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[German translation of the syphilis poem by Girolamo Fracastoro by the Essling wound physician Ernst Philipp Heinrich Späth (1809-1856). An unpublished hanwritten document of Dresden historical collection].

In 1840 the Dresden physician and professor at the Chirurgisch-medicinischen Akademie Johann Ludwig Choulant (1791-1861)--at that time one of the most well-known experts in history of medicine--received a German translation of the Fracastoro syphilis poem. This philological piece goes back to the physician and surgeon Ernst Philipp Heinrich Späth (1809-1856) who had already worked on the poem of Girolamo Fracastoro (1478-1553) and its translation in the 1830s. Späth referred to the 1830 Latin publication of Choulant's syphilis poem--which he later used as the literary basis for his adaptation. Späth had acquired his knowledge of philology at a theology seminar in Urach and during his theology studies inTübingen. However, he quit his theology studies to switch to medicine. In 1832 he took the state examination and received a doctorate of medicine and surgery. In the very same year he established a practice as general practitioner, surgeon and obstetrician in Esslingen to eventually be appointed chief surgeon at the Esslingen hospital. Besides his work as a physician Späth was also a publisher, e.g. he also became the editor of the first local Esslingen newspaper. Späth's translation, apparently finished almost completely already in 1837, was sent to Choulant to ask his opinion in 1840. This version seems to be not only one of the rarest but also earliest German adaptations. Although hardly any other medical poem was so often translated into modern languages as Fracastoro's "Syphilidis sive morbi gallici libri III", there are only three German publications mentioned in a 1935 bibliography with the first complete German translation being published in 1858. Späth's script, however, has never been published and has remained in the handwritten estate of Choulant in Dresden ever since.

Germany↗

Pierre Adolphe Piorry (1794-1879): pioneer of percussion and pleximetry.

Piorry was born in Poitiers on 31 December 1794. As a medical student he served in the Napoleonic war in Spain. His teachers in medicine included Corvisart, Bayle, Broussais, and Magendie; he qualified in 1816 with an MD thesis: "On the danger of reading medical text books by the laity"! Laënnec's invention of the stethoscope (1816) and De l' Auscultation Médiate (1819) inspired Piorry to make an analogous contribution to the technique of percussion (which had been originally described by Auenbrugger in his Inventum Novum in 1761 and translated from the Latin into French by Corvisart in 1808). This led to Piorry's invention in 1826 of the pleximeter (le plessimétre) to help outline the internal organs (l'organographisme), which he described inDe la Percussion Médiate (1828). Piorry became renowned as a professor of medicine in many of the great Parisian hospitals (Charité, Pitié, and Hôtel Dieux). In 1832 he was appointed to L'Hospice de la Salpétrière, where he held a famous course of clinical lectures. He wrote prolificly on many aspects of medicine and published more than twenty books. He was, in addition, a poet of some distinction, and wrote a remarkable long poem Dieu, L'Ame et la Nature (1853). Piorry held his neologisms-for example, toxin, toxaemia, septicaemia, etc.-are still in use. This, together with the mixed reception that his advocacy of pleximetry received from his medical contemporaries, made him a controversial figure. He died on 29 May 1879.

Auscultation↗

Proverb preferences across cultures: dialecticality or poeticality?

Peng and Nisbett (1999) claimed that members of Asian cultures show a greater preference than Euro-Americans for proverbs expressing paradox (so-called dialectical proverbs; e.g., Too humble is half proud). The present research sought to replicate this claim with the same set of stimuli used in Peng and Nisbett's Experiment 2 and a new set of dialectical and nondialectical proverbs that were screened to be comparably pleasing in phrasing. Whereas the proverbs were rated as more familiar and (in Set 1) more poetic by Chinese than by American participants, no group differences were found in relation to proverb dialecticality. Both the Chinese and Americans in our study rated the dialectical proverbs from Peng and Nisbett's study as more likable, higher in wisdom, and higher in poeticality than the nondialectical proverbs. For Set 2, both groups found the dialectical proverbs to be as likable, wise, and poetic as the nondialectical proverbs. When poeticality was covaried out, dialectical proverbs were liked better than nondialectical proverbs across both stimulus sets by the Chinese and the Americans alike, and when wisdom was covaried out, the effect of dialecticality was reduced in both sets and groups. Our findings indicate that caution should be taken in ascribing differences in proverb preferences solely to cultural differences in reasoning.

