Showing 571 - 580 of 651 annotations tagged with the keyword "Disease and Health"
This book is subtitled, "Toward a Psychology of Suffering." In the first chapter, Bakan sketches a theory of disease as telic decentralization. He defines "telos" as that which is "determinant of form." In multicellular organisms, there are multiple, subsidiary tele, as well as an overall telos of the organism. Growth and development can occur only if there is a certain degree of telic decentralization, yet disease can also result from this internal separation or estrangement. Bakan supports this theory with arguments from post-Darwinian evolutionary theory, Selye, and Freud.
In the second chapter, Bakan considers pain as the psychic manifestation of telic decentralization. Suffering is a pain-annihilation complex: the experience of pain external to the ego, associated with an internal fear of annihilation. In the last chapter, the author considers the Book of Job as a literary approach to understanding the meaning of pain, sacrifice, and suffering.
This poem is one in a series written by Ted Hughes, addressing his wife, the American poet Sylvia Plath, who committed suicide in 1963. Here, the speaker recalls a time when he and his wife were living in Spain, and she became ill: "You lay helpless and a little bit crazy / With the fever." For Plath, the illness seems intolerable. She whispers, "Help me" to her husband, "crie[s] out for America," and sobs "I am going to die." He takes care of her, feeling as if he is "a nursemaid" or "suddenly mother." He cooks soup and spoon feeds her.
What worries him, though, is her reaction to being ill. He wonders whether she's exaggerating, and fears that if she treats a fever as if it were "the most impossible / Of all horrible things," then how will she be "when things get really bad"? He feels himself withdraw his sympathy for her, but then he recognizes what he calls "the overload"--a bluntedness which he likens to "the callous / That eases overwhelmed doctors."
The end of the poem is ambiguous: both he and his wife are overloaded; where her response is (hyper?) sensitivity, his is anesthesia. He continues to feed her the soup. (67 lines)
This poem is one in a series written by Ted Hughes, addressing his wife, Sylvia Plath, who committed suicide in 1963. After her first suicide attempt, and before she met Hughes, Plath was given electroconvulsive therapy (ECT) for depression (see Plath's novel The Bell Jar for her own description of this). In this poem, Hughes contemplates the mechanics and symbolism of what seems so brutal and elemental a treatment.
He focuses on the fragility and beauty of her body--"Your temples, where the hair crowded in, / Were the tender place"--and then makes us imagine the effect of electrodes there, in ever more shocking images: "They crashed / The thunderbolt into your skull," "They dropped you / A rigid bit of bent wire / Across the Boston City grid." He then suggests that there is a link between this treatment and the kind of poet she became: her "voice" was scarred and "over-exposed / Like an x-ray," and when her words returned they were distorted and vulnerable, "Faces reversed from the light / Holding in their entrails." (38 lines)
This remarkable collection of essays, both personal and scientific, is written by a remarkable man, Stephen Hawking, theoretical physicist and Lucasian Professor of Mathematics at Cambridge University (a chair once held by Isaac Newton). Unlike Hawking's earlier bestseller, A Brief History of Time, which was written for the lay public to explain current theories of the universe, this book is a mix of essays, speeches, and even a radio show transcript that were originally produced from 1976 to 1992 and whose intended audiences were varied, although none of the works are purely technical.
Hawking was diagnosed with amyotrophic lateral sclerosis (ALS or Lou Gehrig's disease in the USA, motor neuron disease in the UK) at the age of 21 during his first year of graduate school at Cambridge, though he had already noticed weakness the prior year at Oxford. As he describes in "My Experience with ALS," Hawking experienced a rapid deterioration of function and hence depression.
However, during his hospitalization, he also saw a boy die of leukemia, which made him realize that things could be worse. Hawking married, finished his dissertation, fathered children, and went on to develop innovative theories in physics, such as thermal emission by black holes.
The book begins and ends with personal topics-–the first two essays concern his childhood and education, and the last is a transcript of the BBC radio show, "Desert Island Discs," in which the celebrity is asked to name and describe 8 musical selections and one book he or she would choose to have if stranded on a desert island. Hawking describes how important communication is to him, and the computer program designed by Walt Woltosz, which enables him to have an artificial voice (albeit with an American accent), since he lost his natural ability to speak due to the tracheostomy that was required in 1985. Hawking's incredible will to live and his sense of humor come through in this broadcast, as they do in the scientific curiosity so evident in the essays about physics.
