Showing 71 - 80 of 176 annotations tagged with the keyword "Women in Medicine"
This fine collection of writings by women involved in health care stems largely from a writing group cosponsored by the Nebraska Humanities Council and the Creighton University Center for Health Policy and Ethics. However, other writings also appear in this volume: in all there are 40 pieces by 16 authors. Writing genres include essay, short story, and poetry. The works are divided into three sections: Power and Powerlessness, Vulnerability and Voice, Connection and Disconnection. As noted in the introduction, these are "major themes in feminist perspectives in ethics" and the works are offered as reflections on modern ethical dilemmas in health care.
Some of the most powerful pieces are stories about being the newcomer--the student or junior trainee. For instance, "Washing Cora's Hair" by co-editor Amy Haddad is a poignant look at the struggle of two young nursing students to wash the long braids of a bed-bound elderly woman in her cramped home, and "The Story of David" by Ruth Purtilo, written as a memoir looking back to when she was a newly graduated physical therapist, concerns her interactions with a young, angry, depressed quadriplegic patient and with her superiors.
Another memorable piece is "The Things You Do" by Kelly Jennings Olsen. This story about being a new volunteer emergency medical technician masterfully controls the tensions of emergency medical care, the anguish of the father whose little girl slipped under his tractor, and the nuances of living in a small town. Several poems also deal with issues of the newcomer and witness to suffering (e.g., "As Ordered" by Ruth Ann Vogel--a poem about shaving the head of a neurosurgical patient on the pediatric ward)
As noted by the multiple keywords listed above, these pieces touch on many topics. Power relations play a key role, both between professionals and between patient and the health care team. For instance, in the polished story, "Procedures" the author Kim Dayton writes from the perspective of a young single mother with a critically ill neonate. This mother is repeatedly prevented from visiting her child because of "important" events like rounds and procedures, and she ironically only gets to hold her baby after the baby dies.
Throughout the collection the patients are described with honesty and vividness. Their suffering can haunt the health care worker ("Maggie Jones" by Veneta Masson) as well as teach ("Back to Square One" by Barbara Jessing). Many of the pieces remind us of our good fortune and the privilege we have in our lives and in providing health care services (e.g., "Spring Semester" by Amy Haddad). Ultimately in this volume our common humanity is emphasized--the connections between people and the remarkable grace that can be exhibited in the face of suffering.
Dr. Alvord was born to a Navajo father and a Caucasian mother--bilagaana--and felt from the beginning that she was walking the path between two worlds. Her childhood was spent on an Indian reservation and she was very close to her Indian grandmother.
She was fortunate to be able to attend Dartmouth College where there is strong support for American Indians. Actually there were 50 other Indian students there when she enrolled. From there she went to Stanford University for medical school and a surgical residency. This was a very unusual path for an Indian woman.
While in medical school and residency she felt very much separated from her Indian heritage and was glad to start her practice of surgery in the Indian Health Service and eventually to return to the Indian Hospital at Gallup, New Mexico, just fifty miles from the reservation where she grew up. This gave her the opportunity to learn more about Indian medicine and how to care for Indian patients.
While there she met her husband, a considerably younger Caucasian, and had her first child after a problem pregnancy. She sought the help of an Indian Medicine Man during this experience and felt much help from him. This is described very vividly.
Just eighteen years after she left Dartmouth she returned to be the Associate Dean for Minority and Student Affairs and to practice surgery and teach part time. There she hopes to share the Navajo philosophy of a balanced and harmonious life called "Walking in Beauty."
Brown, anthropologist and Professor of Anthropology of Religion at Drew University, describes the life, religion and healing practices of Marie Therese Alourdes Macena Margaux Kowalski, also known as Alourdes or Moma Lola, a priestess of Voodou, who emigrated to the U.S. from Port-au-Prince in Haiti at the age of 24. What began as an ethnographic research project on immigrant Haitians, turned into a deep personal friendship between Moma Lola and Brown, and a privileged look at the practices and patients of a priestess, and at the socio-cultural lifeworlds of the Haitian community in Brooklyn and in Haiti between 1978 and 1986.
The book presents an intimate description of an alternative healing tradition through a number of perspectives. Brown alternates between a personal, an analytical, and a descriptive narrative of Moma Lola’s own history and her encounters with patients. In some chapters, Brown fictionally reconstructs the patient’s stories, so that the book is part traditional ethnography, and part fiction.
According to the author's introduction, the most "beautiful and informative images of nursing are found on picture postcards" (xi). He has gathered over 580 full--color postcard images of nursing from 65 nations, documenting nurses' work in peace and war time and documenting, often in breathtakingly lovely images, an important part of nursing's history. Postcards from the years 1893 to 2002 (many of these from the "golden age of postcards," 1907 through World War I) follow nurses from factories to flu wards, from battlefields to mission welfare clinics.
