Showing 451 - 460 of 624 annotations tagged with the keyword "Power Relations"
A bedraggled street dog is about to perish in the cold winter night, after having been scalded by boiling water earlier in the day. Suddenly, an elegant man feeds him and takes him home. The dog's savior is a famous and wealthy medical professor who rejuvenates people by hormonal manipulations.
As soon as the dog becomes accustomed to his new life of plenty, he finds himself the subject of a strange experiment--the professor and his assistant implant the testicles and pituitary gland of a dead criminal into the dog's body. After a rocky post-operative course, the dog gradually begins to change into an animal in human form and names himself Poligraph Poligraphovich Sharik. The half-beast-half-man, who gets along very well in the prevailing proletarian society, turns his creator's life into a nightmare--until the professor manages to reverse the procedure.
Martha Hale and her husband are taken by the sheriff with his wife to the isolated home of the Wrights. Hale tells the authorities that on the previous morning he found Mr. Wright strangled to death. Mrs. Wright claimed not to know who killed him. She was arrested and awaiting charges.
Mrs. Hale and the sheriff's wife are to gather clothing and see to her preserves. The men mock women's "trifles" and jokingly caution them not to miss any clues, before they turn to their "more serious" work of finding a motive. In a basket of patches destined for a quilt, the women find a strangled canary. In quilt-like fragments, they piece together the difficult life of the third woman and decide to conceal the evidence that could incriminate her.
In 1930s London, a doctor is visited by his wealthy and powerful patient Beatrice Glendenning, who demands an abortion. Although the doctor is an occasional guest of this woman and her husband at their country estate, the law requires that he refuse her request, and he advises her to have the child--and most certainly not to get a backstairs abortion. She tells him that it is not her husband's child, that bearing it would never do, and storms out of the office.
Ten days later her husband calls the doctor to ask if he could drop by the Glendenning townhouse and look in on Beatrice, who, he says, has the flu. The doctor goes, and discovers that she has gotten an infection from an undercover abortion. He feels trapped, but he treats Beatrice anyway, resenting her the whole time. The husband maintains his story that Beatrice has the flu, and the doctor leaves thinking that the husband never suspected. In the fall, as usual, he is invited to a pheasant shoot on the Glendenning estate.
As Dickens does so well, the writer treats the reader to a wide spectrum of the society of London in the 19th Century. The central issue in this novel is the hopeless slowness with which the court of Chancery moves, and the persons who are involved, either as claimants, as attorneys, or as those at the edges of the Court who seek to profit by the proceedings. The author gives us examples of the consistent behaviors of the very good (Esther Summerson and her guardian John Jarndyce) and the profoundly evil (Mr. Smallweed and Mr. Tulkinghorn) and a vast spread between these extremes.
The story is constructed somewhat as a mystery, as multiple connections among the myriad of characters are slowly revealed as the plot advances. The reader is allowed a view of the most poverty-stricken, as well as the most wealthy of the levels of society presented. The complexity of the characterizations and their intertwined lives, along with Dickens’s amazing descriptions, keep the reader moving through the tangle to its final resolution.
The story, set in small-town Ontario in 1960, takes the form of letters to her ex-fiancé from a young woman who has returned to the home of her father, a widowed physician who lives with his housekeeper, Mrs. Barrie. She recalls growing up with her strict and remote father and realizes now that he had been performing illegal abortions all her life. He will not discuss it, will not allow the word "abortion" to be said in his house, though she tells him she believes abortion should be legalized.
We are led to suspect that she herself has recently been pregnant.
When Mrs. Barrie breaks her arm, the doctor is forced to ask his daughter to assist with one of his "special" patients. She helps the young woman throughout the procedure, and disposes of the aborted fetus afterwards. Later, trapped indoors by a heavy snowfall, she and her father are sitting together at the kitchen table when she tells him about her own pregnancy.
She had carried it to term, giving up the baby for adoption. She had ended the engagement because her fiancé, a theology student, had insisted that she have an abortion before their wedding because he feared the social consequences of rumors that she had been pregnant before marriage. She is about to ask her father about his own work, and about what might happen should the law change and abortion become legal, when she realizes that he is not listening. He has had a massive stroke, and dies later the same day. The daughter turns away the next patient who calls about having an abortion.
