Showing 741 - 750 of 833 annotations tagged with the keyword "Doctor-Patient Relationship"
This play dramatizes the story of Anthony, a character with AIDS, who implores a retired surgeon to end his suffering. Torn between his ethical beliefs and empathic response, Dr. Robert Chapman finally agrees to advise Anthony and his partner, Thomas, as to the method and means for committing suicide. Dr. Chapman's moral conflict is mirrored by Thomas's emotional one as he is caught between respecting a lover's wishes and fearing his premature death. The couple's friend, Susanah, reinforces Thomas's and Dr. Chapman's concern about criminal consequences. After a failed suicide attempt on his own, Anthony has a change of heart.
A woman medical student finds herself in a hierarchical dilemma while rotating through her internal medicine clerkship. She is helping to take care of a middle-aged man who has been hospitalized for a diagnostic work-up. As a consequence of invasive procedures ordered by his physicians to determine the cause of his symptoms, the patient has suffered serious complications and is moribund. The doctors are evasive with the patient and his family, who beseech the medical student for an explanation. Even though she has been instructed by the physicians to refer all issues back to them, she follows her own convictions and tells the truth: "Your father is dying."
As a result of this "insubordination," she is called in to see the head of the department, a man of "legendary diagnostic skill" with a long tenure at the hospital. He says that he will have her dismissed, and launches into a long diatribe, making the case for a paternalistic medicine in which the patient needs to believe that the physician is omniscient and possesses quasi-magical healing powers. "Miracle, mystery, and authority," he says, are at the heart of what physicians can do for their patients and to undermine these is to do harm to the vast majority of the sick. Having made his point, he terminates the interview but reinstates the student, who, it is suggested, is so grateful (for his advice or for not being dismissed?) that she kisses him.
In the fall of 1907, Will and Eleanor Lightbody, a wealthy, neurotic couple from Peterskill, New York travel to Battle Creek, Michigan to immerse themselves in the routine of the famous sanitarium run by corn-flake inventor, Dr. John Harvey Kellogg. They meet Charlie Ossining who is seeking his fortune in the fickle market of Battle Creek's breakfast food industry. The Lightbodys have just lost their infant daughter and Eleanor is taking Will to the "san" for the cure. An inveterate meat-eater with a sexual appetite, Will was addicted, first to alcohol, and then, to opium, after his wife spiked his coffee with an off-the-shelf-remedy for drink.
At the sanitarium, they must occupy separate rooms, refrain from sex, and piously eat inflexible non-meat diets. Therapies include five daily enemas, exercises, "radiated" water, and an electrical "sinusoidal bath," which accidentally fries one of the residents. Kellogg is gravely disappointed in Will's inability to toe the "physiologic" line, but he is more deeply disturbed by his adopted son, George, whose chosen life on the street is a perpetual embarrassment.
Worried about his sexual prowess and deprived of his wife, Will becomes obsessed with his beautiful nurse and opts for the stimulation of an electrical belt; equally frustrated and bent on self-starvation, his wife turns to the quack "Dr Spitzvogel" who specializes in nudism and "manipulation of the womb." Brought to their senses by humiliation, Will and Eleanor go home.
Meanwhile, Charlie has joined with George Kellogg and borrowed from Will to keep his business afloat, but he realizes that he has been swindled. He only narrowly escapes jail, during a fiery commotion created by George who is then murdered by his adoptive father.
This play is based on the life of John Merrick, a horribly deformed man who lived in London in the late 19th century. After being abandoned by the traveling freak show in which he had been exhibited, he was admitted to Whitechapel Hospital under the care of Dr. Frederick Treves. Merrick is given a permanent home in the hospital.
Treves educates him and introduces him to London society, including the famous actress, Mrs. Kendal. Merrick becomes quite the favorite of the "in" group. However, as he learns more about society and human nature, he realizes that he will never be accepted simply as an ordinary person. Eventually, he dies in his sleep, presumably because he tries to sleep lying down (like ordinary people do) and the size and position of his enormous head compresses his windpipe and he suffocates.
This is a collection of stories and sketches by a practicing neurologist. Most of the material is clinical and autobiographical. In "Mrs. Bachman" a new patient enters the doctor's office, carrying a thick stack of medical records. It all started in 1946 and no doctor has ever found the explanation of her condition. Meanwhile, the doctor is wearing contact lenses for the first time. His eyes begin to tear. Mrs. Bachman thinks that he is crying over her misfortune. She consoles him, "I want you to know that you are the kindest, most sympathetic man I have ever met."
