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Research a current dilemma in medical ethics. Propose a solution to the problem.
Medical ethics in the Doctor’s Dilemma cont’d
How might Shaw view the current state of our health care system? The commercialization of health care has proceeded to levels of organization that were not present in Shaw’s day. Shaw viewed the ‘precarious, shabby-genteel, irresponsible’ private practitioner as the principal danger. Today, medicine is big business and large corporations control the production and distribution of drugs, medical devices and technology.
New epidemics of communicable diseases that Shaw could not have foreseen have swept and are sweeping across the globe. International mega-corporations aggressively market products that contribute to poor health in an effort to win over consumers’ wallets - from tobacco to processed food and from drugs to vaccines. If Shaw were alive today, it seems reasonable to suppose he might argue that public health now takes a backseat to corporate profits.
Improvisation: Lifeboat survivor
A group of people are on a life “raft that is barely large enough to save them” [54] - it cannot “support one more” [54]person. “A head bobs up through the waves at the side” [54] of the life raft. Another person begs to be taken aboard. Another life can only be saved by pushing one of the people now on the raft out into the water. Everyone must now defend their existence. Each character argues the case for or against saving their own life.
Choose one of the following characters or make up your own characters and
draw them from a hat:
-doctor -small child -artist -survival expert
-parent -athlete -activist -psychic
-The teacher grading you on this improve
Who will decide who goes overboard?
The captain? The people in the lifeboat? Does the person in the water get a say? The audience?
Afterwards, discuss as a class: Do you agree with the final decision? Why/Why not?
Morris Panych talks about directing The Doctor’s Dilemma
Over a hundred years ago, Bernard Shaw helped to shape the arguments for socialized medicine, some of which appear here in this play. Unbelievably, the debate about public health goes on, as if there were a suitable alternative to our collective health. Should personal wealth trump need? Should society, rather than the almighty dollar, decide what a human life is worth? So long as we have self-interest and compassion sharing a social platform, one can only imagine that the debate will continue.
There is no question, in my mind, that were our health left entirely to market forces, we would all live more expensive and uncertain, less productive lives; and doctors really would be little gods; the medical establishment a kind of Olympus. Thankfully, in this regard, we have recognized — at least for now — the primacy of the common good over individual profit. No society benefits from the illness of any of its citizens; conversely, a healthy populace makes a strong, vibrant, productive nation. Public health has its flaws — overspending being one of them — but are any of the drawbacks as bad as the alternative: private medicine? And yet, there remain social forces, recently emboldened in this country, which would advocate a return to the dark ages of Victorian England. Let this tale be a cautionary one; doctors should face no dilemmas. Decisions of life and death should be in the best interests of all of us. If we can all agree that professional hockey players, for instance, should not be first in line for H1N1 vaccination, then I think we can all agree that health issues are public, national issues. If we lose our egalitarianism, our humanism, we have lost our reason. It may not be what some people want, but it’s what all of us need. Without our collective health we are all sick; it’s not so much a question of generosity as a matter of survival.
Ken MacDonald talks about designing The Doctor’s Dilemma
Q: Can you describe your vision for this production of The Doctor’s Dilemma?
A: We are playing with the premise that some scientific data about disease can look a little like modern art, an idea that ties in nicely with Dubedat’s profession. The set will be big, theatrical, overscale, bold, modern, not stuffy Victorian.
The patients in The Doctor’s Dilemma suffer from TB. As it turns out, when microscopic pictures of TB bacteria are blown up to a zillion times their original size–they look a lot like paisley. Look for the TB bacilli in-spired paisley patterns in the sets and costumes.
Q: Have you ever worked with this director before?
A: Yes. I’ve done about 100 shows with him.
Q: Tell us about designing for this playwright. Is there anything in particular about their writing that inspires you or is a particular challenge for designers?
A: I don't read any setting directions from GB Shaw.
