http://hdl.handle.net/10366/4687 Sat, 02 May 2026 03:58:53 GMT 2026-05-02T03:58:53Z http://hdl.handle.net/10366/56185 Sun, 01 Jan 2006 00:00:00 GMT http://hdl.handle.net/10366/56185 2006-01-01T00:00:00Z http://hdl.handle.net/10366/56189 [ES] Es una percepción común que los estudiantes de medicina pasan los seis años de licenciatura obsesionados con el examen MIR y, una vez superado, el sistema sanitario y la excesiva actividad asistencial fomenta la hiperespecialización, lo que en muchas ocasiones es en detrimento de aprender a leer al enfermo como un todo. El ejercicio de la profesión debería entender al paciente en su globalidad, ya que la medicina entendida como un humanismo ético, fracasa si se especializa al paciente. En la Unidad Docente del Hospital UniversitariGermans Trias i Pujol de la Universitat Autónoma de Barcelona nos planteamos incorporar una asignatura que permitiera a los alumnos leer y ver la medicina mucho más allá del diagnóstico, que les posibilitara una visión más amplia de la enfermedad y que se convirtiera en el complemento emocional de su licenciatura (y, en consecuencia directa, de una profesión) excesivamente biologista. ¿Qué mejor que la literatura y el cine para enseñar a los alumnos a leer y ver la medicina ? Por el conocimiento que tenemos de otros programas universitarios se trata no sólo de una asignatura novedosa, sino de un modelo de aprendizaje absolutamente diferente a los habituales en esta licenciatura, no así en otros estudios, como los de gestión empresarial, donde sí suele trabajarse con asignaturas y modelos similares.; [EN] In Spain, it is commonly held that medical students spend the entire time of their degree courses obsessed with the MIR (Post-graduate Medical Training/ Medical Residency) exam and, when they have sat and passed this, the health system itself together with excessive professional activity foster what is tantamount to a hyperspecialisation , in many cases in detriment to learning to read the patient as a complete entity. Upon exercising their profession, physicians should understand patients in their entirety since medicine when considered as ethical humanism- fails if the patient is merely slotted into the specialist pigeon-hole. At the Teaching Unit of the Hospital Universitari Germans Trias i Pujol of the Universitat Autónoma de Barcelona we were prompted to incorporate a subject in the syllabus that would allow students to both read and see medicine to an extent far beyond the diagnostic level, that would provide them with a broader view of diseases, and one that that would become an emotional complement to the material studied in their degree course (and as a direct consequence, to their future profession), which tends to be excessively biologistic . What, then, could be better than literature and the cinema to teach studentsto read and see medicine ? From previous knowledge that we had culled from other university programs, this would not only be a novel subject per se but should also offer a completely different learning model from traditional teaching contents in the field. This would thus approach the situation in other degree courses, such as in business studies, where similar subjects and models are used. Sun, 01 Jan 2006 00:00:00 GMT http://hdl.handle.net/10366/56189 2006-01-01T00:00:00Z http://hdl.handle.net/10366/56188 [ES] Muerte en Venecia está basada en la novela homónima de Thomas Mann, excepto que en la versión cinematográfica el protagonista, Gustav von Aschenbach, se nos presenta como músico en lugar de escritor. Por esas licencias del arte no siempre asequibles a nuestro entendimiento, Luchino Visconti también ha querido situar al artista en la persona de Gustav Mahler. Más allá de dichas disimilitudes, la película es una recreación cabal de los logros del relato y una fidedigna reconstrucción de época. Una Venecia alejada de su esplendor e invadida por una plaga, pero igualmente capaz de seguir transmitiendo el cautivante y a la vez nostálgico legado de su pasado magnificente. El marco ideal para las ideas musicales de Mahler, perfectamente extractadas en la Canción de medianoche y el adagietto de su tercera y quinta sinfonías.; [EN] Death in Venice is based on the novella of the same name by Thomas Mann, except that in the cinema version the main character, Gustav von Aschenbach, is a musician instead of a writer. Owing to poetic license not always within the layman s grasp, Luchino Visconti alsowished to identify the artist with Gustav Mahler. Beyond such dissimilarities, however, the film is a feasible recreation