In "Intensive Care" an elderly woman is agitated after a seizure. The staff try unsuccessfully to calm her. Finally, her husband approaches and kisses her. She settles peacefully and they hold hands.
The doctor in "Continuing Medical Education" finally discovers metastatic breast cancer as the cause of a psychotherapist's neck pain, long after he and other physicians had told her again and again that the "driving mechanism" of her chronic pain was "unresolved anger and frustration." In a longer essay, "The Narrow Bridge," the author reflects on the meaning of healing, "Healing helps us find a place in this world for ourselves and for each other."
As a young woman, Fermina Daza kept a lengthy and passionate correspondence with Florentino Ariza, who was socially her inferior, but was desperately in love with her. They became engaged through their letters, exchanged through hiding places and telegrams in code.
But one day, when Fermina Daza comes close to Florentino Ariza in the market, she feels suddenly ill and tells him it was all a mistake. Instead, she marries Dr. Juvenal Urbino, a European-educated perfectionist, who falls in love with her on a medical visit. Their tumultuous but affectionate marriage lasts over fifty years, through a civil war, cholera outbreaks and the Doctor's brief affair with a patient. Juvenal Urbino distinguishes himself by instituting policies to combat cholera. He dies, falling from a tree as he attempts to catch his pet parrot.
Florentino Ariza comes to the wake. He is now about seventy and controls a wealthy shipping operation. After the other guests leave, he approaches Fermina Daza, saying, "I have waited for this opportunity for more than half a century, to repeat to you once again my vow of eternal fidelity and ever-lasting love."
She throws him out of the house, but continues to think of him. He becomes a regular visitor. Finally, they take a boat ride together, down the rivers that are being slowly drained and poisoned, listening for the cries of the manatees. They do not return, but prepare to sail on forever.
The story takes place in the men's cancer ward of a hospital in a city in Soviet Central Asia. The patients in Ward 13 all suffer from cancer, but differ in age, personality, nationality, and social class (as if such a thing could be possible in the Soviet "classless" society!). We are first introduced to Pavel Rusanov, a Communist Party functionary, who enters the hospital because of a rapidly-growing neck tumor.
We soon learn, however, that the book's central character is Oleg Kostoglotov, a young man who has recently been discharged from a penal camp and is now "eternally" exiled to this particular province. Only two weeks earlier, he was admitted to the ward in grave condition from an unspecified tumor, but he has responded rapidly to radiation therapy. Among the doctors are Zoya, a medical student; Vera Gangart, a young radiologist; and Lyudmila Dontsova, the chief of radiation therapy.
Rusanov and Kostoglotov respond to therapy and are eventually discharged; other patients remain in the ward, get worse, or are sent home to die. In the end Kostoglotov boards a train to the site of his "eternal" exile: "The long awaited happy life had come, it had come! But Oleg somehow did not recognize it."
A Boston attorney is injured on the road while traveling by buggy in Maine. His rescuer, who stabilizes his fractures and transports him to town for continued care, turns out, much to the patient's dismay, to be not only an attractive woman, but a very competent physician. As the attorney becomes increasingly aware of the quality of medical care he is receiving, he also finds himself falling in love with his doctor.
The work is replete with demonstrations of Dr. Zay's skill as physician, her humanity, and her professional commitment. Eventually her resistance to her suitor's offers of marriage is worn down, but she demands a contract which guarantees she will be able to continue the practice of medicine after the wedding. Set in the latter part of the nineteenth century, the novel romanticizes the practice of rural medicine and the contemporaneous view of late Victorian women pursuing this "masculine" profession.
In 1938 a 13-year old boy lives through a late summer day in a small town in Tidewater, Virginia. As he delivers the day’s newspapers for Quigley, the local drugstore owner, his mother lies at home dying of cancer. She screams in unrelenting pain, but Dr. Beecroft won’t allow her to have a higher dose of morphine--"Jeff, I just don’t think I can give her any more." He does offer to try a bit of cocaine, but she soon sinks into a terminal coma.
Through the boy’s eyes and memory, we learn of the tension between husband and wife (both well educated people) and about their life in his home town among ignorant Rednecks. As German troops are massing along the border of Czechoslovakia, the boy’s mother dies. His father greets the sympathy of the local clergyman and his wife with a violent tirade against God (if he exists).
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).