Showing 1051 - 1060 of 1133 annotations tagged with the keyword "Human Worth"
This is a collection of twenty-six first-hand accounts by women institutionalized in mental hospitals or "asylums" in America between the mid-nineteenth century and the end of World War II. The book is divided into four historical periods, each introduced by the editors with an essay contextualizing the narratives in relation to the history of the psychiatric establishment, and to the roles, perceptions, and experiences of women in American culture.
The accounts are all extracts from works published by the writers, usually as attempts to expose the injustices of the mental health system. Most of the writers are not well known, with the exceptions of the author Charlotte Perkins Gilman and the actress Frances Farmer, whose account concludes the book [see film annotation in this data base: Frances].
Chris Cooper (Kevin McDonald) is a shy researcher working for a huge pharmaceutical firm with a team of sympathetic, but unusual personalities. He discovers a substance that makes people (and the company executives) very happy. Promoted as "Gleemonex," the new "brain candy" rapidly begins to make money, and Chris becomes a hero; however, the team soon realize that their wonder drug can render its users comatose.
Their "good" efforts to stop their own creation are opposed by their employer, especially the "bad" chief executive (Mark McKinney) and his cloying "yes-man" (Dave Foley), who relentlessly pursue sales to a craving market. After many tragicomic and slapstick escapades, good mostly prevails in the end.
The beautiful Polish student, Marie Sklodowska (1867-1934) (Greer Garson), is the only woman graduate student studying physics in Paris. She attracts the attention of her kindly professor by fainting in class. A father of two daughters, the professor realizes that she is both brilliant and poverty-stricken. He offers her a paid research project, and, without revealing her sex, arranges for her to occupy space in the laboratory of absent-minded Professor Pierre Curie (1859-1906) (Walter Pidgeon).
At first, Curie is annoyed by her presence, but he soon realizes that she is immensely gifted. When she decides to leave Paris (and physics) after standing first at her graduation, Curie is horrified and clumsily proposes marriage to stop her. Their union will be based on respect, reason, and physics, he claims, and she accepts. With his support, she embarks on an obsessive project to isolate what, she realizes, must be an unknown element in the compound pitchblende--a substance that emanates rays like light.
Four years of intense labor with few resources, inadequate facilities, incidental child-bearing, the threat of cancer, and many disappointments lead to the isolation of a minute quantity of radium in 1898. The Curies share the 1903 Nobel prize in physics with Henri Becquerel. Their future seems assured, but tragedy soon strikes: the distracted Pierre is run over by a horse-drawn cab and dies instantly.
Madame's grief is powerful, but she recalls her husband's prophetic words and returns to work. In the final scene, the elderly Madame Curie, now twice Nobel laureate (1911 chemistry), delivers an inspirational lecture on the promise of science to help "mankind" by curing and preventing disease, famine, and war.
This is the third novel in Davies’s major work, The Deptford Trilogy. While it is not necessary to read the novels in this trilogy in sequence, doing so makes each story more complete and interesting, and clarifies the relationships between some of the characters. This particular novel tells the life story of the unfortunate boy introduced in The Fifth Business, who was spirited away from his Canadian home by one of the members of a traveling side show, the Wanless World of Wonders.
Magnus Eisengrim, now a master magician, describes his life as an innocent child who was introduced not only to rape, but to the sad world of the "freak" show, as he traveled throughout his formative years with these unfortunate people. The main good which came out of this was that he developed empathy for the members of the side show, and that he taught himself the skills of magic and became an accomplished magician. A turning point in his life occurred when he got away from this terrible environment and became an understudy for a famous English actor. In emulating this man, he moved on to become a marvelous illusionist.
The last part of the story is concerned with Magnus’s role in making a film about the life of Robert-Houdin; he finally tells his life story to the group of people with whom he is working. In this group there is a friend from his early life--a man who treated him badly when he was the actor’s understudy and who doesn’t now recognize him--and the director who is trying to help the group work together. Another important character is a woman with a physical disability which had so altered her appearance that it had warped her world view; Magnus helps her come to grips with her situation. The descriptions of the interactions among these unusual characters are Robertson Davies at his best.
Nikolai Ivanov is a young estate-owner, heavily in debt, especially to Zinaida Lebedev, the wife of the head of the County Council. Ivanov used to be energetic, creative, and unconventional, the "star" of the local gentry. He married for love--a Jewish woman (Sarah, now called Anna) whose parents disowned her when she married a gentile--and Anna is totally devoted to him. Yet Ivanov is suffering from profound depression.
