Showing 261 - 270 of 348 annotations tagged with the keyword "Freedom"
Burkin and Ivan Ivanovich seek shelter from the rain in Alehin's country home. As they sit having their tea, Ivan Ivanovich tells the story of his brother, Nikolay, who worked as a government functionary and always dreamed of saving enough money to buy his own country home with a garden and gooseberries. He skimped and saved and finally, after his wife's death, bought an estate.
When Ivan Ivanovich visited him many years later, Nikolay was no longer the self-doubting clerk he once was, but had become a confident (and corpulent) landowner, who was obviously happy with his life and with the delicious gooseberries from the bushes he had planted. Ivan Ivanovich realized then that he, too, was a happy man, despite all the pain and evil in the world.
Nadya Shumin is engaged to be married to Andrey Andreitch, the son of a local priest. Nadya lives on her grandmother's estate with her mother, "a fair-haired woman tightly laced in, with a pince-nez, and diamonds on every finger." While Nadya is a woman with a great desire for education and independence, Andrey is a friendly but rather vacuous and totally unmotivated man.
Sasha, an ill and impoverished young man who is spending the summer on the estate has long been considered part of the family. Sasha implores Nadya to follow her heart--to go to Petersburg and attend the University. She resolves to do so and secretly accompanies Sasha when he returns to Moscow. She then goes on to begin her own life in Petersburg.
After the school term, Nadya returns for the summer, but she is aware that things will never be the same. The family receives word that Sasha has died of tuberculosis. At the end of the story, Nadya is packing to leave the estate "as she supposed forever."
It is a summer night on the steppe and two shepherds are lying on the ground as their sheep sleep. A man on a horse stops to ask them for a light for his pipe, but stays to chat. They discuss the recent death of Yefim Zhmenya, an old man who had sold his soul to the Evil One. You could tell he was evil because people walking past his garden could hear his melons whistle. The older shepherd tells another story about Yefim, whom he had seen appear as a bullock one stormy night.
One of the men observes that there are many treasures buried in the local hills. "Yes," says the old shepherd, "but no one knows where to dig for them." But then he tells them about a map to the treasure and indicates that he knows precisely where to dig. However, when the horsemen asks him what he would do with the treasure if he finds it, the old shepherd can't answer.
A prosperous lawyer (Skvortsoff) encounters a ragged beggar, who claims to be a teacher fired unjustly from his job. Skvortsoff, however, remembers that he saw the same man the other day, when he had claimed to be an impoverished student. The beggar (Luskoff) breaks down and admits that he is simply a drunk without work. Skvortsoff offers him a job chopping wood, which he reluctantly accepts. Olga, the cook, takes Luskoff out and shows him the wood stack.
After that, Luskoff returns frequently to do odd jobs, and eventually Skvortsoff sets him up with a clerical position. Two years later, Skvortsoff sees the former beggar at the theater. He prides himself for having "saved" Lushkoff from a life of drunkenness, but Lushkoff reveals that it was Olga who saved him--she chopped the wood, and the compassion she showed led to a change in his heart.
Dmitri Dmitrich Gurov is lolling around on the beach at Yalta when he spies a lovely young woman with a Pomeranian dog. Gurov is a family man, nearly 40 years old, but his wife and children are home in Moscow, and he regularly dabbles in extramarital affairs. Thus, he sets out to make a conquest of Anna Sergeyevna, whose husband, it turns out, is a "good, honest man, " but a "flunkey" in the provincial town where they live.
They succumb to their passion and become lovers, but after a few weeks, Anna is called home, and Dmitri also returns home. Surprisingly, he cannot forget her. He is tortured by a desire to see her again, eventually arranging a trip to her hometown, where he encounters his lover at the opera. They fall into one another's arms again.
Anna Sergeyevna then begins to visit Moscow every few months so they can spend a few hours in a hotel room together. Their love has grown into tenderness: "They forgave each other for what they were ashamed of in the past, they forgave everything in the present . . . " In the end they decide to make a plan to remain together, realizing that "the most complicated and difficult" part of their road is just beginning.
The story begins with Vera's arrival at her grandfather's estate on the steppe. The young woman has finished school, her father is dead, and now she must make a life for herself. The estate brings back pleasant memories of childhood, but country life is so boring! Vera would like to do something important with her life--become a doctor, or judge, or mechanic--but she feels paralyzed.
