Showing 341 - 350 of 392 annotations tagged with the keyword "Narrative as Method"
This is a study of the influence of medicine and medical practice on Chekhov's writing. While the material is presented in a roughly biographical manner, the chapters are thematically organized. In "University Years" the author discusses Chekhov's experience at Moscow University Medical School (1879-1884) and the influence of several of his professors. "Diseases of the Mind" focuses on the play "Ivanov" and several stories that demonstrate Chekhov's keen interest in and understanding of mental disorders, including endogenous depression (Ivanov), neurotic depression or dysthymia (Uncle Vanya), and reactive or exogenous depression(An Attack of Nerves (A Nervous Breakdown)).
The next chapter covers Chekhov's extended trip to Sakhalin Island in 1890. "Tolstoy Versus Science" describes Tolstoy's position that scientific and technical progress lead to moral regression. For several years Chekhov was sympathetic to Tolstoy's ethical position, although he never embraced the older man's opposition to science.
"The Country Doctor" deals with Chekhov's medical and public health work during the years he resided at Melikhovo (1892-1897). The last chapter describes Chekhov's own battle with pulmonary tuberculosis.
Rachel is married to passive Leon who is utterly dependent on her care and organizational skills. They live in a vast, blanc-mange of a suburb where Rachel constantly looses her way while driving home from work. One night, she seeks direction from Wilkes. A strange recluse, he is obsessed with his teenage memory of the lost "girl on the bus" and leads a support group for agoraphobics.
Through contact with Wilkes, Leon gradually grows more independent and finds himself a job. Rachel becomes obsessed with the search for the meaning of "Harry," a mystery man who recurs in her husband's dreams and begins to take over her thoughts. She consults a psychologist, Alex Silver, who soon has Rachel enrolled in a study with two other women. Silver uses dream-deprivation with the goal of enhancing insight about her marriage, her life, and her friends.
Cameo appearances of three depressive, mid-life siblings, Dick, Jane, and Sally, with their dog, Spot, and cat, Puff, emphasize that life in modern suburbia can be a pathology in itself. In Jane, Wilkes finds his lost girl on the bus. Rachel dumps Leon and finds happiness with the agoraphobic developer of the aptly named "Arcadia Centre," where expense, space, light, greenery, and intimacy are employed unstintingly to create a non-pathogenic space for human collectivity.
This 22-line poem lacking any punctuation is a breathless narration of an urgent need to escape from the hospital environment. The narrator runs past the bodies "crumpled on every bed" and "the lead apron / of hospital drapes" to emerge outside into the rain. She is immensely relieved to experience the cold wetness of the rain and to feel the pavement against her feet as she runs to her car.
For Booth all encounters between a storyteller (author) and listener (reader) are ethical in that they bring together the character (ethos) of each. These good and bad qualities of character describe both the author and the reader who "keeps company" with the author. Narratives, in addition to whatever aesthetic pleasure they may give us, always interpret life; they tell us about our lives and other possible lives. We are changed by our reading; the quality of life in the moment of our listening is not what it would be if we had not listened.
While we may disagree about what is great literature within and between cultures, Booth asks if we can hope to find a criticism that will respect variety and yet offer knowledge about why some fictions are worth more than others. His answer is "yes," and he devotes several hundred pages of careful argument and plentiful examples to support his claim.
Fictions are the most powerful of all the architects of our souls and societies. The ethics of criticism is a universal concern; no one can escape the effect of stories because everyone tells them and listens to them; therefore everyone consciously or not asks and answers these questions: Should I believe this narrator and thus join him? Am I willing to be the kind of person this story-teller is asking me to be? What kind of company am I keeping?
Ethics of narrative is a reflexive study, because it starts with one of its conclusions: that some experiences with narrative are beneficial and some are harmful. The minds we use in judging stories have been in part constituted by the stories we judge; there is no control group of untouched souls who have lived without narrative. We absorb the values of what we read; we have been that kind of person for at least as long as we remain in the presence of the work. The ethics of narrative is reciprocal; it affects teller as well as listener. Ethical debate about narrative values can lead to ultimate questions about the quality of life as it is lived.
Booth says every use of language carries freight of cultural values and norms. Ethical criticism cannot divorce itself from social and political contexts. Therefore, he says we come to our sense of value in narratives by experiencing them in context of others that are like and unlike them. We rely on past experiences to make judgments; validity is checked and corrected in conversation (a process he calls coduction). Coduction incorporates what we have experienced of other poems and poets; it judges by comparison and conversation (like a case-based approach). Whenever a narrative really works for us, we are sure to feel that the author's choices and ours are alike in kind, that he or she is our kind of person, practicing skills, virtues, moral powers that we admire.
