Showing 181 - 190 of 370 annotations tagged with the keyword "Mental Illness"
This short play is set in rural Spain at the turn of this century. The characters, all women, exist in a cloistered household managed by a newly widowed mother of five daughters. Under the shadow of the church and the tyranny bred from a need to protect the reputation of the family, the matron (Bernarda Alba) represses her daughters by enforcing an eight year mourning period. The tensions build rapidly among the imprisoned women, with a demented grandmother playing a role resembling that of a Greek chorus. Eventually, the natural spirits of the daughters circumvent Bernarda, but the result is violence and a suicide.
Louis Trevelyn, a wealthy and respected Englishman, marries the poor, but spirited, Emily. They live happily together for about a year, and have a son. Emily begins to accept regular visits from Colonel Osborne, an old friend of her father’s, who claims to visit Emily only as a family friend. However, his age sits lightly on him and he has a reputation for breaking happy homes.
Louis, in a jealous rage, instructs his wife to refuse all further visits from Osborne. Emily believes that he is accusing her of infidelity and is extraordinarily angry. She insists that Osborne is simply a friend. Neither partner will apologize. Eventually, Louis can no longer live with his wife. He sells the house, sends Emily and Louis, Jr. to live in the country and sets himself up in a squalid boarding house.
Emily does not wish to be separated from her husband and grows less prideful. She will gladly obey Louis’ command to no longer see Osborne, but she will not apologize for having seen him, as she believes it would be tantamount to confessing adultery. Louis, meanwhile, grows increasingly obsessed with her "disobedience" and hires a private detective to keep an eye on his wife. The detective finds that Osborne insisted on a visit to Emily-- visit that was public and lasted ten minutes, but that nevertheless leads Louis to steal his son and flee to Italy.
Louis’s obsession makes him mentally and physically ill. When Emily and her family track him down in Europe, he is deathly thin and seems mad, convinced that his wife, his friends, and even the private detective are against him. This wretched marriage is contrasted to several other relationships that develop in the course of the novel. These are based on mutual respect and love rather than self-pride and so flourish. These happy couples also physically and mentally change, but for the better.
This unique "miscellany" of prose from journals and essays, poems, stories, music, paintings (reproduced in black and white), drawings, and cartoons illustrates countless ways that medicine and the arts, in tandem, "stretch the imagination, deepen the sympathy . . . enrich the perceptions" and give sheer, unadulterated pleasure. Organized by Robin Downie, renowned Professor Emeritus of Moral Philosophy at Glasgow University, the anthology is grouped in eight categories: "The Way We Are," "Disease and Mental Illness," "Doctors and Psychiatrists," "Nurses and Patients," "Healing," "Last Things," "Research," and "Ethics and Purpose."
Excerpts include the classic lore [Charles Lamb’s essay, "The Convalescent"; Florence Nightingale’s diary, "Notes on Nursing"; W. H. Auden’s poem, Musee des Beaux Arts (see this database); Theodore Roethke’s poem, In a Dark Time (see this database); C. S. Lewis’s journal, A Grief Observed (see this database); Sir Luke Fildes’s painting, The Doctor (see this database)] and refreshingly new nuggets from John Wisdom’s radio talk, "What is There in Horse-Racing" ("For a game of croquet is not merely a matter of getting balls through hoops, anymore than a conversation is a matter of getting noises out of a larynx,"); Robert Pirsig’s treatise, "Zen and the Art of Motorcycle Maintenance"; physician Roy Calne’s tender sketches of his own patients; composer Richard Wagner’s letter, "Biscuits as Therapy"; Janice Galloway’s novel, "The Trick is to Keep Breathing"; and expressions by patients and artists who happen to be patients of their particular illness experiences.
Lest "commentary be intrusive," except as brief introduction to each section, Downie deliberately omitted them, placing illustrations and extracts so as to provide commentary on one another. (Readers cannot help but be stimulated, however, to rearrange and create their own juxtapositions.)
