Showing 311 - 320 of 372 annotations tagged with the keyword "Religion"
A 199-page collection of twelve essays by undertaker and poet Thomas Lynch, superficially about his mortuary trade, but actually about much more--life and death; the process of mourning; how we human beings pass though our common lives with grace or desperation; how the graveside ritual serves memory, family, and society. In the preface, Lynch says that early on he came to understand that the undertaking trade he would inherit from his father had little to do with what was done to the dead, but everything to do with how the living responded to the deaths of loved ones, neighbors, and friends.
Particularly outstanding essays include "The Undertaking," in which Lynch divulges the practical and emotional secrets of his trade as he buries Milo, a man who owned a Laundromat; "Crapper," a humorous, rollicking essay that demonstrates our modern society's inability to deal either with the thought of dying or the actual dead body; "The Gulfatorium," a flight of fancy about building a graveyard in a golf course, but really about the nature of suffering and the afterlife; "Mary & Wilbur," about neighbors, about our fear of death and our impulse to memorialize; "Uncle Eddie, Inc.," about an uncle's "clean-up service" that sanitized rooms after messy suicides and about the natural order of life and death and the moral implications of our manipulation of that order through assisted suicide, abortion, and genetic manipulation. My personal favorite is the final essay, "Tract," in which Lynch says how he wants his own death and burial to be managed, how he, a witness to our final rituals, wants to be witnessed.
Peppered with a plethora of black and white stills, this book is a compilation of a physician's film reviews and reflections on how movies have mirrored the changes in medical care and in society's attitudes towards doctors and medicine over the last sixty years. Ten chapters blend a chronological approach with a thematic perspective: Hollywood Goes to Medical School; The Kindly Savior:
From Doctor Bull to Doc Hollywood; Benevolent Institutions; The Temple of Science; "Where are All the Women Doctors?"; Blacks, the Invisible Doctors; The Dark Side of Doctors; The Institutions Turn Evil; The Temple of Healing; More Good Movie Doctors and Other Personal Favorites.
The appendices (my favorite) briefly note recurring medical themes and stereotypes ("You have two months to live," "Boil the Water!"). Formatted as a filmography, the appendices reference the chapter number in which the film is discussed, the sources of the photographs, and a limited index.
Maurice Sendak’s illustrations of a fairy tale by Wilhelm Grimm are integral to this children’s book and have therefore been included in this art database. Refer to the "Commentary" section below for the discussion of Sendak’s illustrations.
This fairy tale by Wilhelm Grimm, rediscovered in 1983, is prefaced by a short letter to "Mili," presumably a young girl much like the one in the story; what follows is a tale designed to teach children that life can be unpredictable. The story also demonstrates, however, that the unknown can sometimes provide shelter and security even when things are not familiar.
A young widowed mother, afraid for her daughter when the village they lived in was about to be attacked by invading warriors, sends the child to hide in the forest for three days. Alone and frightened, the girl loses her way, prays to God and is led to a little house tucked away in the woods where she meets a kind old hermit, Saint Joseph.
Three days (translated thirty years earth time) later, he decides it is time for the girl to return to her mother, whose dying wish is to see her daughter once more before death. Handing Mili a rosebud, he promises that after she meets her mother, she will be able to return: "Never fear. When this rose blooms, you will be with me again." The next morning the neighbors find the child and mother together, dead in their sleep.
Summary:A naked young Tahitian woman standing in a lagoon tries to cover her genitals with a kerchief as she becomes uncomfortably aware of the presence of an ominous-looking clothed spirit figure kneeling behind her. The lush exotic landscape punctuated with phosphorescent foliage, fauna, looming tree, serpentine forms, and the outline of a barely discernible thin hand representing the artist adds to an atmosphere of mystery and malevolence. Below the artist's signature and date in black on the canvas is inscribed in orange the title, "Parau na te Varua ino."
In rural Georgia, Mrs. Hopewell runs her family farm with the help of tenants Mr. and Mrs. Freeman. Mrs. Hopewell's daughter, Joy, who got her leg shot off in an accident when she was a child, now lives at home with her mother. Thirty three year old Joy has earned a PhD in philosophy, but she does not seem to have much common sense. In an act of rebellion, she has changed her name to Hulga, and she lives in a state of annoyed anger at her mother and Mrs. Freeman.
A Bible salesman comes to the door, claiming his name is Manly Pointer (!), and manages to get invited to dinner. He and Hulga make a date to have a picnic together the next day. That night Hulga imagines with her superior mind and education that she's in control and that she will seduce him.
However, the next day by the time they have climbed into a barn loft, Manly manages to persuade her to take off her glasses and then her wooden leg which he packs in a suitcase, between a "Bible" which is really a box with liquor and pornographic cards in it. As Manly leaves Hulga without her false leg, he tells her that he collects prostheses from the disabled. She is shocked to realize that he is not "good country people."
When Ruth's unfaithful and unappreciative husband Bobbo calls her a she-devil, she decides to appropriate that identity with a vengeance and take a different spot in the power relations of the world. She wants revenge, power, money, and "to be loved and not love in return"(49). Specifically, Ruth wants to bring about the downfall of her husband's lover, Mary Fisher, a pretty, blonde romance novelist who lives in a tower by the sea and lacks for neither love nor money nor power.