Q: What do you find most ‘striking’ about this play?
A: It’s a great story. [100, p. 25-51].
Discussion of the ending of the play "The Doctors Dilemma."
Here students can give free rein to their imagination and share with the teacher and other children their assumptions and guesses about the ending of the work.
Thus, students get acquainted with another feature of Shaw's work, namely, the introduction of open finals into his works.
CONCLUSIONS FOR CHAPTER III
We interested in Bernard Shaw’s play because he is not only one of the greatest playwrights in the world but also one who influenced the thoughts of vast numbers of human beings during two generations. His subject is about genuine social issues or real human problems.
We chooses Bernard Shaw’s the Doctor’s Dilemma as her study because some reasons and considerations. After reading this drama, the writer gets interested in analyzing the dilemma for her study. This drama is about the doctor’s life, especially Dr. Ridgeon. He is a successful doctor who has just discovered a new formula for tuberculosis. One day a young woman (Mrs. Dubedat) desperately seeks help for her husband from Ridgeon, who has evidently found a way to cure consumption by "stimulating the phagocytes." Ridgeon initially refuses, but changes his mind for two reasons, Dubedat is a fine artist and Ridgeon is falling in love with his wife. When the doctors meet Dubedat, however, they find that he is a dishonest scoundrel. This fact makes Ridgeon get confused whether he must choose Louis Dubedat or Dr. Blenkinsop who also has trouble with tuberculosis. Ridgeon must choose one of them to be saved; he has to choose a kind, poor doctor without a genius or the wicked genius artist? In this drama, there are some problems or conflicts faced by the characters. They have to find the solution and the main problem it self is the dilemma. This drama also talks about the other part of doctors’ life that mostly people don’t know, their proud, ideas, thoughts, values and so on. This drama is just about genuine social issues or real human problems.
Since the texts to be analysed belong to the dramatic genre, beside the ideational function, the interpersonal function of language is brought to the forefront. Drama is prototypically the literary genre composed almost entirely of face-to-face interaction between characters (Tan 1998). The methods of analysis, which focus on the linguistic structure of the dramatic dialogue, are discourse analysis and pragmatics, which deal precisely with face-to-face interaction. Besides, politeness theory can illuminate the social dynamics and character interaction, while discourse analysis can shed light on aspects of characterisation.
In this study we propose a micro-sociolinguistic approach to paradox: the plays are taken as an authentic socio-cultural linguistic corpus. In this context, the social variables that shape the characters’ identity are related to their language use and social behaviour. It is suggested that ethnic identities and ethnic stereotypes are present in the linguistic interactions of the different characters in the form of alternative, paradoxical identities. In the third part of the study the above-mentioned claims are analysed using fragments from Shaw’s plays.
In this way, it is shown that the interface of language and literature, stylistics and pragmatics can be productively and effectively applied to literary analyses and that the combination of literary criticism and linguistics is both legitimate and creative. Thus linguistics provides a method of analysis, it steels the researcher with a battery of concepts, which bridge the space between text and its ideological and sociological significance.
CONCLUSIONS
Studying literature is interesting and gives pleasure to the mind. It is because literature has the element of entertaining and involves student’s imagination and feelings so that it can make the readers get involved in. As Bernard Shaw states literature serves pleasure and illumination. He says pleasure because a study of literature involves the students’ imagination and feeling so that they feel as though they become part of literary text they read.
Learning literature is important for the students. That’s why analyzing literary work can help the students to grow as individuals as well as in their relationships with the people and institutions around them. It is also important that literature be taught in schools and colleges because it is an important element of people’s culture and it contains a record of people’s values, thoughts, ideas, problems and conflicts.
Summarizing my research carried out on Shaw’s plays which are analyzed from a linguistic perspective the following can be stated:
1.Through the subject and methodology of our research we would like to contribute to the return of studies on literary semiotics, as well as to the possibility of using linguistic pragmatics in such kind of studies.