She learns from the lawyer that, mysteriously, her father had virtually no money saved. She gives Mrs. Barrie most of the small amount her father had given her, and then realizes that all his money has already been given to Mrs. Barrie, either because she was blackmailing him, or because he loved her. She cannot tell which, but is oddly exhilarated and is now able to say goodbye to her fiancé for good.
A philosopher and a clinical ethicist conduct an analysis of the practice of assisted suicide. They begin with the premise that health care providers may at times be assisting with suicide now, whether or not it is legal and whether or not the ethical dimensions have been solved. They contend that assisting a suicide might be morally right, but only when the patient’s choice is rational and free.
Referring to an earlier publication by Prado (Last Choice: Preemptive Suicide in Advanced Age, 1990; 2nd ed. 1998), they devote a chapter to each of three criteria used to determine the "rationality" of a choice for suicide, and another chapter to the "slippery slope" argument. A final chapter summarizes their contribution to this topic.
This biography, written by a second party in conjunction with the person whose story is portrayed, is the tale of a black lay-midwife working in the southern United States during the mid to latter part of the 20th century. Gladys Milton, mother of seven children herself, is called to midwifery training by the Health Department in a rural county in Florida.
After an introductory chapter that sets the stage for the ultimate challenge to Gladys, the following few chapters follow her through some of the high points of her childhood and early years of motherhood. The remainder of the work describes broadly the career--with its ups and downs--of Gladys as midwife, doing home deliveries and working in the birthing center she has established in her own home. The final chapters deal with the legal efforts and ultimately the hearing in which the Health Department attempts to revoke Gladys's license to deliver babies.
The sculptor Ken Harrison (Richard Dreyfuss) is badly injured in a car accident and finds himself in the middle of life permanently paralyzed below the neck and dependent on others for his care and survival. Ken is a strong-minded, passionate man totally dedicated to his art, and he decides he does not want to go on with the compromised, highly dependent life that his doctors, his girlfriend Pat (Janet Eilber), and others urge on him. He breaks up with Pat and fights to be released from the hospital, to gain control of his life in order to stop the care that keeps him alive and unhappy.
His antagonist is the hospital's medical director Dr. Emerson (John Cassavetes), who believes in preserving life no matter what, and so tries to get Ken committed as clinically depressed. Ken's attending physician, Dr. Scott (Christine Lahti), begins with the establishment but gradually moves toward Ken's position.
The film ends with the judge at a legal hearing deciding that Ken is not clinically depressed and that he thus has the right to refuse treatment and be discharged. In the last scene, Ken lies in a hospital bed framed by his own sculptural realization of the forearm and hand of God from Michelangelo's Creation of Man.
Thirteen years into the epidemic, Hollywood's first mainstream response to AIDS premiered: Jonathan Demme's Philadelphia. In an attempt to neutralize the inherent difficulties posed by the subject matter (a sexually transmitted and deadly disease) and the characters (male homosexuals), the director consistently described the film as an analysis of prejudice, while Tristar Pictures, which released it, confusedly promoted it as a film that was not really about AIDS or about somebody who had AIDS.
What the film appears to be about is Andrew Beckett (Tom Hanks), the rising star of Philadelphia's most prestigious law firm. Unbeknownst to his co-workers, Andrew is gay and has AIDS. When the truth is suspected, he is fired on trumped up charges of incompetence and decides to sue his former bosses for AIDS-based discrimination.
Nine lawyers refuse the case as does Joe Miller (Denzel Washington), an avowed homophobic and AIDS-phobic ambulance chaser. He later changes his stance and takes the case as a matter of simple justice although he remains steadfast in his prejudice against gays. With the support of his partner, Miguel (Antonio Banderas), Andrew takes on the system. He wins the case and dies the following day.
The headstrong beauty Marcella Boyce, who has acquired radical political views while at school, returns home and becomes engaged to Aldous Raeburn, the son of her father's neighbor Lord Maxwell and a moderately conservative politician and landowner. Marcella champions Jim Hurd, a local poacher accused of murder (who is prosecuted by Raeburn): she nurses his grieving wife and dying, consumptive son and arranges his legal representation by Edward Wharton, a Socialist politician and Raeburn's romantic rival.
After Hurd's execution, Marcella breaks off her engagement, trains as a nurse, and turns her reformist efforts toward the London poor instead of the rural poor in rural villages. She refuses Wharton's offer of marriage and finally accepts Raeburn's hand.