Images of the Toronto Provincial Asylum, 1846-1890

Built in 1850, the Toronto Provincial Asylum was once the largest mental hospitals in Canada. The main building was demolished in 1975, and the property is now home to the Queen Street branch of the Centre for Addiction and Mental Health. Although there are remnants of the nineteenth-century institution, including most of the perimeter wall, the only lasting visual reminder of the property as a whole is a small group of images. By the last quarter of the nineteenth century, perhaps in order to ease public concern over the increasingly custodial function of the institution, Victorian media sources repeatedly presented an unchanging or immutable depiction of the Toronto Asylum. Drawing upon the architectural concept drawings of the 1840s, which contained an ideal vision for the building, pictures from the 1870s, 80s and 90s depict the asylum as the new, clean, and proud-looking structure it was when it opened. Arguably, these images are what the Victorian public wanted to see: they preserved the early-century optimism that such institutions would yield high cure rates and they supported the view that the care of the mentally ill belonged in the hands of the medical profession.Construit en 1850, l’asile provincial de Toronto a jadis été le plus grand hopital psychiatrique du Canada. L’édifice principal a été démoli en 1975, et le terrain de la rue Queen accueille maintenant un Centre de toxicomanie et de santé mentale. Bien qu’il y ait toujours des vestiges de l’institution du 19e siècle, incluant la majeure partie du mur d’enceinte, le seul rappel visuel persistant de la propriété dans son ensemble est un nombre restreint d’images artistiques. Dans le dernier quart du 19e siècle, probablement dans le but d’apaiser les préoccupations du public à propos de la fonction de plus en plus ‘incarcérative’ de l’institution, les sources médiatiques victoriennes présentent à répétition une description immuable de l’asile de Toronto. S’appuyant sur les plans architecturaux conceptuels des années 1840, les images des années 1870, 80 et 90 dépeignent un asile neuf, propre et ayant aussi fière allure qu’au moment de son ouverture. Sans doutes, ces images constituent ce que le public victorien souhaite voir : elles préservent l’optimisme du début du siècle posant un taux élevé de guérison pour ces institutions, et elles supportent l’idée que le soin des malades mentaux doit être aux mains de la profession médicale

The 'Brain Drain' of physicians: historical antecedents to an ethical debate, c. 1960–79

Many western industrialized countries are currently suffering from a crisis in health human resources, one that involves a debate over the recruitment and licensing of foreign-trained doctors and nurses. The intense public policy interest in foreign-trained medical personnel, however, is not new. During the 1960s, western countries revised their immigration policies to focus on highly-trained professionals. During the following decade, hundreds of thousands of health care practitioners migrated from poorer jurisdictions to western industrialized countries to solve what were then deemed to be national doctor and nursing 'shortages' in the developed world. Migration plummeted in the 1980s and 1990s only to re-emerge in the last decade as an important debate in global health care policy and ethics. This paper will examine the historical antecedents to this ethical debate. It will trace the early articulation of the idea of a 'brain drain', one that emerged from the loss of NHS doctors to other western jurisdictions in the 1950s and 1960s. Only over time did the discussion turn to the 'manpower' losses of 'third world countries', but the inability to track physician migration, amongst other variables, muted any concerted ethical debate. By contrast, the last decade's literature has witnessed a dramatically different ethical framework, informed by globalization, the rise of South Africa as a source donor country, and the ongoing catastrophe of the AIDS epidemic. Unlike the literature of the early 1970s, recent scholarship has focussed on a new framework of global ethics

The Early Royal Society and Visual Culture

Recent studies have fruitfully examined the intersection between early modern science and visual culture by elucidating the functions of images in shaping and disseminating scientific knowledge. Given its rich archival sources, it is possible to extend this line of research in the case of the Royal Society to an examination of attitudes towards images as artefacts –manufactured objects worth commissioning, collecting and studying. Drawing on existing scholarship and material from the Royal Society Archives, I discuss Fellows’ interests in prints, drawings, varnishes, colorants, images made out of unusual materials, and methods of identifying the painter from a painting. Knowledge of production processes of images was important to members of the Royal Society, not only as connoisseurs and collectors, but also as those interested in a Baconian mastery of material processes, including a “history of trades”. Their antiquarian interests led to discussion of painters’ styles, and they gradually developed a visual memorial to an institution through portraits and other visual records.AH/M001938/1 (AHRC

