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viii | |
Acknowledgements |
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ix | |
Foreword |
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x | |
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Introduction |
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1 | (1) |
Forewarned |
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1 | (11) |
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Shaping the fabric of the sensible through medical education |
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2 | (3) |
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The role of the medical humanities in addressing symptoms of a malfunctioning medical education |
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5 | (5) |
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10 | (2) |
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1 Where do the medical humanities come from and where are they going? |
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12 | (28) |
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The medical humanities in North America |
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12 | (11) |
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The medical humanities in the United Kingdom |
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23 | (10) |
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The medical humanities internationally |
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33 | (7) |
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2 What are the `medical humanities'? Definitions and controversies |
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40 | (20) |
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Defining the medical humanities: `what's in a name?' |
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40 | (5) |
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A multidisciplinary or interdisciplinary field? |
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45 | (6) |
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Carrying the burden of the medical humanities |
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51 | (3) |
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What does the future hold for the medical humanities? |
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54 | (6) |
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3 The distribution of the sensible |
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60 | (18) |
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60 | (2) |
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The distribution of the sensible is a historical phenomenon |
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62 | (2) |
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64 | (2) |
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The social organization of perception |
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66 | (1) |
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The meeting of aesthetics and politics in the distribution of the sensible |
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66 | (2) |
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The `police', `politics' and `dissensus' |
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68 | (4) |
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The redistribution of the sensible through a new medical education that draws on the medical humanities |
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72 | (1) |
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The production of insensibility can be aligned with authoritarianism and intolerance of ambiguity: Donald Winnicott and Martha Nussbaum |
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73 | (3) |
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The redistribution of the sensible can be aligned with promotion of a tender-minded medicine |
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76 | (2) |
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4 Empathy and its discontents |
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78 | (22) |
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78 | (7) |
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The death of Hector: pity in Homer, empathy in medical education |
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85 | (12) |
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Conclusions: empathy ancient and modern |
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97 | (3) |
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5 Towards a medical aesthetics: creativity and imagination in medical education |
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100 | (32) |
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100 | (1) |
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100 | (5) |
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Towards a medical aesthetics |
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105 | (1) |
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Reflecting on `creativity' |
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106 | (1) |
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Philosophies of lack versus philosophies of abundance |
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107 | (3) |
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Constructions of creativity |
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110 | (6) |
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A typology of creativities |
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116 | (16) |
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132 | (32) |
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Sensibility and sensitivity |
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132 | (1) |
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Kinds of reasoning in the senses |
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133 | (5) |
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Arts-educated observation |
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138 | (4) |
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Making sense of diagnosis |
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142 | (2) |
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Can exposure to the arts hone observation? |
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144 | (8) |
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Artists and doctors collaborate in `thinking aloud' |
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152 | (3) |
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Democratizing the medical gaze in medicine |
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155 | (1) |
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Aesthetic ways of knowing in healthcare |
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156 | (2) |
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158 | (2) |
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160 | (1) |
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161 | (2) |
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The visual rhetoric of clinical practice |
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163 | (1) |
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7 Can narrative medicine take the strain? |
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164 | (23) |
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164 | (1) |
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164 | (11) |
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175 | (5) |
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Two kinds of thinking? Narrative and science |
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180 | (1) |
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The subjunctive mood and narrative tension |
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181 | (3) |
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184 | (3) |
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8 Writing out prescriptions: hyper-realism and the chemical regulation of mood |
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187 | (19) |
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187 | (2) |
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189 | (6) |
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195 | (6) |
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The value of literary deconstruction in understanding health interventions |
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201 | (2) |
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Coda: development of a humanities-based formulary |
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203 | (3) |
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9 Evaluating the impact of medical humanities provision |
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206 | (22) |
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206 | (1) |
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Measuring the immeasurable? |
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207 | (1) |
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Are there other, more pressing, issues than measurement of impact? |
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208 | (3) |
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William Empson's seven types of ambiguity |
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211 | (1) |
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Empson's seven types of ambiguity transposed to medical education |
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212 | (3) |
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Issues of `impact': seven types of resistance to ambiguity |
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215 | (6) |
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Seven types of ambiguity that question the value of current medical humanities impact studies |
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221 | (7) |
Bibliography |
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228 | (24) |
Index |
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252 | |