In reader-response theory, regardless of what the author has tried to give, we can judge only what we manage to take. The reader-response denial that literary works have any intrinsic power or value comes in 2 forms: (1) all aesthetic values are subjective, belonging to each individual; (2) evaluations are corrected and improved in a given community; the community confers value. (Stanley Fish, Is There a Text in This Class? Harvard Univ. Press, 1980) Booth says that the question of whether the value is in the poem or in the reader is radically ambiguous. On the one hand, value is not there actually until it is actualized by the reader; on the other hand, it could not be actualized if it were not there in potential in the poem.
When we read a story we find ourselves in a world different from our own; we are exposed to the "Other" and to other value systems, which we "try on" and evaluate in comparison to the ones we know. We can surrender uncritically to whatever appeals to us, or we can stay aloof so we don't have to really examine these other values, or we can correct and refine our own experience once we have really understood the other value system (coduction).
According to Booth, serious ethical disasters produced by narratives can occur when people sink themselves into an "unrelieved hot bath" of one kind of narrative, such as one of racial superiority. He also notes that writers who come from ideological positions, such as Walker Percy and Flannery O'Connor, often hold those positions against the mistaken views held by their characters, so if the reader cannot distinguish the author's position from his characters' the reader is likely to misinterpret the message. He comments on that problem in Twain's Huck Finn, Conrad's Heart of Darkness, Shakespeare's Merchant of Venice. He refers to Chekhov's story, Home (annotated in this database), and many of Dostoevsky's works.
Booth says that we conduct our lives with and in metaphor, and he warns us not to think we have a literal picture when we're really dealing with metaphor. Some think ordinary language is unfigured and refers literally to a real world behind their language. They don't recognize their own metaphoric world. (See also Metaphors We Live By, by George Lakoff and Mark Johnson, annotated in this database.)
In a discussion pertinent to medicine as a "battle against disease," Booth points out that the war metaphor implies a world where winning or losing is primary. While that cultural value may dominate western culture, it does not accurately describe the value systems of many people. Even the simplest narratives imply whole worlds according to which the narrative makes sense; all narrative is metaphoric.
B.D. and Ryan are completing their tour of duty in Vietnam. They are bonded to each other--"some kind of cultish remnant"--because they are the only men from the original unit who have not returned home. Unexpectedly, a new lieutenant takes command. He views the unit as undisciplined; he lacks patience and a sense of humor.
Ryan's reaction is sarcastic mimicry, which the lieutenant overhears. When challenged, Ryan responds with a scurrilous comment. This initiates a menacing, deadly interaction between them. B.D. watches this interaction helplessly. He tries to persuade Ryan: "All you have to do . . . is keep quiet." (22) But Ryan can't help himself; his mission is to make the lieutenant aware of "what an asshole he is." (21)
B.D. feels increasingly desperate, fantasizing that he will blow the lieutenant up with a grenade. When he tries to enlist help from the former unit head the latter suggests that B.D. put himself in the line of fire in place of Ryan. B.D. realizes that officers stick together, and, even worse, he feels "weak, corrupt, and afraid." (30) Soon thereafter, Ryan is killed during a routine mission.
Subtitled, A Memoir of an Alaskan Childhood, this spare, compelling work recalls young Julia's difficult and unusual life in a splintered family living "at the edge of the world." When Julia was born in 1929 the family had just moved to Seattle and entered an economic crisis--"somehow, my father had been bilked out of their money." (17) The marriage went downhill as poverty and the father's serious illness compounded an underlying conjugal incompatibility.
Julia was only seven years old when she and her older sister Lillian found their father dead--a suicide. "Nothing is said about how my father died, or even, in fact, that he is dead." (8) Not long thereafter Julia's mother, Rose, without any explanation or advance warning, left the girls at the Pacific Hebrew Orphan Asylum; there they remained for two years. Rose went to Nome, Alaska to try to find work. "Meanwhile, I strive to be a model orphan. I do all my chores . . . I'm quiet, do well in school, am extremely polite. And most of the time, I'm afraid." (33)
There follows another stay in a different orphanage. Here "I never hear my name . . . No one ever touches me. And, in my memory of that time, that place, I am always alone." (72) Finally, they join their mother again in a remote mining outpost of Alaska where Rose operates a roadhouse. Moving with the seasons back and forth between the outpost and the city of Nome, Julia's life takes on a semblance of normalcy. The environment is strange but interesting, the men who frequent the roadhouse are rough but friendly--there is a sense of camaraderie.
As Julia reaches puberty she becomes subliminally aware of a relationship between her mother and the owner of the Nome liquor store, Cappy. Cappy is married--his family is back in Seattle. There is never any open display of affection between Cappy and Rose, but he eats his meals with them and is almost a surrogate father to Julia and her sister. Suddenly Rose decides to move the family to Fairbanks. Here there is a "secret scenario" that Julia only pieces together many years later. As the events unfold in Fairbanks, Julia knows only that her mother is "distracted, not there." And that a man "carrying a small black satchel" comes to the house and leaves her mother moaning in bed.
