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Next day an equal number packed the same hall to hear the University of Illinois' tart-tongued Neurologist Percival Bailey, a top brain surgeon, dissect the entire psychiatric revolution of the 20th century's first half. Revolutions, Bailey said, "bring change but not necessarily progress." Echoed Cincinnati's Dr. Howard Fabing: "The second half of our century finds us in a swing back to a more orthodox type of medical investigation...

Author: /time Magazine | Title: Medicine: Psychiatry Changes Course | 5/14/1956 | See Source »

...Schools here and at Boston University are concerned because, as an official said her yesterday, "If the woman wins her suit, hospital superintendents and undertakers would probably be too frightened of possible consequences in the future to make any more cadavers available for students to dissect...

Author: NO WRITER ATTRIBUTED | Title: Law Suit Imperils Cadaver Supply for Medical School | 3/25/1955 | See Source »

Under normal circumstances freshman anatomy students dissect two bodies in their first year, but with this current shortage, the limit has been cut to one per year. Forty-five specimens are used annually, with four men dissecting one body...

Author: NO WRITER ATTRIBUTED | Title: Medical Schools Lacking Cadavers | 10/6/1954 | See Source »

Crowded Students. Most anatomy teachers believe that each team of students should dissect two bodies in the freshman year, but since many schools cannot get enough "anatomical specimens," the limit now is one. In many schools, the number of students who must crowd around a dissection is so high as to reduce the value of their training. In Tennessee there are ten students at each dissection. In Massachusetts, with three medical schools crowded into the Boston area, six or eight students commonly share in a dissection. The District of Columbia, also with three schools, is about as badly off. (Neighboring...

Author: /time Magazine | Title: Medicine: Bodies by Bequest | 10/4/1954 | See Source »

Quartering the Apple. The music is soft, even in its occasional larruping climaxes, and modern in its distilled dissonances, and it always keeps the original tune in mind. It comes in three basic models: 1) slow and intimate, as in My Funny Valentine, when Marian seems to dissect the tune pensively, as if she were quartering an apple, then puts it all neatly together again better than new; 2) at breakneck tempo, as in Liza, where the tune dashes off in improbable directions and fetches up, quivering, back where it started; 3) production numbers, as in Slaughter on Tenth Avenue...

Author: /time Magazine | Title: Music: Post-Dixieland Piano | 9/21/1953 | See Source »

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