The narrator describes his chronic illness of two or more years duration. He likens his former good health to "an island / going out of sight behind you." His days are filled with visits to the doctor, medicine, and a loss of interest in "wanting to make love . . . . " He describes going through stages: feelings of being punished, which generate "an enormous effort to be good"; anger; fear of death; "a lake of grief"; "neurotic vigilance"; and finally, "only a desire to be done." In the end, he is still en route.
This 22-line poem lacking any punctuation is a breathless narration of an urgent need to escape from the hospital environment. The narrator runs past the bodies "crumpled on every bed" and "the lead apron / of hospital drapes" to emerge outside into the rain. She is immensely relieved to experience the cold wetness of the rain and to feel the pavement against her feet as she runs to her car.
Anne Finger, a writer and disabled activist whose childhood polio left her with a disability, tells the story of her pregnancy, her birth experience at home and in the hospital, and the serious health problems her newborn son experienced.
This history of western medicine in the nineteenth century chronicles the lives of some men and women who were innovators in the field of medicine. Williams begins the book in the 1700s with the life of John Hunter and his influence on nineteenth century medical practice and research.
The book consists of 16 chapters, many of which, like the one on Hunter are biographic. For example, Williams writes of the contributions, education, and lives of Florence Nightingale, Hugh Owen Thomas (orthopedics), Marie Curie, Joseph Lister, Ignaz Semmelweis (maternal health), Patrick Manson (tropical medicine), Jean-Martin Charcot, and William Conrad Röntgen. Other chapters are more theme-oriented, such as body-snatchers, discovery of anesthesia, homeopathic medicine, blood transfusion, and medical use of spas.
Black and white illustrations, such as Mrs. Röntgen's hand in an X-ray photograph help the reader to appreciate the advances in medical knowledge in the nineteenth century.
The austere and homesick Breton doctor, René T.H. Laennec (1781-1826) (Pierre Blanchar) and his religious friend, G.L. Bayle (1774-1816) are caring for the hundreds of patients dying of epidemic tuberculosis in the Necker Hospital of Paris. They conduct autopsies on the dead, but cannot predict the findings before the patients' demise, nor can they offer any treatment.
Laennec's sister, Marie-Anne, arrives from Brittany with news of their brother's death from tuberculosis. He confesses his despair over this devastating scourge to his friend, but quickly realizes that Bayle too is doomed. A distant cousin, the widow Jacquemine Guichard Argou, becomes Laennec's housekeeper and companion in philanthropic work for the sick after he is able to reassure her about her health; she engages the widow of Bayle in the same enterprise.
One day in 1816, Laennec is invited by urchins to hear to the scratching of a pin transmitted through the length of a wooden beam. He is thereby inspired to fashion a paper tube to listen to the chests of his patients. With Jacquemine at his side, he joyously announces that he can hear sounds from inside the chest. Feverish research ensues as he links the chests sounds of the dying to the findings at autopsy.
He turns his wooden, cylindrical stethoscopes on a lathe in his apartment, publishes his findings, and marries Argou. Fame and notoriety follow, as Laennec is able to distinguish fatal disease from minor illness and to predict the need for operations; however, he is ridiculed by jealous colleagues. Suffering now himself, Laennec consults his friend Pierre Louis, who tells him that he has tuberculosis. In the final scene, he returns to his native Brittany only to collapse on the stairs of his beloved home and die.
Grégoire Ponceludon de Malavoy (Charles Berling) travels to the court of Louis XVI at Versailles seeking support for his plan to drain a marsh in order to relieve his poverty-stricken community from the scourge of malarial fever. Naive in the ways of court, he is robbed and left on the road for dead. A kindly doctor and would-be courtier (Bernard Girardeau) finds Grégoire and nurses him back to health with the help of his beautiful and highly intelligent daughter, Mathilde (Judith Godréche).
Grégoire accompanies the doctor to court where he quickly excels in the fine arts of repartee, ridicule, and sang-froid. Seeing this practice as a route to the king, Grégoire plays the game well and begins to have fun, in spite of himself. He attracts the attention of the influential Comtesse de Blayac (Fanny Ardent) with whom he sleeps, despite his love for Mathilde.
A peasant child's death at home inflames his obsession over the marsh. At the moment he is finally about to have the king's attention, he duels with an officer over a matter of honor; he wins the duel but loses his regal audience for having shot a royal soldier. The film ends in the Revolution: Grégoire and Mathilde are well launched in their drainage project and the doctor is an émigré on the English coast learning the fine arts of British humor.