The author has divided his book into seven chapters: "Symbols of Care," "Twentieth--Century Postcard Art," "As Advertised: The Nurse on the Advertising Postcard," "Portraits," "War!" "An American Photo Postcard Album," and "Parade of Nations." Each chapter begins with an intelligent, fascinating explanatory essay by the author, and each chapter ends with copious notes revealing the origins and stories behind the postcards. The book has an extensive bibliography and is well indexed.
This is an exhibition catalogue for a show of 16 photographers who documented major topics in health over the last century. Carol Squiers, curator of the show, provides ten essays, amply illustrated by photos, on critical topics such as child labor, domestic violence, environmental pollution, AIDS, veterans of war, and aging. Some 80 per cent of the images treat American subjects.
Lewis Wickes Hine's photographs of child labor are dramatic and disturbing; these document children in coal mines, cotton mills, glass works, etc. in the first part of the 20th century. The Farm Security Administration sponsored photographers (including Dorothea Lange) to represent the New Deal Health Initiatives. Topics include farm labor, poverty in the South and Southwest, and inoculations. W. Eugene Smith created a photographic essay for Life magazine about Maude Callen, an African-American nurse-midwife in 1950s rural South Carolina.
Donna Ferrato documented domestic violence in the U.S. in powerful, personal shots, including a series of an actual attack. David T. Hanson created triptychs about environmental pollution: one panel shows a map of the area, a middle panel gives descriptive text, the last panel is an aerial shot in color. Eugene Richards spent time in the 1980s in Denver General's Emergency Room. Eleven black and white photos show the turmoil and drama.
Gideon Mendal documented HIV/AIDS in several African countries. Lori Grinker took photos of army veterans (some without hands) but also noncombatants harmed by war, including children. Ed Kashi presents images of aging Americans, rich and poor, urban and rural. Sebastião Salgado provides photos of vaccination in Africa and Asia.
Summary:The novel is set in Washington, DC in April, 1865. At fourteen, Emily is sole caretaker of her mother who is dying of tuberculosis. Her neighbor, Annie Surratt, is her best friend, though their mothers have been estranged for some time. Both families have deep roots in the South. Annie’s brother, Johnny, an object of Emily’s romantic fantasies, has recently left on a secret mission. The war is nearly over. Emily’s uncle Valentine, a physician, wants to take custody of her after her mother dies, but because her mother has also felt estranged from him, Emily resists. Still, after her mother’s death, she does go to live with her uncle, and learns that he (with his two assistants, one of whom is a woman who is 1/8 African American) has a lively practice among the poor and the African Americans who have flooded the streets of Washington since the emancipation.
Summary:This novel is narrated by Katie Carr, who very much wants to be a good person. She is a physician and a mother of two, and lives with her petulant husband, David. David is the author of a column in the local newspaper called "Angriest Man in Holloway". As their marriage falls apart, David undergoes a conversion at the hands of GoodNews, a young guru, and ceases to be sarcastic and angry, embarking instead on an effort to improve the world with acts of kindness. Katie is forced to consider what it means to be a good person and how that affects whether to salvage her marriage, how to raise her children and how to be the type of physician she always considered herself to be.
Although the setting is startlingly different, and the care provided is through highly unorthodox means, the healer in this science fiction story experiences in remarkably similar ways the everyday wear and tear of modern medical practice. Snake, a young female itinerant healer, has been asked to save the life of a young boy. Her attempts to do so, and her interactions with the boy, his family and community, and the tools of her trade (the snakes-mist, sand and grass) are detailed in the story. "Professional development" issues that this strong and complex character has to deal with include truth-telling, interfering and ignorant family members, self-sacrifice, and possible reprobation by her peers and teachers.
Summary:Amelia Stern is an academic pediatrician in a large city hospital and mother of a bright, young son. She is deeply involved with her patients, including Darren, born with AIDS, and Sara, the malnourished child of anxious parents, both lawyers. As she struggles to answer to the demands of her work for "other women’s children," she neglects her own child and her marriage begins to fall apart. Her husband’s resentment and her own feelings of guilt come to a crisis when her son falls seriously ill while she is at the hospital.
Schiebinger’s historical analysis looks at the role of women and female nature in modern science in four places. These are: institutional organizations (when and how did medical schools and fraternities allow or disallow female participation?), individual biographies (who were trendsetters in the history of science?), scientific determinations of female nature (how did scientists decide what makes woman woman?), and cultural meanings of gender.
Chapter Seven is an especially disruptive chapter, analyzing drawings of female skeletons at the turn into the nineteenth century. Earlier, female skeletons had been drawn in the same way as male skeletons. At this point, however, they became thin-boned and wide-hipped. Sexual difference became far more central.