Showing 71 - 80 of 231 annotations tagged with the keyword "Anatomy"
This book in large-format (11 1/8 x 8 3/4 in.) is made up primarily of wonderful illustrations but there is also clear and clever text; both media clearly explain the structures and systems of the human body. Although nominally listed as “Juvenile Literature,” The Way We Work is sophisticated and detailed enough to educate and entertain adult readers, without losing the interest of intelligent young readers.
The drawings, in pencil and watercolor, are dazzling: large, colorful, with a variety of layouts and perspectives. Many go across double-page spreads, and many include a witty image of one or more small observers. In “Mapping the Cortex,” for example (pp. 158-159), an enormous, multicolored brain takes up most of two pages; it is partially exploded into 11 areas, labeled by name and function, and coded (sensory, motor, or association). A tiny (one-inch) man below with a question mark over his head looks at a dangling rope (I think) hanging from the brain. A small text block fits in the lower left-hand corner.
The book is organized by seven chapters, each for a body system, such as “Let’s Eat” (digestive system), “Who’s in Charge Here?” (nervous system), and “Battle Stations” (immune system). While the parts of the body (anatomy) are clearly shown, the book stresses biological process (physiology), truly “the way we work,” and in considerable detail. In “Let’s Eat,” for example, there are 50 pages, starting from what foods we eat, our sense of smell, taste receptors, teeth, chewing muscles, salivary glands and saliva, the entire alimentary canal, including biochemical and molecular activity, the roles of pancreas, liver, and kidney, and urinary and fecal outputs.
Children of all ages will enjoy “Journey’s End,” which shows a gigantic rectum miraculously suspended over a cityscape, with dump trucks arriving below it to receive stupendous loads. Indeed, there is much humor in the book, both in the drawings and in the text blocks.
Summary:Obsessed with the history of presidential assassinations and captivated by the power of places and objects to evoke the past, the author writes about her travels to the sites commemorating the lives, illnesses, deaths, and burials of Presidents Lincoln, Garfield, and McKinley and of their murderers. The greatest attention is given to Lincoln.
Summary:Pietro Brnwa, nicknamed "The Bearclaw," has embraced change - a new name, a different occupation, and a regenerated outlook. Thanks to the Federal Witness Protection Program, Pietro, who was formerly employed as a hitman by a mafia-connected lawyer, is now Dr. Peter Brown, an intern in the Department of Internal Medicine at Manhattan Catholic Hospital. His career as an assassin was motivated by the desire to avenge the murder of the grandparents who raised him. As a physician, Dr. Brown is paying off a moral debt - doing good deeds to atone for previous acts of violence including killing people.
Summary:The film opens with the discovery of Dr. Victor Frankenstein's will in his Transylvanian village. A skeleton, presumably Dr. Frankenstein's, and a man wrestle for the box holding the will. The man wins, takes it to a town meeting where the will is read and calls for the transfer of the property to the dead scientist's grandson, Frederick. Following this scene we meet the grandson, Dr. Frederick Frankenstein (Gene Wilder), a surgeon who is busy instructing medical students in clinical neuroanatomy (comparing the brain to a cauliflower). When asked about his grandfather by a medical student, Freddy, who pronounces the family name "Fron kon steen", declares that Victor was "a cuckoo". The student is relentless in pursuing the family ties, exasperating Freddy, who finally plunges a scalpel into his thigh, a sight gag paying homage to Peter Sellers' stabbing himself with a letter opener in A Shot in the Dark (1964). When the courier from Transylvania arrives, he persuades Freddy to return to his ancestral castle for the execution of the will. A hilarious railroad platform scene in which Freddy bids goodbye to his "beautiful, flat-chested" (as described in the online original etext of the script by Gene Wilder) fiancée, Elizabeth (Madeline Kahn), only highlights the incredibly neurotic natures of the two lovers -- Wilder as a possessed but wacky scientist and Kahn as a narcissistic and apparently remote and shallow woman.
