Showing 61 - 70 of 139 annotations tagged with the keyword "Alternative Medicine"
The novel twines several plots together: the love story of Emilia Sauri and Daniel Cuenca; the Mexican Revolution; Emilia's medical practice; the love story of Emilia and Dr. Zavalza.
Emilia Sauri is the daughter of upper-class Mexican parents and is raised in relatively idyllic surroundings. Her father is a pharmacist and she learns his craft through a long apprenticeship with him. Emilia's long-time childhood friend, Daniel Cuenca, becomes her lover as they grow older and their love grows in passion while Daniel's involvement in popular struggle increases.
The Mexican Revolution is brewing and the Sauri's and Cuenca's lives are intertwined and involved in the struggle in various ways. When a wounded fighter is brought to the Sauri's, Emilia takes care of him, her "first patient," and thus begins her thirst for practicing medicine. She studies with Daniel's father, the indomitable Dr. Cuenca ("I leave but one bequest to my children: paralysis of the spine before the tyrant").
Drawn more and more into the struggle, Emilia joins Daniel on the front and practices medicine with the most desperate cases, along with the myriad poor people she meets along the way. Emilia also practices medicine with Dr. Zavalza, and finally marries him, although she never stops loving Daniel.
Rosita Arvigo is a Chicago-trained doctor of naprapathy (an alternative therapy that involves soft tissue manipulation, diet, and other non-drug modalities) who moved with her husband (also a naprapath) to Belize to open a medical clinic. Shortly after her arrival she met Elijio Panti, given a variety of names by his patients: el viejito, the old man, numero uno, or el mero, the authentic one.
One of the last traditional healers of Mayan medicine, Panti uses observation, experience, and divination with his sastun to diagnose his patients' illnesses; and herbs, manipulation, and prayers to treat them. Arvigo studied with Panti for five years, learning to identify and use countless plants in the rainforest that surrounds her home and, eventually, discovering the object that becomes her own sastun.
Summary:Chamoiseau, a graduate student, arrives in Texaco, the illegal settlement above Fort-de-France, and is knocked unconscious by a rock. One volatile inhabitant has responded viscerally to the city official come to order the razing of his home. Others notice the coincidence between Chamoiseau's arrival and more positive events. Thus, in hope, and fear of police reprisal, they revive this "Christ," and bring him to Marie-Sophie Laborieux. In "the battle of her life" Texaco's founder begins to persuade the "Bird of Cham" to preserve her story and that of her people, to spare her town.
A stray dog bites the left ankle of 12-year-old Sierva Maria de Todos los Angeles. She and her peculiar parents live in a country near the Caribbean Sea during colonial times. Her father belongs to the class of decaying nobility. He is a weak man with poor judgment. Her scheming mother is a nymphomaniac who abuses cacao tablets and fermented honey. Sierva Maria is more or less raised by the family's slaves whose culture she assimilates. The youngster has luxuriant copper-colored hair and a penchant for lying--"she wouldn't tell the truth even by mistake" according to her mother. (p. 16)
Before long, the dog dies of rabies. When Sierva Maria begins exhibiting bizarre behavior, no one is quite sure of the cause even though everyone seems to have his or her own theory. Is the girl displaying signs of rabies? Is she possessed by a demon? The physician Abrenuncio doubts either diagnosis. The powerful Bishop believes the girl may require an exorcism. Perhaps Sierva Maria is simply eccentric or maybe even crazy. Ninety-three days after being bitten by the dog, she is locked in a cell in the Convent of Santa Clara.
The Bishop appoints his protégé, 36-year-old Father Cayetano Delaura, to investigate the matter. The priest is immediately infatuated with the girl. When the Bishop learns of Cayetano Delaura's love for Sierva Maria and his unacceptable actions, the priest is disciplined and then relegated to caring for lepers at the hospital. The Bishop next takes matters into his own hands by performing the rite of exorcism on Sierva Maria. After five sessions, she is found in bed "dead of love." (p. 147)
This is the second edition of Hawkins's groundbreaking work on illness narratives--autobiographical and biographical accounts of illness that she calls "pathographies." This edition preserves the text of the earlier (1993) work but updates it with a new preface and a new concluding chapter. This new chapter (chapter 6) surveys works written since 1992 and expands the discussion of mythic thinking and narrative.
