Jay Katz – författare

In this eye-opening look at the doctor-patient decision-making process, physician and law professor Jay Katz examines the time-honored belief in the virtue of silent care and patient compliance. Historically, the doctor-patient relationship has been based on a one-way trust-despite recent judicial attempts to give patients a greater voice through the doctrine of informed consent. Katz criticizes doctors for encouraging patients to relinquish their autonomy, and demonstrates the detrimental effect their silence has on good patient care. Seeing a growing need in this age of medical science and sophisticated technology for more honest and complete communication between physician and patients, he advocates a new, informed dialogue that respects the rights and needs of both sides. In a new foreword to this edition of The Silent World of Doctor and Patient, Alexander Morgan Capron outlines the changes in medical ethics practice that have occurred since the book was first published in 1984, paying particular attention to the hotly debated issues of physician-assisted suicide and informed consent in managed care.

An important contribution in the burgeoning literature relating to the delivery of medical care, and to the broader question of responsible decision-making in those social areas where tragic choices have to be made. The effort is an excellent example of research into, and therapy for, an important social process.

Casanova, Stendhal, Tolstoy: Adepts in Self-Portraiture, the final volume of Stefan Zweig's masterful Master Builders of the Spirit trilogy, discloses the smaller version of a writer's own ego. Unconscious though it is, no reality is as important to the writer as the reality of their own life. Giacomo Casanova, Stendhal (Marie-Henri Beyle), and Leo Tolstoy have different approaches to self-portraiture, but Zweig shows that together they symbolize three levels which represent successively ascending gradations of the same creative function.Casanova is depicted as having a primitive gradation; he simply records deeds and happenings, without any attempt to appraise them or to study the deeper working of the self. Stendhal's self-portraiture is depicted as psychological; he observes himself and investigates his own feelings. Tolstoy has the highest level; he describes his own life, records what led him to his own actions, and focuses on self-reflection in a completely unexaggerated manner.At first glance it might seem as if self-portraiture is an artist's easiest task. With no further trouble than a probing of memory and a description of the facts of life, "the truth" is revealed. The history of literature shows that ordinary autobiographers are no more than commonplace witnesses testifying to facts that chance has brought to their knowledge. A practiced artist is needed to discern the innermost happenings of the soul; few who have attempted autobiography have been successful in this difficult task. The present volume expounds the characteristics of these subjectively minded artists, and of autobiography as their typical method of personal expression.

An important contribution in the burgeoning literature relating to the delivery of medical care, and to the broader question of responsible decision-making in those social areas where tragic choices have to be made. The effort is an excellent example of research into, and therapy for, an important social process.

Casanova, Stendhal, Tolstoy: Adepts in Self-Portraiture, the final volume of Stefan Zweig's masterful Master Builders of the Spirit trilogy, discloses the smaller version of a writer's own ego. Unconscious though it is, no reality is as important to the writer as the reality of their own life. Giacomo Casanova, Stendhal (Marie-Henri Beyle), and Leo Tolstoy have different approaches to self-portraiture, but Zweig shows that together they symbolize three levels which represent successively ascending gradations of the same creative function.Casanova is depicted as having a primitive gradation; he simply records deeds and happenings, without any attempt to appraise them or to study the deeper working of the self. Stendhal's self-portraiture is depicted as psychological; he observes himself and investigates his own feelings. Tolstoy has the highest level; he describes his own life, records what led him to his own actions, and focuses on self-reflection in a completely unexaggerated manner.At first glance it might seem as if self-portraiture is an artist's easiest task. With no further trouble than a probing of memory and a description of the facts of life, "the truth" is revealed. The history of literature shows that ordinary autobiographers are no more than commonplace witnesses testifying to facts that chance has brought to their knowledge. A practiced artist is needed to discern the innermost happenings of the soul; few who have attempted autobiography have been successful in this difficult task. The present volume expounds the characteristics of these subjectively minded artists, and of autobiography as their typical method of personal expression.