Showing 471 - 480 of 630 annotations tagged with the keyword "Power Relations"
Orlov is a young playboy in St. Petersburg whose father is an important political figure. The narrator (the "anonymous man"), who is actually a political activist (perhaps even an anarchist), assumes a new fake identity and takes a job as Orlov's footman, in order to get inside information to use against his father. While working undercover in this way, the narrator ("Stefan") observes a domestic tragedy. Orlov charms and then seduces a beautiful young married woman, Zinaida Fyodorovna Krasnovsky, who subsequently leaves her husband, shows up on Orlov's doorstep, and moves in with him.
Zinaida bursts with romantic visions and loves Orlov passionately. However, Orlov thinks the whole thing is a bore. He can't bring himself to throw her out, yet he detests her assault on his freedom. Eventually, he begins spending weeks at a time away from the flat, supposedly on an inspection tour in the provinces, but he is simply avoiding Zinaida by staying at a friend's house in St. Petersburg. Meanwhile, "Stefan" experiences a growing compassion for the poor woman, who has given up her husband and family for love.
As a result of this situation, "Stefan's" political ideals sink into the background; for example, he gives up an opportunity to murder Orlov's father and, thereby, achieve his radical objectives. Eventually, he confesses the truth to Zinaida--that Orlov has deceived her and doesn't want her. "Stefan" also reveals his true identity (Vladimir Ivanitich) and entices her to flee with him to Europe.
They spend the next several months traveling together. At one point Vladimir has an acute exacerbation of "pleurisy" (actually tuberculosis) and, while nursing him back to health, Zinaida realizes that Vladimir is in love with her. This is a crushing blow to their relationship, because she was under the impression that he had been helping her for purely altruistic, idealistic reasons.
Meanwhile, Zinaida, who is ill herself and pregnant with Orlov's child, dies in childbirth. The baby (Sonya) survives, and Vladimir spends two happy years caring for her, until he, too, is about to die of tuberculosis. At the end of the story, Vladimir meets with Orlov, and they make arrangements for old Krasnovsky--Remember him? He was Zinaida's husband--to take the child and raise her as his own.
The dog Kashtanka belongs to a drunken carpenter who takes her out one day, but on the way home loses her in the confusion of a military parade. The story is told by an omniscient narrator who privileges Kashtanka's point of view, so we follow the dog's subsequent adventures largely from her eyes.
After spending a frightening night in the street, Kashtanka is rescued by a kind man who feeds her and takes her into his home, which turns out to be a strange menagerie. The rescuer happens to run a traveling animal show, in which the star performers are a goose named Ivan Ivanitch and a cat by the name of Fyodor Timofeyitch. Kashtanka's new master renames her "Auntie" and sets about training her to perform in his act.
"Auntie" thoroughly enjoys her new surroundings. Her master is kind, there is plenty of food and love; and "Auntie" gets along well with the other animals. However, one day the carpenter and his son attend the show and see "Auntie" performing. They instantly recognize her and call out, "Kashtanka!" Kashtanka drops her "Auntie" persona and follows them home, as the pleasures of her interlude with her new master rapidly fade from memory.
Nadya Shumin is engaged to be married to Andrey Andreitch, the son of a local priest. Nadya lives on her grandmother's estate with her mother, "a fair-haired woman tightly laced in, with a pince-nez, and diamonds on every finger." While Nadya is a woman with a great desire for education and independence, Andrey is a friendly but rather vacuous and totally unmotivated man.
Sasha, an ill and impoverished young man who is spending the summer on the estate has long been considered part of the family. Sasha implores Nadya to follow her heart--to go to Petersburg and attend the University. She resolves to do so and secretly accompanies Sasha when he returns to Moscow. She then goes on to begin her own life in Petersburg.
After the school term, Nadya returns for the summer, but she is aware that things will never be the same. The family receives word that Sasha has died of tuberculosis. At the end of the story, Nadya is packing to leave the estate "as she supposed forever."
The story takes place on a steamer bound for Sebastopol, where the narrator meets Ivan Ilych Shamokhin, who tells the story of his helpless love for Ariadne. She was his neighbor, a beautiful but cold young woman, "a nightingale made of metal," who challenged him to fall in love with her. When Shamokhin refused to elope with her, she eloped with Lubkov, a married man with four children.
Months later, Ariadne wrote again to Shamokhin, begging him to join her in Abbazzia. When Shamokhin finally caved in and went to her, he discovered that Ariadne and Lubkov were lovers. A year later, Lubkov had used up all his money and returned to his wife. Shamokhin then became Ariadne's lover. Now his money is almost gone and his life is destroyed, but he feels helpless to leave her.
A prosperous lawyer (Skvortsoff) encounters a ragged beggar, who claims to be a teacher fired unjustly from his job. Skvortsoff, however, remembers that he saw the same man the other day, when he had claimed to be an impoverished student. The beggar (Luskoff) breaks down and admits that he is simply a drunk without work. Skvortsoff offers him a job chopping wood, which he reluctantly accepts. Olga, the cook, takes Luskoff out and shows him the wood stack.
