Showing 761 - 770 of 834 annotations tagged with the keyword "Doctor-Patient Relationship"
It is the voice of the woman in bed that makes this poem, and she is a tough character as she reveals herself, physically and otherwise. "I won’t work / and I’ve got no cash. / What are you going to do/about it?" she demands in the first few lines. She implies that she is a loose woman and perhaps even comes on to the physician: "Lift the covers / if you want me . . . ." and later, "Corsets / can go to the devil-- / and drawers along with them-- / What do I care!"
The woman shifts subjects rapidly, between poverty and sexuality, hinting that she might be pregnant again, writing off her two sons. At the end, she delivers a proud challenge to the physician who has come to see her in the abandoned house: "Try to help me / if you want trouble / or leave me alone-- / that ends trouble. // The county physician / is a damned fool / and you / can go to hell! // You could have closed the door / when you came in; / do it when you go out. / I’m tired."
The story begins in 1882, when Friedrich Nietzsche's beautiful and mysterious former lover convinces the famous Viennese physician and mentor to Sigmund Freud, Joseph Breuer, to cure Nietzsche of his "despair" so that the world will not be deprived of the "most important philosopher of the next 100 years." Breuer is known throughout Europe for his use of hypnosis and the "talking treatment" that have been successful in the treatment of hysteria.
Since Nietzsche is skeptical of what Breuer can do for him, Breuer offers the challenge that they might help each other. Through subterfuge, Breuer convinces Nietzsche to remain for 1 month in the Lauzon Clinic. Their bargain: Breuer agrees to treat Nietzsche for his chronic migraine headaches, if Nietzsche, the great philosopher, will listen to and cure Breuer of his own despair. What follows is a brilliant tour de force in which the two men engage in daily discussion, bantering, and intrigue, much like a chess game, jockeying for position, as both men are transformed in unpredictable and astonishing ways.
In a South American town during the early years of this century, a retired doctor long known as an eccentric flatly refuses treatment to victims of a riot. Years later, the doctor hangs himself. For the vengeful town, the issue becomes whether he will receive a proper burial or be allowed to rot in the house where he had lately secluded himself.
This issue becomes the focal point of recollections, from many points of view, of fragments of the doctor's bizarre history. An old military man, who was originally the doctor's sponsor and host, braves the town's anger and forces his family members to help him carry out the burial. As it turns out, no one remembers the outrage apart from a few town officials, and the burial takes place without incident.
This early 20th century novel is largely a tale of complex family and love relationships. It is the story of two brothers who vie for the love of the same woman, a competition that nearly destroys the men's friendship but that also leads the narrative into adventures on the frontiers of the Canadian Rockies during the building of the transcontinental railroad.
One of the brothers is inspired by a country surgeon to enter medicine and the middle third of the book deals with the physician training system of the time. The reader is introduced to representatives of both the finest and the most immoral of practitioners and practices. Running from his broken love relationship, the newly minted physician travels to the frontier where he assumes a pseudonym and practices medicine in the railroad camps. His work is inspired and he becomes a folk hero.
In a parallel narrative, the second brother, now a minister, also goes west, while grieving the fracture in his relationship with his younger sibling. Neither knows that the other has relocated to the Rockies. The remainder of the story details the doctor's work and eventual reunion with his estranged brother.
Richard Kraft is about as burnt-out as a fifth-year resident in pediatric surgery can be. Overwhelmed by his stint in an inner-city, public hospital in Los Angeles, he seeks to hide from the misery of his patients by avoiding any personal connection with them. Then he meets twelve-year-old Joy, an Asian immigrant trying desperately to learn the puzzling ways of her new culture. She speaks words that trigger memories from Kraft's own childhood as the son of a U.S. agent in Joy's country, and he loses his distance.
He performs surgery on a life-threatening cancer in her leg, pulling back at the last minute in an unreasonable fear that he will hurt her if he cuts too deep. The implied result: incomplete excision of the cancer and a death sentence for the child he now tries, unsuccessfully to avoid. His avoidance is repeatedly foiled by Linda Espera, the physical therapist with whom he is falling in love and who will not let him abandon the emotional needs of any of the children in Joy's ward.
This book is a series of essays about the illness experience. The author developed chronic fatigue syndrome (CFS) after a viral illness in 1988. Suddenly, this 41-year-old public policy analyst, who was also a successful writer and a competitive runner, was thrust into the world of severe disability. He developed subtle but extensive neurological deficits that affected his concentration and memory. For months he could hardly get out of bed. He discovered that not only was the cause of CFS unknown, many physicians did not even believe it was a "real" illness.
