Rhetoric in the Flesh: Trained Vision, Technical Expertise, and the Gross Anatomy Lab, by T. Kenny Fountain

Danner, Patrick

doi:10.1080/10572252.2016.1224660

Cited by 5 publications

(9 citation statements)

References 3 publications

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“…Detachment, as described in these interviews, is perhaps also more aligned with that identified by Fountain (2014), who argues there is a much more nuanced process at play. In what Fountain refers to as 'focused distance' (p. 157), anatomists' are focussed on the processes of dissection and distance themselves from human aspects of the donor body; the anatomist is, in other words, concentrating on the job in hand.…”

Section: Discussionsupporting

confidence: 55%

“…This suggests that anatomical dissection is an embodied practice, involving the interplay between the bodies of the living and the dead in the construction of knowledge. Anatomical dissection is not therefore a passive process (Fountain, 2014;Hallam, 2017).…”

Section: Discussionmentioning

confidence: 99%

“…Building on the work of Fox, Hafferty (1991) refers to the concept of 'detached concern' as one that reflects the tensions and ambiguities around the dead body. More recently, however, there is recognition for a much more nuanced process at play in apparent detachment (Fountain 2014;Hallam, 2017;Olejaz, 2017;Prentice, 2013. Fountain argues that students distance themselves through process and not from the object of that process. In what he refers to as 'focused distance' students are absorbed in the process and intricacies of dissection, with the donor body becoming 'all science ' (2014: 157).…”

Section: The Sociology Of Dissectionmentioning

confidence: 99%

“…Prentice's use of the concept suggests that anatomical dissection is an embodied practice, involving the interplay between the bodies of the living and the dead in the construction of knowledge. Anatomical dissection is not therefore a passive process (Fountain, 2014;Hallam, 2017). Essentially this dynamic relationship between bodies suggests that donor bodies have a materiality that is more than that of occasional flashes of observed personhood.…”

Section: The Sociology Of Dissectionmentioning

confidence: 99%

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The Social Production of the Dead Human Body in the Practice of Teaching Anatomy Through Cadaveric Dissection

Burr

Russell-Sewell²

2023

Sociological Research Online

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The aim of this study is to explore how the dead human body is socially produced through the practices of those involved in teaching anatomy through cadaveric dissection. The perspectives of anatomists learning to teach offer a novel perspective on the existing literature. The study draws on data from interviews with students and teaching staff involved in practical cadaveric dissection during a UK postgraduate anatomy education programme. Interviews addressed participants’ experiences, reflections, and emotional responses during practical dissection of donor bodies. Findings address five areas: anticipation and the ‘imagined body’, ontology and the latent human, detachment, dissociation, and reconciliation, preparation and intentionality, and gratitude and immortalisation. The findings suggest that during the course of practical dissection sessions, anatomists learn to normalise the transgressive activity of human dissection via processes of reconciliation. The transgressive elements are resolved through the agency of the person once living and through a configuration of the anatomist and the donor body in a network of scientific knowledge, pedagogic practice and personal influence.

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Section: Discussionsupporting

confidence: 55%

Section: Discussionmentioning

confidence: 99%

Section: The Sociology Of Dissectionmentioning

confidence: 99%

Section: The Sociology Of Dissectionmentioning

confidence: 99%

See 2 more Smart Citations

The Social Production of the Dead Human Body in the Practice of Teaching Anatomy Through Cadaveric Dissection

Burr

Russell-Sewell²

2023

Sociological Research Online

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“…This described a process of desensitisation that enables medical students to dissect the dead human body and later perform as medical practitioners without becoming emotionally involved (Lief and Fox, 1963). Since then, studies of the dissection room have incorporated a more relational approach to understanding the engagements between anatomy student and donor body (Fountain, 2014;Olejaz, 2017;Prentice, 2013). Fountain (2014: 21), for example, argues for a 'theory of embodied rhetorical action' to explain the relationship between multimodal objects, discourse and the bodies of the dead and the living.…”

Section: Introductionmentioning

confidence: 99%

The More-Than-Human Micropolitics of the Dissection Assemblage: What Can a ‘Dead’ Body Do?

Burr,

Fox

2023

Body & Society

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Posthumanism offers a unique opportunity to examine the relationship between dead and living bodies. In this article, we explore one setting in which matter – conventionally considered as ‘dead’, demonstrates its continued vitality: the anatomical dissection room. Using data from interview transcripts, we report on the affect (capacities to affect and be affected) within this space, to reveal the micropolitics of dissection. Analysis of the ‘dissection-assemblage’ reveals how interactions between the living – students, teachers, technicians – and dead bodies not only produce knowledge and understanding of human anatomy but also show how the dead body gains new capacities to affect living bodies psychologically, emotionally and physiologically. While conventional humanist discussions of dissection have addressed how these interactions ‘de-humanise’ and ‘re-humanise’ the cadaver in this particular setting, this analysis discloses a complex micropolitics in which the conventional distinction between ‘living’ and ‘dead’ ignores the multiple ways in which all matter is vitally affective.

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Lasers, Screens and Models: The Material Assemblages of Learning Pattern Recognition in Radiography Education

Winter¹

2022

Making Sense of Medicine: Materiality and the Reproduction of Medical Knowledge

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This chapter focuses on how materials are used to help radiography students learn to see patterns in X-ray images. The discussion is grounded in three vignettes from training interactions where diagnostic radiography students learn pattern recognition as a part of first-year training and workplace preparation. It explores how radiography professionals engage students with materials to make sense of patterns in X-ray anatomy. I present the rationale for the use of pattern recognition as a way of looking at medical images, and show how pattern recognition can be understood as a sensory understanding of visual-material sources. I then describe three ways in which pattern recognition is delivered to students via three material means in the radiography degree which builds up this sensory knowledge: the laser pointer, the computer screen, and the 3D anatomical model all contribute to the building of sensory knowledge. Video footage is included to show how an assemblage of laser pointers, computer screens, and 3D anatomical models, makes this type of seeing possible. Such specification immediately opens up the question: how do students learn to see patterns in X-ray images? The question is significant, since sharing this 'assemblage' are other materials, other technologies, other people, and their materials too, bringing into question the constitution of seeing, showing, and perceiving. I argue that each material context offers a means of learning X-ray anatomy through concrete sensory detail. These, in turn, affect their knowing in order to build towards an 'observational-embodied look' (Fountain 2010: 49).

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Rhetoric in the Flesh: Trained Vision, Technical Expertise, and the Gross Anatomy Lab, by T. Kenny Fountain

Cited by 5 publications

References 3 publications

The Social Production of the Dead Human Body in the Practice of Teaching Anatomy Through Cadaveric Dissection

The Social Production of the Dead Human Body in the Practice of Teaching Anatomy Through Cadaveric Dissection

The More-Than-Human Micropolitics of the Dissection Assemblage: What Can a ‘Dead’ Body Do?

Lasers, Screens and Models: The Material Assemblages of Learning Pattern Recognition in Radiography Education

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