front cover of The Company Doctor
The Company Doctor
Risk, Responsibility, and Corporate Professionalism
Elaine Draper
Russell Sage Foundation, 2003
To limit the skyrocketing costs of their employees' health insurance, companies such as Dow, Chevron, and IBM, as well as many large HMOs, have increasingly hired physicians to supervise the medical care they provide. As Elaine Draper argues in The Company Doctor, company doctors are bound by two conflicting ideals: serving the medical needs of their patients while protecting the company's bottom line. Draper analyzes the advent of the corporate physician both as an independent phenomenon, and as an index of contemporary culture, reaching startling conclusions about the intersection of corporate culture with professional autonomy. Drawing on over 100 interviews with company physicians, scientists, and government and labor officials, as well as historical, legal, and statistical sources and medical trade association data, Draper presents an illuminating overview of the social context and meaning of professional work in corporations. Draper finds that while medical journals, speeches, and ethical codes proclaim the independent professional judgment of corporate physicians, the company doctors she interviewed often expressed anguish over the tightrope they must walk between their patients' health and the corporate oversight they face at every turn. Draper dissects the complex position occupied by company doctors to explore broad themes of doctor-patient trust, employee loyalty, privacy issues, and the future direction of medicine. She addresses such controversial topics as drug screening and the difficult position of company doctors when employees sue companies for health hazards in the workplace. Company doctors are but one example of professionals who have at times ceded their autonomy to corporate management. Physicians provide the prototypical professional case for exploring this phenomenon, due to their traditional independence, extensive training, and high levels of prestige. But Draper expands the scope of the book—tracing parallel developments in the law, science, and technology—to draw insightful conclusions about changing conditions in the professional workplace, as corporate cultures everywhere adapt to the new realities of the global economy. The Company Doctor provides a compelling examination of the corporatization of American medicine with far-reaching implications for professionals in many other fields.
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front cover of Raw Material
Raw Material
Producing Pathology in Victorian Culture
Erin O'Connor
Duke University Press, 2000
Raw Material analyzes how Victorians used the pathology of disease to express deep-seated anxieties about a rapidly industrializing England’s relationship to the material world. Drawing on medicine, literature, political economy, sociology, anthropology, and popular advertising, Erin O’Connor explores “the industrial logic of disease,” the dynamic that coupled pathology and production in Victorian thinking about cultural processes in general, and about disease in particular.
O’Connor focuses on how four particularly troubling physical conditions were represented in a variety of literature. She begins by exploring how Asiatic cholera, which reached epidemic proportions on four separate occasions between 1832 and 1865, was thought to represent the dangers of cultural contamination and dissolution. The next two chapters concentrate on the problems breast cancer and amputation posed for understanding gender. After discussing how breast cancer was believed to be caused by the female body’s intolerance to urban life, O'Connor turns to men’s bodies, examining how new prosthetic technology allowed dismembered soldiers and industrial workers to reconstruct themselves as productive members of society. The final chapter explores how freak shows displayed gross deformity as the stuff of a new and improved individuality. Complicating an understanding of the Victorian body as both a stable and stabilizing structure, she elaborates how Victorians used disease as a messy, often strategically unintelligible way of articulating the uncertainties of chaotic change. Over the course of the century, O’Connor shows, the disfiguring process of disease became a way of symbolically transfiguring the self. While cholera, cancer, limb loss, and deformity incapacitated and even killed people, their dramatic symptoms provided opportunities for imaginatively adapting to a world where it was increasingly difficult to determine not only what it meant to be human but also what it meant to be alive.
Raw Material will interest an audience of students and scholars of Victorian literature, cultural history, and the history of medicine.
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