Reducing the environmental impact of surgery on a global scale: systematic review and co-prioritization with healthcare workers in 132 countries

Background Healthcare cannot achieve net-zero carbon without addressing operating theatres. The aim of this study was to prioritize feasible interventions to reduce the environmental impact of operating theatres. Methods This study adopted a four-phase Delphi consensus co-prioritization methodology. In phase 1, a systematic review of published interventions and global consultation of perioperative healthcare professionals were used to longlist interventions. In phase 2, iterative thematic analysis consolidated comparable interventions into a shortlist. In phase 3, the shortlist was co-prioritized based on patient and clinician views on acceptability, feasibility, and safety. In phase 4, ranked lists of interventions were presented by their relevance to high-income countries and low–middle-income countries. Results In phase 1, 43 interventions were identified, which had low uptake in practice according to 3042 professionals globally. In phase 2, a shortlist of 15 intervention domains was generated. In phase 3, interventions were deemed acceptable for more than 90 per cent of patients except for reducing general anaesthesia (84 per cent) and re-sterilization of ‘single-use’ consumables (86 per cent). In phase 4, the top three shortlisted interventions for high-income countries were: introducing recycling; reducing use of anaesthetic gases; and appropriate clinical waste processing. In phase 4, the top three shortlisted interventions for low–middle-income countries were: introducing reusable surgical devices; reducing use of consumables; and reducing the use of general anaesthesia. Conclusion This is a step toward environmentally sustainable operating environments with actionable interventions applicable to both high– and low–middle–income countries

Reducing the environmental impact of surgery on a global scale: systematic review and co-prioritization with healthcare workers in 132 countries

Abstract Background Healthcare cannot achieve net-zero carbon without addressing operating theatres. The aim of this study was to prioritize feasible interventions to reduce the environmental impact of operating theatres. Methods This study adopted a four-phase Delphi consensus co-prioritization methodology. In phase 1, a systematic review of published interventions and global consultation of perioperative healthcare professionals were used to longlist interventions. In phase 2, iterative thematic analysis consolidated comparable interventions into a shortlist. In phase 3, the shortlist was co-prioritized based on patient and clinician views on acceptability, feasibility, and safety. In phase 4, ranked lists of interventions were presented by their relevance to high-income countries and low–middle-income countries. Results In phase 1, 43 interventions were identified, which had low uptake in practice according to 3042 professionals globally. In phase 2, a shortlist of 15 intervention domains was generated. In phase 3, interventions were deemed acceptable for more than 90 per cent of patients except for reducing general anaesthesia (84 per cent) and re-sterilization of ‘single-use’ consumables (86 per cent). In phase 4, the top three shortlisted interventions for high-income countries were: introducing recycling; reducing use of anaesthetic gases; and appropriate clinical waste processing. In phase 4, the top three shortlisted interventions for low–middle-income countries were: introducing reusable surgical devices; reducing use of consumables; and reducing the use of general anaesthesia. Conclusion This is a step toward environmentally sustainable operating environments with actionable interventions applicable to both high– and low–middle–income countries

From the life: the art of Francis Barlow (c.1626-1704)