2.Analyzing Shaw’s work from a linguistic perspective addresses an important gap in the literature dedicated to this author.
3.Starting from the concept of ethnic stereotype, reading the Shavian plays in ethnic key offers interpretative gains. Firstly, this research reveals a new type of complexity of the characters: the paradoxical or ambiguous character on the level of ethnic identity; this way complex relations are suggested among characters and cultures, between social (for instance, class) and ethnic identity, between gender and ethnic identity, etc.
4.The ethnic stereotype is an element of dramatic construction, not only on the level of the characters; it may also become a causal element of the plot (Arms and the Man, John Bull’s Other Island) or it may offer a criterion of classification of the characters into two groups: the one of static secondary characters who illustrate only the stereotype in its different acuity (Mrs Durgeon in The Devil’s Disciple, Mrs Pierce or Mrs Higgins in Pygmalion) and dynamic main characters, who–through the relationship between their personal and ethnic identity–reject, exceed or undermine the stereotype. In such cases the stereotype generates paradox and ambiguity.
5. On the metadiscursive level, the analyzed plays fully demonstrate the cognitive functions and flexibility of the stereotype. The selected plays offer a colourful array of British identities, which may all be incorporated in the British ethnic stereotype.
6. From a methodological perspective, like any linguistic analysis, my research also starts from the author’s linguistic choices, i.e. from the rhetoric of the text. Thus the connotative ideological analysis proves to be highly rigorous and objective.
7. Last, but not least I have been trying to “recover” Shaw–somehow fallen into obsolescence due to his Socialist inclinations–as a post-modern author, both on the level of his subject matters (his obsession for identity problems, colonial and post-colonial topics, ethnic diversity), as well as on the level of literary technique (the stereotype being deconstructed, reconstructed, parodied, following the rules of post-modern discourse).
By combining past and present, by flexibly and productively applying and combining these new linguistic trends in literary criticism my research follows the vein of the mobilities-paradigm.
Literature is important to human beings as it has some values. All readers can gain such rich values in literature in the form of short stories, novels, poetry and drama. Until nowadays, there have been a lot of literary works produced with high quality by novelists, playwrights, and poets, such as William Shakespeare, Arthur Miller, Bernard Shaw, Eugene O’Neil, Tennessee William, William Wordworth, Jane Austen, Henrik Ibsen, and Anton Chekhov.
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Chamber's Encyclopaedia. - London and Edinburgh:William and Robert Chambers, - Philadelphia: J.B.Lippincott Company, 1891, vol. VII.
The Concise Oxford Dictionary. 5th Ed. - Oxford: At the Clarendon Press-, 1964.
Do we agree? A Debade Between G.K.Chesterton and B.Shaw.
Carrol L. Alice in Wonderland. "Chesterbelloc" and the Party (H.Belloc, G.K.Chesterton, E.C.Bentley, M.H.Longson) More Beasts for Worse Children. – p. 243
Weintraub S. “The Hibernian school”: Oscar Wilde and Bernard Shaw/ Bertolini J.A. The Annual of Bernard Shaw Studies. Bernard Shaw on the London art scene, Vol. 13. – Penn State Press, 1993. - P. 25-51.
Shaw G.B, Man and Superman. The Revolutionist's Handbook. Maxims for Revolutionists.
Shaw G.B. Prefaces (Three Plays by Brieux).
Shaw G.B. The Devil's Disciple.
Шахова К. Парадоксальный Шоу //Зарубежная литература. - 2002. - Ч. 13 (квит.). - С. 10-14.
Ромм А.С. Бернард Шоу. - М., газета «Известия ЦИК СССР и ВЦИК», 1965, №199, 21 июля.
Николенко А, М. В мире парадоксов Б. Шоу//Зарубежная литература в учебных заведениях. 1998, №10, - С. 8-13.
А. Е. Жусупов, Парадоксальные Пословицы