Showing 681 - 690 of 881 annotations tagged with the keyword "Society"
In "Fortitude" Dr. Elbert Little, a Vermont family physician, visits the laboratory of Dr. Frankenstein and his trusty assistant, Dr. Tom Swift. Frankenstein has only one patient, Sylvia Lovejoy. His life work has been to keep Lovejoy alive. In 78 operations over the last 36 years, Frankenstein has replaced every one of her organs with prosthetic devices, so that now she consists of a head on a tripod, attached by tubes to various machines.
Frankenstein controls her mood, as he controls all her functions, from a "fantastically complicated" master console. Usually he makes sure that she feels joyful and loving, but last month a transistor went bad in one of the machines and she felt depressed for a while; so depressed, in fact, that she wrote to Dr. Little and asked him to bring her some cyanide.
Lovejoy's only friend is Gloria, the beautician who comes every day to care for her hair. Gloria is horrified over what Sylvia Lovejoy has become; she sees only a "spark" of the real person remaining, but she knows that the "spark" wants to die. After Frankenstein fires Gloria for speaking about death in Sylvia's presence, she sneaks back into the room when Sylvia is sleeping and puts a loaded revolver in her knitting bag.
Later, Sylvia finds the gun and tries to kill herself, but her prosthetic arms have been designed not to allow her to do that. Instead, she shoots Frankenstein, who promptly becomes the second head attached to the machines. (It seems he has designed all the prosthetic organs to be able to serve two "persons," so that he and Sylvia will be able to "live in such perfect harmony . . . that the gods themselves will tear out their hair in envy!")
The short story considers the final afternoon in the lives of Jeff and Jennie Patton, a frail elderly couple, who have spent their lives as poor sharecroppers, barely able to make ends meet for themselves and their children. While neither is seriously ill, the severities of farming and aging have guided them toward a mutual pact. Today they will put on their finest clothes and then, drive down the dirt road past their neighbors toward a cliff--and death.
The simple story is gripping as readers discover what this couple is about. While they have been defeated by their tight-fisted landlord and by age, their spirits are indomitable. With charm and pathos, the couple fulfills the pledge they made to one another when no other alternative seemed appropriate.
Fridolin, a doctor, and his wife, Albertine, have been married for a few years and are the parents of a much adored little girl. In a moment of unusual frankness, they decide to confess all their temptations and adventures to one another. Albertine admits that she deeply desired a blond Dane encountered in the previous summer. Fridolin professes to welcome this news and tells of similar attractions. They promise to confide the sexual adventures of their waking and dreaming states.
But Fridolin is not at ease. The idea that his wife desired another-even in a dream-inspires a jealous energy that sends him in search of adventures that will reassure him of his own desirability and hurt if not repudiate Albertine. On the pretext of a house call, he wanders, masked and unmasked, through the decadent private clubs and cafés of night-time Vienna. He toys with the dismal daughter of a patient, an "unspoiled" prostitute, and a sophisticated matron--none of whom he actually claims, all of whom remind him of his wife, one of whom dies, he believes, in protecting him.
Uncertain if his adventure was reality or dream, he returns with tenderness to Albertine, although he has repeatedly vowed to leave her. He tells his entire story; she listens with better grace than he would have done. Then he asks what they should do. She replies that they should be grateful to have "emerged safely from these adventures" . . . "neither the reality of a single night nor even of a person's entire life can be equated with the full truth about his innermost being." "And no dream," he responds "is altogether a dream." (p. 98-9). They begin another day.
The Physician in Literature is an anthology edited and introduced by Norman Cousins that aims to illustrate the multiple ways in which doctors are portrayed in world literature. Literary selections are organized into 12 categories including Research and Serendipity, The Role of the Physician, Gods and Demons, Quacks and Clowns, Clinical Descriptions in Literature, Doctors and Students, The Practice, Women and Healing, Madness, Dying, The Patient, and An Enduring Tradition.
Some of the notable authors represented in this collection include Leo Tolstoy, Herman Melville, Albert Camus, William Shakespeare, Charles Dickens, George Bernard Shaw, Anton P. Chekhov, Orwell, Fyodor Mikhailovich Dostoevski, Ernest Hemingway, Thomas Mann, Gustave Flaubert, and Sir Arthur Conan Doyle. A healthy dose of William Carlos Williams makes for some of the most enjoyable reading ("The Use of Force" and excerpts from his Autobiography).
The story begins in London as Lilia, the young widow of Charles Herriton departs for an extended tour of Italy, taking with her a companion (Caroline Abbott), who is supposed to keep her our of trouble. Lilia leaves her 8-year-old daughter Irma home with the Herritons. The Herritons are a snobbish upper middle class family ruled by an iron-willed matriarch, who has never approved of her daughter-in-law's unassuming and spontaneous nature.
The trouble begins when word arrives from the small town of Monteriano that Lilia has gotten engaged to an Italian man. Mrs. Herriton sends her son Philip to buy off the "wretched Italian" and bring Lilia home. But he arrives too late. The 32-year-old Lilia has already married Gino Carella, who is the unemployed son of a dentist and a decade younger than she is. Gino is charming and seems guileless, although he has no intention of adopting an English attitude toward marriage. Indeed, he has married Lilia for her money and expects her to become a proper Italian wife.
Later, Lilia dies in childbirth, but the baby survives. At first the Herritons intend to sever contact and not acknowledge the child. However, nudged by Miss Abbott, the unsuccessful chaperone, they decide to "save" the child from becoming an Italian. Once again, Philip goes to Italy to buy off Gino and bring the boy to England. Once again, he fails.
