Showing 581 - 590 of 626 annotations tagged with the keyword "Power Relations"
Stella is the wife of Max Raphael, the deputy superintendent of a maximum security psychiatric hospital near London (based perhaps on Broadmoor, where the author's father was medical superintendent), and mother of a ten-year-old son. She becomes involved in an obsessive sexual affair with one of the institution's patients, Edgar Stark, a schizophrenic sculptor institutionalized after murdering and decapitating his wife.
Stark uses his affair with Stella to escape, and she runs away to London to join him. After a few passionate but squalid weeks in hiding, Edgar's illness resurfaces, evinced both in the violence he shows to a sculpture he's making of Stella's head, and in his paranoid jealousy. She runs away from him and is captured by the police and returned her to her husband, who has been fired because of his wife's role in the escape of so dangerous an inmate.
The family moves to a remote hospital in North Wales, where Max has a minor position, and Stella becomes severely depressed, to the extent that she stands by helplessly as her son dies in an accidental drowning. As a result, she is institutionalized--she returns to the hospital, not as the superintendent's wife, but as a patient. Edgar has meanwhile been recaptured (in North Wales, seeking out Stella either to take her with him or to kill her), but they never meet again, for Stella commits suicide.
Dr Bernard Rieux (William Hurt) says good-bye to his ailing wife at the Oran airport in South America. Their only child is dead. She has gone to the distant capital for tests and he plans to join her in a few days. But a mysterious epidemic of rats and what turns out to be bubonic plague breaks out. The city is sealed by draconian authorities who separate family members and drag people from their homes. Rieux decides to stay; months pass and his wife will die before he can see her again.
He befriends two stranded French journalists, Martine (Sandrine Bonnaire) and Tanto (Jean-Marc Harr), who volunteer as aides. They visit Joseph Grand (Robert Duvall) who keeps the cemetery statistics and writes an interminable novel. Tanto and Grand contract the disease but manage to survive under Rieux's care.
Constantly palpating her body in fear, Martine is desperate to flee, even as she strives to evoke passion from the emotionally numb Rieux. She is robbed and incarcerated by Cottard (Raul Julia) an unscrupulous profiteer. As the epidemic wanes, the journalists, the doctor, and Grand are reunited, but in that same instant Cottard shoots Tanto dead. Rieux and Martine are left sobbing in each others arms.
An American surgeon (Cary Grant) and his wife (Paula Raymond) are detained against their will in a fictional South American country to save the life of the country's dictator (Jose Ferrer). Compelled by a sense of duty, the physician performs a successful surgery despite his abhorrence of the dictator and his government.
Before the surgery, the physician negotiates safe passage out of the country for his wife. However unbeknownst to him before the surgery, she is kidnapped by revolutionaries. They convey word to the doctor that their ransom demands that he cause the dictator's death. This demand betrays the physician's previously felt allegiance with the revolutionaries whom he believed to have been acting from ideals of liberty and justice.
The dictator does die, although not at the hand of the physician. Ironically he dies because he does not follow the physician's advice. Believing that the physician complied with their demands to kill the dictator, the revolutionaries allow the couple to return to the United States.
Trudi Montag is a Zwerg, a dwarf. Born to a mentally disturbed woman who dies when Trudi is a small child, the girl reaches adulthood under the loving care of her father, a pay-librarian in a small German town. (A pay-librarian is one who runs a library as a business and charges the patrons to borrow books.) Trudi is angry, deeply resentful of her "differentness," and she uses her unique status in a variety of ways, both helpful and vengeful toward others.
For example, Trudi tells stories, some of which enchant and comfort frightened children during the war, others of which harm the lives and personal security of the townsfolk whom the story teller doesn't like. World War II comes and goes in Burgdorf; Trudi finds and loses romantic love; her father dies; and she begins, at the end of the tale, to reflect on the ways in which she has contributed to her own suffering and that of others.
A woman medical student finds herself in a hierarchical dilemma while rotating through her internal medicine clerkship. She is helping to take care of a middle-aged man who has been hospitalized for a diagnostic work-up. As a consequence of invasive procedures ordered by his physicians to determine the cause of his symptoms, the patient has suffered serious complications and is moribund. The doctors are evasive with the patient and his family, who beseech the medical student for an explanation. Even though she has been instructed by the physicians to refer all issues back to them, she follows her own convictions and tells the truth: "Your father is dying."
As a result of this "insubordination," she is called in to see the head of the department, a man of "legendary diagnostic skill" with a long tenure at the hospital. He says that he will have her dismissed, and launches into a long diatribe, making the case for a paternalistic medicine in which the patient needs to believe that the physician is omniscient and possesses quasi-magical healing powers. "Miracle, mystery, and authority," he says, are at the heart of what physicians can do for their patients and to undermine these is to do harm to the vast majority of the sick. Having made his point, he terminates the interview but reinstates the student, who, it is suggested, is so grateful (for his advice or for not being dismissed?) that she kisses him.