Summary:New York is the setting for thirteen linked stories that profile a long line of curious and sometimes loony doctors who are passionate about medical science but often lack common sense and good judgment. Beginning with Dr. Olaf van Schuler in the seventeenth century and continuing over more than 300 years with generations of his descendants (the Steenwycks), missteps and madness loom large in this inquisitive and peculiar medical family.
This self-portrait includes two images of the artist. The first lies with her back toward us on a hospital gurney, her head to the left, apparently anesthetized. She is wrapped in a white sheet except for her lower back, which is exposed to show two large surgical cuts dripping blood. The second figure sits facing us in a chair in front of the right side of the gurney.
The sitting figure is essentially the familiar Frida Kahlo of many self-portraits--erect, beautifully dressed in colorful Mexican style, and her face composed in spite of the tear on her right cheek. The difference here is the presence of medical paraphernalia. The upright Kahlo holds in her lap a large back brace, and she seems to be simultaneously wearing the same device under her dress. In her right hand she holds a small flag with a Spanish inscription that could be translated: "Tree of hope, stay firm."
The two figures float in space just above a lifeless and deeply eroded desert landscape. In front of them, at the very bottom of the painting, is the suggestion of an abyss. The painting is divided laterally, the left side ruled over by a sun and the darker right side (the figure’s left) ruled by the moon.
Summary:In this disturbing work Kahlo paints herself lying on her back in a hospital bed after a miscarriage. The figure in the painting is unclothed, the sheets beneath her are bloody, and a large tear falls from her left eye. The bed frame bears the inscription "Henry Ford Hospital Detroit," but the bed and its sad inhabitant float in an abstract space circled by six images relating to the miscarriage, all tied to blood-red filaments the figure holds in her left hand. The main image is a perfectly-formed male fetus. The others refer to aspects of childbearing.
The first poem begins: "Let me be a poet of cripples, / of hollow men and boys groping / to be whole, of girls limping toward / womanhood. . . " This Whitmanesque introduction bespeaks two sides of Jim Ferris’s poetry. First, this is poetry of celebration: "I sing for cripples, I sing for you." But at the same time, the poems look unflinchingly at the failures, phoniness, and self-righteousness of the "fix it" establishment. They also portray (and celebrate) the community of suffering among the inmates destined to be "fixed."
In "Meat" (5) Ferris lays it on the line," Between four and five they bring down the meat / from recovery--those poor dopes have been simmering / up there for hours, bubbling up to the surface. . . " But even the children who have become "meat" have feelings. For example, the narrator of "Mercy" (18) expresses horror when two healthy classmates from the 8th grade manipulate the hospital rules in order to bring him a Get Well greeting. "How did these aliens get in?" he asks. "Leave now, trespassers, you who seek to gaze / on my humiliation." Perhaps the merciful will obtain mercy from God, he comments, "but not from me." In "Miss Karen" (25) the narrator sustains himself with erotic fantasies about his nurse and discovers to his mortification that he babbled these thoughts to his mother during recovery from anesthesia.
The culture of medicine looks cruel--or at least uncaring--though this crippled narrator’s eyes. "The Coliseum" (42) gives a telling description of the patient’s appearance at Grand Rounds: "You are a specimen / for study, a toy, a puzzle--they speak to each other / as if you were unconscious. . . " "Standard Operating Procedure" (44) reads like an ironic crib-sheet for orthopedic surgery: "Bust a chuck / of bone the rest of the way out; chisel it if you have to. . . He won’t remember much; kids are like animals / that way."
Summary:Inochi (Japanese for "life" or "spirit") are four human-sized figures with bulbous, alien-like heads over small bodies made of (plastic) flesh and machinery. Murakami directed videos to accompany the Inochi, consisting of a film sequence of an Inochi in school with a schoolboy-like crush on a girl; the Inochi tries to fit in, gets in trouble, and doesn't understand what is happening to its body when it begins to respond to the crush.
Summary:Great Deeds Against the Dead is a mixed media rendering of Plate 39 of Goya's Disaster of War series. In Goya's original etching, three figures are strung up on a tree trunk, murdered and mutilated; the Chapmans use mannequins, wigs, and fake blood to create a lifesize sculpture.