Adolescent↗

Homer Wheelon, M.D., physiologist, artist, and poet: origins of the tailpieces in journals of the American Physiological Society.

Since 1953, illustrations have been inserted as "tailpieces" at the ends of articles in The American Journal of Physiology and The Journal of Applied Physiology. The drawings were made by Homer Wheelon, a member of the American Physiological Society from 1919 until his death in 1960. Forty-five years after his death, Wheelon is unknown, but he contributed 32 publications to the medical literature and trained J. Earl Thomas, an important 20th century gastrointestinal physiologist. Wheelon was born into poverty in 1883 to itinerant Methodist preachers, circumstances that guided his education and career choices. Throughout his life, Wheelon exhibited a fondness and talent for art and photography and an unusual breadth of intellectual interests and knowledge. Wheelon received a bachelor's degree from the University of Washington, then studied at the University of Oregon, Northwestern University, and St. Louis University. Earning his M.D. from St. Louis University and assuming a faculty position there, Wheelon and his graduate student, Thomas, conducted widely recognized gastrointestinal research. Returning to Seattle in 1921, Wheelon became a highly respected physician and hospital administrator, but he also found time to indulge his interest in visual art and poetry. In 1933, inspired by observing a rabbit being used in a pregnancy test, Wheelon began to write and illustrate an epic, 322-page poem, Rabbit No. 202, illustrations from which became the journals' tailpieces. The present study traces Wheelon's personal life and scientific career in an attempt to understand this complex man and the origins of his unusual poem and its drawings.

Art↗

Hearing the patient's 'voice': toward a social poetics in diagnostic interviews.

In this article we introduce a special practice that we have called the practice of a "social poetics", and explore its nature. The setting is a Primary Care Clinic at a large urban teaching hospital in the northeast of the U.S. As we describe it, the practice is at first conducted by a third person who occupies the position of a "cultural go-between" and who mediates between doctors and their patients in diagnostic interviews. Her task is to be open to being 'arrested', or 'moved' by, certain fleeting, momentary occurrences in what patients do or say. For sometimes in such moments, in our responding to the unfolding motions of their whole body and voice-as they respond to the circumstances in which they find themselves-we can begin to sense that the unique nature of their 'inner world of pain and suffering' is like for them. The practice of a social poetics entails a new relational attitude to the patient's use of words, an attitude that invites a creative, poetic sensibility, as well as a 'boundary crossing' stance that creates comparisons useful in relating what patients say to the rest of their lives. In elucidating the nature of such a practice further, we draw on the work of Wittgenstein, Bachelard, and Bakhtin. Together, these can lead to a new diagnostic practice that enables those involved in it to create, within the practice itself, both ways of talking that draw attention to the new possibilities for interaction the practice itself momentarily makes available, and ways of talking relevant to realizing these possibilities.

Anthropology, Cultural↗

"The very house of difference": Zami, Audre Lorde's lesbian-centered text.

Locating the feminist subject at the intersection of shifting social groups, or "homes," allows me to explore the connections between concepts of home and identity in Audre Lorde's "biomythography," Zami: A New Spelling of My Name. While Lorde's writing attends to the complex intersections of race, gender, and sexuality, as the prologue to the text makes apparent, it also testifies to the "naturalness" of lesbianism as the ground of writing, thinking, and acting. In Lorde's text, the lesbian body figures neither as an essential or fixed identity nor as the site for a unified conception of community or home, but rather, as a paradigm for a new kind of writing--one which inhabits the very house of difference.

Black or African American↗