Hawkins posits that mythic thinking pervades illness writing. Mythic constructs, she argues, organize the way patients understand their illness, how they interact with the institution of medicine, and how they write their narratives. Myths are formulative in that they attempt to create order out of the disorientation of illness. In the texts selected, Hawkins identifies "archetypal" (transcultural, transhistorical) myths--myths of journey, battle, and death and rebirth (discussed in the first edition as well).
In this edition Hawkins introduces a new term: "ideological" myths. Ideological myths are "linked to a particular culture at a particular time" (xiii). In this category is the myth of healthy mindedness, a way of thinking that was labeled "mythos" in the earlier edition. Hawkins proposes two additional ideological myths, discussed in chapter 6: the Gaia myth (that links illness and environmental problems), and the "myth of narrativity" (xiii).
The book's chapters are organized around the myths enumerated above, with many examples. Most of the works discussed were written in the latter part of the 20th century, but there are several pages devoted to John Donne's Devotions upon Emergent Occasions (see annotation in this database). Hawkins determines how, in specific cases, the myths she has identified function--whether they are "enabling" or "disabling," and whether they are "medically syntonic or dystonic" (21-24). Myths that have an enabling function are adaptive, useful, help recovery or adjustment, ameliorate suffering. They are often medically syntonic--compatible with the belief system of Western medicine. One notable exception to this is Hawkins's paradigm of the ideological "myth of healthy mindedness," in which to be enabled often means to controvert traditional medical practices.
Southern Baptist missionary Nathan Price brings his wife Orleanna and his four young daughters to the Belgian Congo in 1959, just before its turbulent passage into independence as the state of Zaire. The Prices’ stay in the tiny village of Kilanga occasions escalating conflicts of cultures and values. The differences between the social, religious, and political habits of the United States and Africa are a source of both wonder and strife.
Orleanna and most of her daughters develop bonds with the people of Kilanga whose dimensions are much deeper than they first realize. At the same time, the family finds itself increasingly at odds with each other. All the women are engaged in a passage to personal identity and independence from Nathan: Orleanna, the dutiful minister’s wife; materialistic teenager Rachel; fervent, idealistic Leah, who emulates her father until it’s impossible to continue; her brilliant twin sister Adah, who walks with a limp and perceives the world in palindromes; and adventurous five-year-old Ruth May.
While all the women are changed by Africa, Nathan becomes more and more zealous in his refusal to change. The novel draws Nathan as a man whose identity has been definitively shaped by a World War II trauma that launches him on a downward psychological spiral from which there is no exit.
The novel is broken into seven books, all but the seventh bearing the titles and epigraphs from books of the Hebrew Bible and Apocrypha. Within the sections, the story is told as a round robin, with the Price women contributing alternating first-person narrative.
The daughters’ stories begin in 1959 in Africa and record events as they happen, gradually working their way forward to the 1990s. Their mother, in contrast, tells her story retrospectively, writing from Sanderling Island, Georgia, long after her return from Africa. Nathan is the only family member who never narrates.
Dash provides a visually lush and poetic portrayal of a little-known Gullah subculture existing on a barrier island off the coast of South Carolina. Because the small colony is isolated from the mainland and the dominant culture, the extended family exhibits unfamiliar behaviors and patterns of speech associated with their African heritage.
The story occurs on the day prior to the Peazant family's final departure from the island's familiar contours and rich customs. The wise old matriarch and conjure woman keeps both the oral history and a tantalizing box of relics. When her family leaves, not surprisingly, she intends to stay. Some members have already assumed characteristics of the mainland culture, such as Christianity and mainland manners, and are eager to leave; others are more reluctant and even frightened about forsaking the world they know.