Francis Barlow (c.1626-1704) was one of the most prolific picture makers to work in England during the second half of the seventeenth century. Surprisingly, there has not been an account of his life and works in almost forty years, and even then Barlow was presented rather narrowly as the 'first master of English book illustration' (Hodnett, 1978). Barlow is now chiefly remembered for his illustrated Aesop's Fables (1666), but he has also gained attention as a satirist, and as a sporting artist. This dissertation attempts to piece together the many facets of wide-ranging oeuvre. Following the introduction, which reveals new information about his life, Barlow's works are investigated in eight chapters, arranged according to the heuristic categories of natural history; religion and politics; and hunting and travel. As the chapters proceed, the interconnectedness of Barlow's works is revealed, as is the lack of distinction between the aspects of seventeenth-century society and culture, which they reflect. The dissertation mainly recovers Barlow as a painter. It is argued that Barlow has been forgotten as a painter due to a strong connoisseurial tradition in the history of British art, which has tended to underrate his painting. No less than forty-three paintings are interpreted and placed into a chronology. Striving to understand them in a seventeenth-century context reveals Barlow's craft, his relationships with a wide range of patrons, and the nature of his place in the London community. Extrapolating from what we know about Barlow’s activities as a graphic satirist, the politick of his patrons, and the 'internal' evidence of the narratives of his paintings, this study demonstrates how, at least for Barlow, painting was not merely decorative

From the life : the art of Francis Barlow

Francis Barlow (c. 1626-1704) was one of the most prolific picture makers to work in England during the second half of the seventeenth century. Surprisingly, there has not been an account of his life and works in almost forty years, and even then Barlow was •• #.-f presented rather narrowly as the 'first master of English book illustration' (Hodnett, 1978). Barlow is now chiefly remembered for his illustrated Aesop 's Fables (1666), but he has also gained attention as a satirist, and as a sporting artist. This dissertation attempts to piece together the many facets of wide-ranging oeuvre. Following the introduction, which reveals new information about his life, Barlow's works are investigated in eight chapters, arranged according to the heuristic categories of natural history; religion and politics; and hunting and travel. As the chapters proceed, the interconnectedness of Barlow's works is revealed, as is the lack of distinction between the aspects of seventeenth-century society and culture, which they reflect. The dissertation mainly recovers Barlow as a painter. It is argued that Barlow has been forgotten as a painter due to a strong connoisseurial tradition in the history of British art, which has tended to underrate his painting. No less than forty-three paintings are interpreted and placed into a chronology. Striving to understand them in a seventeenth-century context reveals Barlow' s craft, his relationships with a wide range of patrons, and the nature of his place in the London community. Extrapolating from what we know about Barlow' s activities as a graphic satirist, the politick of his patrons, and the 'internal' evidence of the narratives of his paintings, this study demonstrates how, at least for Barlow, painting was not merely decorative. - ---~--------- / \EThOS - Electronic Theses Online ServiceGBUnited Kingdo

From the life: the art of Francis Barlow (c.1626-1704)

Francis Barlow (c.1626-1704) was one of the most prolific picture makers to work in England during the second half of the seventeenth century. Surprisingly, there has not been an account of his life and works in almost forty years, and even then Barlow was presented rather narrowly as the 'first master of English book illustration' (Hodnett, 1978). Barlow is now chiefly remembered for his illustrated Aesop's Fables (1666), but he has also gained attention as a satirist, and as a sporting artist. This dissertation attempts to piece together the many facets of wide-ranging oeuvre. Following the introduction, which reveals new information about his life, Barlow's works are investigated in eight chapters, arranged according to the heuristic categories of natural history; religion and politics; and hunting and travel. As the chapters proceed, the interconnectedness of Barlow's works is revealed, as is the lack of distinction between the aspects of seventeenth-century society and culture, which they reflect. The dissertation mainly recovers Barlow as a painter. It is argued that Barlow has been forgotten as a painter due to a strong connoisseurial tradition in the history of British art, which has tended to underrate his painting. No less than forty-three paintings are interpreted and placed into a chronology. Striving to understand them in a seventeenth-century context reveals Barlow's craft, his relationships with a wide range of patrons, and the nature of his place in the London community. Extrapolating from what we know about Barlow’s activities as a graphic satirist, the politick of his patrons, and the 'internal' evidence of the narratives of his paintings, this study demonstrates how, at least for Barlow, painting was not merely decorative.</p