"Double Blind" tells the story of Skloot's participation in an ill-fated clinical trial of Ampligen, an experimental treatment for CFS. Other essays describe the author's experience with alternative medicine, including an intensive course of Ayurvedic "detoxification" ("Healing Powers") and a visit to Germany to encounter Mother Meera, an avatar of the Divine Mother ("Honeymooning With the Feminine Divine").
"Home Remedies" presents his comic experience with helpful calls and letters telling him how to get rid of the illness. Other essays deal with Skloot's learning to cope with chronic disability. A final section includes poems about the illness experience of several composers and artists (e.g. Carl Maria von Weber, George Gershwin, and Vincent van Gogh).
Summary:The author, a pediatrician by training who has gradually moved into psycho-oncology and training others in relationship centered care, writes about life in this collection of short vignettes and analyses. She blends stories of her own experiences as patient and as woman with those she has gathered from a long history of patient encounters. There is no temporal sequence, but the work is grouped into thematic segments. The author shares selected, carefully garnered and assessed narratives of life events intended to be spiritually healing to those who are ill or who care for the sick.
Dr. Terry McKechnie works in the emergency room in a Los Angeles hospital in the early 1990’s, and is having an affair with Virginia Lee, the new wife of an old friend of his from medical school. Virginia works with snakes. She is attracted to danger. She falls in love with Terry immediately after deciding to marry the reliable Rick, with his predictable dermatologist’s hours and habits.
Virginia is bitten by a rare snake and drives herself to Terry’s hospital. The drive is terrifyingly described, time seeming to move at two speeds at once, as Virginia sits stuck in traffic trying not to panic, the terse prose capturing her efforts at clarity even as the rapid effects of the venom begin to cloud her thoughts. Because she is allergic to horses, the antivenom, made of horse serum, cannot be given to her, and she begins to bleed. Unfortunately, she also has an extremely rare blood type.
As well as being a doctor, Terry is a "universal donor": his blood can be given to people with most other blood types without danger of rejection. His gift fails him at this point, however: Virginia must be given blood of her own type. One person has such blood: a psychopath on the run from the police whom Terry had previously allowed to escape. The novel’s plot culminates in Terry’s search for and encounter with the convict, in which he persuades him to give his blood (and, necessarily his freedom--he is arrested in the hospital) and Virginia survives.
In 1831 Edinburgh, Cabman John Gray (Boris Karloff) delivers a paralyzed little girl and her mother to the office of Dr. Wolfe "Toddy" MacFarlane (Henry Daniell). A body snatcher by night, Gray has a special hold over the doctor, who has lost his clinical nerve and hides in the teaching of anatomy. The earnest medical student, Donald Fettes (Russell Wade), is on the verge of abandoning medicine, but MacFarlane notices his good bedside skills with the little girl, makes him his special assistant, and initiates him into the business of grave-robbing. His wife (Edith Atwater) is opposed to this action, complaining that the student will be "ruined."
Fettes is unaware that Gray and MacFarlane narrowly missed conviction for murder in the Burke and Hare affair of 1823. Obsessed with helping the child, Fettes begs Gray to find a subject on which they can practice spinal surgery. Gray complies by "burke-ing" (murdering) a well-known street singer. MacFarlane forces Fettes to remain silent and they begin their research, but they are overheard by the servant, Joseph (Bela Lugosi), who then tries to blackmail Gray only to be "burked" himself.
The child's operation does not supply immediate results and in a fit of frustration MacFarlane murders Gray as he cries: "you'll never be rid of me." Buoyed up by the news that the child has finally begun to walk and mostly to prove to himself that he does not need Gray, MacFarlane robs a fresh grave.
On the return journey from the cemetery in a driving night rain, MacFarlane is tormented by Gray's last words; the elderly woman's corpse changes into the partially animate body of Gray. The doctor loses control, his horse breaks loose, and the carriage plunges down a bank where Fettes finds the doctor dead beside the woman's corpse.
Showalter identifies clusters of syndromes, or mini-epidemics, which she suggests represent late-twentieth century manifestations of the entity which was called hysteria in nineteenth century western culture. Opening with the history of psychiatry's involvement in hysteria in the time of Charcot and Freud, she traces the replacement of hysteria or conversion reaction by modern hysterical analogues such as: chronic fatigue syndrome, recovered memory, Gulf War syndrome, multiple personality syndrome, satanic ritual abuse, and alien abduction.
In separate chapters she examines each of these entities--how it presents, how it fits into her theory of mass hysteria as a cultural response to the millennium, and how it is being handled by health care professionals. Showalter contends that "Redefining hysteria as a universal human response to emotional conflict is a better course than evading, denying, or projecting its realities." (p. 17)