Showing 201 - 210 of 875 annotations tagged with the keyword "Society"
Summary:Mabry Kincaid, a New York art conservator is flying home on September 11, 2001, when news comes to him on the plane of the attacks on the World Trade Center. Unable to return to his apartment in the city, he decides to visit his aging father, an Episcopal priest, in his boyhood home in North Carolina. There he meets Audrey, an African-American seminary student in her forties, who has moved in to care for his disabled father. In the ensuing weeks Mabry is led to reflect deeply not only on the fate of the country and of his career, but on how his father's apparently final illness compels him to come to new terms with their constrained relationship. The death of the brother Mabry always believed to be the favorite has left a painful chasm between father and son, made more so by his father's own admission of favoritism.
Summary:In this candid chronicle of what many would call a prolonged depression occasioned in part by her husband's illness and death, Norris, a popular memoirist and essayist, seeks carefully to distinguish the psychological or psycho-medical category of "depression" from the spiritual state of "acedia" or, more bluntly, "sloth," in its oldest and most precise sense. In doing so she raises important questions about widespread and often imprecise use of categories derived from clinical psychology, an imprecision that may muddy the distinction between spiritual and psychopathological experience.
Summary:Testifying to its author's "fascination with death" (324), this scholarly and abundantly illustrated work focuses on the history of the American idea of the Good Death as this concept took shape during the Civil War. Frederic Law Olmstead used the phrase "republic of suffering" to describe the many wounded and dying soldiers being treated at Union hospital ships on the Virginia Peninsula. Faust argues that the task of dealing with more than half a million dead during the War motivated Americans in the North and South to discover cultural and physical measures of interpreting and coping with the suffering and loss that occurred in thousands of families.
This documentary film explores the interdisciplinary quest to understand the mind--its relationship to the brain, to the soul, to consciousness and sentience, and to the societal implications of free will. The film begins with the crisscrossing flow of people in a train station and an overvoice expressing the existential questions of "who are we?" and, ultimately, "who am I?"
This compelling image, filmed in black and white, serves as a representation of people as humanity and as individuals, as well as a metaphor for flow, such as of time or of impulses along a neural network. Hence, already in the introduction, the viewer is aware that this film will address some of the deep philosophical questions of all time complemented by visual imagery which enhances and enlarges on the dialogue.
The film is then divided into twelve sections: The Soul, The Body, Mental Disorder, Mind to Molecule, Bit to Brain, Consciousness, Free Will, Citizenship, The Moral Brain, The Brain on Trial, The Medical Mind, and Who Am I? Experts from multiple fields such as theology, neuroscience, psychiatry, law and justice, philosophy, sociology, history of medicine, physics, computer science, and filmmaking offer insights and questions either directly to the camera, or as voice-over for other imagery.
For example, to name just a few of the numerous eminent persons in the film, there are statements by mathematical physicist Roger Penrose (Shadows of the Mind: A Search for the Missing Science of Consciousness, and The Emperor’s New Mind: Concerning Computers, Minds and the Laws of Physics), philosopher Daniel Dennett (Darwin’s Dangerous Idea: Evolution and the Meanings of Life, and Brainchildren: Essays on Designing Minds), philosopher John R. Searle (Mind, Language and Society: Philosophy in the Real World) and neurologist Antonio Damasio (Descartes’ Error: Emotion, Reason and the Human Brain). The multiple experts all address the basic question posed by the film: "What will a science of the brain add to the human story?" but the approaches to the question, and what aspects of the question are most important, vary considerably in this far ranging journey through religion, history, ethics, medicine and science.
A few of the many interesting segments of the film include sections on cognitive neuroscientist Nancy Kanwisher who studies specialization by parts of the brain, such as a face-recognition center; developmental neuroanatomist Miguel Marin-Padilla, who has studied the motor cortex for over 25 years, which he demonstrates by dissection to be smaller than the tip of his finger; and Dennett’s one-armed robot, Cog, which is "learning" in developmental stages as an infant would. Eloquent commentary is also provided by computer scientist Jaron Lanier, sociologist Howard Kaye, psychologist Nicholas Humphrey, and filmmaker Ken Burns, among others.