It seems to him that all his good ideas (like building a school for the poor) were for naught and he has become a "superfluous man." He spends every evening socializing at the Lebedev estate, even though he knows how this hurts his wife. Doctor Lvov, Anna's physician, is a humorless and terminally sincere young man who has no insight into Ivanov's depression.
One night Anna gets fed up and follows her husband to the Lebedev house, where she discovers Ivanov kissing the Lebedevs' daughter, Sasha, who is hopelessly in love with Ivanov, although he doesn't reciprocate her affection. Some weeks later Anna's illness (tuberculosis) has gotten worse. Lvov condemns Ivanov, various hangers-on while away their time in Ivanov's study, and, to complicate matters further, Sasha shows up unannounced. After Anna dies, Ivanov and Sasha are set to be married, but at the last minute he can't go through with it. At the end of the play he runs offstage and shoots himself dead.
Will Barrett, the protagonist of The Last Gentleman (see this database), returns in this novel, having retired early from a lucrative law practice. A widower, he lives in an exclusive North Carolina suburb where he has become "the world's most accomplished golf amateur."
Suddenly, his golf game turns sour and "hidden memories" pop up. Among these memories is the truth about his father's suicide: when Will was 12, his father killed himself in a "hunting accident," but had also tried to kill Will to "protect" him from an inauthentic existence. While Will is struggling with his own "death in life," he meets Allison, a neurotic 20 year old woman who has escaped from a mental hospital and is living in an abandoned greenhouse on some property that she has inherited.
Other characters include Father Weatherbee, a decrepit old Catholic priest who was once a missionary in Mindanao, and Jack Curl, a charmingly smooth Episcopal priest, who is trying to establish affluent "love communities" in North Carolina. Will decides to challenge God, "I shall go into a desert place and wait for God to give a sign. If no sign is forthcoming, I shall die . . . . " Ultimately, he finds his "sign" in Allison; they choose life, fall in love, and get married.
Williston (Will) Barnett, the damaged son of an old Southern family, is the protagonist of this rambling, picaresque novel. While living in New York, Will meets Kitty McVaught, a young Alabama woman whose father owns the world's largest Chevrolet agency. Will, who suffers from bouts of amnesia and fugue states, follows Kitty back to Alabama and meets her family, including her mother, who believes the South lost the Civil War as a result of a Jewish conspiracy; her older brother Sutter, a failed physician and self-proclaimed pornographer; her sister Val, a devoted Roman Catholic who works among the poor black children; and a 16 year old brother Jamie, who is terminally ill.
Will's mission in this novel is to discover why his father committed suicide when Will was 12 years old, and thereby achieve some healing of his own memories, but most of the action in the novel involves various members of the McVaught family, especially Sutter and Val, who represent the warfare between animal desire (Sutter) and angelic spirit (Val) in this fallen world. The novel's climactic scene takes place in Santa Fe, where Jamie undergoes a deathbed conversion. Afterward, Will presumably returns to Alabama to marry Kitty and do something constructive with his life.
Woyzeck is the all-purpose servant of a German Captain. The Captain considers him amoral and stupid, largely because Woyzeck is poor. Woyzeck also makes money by allowing the Doctor to experiment on him. He has eaten nothing but peas in order to prove some unstated scientific premise.
Woyzeck discovers his girlfriend, Marie, with whom he has had a son, having an affair with the drum major. He brings Marie to the side of a pond and slits her throat. After getting drunk, Woyzeck realizes that people are looking at him suspiciously and he returns to the pond and presumably drowns himself.
Several of these poems deal with pregnancy and childbirth. “The Womb Is the Body's Most Powerful Muscle” celebrates a woman's knowledge of her own body just before she gives birth. In “The Birthing Room” Krysl describes the pulse and atmosphere of a midwife-attended birth. “Midwife” is an ecstatic poem about the power and “connection” of midwifery. Other poems in this collection take an ironic, comic view of the human condition (“Feet,” “Skin”), or reflect on issues of human dignity in the health care setting (“Quadriplegic: the Bath,” “Burn Patient”).
Summary:In 1981 the author, a well-known 75 year old Swedish poet, suffered a heart attack and lay comatose for two months. He then began a prolonged period during which he gradually recovered all of his faculties. In the early stage of his recovery, Lundkvist experienced a series of strange and intense "waking dreams," which he describes in this memoir. Many were dreams of journeys to real or fantastic places: for example, a trip to a railroad station in Chicago where physicians surgically transformed white people into black people, or a visit to a strange planet where cows produced blue milk. Lundkvist's memories of these dreams are embedded in a series of imaginative meditations on aging, human nature, the meaning of life, and the inexorable passage of time.