Showing 61 - 70 of 390 annotations tagged with the keyword "Cross-Cultural Issues"
Summary:Johanna Shapiro, Director of the Medical Humanities Program at University of California Irvine School of Medicine, brings her considerable skills and experience as medical educator, writer and literary critic to this unique volume of medical student poetry. Shapiro collected over 500 poems by medical students not only from her home institution but also from other US medical schools and performed a content and hermeneutic analysis. As Shapiro carefully details in her methodology section, she treats "poetry as a form of qualitative data, and [therefore] techniques of analysis developed for other sources of qualitative data (such as interviews, focus groups, and textual narratives) can be applied to an understanding of poetry." (p. 42)
Summary:Ape House is the fourth novel of Sara Gruen. It relates the story of a group of bonobos living in the Great Ape Language Lab in Kansas City under the immediate direction of scientist Isabel Duncan. These six apes are quite adept in using American Sign Language to express their thoughts, wishes and interactive relations with humans. When the Laboratory is the target of a violent explosion, apparently by animal rights activists, Isabel Duncan is severely injured. The six bonobos escape, soon resurfacing in New Mexico as the prime time stars of Ape House, a reality TV show produced by Ken Foulks, a stereotypically evil TV mogul. The bonobos and the show become a controversial hit and the immediate bane of a still recuperating Isabel.
Summary:Edited by Victoria Tischler (a psychologist in the Division of Psychiatry at The University of Nottingham), with forewords by Dinesh Bhugra (Professor of Mental Health and Cultural Diversity at King's College London) and Allan D. Peterkin (who founded ARS MEDICA: A Journal of Medicine, The Arts and Humanities), this handbook is intended to provide guidance on medical humanities teaching in the field of mental health. After a short, familiar introduction to the need for such teaching, Tischler offers concrete guidance on how to begin establishing a medical humanities course. The subsequent chapters deal with topics, perspectives, and forms of art one might include in such a course. There is a "brief history of psychiatry through the arts" by Allen Beveridge which is, as we are warned in the title, somewhat cursory, but also well-written and thought-provoking.
In 1951 when Henrietta Lacks was dying of cancer in the colored ward of Johns Hopkins, cancer cells taken from her without her knowledge "became the first immortal human cells grown in a laboratory"(4). Known as HeLa cells, they are still reproducing today and are used world wide in research for cancer, cloning, genetics, Parkinsons, and many technologies. Henrietta's family did not know she was the source of these immortal cells until scientists began testing the family members too. Poor and black, they were very angry to find the white establishment had made fortunes using HeLa cells while the family got nothing for it and couldn't even get good health care. In her thorough and careful investigation, Rebecca Skloot interviewed the Lacks family; scientists, doctors, and others who worked with HeLa cells; historians; journalists; ethicists. This book traces the complex stages of her search for the truth about what happened to Henrietta Lacks, her HeLa cells, and her family.
Summary:As explained in the succinct yet thorough introduction by co-editor Kimberly Myers, an international conference on the topic of "The Patient" was convened at Bucknell University in Pennsylvania in 2006. This collection of essays, which range from personal experience to scholarly literary critique, results from the conference presentations.
At first the title seems to relate to the main character's lay-off or departure from his job as a professional cellist in a bankrupt and dissolving orchestra. As the story continues, the title's unpredictable meaning becomes clear.
Not surprisingly, jobs for cellists are difficult to find. Shattered by his desperate situation, Daigo, the central character (Masahiro Motoki), and his wife Mika (Ryoko Hirosue), return from the city to his hometown where they begin to experience stresses and discomforts associated with joblessness. After a long period of searching, Daigo responds to an ad for someone to work in departures. Believing that he is applying for a travel advisor job, he discovers that the position involves the ceremonial art of caring for the bodies of those who have recently died--or departed. He learns about encoffination, the elaborate ritual of washing and dressing the body before placement in the casket prior to burial, from Sasaski (Tsutomu Yamazaki), his new employer.
Mika is so appalled and ashamed when she learns about his new career, she decides to leave him. In spite of his own unhappiness, Daigo continues on. With the remarkably skilled Sasaski at his side, Daigo develops great sensitivity in the ritualized care that is provided before family mourners. Each of the caring situations becomes for Daigo, a rich story about the textures of human life. He seeks solace for himself and another measure of dignity for the departed by playing beautiful music on his cello. Most viewers, including the eventually reconciled Mika, are impressed by the beauty of this probably unfamiliar Japanese ceremony.
Another moving dimension of Daigo's personal story occurs when information is revealed about the father who had abandoned him when he was a child. Circumstances intervene so that Daigo's new skills and sensitivities contribute to an understanding of that distant past and an opportunity to provide his father with a dignified departure ceremony.