Much of the film deals with psychopathology and implications for morality, behavior, and responsibility for behavior (free will and crime). Segments include an interview with a patient with manic-depressive disorder, a historical note on Phineas Gage (whose dramatic wound of his frontal lobe so altered his behavior), and a lawyer, psychiatrist and judge discussing free will, diminished capacity, and the legal system.
The film concludes with some concerns about reductionism to the biologic model of the mind, the growing haziness of borders between human and artificial intelligence, and the role of psychoactive medications. Although full mapping of the brain may not lead to complete understanding of the mind, still, the film concludes, the quest is fun.
Paul Ehrlich (Edward G. Robinson) works as a hospital dermatologist, but his two passions are his family and his independent research into dyes and stains. When he abandons his call-duty to attend a lecture by Robert Koch, hospital officials have all they need to dismiss the annoying Jew. Koch, however, engages him to develop dyes to enhance the visibility of the newly discovered tubercle bacillus.
Ehrlich's health is broken by the research, but one success leads to another. With Emil von Behring (Otto Kruger), he works on a serum to save children with diphtheria. Moved by the anxiety of the mothers, he refuses to maintain untreated controls. His superiors are furious, but the state is grateful and he is awarded his own institute.
Ehrlich turns his attention to finding a "magic bullet" to treat syphilis, but his relationship with von Behring founders. Arsenic derivatives are endlessly modified until success is reached in 1910 with agent 606. A few deaths in treated subjects prompt Ehrlich's enemies to arrange a formal inquiry, but he is completely exonerated and reconciled with von Behring.
Summary:Intended to "spark a philosophical dialogue among readers and in classrooms, clarifying, refining, and challenging the ethical positions people hold on a great many bioethical topics"(1), Bioethics at the Movies contains 21 essays discussing bioethical issues, from abortion and cloning to disability narratives and end-of-life care, in relation to various films. The two dozen authors come from the United States, Spain, Australia, Israel and the United Kingdom, and the majority have their academic homes in Departments of Philosophy. For the most part, the essays use one particular film as a springboard to discuss a bioethical topic, such as terminating pregnancies (The Cider House Rules), marketing organs (Dirty Pretty Things), and memory deletion (Eternal Sunshine of the Spotless Mind). Two films get a pair of essays (Gattaca and Million Dollar Baby), and several authors cover more than one film. In addition to the aforementioned films, Wit, Citizen Ruth, Bicentennial Man, I, Robot, Babe, Multiplicity, Star Trek: Nemesis, Ghost in the Shell, Dad, Critical Care, Big Fish, Soylent Green, Extreme Measures, Talk to Her, and Ikiru are closely covered.
Summary:Originally delivered as a ten-hour lecture at a conference and subsequently partly published in various forms, The Animal That Therefore I Am has been collected in this one volume, also including a transcription of Derrida's extempore lecture, delivered at the end of the symposium, on the 'animal' and Heidegger. The Animal That Therefore I Am is a sustained meditation on the role of the 'animal' in philosophy. Derrida questions the logic, the ethics, and the rhetorical and philosophical effects of establishing (or assuming) a boundary that seems to distinguish so clearly, so finally, and so permanently the human from the animal.
Summary:Up-and-coming architect, Guy Haines, is traveling to Texas to obtain a divorce from Miriam, pregnant with another man’s child. He has nothing but contempt for her and cannot wait to begin a new life with more sophisticated and loving Anne. On the train, he meets slender, disturbing Charles Bruno, who hates his father. With a lot of booze Bruno goads Guy into confessing his hatred for Miriam. Bruno then proposes a double murder plot, where each would kill the other’s problem. Appalled, Guy leaves, forgetting his book of Plato.
Summary:The famous New York architect, Stanford White (1853-1906) died when he was shot in the face at point blank range by the vengeful husband of actress Evelyn Nesbitt. The author is White’s great grandaughter in a matrilineal line.
Summary:Pseudonymic writer of romantic novels, Edith arrives at her Swiss hotel on lac Leman. She had been sent by friends to extract her from a situation, which at first is not clear. The month ahead looks bleak and long.