Showing 51 - 60 of 70 annotations tagged with the keyword "Law and Medicine"
Summary:This memoir reconstructs event by event the hospitalization of the author’s husband, Elliot Gilbert, for prostate surgery, his death in the recovery room, and the efforts of his wife and family to find out why he died. The account of those efforts over the ensuing months, which involved friends and lawyers, raises numerous legal, social, and medical questions about how medical mistakes occur; how the medical establishment may seek to protect itself; patients’ and families’ rights to information about norms and procedures; and the vulnerability of both patients and doctors in a litigious environment. The book also reflects on the process of mourning, and begins with an acknowledgment that the writing of it has constituted part of that process.
In 1930s London, a doctor is visited by his wealthy and powerful patient Beatrice Glendenning, who demands an abortion. Although the doctor is an occasional guest of this woman and her husband at their country estate, the law requires that he refuse her request, and he advises her to have the child--and most certainly not to get a backstairs abortion. She tells him that it is not her husband's child, that bearing it would never do, and storms out of the office.
Ten days later her husband calls the doctor to ask if he could drop by the Glendenning townhouse and look in on Beatrice, who, he says, has the flu. The doctor goes, and discovers that she has gotten an infection from an undercover abortion. He feels trapped, but he treats Beatrice anyway, resenting her the whole time. The husband maintains his story that Beatrice has the flu, and the doctor leaves thinking that the husband never suspected. In the fall, as usual, he is invited to a pheasant shoot on the Glendenning estate.
Argan, a fearful but miserly hypochondriac, divides his time between summoning the doctor to care for his ills and trying not to settle the resultant bills. He resolves to marry his daughter, Angélique, to a medical student, hoping to acquire unlimited access to gratis consultation. The chosen fiancé is an unattractive dolt, who would never interest Angélique, even if she were not already in love with clever, handsome Cléante, who poses as her music instructor.
Argan's wife, however, plans to send Angélique to a convent, removing her from the line inheritance. At the urging of the sensible servant Toinette, he feigns death to test his wife's affection only to discover her contempt. Again with the help of Toinette, the young lovers convince Argan to liberate himself from the twin tyrannies of his ailing body and his grasping physicians by becoming his own doctor. The play closes with the physicians' lively examination of Argan and his entry into the profession, full of musical pomp and pidgin Latin.
This is the fictional journal of four months in the life of Doctor Tyko Glas, a turn-of-the century Swedish physician, who writes, "How can it have come about that, out of all possible trades, I should have chosen the one which suits me least?" Though Doctor Glas is over 30 years old, he has "never been near a woman." In fact, he finds the physical aspects of sexual intercourse rather repulsive. Even more repulsive is his patient Rev. Gregorius, a nasty 57-year-old minister who happens to have a lovely young wife.
One day Mrs. Gregorius, also his patient, presents Doctor Glas with a strange request. Her husband's sexual advances have become onerous to her. Could the doctor tell him that she suffers from a pelvic disease and, therefore, must avoid sexual relations for several months? Doctor Glas agrees to do so, but the Rev. Gregorius is not easily put off. He believes that God has given married couples the duty to procreate, so sex is not simply a question of pleasure or preference. It is a question of duty. Thus, he rapes his wife, believing that their sacred marital duty is more important than her health.
Meanwhile, Mrs. Gregorius admits (to the doctor) that she has fallen in love with someone else, a handsome young businessman. As the summer progresses, it is clear that Doctor Glas has fallen in love with his patient, a love that is as tortured as it is silent and unrequited. Eventually Glas becomes convinced that he must save his patient from her repulsive husband's advances by murdering him.
Thus, the doctor carefully plans to poison the minister, using cyanide pills that he had once prepared for his own suicide. His plan is successful. The minister dies of an apparent "heart attack." Unfortunately, at around that time the handsome lover announces his engagement to another woman. The bereft Mrs. Gregorius, who sees nothing in the doctor, is left alone. Doctor Glas is also alone. "Life has passed me by," he ruminates.
As Dickens does so well, the writer treats the reader to a wide spectrum of the society of London in the 19th Century. The central issue in this novel is the hopeless slowness with which the court of Chancery moves, and the persons who are involved, either as claimants, as attorneys, or as those at the edges of the Court who seek to profit by the proceedings. The author gives us examples of the consistent behaviors of the very good (Esther Summerson and her guardian John Jarndyce) and the profoundly evil (Mr. Smallweed and Mr. Tulkinghorn) and a vast spread between these extremes.
The story is constructed somewhat as a mystery, as multiple connections among the myriad of characters are slowly revealed as the plot advances. The reader is allowed a view of the most poverty-stricken, as well as the most wealthy of the levels of society presented. The complexity of the characterizations and their intertwined lives, along with Dickens’s amazing descriptions, keep the reader moving through the tangle to its final resolution.
