Showing 71 - 80 of 263 annotations tagged with the keyword "Medical Education"
'Smut: Two Unseemly Stories' consists of two novellas, 'The Greening of Mrs Donaldson' and 'The Shielding of Mrs Forbes'. Both are slight but well-observed and nimbly narrated stories about sex and manners.
In 'The Greening of Mrs Donaldson', a newly widowed woman has to make ends meet; she takes in lodgers (initially a medical student and her boyfriend) and finds herself employed at a local medical school as a standardized or simulated patient (a patient instructor), joining several other stalwart characters in feigning illnesses and ailments for the educational benefit of training doctors. When her tenants do not have the money to pay their rent, they find another way of reimbursing Mrs Donaldson. 'The Shielding of Mrs Forbes' is about the marriage of vain handsome Graham Forbes to a wealthy, although not particularly beautiful, woman, much to the frustrated dismay of his mother. In both novellas, secrets about sex and surprising erotic arrangments threaten the measured, middle class lives of the Donaldson and Forbes families.
In 1964, newly minted doctor, Barry Laverty, begins practice as the young assistant of crusty, seasoned, Dr. Fingal O’Reilly, in the small, Northern Irish village of Ballybucklebo. At first he thinks his new boss is fierce and unprofessional. But soon, Barry uncovers the sadness in the older doctor’s past and realizes that O’Reilly has excellent, clinical acumen. If he bends the rules, it is usually for the best.
Over the course of a month they face the ordinary struggles of general practice with Barry slowly learning the ropes: appendicitis in a child, a rushed delivery, pneumonia combined with heart failure, hypothyroidism, unwanted pregnancy, and stroke. And of course, the more minor staples of headache, cuts, and scrapes.
Not everything turns out well. Barry misses a diagnosis and cannot stop blaming himself, but his admission of the error to the patient’s wife is an important step in his education. The patients, however, leave the practice.
Social factors such as poverty, discrimination, and corruption of local officials pervade each vignette.
Barry also meets the beautiful Patricia—a survivor of polio—whose desire to pursue a career in civil engineering seems to pose an obstacle until all is happily resolved in the end.
Summary:The author takes us on a highly colorful autobiographical tour of his medical career - his personal life never enters this account - from a classical medical education in Paris as a young expatriate Swede (he remains expatriate the entire book) to his internal medicine practice in France, including a tour of Naples as a volunteer during the cholera epidemic of 1881 and his finally settling in Italy. There are also anecdotes - many of them side-splitting and told with uncommon skill - about conducting a corpse back to Sweden, a truly thrilling journey to Lapland, encounters with the legendary Charcot, his return to San Michele whence the book begins with a mythopoetic retelling of his first visit there, and his last years at San Michele as patron of a community (both local and international) and as collector and explorer of the nearby Mediterranean.
Summary:Johanna Shapiro, Director of the Medical Humanities Program at University of California Irvine School of Medicine, brings her considerable skills and experience as medical educator, writer and literary critic to this unique volume of medical student poetry. Shapiro collected over 500 poems by medical students not only from her home institution but also from other US medical schools and performed a content and hermeneutic analysis. As Shapiro carefully details in her methodology section, she treats "poetry as a form of qualitative data, and [therefore] techniques of analysis developed for other sources of qualitative data (such as interviews, focus groups, and textual narratives) can be applied to an understanding of poetry." (p. 42)
Summary:Edited by Victoria Tischler (a psychologist in the Division of Psychiatry at The University of Nottingham), with forewords by Dinesh Bhugra (Professor of Mental Health and Cultural Diversity at King's College London) and Allan D. Peterkin (who founded ARS MEDICA: A Journal of Medicine, The Arts and Humanities), this handbook is intended to provide guidance on medical humanities teaching in the field of mental health. After a short, familiar introduction to the need for such teaching, Tischler offers concrete guidance on how to begin establishing a medical humanities course. The subsequent chapters deal with topics, perspectives, and forms of art one might include in such a course. There is a "brief history of psychiatry through the arts" by Allen Beveridge which is, as we are warned in the title, somewhat cursory, but also well-written and thought-provoking.
This suggestively titled collection of poems provides a lyric record of a physician’s way of seeing. The situations to which the poems bear witness are not only medical, though many are. Some are cityscapes into which are woven surprisingly astute observations of homeless people or hitchhikers or ducks in the park. Some explore the geography of a body where memories are held in “neuron chains.” Some articulate bits of personal history from the point of view of a woman who has spent years in medicine, caring for the elderly, seeing bodies with the double vision of a clinician and a person whose spirituality clearly informs all she sees.
Titles like “ER Alphabet of Hurt” or “Looking for God On the Radio” or “Hippocrates Voyeur” or simply “Scars” may give some sense of the range of focus. Her vision and voice are strongly local; those who know Marin County, north of San Francisco, will recognize the places that become the poet’s personal geography. Those who don’t will still see in these poems a sensibility shaped and refined by the knowledge that comes from deep habitation.
