Showing 81 - 90 of 261 annotations tagged with the keyword "Infectious Disease"
This documentary film is narrated by Dustin Hoffman; all other characters play themselves. Five stories (pathographies) introduced as panels from the 14-acre AIDS quilt are interwoven with each other, together with personal photos, newsreels and radio reports to recount the history of the first decade of AIDS in the United States.
Tom was a highly educated and athletic, gay man whose story is told by his lesbian friend and co-parent of his adored little daughter. Rob was a married Afro-American, I.V.-drug-user whose loving wife recounts his battle with drugs as well as his disease and who views her own HIV seropositivity as "God’s will." Jeff’s story is told by his grieving male lover over images of his once golden health.
The parents of twelve-year-old hemophiliac, David, tell the story of his entire life as a rush to consume, from his babyhood forward until the sadness of his last Christmas. The shy, handsome architect, David, is mourned by his bisexual lover, a naval officer at the Pentagon, who now lies dying with the lesions of Kaposi’s sarcoma quite visible on his face.
The narrators describe solace they derived from quilting memorial panels for their loved ones. In the final scene, the AIDS quilt lies on the Mall in Washington as names of hundreds of loved ones are read by grieving families and friends.
As a medical student, Martin Arrowsmith (Ronald Colman) approaches the revered Professor Gottlieb (A. E. Anson) wishing to accelerate his studies into bacteriology research. Gottlieb insists that he complete his clinical training first. But Arrowsmith meets the cheeky nurse Leora (Helen Hayes) and throws over his plans for science in order to earn a marriage-sustaining living as a general practitioner in her native South Dakota.
Assuaging his undying passion for research (in the family kitchen), he takes on the problem of an epidemic of black leg disease of cattle and earns the animus of a veterinarian and the admiration of the Swedish farmers by single-handedly disproving the efficacy of a government serum, developing his own serum, and conducting a controlled trial to prove its worth. His frustrated and unemployed wife--now displaced from her own kitchen--continues to support him, answering always "Yes, Martin. No, Martin. Whatever you say, Martin."
The couple move to New York City where Arrowsmith intends to devote himself full time to science at the side of his old hero Gottlieb in the McGurk Institute (a thinly disguised Rockefeller Institute). In his new laboratory, Arrowsmith utters a prayer for clear vision and humility--a prayer that seems to go unanswered.
Late one snowy night after two years of fruitless work, he discovers that "something" (in the novel, it is bacteriophage) has killed the bacteria he has been incubating. "Is it important, Martin?" asks Leora. He is brutal in his zealous response, his eyes gleaming with the promise of promotion, fame, and fortune. But after days of exhausting labour, he learns that he has been scooped by Felix D’Herelle a (real) researcher at the Pasteur Institute.
Arrowsmith quickly finds a new passion and travels to the Caribbean to conduct research into the effect of a serum on bubonic plague. Gottlieb makes him promise to act like a scientist (not a G.P. or a quack) and to withhold the remedy from half his patients. He tries to convince the colonial authorities of the importance of controlled testing, but is rebuffed with accusations of turning humans into guinea pigs. A black medical graduate of Howard University invites him to a different island where the epidemic is so thick that the people willingly cooperate with the controlled trial.
Leora, who had refused to remain in New York, is now left behind. The film implies clumsily that the now solitary Arrowsmith--ecstatic to be back in the research trenches--has a romantic encounter with Joyce, a beautiful stranded tourist (Myrna Loy). Meanwhile, Leora contracts plague from a cigarette, which has absorbed plague germs from Martin’s sloppy lab technique, and which she smokes because of Martin’s inattention and abandonment. She dies miserably and alone.
Crazed with remorse, Arrowsmith abandons his scientific principles and allows the entire population to be treated with the serum after all. The epidemic is arrested. But Martin knows that his success does not justify his scientific sin. Still grieving for Leora, he returns to New York to much fanfare, but is unable to find absolution from Gottlieb who has just had a stroke. He runs out on his lover, his institute, and a press conference to join a friend who is establishing a Walden-like institute dedicated to pure research in Vermont.
This is a sequence of six poems that form the centerpiece of Doty's book of the same name. The scene is the coast (Provincetown) where the author's companion, Wally, is dying of AIDS: "sometimes / when I put my head to his chest / I can hear the virus humming . . . . " The poet dreams of a dog they don't have. He dreams of saving Wally. Wally tells him of a dream of light and beckoning.
Michael dreams of "helping Randy out of bed" and, suddenly, Randy steps out of his body. Among these coastal dreams of caring and dying, Atlantis emerges "from the waters again: our continent, where it always was / . . . unforgettable, / drenched, unchanged." In the end (and before Wally's end), they do get a new dog who "licks Wally's face" and "bathes every / irreplaceable inch / of his head."
This extraordinary book is ostensibly "about" a doctor caring for persons with HIV/AIDS. That it is, but it is also a book containing multiple texts. It is a doctor's personal journey toward understanding the multiple meanings of HIV/AIDS for those who have it and those who care for them. It is the story of a physician, an Indian, born in Ethiopia to Christian expatriate teachers, in America since 1980, now in Johnson City, Tennessee, still trying to determine the meaning of "home."
It is, at the same time, a glorious pastoral account of practicing medicine in Tennessee--here making a house call to Vicki and Clyde, whose trailer is perched on the side of a mountain, now traveling through the Cumberland Gap to a cinder-block house to see Gordon, another native son who has come home to die. On still another level it is the story of a man trying to understand what it is like to be gay; a man trying to integrate his passion for his work with his life at home; a man trying to explain to his wife (and sadly, even some of his peers) his commitment to caring for persons infected with the virus.