of the story and a faithful reconstruction of those times: a Venice divorced from its former splendor and invaded by a plague and yet at the same time still able toevoke the captivating, nostalgic legacy of its magnificent past. An ideal scenario indeed for the musical ideas of Mahler, and perfectly reflected in the Midnight Song and the adagietto of his third and fifth symphonies. Sun, 01 Jan 2006 00:00:00 GMT http://hdl.handle.net/10366/56188 2006-01-01T00:00:00Z http://hdl.handle.net/10366/56187 [ES] Este trabajo rescata las vidas paralelas de dos hombres: Vivien T. Thomas, el carpintero estadounidense, y Hamilton Naki, el jardinero africano, que, viviendo en ambientes hostiles de falta de medios y de segregación racial, llegaron a sobresalir de tal modo en la Medicina que ambos contribuyeron de manera significativa a ella, junto a médicos del renombre de Alfred Blalock y Christian Barnard. A su vez, uno y otro recibieron el doctorado honoris causa sin poder haber sido médicos (como era su deseo), son destacados en sus respectivos países de nacimiento y merecieron reconocimientos fílmicos (Partners of the Heart (2003) de Bill Duke y Andrea Kalin y A corazón abierto/ Something the Lord Made (2004) de Joseph Sargent para Vivien T. Thomas y un documental en proyecto Hands of a Forgotten Hero para Hamilton Naki), susceptibles de servir de ejemplo a alumnos y profesionales de la salud en particular y al público en general así como de ser debatidos en los aspectos académicos, ético-morales y humanos que ofrecen.; [EN] This article tackles the lives of two people -Vivien T. Thomas, the American carpenter, and Hamilton Naki, the African gardenerwho, living in hostile environments with few means and hounded by racial segregation, managed to achieve such success in the field of medicine that both contributed significantly to it, together with physicians as well known as Alfred Blalock and Christian Barnard. In due course, even though they had not managed to become physicians (as they had wished to be) both received honorary doctorates. They are revered in their respective countries of origin and were portrayed in the cinema: Partners of the Heart (2003) by Bill Duke and Andrea Kalin and Something the Lord Made (2004) by Joseph Sargent in the case of Vivien T. Thomas, while in the case of Hamilton Naki there is a documentary in project phase: Hands of a Forgotten Hero. These films could serve as examples for health students and professionals, in particular, and the public in general, and could serve as material for debate as regards their academic, ethical-moral and humanitarian aspects. Sun, 01 Jan 2006 00:00:00 GMT http://hdl.handle.net/10366/56187 2006-01-01T00:00:00Z http://hdl.handle.net/10366/56186 [ES] El cine se ha sentido especialmente fascinado por retratar la enfermedad mental y a aquellos que la padecen. De todos los trastornos de la mente humana que se conocen en la actualidad, el trastorno de identidad disociativo (antes conocido como personalidad múltiple) es, sin duda, el que mayor juego ha dado a guionistas y directores a la hora de elaborar sus películas. La sorprendente manifestación de este trastorno lo hace especialmente adecuado para servir de soporte a tramas truculentas y efectistas basadas en giros inesperados de guión que sorprenden e impactan al espectador. Sin embargo, el marcado interés del Séptimo Arte por el trastorno de identidad disociativo no ha resultado en un correcto tratamiento del mismo, más bien al contrario, ha sido presentado en la mayoría de las ocasiones de forma errónea y confusa.; [EN] The cinema has been especially attracted by the portrayal of mental illness and those suffering from it. Of all the disturbances of the human mind currently known, Dissociative Identity Disorder (previously known as multiple personality disorder) is undoubtedly the one that has best served script-writers and directors in their films. The surprising manifestations of this illness mean that it is particularly suited as a support for some rather elusive and effect-oriented plots based on unexpected turns of the action that spark the surprise of the spectator. However, the marked interest of the seventh art in dissociative identity disorder has not led to a correct interpretation of the pathology; quite the contrary, in most cases it has been presented in a mistaken and confusing light. Sun, 01 Jan 2006 00:00:00 GMT http://hdl.handle.net/10366/56186 2006-01-01T00:00:00Z http://hdl.handle.net/10366/56190 Sun, 01 Jan 2006 00:00:00 GMT http://hdl.handle.net/10366/56190 2006-01-01T00:00:00Z