But this time, his aggressive sister Harriet intervenes; when all else fails, she steals the baby. Unfortunately, a mishap occurs, and the baby dies. Meanwhile, Philip has fallen in love with Miss Abbott who, in turn, has fallen for the recently remarried Gino. In the end it looks like Phillip and Miss Abbott will become "just good friends."
Summary:Carol White (Julianne Moore), an upper-middle-class Los Angeles housewife, is stricken with a mysterious illness that her doctor cannot diagnose or explain. He believes her illness to be psychosomatic, but Carol, through contact with a support group, realizes she has "environmental illness," an immune disorder that causes her to physically overreact to common chemicals, fumes, and environmental pollutants. The film follows her journey to a clinic in New Mexico in search of relief from her increasingly debilitating symptoms.
Annie, about to finish high school, is still struggling with the long-term grief and confusion that has changed her family life since her sister, Mog, was killed by a car thief just before her own high school graduation two years ago. Annie wants to talk about Mog, but her mother remains in insistent denial and turns away from any mention of her; her father is protective of her mother and keeps his own long silences; and her brother, eager to get on with life, is willing, but unable to sustain much of the kind of conversation that might help.
Mog’s boyfriend, who was with Mog on the night of the shooting and sustained an injury but survived, offers one source of help in Annie’s process of emerging from grief, but the help becomes confused with romantic attentions that eventually, with the help of a therapist, Mog realizes she needs gently to renounce. Her belated decision to see a therapist comes at the suggestion of a friend’s mother who sees how stuck the family is in their evasions of the grief process. She initiates the visits on her own steam, with the approval of her rather passive but supportive father, and with a rather tense policy of noninterference from her mother.
Eventually, as Annie starts college, she finds herself able to move along toward remembering Mog and speaking about her freely while also reclaiming her own life and ambitions without guilt for leaving her sister "behind." Her father assures her that her mother will "be alright." In the meantime, Annie realizes not everyone has to heal the same way, and she has, with help, found a way that works for her.
Collegiate Assessor Kovalyov wakes up one morning and discovers that his nose is missing. At the same time in another part of St. Petersburg, Kovalyov's barber finds the nose in his breakfast roll. However, the barber, desiring to disassociate himself from the strange incident, proceeds to toss the nose into the Neva River. A little later, Kovalyov happens to see his nose riding in an elegant carriage and wearing the uniform of a State Councillor (a higher rank than Collegiate Assessor). He demands that the nose give itself up, but is rudely rebuffed.
At first neither the police nor the newspaper offer any help, but later a police officer, who happened to observe the barber throwing an object into the river, returns the lost nose to Kovalyov. However, a new problem arises. How will he re-attach the nose to his face? For this he consults a doctor, who recommends letting nature take its course, "it's best to stay as you are, otherwise you'll only make it worse." Poor nose-less Kovalyov! He becomes the laughing stock of St. Petersburg, until one morning he wakes up and finds his nose re-attached firmly to his face.
This book presents the "War of Attempted Secession" through the eyes of America's great poet. It consists of letters, dispatches, articles, and prose selections from Specimen Days (1882), Whitman's quasi-autobiography. In addition, all of Whitman's Civil War poems are included, some interspersed through the text and others collected in an Appendix.
The editor has arranged this material into 14 thematic chapters, beginning with "an introductory section in which Whitman discusses the general character of the Civil War" and including chapters containing material on his visits to the front, life in Washington during the War, letters to his mother, his admiration for Lincoln, and other topics.
Of particular interest is "The Great Army of the Wounded," a chapter composed of dispatches to the New York Times and Brooklyn Eagle, in which Whitman describes the military hospitals surrounding Washington and his own work as a volunteer nurse, scribe, and friendly visitor. In "Dear Love of Comrades," he presents a number of "specimen" cases of sick or wounded soldiers. "O My Soldiers, My Veterans" consists of letters written to soldiers, or for soldiers to their families. Another chapter, "Ethiopia Saluting the Colors," presents Whitman's positive assessment of black regiments serving in the Union Army.
Many of the war poems appear in topically appropriate chapters; among the most effective of these are "A Twilight Song," "Over the Carnage Rose Prophetic a Voice," "Pensive on Her Dead Gazing," "Dirge for Two Veterans," "Ethiopia Saluting the Colors," "O Captain! My Captain," and The Wound Dresser (see annotation in this database).
Paula Henning (Franka Potente) is a brilliant medical student from Munich, who comes second in the Robert Koch competition winning a place at the prestigious Heidelberg medical school. Medicine is a family tradition, but Paula has little respect for her father's boring suburban practice. Instead, she takes inspiration from her dying grandfather, an academic doctor, who celebrates her decision.
En route to Heidelberg she meets the stunningly beautiful and highly sexed Gretchen (who stood first in the competition) and David, a 22 year-old lad with cardiomyopathy and multiple piercings. Gretchen is interested in partying; Paula is serious, studies all the time, and ignores fellow student Caspar (Sebastian Blumberg) who strives for her attention. When David appears on the dissecting table with no obvious cause of death and "rubbery blood," Paula begins investigating. She determines his death is due to Promidal--a drug developed by The Anti-Hippocratic Society (or "AAA!").
This clandestine group engages in unethical anatomical research on living subjects to "better" the human race. Her classmates scorn her conspiracy theory, but she is drawn deeper into the mystery when Gretchen disappears only to reappear as a perfectly dissected, plasticized cadaver. Paula nearly succumbs to the same fate with her lover, Caspar (who turns out to be an incognito history student writing his thesis on the AAA! ). The ending is happy, although Paula must reckon with the discovery that her venerated grandfather was a member of the "AAA!".