Showing 111 - 120 of 876 annotations tagged with the keyword "Empathy"
In 1974, a student befriends Pärssinen, the gardener of his apartment complex in the town of Turku, Finland. Pärssinen invites him to drink and watch pornographic movies from his extensive collection. One night when both are full of alcohol, the gardener stops a girl on a bicycle, rapes and strangles her, and tosses the body in a lake. The drunken student is a baffled witness. The body resurfaces several months later, but the case is never solved. Her name was Pia.
More than thirty years later, in 2007, another girl, Sinikka, goes missing. Her bicycle is found with traces of her blood right beside the memorial shrine to Pia at the place of her murder. The retired cop, Ketola, is convinced that solving this new crime will also solve the old one.
At the same time, far away in Helsinki, Timo Korvensuo and his wife are entertaining friends. He is a successful real estate agent with a lovely, kind wife and two children, a boy and a girl. News of the missing girl greatly disturbs Timo and he leaves home headed to Turku telling his family it is for business. The reader realizes that Timo must be the unnamed student who witnessed the first murder.
In parallel with the police investigation, Timo’s abject wanderings in Turku seem to be centered on (re-)finding and perhaps outing the original killer. Police discover that Sinikka’s parents are consumed with guilt for the difficulties they have had with their adolescent daughter; they fear she has been snatched, perhaps killed, before they could patch things up. The father is a suspect.
Timo finds Pärssinen again and learns that he is unaware of the copycat crime. The police also also visit Pärssinen as a person of interest, but nothing comes of it. Timo goes to Pia’s mother, still living in the same home, to express his sorrow for her loss.
SPOILER ALERT! Primed by Ketola, Pia’s mother contacts the police. They raid Timo’s home in Helsinki and find child pornography on his computer. They know he cannot have committed the recent crime, but they are convinced that he killed Pia. As the noose tightens, Sinikka reappears alive and well from a hiding place in the forest. She staged the second crime as bait to lure the true killer in a plan she had cooked up for Ketola. Timo commits suicide and the police close both cases, but they are wrong.
Summary:In Illness as Narrative, Ann Jurecic thoughtfully examines the unruly questions that personal accounts of illness pose to literary studies: What is the role of criticism in responding to literature about suffering? Does the shared vulnerability of living in a body, which stories of illness intimately expose, justify empathic readings? What is the place of skepticism in responding to stories of suffering? Does whether or how we read illness narratives matter? Jurecic's questions entice discussion at an interesting cultural moment. The numbers of memoirs and essays about illness—and their inclusion in medical school and other humanities courses—multiplied from the later decades of the 20th century to the present. However, their increase, and their potential to encourage empathic readings, coincided with dominant literary theories that advocated vigorously skeptical, error-seeking responses to texts and their authors. Jurecic reminds us that Paul Ricoeur called such responses "the hermeneutics of suspicion" (3).
Summary:Dr. Jennifer White, age 64, is read her rights in a Chicago police station. But how much does the retired orthopedist who specializes in hand surgery really understand? Dr. White has Alzheimer's dementia. Her score of 19 on a mini-mental state examination (MMSE) is consistent with a moderate degree of cognitive impairment. She is questioned about the death of a neighbor, 75-year-old Amanda O'Toole, who lives 3 houses away. Amanda happens to be Dr. White's best friend and the godmother of her daughter. Amanda died at home, the result of head trauma. Four fingers of her right hand were cleanly and expertly chopped off. It seems that Dr. White is genuinely incapable of recalling whether she committed a murder or not. The physician is not charged with the crime but remains a suspect.
The foreground of this painting is dominated by a "pieta" type grouping. One woman hovers closely over what appears to be a dying man, while another comforts a small child. This part of the canvas is underlighted. The colors are rich earth tones. The figures are non-Caucasian.
In the background, in harsh light, is a group of identical looking starkly white men. In fact, their faces are almost skeletal. All are in suits, three are seated, with four others standing behind the seated figures. They look very much like a "tribunal."
This is an aerial view of a comatose patient being force-fed by a funnel leading directly into her stomach. Surrounding the consultation table are six (identifiable) black-robed supreme judges gleefully pouring nutritious foods (grapes, fish, Quaker Oats, peanut butter, water and 7-Up) into her. Two tiny symbols, the scales of justice and a red-white-and-blue eagle contribute to the otherwise empty courtroom decor.
In the upper right corner, barely visible, is an open door with a "Keep Out" sign dangling from its knob, through which a doctor and nurse peer in. Four tiny red paper-doll figures holding hands, symbolizing the family, are also by this door. Hanging precariously over the patient and consultation table is an ugly, large, bare 25-watt light bulb.
Summary:Margaret Price, a university professor with expertise in disability studies and rhetoric, alerts us to rhetorical and institutional strategies that marginalize or exclude from academic life people regarded as mentally disabled. Her term "mental disability" subsumes an array of cognitive and psychological conditions--autism, attention deficit disorder, depression, post-traumatic stress disorder, difficulties processing spoken language or speaking in a group, among others--that are generally identified as falling outside definitions of normative cognitive or psychological functioning. Whether a student or a teacher, manifesting such conditions can label one unfit for school. Price asks us (1) to consider whether such conditions rightly disqualify one from academic life, (2) to question the validity of some assumed criteria for academic success, and (3) to design institutional infrastructures that accommodate neurodiversity.
Summary:This documentary film follows the professional and private lives of the 2004 U.S. Wheelchair Rugby team. Murderball is a highly engaging, informative look at the lives of a group of quadriplegic men who are also elite athletes. The sport of "murderball" combines basketball, hockey, and rugby. It is played in custom-built wheelchairs with angled, shield-like metal side plates that make the chairs look like chariots, encouraging the term "gladiators" that is often applied to the players. Invented in Canada in the 1970s, murderball was renamed "wheelchair rugby" or "quad rugby" to make it less offensive to corporate sponsors, but retains its toughness with any name. The sport is played without helmets, and its players tackle each other through chair-to-chair collisions as they try to move the ball to the end zones.
A collection of poetry written by a family doctor who practices in New Zealand. They are grouped around themes: patients (20 poems), diseases (10 poems), spells (9 poems), a doctor (9 poems), and end with “Playing God,” which is a collection in 10 parts about clinical practice.
Miracles and wonders are found in the physiological workings of the body. Myths and spells are identified in the rituals of practice guidelines.
The poet loves medicine even as he realizes some of the unpleasant challenges and distortions it brings to his life and behavior.
In 1953 Alice Neel created a series of ink and gouache drawings depicting the last weeks of her mother's life, which were spent in a New York city hospital. One of these is at the Robert Miller website linked to this annotation. In the drawing, a black nurse comforts a prone elderly lady. The pale hues of the painting--blue, black, white--evoke a somber mood and imply sickness. This sense of despair is augmented by a harsh cityscape background beyond a dark river, which the viewer sees through a window.
Compassion counters these desolate surroundings, however, for a bond is apparent between the nurse and elderly patient. The nurse's hands rest on the patient in a partial cradling gesture, and the trajectory of the lines made by the nurse's arms and hands and the elderly patient's flowing hair establishes a visual and emotional link. The connection between the two figures is supplemented by the thin smiles on both women's faces.
Summary:A nurse clothed in white and holding a baby stands in the center of a hospital ward. Surrounding her sit adults colored brown and grey. Naked babies lie mostly unattended on white beds. Most of the newborns share the same posture--their arms are splayed and their legs are raised towards the ceiling. A handful of adults in the room attend to the children. Their blurred faces and pallid coloring assign them a baleful monstrousness.