It describes and explains the patient-centered model examining and evaluating qualitative and quantitative research. It comprehensively covers the evolution and the six interactive components of the patient-centered clinical method, taking the reader through the relationships between the patient and doctor and the patient and clinician. All the editors are professors in the Department of Family Medicine at the University of Western Ontario, London, Canada.

In lieu of an abstract, here is a brief excerpt of the content:Death Perception:How Temporary Ventilator Disconnection Helped my Family Accept Brain Death and Donate OrgansThomas B. FreemanThe night of my nephew’s closed head injury in Boston, I was on call as a neurosurgeon at Tampa General Hospital. I was therefore not shocked at first when my telephone rang at four o’clock in the morning, but I soon understood the severity of the tragic news. The next half hour was a (...) blur of frantic phone calls and devastating decisions leading to surgery to remove a subdural hematoma from my nephew’s head, even though he was only two brain stem reflexes away from brain death.I thought that my experience as a neurosurgeon would somehow help me. However, when my sister–in–law asked me if this was just like the other tragic closed head injuries that I had seen in 26 years of practice, my answer was very simple: this was the only severe closed head injury I had ever seen—in my family. At this point, I was no longer a neurosurgeon. I was an uncle. My nephew’s closed head injury overwhelmed both his brain’s capacity to survive and my entire family’s ability to think rationally or objectively while grieving so intensely.It is in this context that we were asked to consider organ donation. The appeal for organ donation is one of altruism. My nephew’s parents agreed that organ donation would be an important way to honor their son’s life, allow him to make one final contribution to save the lives of several patients, and help to bring peace to the family.I will never forget, however, my niece’s distraught response. She is altruistic by nature, but was tremendously conflicted by the choice to donate her own brother’s organs. At this point, all discussions about organ donation stopped until we could understand the source of her conflict. Since she did not have legal authority regarding the final decision, some family members wondered if organ donation should be allowed if she could not come to terms with the choice. She felt isolated, because she was the only person in the room who was experiencing conflict. As a neurosurgeon, I have always advised other families in this situation that they may have more peace if they can make such decisions unanimously, regardless of who has the ultimate legal authority for decision–making. This helps bring healing to the family, eliminates disruption of family values and unity, and reduces possible feelings of guilt.I asked my niece what she was feeling. She stated something that I had never heard before as a neurosurgeon. She had listened to the words that her brother was brain dead, but she felt that he was somehow still alive, since he was breathing on a ventilator and his heart was beating. She felt powerless due to her inability to do anything more for [End Page 9] him. She also wanted to be there when her brother “died,” which she would recognize by the cessation of his heartbeat. She would not abandon her brother.I searched for a way to respect my niece’s wishes and her legitimate request, while preserving the ability to proceed with organ donation. Solving this conundrum proved to be a pivotal part of the beginning of both her mourning process and acceptance of his death.As an uncle, I experienced the clear dissociation that modern medicine creates between medical care and the natural human process of recognizing and accepting death. My family observed the subtle difference between a deep coma and brain death. They noticed that my nephew’s color had changed when his temperature dropped to 94o F before the heating blanket was placed. They perceived the decrease in muscle tone when he stopped breathing faster than the ventilator rate. Outside of that, there was no significant difference in his appearance when he was “alive” or “dead.”In spite of heroic measures and superlative surgical and medical care, his closed head injury progressed unremittingly until he became brain dead 36 hours later. The diagnosis of “brain death” was pronounced to the family. Accepting the death of someone who is... (shrink)

_This article focuses on the poetry of Albert Saijo, one of the lesser-known figures in the Beat literary movement. I suggest here that Saijo’s work should be better-known, and in drawing out some resonances between Saijo’s poetry and Nietzsche’s philosophy, I make a case that Saijo should be taken seriously as a poet and philosopher. Saijo has been described as “a post-apocalyptic wisecracking prophet, speaking the language of the human future,” and here I provide some justification for this statement. One (...) could say that the Beat literary movement developed around the intersection of Existentialism and Zen, and this article explores that juncture in examining the play between language and silence in the writings of Saijo and Nietzsche. In addition to taking Saijo seriously, this article perhaps also opens another perspective on Nietzsche. I draw attention to the rhapsodic nature of Nietzsche’s Zarathustra and suggest that the thought of eternal recurrence might be something like a Zen kōan, or even a joke by another post-apocalyptic wisecracking prophet. The thought of eternal recurrence is compared with the bodhisattva vows, and Saijo’s poem on those vows is highlighted as a great example of his “Zensational” rhapsody._. (shrink)

In response to Hegel’s thesis concerning the “end of art,” John Sallis suggests that the future or the “promise of art” may be opened in thinking through Heidegger’s essay “The Origin of the Work of Art.” Sallis proposes that this promise of art may lie in the capacity to “set forth various elements through transfigurement into shining.” In this paper I reflect on what this suggestion concerning the promise of art may mean. Furthermore, I propose that “The Origin of the (...) Work of Art” shows a resonance with Nietzsche’s Birth of Tragedy that Heidegger’s reading of Nietzsche obscures, and that this resonance is suggested in Sallis’ earlier work on Nietzsche’s book. I suggest that the Gestalt configuration of “world” and “earth” in Heidegger’s essay echoes the configuration of the Apollonian and Dionysian in Nietzsche’s thought. I further suggest in the conclusion that this resonance enables one to draw the connection between “The Origin of the Work of Art” and Heidegger’s later work in which the promise of art opens up a different mode of dwelling upon the earth. (shrink)