Neshtchapov, the local doctor, is a polished, handsome man, who has gone into management, although he still practices medicine. Certainly the most eligible bachelor in the region, the doctor falls in love with Vera, but she finds him vacuous and his conversation utterly boring. Vera sinks into irritability and depression, which culminates in an irrational outburst against her frightened maid. After this, she decides to take control of her life--by marrying Neshtchapov.
In Siberia, "Old Semyon, nicknamed Canny, and a young Tatar, whom no one knew by name, were sitting on the riverbank by the campfire;the other three ferrymen were in the hut." (p. 97) The Tatar is horrified by the prospect of exile, having left a beautiful wife behind. But Semyon counsels acceptance "You will get used to it," he repeats again and again.
Semyon tells him the story of Vasily Sergeyitch, a wealthy aristocrat who was sent into exile 15 years earlier. He was able to send for his wife and daughter. The wife agreed to come, but then ran away with a lover, and now the daughter who has spent her life in exile with him lies dying of consumption. The point of this story seems to be that the exiled man should accept his fate and forego desire, or the expectation of happiness.
Later, Vasily Sergeyitch hails the ferry to take him across the river. He is hastening to town to see a new doctor, whom he desperately hopes might help his daughter. Old Semyon mocks him: "Looking for a good doctor is like chasing the wind in the fields or catching the devil by the tail." (p. 111) As the ferrymen try to sleep in the cold, windy hut, they hear the Tatar outside crying, and Semyon repeats, "He'll get used to it."
The story begins with a group of young people on a riding party at the Shelestov estate. One of the guests is Nikitin, a young-looking man in his mid-20’s, who teachers literature at the local school, and loves Masha, the 18-year-old younger daughter of their host. Later, over dinner Varya, the older daughter, argues with Nikitin over some points of literature, and another guest scolds him for having never read the German writer, Lessing. But Nikitin glides through the evening on a cloud of love. A day later he returns and proposes to Masha.
In the second part of the story, the wedding occurs. Nikitin and Masha are deliriously happy--"’I am immensely happy with you, my joy,’ he used to say, playing with her fingers or plaiting and unplaiting her hair." But soon one of Nikitin’s friends and fellow teachers develops erysipelas and dies. After that, everything returns to normal, so much so that Nikitin has nothing to write in his diary.
Life seems to be closing in on him. He feels like trying to get away from his wife, "Where am I, my God? I am surrounded by vulgarity and vulgarity. Wearisome, insignificant people, pots of sour cream, jugs of milk, cockroaches, stupid women . . . There is nothing more terrible. I must escape from here, I must escape today . . . "
This is the story of the life, loves, wounds, grit, artistic genius, and death of the well-known Mexican artist Frida Kahlo, played by Salma Hayek. At the age of eighteen Kahlo was in a near-fatal bus accident that left her with lifelong injuries to her pelvis, spine, and uterus. (The film does not include the fact that Kahlo had suffered some physical disability since a case of polio at the age of six.)
The life Kahlo survived to live was artistically enormously productive and successful, but it also had more than the usual share of physical suffering, medical procedures, attempts to self-medicate, and accompanying emotional distress. The film covers these things, as well as what Kahlo called the second disaster in her life, her marriage to the famous Mexican muralist Diego Rivera, played by Alfred Molina.
This thorough and fascinating treatment of the politics of anatomy studies in 19th-century America provides a variety of perspectives on the vexed question of how appropriately to study human anatomy while also maintaining respect for the human body and honoring the various, deeply held community beliefs, and attitudes toward treatment of the dead. Sappol seeks, as he puts it, to "complicate the cultural history of medicine in late-eighteenth- and nineteenth-century America. . . by telling it from an anatomical perspective."
That statement of his objectives hardly suggests the startling range of approaches to the topic he takes in the book's nine chapters. These cover such issues as the legacies of belief about the "personhood" of the dead human body; the status of anatomy as both a legitimate and valuable study and also as an "icon of science"; the relationship of dissection and anatomy study to medical status and professionalization; the political tensions engendered by the "traffic in dead bodies" that most often expropriated corpses from marginalized communities; and the relationship of anatomy studies to sexual commerce and sensationalist fiction.