Jasper Glass and his brother Jonathan are medical students in Toronto, circa 1975. Their father is a repressed, language professor endlessly writing a never-to-be published book on French idioms. Jasper is having an affair with a married classmate, and he lusts after his dissection partner, Valerie. But Valerie isn’t interested.
In its wisdom, the medical faculty has decided that electives in the humanities must be taken to broaden the educational experience. Jasper and his friends opt for literature. When the graduate student assigned to the teaching task dissolves in angst over how to communicate with savage medical students, the young, Mexican poet, Roberto Moreno, becomes their instructor. The students love Roberto, and through him they learn to love poetry too. Valerie especially loves Roberto. Jasper learns to deal with it.
Over the course of the year, the friends have many adventures. Jasper rescues a young woman from assault, and she, in turn, defends him from a wrongful accusation. Jonathan loses his way and fails miserably. They meet a sinister psychiatry resident who abuses his position with patients, colleagues, and students. Only slowly do they realize the full potential of his dangerous mind. They deal with that too.
Professor Samuel D. Gross of Jefferson Medical College is demonstrating an operation for osteomyelitis of the femur in the surgical amphitheater in 1875 in this highly dramatic, powerful scene. Light glints off his forehead, and his visage is stern, calm, and surrounded by a halo of gray-white hair. The bloody fingers of his right hand hold a blood-tipped scalpel. He appears to have just made an incision and is turning away to demonstrate his work.
To the surgeon’s left is the patient, lying in right lateral decubitus position, with exposed leg and buttocks. Assistants are retracting the wound, further dissecting within it, and holding the patient’s legs. Blood is on their hands, instruments, and the patient’s leg. The patient’s face is obscured by the chloroform soaked towel that the anesthetist is using to administer general anesthesia. The white of this towel and the operating table’s sheet are the only other bright white values besides the surgeon’s head in this mostly dark painting.
Adding to the drama is the stricken pose of the patient’s female relative--to the surgeon’s right. For charity cases, a family member was required to be present during the surgery. She averts her head and raises her hands, clenched in a claw-like fashion, to block her view.
In the gallery are variously interested and disinterested observers--mostly medical students--in casual poses and dimly seen. The exception is the artist’s self-portrayal--he is studiously drawing in the front row. Dr. Gross’s son (also a surgeon) is standing in the entry tunnel.
This guide identifies short film clips designed to support “Cinemeducation,” word and method both coined by the editor Matthew Alexander. The editorial team consists of three family therapists--two psychologists and a social worker—with input from 26 other psychologists, behavioral scientists, and family physicians—all American, with the exception of one Brazilian. Most contributors train residents in family medicine. Both more and less than a scholarly treatise, this book is predominantly an annotated index.
Thirty short chapters are devoted to various subject themes: chronic illness, sexual behavior, aging, substance abuse, research, and medical error. In a paragraph or two, the clinical problem is outlined, then subheadings introduce specific, related keywords exemplified by the scenes selected. The plot and main actors of every film are summarized briefly at its first mention; a single movie can be cited in several different chapters. Each clip is similarly described and located precisely within the film (minutes and seconds).
In this manner, 125 films are parsed for 400 scenes, ranging in length from 1 to 6 minutes. Most are Hollywood films, released since 1980. Questions for discussion accompany each film clip. The consistency and concise descriptions are admirable, but, sadly, the year of release is not supplied.
A few chapters break from this format. One discusses aspects of technology. Another attempts evaluation of this teaching method through a ten-year retrospective survey of physicians who had been exposed to films in residency. The response rate was 60% but a fifth were rejected because the respondents could not recall the use of films. The remaining 48% who could remember the use of film clips found the method memorable, fun, and effective; however, they thought it would benefit from more context and amplification.
Appendices point to similar resources and more films under other keywords without details. This database is cited by URL without any description.
In 1889, young doctor Ephraim Carroll is in Philadelphia working with the team of the famous physician and pathologist, William Osler. In their zeal to learn more, they conduct careful autopsies, but the body of a young woman upsets Osler and teammate Dr. George Turk, and they defer the examination. Baffled when her body vanishes, Carroll becomes preoccupied with identifying the woman and the cause of her death.
A darling of Philadelphia society, Osler arranges for Carroll to attend a dinner where Carroll meets and falls head over heels in love with the unconventional Abigail Benedict. Abigail is a painter and free thinker, friendly with the great artist Thomas Eakins. Both are worried about their missing friend, Rebecca Lachtmann, and they engage Carroll to help find her. Through a series of adventures he is able to locate and identify the missing corpse as hers. He discovers the cause of death by exhuming the body.
In the meantime, Turk is found dead of what appears to be cholera; however, Carroll’s suspicions lead him to conclude that the young doctor was murdered by a dose of arsenic cleverly calculated to mimic symptoms of the infection. Drug addiction and an abortion ring lie at the heart of this crime.
Osler is being courted for a position at the new Johns Hopkins Medical School and he invites Carroll to consider joining him there. But Carroll decides not to go to Baltimore.
To write more would give too much away. The surprise ending implicates famous doctors for unethical behavior, if not murder.