After that, Luskoff returns frequently to do odd jobs, and eventually Skvortsoff sets him up with a clerical position. Two years later, Skvortsoff sees the former beggar at the theater. He prides himself for having "saved" Lushkoff from a life of drunkenness, but Lushkoff reveals that it was Olga who saved him--she chopped the wood, and the compassion she showed led to a change in his heart.
In a village of Reybuzh lives an elderly tyrant who has two sons, one of whom works in a factory in the city, while his ailing wife lives in the village with her in-laws. The other son, a disabled alcoholic, has remained at home; his wife is "a handsome young woman, smart and buxom." The two wives are essentially no more than servants in their father-in-law's house. One day a traveler stops overnight in the village. Before going to bed, he relates the sad tale of Kuzka, his adopted son. The boy's mother was beaten by her husband. She subsequently poisoned him and, after being convicted of murder, died in prison.
Later that night, one of the young wives (Varvara) returns home from a toss in the hay with the priest's son. The other (Sofya) accosts her, and they discuss the traveler's story as they ruminate on their own terrible lives. Varvara suggests that they could poison her drunken husband and their father-in-law. Sofya is tempted, but frightened of being caught, and of God's punishment. The next morning the traveler settles his account, and he and the young boy leave.
The protagonist of this story is Yakov Ivanov, an ill-tempered old coffin-maker, who hates Jews. Yakov is also a fiddler, but rarely gets to play in the village orchestra because of his antagonism with Rothschild, the flautist. Rothschild is certainly no beauty, a "gaunt, red-haired Jew" with "a perfect network of red and blue veins all over his face."
When Marfa, Yakov's wife of 52 years, becomes ill, Yakov fatalistically builds her coffin in preparation for her death. After she dies, he is "overcome by acute depression." When Rothschild visits him on a friendly errand, Yakov beats up the poor man, yelling, "Get out of my sight!" Afterward, Yakov goes and sits by the river and tries to figure out why he has become the scolding, ill-tempered old man that he is.
Unfortunately, he develops a chill from the exposure. The next day he falls mortally ill with pneumonia. When Rothschild appears at the house again, he is surprised to find Yakov playing the fiddle with tears gushing from his eyes. Later, Yakov tells the priest who has come to confess him, "Give the fiddle to Rothschild."
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.
This gripping narrative traces the history of the efforts to eradicate smallpox in the 1970s, the top-level decisions to keep a few vials of it for emergency purposes in American and Soviet freezers, and the reemergence of smallpox not only as a health threat, but as a potential bioweapon of unequaled destructive power. Preston details maverick natural cases that surfaced after worldwide eradication efforts, how it was discovered that undocumented reserves of smallpox were not only being kept, but researched and possibly "weaponized," and how hotly, in the US, teams of scientists and military intelligence personnel debated funding new smallpox research in the US with a view to developing a new vaccine as a defense.
The ethical issues in those debates are unprecedented in the scope of the possible public health threat and the variables that might make traditional vaccination ineffective against the weaponized virus. As in his previous books on biological threats, The Hot Zone and The Cobra Event (see annotation), Preston follows the work and lives of several key scientists and includes scenes from interviews with a variety of persons involved in confronting the political, ethical, and medical dilemmas posed by smallpox research and efforts to track and control it.
The subtitle of this memoir is "Meditations upon Returning." Richard John Neuhaus is a Catholic priest and scholar, director of the Institute on Religion in Contemporary Life in New York City and described on the book cover as "one of the foremost authorities on religion in the contemporary world." The book is a meditation on his near-brush with death as a result of colon cancer.
As Fr. Neuhaus describes it, he underwent two colonoscopies to ascertain the cause of persistent abdominal symptoms, but in both cases his colon was pronounced completely normal. However, shortly thereafter, he developed extreme abdominal pain and was taken to the hospital, where emergency surgery was performed and a colon cancer the size of a "big apple" was removed. During the first procedure, the surgeon nicked his patient’s spleen, so a second emergent procedure was required to control hemorrhaging.
The two procedures left Fr. Neuhaus very near death, but he gradually recovered over a period of several months. When introducing the story of his illness, the author comments, "several lawyers have told me my case would make a terrific malpractice suit." (p. 79) But he says he won’t sue, because it would "somehow sully my gratitude for being returned from the jaws of death." (p. 80) In fact, he has considerable praise for his surgeon.
The narrative of Fr. Neuhaus’s illness occupies a relatively small proportion of this memoir. The first three of seven chapters consist of the author’s reflections on the meaning of suffering and death, and especially the existential question of "Why me, now?" (His answer is "Why not?) In chapter five Fr. Neuhaus describes a near-death experience that changed his life, a scene in which he heard two "presences" tell him, "Everything is ready now." In much of the rest of the book, the author examines and rejects the possibility that the experience was a dream or an hallucination. He is convinced that he witnessed the "door" to a more glorious life after death, and this has, in some sense, profoundly changed his present life.