Smiley's novel, King Lear (see King Lear in this database) with a shocking twist, portrays the enduring violence of incest to body and spirit. The narrative voice describes her family--a wealthy farmer and his three daughters. Family relationships are explored, especially the hidden roots that shape and define behaviors and conflicts, some lasting a lifetime.
The disclosure of a horribly dark secret explains the personalities of the three daughters and, for two, their metaphoric afflictions (infertility and breast cancer). Smiley's novel is layered with rich complexities, but none more powerful and astonishing than the core event, the sexual victimization of two vulnerable teenage girls who, as the story unfolds, are permanently scarred. Through a reinterpretation of Lear, Smiley demonstrates the cost of this hideous form of male domination and female victimization.
Consuelo Camacho Ramos (Connie) was placed in Bellevue Hospital because she abused drugs and alcohol after the police killed her blind, African-American lover. She was accused of child abuse and her daughter was put up for adoption. When the novel opens, Connie has been released and is living in New York with little money and no hope of a job.
She begins to be visited by an individual from the year 2137 who calls "himself" Luciente. He communicates with Connie mentally and she visits his world in the same way, experiencing everything without moving her body. Luciente’s community is not divided along gender lines. Indeed, "he" turns out to be what Connie calls "female," though the name means nothing in this future world.
Reproduction takes place in an artificial environment in which fetuses are delivered at ten months to improve their strength. Every child has three "mothers," but is raised by the entire community. Luciente’s community is fighting a war against forces that want people to live in a hierarchical system in which women all become prostitutes, victims of a larger, manipulating force, a battle Connie also fights in her world.
When Connie breaks the nose of her niece’s pimp, he takes her back to Bellevue. No one believes that she did not provoke the attack. They assume she is mad. In an exemplary moment, the nurses who attend to Connie talk over her head about how dirty these mad people are. Left tied to a bed for many hours, Connie has urinated on herself and has been unable to wipe her nose. The nurses ignore every word she says.
Connie learns to manipulate the system, not swallowing her pills and telling her counselor that indeed she was sick but now feels much better. She draws the line, however, when she is chosen to be a subject in an experiment. The doctors plan to implant electrodes into the patients’ brains to control the patients’ emotions. Connie kills the doctors by slipping poison into their coffee.
Scarry argues that pain is the most absolute definer of reality. For the person in pain, there is no reality besides pain; if it hurts, it must be real. This characteristic of pain makes it useful politically. In torture, for example, the reality of the one being tortured is reduced to an awareness of pain, while the torturer’s world remains fully present. This is realized most emphatically when torture is described as information-gathering. The torturer insists on questions that for the tortured are no longer of any concern.
War also makes use of pain. In the dispute that leads to war, one country’s beliefs are pitted against another’s. Both sides’ positions are thus called into question; if there is disagreement about the facts, it becomes apparent that the facts are based in opinion, not reality. The injured bodies of war re-connect the victor’s beliefs with the material world. If the injured body is the ultimate in reality, the injured bodies of war can be used to signify the reality of the victor’s position. Simultaneously, the pain of individuals in war is transferred to inanimate objects or large groups. Thus, one speaks of "Division Six" being wounded or weapons being disabled.
This language also uses the absolute reality of the body in pain to secure the truth of a cultural/political position. Scarry discusses the reality-producing quality of pain in Judeo-Christian scriptures, Marx, and humans’ relationships with inanimate objects.
This collection of vignettes follows the growth and development of one internist as he reflects on some of the critical experiences that shaped him as physician. The common thread of the work is the celebration of the relationship that can, and perhaps should, be built between the physician and his or her patient in the course of caring: this relationship is the sacred space of the title.
The author accomplishes his self-imposed task of describing this space by presenting situations in his practice life that illustrate the concept. The chronological structure of the collection enables the reader to study the maturation of the author as a self-reflective practitioner over the many decades of his professional life. Many of the stories are very funny; others are wrenching; all are gently told.
Geek Love is the saga of a traveling carnival, the owners of which try to save it from financial failure by using ingested chemicals and toxins to create the birth of amazing freaks for the show. The outcome is a family that is both proud and vain about its specialness. The narrative unfolds the intricacies of greed and jealousy that tear the family asunder, resulting in the deaths of some members, the madness of others, and the escape of one.
It is Olympia, the hunchback albino dwarf, who lives on to tell the story of the Binewski clan. Central to the heyday of the carnival is Doc P, a physician of questionable credentials who performs bizarre operations in the traveling hospital that moves with the carnival. The story moves relentlessly toward a climax and denouement that is sufficiently unimaginable to be consistent with the cast of characters.