Etičke dileme u medicinskom tretmanu novorođenčadi sa teškim kongenitalnim malformacijama - zaostavština bebe Doe

Regardless of the differences in the neonatological practice of different countries in the world, ethical decisions of medical professionals in this field of clinical medicine should be based solely on a comprehensive The approach to the treatment of newborns with life-threatening body malformations has historically been the subject of numerous ethical dilemmas among the medical professionals and the general public. "The case of baby Doe" is certainly the most notable example in the recent medical history of the previously mentioned ethical dilemmas and was the first to result in an official juridical epilogue in a form of a series of legal provisions regarding the medical treatment of severely damaged newborns and objective assessment of the health of the newborn, consideration of indications for potential treatment or palliative care, and always guided by the best interests of the newborn. Eythanasia in any form is an unnecessary solution, dangerous for society in general and medical practice, and instead of its legalization in neonatology, the development of palliative care, as a humanistic approach in the health care of the most challenging patients, should be emphasised.

The Ballad of John Latouche

Born into a poor Virginian family, John Treville Latouche (1914–1956), in his short life, made a profound mark on America’s musical theater as a lyricist and librettist. The wit and skill of his lyrics elicited comparisons with the likes of Ira Gershwin and Lorenz Hart, but he had too, as Stephen Sondheim noted, “a large vision of what musical theater could be,” and he proved especially venturesome in helping to develop a lyric theater that innovatively combined music, word, dance, and costume and set design. Many of his pieces, even if not commonly known today, remain high points in the history of American musical theater, including Cabin in the Sky (1940), Beggar’s Holiday (1946), The Golden Apple (1954), The Ballad of Baby Doe (1956), and Candide (1956). Extremely versatile, he also wrote cabaret songs, participated in documentary and avant-garde film, translated poetry, and adapted plays. Meanwhile, as one of Manhattan’s most celebrated raconteurs and hosts, he established friendships with many notables, including Paul and Jane Bowles, Carson McCullers, Frank O’Hara, Dawn Powell, Ned Rorem, Virgil Thomson, and Gore Vidal—a dazzling constellation of diverse artists all attracted to Latouche’s brilliance and joie de vivre, not to mention his support for their work. This book draws widely on archival collections both at home and abroad, including Latouche’s diaries and the papers of such collaborators as Leonard Bernstein, Duke Ellington, Douglas Moore, and Jerome Moross to tell for the first time the story of this fascinating man and his work.

The Ballad of Baby Doe

The libretto to the opera The Ballad of Baby Doe, with music by Douglas Moore, was Latouche’s crowning achievement. A dramatization of the true love triangle involving the nineteenth-century Colorado silver king Horace Tabor and his two wives, Augusta Tabor and Elizabeth “Baby Doe” Tabor, the work premiered in Colorado shortly before the lyricist’s death, and became one of the most successful works in the American operatic canon. This chapter considers the work’s historical accuracy, with regard to Latouche’s libretto, and its musical and poetic essence, as well as some consideration of its critical reception.