Showing 681 - 690 of 891 annotations tagged with the keyword "Empathy"
In this chapter from late in his autobiography Williams focuses on his subjective experience in caring for patients. The unusual truthfulness of patients in need, their "coming to grips with the intimate conditions of their lives," inspires him both personally and artistically, as a poet. The things that patients reveal about themselves and about the human condition not only keep him going as a physician; they are the stuff of poetry, the human truths that lie beneath the "dialectical clouds" we construct to protect ourselves from contact in everyday life.
Fridolin, a doctor, and his wife, Albertine, have been married for a few years and are the parents of a much adored little girl. In a moment of unusual frankness, they decide to confess all their temptations and adventures to one another. Albertine admits that she deeply desired a blond Dane encountered in the previous summer. Fridolin professes to welcome this news and tells of similar attractions. They promise to confide the sexual adventures of their waking and dreaming states.
But Fridolin is not at ease. The idea that his wife desired another-even in a dream-inspires a jealous energy that sends him in search of adventures that will reassure him of his own desirability and hurt if not repudiate Albertine. On the pretext of a house call, he wanders, masked and unmasked, through the decadent private clubs and cafés of night-time Vienna. He toys with the dismal daughter of a patient, an "unspoiled" prostitute, and a sophisticated matron--none of whom he actually claims, all of whom remind him of his wife, one of whom dies, he believes, in protecting him.
Uncertain if his adventure was reality or dream, he returns with tenderness to Albertine, although he has repeatedly vowed to leave her. He tells his entire story; she listens with better grace than he would have done. Then he asks what they should do. She replies that they should be grateful to have "emerged safely from these adventures" . . . "neither the reality of a single night nor even of a person's entire life can be equated with the full truth about his innermost being." "And no dream," he responds "is altogether a dream." (p. 98-9). They begin another day.
The Physician in Literature is an anthology edited and introduced by Norman Cousins that aims to illustrate the multiple ways in which doctors are portrayed in world literature. Literary selections are organized into 12 categories including Research and Serendipity, The Role of the Physician, Gods and Demons, Quacks and Clowns, Clinical Descriptions in Literature, Doctors and Students, The Practice, Women and Healing, Madness, Dying, The Patient, and An Enduring Tradition.
Some of the notable authors represented in this collection include Leo Tolstoy, Herman Melville, Albert Camus, William Shakespeare, Charles Dickens, George Bernard Shaw, Anton P. Chekhov, Orwell, Fyodor Mikhailovich Dostoevski, Ernest Hemingway, Thomas Mann, Gustave Flaubert, and Sir Arthur Conan Doyle. A healthy dose of William Carlos Williams makes for some of the most enjoyable reading ("The Use of Force" and excerpts from his Autobiography).
The story begins in London as Lilia, the young widow of Charles Herriton departs for an extended tour of Italy, taking with her a companion (Caroline Abbott), who is supposed to keep her our of trouble. Lilia leaves her 8-year-old daughter Irma home with the Herritons. The Herritons are a snobbish upper middle class family ruled by an iron-willed matriarch, who has never approved of her daughter-in-law's unassuming and spontaneous nature.
The trouble begins when word arrives from the small town of Monteriano that Lilia has gotten engaged to an Italian man. Mrs. Herriton sends her son Philip to buy off the "wretched Italian" and bring Lilia home. But he arrives too late. The 32-year-old Lilia has already married Gino Carella, who is the unemployed son of a dentist and a decade younger than she is. Gino is charming and seems guileless, although he has no intention of adopting an English attitude toward marriage. Indeed, he has married Lilia for her money and expects her to become a proper Italian wife.
Later, Lilia dies in childbirth, but the baby survives. At first the Herritons intend to sever contact and not acknowledge the child. However, nudged by Miss Abbott, the unsuccessful chaperone, they decide to "save" the child from becoming an Italian. Once again, Philip goes to Italy to buy off Gino and bring the boy to England. Once again, he fails.
But this time, his aggressive sister Harriet intervenes; when all else fails, she steals the baby. Unfortunately, a mishap occurs, and the baby dies. Meanwhile, Philip has fallen in love with Miss Abbott who, in turn, has fallen for the recently remarried Gino. In the end it looks like Phillip and Miss Abbott will become "just good friends."
This book contains 17 short stories, all set in an in-patient hospice, all exploring the reactions of patients and their caregivers--both family members and professionals--to the last stages of terminal illness. A woman struggles to find the strength to write last letters to her loved ones, nurses are surprised when a seemingly unconscious patient suddenly joins in their conversation; the hospice chaplain becomes a patient; and so on. In the title story, a dying woman's daughter finally manages to answer honestly when her mother asks when death will come: "Soon."