The section on "Healing" considers not only the expected operations, spiritual healing, traditional cures, music and art as therapy, but also "spells, hope, and mothers." Richard Asher’s essay on why medical journals are so dull (British Medical Journal 23 Aug. 1958), or on whether or not baldness is psychological, and the comic strips of Posy Simmonds (the double entendres of "Medical Precautions," the "Minor Operation" burlesque on Shakespeare’s "All the Ward’s a Stage,") remind us yet again that birthing, aging, illness and dying are not pathological events or mere medical processes, and that the arts and humanities are bountiful reservoirs of moral discourse, inspiration, and renewal.
Elizabeth Mann, the daughter of a world famous fertility specialist whom she despises, hasn’t quite made it into medical school. She runs away to London, where she can revel in an orgy of self-destructive behavior, while working as a freelance writer for a travel guidebook. She soon develops two obsessions. In an obscure medical museum she encounters the skeleton of Jonathan Wild, a famous 18th century criminal who met his death by hanging. During the same museum visit, she runs across Gideon Streetcar, a young fertility specialist who once worked with her father. Though Gideon is "happily" married, he and Elizabeth soon begin a torrid affair.
Elizabeth’s obsession with Jonathan Wild grows when, through Gideon, she obtains a copy of the criminal’s second wife’s memoir. Through it, she learns that his first wife, who died in childbirth, was named Elizabeth Mann. She develops a scheme to obtain DNA from Wild’s skeleton and use it in association with an experimental cloning procedure to become pregnant with the 18th century criminal’s child (clone).
When the 25 year old Elizabeth reveals that her father tied her tubes when she was 16, after having aborted her fetus--a "slut," he called her--Gideon agrees to attempt in vitro fertilization with her eggs and his sperm. He transfers two blastocysts, plus one of the supposedly cloned Jonathan Wild cells. She becomes pregnant. Soon thereafter she returns to the USA when her father has a massive heart attack and she, apparently, has an opportunity to go to medical school.
This collection of sixteen Chekhov stories brings together in one volume many of Chekhov’s finest tales about doctors. The chronologically-arranged collection includes the famous novella, Ward 6, as well as such shorter classics as An Awkward Business and A Doctor’s Visit. In all sixteen stories, the doctor is a major figure, often at the center of a moral conflict.
Robert Coles , in his thoughtful forward, notes that Chekhov raises the "big questions" about "the meaning and purpose of life and the manner it ought to be conducted (and why)." Himself the editor of William Carlos Williams’s doctor stories, Coles recognizes and honors the comparison between Chekhov’s and Williams’s works and their dual careers as physician-writers. Jack Coulehan, in his introduction and comments, provides interesting biographical information on the great Russian writer as well as insightful interpretations of each story.
The story opens with the protagonist, identified only as the "Patient," being forcibly carried into the insane asylum. Once there, he no longer protests, but seems to accept his incarceration in the huge, overcrowded hospital. The doctor and other staff members seem particularly kind. Because the Patient rapidly loses weight, despite his good appetite, he receives a special diet.
The Patient notices a single scarlet flower among the many beautiful flowers in the hospital garden. He suddenly realizes that all the evil in the world is condensed into the scarlet flower. His mission is to destroy it. But when he attempts to pick the flower, hospital personnel prevent him from doing so, since picking flowers is prohibited. Eventually, he manages to destroy the flower, but notices a second scarlet blossom in the garden. He destroys that one as well, but a third scarlet flower appears. Finally, the Patient sneaks out at night to deal with the third flower, and then is found dead in the garden the next morning, clutching the remains of the scarlet blossom.
Summary:A long hallway stretches almost all the way to the end of the viewer's perspective. One solitary figure about halfway down the hall makes a quick exit from our view as it ducks into an abutting room. The hallway is colored in somber tones--browns, greens, and muddy yellows make up most of the coloration. These colors make the hallway appear as though it is composed of awkward rivers flowing across the plane of the floor, suggesting a sort of moat or barricade across which travel might be difficult. Additionally, the archways are not stylistically consistent--the arch closest to the viewer is more plain, more bleak, and seems to cordon off the viewer's end of the hall from the remainder of the corridor.
Arabella is a young lady who has lived for a long while at her father’s secluded country home. She spends her time reading romances (in 18th century Britain, "romance" meant fictional works posing as historical accounts of tragic heroines, leibestods, and undying affection--usually French in origin).
She has come to believe the romances to be true and models her behavior after the rigid rules of womanhood contained in them. Moreover, she interprets others’ action or outside events according to romantic expectations.
