Showing 371 - 380 of 382 annotations tagged with the keyword "Cross-Cultural Issues"
David Rosen and Joel Weishaus are long-time friends, the former a psychiatrist, the latter a poet, teacher, and literary critic. Both authors have lived and traveled in Japan, and both are enamored of the haiku form. In this book, Rosen and Weishaus carry on the "renga" tradition of writing haiku as part of an on-going conversation, a call and response of commentary and haiku. Grouped into 53 two-page chapters, such as "Feeling Death," "Learning to Bow," "Eating," "Mother Ill, Mother Dead," "Tuscany," and "Turtle Wisdom," this conversation is enriched by the black and white illustrations of Arthur Okamura.
The comments and haiku range widely and deeply, reflecting the authors’ recognition of the possibility and need for healing, not only in human relationships but also with Nature. In part, this conversation is the authors’ quest to understand the "psychology, meaning, and healing value" of haiku (1), and to explore how poems might lead not necessarily to cure but to "becoming whole" (5).
The commentaries are open and transparent, interwoven as one poet picks up a word or image in his friend’s haiku and extends it, turning it over both in commentary and verse-for example, see the chapter "In the Flow" where the last line of Rosen’s haiku, "A river streaming back toward the sun," is used as the first line of Weishaus’s responsive commentary, one that transports the discussion from Japan to Africa (82-83). Often movingly honest, the poets discuss loneliness and death, their insights reflected in artist Okamura’s stark ink swirls (8-15). They examine their relationships with their fathers ("making Peace with One’s Father," 44-45), and they don’t shrink from humor ("Learning to bow," 34-35) or from sensuality ("Anima," 86-87). Their spiritual references range widely, from the Hebrew God to the Buddhist’s tribute to Nature (70-71).
The haiku are lovely, both strong and delicate, our appreciation of them enhanced by a review of haiku’s traditions in the Preface (1-5). Rather than try to describe the haiku (because, like all good haiku, these cannot be captured or retold and remain the same), I’ll present one haiku from each poet and hope readers will be compelled to seek out the book and read further.
David Rosen, on walking near his apartment in Mukaijima (40): Shimmering paddy-- / The slap of small feet nearing / Where dragonflies hover. Joel Weishaus, on September 11, 2002 (103): Sluggish creek-- / A shadow dips / And drinks.
According to the author's introduction, the most "beautiful and informative images of nursing are found on picture postcards" (xi). He has gathered over 580 full--color postcard images of nursing from 65 nations, documenting nurses' work in peace and war time and documenting, often in breathtakingly lovely images, an important part of nursing's history. Postcards from the years 1893 to 2002 (many of these from the "golden age of postcards," 1907 through World War I) follow nurses from factories to flu wards, from battlefields to mission welfare clinics.
The author has divided his book into seven chapters: "Symbols of Care," "Twentieth--Century Postcard Art," "As Advertised: The Nurse on the Advertising Postcard," "Portraits," "War!" "An American Photo Postcard Album," and "Parade of Nations." Each chapter begins with an intelligent, fascinating explanatory essay by the author, and each chapter ends with copious notes revealing the origins and stories behind the postcards. The book has an extensive bibliography and is well indexed.
Nisbett, a professor of psychology at the University of Michigan, argues that thinking is not universally the same, in time or around the globe. Specifically, Asians and Westerners vary in what they perceive, how they process it, and what action they might take. Nisbett has studied seminal figures such as Aristotle and Confucius, the geographical and social origins of Greece and China, and clues from the languages involved.
He explains a series of polarities, which can be quickly sketched (Eastern first/then Western): relationships/action, choice; feelings/logic; interdependence/independence; circularity, cycles/linearity; field dependence/divisible categories; harmony/debate; ground/figure; context/focal object; setting/outcome; and multiple causes/single cause and effect. Nisbett has also conducted experiments with students of Eastern and Western backgrounds to demonstrate that such differences are still real.
Finally, he argues that, with globalization, the two traditions will merge.
A severe synopsis of Foucault's first major work might show how Foucault charts the journey of the mad from liberty and discourse to confinement and silence and how this is signposted by the exercise of power. He starts in the epoch when madness was an "undifferentiated experience" (ix), a time when the mad roamed the countryside in "an easy wandering existence" (8); Foucault shows the historical and cultural developments that lead to "that other form of madness, by which men, in an act of sovereign reason, confine their neighbors" (ix), challenging the optimism of William Tuke and Phillipe Pinel's "liberation" of the mad and problematizing the genesis of psychiatry, a "monologue of reason about madness" (xi).
Central to this is the notion of confinement as a meaningful exercise. Foucault's history explains how the mad came first to be confined; how they became identified as confined due to moral and economic factors that determined those who ought to be confined; how they became perceived as dangerous through their confinement, partly by way of atavistic identification with the lepers whose place they had come to occupy; how they were "liberated" by Pinel and Tuke, but in their liberation remained confined, both physically in asylums and in the designation of being mad; and how this confinement subsequently became enacted in the figure of the psychiatrist, whose practice is "a certain moral tactic contemporary with the end of the eighteenth century, preserved in the rites of the asylum life, and overlaid by the myths of positivism." Science and medicine, notably, come in at the later stages, as practices "elaborated once this division" between the mad and the sane has been made (ix).
