Showing 861 - 870 of 901 annotations tagged with the keyword "Empathy"
Osler’s famous essay was first delivered as a valedictory address at the University of Pennsylvania School of Medicine in 1889. Osler urges the graduates to develop two qualities or virtues. First is the "bodily" virtue of imperturbability or "a judicious measure of obtuseness." This means the outward expression of calmness and coolness, even under difficult circumstances. This virtue suggests that physicians should be relatively "insensible" to the slings-and-arrows of patient care, always maintaining a degree of detachment from their patients.
The complementary "mental" virtue is aequanimitas, which is the personal quality of calmly accepting whatever comes in life. These virtues, however, should not lead to "hardness" in dealing with patients. Osler also urges his students and colleagues to develop the other gentlemanly virtues of courage, patience, and honor.
Scarlett writes about the tradition of medicine in a recognizably British (Canadian) voice. He presents a definition of a profession that features social responsibility and duty to serve others, and notes that "an organized profession does not seek to advance the money-making feature of professional activity." Scarlett identifies seven "pillars" (principal qualities) of the physician, or any other professional: technical skill, social responsibility, knowledge of history, knowledge of literature and the arts, personal integrity, faith that there is some meaning and value in life, and "the grace of humility."
Scarlett critiques the medical profession in two ways. First, physicians are not skeptical enough and willing enough to correct their errors. Secondly, professional qualities have declined "at the hands of the scarcely literate pushing public . . . . " As a result of this, some physicians now believe that "all this rhetoric about the essential nobility of the medical profession is a load of old rubbish" (p. 129).
This short novel relates how a catastrophe involving strangers perturbs the lives of people who live in or near the site where the disaster occurs. The event is an airplane crash; the site, the small town of Bounds, Texas. Told as an inner monologue by each person who either witnessed the crash, or became directly involved in its aftermath, the well crafted narrative weaves back and forth among a widowed postmistress into whose field the plane falls; a priest who is questioning his calling and who administers last rites to all of the victims; a skeptical newspaper reporter; a reclusive young man who ghoulishly hunts souvenirs in the wreckage.
The postmistress hovers between dismay at the ruination of her field and curiosity and concern over the far-flung surviving relatives who come to visit the site long afterwards. Her thoughts are filled with memories of her husband and of the evolving relationship with her married son. She ponders that before the crash, ". . . seemed like I'd lived in a fishtank. "Then, "something shattered" and ". . . the whole world poured in."
The priest keeps the church doors open to strangers, including mourners from far away. This runs up the utility bill, drawing criticism from the parish council. So shaken is he by their small-mindedness and by his vocational doubts that he cannot say Mass. The reclusive souvenir hunter, who pocketed a body part, a hand, from the crash site, is haunted by ". . . that hand against my hand . . ." The newspaper reporter feels compelled to re-visit the scene months later.
This story concerns the death of a child and failures of communication. Scotty, an eight year old, is hit by a car on his birthday. His mother had ordered a birthday cake but "there were no pleasantries between" her and the baker. Scotty is hospitalized, unconscious, and the cake is forgotten. Dr. Francis reassures the anxious parents that all will be well when the boy wakes up.
The baker phones the parents’ home in the dead of night (when he does his baking) because the cake hasn’t been picked up, but they can’t figure out who he is or what he wants. At the same time the doctors and staff can’t and won’t answer their questions about why Scotty isn’t waking up. Dr. Francis comes to the hospital to check the child, looking tanned, meticulously dressed, as if he has just been out for the evening- he has a life outside of the hospital, but the parents have none. When they do run home, separately, to take a break, the baker torments them with his mysterious late-night calls. Their confusion and isolation deepen. The child dies-"a one-in-a-million circumstance."
The mother finally realizes that it is the baker who has been calling and tracks him down, enraged. She unleashes all of the anger which she had been unable to express to the doctors. The baker is stunned to learn about the child’s death; he begs forgiveness and offers them warm delicious cinnamon rolls. "Eating is a small, good thing in a time like this" and they are comforted.