When Arabella finally goes into society, all are struck with her wisdom and beauty, but are baffled by her behavior and constant references to various romantic characters. She scorns her persistent suitor, Mr. Glanville, since he does not, at first, pursue her according to the rules of romance. He neither pines away, nor allows her to send him to the far ends of the earth to think of her without hope, forever. He soon learns to humor her caprices.
Arabella goes through many adventures all of which depend on her obsession. When she falls ill after diving into a river to save her honor, a doctor is called in to treat her. Learning of her obsession, he resolves to cure her. Using cold logic, he dissolves Arabella’s misconceptions.
This film is biographical, based on the life of the actress Frances Farmer (1914-1970), who was briefly successful in Hollywood in the early 1940’s and was then institutionalized for mental illness. She was "cured" by a transorbital prefrontal lobotomy.
The film begins with Frances (Jessica Lange) winning a high school writing competition with an essay criticizing God. This outspoken intelligence characterizes her. As a young actress, she wins a trip to Russia in a competition run by a Communist newspaper, performs on Broadway, and ends up in Hollywood. Quickly, however, it becomes clear that her unconventional behavior and attitudes make her vulnerable to people, including her overbearing and vicariously ambitious mother (Kim Stanley), who demand that she conform to more passive forms of femininity.
When Frances is arrested for drunk driving, her mother puts her in a "convalescent home," where she is given insulin injections in the guise of "vitamins." She escapes and, deciding that the pressures of the film industry are causing her drinking problem, tells her mother that she won’t be returning to Hollywood. Her starstruck mother, appalled, has her committed.
After undergoing the closely filmed experiences of the strait jacket, the padded cell, and shock treatment, all in the frighteningly bedlam-like atmosphere of the asylum, Frances submits to psychiatric surgery. This is perhaps the most disturbing part of the film. She is lobotomized in front of an audience by a mallet-wielding surgeon who boasts he can do ten patients per hour because "lobotomy gets ’em home."
Sure enough, Frances is allowed to go home. The film ends several years later in 1958, when Frances Farmer really did appear on the television show, "This is Your Life." We watch the show through the eyes of Harry York (Sam Shepard), the journalist who has always loved her, and he goes to meet her afterwards.
She has been transformed: composed and seemingly serene, but fundamentally blank, she has become a chilling shadow of herself. Early on in the film, she refuses to cooperate with a psychotherapist, saying "I don’t want to be what you want to make me: dull, average, normal." By the end of the film she has been reduced to the hollow appearance of all these things--and is grateful for it.
Cookson Selway has had a problematic childhood (his mother dressed him as a girl and his father was a murderer) and a complex youth (after dealing cocaine and becoming an alcoholic, he went into the restaurant business, made a fortune and retired at thirty-nine). Now 44, he is settled into wealthy middle age, living in Massachusetts with his wife, Ellen, a mystery writer, and his teenage daughter, Jordan. When Jordan goes away to boarding school, Cook and Ellen move to London so that Ellen can research a new novel.
Cook, always unconventional, sometimes sees things no-one else can, and in England, his condition, whatever it is, becomes worse. He begins to believe that the Willerton, the old hotel he and Ellen stay in, is haunted. He encounters three "ghosts," a small boy, an adolescent girl, and a man about his own age who is always drunk and repulsively lascivious. He learns that, years before, a girl died after jumping or falling from an upstairs window. It is rumored that she had been sexually abused by her drunk uncle. The only other person who seems aware of the ghosts is Pascal, the French bellboy, who soon becomes Cook’s ally.
Cook begins acting increasingly strangely, and his wife and the people she befriends (in particular the Sho-pans, an elderly Chinese couple) are convinced that Cook has started drinking again or is having some kind of mental breakdown. The reader is never given a final explanation for what happens; the "ghosts" certainly seem to reenact events from the hotel’s history, but they are also deeply linked to Cook’s own obsessions. They are all, perhaps, aspects of himself. Both fascinated and horrified, he is unable to reject them, even as his obsession estranges his wife. Only when it causes the death of Pascal is he able to leave the hotel and, perhaps, the ghosts. The couple return to America, and tentatively begin to recover.