Showing 421 - 430 of 610 annotations tagged with the keyword "Body Self-Image"
The story is told of Byelikov, "the man in a case." Byelikov, the Greek teacher at a provincial school, was extraordinarily orderly both in his personal and professional lives. A strict disciplinarian, he never made exceptions to the rules. He always did things the proper way, determined to avoid even the appearance of impropriety.
Although he and his colleagues had nothing to speak about, he would regularly visit each one of them because it was the accepted thing to do. Every time something slightly irregular came up, Byelikov would cry, "Oh, how I hope it doesn't reach the ears of the authorities!" Naturally, the other teachers hated him.
At one point, Byelikov became enamored of Varinka, the sister of Kovalenko, a new teacher at the school. Everyone encouraged this relationship, hoping that marriage would moderate Byelikov. However, someone drew a humorous caricature of Byelikov and Varinka.
Then, Byelikov saw Varinka and her brother bicycling in the park. Outraged, Byelikov went to the brother to complain about this scandalous behavior, but Kovalenko pushed him down the steps. Byelikov than became depressed, took to his bed, and died, thereby truly becoming a man in a box (i.e. a coffin).
Seventeen year old Volodya and his mother visit the home of their wealthy acquaintances, the Shumihins. Everyone teases the awkward and shy young man. Volodya is infatuated with Nyuta, the Shumihins' cousin, a married woman of 30 "with rosy cheeks, plump shoulders, a plump round chin, and a continual smile on her thin lips." Volodya encounters her as she returns through the garden from bathing. She teases him to speak. Finally, he blurts out, "I love you" and grasps her around the waist. She laughs and frees herself.
Later, Volodya hears Nyuta and his mother laughing about the incident. He remains at the house overnight and has another encounter with Nyuta, this time in her room. When Volodya and his mother return home, he goes to his room, puts the muzzle of a revolver in his mouth, and kills himself.
May-Alice Culhane (Mary McDonnell) is a daytime soap opera star who is struck by a taxi in New York and wakes up in a hospital paralyzed from the waist down. Upset and bitter, and unable to continue acting, which she says is the only thing she was ever good at, she returns to her Louisiana bayou family home to begin the rest of her life in isolation.
An employment agency sends out a string of helpers. Some are better than others, but all are quickly defeated by May-Alice’s deep bitterness and negativity and her incipient alcoholism. Then comes Chantelle (Alfre Woodard), who needs the job so badly, as part of digging herself out from a cocaine addiction, that her determination makes her a match for May-Alice.
It is decidedly bumpy going, but Chantelle persists and May-Alice finally strops drinking and begins to make some progress in physical therapy. She takes up black-and-white photography, developing her own prints from her wheelchair, and she gratefully receives the gentlemanly attentions of her high school idol Rennie, played by David Strathairn. (The film takes its title from a practice that locals believe can make love-wishes come true.)
Lieutenant General von Rabbek hosts a party for members of the regiment in his magnificent home. Of all the attendees, the most awkward is Ryabovitch, "a little officer in spectacles, with sloping shoulders and whiskers like a lynx's." He considers himself the shyest, most undistinguished officer in the whole brigade. While wondering through the mansion, trying to avoid talking to people, he stumbles into a dark room, whereupon a woman rushes up to him, whispering, "At last!" She throws her arms around his neck and kisses him. At once, however, she realizes her mistake, runs from the room, and is lost in the crowd.
Ryabovitch's passion awakes! He feels that his life is beginning anew. For the rest of the evening, he searches in vain for the woman who kissed him. The next day his regiment departs for another area, but some time later, when he returns to the same town, Ryabovitch continues his obsession with the kiss he experienced that night, and still hopes to discover who the woman in the dark room was.
If only he could communicate with General von Rabbek--but no, Rabbek doesn't respond. In the end he stands on the riverbank: "Now that he expected nothing, the incident of the kiss, his impatience, his vague hopes and disappointment, presented themselves in a clear light . . . And the whole world, the whole of life, seemed to Ryabovitch an unintelligible, aimless jest . . . "
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.
Penny (Michele Hicks), working as a prostitute, is called to a room in a seedy hotel where she finds her client is a pair of adult conjoined twins, Blake and Francis Falls (played by identical but not conjoined twins, Mark and Michael Polish, who also co-wrote the screenplay). Shocked, she flees but later returns and, when she learns that one of the twins is ill, calls a doctor friend of hers to examine them. She cares for the twins and they become friends. At Halloween, "the only night of the year they [can pass for] normal," she takes them to a party and then back to her apartment where she and Blake almost make love while Francis, evidently the weaker twin, is sleeping.
She tells her lawyer/pimp about the twins, and he tries to persuade them to sell him their story (which he imagines in terms of separation: "The greatest divorce of all time: not who gets the kid but who gets the kidney . . . "). Offended by her betrayal, they return to their hotel room, and, apparently for the first time, the twins fight. Blake wants to get away from his brother.
The next morning Francis is ill once more, and the twins are hospitalized. Michele visits them and learns that they are dying. Francis's heart is becoming weaker, straining Blake's, and the only way to save Blake will be by separating them. Francis cannot survive separation. Penny tracks down their mother (Lesley Ann Warren), who gave them up for adoption at birth. She visits them in hospital. It emerges that Penny herself has a "retarded" child who is being raised by others. Francis's heart fails, and the twins are taken to the operating room.
Later, Penny tracks Blake down where he is now living alone in the trailer where the twins had lived before, as circus performers. The film ends with Blake, now a man with one arm and one functioning leg, telling Penny that the "story of me is over," but also that stories continue after sad endings. What makes an ending sad, he tells her, is the knowledge that the storyteller is continuing without you.
Told from the perspective of a thirteen-year-old girl, this story about a single mother with two daughters who moves, marries, and dies of breast cancer handles a variety of difficult issues with sensitivity and spunk. A list of those issues--absent father, new stepfather, a thousand-mile move to a new social environment, first menstruation, sibling rivalry, an uncle with incestuous impulses, family secrets, sexual experimentation, cancer, and death--might make it sound like a catalogue of the trials of contemporary suburban young adulthood, but in fact the point of view of Tilden, the main character, keeps the story grounded in very believable, sometimes amusing, often poignant, recognizable truth about what it is to come into awareness of the hard terms of adult life.
The mother's cancer is narrated largely in terms of Tilden's experience of it: secrecy, eventual disclosure, partial information, losses of intimacy, feelings of betrayal, confusion about caregivers' roles, and in the midst of it all, the ordinary preoccupations of early adolescence. The generous and understanding stepfather and neighbors with limited but ready sympathies lighten some of the novel's darker themes.
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.
The first line of this short poem sets the stage: "It is easy to be fascinated with death." The next four lines sketch the play or tableau: "We pretend to prepare," children trying on our parents oversized clothes in front of a mirror and making believe that we are going to go out into the fancy nighttime world of adulthood. But the next line throws open our safety valve, "Yet we trust we are not truly going to dinner." In fact, it's all just a game: the clothes are really too big, our hands are much too small to handle the glasses and silverware, and we are just little kids, after all. [8 lines]
Summary:This poem, told in the voice of a troubled, angry teenager, describes her determination to control her eating and her body. The eight, eight-line stanzas each repeat the same words at the end of the lines, in a modified sestina form, so that emphasis falls on the same eight words: "disappear," "smile," bones," "fat," "mother," "touch," "person," "guts." By the end of the poem, the girl is clearly suicidal and unable to control her anorexia.