Showing 631 - 640 of 698 Nonfiction annotations
Scarry argues that pain is the most absolute definer of reality. For the person in pain, there is no reality besides pain; if it hurts, it must be real. This characteristic of pain makes it useful politically. In torture, for example, the reality of the one being tortured is reduced to an awareness of pain, while the torturer’s world remains fully present. This is realized most emphatically when torture is described as information-gathering. The torturer insists on questions that for the tortured are no longer of any concern.
War also makes use of pain. In the dispute that leads to war, one country’s beliefs are pitted against another’s. Both sides’ positions are thus called into question; if there is disagreement about the facts, it becomes apparent that the facts are based in opinion, not reality. The injured bodies of war re-connect the victor’s beliefs with the material world. If the injured body is the ultimate in reality, the injured bodies of war can be used to signify the reality of the victor’s position. Simultaneously, the pain of individuals in war is transferred to inanimate objects or large groups. Thus, one speaks of "Division Six" being wounded or weapons being disabled.
This language also uses the absolute reality of the body in pain to secure the truth of a cultural/political position. Scarry discusses the reality-producing quality of pain in Judeo-Christian scriptures, Marx, and humans’ relationships with inanimate objects.
This book, which is subtitled "Seven Paradoxical Tales," contains seven of Oliver Sacks' clinical stories of persons whose unusual neurological deficits teach us something about the way the brain (and, therefore, the mind) works. In "The Case of the Colorblind Painter" an artist learns to adapt to a completely black-and-white world after sustaining trauma to his occipital lobe.
"The Last Hippie" portrays a man whose ability to form new memories was destroyed by a massive midline brain tumor; he still "lives" in the 1960's. "A Surgeon's Life" depicts a Canadian surgeon with Gilles de la Tourette Syndrome, showing how he is able to live as a respected member of the community and practice surgery despite this disabling condition. "To See and Not See" tells the tale of a man in his 50's who is suddenly able to see after being blind since early childhood.
In "The Landscape of His Dreams" Sacks introduces a painter who, after a serious illness in the 1960's, apparently developed extraordinary and persistent "waking visions" of Pontito, his hometown in Italy. For many years he has obsessively painted remarkably accurate scenes of Pontito. "Prodogies" and "An Anthropologist on Mars" both deal with autism. The first tells of an autistic boy from England who has remarkable skill in visual memory and drawing; the second is about an autistic woman with a Ph.D. in animal science, who teaches at Colorado State University.
In his study, Professor Starr examines the evolution of the practice and the culture of medicine in the United States from the end of the colonial period into the last quarter of the twentieth century. His major concerns are with the development of authority, and the Janus image of professionalization as medicine has gained power, technical expertise, and effective modes of diagnosis and treatment and at the same time seems to be getting further from the patient.
At the time of publication, our society had finally begun to take a hard look at the impracticality and the inhumanity of continuing on the trajectory of American medicine developed one hundred years ago. Starr invites the reader to consider the impact of modern stress on the profession and, more intently, on the constituency it is dedicated to serve.
This study explores the history of physician-patient relationships, especially as it relates to the ascendancy of science in medicine. The book begins by describing traditional physician-patient relationships in the 18th century. The focus, however, is on the "modern" doctor (beginning in the 1880's) and the "postmodern" doctor (beginning in the 1950's).
The author describes the transition from modern to postmodern doctor and a corresponding transition from modern to postmodern patient. A "sympathetic alliance" between physician and patient was essentially a development of the modern period (1880's - 1950's).
Dr. Hertzler leads the reader, topically and generally chronologically, through the nature of the practice of medicine in rural America from the 1880's through the 1930's. His early narratives are those of a child observing the ravages of epidemic diseases in the face of medical futility.
The remainder of the work, divided into subject headings, is devoted to anecdotes and observations on such things as horse and buggy home visits, kitchen surgery, the proprietary hospital and physician education. Having served not only as a rural practitioner, but as a professor of pathology at academic centers and a consulting surgeon, Hertzler draws on a wide experience over a period of time known for rapid advances in basic biological science which would, near the end of the narrator's life, open the way for technological medicine as we know it today.
This collection of vignettes follows the growth and development of one internist as he reflects on some of the critical experiences that shaped him as physician. The common thread of the work is the celebration of the relationship that can, and perhaps should, be built between the physician and his or her patient in the course of caring: this relationship is the sacred space of the title.
The author accomplishes his self-imposed task of describing this space by presenting situations in his practice life that illustrate the concept. The chronological structure of the collection enables the reader to study the maturation of the author as a self-reflective practitioner over the many decades of his professional life. Many of the stories are very funny; others are wrenching; all are gently told.
Tuesdays with Morrie is a series of lessons a former (and now current) student has with his teacher (and now mentor) about facing one's death and living one's life. The author, Mitch Albom, is an award-winning sports columnist with the Detroit Free Press. A chance encounter propels Albom, guiltily and fearfully, to the bedside of Morrie Schwartz, his sociology teacher at Brandeis University nearly twenty years ago. [This chance encounter occurs electronically--Albom saw Morrie speaking about dying from ALS (amyotrophic lateral sclerosis) with Ted Koppel on the Nightline television program].
Once together again, teacher and student decide to extend the visit over the remaining months of Morrie's life. Their Tuesday "seminars" explore perennial value issues of everyday life: "Family," "Emotions," "Money," "Marriage," "Our Culture," Fear of Aging," etc. The interchanges, fortunately, are studded with "pearls of wisdom" from Morrie.
Summary:Canadian artist, Robert Pope (d.1992), devoted the last years of his short life to documenting his decade-long experience as a patient with Hodgkin's Disease. Shortly after his diagnosis he was influenced by the 1945 autobiographical novel of Elizabeth Smart, By Grand Central Station I Sat Down and Wept. Pope's early work explored the interconnectedness and pain of individuals bound by an imperfect love, in Smart's case for a married man. After his disease went into remission, he began to paint the patient's perspective on illness, hospitals, visitors, family, and health-care providers in a series of images that suggest the lighting of de la Tour, the photographic immediacy of Doisneau, and the menacing surrealism of de Chirico. His book, Illness and Healing: Images of Cancer (1991), became a bestseller.
An intern in internal medicine is frustrated by his weekly clinics; he seems unable to understand why most of his patients come to see him, why they seem happy when they leave, and wonders when he is going to have the chance to do "real" medicine, such as ordering tests and making sophisticated diagnoses. One day, he sees an elderly woman who had been worked up over the years for "heart pain" without finding a diagnosis. In the past she had seen other residents for no discernible reasons.
At this visit, the author recognizes that she seems upset, encourages her to talk, realizes that she reminds him of his grandmother. The woman reluctantly admits she has fallen in love with a younger man. The resident is respectful towards her, and recognizes the beautiful woman she had once been. He begins to realize that she has experienced much that he hasn't, and that she has much to teach him about life and about being human.
The writer, a comparative literature professor, elected to spend one full semester as an up-close observer in a medical school anatomy lab during the student dissection experience. He approached the experiment with the clearly articulated intention of writing about the lab, the instructors, the students, and their subjects. The book takes the reader dissection by dissection through the socialization process, as well as the technical content, of the class--from the first cut to the final memorial services for the cadavers at the closure of the term.