The portraits Verghese draws of his patients are extraordinary: local boys now men, now sick, returning to Johnson City to be cared for by family; a woman infected by her husband who also infected her sister; a highly-respected couple from a nearby city seeking privacy, even from their grown children. Finally, part of what makes Verghese such a fine writer is that he is able to do so without romanticizing his relationships with his patients, and without self-congratulatory accolades for the kind of care he provides.
Bewell examines the rise of "colonial geography," the assumption that disease naturally belongs to the colonial setting. He argues that British colonialism was "profoundly structured" by disease encounters, as diseases began to piggyback on the increased mobility of both troops and trade (2). The book traces colonial disease as both figure and reality in travel journals, diaries, medical treatises, prose, and poetry of the eighteenth century and the Romantic period. It focuses on the rising British anxiety about colonial disease from the mid-eighteenth through the mid-nineteenth century.
Romanticism and Colonial Disease examines the development of the field of medical geography, tracing the cultural meaning of various disease theories focused on climate, topography (disease landscapes), diet, habit, gender, and of course race. Bewell argues that British identity was based on a relational model, in which national health, and even "British" diseases such as tuberculosis, could be understood only in contrast to the tropical diseases that defined colonial lands.
The Asiatic cholera pandemic of 1817, as it approached ever nearer to British shores, shook the nation by explicitly showing that colonial disease had become global. Chapters focus on specific projects and problems, such as the doomed attempts to explore the Niger River and "open" West Africa to European trade, or the problem of the diseased colonial soldier, rather than tracing a general history.
Bewell includes readings of Tobias Smollett, Oliver Goldsmith, William Wordsworth, SAmuel Taylor Coleridge, George Gordon Byron, William Hogarth, Thomas De Quincey, John Keats, Charlotte Bronte, and the Shelleys, as well as little-known writers like Joseph Ritchie and Thomas Medwin.
This searing play takes place in California's central valley where Mexican immigrants are employed at survival wages to work in fields poisoned by pesticides. Their ramshackle government homes are built over dumps where toxic waste poisons the water. The community has suffered a high incidence of cancer--especially in children--, birth defects, and other illnesses related to long-term intake of toxic substances.
One of the main characters, Cerezita, has only half a body, and often occupies center stage encased in an altar-like contraption where only her head shows. She turns pages, points, and performs other basic functions with tongue and teeth. She is a prophetic figure, willing to see and speak, because seeing and speaking are all she can do, and to name the evils that others prefer to call the will of God.
She seeks and finds intellectual companionship in the local priest who is struggling to find an appropriate way to minister to a parish divided among disillusioned cynics turned alcoholic, pious women who want nothing to do with politics, and the angry young, including one young homosexual who feels driven to leave a loving but uncomprehending family, and reveals to the priest that he has AIDS.
The community has been involved in recent protests that consist of hanging the bodies of recently deceased children on crosses in the fields. This dramatic protest has caused public outrage and attracted media attention. The play culminates in a protest in which Cerezita and the priest are shot down and the young man with AIDS cries out for the community to burn the fields. The curtain falls on burning vineyards.
This three-part collection of poems offers powerful images and vignettes from the life of a family practitioner living and working among the urban poor. The first section is the most explicitly medical in theme, including poems that pay painful tribute to a mother after stillbirth, a hydrocephalic child, an addict covered with boils, a young man murdered at eighteen, an old man with a failing heart.
The second section weaves images from the writer's personal story together with those from his life as physician, and the third focuses primarily on life lived as a gay man among the sick and dying, patients to be treated and friends to be mourned while life remains to be claimed and savored.
Despite the pain and grief attested to in many of the poems, a lively voice of clarity, compassion, and consent to the goodness of life even on hard terms gives the collection a defining note of celebration. Pereira's lines about a bereaved Cambodian seamstress suggest something true about his own work: ". . . she joins the circle / of other Khmer women to sew. / Punctuating the fabric / with yellow thread, finding her remnants / into a piece that will hold." ("What is Lost")
Summary:Neely Tucker, a white journalist from Mississippi on assignment to Zimbabwe, and his wife, Vita, an African American from Detroit, volunteer to spend time with orphaned and abandoned children, many victims of the desperation caused by AIDS. In the orphanage, where a distressing number of children die due to lack of medicines or basic materials, or lack of adequate staff training, they come upon and find themselves deeply drawn to a particularly tiny, sick, vulnerable baby, abandoned in the desert. The director of the orphanage picks a name for her as she does for the other orphans: Chipo.
Summary:This collection is introduced with an essay by Suzanne Poirier (editor of the journal, Literature and Medicine). The collection, describes Poirier, looks at how such equations as "sex = disease, homosexuality = disease, promiscuity = disease, and, finally, homosexuality = promiscuity = disease" are, in fact, being challenged, resisted, and "rewritten in a healing way in today's writing about the epidemic [found] in the literary presses, obituary columns, and even freshman compositions." The book contains thirteen essays and an annotated bibliography of AIDS literature from 1982 through 1991.
The title of Scannell’s book refers to an episode in her work with AIDS patients when she realizes that the "good doctor" she’d been taught to be--scientifically precise, medically focused and aggressive--was not what many of her patients wanted or needed. From that point on, she strove to understand the nature of her patients’ suffering and how they might be cherished and morally supported during the last weeks and days of their lives. In a series of essays she offers haunting portraits of the men and women she served--and of herself, as she learns to recognize and grapple with her own anger, grief, comfort, and joy.