Showing 631 - 639 of 639 annotations tagged with the keyword "Power Relations"
In this short novel, published in the 1950’s by a popular Japanese fiction writer, the themes of cruelty, moral weakness, and contempt for human life in a medical school are portrayed. In a somewhat awkward series of narrations with flashbacks within flashbacks, the reader is introduced to the characters whose participation in wartime atrocities will be studied. Japan is suffering from the ravages near the end of the war. There is little food, daily bombing, and a general sense of futility.
The two surgical interns, Suguro and Toda, are the low men on a totem pole of power. Their aging chief is one of two contenders for the Dean’s position. He and his assistants devise methods of gaining attention for the promotion which include risky surgical procedures and, ultimately, vivisection experiments on American prisoners. The story line is carried by the acceleration of evil actions as the pressure for power increases. The motivations and internal deliberations of the two interns and one nurse whose characters are explored in some depth provide the human tensions.
Summary:This essay is found in her collection, Reasonable Creatures: Essays on Women and Feminism. In this particular chapter she rips apart the contemporary fetish of family values and the cult of the nuclear family, exposing these arbitrary socio-political constructions for what they are: "just another way to bash women, especially poor women."
The title refers to the lineage of women who form the unusual community surrounding the central character’s life in the decades following World War II. When we first meet Antonia (Willeke Van Ammelrooy), she is an elderly Dutch woman announcing to herself that today is the day she will die, and when the film concludes, indeed, she does. However, what transpires in-between presents a rich story of birth, death, disability, love, hatred, and, above all, a tenacious sense of nurturing regeneration in spite of harsh and difficult obstacles.
Audiences are swept into a pastoral epic filled with the pathos and joy of human life. In the unfolding flashback, Antonia and her teen-aged daughter, Danielle (El Dottermans), return to her rural birth setting on the day her own mother dies, and where she will become the life force for her daughter and, eventually, for the entire village.
Two women running a large farm seems at first daunting, but we discover that Antonia is a farmer in what might be called a feminist sense: she cares for everything that grows. Not only do her crops thrive under prudent management, but so do the vulnerable, infirm and damaged figures who are brought into her garden and house for recovery.
For example, Loony Lips, an awkward Ichabod Crane of a boy, tortured as the village idiot, is rescued by Antonia to become a productive member of the farm; later, he and DeeDee, Farmer Daan’s sexually abused and mentally limited daughter, who has similarly been rescued by Antonia and Danielle, fall in love and are married. For all of their shortcomings, the couple’s shy approach to one another, and joys for the simple provenance offered by Antonia as their protector, provide an emblem of the nurturing powers in the female household. Audiences squirm with delight as they watch these discarded members of society flourish with embarrassing innocence.
We watch Danielle’s transformation from adolescence to womanhood and find nothing alarming or disconcerting about her lesbianism and her decision to become pregnant without benefit of marriage. Antonia, always acceptant of life’s realities, continues to care for Danielle’s needs by providing emotional and intellectual support in the search for an appropriate man to father the child.
Much later, Danielle’s child is raped by DeeDee’s brother, who had also been raping DeeDee, prior to her rescue from her father’s malevolent and abusive household. Justice is swift. Antonia, magnificent in her outrage, sweeps across the farm and into the village pub where the males are gathered. With rifle pointed at the rapist’s head, she orders him out of town. [Her form of justice is less brutal than that of Danielle, who, having witnessed the rape of DeeDee by the same man, thrusts a pitchfork into his groin.]
Antonia’s farm grows and expands with new life. Seasons come and go, bringing death and rebirth. Happiness and tragedy exist side by side, as exemplified by the opposing viewpoints of Antonia’s positive spirit, and the pessimistic outlook held by Antonia’s life-long friend, Crooked Finger (Mil Seghers), the melancholic, Nietzche-quoting philosopher, who finds life impossible and unbearable. Whether we are watching Antonia’s mother die, or the Catholic Mad Madonna howling at the moon when she should be loving the Protestant man separated from her by the floor in the building they share, or feeling the appreciation of Farmer Daan’s wife’s for Antonia’s strengths--strengths that she herself does not possess--we are woven in the magic of a remarkably simple and yet complex fabric.
Although he could be a court physician in Macedonia, Hippocrates has returned to the island of Cos, at least temporarily, to take over his dead father's practice. He is summoned to the villa of a wealthy citizen to consult on the fits of a daughter of the house. Using precise clinical observation, he diagnoses hysteria instead of epilepsy. Then, he relates the girl's psychological problems to the neglect of her selfish and adulterous mother, Olympias, who prefers her handsome, athletic, but rather dense (and as it turns out, illegitimate) son, Cleomedes.
A marriage is to be arranged with Cleomedes's obsession, Daphne, the exquisitely beautiful and intelligent daughter of a physician from Cnidus. But Daphne falls in love with Hippocrates, and he with her. In between solving clinical problems, including a real case of epilepsy, a botched abortion, and a broken hip in his own grandmother, Hippocrates is led along a tangled path of intrigue, seduction, and false accusations.
