Showing 171 - 180 of 605 annotations tagged with the keyword "Sexuality"
In this film based on a true story, Ramón Sampedro (Javier Barden), a young fisherman from the northwest coast of Spain, is injured in a diving accident that leaves him paralyzed from the neck down and completely dependent for his care on his older brother and his sister-in-law, who make numerous sacrifices in order to care for him. Twenty-seven years later, in his 50's, Ramón is weary of his life, which he feels is without dignity, and he tries to get legal permission to end it.
His brother is adamantly opposed to euthanasia, but Ramón is comforted and aided in his quest by two women who are drawn into his circle. Julia (Bélen Rueda), a lawyer suffering from a degenerative disease, begins to design a legal case for Ramón but soon falls in love with him (although she seems happily married), and he with her. In a particularly moving scene, Ramón-who of course cannot move--tells Julia that her smell is the beginning of his erotic fantasies about her.
Julia helps him edit and publish a book of his poetry, but then, having agreed to a joint suicide, she mysteriously backs out. Rosa (Lola Dueñas), a young single mother who works in a fish-packing factory and who has had a hard life, also falls in love with Ramón. For some time she tries to change his mind, arguing that his example has inspired her and saved her from a life of despair. Ramón challenges her: "The person who truly loves me will be the one who helps me [commit suicide]."
When Ramón's legal appeal (for the same rights the nondisabled have to end their lives) is lost on a technicality, he seems to have nowhere to turn, but Rosa, converted by her love for Ramón, finally agrees to help him die. He achieves his goal in a videotaped end in which he argues that what he is doing is his right and that no others should be blamed or prosecuted for it, sips poison through a straw, and dies.
Summary:Sophie, who has lived with her aunt in Haiti for the 12 years since her birth is being sent to live with her mother in New York. She leaves her aunt and grandmother amid a riot at the airport, and arrives in New York to meet her mother and her mother's long-term lover. Her mother has frequent nightmares, related, as it turns out, to the rape that eventuated in the birth of Sophie. Sophie's mother insists that the only road out of poverty is to study hard; she wants Sophie to become a doctor, and jealously oversees her work and protects her virginity, frequently testing her to make sure she has not been sexually active.
Summary:Summary: All thirteen short stories in this collection draw readers into the quietly compelling lives of disparate and very ordinary characters who function and suffer in unsettling ways. We are like them and not like them, but their circumstances, while sometimes disturbing, are familiar--and strangely magnetic. The opening lines of "The Lapse" illustrate this power of attraction:
Summary:The exquisite young artist, Angélique (Tautou) sends a rose to her lover, the cardiologist Loic Le Garrec (Le Bihan). She is planning a future with him; the only problem is that he is married. But he has promised to leave his wife. Angélique is little troubled that the couple are expecting a baby and when the pregnancy is lost following an accident, she believes the day will be soon.
Summary:Jordy, 17, gay, abused by his parents, has taken refuge in a New York basement from where, one night, he witnesses the brutal gang rape of a young 18-year-old. After his shouted threats scare off the attackers, the girl slips through the window into what turn out to be shared quarters. The two begin to take care of each other; she insists on his getting treatment for head wounds at a public clinic (where care is distiinctly substandard) and he becomes guardian to this young woman whose history of abuse has left her in a curious state of social alienation and innocence about what is normal. The story becomes a kind of vision quest when, faced with "Chloe's" (a name she gives herself by way of starting over) inclination to put herself in harm's way, and to flirt with suicide, Jordy decides to prove to her that the world is more beautiful than it is threatening and ugly.
Summary:Author Diedrich investigates ("treats") mid-late 20th century memoirs about illness (illness narratives) from an interdisciplinary perspective drawing on the disciplines of literature, social sciences, and philosophy. Her analysis uses the theoretical frameworks of poststructuralism, phenomenology, and psychoanalysis to consider "what sort of subject is formed in the practice of writing . . . illness narratives," the kind of knowledges articulated by such writing, whether and how such writing can transform "expert medical knowledges," how language operates in these memoirs, and "what sort of ethics emerges out of such scenes of loss and the attempts to capture them in writing" (viii).
