the repetetive playing of patient's or the doctor's recorded voice.
Many patients did not respond; some were destroyed by the technique. Particularly moving is the story of Mary Morrow (Chapter 9), a physician-patient whose career was damaged by her experiences. Cameron held the most prominent positions in professional psychiatry; he died unscathed by his questionable research and in pursuit of yet another goal, a mountain peak.
This is a fascinating book on the relationship of science, medicine, and medical education to the rise of modernism in literature. Crawford uses Williams' work to connect the worlds of literature and medicine. He discovers in Williams' early poems and stories the dominant themes of clarity, cleanliness, objectivity, and authority; these themes also characterize early 20th century science. In Williams' later work, Crawford shows how the poet moved toward a more subjective and relativistic aesthetic, a change that reflects subsequent developments in science, especially physics, and signifies the emergence of "post-modernism" in literature.
Williams' first principle was clarity. As a physician, it was important that he observe human reality with a clear eye so that he could intervene to transform it. Direct apprehension of reality was also for him the source of poetry. He found beauty in the concrete experience of everyday life, but was skeptical of theories and abstractions. Along with clarity, cleanliness and objectivity also characterize Williams' worlds.
But clarity is not, in reality, so clear. To see clearly in a medical way, the physician must first learn to observe the world in a specialized manner in the "theater of proof," a metaphorical extension of the stage on which professors demonstrate anatomical structures or surgeons demonstrate operations. Like medical educators, the poet also creates a theater of proof. While the reader may experience clarity and simplicity in the poem, these effects are actually staged by the poet, who chooses "clean" words and manipulates reality to achieve the desired simplicity. In both medicine and poetry, the practitioner unveils the truth by using manipulative and authoritarian techniques.
In the last chapter, Crawford shows that Williams' later work presages a post-modern, relativistic world. While the earlier Williams speaks of clarity, simplicity, science, and authority, Patterson and the post-World War II poems reveal complexity, fragmentation, and subversion.