Showing 51 - 60 of 98 annotations tagged with the keyword "Euthanasia"
Professor Sandra Bertman founded the Medical Humanities Program at the University of Massachusetts Medical Center and holds certificates in grief counseling and death education. This handbook outlines how she uses the visual and literary arts to "improve our professional abilities to deal with death and dying." Her premise is that the arts provide a valuable vehicle for exploring and making bearable the prospect and fact of death.
Bertman illustrates her presentation technique (Chapter 2) of juxtaposing dual images around six central themes, here abbreviated: the chosen death; death and afterlife; existential aloneness; loss of control, unmentionable feelings, grief; the land of the sick vs. the land of the well; the moment of death. The book offers dozens of paintings, sketches, and photographs (reproduced in black and white), as well as many literary excerpts. Classic works are represented (David's painting, The Death of Socrates; Michelangelo's sculpture, "Pieta"; Tolstoy's novel, The Death of Ivan Ilyich) but there are many unusual representations as well--greeting card messages, epitaphs, cartoons.
In addition, some groups with whom she works (for example, medical students studying Gross Anatomy) have submitted their own drawings and commentary. These are shown in Chapter 3, along with written responses to a follow-up Death Attitude Questionnaire. Responses are from junior and senior high school students; college students; medical students; graduate nurses; hospice volunteers.
Chapter 4 gives suggestions for how to use images and texts and for how to approach discussions of loss and grief. The course syllabus for "Dissection, Dying, and Death," taught with Gross Anatomy, is appended, and there is an extensive bibliography.
Margaret returns one afternoon from tennis to discover that Lewis, her husband, has committed suicide by taking an overdose of pain medication. Lewis had been bedridden from amyotrophic lateral sclerosis (ALS). They had thoroughly discussed his plan to kill himself before he was unable to do so, but Margaret is surprised when it happens because she expected Lewis to leave her a message. There is none.
As Margaret prepares for her husband’s cremation, she recalls the circumstances under which he left his teaching job--not because of the ALS, but because he used to teach human evolution in his high school biology class, without giving "equal weight" to creationism.
Because this upset many of his students’ parents and local clergy, the principal several times suggested that Lewis might at least give a nod to creationism. However, Lewis, an outspoken opponent of religion, was insulted by this proposal and quit his job.
The undertaker encourages Margaret to hold a wake--to comfort her and their many friends--but she insists that Lewis wanted no wake and no service. The next day the undertaker brings her Lewis’ ashes; she goes out into the country at night and disperses them.
The surgeon-narrator and his team of assistants (the anesthesiologist, scrub nurse, circulating nurse, surgical resident, and medical student) perform a difficult operation during the night. The patient has an infiltrating cancer of the stomach (linitis plastica) that has eroded his aorta. Because of uncontrollable bleeding, the operation (an exploratory laparotomy with attempted repair of a malignant aorto-gastric fistula) is as doomed as the patient himself.
The surgeon soon comprehends the hopelessness of the procedure as well as the patient's terminal condition. He turns off the oxygen from the gas tank and stops the patient's blood transfusion. Minutes later, the man dies. Blood is all over everything. The doctor must now deliver the bad news to the man's family. He has the medical student tag along.
Members of the patient's family are upset and some are even out of control so he dispenses tranquilizers to them. The surgeon returns to the operating room (OR) and even now finds blood everywhere. The OR team is still working. The doctor showers and then goes back to the OR once more. The room is now dark and empty but clean. The surgeon imagines the dead man's body with a row of abdominal stitches that he likens to hieroglyphics. The unsuccessful operation and the surgeon's actions are thus both concealed and unforgettable.
In the fall of 1983, Treya Killam was about to be married to Ken Wilber, a prominent theorist in the field of transpersonal psychology, when she was diagnosed with a particularly virulent form of breast cancer. This is Ken Wilber's story, with much of it told through his wife Treya's journals and letters, of their five-year battle against her cancer, a long roller-coaster ride that ended in her death by euthanasia in 1988. The narrative includes details of several conventional and unconventional cancer therapies.
This is a remarkable collection of poems about the Holocaust by a poet who himself survived horrific abuse during his childhood and adolescence (see The Endless Search: A Memoir in this database). "He had in mind a thousand year Reich," Ray writes (p. 16), but it has become "the thousand year Kaddish." But the grief of the Holocaust has begun to move away from us after only 60 years, and we turn our backs on continuing atrocity and death, the Khmer Rouge in Cambodia, for example, (p.22) and the Death Squads of South America.
