Showing 81 - 90 of 176 annotations tagged with the keyword "Women in Medicine"
In March, 1981, in Vermont, Charlotte Bedford goes into labor. She has decided to give birth at home with the help of a midwife, Sybil Danforth, but complications develop. Charlotte has a seizure, her heart stops, and she does not respond to CPR. The fetus is still alive, so Sybil delivers him successfully by Cesarean section, with a kitchen knife. But the bleeding when Sybil makes the incision convinces her assistant that the patient’s heart was still beating. She reports this to the police and Sybil is put on trial for involuntary manslaughter.
The story of the trial is told by Sybil’s daughter, Connie, fourteen years old at the time and now an obstetrician-gynecologist. The acquittal comes at a price: the midwife finds herself no longer capable of delivering babies, and both she and her daughter are given a new insight into the uncertainty which underlies so many of medical decisions. At the end of the novel we are left uncertain whether or not Charlotte was still alive when her baby was delivered.
Miss Armistead is a nurse in the surgical division of a hospital. She is being courted by two men, Dr. Joe Trask, the chief resident, and Dr. Mort Baker, an established and very successful surgeon. Everyone in the division is taking bets on her choice. Most assume she will choose Baker, the wealthier, more powerful doctor.
Then Miss Armistead develops appendicitis and requires emergency surgery. Joe Trask is on duty and has to begin the operation before Baker arrives, but experiences a terrible crisis of confidence, becoming helpless with fear. Baker arrives and completes the operation.
Everyone assumes that this will clinch Baker’s victory, but when Joe tells her how he was unable to operate on her, Miss Armistead takes this inability to see her as just another patient to be proof of the depth of his love for her, and agrees to marry him.
This volume nicely supplements the few other anthologies of literature on medical themes currently available in that it covers a wider historical span. Selections from the Bible, Giovanni Boccaccio, William Shakespeare, Rabelais, as well as 18th-century writers including Pepys, Daniel Defoe, Malthus, Schiller, and Goldsmith provide an array of historical touchstones that offer windows onto medical and literary history and points of comparison for the larger selection of works from the 19th and 20th centuries.
The selections are mostly short--averaging around 10-12 pages. Each is introduced with lively, often witty, comments by Gordon, whose popular Doctor in the House series was adapted for stage and screen in England, and whose associations with the medical world include an editorial position on the British Medical Journal as well as a wife and two children who are physicians. Many of the selections focus on the figure of the physician viewed variously from the viewpoints of patients, other physicians, and him or herself.
Selections from novels by three Victorian women doctors as well as selections from several physicians’ diaries provide unusual additions to a useful collection of excerpts from well-known literature including works by Scott, John Keats, Jane Austen,George (Marian Evans) Eliot, George Bernard Shaw, Hardy, Aldous Huxley, Sir Arthur Conan Doyle, Sinclair Lewis, F. (Francis) Scott Fitzgerald, Waugh, Orwell, and more recent and popular fiction, up through Erich Segal.
Alcott briefly served as a nurse during the Civil War. These three brief "sketches" recount her experiences, though she gives herself a pseudonym and presumably embellishes her tale. The first sketch recounts her decision to become a nurse and her journey from Massachusetts to Washington, D.C. Despite her support of female equality, she finds her tasks go more smoothly when gentlemen help her.
The second sketch describes her job at the hospital. When the wounded are brought in, it is her duty to help wash and feed them, assist the doctors, and cheer the men up. She calls the men her "boys" and treats them maternally. In the third sketch, she falls ill herself and is brought home by her father.
In a postscript, she talks a bit more about the hospital. She criticizes its disorganized management and mocks the doctors, many of whom treat the patients as interesting problems to be solved rather than as people. Caring is left to the nurses. She mentions that she expected to be treated poorly by the doctors herself, but finds that they treat her well (though she also says they receive much better food and sleeping quarters). This section also contains lengthy reflections on the "Negroes" who help at the hospital.
This unique "miscellany" of prose from journals and essays, poems, stories, music, paintings (reproduced in black and white), drawings, and cartoons illustrates countless ways that medicine and the arts, in tandem, "stretch the imagination, deepen the sympathy . . . enrich the perceptions" and give sheer, unadulterated pleasure. Organized by Robin Downie, renowned Professor Emeritus of Moral Philosophy at Glasgow University, the anthology is grouped in eight categories: "The Way We Are," "Disease and Mental Illness," "Doctors and Psychiatrists," "Nurses and Patients," "Healing," "Last Things," "Research," and "Ethics and Purpose."
Excerpts include the classic lore [Charles Lamb’s essay, "The Convalescent"; Florence Nightingale’s diary, "Notes on Nursing"; W. H. Auden’s poem, Musee des Beaux Arts (see this database); Theodore Roethke’s poem, In a Dark Time (see this database); C. S. Lewis’s journal, A Grief Observed (see this database); Sir Luke Fildes’s painting, The Doctor (see this database)] and refreshingly new nuggets from John Wisdom’s radio talk, "What is There in Horse-Racing" ("For a game of croquet is not merely a matter of getting balls through hoops, anymore than a conversation is a matter of getting noises out of a larynx,"); Robert Pirsig’s treatise, "Zen and the Art of Motorcycle Maintenance"; physician Roy Calne’s tender sketches of his own patients; composer Richard Wagner’s letter, "Biscuits as Therapy"; Janice Galloway’s novel, "The Trick is to Keep Breathing"; and expressions by patients and artists who happen to be patients of their particular illness experiences.
Lest "commentary be intrusive," except as brief introduction to each section, Downie deliberately omitted them, placing illustrations and extracts so as to provide commentary on one another. (Readers cannot help but be stimulated, however, to rearrange and create their own juxtapositions.)