Lucy is a novel named for the female hybrid offspring born of a bonobo mother and human father, a creature called, at various times, a "humanzee" since the bonobo, a great ape found in the Congo in Africa, is occasionally referred to as a pygmy chimpanzee. The result of artificial insemination by her father, Donald Stone, a British anthropologist in the Congo with aims to improve the human species, Lucy is a very human looking 15 year old girl.
The novel begins in medias res when Jenny Lowe, an American primatologist whose camp is near Dr. Stone's, is awakened by the sound of gun fire from nearby insurgents. She goes to Dr. Stone‘s camp, finds the anthropologist and an adult female bonobo lying on the ground, both dead from gun shot wounds. Near the two bodies is a living teen aged girl, Lucy, whom she rescues and manages to spirit back to her home base, Chicago, where Jenny‘s friend and lover, Harry Prendeville, a charismatic surgeon, awaits her. Lucy enrolls in high school, her genetic heritage kept secret from all save Jenny who discovers -- in one of several nods to Mary Shelley's Frankenstein -- Dr. Stone's notebooks.
Lucy meets and becomes best friends with Amanda Mather, a classmate (this relationship is far from clearly a strictly heterosexual one) and becomes the state wrestling champ because of her bonobo-inherited skill, strength and speed. When Lucy contracts a viral disease that bonobos, not humans, acquire and her secret is about to be exposed (Jenny, Amanda and Harry now all know), Lucy does what all 15 year olds would do in 2010 (the book is set in present time) - she outs herself on Facebook. (O tempora, O mores!)
The novel now enters the accelerated phase of denouement with expected and unexpected reactions from TV, the violent right (think Mickey the Gerund in Cast of Shadows in this database), Congress and the public. Without revealing too much plot as a spoiler, suffice it to say that a governmental scheme to abduct Lucy for the purpose of NHP (non-human primate) experimentation becomes a reality with devastating consequences that allow for a thrilling read with its share of tragedy and triumphs and ending with an unusual yet fulfilling conclusion satisfying for most concerned, especially Lucy and those who love her.
Mueller traces the path from forced exodus/immigration to struggling with a new language, to the eventual day when "you dream in rhyme, in a language / you never wanted to understand." In this evocation of diaspora and eventual acculturation, speech and language are important metaphors.
The poem is in three sections. Part 1, "Asylum," (14 lines) is enclosed by quotation marks, perhaps because the speaker describing a border crossing is still articulate in her native tongue. This section is highly personalized, written in the first person, and speaks of homesickness, dislocation, abandonment--"the life you say I must leave . . . bundled and tied . . . for the trash collector."
Part 2, "English as a Second Language," (15 lines) is written in the third person and describes the state of estrangement from meaning that accompanies unfamiliarity with a new language and culture. Letters of the alphabet become "crushing crossbar[s]" and "spying eyes." This section ends, however, with some hope that understanding will develop: the letters for the word "tree" might become intelligible, "could take root, / could develop leaves."
The final 16 line section, "Crossing Over," is written in the second person and marks the day when the transition to the new country and the new life and the new language is as complete as it ever will be. Now fully able to comprehend her surroundings, the speaker feels compelled to name the details of her environment, finds herself "humming the music you stuffed your ears against" and notices a certain strangeness when she communicates with those she left behind--"voices from home arrive . . . bent by the ocean."
The two parts of this work investigate judicial punishments in imperial China as well as 18th and 19th century Western reactions to and obsession with Chinese methods of torture and with the Chinese method of public execution called death by a thousand cuts (lingchi). The authors present their interdisciplinary study as a "cross-cultural hermeneutics" (245), concluding that this use of torture and tormented death in China is not special but forms part of a global pattern of state-sponsored cruel and inhumane punishments recorded over time.
Summary:As Audrey Young describes her process of becoming a compassionate internist in a besieged public hospital, she simultaneously argues for turning the hospital's patient care and financial practices into a model for improving health care in America. Young, a compelling storyteller, first entered Seattle's Harborview Medical Center in 1996 as a third-year medical student on trauma surgery service. She completed a residency there in general internal medicine and stayed on as an attending for six more years. She stayed, she tells us, because she met physicians "committed to a vision of equality" who were "the sort of people I hoped to become" (xiii). She also "fell in love" with "the story of a unique place" (xiii). Young's stories of that often chaotic place, where ambulances regularly transport homeless, indigent, addicted, and mentally ill refugees from neighboring private hospitals, emphasizes the ways the Harborview staff manages to treat patients with dignity and to choose an ethic of hope in the face of dire circumstances.