Showing 461 - 470 of 630 annotations tagged with the keyword "Power Relations"
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.
When Alice Sebold, author of the best-selling novel, The Lovely Bones (see this database), was completing her freshmen year at Syracuse University, she was assaulted and raped. Years after the fact, Sebold wrote this memoir about the rape and its aftermath. The book's title, "Lucky," is explained in the prologue: the police told Sebold that she was lucky to have escaped the fate of another girl who had been murdered and dismembered in the same spot. In point of fact, Sebold, a virgin before the rape, was in a sense murdered, since life as she had known it would never be the same: "My life was over; my life had just begun" (33).
In crisp, lively prose the author takes us relentlessly through the details of her rape and the police inquiry that followed. We learn also that the narrator had suffered from a poor body self-image, loved to spend her time reading, had day-dreams of becoming a poet. We learn about her family--a mother prone to severe panic attacks and a professorial father who hid behind his books, an older sister who helped Alice take care of their mother. The family was considered by neighbors to be "weird."
After the rape, Sebold felt even more isolated and "Other." She could not bring herself to tell her family, who tip-toed around her, all of the horrendous details of the assault. She realized that all who knew her were aware she had been raped and were uneasy in her presence. Her father could not understand how she could have been raped if the assailant's knife had dropped out of reach.
In spite of everything, Alice returns to Syracuse, taking poetry workshops with Tess Gallagher and a writing workshop with Tobias Wolff. Incredibly, she spots her assailant one day on the street near the college. The author notifies the police, the assailant is later arrested, and Alice agrees to press charges and to be a witness at the trial. Neither her father nor her mother have the stomach to come to the trial, but Tess Gallagher accompanies her. The account of the trial is detailed, agonizing, and fascinating.
The film covers a brief period in the life of a working-class English family: Mum (Tilda Swinton), Dad (Ray Winstone), their 18-year-old daughter, Jessie (Lara Belmont), and 15-year-old Tom (Freddie Cunliffe). They have recently moved from London to an isolated cottage on the Dorset coast. Mum gives birth to a baby girl, Alice. Tom discovers that Dad is sexually abusing Jessie. When the baby is hospitalized with an unexplained injury, apparently genital, Tom tells Mum about the incest, and when Dad confronts him and denies it, Tom stabs him.
The Longhettis are an Italian-American working class family. Nick (Peter Falk) is a construction worker. He and his wife Mabel (Gena Rowlands) have three children. Mabel is unusual, perhaps mentally ill, maybe with a bipolar or borderline disorder, but diagnosis is not really the point. She is warm, spontaneous, beautiful, and an affectionate if inconsistent mother. Because Mabel is so eccentric and unpredictable, the Longhetti family seems to function at a kind of delicate equilibrium.
This stability is disrupted when Nick fails to get away from work on a night he and Mabel had planned to spend alone together. The children are with her mother, and Mabel finds it intolerable to be alone, so she gets drunk, goes out, and picks up someone in a bar. The next morning Nick brings a crowd of work mates home with him after the night shift and Mabel copes with the invasion by cooking up a spectacular spaghetti breakfast and flirting outrageously with one of Nick's friends.
Later when a neighbour brings his children to play, Mabel again behaves inappropriately. Nick, under pressure from his mother and Mabel's physician, is persuaded to have his wife institutionalized. She is taken away. Nick angrily rejects the concern of his friends, but struggles terribly to manage the children.
The film ends with the evening of Mabel's return from hospital. Nick and his mother have arranged a dinner party to celebrate her recovery, but it is quickly clear that, despite electroconvulsive therapy, Mabel is unchanged. It also becomes more evident than ever that her "madness" is rooted as much in the family's social network, her uncomprehending parents, judgmental mother-in-law, and volatile husband, as it is in her own brain or personality. But, after an appalling evening, Mabel and Nick put the children to bed and then go about cleaning up the house as usual, their fragile normality restored for now.
Kutcherov is the engineer in charge of building a bridge across the river two miles from the village of Obrutchanovo. He decides he likes the countryside so much that he buys some land and builds a house (the new villa) for his family near the village. The engineer and his wife attempt to befriend the local people, but the villagers continually complain about their own poverty and misuse the newcomers' good will.
Some villagers, led by Volodka, the blacksmith's son, act out their anger and desperation by insulting the engineer's wife and allowing their animals to graze around the new villa. These peasants complain that they never wanted the bridge in the first place; it only represents governmental interference.
Other villagers, represented by Rodion, the blacksmith, advise the Kutcherovs to be patient--in the long run, the peasants will learn to accept them. Eventually, after several incidents of vandalism, Kutcherov gets fed up and moves his family back to Moscow. The new villa lies empty.