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PaTu
Discussion Post Reply #1
In the movie Wit, Dr. Vivian Bearing illustrates the five patterns of knowing: empirical, personal,
ethical, aesthetic, and emancipatory, as she goes through her journey. Vivian, a professor of
literature, delves into medical research to comprehend her ovarian cancer diagnosis,
demonstrating the production of empirical knowledge. As is common in the empirical pattern
presented by Chinn et al. (2013), she aims to understand the scientific aspects of her
treatment. Vivian begins to approach personal knowing as she reflects on her life and
relationships. Self-awareness emerges along with the understanding of how her detached
manner weighs on others, which agrees with the personal pattern of knowing.
The film showcases healthcare professionals’ ethical knowledge through their decisions. Susie
Monahan, Vivian’s primary nurse, creates a positive impact regarding ethical practice by
showing nursing advocacy for Vivian’s comfort and dignity, most notably at the onset of end-
of-life discussions (Bosanquet & Nichols, 2001). The medical team’s more detached and
research-focused view, on the other hand, is found to be at odds with Susie’s caring approach
to patient care, which is looked at in terms of the moral implications of patient care by Chinn et
al. (2013). The film depicts aesthetic knowing in the art of nursing and medicine. The
involvement of Vivian in her caregivers demonstrates the complex dialogue between clinical
expertise and empathy, and it also showcases the artfulness of patient care.
Vivian’s confrontation with the power systems in the healthcare system subtly weaves the
inclusion of emancipatory knowledge into the narrative. Her journey shows the most
impersonal aspect of the medical institutions, where systemic structures can depersonalize the
care of patients (Bosanquet & Nichols, 2001). Due to this awareness, there is an invitation to
have conversations about the importance of transformative practices in terms of patient
autonomy and humanity that also resonate with the emancipatory pattern of knowing, as
expounded by Chinn et al. (2013). It entreats the audience to reflect on the current norms and
the ways in which healthcare can progress to meet individuals’ both emotional and physical
requirements.
Wit is based in part on John Donne’s poem “Death Be Not Proud,” which acts as a central
motif for Vivian’s intellectual and existential journey. She approaches the poem in a scholarly
way, analyzing its metaphysical conceits without personal involvement. But the themes of the
poem resonate more intensely since she is on the verge of her own mortality. The metaphorical
death outlined in the line “Death, thou shalt die” turns from the abstract death theme to offering
a source of comfort because the death of the physical body promises an existence beyond
mere physical death (Frankl, 2006). As Vivian progresses toward an understanding of the
poem, she moves away from intellectualism toward a deeper, more meaningful challenge to her
mortality.
Wit is a film demonstrating nursing theories focusing on holistic and patient-centered care. In
particular, the application of Jean Watson’s Theory of Human Caring is evident, as these
relationships between nurses and patients are authentic. Susie’s genuine concern and
presence provide emotional support that extends beyond routine medical care, embodying the
caring factors identified by Meleis (2018). It also aligns with Patricia Benner’s Novice to Expert
model, highlighting the progression of clinical competence and showing the value of
experiential learning in making empathetic and skilled practitioners. Through these theoretical
frameworks, the film suggests showing compassionate, individualized care as a key aspect of
efficient nursing.
CasMa
Discussion Post Reply #2
The film Wit is touching as it underscores the importance of compassion, empathy, and ethics
in healthcare. Throughout the film, Chinn and Kramer’s five patterns of knowledge—empiric,
personal, aesthetic, ethical, and emancipatory—are highlighted.
Empiric knowledge is shown through monitoring and documenting symptoms, as when Vivian
used her call bell to report vomiting, prompting the nurse to offer an antiemetic. Personal
knowing is evident in the empathetic relationship between Vivian and her nurse, Susie, who
actively listened to Vivian’s feelings. Aesthetic knowing appeared as Susie sensed Vivian’s fear
about death and took time to address her concerns. Ethical knowing was demonstrated when
Susie advocated for pain management and discussed end-of-life care options. Lastly,
emancipatory knowing was reflected in how Susie empowered Vivian to have a say in her care,
including her wishes regarding code status during CPR.
John Donne’s poem “Death Be Not Proud” asserts that death is temporary and does not have
control over life. The poem encourages us not to give death power or to fear it because of the
promise of an afterlife. Vivian’s initial approach to death attempts to master it and maintain a
sense of power throughout the process. She views death through the lens of her scholarly
expertise and employs complex metaphors in her understanding. However, as Vivian’s illness
worsens, she attempts to hide from death—sheltering under her blankets and pillow.
Eventually, she realizes that she cannot escape death and begins to accept it rather than fear
it.
In the film, Jean Watson’s Theory of Human Caring is prominently illustrated, emphasizing its
focus on health promotion and illness prevention. Nurse Susie embodies this holistic approach
by providing warm and attentive support to Vivian during her illness. Their interactions highlight
the healing power of empathy and understanding, demonstrating how compassionate care can
transform patients’ lives and foster genuine connections. Additionally, Katharine Kolcaba’s
Comfort Theory provides a deep understanding of end-of-life care by focusing on the essential
needs of patients. This theory emphasizes holistic comfort, which integrates physical relief
from pain, emotional and spiritual support, a calming environment, and strong social
connections. Together, these dimensions contribute to a comprehensive comfort experience for
patients in their final days.
I was profoundly disturbed by the manner in which Vivian was treated by the medical
professionals in the film; she was regarded as though she were merely a subject for scientific
experimentation. Further research could be conducted to explore the roles of healthcare
providers in ethical dilemmas, particularly in cases involving terminal diagnoses, and to
enhance the approaches and management of such situations.
This film speaks volumes about the unethical care demonstrated by the physicians throughout
Vivian’s treatment. From the very beginning to the very end, she complied with the doctors’
recommendations, even as she described feelings of humiliation and suffering. The doctors
insisted that she undergo the full course of treatment, disregarding her symptoms and side
effects. Vivian mentioned that she was the first person to complete eight rounds of the highest
dose of chemotherapy, treating it like a victory, stating, “I have broken the record.”
It was clear that the chemotherapy dose was too high given her deteriorating condition.
Despite her symptoms, the doctors continued to push her through the treatment. They belittled
her experiences, telling her to think of her hospital stay as “a vacation,” and assured her that
“she’s tough” and can handle it, without ever asking for her input on whether to continue with
the current dosage or make changes.
In the end, Vivian passed away. Despite her wishes for a Do Not Resuscitate (DNR) order, a
medical student advised the code team to perform CPR because “she is research,” completely
ignoring her code status. Throughout the film, Vivian frequently reflects on her life as a scholar
and considers how she treated others, acknowledging her own lack of compassion and
empathy. Perhaps this realization stems from her current experience of being treated by the
doctors as if they do not care, allowing her to understand what it feels like to be neglected.
