Showing 91 - 100 of 199 annotations tagged with the keyword "Psycho-social Medicine"
Summary:This collection of stories offers a sidelong view of medicine from the perspective of a thoughtful, experienced doctor of internal medicine at a teaching institution (UCSF) in an urban setting that brings a wide variety of types of patients to his door. In a context of evident respect and admiration for even the quirkiest of them, Watts admits to the kinds of personal responses most have been trained to hide-laughter, anger, bewilderment, frustration, empathetic sorrow. The cases he recounts include several whose inexplicabilities ultimately require action based as much on intuition as on science. He includes several stories of illness among his own family and friends, and makes it clear in others how his professional decisions affect his home life and his own state of mind.
Summary:Triggered in part by a trip to the Galápagos Islands, the author interweaves two parallel narratives: Darwin's "journey toward evolution" along with the related work of Alfred Russel Wallace; and the author's own journey through life, partially disabled and dependent on the specially fitted shoes that help him to walk. Together these two narratives develop "all I have come to understand about chance and change, fear and transformation, variation and cultural context, ideas about the body that question the definition and existence of difference in all of our lives" (xvii).
Summary:John Romulus (also known as Richard) Brinkley was a physician (in the diploma-mill sense of the word) who, in 1917, pioneered, in the U.S. at least, the notion of goat testicle transplant. "Transplant" must be understood in the loosest sense of the word since Brinkley simply removed the testicles from young goats and sewed them into the abdominal wall and scrotal tissues - without any attempt to connect blood or nervous tissues of either goat testicles or human - of men for the alleged purpose of relieving impotence. From 1917 until his downfall at the hands of Morris Fishbein, a medical crusader esconced in the AMA, which organization Dr. Fishbein helped establish as the premier advocate of organized medicine in the U.S., Dr. Brinkley was perhaps the most recognizable physician in the U.S.
As the film opens, Joe Buck (Jon Voight) is exuberantly preparing to leave his run-down Texas hometown to head for New York City. He has outfitted himself as a spiffy cowboy, intending to "hustle" wealthy New York women who will beg for his sexual favors, and pay him in the bargain. As he interacts with the bus passengers during the long journey to the Big City, we see that underneath the bravado, Joe is anxious for friendship and haunted by memories of a lonely childhood. Abandoned by his mother (a father is never in the picture), Joe was raised by his grandmother, who spoiled him, yet neglected him, and whose assorted boyfriends competed with him for her attention.
In New York, Joe is naive and out of place. His attempts to hustle women are rebuffed or backfire ludicrously--he ends up paying them. In a Times Square bar, he runs into a crippled con-man, "Ratso" Rizzo (Dustin Hoffman), who offers to be his "manager" but steals his money in a scam. As his funds run out, Joe resorts to selling himself in a homosexual encounter; even this backfires--he picks up a student who has no money.
As Joe is becoming quite desperate--homeless, with only his portable radio for company--he runs into Ratso again. Partly to make amends, and partly out of his own loneliness, Ratso invites Joe to his "home," a room in an abandoned building, without electricity or heat. Warily at first, and then with increasing mutual respect, the two set up housekeeping. Theirs is a daily struggle for survival--petty thievery, selling blood, and fantasies of a gigolo's life in warm Miami sustain them.
In the heatless apartment Ratso's health deteriorates--he has a chronic cough, smokes constantly, and the weather is frigid. Underground movie-makers choose them as street curiosities for the camera, inviting them to an avant-garde party replete with food, drugs, and a rich woman (Brenda Vacarro), who takes Joe into her bed and pays him for it, arranging another "transaction" later in the week for a woman friend.
Joe thinks he has finally made it. Ratso, however, has a high fever, can no longer walk, and refuses medical attention. Joe makes the choice: he assaults and steals for the busfare to take Ratso to Miami. During the trip Joe tells Ratso, "I'm going to get some sort of job--outdoor work--I'm no hustler." But Ratso, seated next to him, has died. Joe puts his arm around the dead man, protecting him from the curious stares of the other passengers.
Summary:The poem begins, "Somebody who should have been born / is gone" and this phrase is a refrain intercalated between two sets of three tercets, with a final closing tercet. Each tercet has a rhyme scheme of a, b, a. The speaker narrates a journey that takes her south to an abortionist in the mountains of Pennsylvania, and then, after the abortion, back home to the north. The situation and the speaker's perception of it are rendered in metaphors that draw on the natural environment through which the journey proceeds. At the beginning, the earth puffs buds, and the drive proceeds toward blue-green mountains -- metaphors of fecundity. The description of the mountains as "humps" might imply the sex act that initiated pregnancy.
Summary:Dora Rare, the only girl child born in multiple generations of her family is encouraged by her mother to establish a bond with Miss Babineau, an odd isolated midwife, whose wisdom on health matters is much sought after by the local women in their small Nova Scotia community. Gripping and intimate encounters with her neighbours as birthing mothers and as women seeking control over their fertility lead Dora to accept a role as Marie’s successor. When arrogant, young Dr Gilbert Thomas comes to town with his strong ideas about science and birth, he is appalled at the practices of the local women; he also resents the competition. Dora embarks on a difficult marriage herself and seeks temporary refuge in the United States where she witnesses a new kind of independence.