Summary:Carol White (Julianne Moore), an upper-middle-class Los Angeles housewife, is stricken with a mysterious illness that her doctor cannot diagnose or explain. He believes her illness to be psychosomatic, but Carol, through contact with a support group, realizes she has "environmental illness," an immune disorder that causes her to physically overreact to common chemicals, fumes, and environmental pollutants. The film follows her journey to a clinic in New Mexico in search of relief from her increasingly debilitating symptoms.
Helen Reed, a novelist, newly widowed, moves to the University of Gloucester for a semester to teach creative writing. There she meets Ralph Messenger, professor of cognitive science. Their relationship is set within a web of complex professional and family connections, most of which focus on variations of adultery. Everyone has a secret. Helen learns by reading the novel-in-progress of one of her students that the student had had an affair with her husband.
Ralph, awkwardly involved with a Czech grad student who is trying to blackmail him, is regularly unfaithful to his wife, who is in turn having an affair. Another scientist is addicted to on-line child pornography. Helen and Ralph eventually become lovers, until Ralph is found to have a lump on his liver (which later turns out not to be cancer) and then betrays Helen by reading her private journals. She then returns to London and he remains with his wife.
This book presents the "War of Attempted Secession" through the eyes of America's great poet. It consists of letters, dispatches, articles, and prose selections from Specimen Days (1882), Whitman's quasi-autobiography. In addition, all of Whitman's Civil War poems are included, some interspersed through the text and others collected in an Appendix.
The editor has arranged this material into 14 thematic chapters, beginning with "an introductory section in which Whitman discusses the general character of the Civil War" and including chapters containing material on his visits to the front, life in Washington during the War, letters to his mother, his admiration for Lincoln, and other topics.
Of particular interest is "The Great Army of the Wounded," a chapter composed of dispatches to the New York Times and Brooklyn Eagle, in which Whitman describes the military hospitals surrounding Washington and his own work as a volunteer nurse, scribe, and friendly visitor. In "Dear Love of Comrades," he presents a number of "specimen" cases of sick or wounded soldiers. "O My Soldiers, My Veterans" consists of letters written to soldiers, or for soldiers to their families. Another chapter, "Ethiopia Saluting the Colors," presents Whitman's positive assessment of black regiments serving in the Union Army.
Many of the war poems appear in topically appropriate chapters; among the most effective of these are "A Twilight Song," "Over the Carnage Rose Prophetic a Voice," "Pensive on Her Dead Gazing," "Dirge for Two Veterans," "Ethiopia Saluting the Colors," "O Captain! My Captain," and The Wound Dresser (see annotation in this database).
Sir Luke Fildes's eldest son Phillip died Christmas morning, 1877. He was attended by Dr. Murray, who directed all of his attention and care to the patient during the child's fatal illness. This unswerving dedication impressed Fildes.
Ten years later, when Sir Henry Tate commissioned Fildes for a painting to exhibit in what was to become the Tate Gallery, Fildes was given freedom to choose the subject matter. Fildes immediately decided to depict this scene of a family physician holding a bedside vigil by a seriously ill child. However, the painting was not begun for four years, and then only at the urging of Tate.
The shade of a lamp is tilted so as to bestow light on the two central figures: the physician, and especially, the recumbent child. The physician faces away from the bottled medicine and cup on the table and directs his gaze fully on the child. He is dressed neatly and sits calmly, patiently, resting his bearded chin on his hand.
The small child is central in the picture, in a white nightshirt on a large white pillow and covered with pale blankets. The makeshift bed consists of two unmatched dining room-type chairs. The child's hair is tousled and the left arm flung out, with hand supinated and beyond the edge of the pillow. Nonetheless, the child rests quite peacefully, as the pose appears quite natural.
To the right and rear of the painting are the parents. They are placed in such deep shadows that it is frequently difficult to make out these figures in reproductions. The mother sits at a table and hides her face in her clasped hands. The father stands beside her, with a comforting hand on her shoulder, as he gazes at the physician.
The painting is set in the interior of a small cottage. Rafters are low, furniture simple. Colors are muted; earth tones predominate. Although the majority of the light comes from the lamp, a bit of light also enters from the recessed window near the mother.
This is one of the two dozen studies of patients with right-brain disorders that make up Sacks's volume The Man Who Mistook His Wife for a Hat. The nineteen-year-old Rebecca has significant physical and mental defects (her IQ is 60 at best), and by conventional neurological standards she is severely impaired, but Sacks discovers that she has moments of being quite in touch and "together" (her word).
The essay tells of Sacks's discovery of Rebecca's poetic expression and spiritual qualities, and of her self-awareness, in planes unknown to standard neurological and psychiatric categories. Sacks is broadly critical of psychological and neurological testing as constituting a "defectology" that is blind to important human qualities. He warmly recommends music and story-telling, both as modes of understanding and also as narrative therapies that work by ignoring the defects and speaking to the soul.