While the author was a small boy in Mingo, Oklahoma, "Dr. Mengele was cutting girls in half, twins." (p. 28) This evil remains in the world. Ray celebrates the survivors and acknowledges the very real grief that exists in the world, but he also understands that evil is an inextricable dimension of human nature. In the words Ray attributes to Adolf Eichmann just before he was hanged, "Your world is full of me, I am all over the place . . . and whether you like it or not, what I have done will be done." (pp. 66-67)
David tells the apparently fairly simple story of two young friends feeling their youth, their growing friendship, and their love for the mountainous outdoors of rural Canada. The narrator, unnamed until nearly the end of the poem, falls under the charismatic spell of David, the leader and more experienced climber of the two.
After introducing us to David, the narrator describes a particular climb they had been anticipating for months. During the ascent, the narrator slips. David saves him and then slips and falls himself, landing many feet below on a jagged rock that has broken both his fall and his back, leaving him paralyzed. David asks his friend to push him over the cliff citing paralysis as no way for someone like himself to live, i.e., in a wheelchair. The narrator acquiesces.
Summary:This story of one exceptionally accomplished family's discovery of their past and future relationships with Huntington's Disease (HD) is also the story of how the Wexler family changed the cultural narrative of HD for other families at risk for this genetically-transmitted and currently incurable disease. The HD diagnosis of Leonore Wexler (the author's mother) inspires Milton Wexler, a psychologist, to create a major foundation for HD research, which develops critical mass and influence as Leonore Wexler's condition deteriorates, and after her death. The book interweaves the story of the Wexlers' emotional and other negotiations with HD and the story of their efforts to create an HD community comprised of those with active symptoms of HD, family members, advocates, and researchers.
This is a collection of 23 stories, five of which take the form of "letters" in which an older physician (not surprisingly, a surgeon) gives advice to an imaginary young surgeon. However, every one of the stories "fits" as a tale that might be told in such a letter--assuming the author was a wise and gifted writer, in addition to being a surgeon.
The book begins with the gift of a physical diagnosis textbook on the occasion of the young doctor's graduation ("Textbook") and ends with a reflection on "your first autopsy" ("Remains"). Among the other stories are Imelda (see annotation), Brute (see annotation), Toenails (see annotation), Mercy (see annotation), "A Pint of Blood," "Witness," "The Virgin and the Petri Dish," and "Impostor."
A year in the life of a group of interns in a big city hospital guided by the wise internist (Buddy Ebsen) and the irascible, woman-hating surgeon (Telly Savalas). Contortionist posturing designed to lead to desired residencies is the major theme. The only female intern, and the most brilliant of the lot, wants to be a surgeon, but she is repeatedly belittled by the surgical chief until he realizes--not that she is good--but that she is the sole support of a daughter.
Another intern falls in love with a young Asian patient and at her death resolves to work in her country. A crisis emerges around the overdose of a suicidal patient with syringomyelia; all the interns are held responsible until they rather brutally force a confession from the man's wife. Friends throughout medical school, Lou Worship (James MacArthur) and Sean Otis (Cliff Robertson) plan to become surgeons and open a clinic for the poor. Otis falls for a glamorous model, while Worship is smitten with obstetrics and a student nurse (Stephanie Powers).
Forsaking the original plan, Worship applies to obstetrics, pressures his fiancee to sacrifice her dream of an international career, and tells on Otis when he discovers that he is helping his girlfriend abort her unwanted child. His career ruined, Otis marries the irretrievably pregnant woman and expresses his admiration to Worship for doing the right thing.
In this documentary film about euthanasia in the Netherlands, a man--Kees van Wendel de Joode--with amyotrophic lateral sclerosis (ALS, Lou Gehrig's disease) requests death in his home, to be performed by his doctor, Wilfred Sidney van Oijen. The film mostly consists of what appear to be unscripted discussions between Kees, his wife Antoinette, and the doctor; however, there are also interviews with the doctor and views of the doctor seeing other patients. The film shows the doctor performing euthanasia: we watch him inject a barbiturate and then a muscle relaxant and we see him supporting Antoinette during the bedside deathwatch.
Kees has had a rapid deterioration of his ability to function: he is unable to move his legs and right arm, he can no longer speak coherently, and he is having difficulty swallowing. His wife cares for him in their Amsterdam apartment. The film documents the legal requirements for euthanasia in the Netherlands: Kees's repeated requests for euthanasia, confirmation that he has an incurable disease, the second opinion doctor's visit, and reporting the death to the municipal coroner and public prosecutor.
The film's strength lies in the sensitive treatment of the impact of this request on the patient, his wife, and especially on his doctor. Dr. van Oijen is an introspective man who cares for his patients--he makes house calls, explains medical terms to his patients, touches his patients, and asks what they are concerned about. He allows his patients (Antoinette is, in many ways, his patient too) to weep and be emotional.
The religious and moral dimensions of euthanasia are explored mostly with the doctor, who does not view himself as a wanton killer, but rather a doctor whose duty includes the alleviation of suffering. The film concludes with a voice-over stating the doctor will not sleep this night, but still has a clinic full of patients awaiting him in the morning.