The section on "Healing" considers not only the expected operations, spiritual healing, traditional cures, music and art as therapy, but also "spells, hope, and mothers." Richard Asher’s essay on why medical journals are so dull (British Medical Journal 23 Aug. 1958), or on whether or not baldness is psychological, and the comic strips of Posy Simmonds (the double entendres of "Medical Precautions," the "Minor Operation" burlesque on Shakespeare’s "All the Ward’s a Stage,") remind us yet again that birthing, aging, illness and dying are not pathological events or mere medical processes, and that the arts and humanities are bountiful reservoirs of moral discourse, inspiration, and renewal.
Summary:The story takes place in the town of Weston, the site of Weston Medical School, with its teaching hospital and private faculty clinic. The main characters are a group of seven men (six physicians and one administrator) who met while serving together in the Army during the Korean War and later joined to form the nucleus of Weston Medical School. These men all occupy prestigious positions as chiefs of various clinical departments and conduct lucrative private practices at the clinic.
Elsa Walsh profiles three women of extraordinary achievement: Meredith Vieira, "60 Minutes" television correspondent; Rachel Worby, conductor for the Wheeling Symphony Orchestra; and Alison Estabrook, chief of breast surgery at Columbia Presbyterian Medical Center in New York. Even though the women represent remarkable levels of success, the in-depth portrayals reveal enormous personal costs to each of the individuals. Their separate efforts to balance professional and personal goals often lead to irreconcilable conflicts and then to questions about burdens placed upon women who refuse to follow imposed expectations and blueprints.
Readers will sympathize with Meredith Vieira’s struggle to overcome high-risk pregnancies and retain her highly visible and highly paid position on the CBS news team. The measures established to prevent previous miscarriages and accommodate her medical needs eventually lead to friction and discord among co-workers and staff. As the following anecdote demonstrates, Meredith refuses to separate her roles as journalist and mother. When the baby is born and salary negotiations begin, Meredith brings her infant son to the Tavern on the Green lunch meeting so that she can nurse the baby on demand. The executives are flabbergasted by her behavior and by her announcement that she intends to become pregnant again.
Rachel Worby’s story concerns the tensions between an artist’s work, milieu, and spirit and those associated with the widowed Governor of West Virginia, the man she agrees to marry. Both are accomplished, he is rich, and the love between them is healthy and strong.
Nevertheless, the worlds they occupy impose divisive expectations. She does not conform to the assumed role of Governor’s wife; it is both difficult and impossible to regulate her bombastic and vivacious personality and style.
The final story centers on Alison Estabrook as she struggles to become the chief of breast surgery in a professional world seemingly intent on placing unacceptable barriers in her way. Readers will anguish over this infuriating account of suppression by a patriarchal system.
When 47-year-old Henry Newman experiences testicular pain, he gets little pity from his wife, Arlene. His personal physician, Dr. Vikrami (a woman who has only reluctantly examined Henry’s "private parts" in the past) schedules him for an ultrasound study of the testicles rather than examining him first. A young nurse performs the test and a female radiologist apprises Henry of the findings-- epididymitis.
A urologist confirms the diagnosis, but Henry is more interested in learning that the doctor has a twin brother who is also a urologist. Henry goes to see his 80-year-old mother who resides in a convalescent home. She pesters him about checking on the condition of his brother’s grave. His brother, Aubrey, died as an infant, and Henry was born two years later.
Henry visits the cemetery and finds the small tombstone marking Aubrey’s grave covered by weeds and bird excrement. He tidies it up. When Henry returns to the convalescent home, his mother’s bed is empty. He fears she has died but then spots her exiting a bathroom. Henry tells her that he has finally spruced up Aubrey’s grave, but she seems oblivious to his announcement and just babbles on.
Nan Prince is an orphan who becomes the ward of the local general practitioner, Dr. Leslie, upon the death of her elderly aunt. Nan and Dr. Leslie develop a close emotional bond. She is a bright young woman who enjoys accompanying him during his long day's work as a country doctor in Oldfields. They often discuss medicine and healing. Dr. Leslie encourages Nan to read medical books, while instilling in her an understanding of the intimacies of his patients' lives and a love of caring for them. He would like to see her become a physician, an ambition she soon begins to pursue despite many obstacles. She goes away to medical school in the city.
After her first year at medical school, she spends part of the summer in the town of Dunport where she is introduced to her closest relative, Miss Prince (her father's sister), and the "smart" society she has never experienced in the country. Miss Prince and Nan's new friends are all amazed and scandalized by the thought of a woman becoming a physician. They think the whole idea is utterly outrageous, especially for a young, attractive woman like Nan.
She meets and falls in love with a young lawyer, George Gerry, who asks her to marry him. With great emotional pain (but no hesitation), Nan chooses medicine over marriage. She returns to medical school and, after graduation, to spend a year in Oldfields practicing with Dr. Leslie. In the end she stands by the river on a beautiful summer day, raises her hands to the sky, and exclaims, "O God . . . I thank thee for my future!"
This made-for cable film is based on the real-life story of Dr. Gisella Perl (Christine Lahti) as told in her autobiographical book, I Was a Doctor at Auschwitz. Originally published in 1948 and reprinted in 1997, the book is hard to find now. The film tells how Dr. Perl, a Jewish Hungarian gynecologist, is imprisoned and forced to be a camp doctor in Auschwitz during World War II.
Dr, Perl lost her parents, husband, and son during the war years. She had to relive her horrifying experiences and difficult moral choices as she faced an immigration panel in the U.S. in order to get her American citizenship after the war. Accused of collaborating with the Nazis, she was eventually exonerated and practiced in New York, later immigrating to Israel where she did important work. There were many other talented women who also fought to live but failed in their quests and Dr. Perl tells of the spirits of these women also.