Little-and yet everything- is left to the imagination in Douglas Gorsline's Bar Scene. Seated at a crowded urban bar is a young woman. She is almost elegant in her silk blouse, fur coat and broad-brimmed black hat. Though she sits with her shoulders parallel to the picture plane, and has been placed squarely in the middle of the foreground, her thoughts-and her gaze-are clearly directed elsewhere. Standing behind her, is an older man. As he tips his head back to drink, he, too, is looking off to his left, but with eyes that are conspicuously narrowed. The lengthening ash on his cigarette suggests that his left hand has not recently moved from the woman's shoulder.
Where the smoldering cigarette gives a clue about time lapsed between the two figures in their current position in the painting, the woman's rumpled neckline invites the viewer to imagine what has transpired between the two of them in the time before they came to be seated at the bar. The woman's open blouse is bunched and gaping at her waistline as if mis-buttoned. The pointed blouse collar that is smoothed on top of her fur coat on her right, is tucked beneath on the left side. The man's shirt is also wrinkled, possibly unbuttoned behind the tie, and not tidily tucked in at the belt-line.
This foreground scene is connected with the rest of room by the line of smoke rising from the cigarette and the curve of the bar, along which are seated several single men and another couple. The setting has been recently identified as Costello's, a popular New York City bar that was well-known to the painter. Though the figures themselves are not specific, the attention to the details of the space and the clothing are, suggesting that the moment Gorsline has captured was a moment observed. The painting is dated in the lower right-hand corner: 1942, a complicated period in American and world history. Although it does not take a world at war to foster relationships that are at once intimate and distant, the war certainly complicated many relationships between women and men.
 Marie Via, "Douglas Warner Gorsline Bar Scene , " In: Marjorie Searl, ed. Seeing America: Painting and Sculpture from the Collection of the Memorial Art Gallery of the University of Rochester (Rochester, NY: Memorial Art Gallery) 2006, pp. 249-253.
Nan Cohen's poem, Rope Bridge, from the collection of the same name, explores the intersections between science and art by lyrically describing a landmark psychological study on the attribution of emotion. The study, by Dutton and Aron in 1974, was based on the theories of Schacter and Singer from the previous decade. In one set of experiments, male volunteer subjects met a female assistant under two different circumstances - either in a benign setting or after braving the swaying Capilano Bridge. This bridge is suspended hundreds of feet above a river near Vancouver, British Columbia, Canada; subjects who met the assistant after crossing the suspension bridge were more likely to exhibit behaviors compatible with feelings of attraction to the woman.
The brilliance of Cohen's poem is the smooth interplay between scientific and poetic language. Imbedded in the poem are survey questions with lines ready for tick marks, as well as phrases such as "the attribution of a heightened state". The scientific language is not only juxtaposed, but intertwined with lyric flights: "Who would say: it is fear that takes my breath, / that wets my palms... / the fear that sleeps in me".
In a future society in which biological reproduction is restricted and humanoid robots ("Mechas") are routinely manufactured to supplement the economic and social needs of humans ("Orgas"), Dr. Hobby (William Hurt) creates a prototype child Mecha, David (Haley Joel Osment), who has "neuronal feedback," the ability to love, and "an inner world of metaphor, self-motivated reasoning," imagination, and dreams. David is given to Henry and Monica, a couple whose biological child Martin is incurably ill and cryopreserved, awaiting a future cure.
More specifically, David is created out of Hobby's own loss and given to aid Monica's mourning for Martin, whom she has been unable to "let go" of as dead. It is thus Monica (Frances O'Connor) who must make the decision to perform the "imprint protocol" that will make David love her. After she stops resisting the desire to love a child (of any kind) again and implements the protocol, Martin is unexpectedly cured and comes home.
The ensuing turmoil sends David, accompanied by a robot Teddy bear, out into a nightmare world of adult Mechas, comprised of both Rouge City, where functioning Mechas like Gigolo Joe (Jude Law) do their sex worker jobs and also the fugitive realm where unregistered, discarded Mechas try to find the spare parts they need to rebuild themselves and elude trappers who take them to reactionary "Flesh Fairs" where they are publicly destroyed as an expression of rage against artificial technologies.
Joe and David, both set up and betrayed by humans jealous of their superiority at performing human functions, join together on a quest to make David "real" and return him to Monica. The quest takes them to a partly submerged Manhattan and sends David and Teddy two thousand years into the future to resolve the dystopic narrative.
Summary:Part of a series, "Letters to a Young . . . [fill in the career]," this collection of essays by pediatrician-author Perri Klass is addressed to her son Orlando during the recent period when he was applying to medical school. The essays follow a chronological sequence, beginning with the decision to apply to medical school, the first two years of medical school, learning how to examine and talk to patients, residency training, physicians as patients, making mistakes, grappling with the most fundamental human issues in medicine, and the mingling of professional work and life.