A fire destroys the medical library of Cnidus, killing Cleomedes, who, for once in his life had risen to heroism in attempting to save an invalid woman and her son. When the newly orphaned child reveals that Olympias and her old lover have committed arson, Olympias leaps from the highest wall to her death. Hippocrates is now free to marry Daphne. Adopting the child as their own, they return to the island of Cos.
A journalistic account of the CIA-funded experiments in "psychic-driving" of Dr. Ewen Cameron at Montreal's Allan Memorial Institute in the 1950's and early 1960's. Cameron investigated "treatment" for various forms of depression, consisting of high-dose electroshock (Page-Russell variant), heavy sedation, and the repetetive playing of patient's or the doctor's recorded voice.
Many patients did not respond; some were destroyed by the technique. Particularly moving is the story of Mary Morrow (Chapter 9), a physician-patient whose career was damaged by her experiences. Cameron held the most prominent positions in professional psychiatry; he died unscathed by his questionable research and in pursuit of yet another goal, a mountain peak.
A maiden aunt never marries because a river prawn bites her calf and, due to minimal treatment by her physician, nestles there to grow. She devotes her life to her nieces, making for them life-sized dolls on their birthdays and wedding days. When only the youngest niece is left at home, the doctor comes to see his patient and brings his son, also a physician. When the son realizes the father could have cured the leg, the doctor says, "I wanted you to see the prawn that has paid for your education these twenty years."
The young doctor becomes the aunt's physician and marries the youngest niece, taking her and her wedding doll to live in a house like a cement block, requiring his wife to sit on the porch so passersby can see he has married into society. The doctor sells the doll's diamond-eardrop eyes, and when he wants to sell its porcelain, his wife tells him the ants ate the doll because it had been filled with honey.
The doctor grows older, but his wife keeps the firm, porcelained skin she's always had. One night he watches her sleep and notices her chest isn't moving. Placing his stethoscope over her heart, he hears a distant swish of water. "Then the doll lifted up her eyelids, and out of the empty sockets of her eyes came the frenzied antennae of all those prawns."
Narrated in the style of an "advice" manual, this is the chronicle of a woman who undergoes a hysterectomy and removal of her ovaries. The tone is sardonic. The story begins with the office visit in which the doctor delivers the news and reassures her that she is too "intelligent and sophisticated" to associate her womanhood with her reproductive organs. The physician attempts to persuade the narrator to have her ovaries removed--preventive medicine against the possibility of ovarian cancer--and she finally agrees while groggy from pre-operative anaesthesia. Nothing has prepared her for the emotional and physical lability she experiences after surgery. Even her sexual relationship with her husband is changed.
As she returns for post-operative check-ups, she becomes increasingly conscious of the indignities of the office visit and physical examination: "it strikes [her] that this maximum-efficiency set-up [three cubicles with naked, waiting women] might serve equally well for a brothel and perhaps already does." She feels that she has made a terrible mistake in allowing the doctor to have talked her into anything and that as a male, "there is nothing he can tell you about how you feel, for the simple reason that he does not know."
Seventeen year-old Phyllis Halliday lives with her parents near the maximum security penitentiary in Kingston, Canada. In the year 1919-20, she establishes a forbidden, epistolic relationship with convict Joseph Cleroux, who is serving a sentence for theft and extortion. Messages, money, and small gifts of tobacco, chocolate, and a ring, are concealed in the quarry next to her home where the convicts are sent to work. Influenced by the newly released film with Mary Pickford, she dubs her new friend "Daddy Long Legs," and herself, "Peggy."
Both Phyllis and Joe fear being caught, and they suffer from parallel illnesses. As she falls in love with the man whom she has never met, she neglects her studies, hoping that he will come for her when he is discharged. However, on that day, he is immediately put on the first train out of town. His letters dwindle and cease, but Phyllis continues to wait and hope.
Elizabeth Carpenter is preparing for her fiftieth wedding anniversary and hoping that her children will come home for the event. She nurses her irritable, invalid husband, a retired teacher, who has been a rigid father and is now bedridden with a chronic illness. He is too proud to ask for the things he needs or wants, and spends his vacant hours comparing what he perceives as the dull, dutiful Elizabeth to the "other woman" he loved long ago.
Their oldest child, Victoria, once a fragile beauty full of promise, is institutionalized for a chronic mental illness characterized by irrational fears and self-doubt. The middle child, Jason, is a psychiatrist who has been unable to establish trusting relationships and seeks affirmation through multiple sexual adventures. The youngest child is Emily, a concert violinist whose way of achieving peace is to live abroad, avoiding commitments and her family from whom she is hiding the fact of her own son, Adam. But the reunion leads them to revisit relationships and events in the past and results in some surprises for their present and future.