Showing 61 - 70 of 623 annotations tagged with the keyword "Body Self-Image"
Summary:The writer opens the volume by discussing the ways in which the poetry created by the affected person differs from the narrative form of describing the experience of illness—the classic “pathography.” The essays in the collection demonstrate, by using examples, some of the unique qualities of the poem as an alternative to a prose narrative progression as well as the ambiguities introduced by the language of poetry. The discussions of the poetry presented provide the reader with guidance to the acceptance of poems in their “own terms” in order to understand the poet’s internal sense of the meaning of illness. By allowing new and different information to become available for consideration the careful reader may gain new insights into the lives of those who are ill or disabled.
In 1904, the 19 year-old Russian Jewish Sabina Spielrein (Keira Knightley) is admitted to Burgholzi clinic under the care of Dr. Carl Jung (Michael Fassbender) who is beginning to adopt the talk-therapy methods of psychoanalysis promoted by Sigmund Freud (Viggo Mortensen).
She is hysterical and difficult to control, but she is also bright and has been studying to become a doctor. Jung slowly breaks through her resistence using dream interpretation and word association; eventually she reveals that her mental distress has its origin in her relationship with her father. He would punish her physically and she found it sexually exciting.
The married Jung is obsessed with his patient and seduces her. They conduct a heated affair that entails sessions of bondage and beating, that they pursue almost like a scientific experiment.
On this background, Jung is becoming the protégé and anticipated heir of Freud—but they disagree over whether or not psychotherapy can cure. Spielrein recovers and goes on to become a physician and psychiatrist who develops her own methods of therapy. Freud comes to admire her and Jung is torn by jealousy.
Summary:A 50-year-old man is showering when he experiences pressure in his chest and throat associated with profound fatigue. An ambulance is called, and the emergency medical personnel inform him that he is having a heart attack. As he lays bare on his bed, his emotions switch from shock to indifference to a sense of calm with acceptance of impending death.
At five years old, Willow O’Keefe has lived a life rich in love and exceptional learning; she reads beyond her years and has memorized a startling compendium of unusual facts. She has also sustained over 50 broken bones, two of them in utero. She has osteogenesis imperfecta, a congenital defect in the body’s production of type 1 collagen that leaves bones very brittle. People with the disease generally suffer many fractures and often other conditions—exceptionally small stature, hearing loss, and bowed limbs. Willow’s parents and older sister have organized their lives for five years around protecting her from damage and helping her heal from her many broken bones. Though Amelia, her older sister, loves Willow, her parents’, Charlotte and Sean’s, intense focus on Willow’s condition often leaves her jealous and disgruntled. Things go from bad to worse when their mother learns that a lawsuit for “wrongful birth” is legal in New Hampshire, and could bring them the money they need to cover Willow’s many medical expenses. Such a step, however, means losing a best friend, since the obstetrician who oversaw Charlotte’s pregnancy and Willow’s birth, and who ostensibly overlooked signs of the disease and failed to warn the parents, has been Charlotte’s best friend for years. A “wrongful birth” suit is based on the claim that medical information about a congenital defect was withheld that might have been grounds for a decision to abort the pregnancy. Though Charlotte insists this drastic step is the best thing they can do to insure a secure future for Willow, Sean finds it repugnant enough finally to leave home. It is clear that even a win will be a pyrrhic victory, and indeed, the outcome is ambiguous, costly, and life-changing for everyone concerned.
This is the story of the experiences of a middle aged university teacher when visiting her regular beauty salon. A copy of Matisse’s painting, "Rosy Nude" is part of the decor of the salon and is actually what attracts her to the salon in the first place. The main character’s self image and her desire to maintain a natural appearing hairstyle are central to the story.
Her relationship with the owner, who is her personal hair dresser, is also central and the body images of him and others who work in the shop or are customers add interest and color to the story. The conclusion is theatrical and unexpected and points out the many differences in the way we view ourselves and the way in which we are viewed by others.
This is a story of the interactions of an art student and her assigned mentor, with whom she is at odds, and the interactions of the mentor with a university professor who has been given the task of arbitration between the student and the mentor. The problem for the student and the mentor is that they have totally divergent views of Matisse as a painter of women's bodies.
The mentor sees these paintings as beautiful but they are abhorrent to the student, who has developed an eating disorder as part of her rebellion against the emphasis on female pulchritude. The painting "La Porte Noire" is used to describe the mentor's great admiration for Matisse's amazing use of color.
The university professor brings to the encounter with the mentor her astute understanding of the problem, but also some of her personal issues; this interaction includes a subtle description of the many possible reasons for suicide attempts. The story skillfully describes academic conflict, unhealthy human behaviors, and the importance of skillful arbitration.
Summary:"Propofol" is a 20 line poem of five quatrains each with an a-b-a-b rhyming scheme. Appearing in the June 30, 2008 New Yorker magazine, it is a description of the Classical allusions and hallucinatory experience surrounding the administration of the hypnosedative, propofol, to the speaker-patient for an undescribed medical procedure.
Summary:This poem builds by repetition to a climax: "if there is a river /more beautiful than this," if there is a river more faithful, braver, more ancient, more powerful. Each repetition begins a new stanza, a stronger stanza, ending finally in a prayer that, if there is such a river, it should flow "through animals / beautiful and faithful and ancient / and female and brave." (24 lines)
Fat Louise, with an eating disorder since she was nine, would diet in public and sneak candy and peanut butter sandwiches in private. Her parents pitied her and were embarrassed by her. Her college roommate caught her at the secret eating and offered to help her get control of her eating. The diet and exercise ritual, combined with smoking, brought her weight down 60 pounds and made her beautiful and eligible to be married. Her parents were proud. She got married. But often she felt "no one knew her"--that she really wasn't this slim 120 pound beauty.
Then during her pregnancy she lost the discipline and ate compulsively and secretly. After the baby was born she continued to eat--her husband disapproved and didn't want to touch her, her mother scolded. The marriage, based on appearances, started to fall apart; she looked forward to being alone with her child and able to eat anything she wanted without other people judging her.
Summary:Entering a school as the first student with a serious disability (cerebral palsy) after starting his education in a "special" school, Christopher Nolan had to develop careful and clever strategies for developing friendships, allowing others their curiosity, and finding ways to use his considerable gifts against the odds of both the disease and the prejudice it bred. One of his strategies is the inventive, cryptic, poetic, Joycean idiom in which he writes his story. He did, in fact, succeed in a school where he was accepted as a kind of experiment, in an area of Ireland not known for its progressive attitudes. In this narrative he moves back and forth between inner life, family life, and life at school, allowing readers to get to know him as a deeply reflective, adventurously social, and courageous human being, living with his debilitating condition with a degree of consciousness that took full account of the losses as well as finding avenues of expression that allowed him, intellectually, at least, full range of motion. The narrative takes us through his school years where he distinguished himself as a poet and also as a human being for whom life with a disability shaped an extraordinary dexterity with language.