Yale Med School To Stop Teaching Medicine Discovered By White Males
January 29th, 2020
NEW HAVEN, CT—Yale University has been under intense criticism after the recent decision to stop teaching “Introduction to Art History: Renaissance to the Present” because of its focus on Western art – mainly by white males.
Many people have called Yale out, saying they “didn’t go far enough” and that dropping a measly freshman art survey class was “wimpy” and “weak”.
In response, Yale has decided to take a stunning and brave stand against white males by striking all medicine discovered by white males from its med school curriculum. This has been lauded as a much-needed stand for diversity at Yale, especially by current med students who will now have much more time to deal with the stress of med school by watching Netflix.
Babylon Bee or NPR?
Academic Science Rethinks All-Too-White ‘Dude Walls’ Of Honor
August 25, 2019 8:06 AM ET
… At Yale School of Medicine, for example, one main building’s hallways feature 55 portraits: three women and 52 men. They’re all white.
“I don’t necessarily always have a reaction. But then there are times when you’re having a really bad day — someone says something racist to you, or you’re struggling with feeling like you belong in the space — and then you see all those photos and it kind of reinforces whatever you might have been feeling at the time,” says Max Jordan Nguemeni Tiako, a medical student at Yale.
He grew up reading Harry Potter books, and in that fictional world, portraits can talk to the characters. “If this was Harry Potter,” he muses, “if they could speak, what would they even say to me? Everywhere you study, there’s a big portrait somewhere of someone kind of staring you down.”
Yale medical student Nientara Anderson recently teamed up with fellow student Elizabeth Fitzsousa and associate professor Dr. Anna Reisman to study the effect of this artwork; the results were published in July in the Journal of General Internal Medicine.
“Students felt like these portraits were not just ancient, historic things that had nothing to do with their contemporary experience,” says Anderson. “They actually felt that the portraits reinforced contemporary issues of exclusion, of racial discrimination — of othering.”