Medical students' first-person narratives of a patient's story of AIDS

Assessing a faculty development workshop in narrative medicine

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Assessing a faculty development workshop in narrative medicine

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A review of creative and expressive writing as a pedagogical tool in medical education

“…These were evaluated by two authors. Ninety‐one articles were selected that met the inclusion criteria for the review: 28 position paper overviews, six reviews, one meta‐analysis, two surveys, 19 quasi‐experimental studies, 10 mixed‐methods studies and 25 qualitative studies …”

“…Narrative medicine programmes and inclusion of literature as a teaching tool were recognised as enjoyable activities. Although there was some enthusiasm for creative writing, as evidenced in the 28 position paper overviews advocating for writing in medical school, there was little evidence of a standardised approach across US schools in the articles assembled . There was recognition of a broader potential application of creative and expressive writing, notably that the soft skills needed to practise medicine are not unique when compared with other professions…”

“…Navigating these challenging situations is known to be a difficult rite of passage for students. The opportunity for reflection through writing was seen as useful for medical students in emotionally challenging situations …”

Writing the Other: An Exercise in Empathy

“…Despite the appearance of this objectivity, the case history and all narrative is shaped by the opinions and personal experiences of the teller who has selected specific details to "report" to the audience. The choice of these details and the language used to convey the "image" of the patient are revealing about the tellers (Brody, 1994;Chambers, 1999;Charon, 1986;Charon, Banks, Connelly, et al, 1995;DasGupta & Charon, 2004;Hawkins, 1992;Hunter, Charon, & Coulehan, 1995;Marshall & O'Keefe, 1995;Shapiro, 2008). Writing from the perspective of another person requires imagination, thus coercing writers to cross boundaries, both to be the "other" and to acknowledge themselves and see that these descriptions are truly their own (Calman & Downie, 1996;Charon, 1986;Hunter, Charon, & Coulehan, 1995;Shapiro, 2008).…”

Assessing a faculty development workshop in narrative medicine

“……”

A review of creative and expressive writing as a pedagogical tool in medical education

“…These were evaluated by two authors. Ninety‐one articles were selected that met the inclusion criteria for the review: 28 position paper overviews, six reviews, one meta‐analysis, two surveys, 19 quasi‐experimental studies, 10 mixed‐methods studies and 25 qualitative studies …”

“…Narrative medicine programmes and inclusion of literature as a teaching tool were recognised as enjoyable activities. Although there was some enthusiasm for creative writing, as evidenced in the 28 position paper overviews advocating for writing in medical school, there was little evidence of a standardised approach across US schools in the articles assembled . There was recognition of a broader potential application of creative and expressive writing, notably that the soft skills needed to practise medicine are not unique when compared with other professions…”

“…Navigating these challenging situations is known to be a difficult rite of passage for students. The opportunity for reflection through writing was seen as useful for medical students in emotionally challenging situations …”

Writing the Other: An Exercise in Empathy

“…Despite the appearance of this objectivity, the case history and all narrative is shaped by the opinions and personal experiences of the teller who has selected specific details to "report" to the audience. The choice of these details and the language used to convey the "image" of the patient are revealing about the tellers (Brody, 1994;Chambers, 1999;Charon, 1986;Charon, Banks, Connelly, et al, 1995;DasGupta & Charon, 2004;Hawkins, 1992;Hunter, Charon, & Coulehan, 1995;Marshall & O'Keefe, 1995;Shapiro, 2008). Writing from the perspective of another person requires imagination, thus coercing writers to cross boundaries, both to be the "other" and to acknowledge themselves and see that these descriptions are truly their own (Calman & Downie, 1996;Charon, 1986;Hunter, Charon, & Coulehan, 1995;Shapiro, 2008).…”

Assessing a faculty development workshop in narrative medicine

“……”

A review of creative and expressive writing as a pedagogical tool in medical education

“…These were evaluated by two authors. Ninety‐one articles were selected that met the inclusion criteria for the review: 28 position paper overviews, six reviews, one meta‐analysis, two surveys, 19 quasi‐experimental studies, 10 mixed‐methods studies and 25 qualitative studies …”

“…Narrative medicine programmes and inclusion of literature as a teaching tool were recognised as enjoyable activities. Although there was some enthusiasm for creative writing, as evidenced in the 28 position paper overviews advocating for writing in medical school, there was little evidence of a standardised approach across US schools in the articles assembled . There was recognition of a broader potential application of creative and expressive writing, notably that the soft skills needed to practise medicine are not unique when compared with other professions…”

“…Navigating these challenging situations is known to be a difficult rite of passage for students. The opportunity for reflection through writing was seen as useful for medical students in emotionally challenging situations …”

Writing the Other: An Exercise in Empathy

“…Despite the appearance of this objectivity, the case history and all narrative is shaped by the opinions and personal experiences of the teller who has selected specific details to "report" to the audience. The choice of these details and the language used to convey the "image" of the patient are revealing about the tellers (Brody, 1994;Chambers, 1999;Charon, 1986;Charon, Banks, Connelly, et al, 1995;DasGupta & Charon, 2004;Hawkins, 1992;Hunter, Charon, & Coulehan, 1995;Marshall & O'Keefe, 1995;Shapiro, 2008). Writing from the perspective of another person requires imagination, thus coercing writers to cross boundaries, both to be the "other" and to acknowledge themselves and see that these descriptions are truly their own (Calman & Downie, 1996;Charon, 1986;Hunter, Charon, & Coulehan, 1995;Shapiro, 2008).…”