After seven years of research on children and adolescents diagnosed as "juvenile delinquents," psychiatrist Wertham concluded that crime comic books (mysteries, thrillers, horror, and police stories) are a harmful influence on young minds. In fourteen chapters, rife with the logic of comparison from the adult world, he analyzed the problem literature, its artwork, its advertising, and the so-called "educational messages" it contained.
Against the evidence of various "experts" and the champions of civil liberties, numerous anecdotes demonstrate how comic books glorify violent crime, link sexual love with physical abuse, permit illiteracy, and invite imitation. A series of vignettes demonstrates that violent child crime is on the rise and that actual crimes--even murder--have been connected to the reading of comics.
Wertham also provided statistics on comic book publishing, finances, and influence. A penultimate chapter is devoted to television. Emphasizing the public initiatives and legislative controls brought against American comics in other countries, such as Canada, Britain, Italy, Mexico, and Sweden, he demands action before yet another generation of youth is ruined.
In Edinburgh 1879, the famous actress Hermione Clery and her young lover are brutally murdered. A young man, Alan Lambert, stands accused of the crime, arrested after an expensive chase across the Atlantic. His brother, Graeme, appeals to Dr. Joseph Bell, professor of surgery and one of a dynasty in Scottish academic medicine. At first reluctant, Bell agrees to investigate the case and engages his medical student Arthur Conan Doyle in the task.
The story is told from Doyle's imperfect perspective. Beset by many obstacles from the police, the courts, and the Lambert family, Bell's investigation reveals a string of errors, including police sloppiness, suspicious evidence, and corruption in both government and law enforcement. On the day of the planned execution, Bell identifies the true killer and his motive, saving Lambert from wrongful death.
The story, set in small-town Ontario in 1960, takes the form of letters to her ex-fiancé from a young woman who has returned to the home of her father, a widowed physician who lives with his housekeeper, Mrs. Barrie. She recalls growing up with her strict and remote father and realizes now that he had been performing illegal abortions all her life. He will not discuss it, will not allow the word "abortion" to be said in his house, though she tells him she believes abortion should be legalized.
We are led to suspect that she herself has recently been pregnant.
When Mrs. Barrie breaks her arm, the doctor is forced to ask his daughter to assist with one of his "special" patients. She helps the young woman throughout the procedure, and disposes of the aborted fetus afterwards. Later, trapped indoors by a heavy snowfall, she and her father are sitting together at the kitchen table when she tells him about her own pregnancy.
She had carried it to term, giving up the baby for adoption. She had ended the engagement because her fiancé, a theology student, had insisted that she have an abortion before their wedding because he feared the social consequences of rumors that she had been pregnant before marriage. She is about to ask her father about his own work, and about what might happen should the law change and abortion become legal, when she realizes that he is not listening. He has had a massive stroke, and dies later the same day. The daughter turns away the next patient who calls about having an abortion.
She learns from the lawyer that, mysteriously, her father had virtually no money saved. She gives Mrs. Barrie most of the small amount her father had given her, and then realizes that all his money has already been given to Mrs. Barrie, either because she was blackmailing him, or because he loved her. She cannot tell which, but is oddly exhilarated and is now able to say goodbye to her fiancé for good.
The strange cast of characters in this satirical detective thriller includes most prominently, Dr. Rudy Graveline, a hack plastic surgeon trying to cover up the "accidental" death of a patient during a rhinoplasty procedure four years prior to the start of action. "One of the wondrous things about Florida, Rudy Graveline thought as he chewed on a jumbo shrimp, was the climate of unabashed corruption: There was absolutely no trouble from which money could not extricate you . . . Since the medical board was made up mostly of other doctors, Rudy Graveline had fully expected exoneration-- physicians stick together like shit on a shoe." (p.95)
Doctors, however, are not the only profession slammed by the author. Also receiving their comeuppance are corrupt lawyers, politicians, police officers, and judges. Searing satire is also directed at "reality journalists" through the character Reynaldo Flemm (i.e. Geraldo Rivera). Not surprisingly the "good guys" win and the "bad guys," including Dr. Graveline, lose. But the hideous way in which Dr. Graveline meets his demise is too gruesome to reveal here.
A philosopher and a clinical ethicist conduct an analysis of the practice of assisted suicide. They begin with the premise that health care providers may at times be assisting with suicide now, whether or not it is legal and whether or not the ethical dimensions have been solved. They contend that assisting a suicide might be morally right, but only when the patient’s choice is rational and free.
Referring to an earlier publication by Prado (Last Choice: Preemptive Suicide in Advanced Age, 1990; 2nd ed. 1998), they devote a chapter to each of three criteria used to determine the "rationality" of a choice for suicide, and another chapter to the "slippery slope" argument. A final chapter summarizes their contribution to this topic.