Once more, Rose leaves her now teenaged children behind as she returns to Nome. It is wartime and Lillian and Julia find jobs at the military base in Fairbanks. As suddenly as they came to Fairbanks, they are summoned back to Nome--no questions asked, no explanations given. Cappy's son is missing in action. Once again, Julia cannot understand the silence, the absence of grief displayed--"Isn't anybody sad? Isn't anybody upset?" (181) Rose's relationship with Cappy quietly ends.
As Julia finishes high school she fantasizes about leaving Nome, going to college, becoming a journalist--fantasies inspired by Rosalind Russell's role in the film, His Girl Friday, and by Sinclair Lewis's critique of small town life in the novel, Main Street. "I begin to discern, vaguely, tentatively, that somewhere there exists a world where the accepted language is the one that Sinclair Lewis speaks--a language of ideas and, even, of feelings." (212) Indeed, as the book jacket notes, the author graduated from Stanford and became a magazine editor; she lives in Manhattan.
During the Battle of Smolensk in the Second Word War, a soldier named Zazetsky sustained a severe head wound, causing "massive damage to the left occipito-parietal region of his brain." This injury shattered his whole perceptual world. His memory, his visual fields, his bodily perception, even his knowledge of bodily functioning--all break into fragments, causing him to experience the world (and himself) as constantly shifting and unstable.
Zazetsky coped with this fragmentation by writing a journal of his thoughts and memories as they occurred, day after day, for 20 years. He then arranged and ordered these entries, in an attempt to reconstruct his lost "self." From over 3000 pages of this journal material, the neurologist A. R. Luria has constructed this extended case history from which emerges a remarkable portrait of Zazetsky as a determined and courageous human being. Zazetsky's first-person account is interspersed with comments and descriptions by Luria himself, explaining the relevant structure and function of the brain.
This is the most detailed and comprehensive biography of Anton P. Chekhov written to date. Rayfield is a Chekhov scholar who published an earlier biography of the writer in 1975. There are numerous biographies of Chekhov available. In the Preface to this book, Rayfield explains why he wrote it. Chekhov's life is documented by a vast amount of archival material, much of which was unavailable to Western scholars in the past. Russian scholars have studied these sources extensively, but the studies they have published use only a small part of the material. Rayfield's own study convinced him that by drawing liberally from these archives he could write a new biography that would increase our understanding of Chekhov's life and character.
Rayfield's approach is strictly chronological. The book consists of 84 short chapters, each one named and subtitled with the period covered (e.g. July - August 1894). Rayfield sticks closely to the texts, developing a rather staccato style that is heavy on factual statements and light on his own interpretations. He also chooses not to discuss Chekhov's writings as such, except to present brief summaries of the plays and some of the more important stories, and to indicate relationships between Chekhov's life and his art.
The new material gives us a much better view of the day-to-day texture of Chekhov's life, his interactions with family and friends, and his interesting and enigmatic relationships with women. The book also includes a helpful diagram of the Chekhov family tree, two maps of Chekhov's country, and many photographs.
Summary:Felipe Montero, a young historian, accepts a live-in position, editing the memoirs of General Llorente, whose elderly widow, Consuelo, seeks their publication before her death. In the dark, enclosed house, filled with the perfumes of medicinal plants, Felipe dreams of sexual union, and escape, with the young beautiful niece, Aura; and he reads of Consuelo's infertility, her fantasy of medicinally creating a spiritual child, her delirium of walking toward her youth. Intoxicated by desire and the stifling atmosphere, Felipe embraces Aura, who transforms into the 109-year-old widow. Consuelo promises, "She will return, Felipe. Together, we will bring her back."
This essay was written ten years after the author's Illness as Metaphor (see this database). Sontag begins by explaining the stimulus for her earlier essay: her own experience as a cancer patient. During that time, she discovered that cultural myths about cancer tended to isolate and estrange cancer patients. They suffered needlessly because of "meaning" attributed to their illness by society. A decade later, Sontag observes that attitudes about cancer have become more open and truthful. However, a new illness (AIDS) has arisen to carry forward the metaphorical banner.
AIDS brings together two powerful metaphors about illness. First, AIDS develops further the theme (seen earlier in cancer) of disease as invader: the enemy invades and destroys you from within. Thus, AIDS strengthens the use of military metaphors in medicine. The war against cancer is reincarnated as a war against AIDS. Secondly, because AIDS is a sexually transmitted disease, it also evokes the theme of plague-as-punishment.
Sontag's project in this essay is more focused than in the earlier book. She acknowledges that the medical and public health response to AIDS explicitly counters these myths. She concludes that "not all metaphors applied to illnesses and their treatment are equally unsavory and distorting" (p. 94). The metaphor she is most anxious to see eliminated is the military metaphor, both on an illness level (illness invades the person) and a societal level (social problems invade society).