Without any careful delineation of specific problems, audiences recognize inherent tensions between an inherited tribalism, and alien belief systems. If the island and the relic box's strange contents reference safety, stories about lynching and rape on the mainland cast a dark shadow for many family members. A breathtakingly beautiful picnic scene at the beach is central because it celebrates and symbolizes the paradisal innocence of the island people.
This novel is based on the facts of an actual hantavirus outbreak that took place in the southwestern US in 1993, retelling the events as medical mystery, as ghost story, and as meditation on the relationship between rationalist western medicine and the beliefs of local indigenous cultures.
Dr. Push Foster is part Choctaw and part white, raised in Oklahoma. He returns to Arizona as an Indian Health Services physician at the time an outbreak begins of what is later identified as Hantavirus Pulmonary Syndrome. Western medicine and traditional health beliefs and practices overlap in the investigation and response to the illness as it infects and kills Navajo people.
Querry presents us with a convincing epidemiological investigation into the virus, but also suggests an alternative, or complementary, etiology for the outbreak: an archaeologist has stolen a sacred stone from the Hopi people with the help of a Navajo witch, or shape-shifter, the title's "bad medicine" practitioner. This theft, the novel suggests, is the reason that only Navajo, and one white person (the archaeologist's partner) become ill.
The climax of the story is a showdown between the shape-shifter, a Hopi village headman, and the ghost of a woman killed trying to save her people from the 1805 massacre of Navajo by Spanish troops at Muerto Canyon. (The virus, when first identified, was named Muerto Canyon Virus.) This woman becomes a figure of both vengeance and reconciliation, an uneasy meeting of cultures that echoes and informs the work of Push Foster and his colleague, Sonny Brokeshoulder: both are men of Indian blood with a "white" upbringing and who return to their culture bearing Western medical training, but do not deny the traditional knowledge either.
Unlike most medical thrillers, this book does not offer reductive explanations and answers; instead, we are left with the certainty that traditional and western thinkers must collaborate, not only to care for patients, but to take care of the natural environment on which all our health depends.
The author, a renowned monologist, gives a hilarious account of his adventures as he attempts to cure a disturbing change in vision, diagnosed as macula pucker. His encounter with conventional medicine, including a physician who coldly recommends "a little macula scraping" leads the author on a worldwide search for the perfect, alternative cure.
He winds up naked and panting in a "Native American sweat lodge," following a rigid raw vegetable diet, trying the Christian Science prayers of his youth, and participating in a wild and gory psychic healing session in the Philippines with the "Elvis Presley of psychic surgeons." He finally controls his multiple anxieties about entering middle age, listens to his sensible fiancee, and undergoes conventional surgery.
Belle Yang has created a beautiful and lyrical tribute to her father (Baba) and to her Chinese heritage. She has illustrated the folktales and life of her father with her own brilliantly colored paintings, which complement her vivid and colorful prose. Several stories concern doctors and healing in early to mid 20th century China. For example, in the chapter titled "Secret Family Recipes," the tale of Daye reveals the intricate world of family relations, social structure based on wealth and family position, and country versus city prejudices.
Daye is a poor relation but a hard-worker. After he and his wife take an old traveling doctor, "jangling the healer’s trademark ring-shaped rattle," into their humble home, the old doctor teaches Daye how to heal and gave him his "family recipes" for healing. However, Daye’s troubles are not ended, as the townspeople call him a charlatan and quack. Daye does, though, possess the power to heal.
When a wealthy magnate is injured, Daye stakes his life that he can save the man’s leg, even though all the important doctors of Western medicine advise amputation. Daye saves the magnate’s leg, is catapulted to become the head of herbal medicine at the medical institute and passes on the "family recipes" to his daughter, "a short, squat, swarthy woman with bulbous eyes and yellow, ratlike teeth that sprouted between her normal adult ones, leaning every which way like disrupted roof tiles."