Summary:This engraving shows Adam and Eve at the moment in which Eve accepts the fruit from the serpent. The Tree of the Knowledge of Good and Evil bisects the plate, separating the figures of idealized male and female. At the bottom of the picture a cat and a mouse crouch. They are in harmony with each other, but the tension in the poses suggests their future enmity: once Adam and Eve eat the fruit, the harmony of nature will be lost. Other animals (a hare, a goat, an ox) act both as subjects of the animal kingdom and symbols of the balance of humors.
Summary:The famed surgeon Douglas Stone flaunts his notorious affair with Lady Sannox, although his professional reputation begins to suffer. One night a mysterious Turk asks him to attend his wife, who has cut her lip on a poisoned dagger. The Turk insists that amputation offers the only hope of recovery. Anxious to pocket the proffered gold, and impatient to get to his mistress, Stone dismisses his professional misgivings. He excises the lower lip of the veiled, drugged woman--only to find that he was tricked into disfiguring Lady Sannox herself. Lord Sannox (disguised as the "Turk") thus gains his revenge, with his wife morally chastised (and forever after in seclusion), and Stone’s "great brain [thenceforth] about as valuable as a cap full of porridge."
In her senior year of high school, having uncharacteristically drunk too much at a party, Angel Hansen consents to be taken home by a boy she normally doesn’t care much about, and ends up having sex with him. Two months later, with the help of her best friend, Karin, she takes a pregnancy test, finds it is positive, and visits an abortion clinic. Karin, who has had an abortion, is ready to support her in complete secrecy. Tim, the father, is horrified, but consents to pay for the procedure. At the last minute, however, and without being able to explain her reasoning to either of them, Angel decides not to go through with the abortion.
In the ensuing months, she endures her parents’ disappointment, her friends’ distancing, and the loss of a number of hopes, including the Yale education she was expecting. In the course of those months, however, she also finds new levels of relationship evolving with parents, grandparents, and the few friends who decide to engage with her on new terms, including Danny Stanton, a friend she’d grown up with, and had recently come to love in new (but, she thought, hopeless) ways. To her great surprise, Danny asks to accompany her to Lamaze classes, and, after taking her to the prom in her ninth month, sees her through the baby’s birth. The story, told in the first person in the form of journal entries, chronicles a young woman’s process of maturing through the consequences of a mistake into acceptance of responsibility for choices, even one she can’t fully account for.
One interesting scene records a conversation between Angel and Karin where Karin admits that her weeks-long estrangement comes from a feeling that Angel’s choice to keep the baby implies a judgment of her for terminating her own earlier pregnancy. Angel makes it clear that she respects their differences, fosters no judgment, and can’t even fully articulate why she felt strongly about needing to make a different choice, but feels clear and sure about her own.
Born in Vienna, Alma Rosé (1906-1944) was a gifted violinist with an illustrious concert career. Her mother was the sister of composer, Gustav Mahler, and her famous father, Arnold, conducted orchestras. All the family members were non-observant Jews. Alma was talented, beautiful, audacious, and arrogant. After an unhappy early marriage to Czech violinist Vása Príhoda, she established a remarkable orchestra for women that toured Europe.
As the German Third Reich consolidated its power, her only brother, Alfred, fled to the USA. She managed to bring their widowed father to England, but displaced musicians crowded London making work difficult to find. Alma left her father and returned to the continent, living quietly as a boarder in Holland and giving house concerts when and where she could. She took lovers.
Despite the urging of her family and friends, she kept deferring a return to safety in England. In early 1943, she was arrested and transported to Drancy near Paris, thence to Auschwitz six months later. Initially sent to a barrack for sterilization research, she revealed her musical brilliance and was removed to marginally better accommodations and allowed to assemble an orchestra of women players.
The hungry musicians were granted precarious privileges, but Alma became obsessed with their progress and insisted on a grueling schedule of rehearsal and perfection. Some said that she believed that survival depended on the quality of their playing; others recognized that the music, like a drug, took her out of the horror of her surroundings.
In April 1944, she died suddenly of an acute illness thought to have been caused by accidental food poisoning. In a bizarre and possibly unique act of veneration for Auschwitz, her body was laid "in state" before it was burned. Most members of her camp orchestra survived the war.