This short story opens with an irritated and sometimes hostile narrator whose wife has invited a blind friend to spend the night. The narrator tells us immediately that his visitor's blindness bothers him and that he is not looking forward to having a blind man in his house. The vehemence of his prejudice is surprising. His initial anger and anxiety seem way out of proportion to the situation, as if this blind man were threatening him somehow.
Gradually, as the evening wears on, the narrator begins to relax with the blind man, though he still challenges him in all sorts of ways, such as drinking, smoking cigarettes and dope, and turning on the TV (which, of course, the blind man cannot see). A documentary about cathedrals is showing. The narrator tries to describe a cathedral in words. When that doesn't succeed, the blind man holds the narrator's hand as he draws a cathedral on a paper bag. The experience of this successful communication transforms the narrator.
As the blind man says, "Terrific. You're doing fine. Never thought anything like this could happen in your lifetime?" The narrator closes his eyes and draws blind, saying, "So we kept on with it. His fingers rode my fingers as my hand went over the paper. It was like nothing in my life up to now." The ending leaves us pondering about how much more the narrator is learning about himself and about human communication than the blind man is learning about cathedrals.
Helen van Horne, the good doctor, has left her solitary practice as a physician in rural East Africa to become chief of the Department of Medicine at City Hospital. She is a tough, hard-as-nails woman who has given up the comforts of marriage, family, and human indiscretion for her profession. While the folks in South Bronx initially "hate" her because of her skin color, they soon learn that van Horne is a model of rectitude, dedication, and compassion. The Hispanic chief resident becomes her disciple.
Van Horne's yearning for human comfort and sexual gratification brings her into intimate contact with a lazy, irresponsible, but charming male student. Out of weakness, she tells the failing student that he will pass the rotation, but is later challenged by the chief resident, who has left her own lazy husband and dedicated herself to be "just like you." Van Horne realizes her own weakness, allows the failing grade to be recorded, then contemplates (but rejects) suicide.
A physician stands in the laundry, folding her baby’s diapers, and thinks about Mr. Dantio, who died of wildly metastatic cancer. She reflects on the development of her relationship with Mr. Dantio during the time that she was pregnant. Toward the end, he developed a lung infiltrate, maybe a type of pneumonia. There was a chance that a biopsy might have helped--perhaps he had a treatable infection--but she recommended against it. Now she wonders about this decision. She wonders also about what the other physicians think of her: "you don’t really want to be a doctor anyway, you must be conflicted to have a child . . . . " She remembers seeing Mrs. Dantio in the supermarket shortly after her husband died, and crying with her. She asks herself: Will I ever be a REAL doctor, "because in moments of great stress I revert to my native tongue."
Summary:A medical student at Lincoln Hospital in the south Bronx is called to the Emergency Room, where a gang war is going on. She plunges through fighting bodies in the waiting room to reach the treatment area, where she is enlisted to ride an ambulance with a critically injured and intubated patient. During the trip, the ambulance jerks, the tube comes out, and the student tries but fails to ventilate him with mouth-to-mouth respiration. At the other hospital, she is turned away from the cafeteria because her clothes are blood-soaked. The patient dies. Although she feels terrible, her friend Marie, a practical nurse, comforts her with a touch of ordinary love, a photo of her new grandchild.
Twelve contemporary stories set in Rhode Island and New York City. Major themes include the pain of cultural dislocation and cross-cultural experience ("Theng," "Shambalileh," "My German Problem"); human frailty and self-deception ("Sleep," "Juilliard"); and the personal and moral dimensions of medical practice. See the separate annotations for Laundry, The Good Doctor and Ambulance--three stories which are particularly relevant to Literature and Medicine.
Dr. Cassell examines the social and cultural forces that encourage the practice and teaching of a medicine that is governed by the disease theory. This theory discounts the impact of illness on the patient and ignores the suffering that the patient is experiencing. Cassell does not debunk science and technology, rather he encompasses them within the moral enterprise of medicine as tools for helping patients.
The ability to provide compassionate attention to the patient as individual (i.e., with unique values, life experiences, family interactions, etc.), trustworthiness and self-discipline are required characteristics of a "good physician." Cassell illustrates and personalizes the philosophical shift towards focusing on the sick person with stories and anecdotes.