Showing 141 - 150 of 207 annotations tagged with the keyword "Nature"
Referring to Francis Bacon's 17th-century definition of modern science as the conquest of nature "for the relief of man's estate," Kass looks with concern at the ironic possibility that future advances in medical science and technology may lead to the significant diminishing of humankind. Thus he asks, what price will we wind up paying for medical progress? Kass is concerned about the disconnect between modern medicine, with its powers to extend our controls over life and death and over many human potentials, and, on the other hand, traditional social and individual values.
He argues particularly for serious consideration of values in three areas: (1) distributive justice (which for Kass is, finally, the question as to who shall do the distributing), (2) the "use and abuse of power" (in which he focuses on the process by which power over nature becomes turned into power of some humans over others), and (3) "voluntary self-degradation and dehumanization" (two major concerns being the concept of the optimum baby and the development of technologies of pleasure).
A physician seeks solace at the South Pole. Her planned one year stay there is cut short when she discovers a lump in her breast. The attempts to care for her at the South Pole (with telecommunicated help from the U.S.) prove insufficient and a plan to rescue her is successful.
There's more than the drama of illness in a remote location in this book, however. Intertwined with this story of illness is the story of the author's troubled marriage (to her physician-husband), the eventual estrangement from her children, the support of her family of origin, and most fascinatingly the daily rhythms of living (and doctoring) at the South Pole. Scattered throughout the memoir are occasional critiques of "corporate" medicine and poems that inspired the author throughout her ordeal.
Mary Oliver's six stanzas are a meditation on the processes of life and death. The narrator observes the death of a snake by a truck that "could not swerve." The occurrence of sudden death is, after all, "how it happens" and the snake now lies "looped and useless as an old bicycle tire." For most observers of this familiar sight, that would be the end. The narrator, however, stops his car and carries the cool and gleaming snake to the bushes where it is as "beautiful and quiet as a dead brother."
Upon continuing his drive, the experience generates reflection about death: its suddenness, its weight, and its certainty. At the same time the narrator notes that dying and death of others ignites a brighter fire, one of good fortune: "not me!"
The final stanza describes the innate drive and tenacity of life forces. Because life, rather than death, is at the center of each cell, unimpeded by death, the snake and all other forms of life move forward tenaciously, unimpeded by the threat of death.
Water is a metaphor for the life cycle as the poet chronicles the role played by water in his life, in all our lives--"the sac of water we live in." The poet evokes the sound of water as he moves through life stages: swaying trees register the sound of the water from which we emerge at birth, "the sound of sighing" denotes the sound made as he washes his dying father’s feet, whispering rain "outlives us."
The poem is replete with images of water that conjure up family relationships over time. In the ocean of his childhood, his athletic brother cannot swim while his crippled sister swims like a "glimmering fish." Water is a visible symptom of the congestive heart failure suffered by his father--"swollen, heavy . . . bloated"-- whose "respirator mask makes him look like a diver."
As the poet tends to his father, testing the wash water "with my wrist" like a parent, there is a powerful recollection of the father’s earlier ordeal as a political prisoner. Finally, there is water that liberated the family, bringing them from Indonesia to America, juxtaposed against the water that is now drowning the father.
Joseph and Celice, a married couple in their fifties, both zoologists, return one day to the coastal dunes where, thirty years before, they had first made love. There they are attacked and beaten to death by a robber. From this starting point, the novel traces three trajectories: their married life, from their meeting as graduate students working at this beach; the course of their last day, traced backwards, or undone, until they are back in bed, asleep, that morning; and the first week of their death until they are found and taken away by the police. The changes that take place as their bodies decay are meticulously described. At the end of the novel, nine days after their death, the grass has recovered and there is no sign they were ever there.
Mohammed (Mohsen Ramezani), an eight year old blind boy attending a special school in an Iranian city waits for his widowed father (Hossein Mahjub) to bring him home to his isolated, but idyllic Iranian village for summer recess. During several interminable hours of waiting outside the school, viewers come to recognize the boy’s sensitivity to his surroundings. Through sound and feel he is at one with nature. Remarkably, he is able to rescue a vulnerable baby bird and return it to the tree branch nest from where it has fallen.
Unfortunately, Mohammed’s father fails to exhibit this kind of care with his son. The tardy reunion is painful: rather than embracing the boy, the father requests that school officials keep the boy during the recess. When the request is refused by embarrassed faculty members who are sympathetic to the child’s family needs, father and son begin the long walk, then bus ride into the distant countryside.
In contrast, Mohammed receives a warm and loving welcome from his Granny (Salime Feizi), his sisters, and the neighboring children. Immediately, the children run with him into the meadows to explore and celebrate. Clearly, this is Mohammed’s nest.
Even though Mohammed’s abilities at the local school are superior to those of his classmates and even though he is able to function in normal play with his peers, the father focuses only on the boy’s removal from the family and the village so that he can find a new wife to care for him and his other children. The unprepared boy is taken abruptly by his father to a blind carpenter many miles away where he will serve as an apprentice. Although the carpenter is kind, Mohammed is devastated by the cruel separation from Granny and the children.
Unburdened, the father goes forth with plans for another marriage, but before the arranged ceremony occurs both the heartbroken Granny and Mohammed die. The bride-to-be and her family regard these losses as unhealthy portends. Marriage plans are canceled. Only then, does the father recognize his own blindness.
Whether he is bringing to life the farmers in Grant Wood's "American Gothic," or revealing the pain of losing his wife (The Lu Poems), John Stone's work always hits the mark. This collection revolves around themes as varied as music, family, the wonder and horror of being alive in the world, and Stone's own sleep disorder. There are few poems specifically about medicine: "Transplant," "While Watching His Own Electrocardiogram He Welcomes in the New Year," and "Coming Down from Prozac."
Summary:Death is compared to an "insect / Menacing the tree" in its insidious, covert actions. Although the reader is urged to fight death with whatever means are available, the poet recognizes that some circumstances are beyond hope.
Summary:Shakespeare considers the destructive power of time: it can ruin "lofty towers" and destroy land and bodies of water. He realizes that time will eventually tear him from his beloved, and mourns her death to come.
Summary:Picturesque autumn and evening imagery is an analogy for the changes that occur during aging. These changes are "perceiv[ed]" by one's beloved, whose love grows stronger in the face of the knowledge that death will come "ere long."