The first sentence of the introduction indicates the author's intention to talk about "how we do it--and how we could do it". Ending life, she says, is an issue under sustained debate in the United States and in much of the developed world. The argument over physician-assisted suicide is the central framework. The described debates on euthanasia and suicide include two pro and three con arguments in American and international contexts. This collection includes essays, practical notes, historical explorations, policy analyses, fiction, and creative non-fiction written by the author.
The author describes the role of fiction and creative non-fiction as offering a recognition of narrative as a respected form of investigation of social issues. Included are two selections that are in this genre and they are very powerful. The essay on the ethics of self-sacrifice is timely and well written. The author's final conclusion is that Stoic and Christian thinking are still in active collision in much of our consideration of these issues and that this means that advance personal policy making remains in the fullest sense an exercise for each individual.
This is an exhibition catalogue for a show of 16 photographers who documented major topics in health over the last century. Carol Squiers, curator of the show, provides ten essays, amply illustrated by photos, on critical topics such as child labor, domestic violence, environmental pollution, AIDS, veterans of war, and aging. Some 80 per cent of the images treat American subjects.
Lewis Wickes Hine's photographs of child labor are dramatic and disturbing; these document children in coal mines, cotton mills, glass works, etc. in the first part of the 20th century. The Farm Security Administration sponsored photographers (including Dorothea Lange) to represent the New Deal Health Initiatives. Topics include farm labor, poverty in the South and Southwest, and inoculations. W. Eugene Smith created a photographic essay for Life magazine about Maude Callen, an African-American nurse-midwife in 1950s rural South Carolina.
Donna Ferrato documented domestic violence in the U.S. in powerful, personal shots, including a series of an actual attack. David T. Hanson created triptychs about environmental pollution: one panel shows a map of the area, a middle panel gives descriptive text, the last panel is an aerial shot in color. Eugene Richards spent time in the 1980s in Denver General's Emergency Room. Eleven black and white photos show the turmoil and drama.
Gideon Mendal documented HIV/AIDS in several African countries. Lori Grinker took photos of army veterans (some without hands) but also noncombatants harmed by war, including children. Ed Kashi presents images of aging Americans, rich and poor, urban and rural. Sebastião Salgado provides photos of vaccination in Africa and Asia.
The story itself commences after the vituperative dedication to Robert Southey and several stanzas mocking contemporary heroes, with Don Juan's birth in Seville to Donna Inez and Don José. The adventures begin with his affair with Donna Julia, his mother's best friend. Donna Julia's husband, Don Alfonso discovers the secret romance, and Don Juan is sent to Cadiz. A shipwreck along the way sees him stranded, the lone survivor; there he meets a pirate's daughter, Haidée. Expelled from this paradise by Haidée's father, the pirate Lambro, he is captured, and sold into slavery.
Gulbayaz, one of the Sultan's harem, has him purchased and smuggled into her company dressed as a girl; after he spends the night in the bed of one of her courtesans, Gulbayaz threatens both with death. When next we see Don Juan, he has escaped. He joins in the Russian attack on Ismail, where he fights valiantly and rescues Leila, a Muslim child. They are taken to St Petersburg, where he impresses Catherine The Great and joins her entourage. Due to illness, he is sent to London, where, as an ambassador for Russia, he joins the Court and finds for Leila a suitable governess; the final cantos see him amongst the Lords and Ladies of British aristocracy, in particular Lady Adeline and the mysterious Aurora Raby.
Summary:This historical novel tells two biographical stories side by side and then brings them together in an unexpected way late in the book. Arthur is Sir Arthur Conan Doyle, physician and writer, known especially for his Sherlock Holmes stories. His story starts with his childhood in Edinburgh and his closeness to his mother (Mam). His father is described as a gentle failure of a man.
Summary:Gulliver's Travels consists of four voyages, each of which involves Gulliver ending up on a distant shore where he encounters its strange and wonderful inhabitants. The first voyage finds Gulliver stranded on Lilliput after a shipwreck. Here, he is neatly captured by the famous Lilliputians, "human Creature[s] not six inches high" (5). Gulliver is a source of fear and awe to them, and participates somewhat helpfully in the Lilliputian war against Blefuscu, a lengthy conflict that has arisen between the big-enders and little-enders (depending upon which side of a boiled egg one must crack in order to eat it). Court intrigue and resentments, including the accusation of adultery with a Lilliputian, soon require of him that he escape an assassination attempt.
Summary:Gilbert begins her narrative with the event that inspired her to write: her husband's death in 1991 after a routine prostatectomy. "Though he was in robust health apart from the tumor for which he was being treated, Elliot died some six hours after my children and I were told that his surgeon had successfully removed the malignancy. And for the first six months after he died, death suddenly seemed plausible ... "(1).