Ruth commences her elaborate revenge by burning down her own home and dumping her surly children with Mary and Bobbo. She continues on a literally shape-shifting quest in which she changes identities; gains skill, power, and money; and explores and critiques key sites of power and powerlessness in contemporary society, including the church, the law, the geriatric institution, the family home, and (above all) the bedroom.
By the end of the novel, Ruth achieves all four of her goals in abundance. Her success, however, raises complex ethical questions, not only because she uses the same strategies of manipulation and cruelty of which she was a victim, but also because of the painful physical reconstruction of her body that is the tool of her victory.
The author, a Canadian physician-historian-educator, blows the dust off the shelves of medical history with this fascinating text designed for medical students, educators, and those with an interest in history of medicine. Duffin begins this survey of the history of Western medicine with a glimpse at a pedagogical tool designed to spark the interest of even the most tunnel visioned medical students: a game of heroes and villains. In the game, students choose a figure from a cast of characters selected from a gallery of names in the history of medicine.
Using primary and secondary sources, the students decide whether the figures were villains or heroes. The winner of the game is the student who first recognizes that whether a person is a villain or hero depends on how you look at it. This philosophy imbues the entire book, as this treatise is not a tired litany of dates, names and discoveries, but rather a cultural history of the various times in which medical events occurred.
The book is organized by topics which roughly follow a medical school curriculum: anatomy, physiology, pathology, pharmacology, health care delivery systems, epidemiology, hematology, physical diagnosis and technology, surgery, obstetrics and gynecology, psychiatry, pediatrics, and family medicine. The last chapter, entitled "Sleuthing and Science: How to Research a Question in Medical History," gives guidance to formulating a research question and searching for source material. Fifty-five black and white illustrations are sprinkled throughout the book, as well as 16 tables.
Direct quotes from historical figures, such as Galen and Laennec, as well as excerpts from writings of eyewitnesses of events, anecdotes and suggestions for discussion, appear in boxes within the chapters. Many of the chapters contain discussion about the formation of professional societies. Each chapter ends with several pages of suggested readings and the third appendix delineates educational objectives for the book and individual chapters. The other two appendices list the recipients of the Nobel Prize in Physiology or Medicine, and tools for further study, including titles of library catalogues, and resources in print and on-line.
Although the book is a survey covering multiple eras and topics, each chapter contains choice tidbits of detail. For instance, the chapter on obstetrics and gynecology includes the story and photograph of Dr. James Miranda Barry, the mid-nineteenth century physician, surgeon and British military officer, who was discovered to be a woman at the time of her death. The impact of the stethoscope on the practice of medicine is explored in depth in the chapter, "Technology and Disease: The Stethoscope and Physical Diagnosis."
Albert Gans' father is in the hospital dying of something the doctors cannot identify. Depressed, Albert is entering the subway when a retarded woman hands him a card reading "Heal the Sick. Save the Dying. Make a Silver Crown." It gives a rabbi's name and address. Albert had just been speaking to a friend who encouraged him to try a faith healer saying, "Different people know different things; nobody knows everything. You can't tell about the human body."
So, Albert goes to the Rabbi's house. The aging man tells him that he will make Albert's father a crown made of pure silver, covered with blessings and his son's love that will heal him completely. For $401 he can have a medium crown, for $986 a large one that will work more quickly. Albert is skeptical and asks rational questions that the Rabbi answers with a combination of mysticism and salesmanship. Finally, Albert agrees and gives the Rabbi his money. Immediately afterwards, he feels duped and threatens the Rabbi, calling him a thief.
The Rabbi tries to soothe him, asking him not to spoil the miracle and to think of the father who loves him. Albert bursts out, "He hates me, the son of a bitch, I hope he croaks." He then rushes out. An hour later, Albert's father dies.
In mid-19th century England, a small group of religious women called the Household of Hidden Stars follow Muley Moloch, an itinerant prophet, across the world to establish a life for themselves in New South Wales. Catherine, Moloch's wife, gives her account of their story many years later in 1898.
Moloch is an illiterate shoemaker-turned-prophet who claims to perform miracles. His goal is to prepare the way for the Second Coming of Christ. To accomplish this, he and his group of 8 or 9 women set out to lead exemplary lives in the wilderness, yet they do not attempt to make converts.
When Catherine becomes pregnant, she and the others think her pregnancy is a miracle. (In reality, Moloch has had sex with her while she was desperately ill and unaware of what was going on.) They name the child Immanuel and believe that he is the Second Coming of Christ.
Muloch considers the local Aboriginal people to be demons and treats them as such. One day he sees Immanuel talking to a "demon" and shoots the man dead. Immanuel, already fed up with all the craziness, runs away. At this point the women finally seize control of their own lives and tell Moloch that he must leave. As the years progress, the women remain together. One by one they die of consumption, until only Catherine and Louisa are left.
Consider the possibility of a man whose sense of hearing is so enhanced that he can discern the noise of the entire world and also mimic all the sounds made by men and beasts. Imagine a human being who can SEE sounds as well as hear them. It is little wonder that he would have an affinity and talent for music.
Johannes Elias Alder is such a musical genius born in 1803 with a preternatural gift of hearing. The illegitimate son of the village curate, Elias experiences a physical metamorphosis as a child and by the age of ten is already a man. He effortlessly composes magnificent music that he plays on the organ.
Although Elias falls in love with his cousin, Elsbeth, she marries another man. After this loss, he becomes tired of life. Elias commits suicide at the age of 22 by refusing to sleep and succumbing to starvation and an overdose of belladonna.