Showing 71 - 80 of 341 annotations tagged with the keyword "Acculturation"
Summary:Garland-Thomson, an important figure in disability studies scholarship and activism, analyzes the social phenomenon of staring, particularly staring at people with distinctive bodies. After exploring why we stare and what staring is, i.e., "a physical response...a cultural history...a social relationship...[and] knowledge-gathering," the book analyzes the dynamics of staring, including the learned prohibition against staring and the dynamic power relationship between starers and the objects of their stares, whom Garland-Thomson terms "starees."
Mueller traces the path from forced exodus/immigration to struggling with a new language, to the eventual day when "you dream in rhyme, in a language / you never wanted to understand." In this evocation of diaspora and eventual acculturation, speech and language are important metaphors.
The poem is in three sections. Part 1, "Asylum," (14 lines) is enclosed by quotation marks, perhaps because the speaker describing a border crossing is still articulate in her native tongue. This section is highly personalized, written in the first person, and speaks of homesickness, dislocation, abandonment--"the life you say I must leave . . . bundled and tied . . . for the trash collector."
Part 2, "English as a Second Language," (15 lines) is written in the third person and describes the state of estrangement from meaning that accompanies unfamiliarity with a new language and culture. Letters of the alphabet become "crushing crossbar[s]" and "spying eyes." This section ends, however, with some hope that understanding will develop: the letters for the word "tree" might become intelligible, "could take root, / could develop leaves."
The final 16 line section, "Crossing Over," is written in the second person and marks the day when the transition to the new country and the new life and the new language is as complete as it ever will be. Now fully able to comprehend her surroundings, the speaker feels compelled to name the details of her environment, finds herself "humming the music you stuffed your ears against" and notices a certain strangeness when she communicates with those she left behind--"voices from home arrive . . . bent by the ocean."
Summary:The book's chapters derive from a conference entitled "Representing Autism: Writing, Cognition, Disability" held in 2005. Contributors are scholars of English, communication studies, psychology, and other disciplines; some are on the autism spectrum themselves or are parents of autistic people. The book attempts to address what editor Mark Osteen in his introduction cites as a deficit in the field of disability studies, namely that the field has ignored cognitive disabilities. Osteen notes that autism is a spectrum not only among people but within individuals: "any given autistic person's abilities will occupy different locations on [the spectrum] at different times" (7) but a severely autistic person is not merely "different." The editor also addresses the question of self- representation, arguing that "we must strive to speak not for but with those unable or unwilling to communicate through orthodox modes" (7).
Summary:Driving-school instructor Marco (Marcello Mastroianni) feels unwell, especially in the mornings; his stomach swells, and he develops emotional lability. His wife, the hairdresser Irène (Catherine Deneuve), is sympathetic – but only to a point--and insists he seek help.
Summary:I believe the best way to describe this partly autobiographical story is as an illness travelogue. Alexie prepares his reader for a strange journey by making the first stop his discovery of a dead cockroach in his suitcase. This allusion to The Metamorphosis works wonderfully well for the Kafkaesque remainder of the journey. His bodily journey moves from loss of hearing to possible meningioma to his doctor's proclamation that his "brain is beautiful." His existential/psychological/cultural journey, triggered by his bodily suffering, moves in multiple directions: to time spent with his dying father, his own experience with hydrocephalus, his grandfather's death in WWII, and his loving relationships with his children, wife and brother-in-law.
Summary:The film opens on the Coeur d'Alene Indian Reservation -- called "the rez" by its inhabitants -- in 1998. Immediately there is a flashback to July 4, 1976 when the community was celebrating "white man's Independence Day" in drunken abandon. Accidentally Arnold Joseph (Gary Farmer) sets an uncontrollable fire to his neighbor's house, killing the couple who live there. But Joseph catches the baby, Thomas, when he is thrown out of a second story window from the burning house. The rescued Thomas (Evan Adams) is brought up by his grandmother and along side of Victor (Adam Beach), Arnold Joseph's son of about the same age. Joseph keeps on drinking but is in despair about the conflagration and its consequences.
The Bonesetter's Daughter is divided into two major stories. One is the story of Ruth, an American-born Chinese woman, a ghostwriter for self-help books, in a relationship with a white man, stepmother to his two teenaged daughters, and finally, daughter of LuLing, who Ruth fears is becoming demented. Ruth begins to realize what her mother's memory loss means to both of them: for her mother, an increased need for attention, for Ruth, disappearing stories that could help Ruth understand her family and render a feeling that she is part of a larger story.
The second major story is that of LuLing, which Ruth discovers in the form of documents LuLing had given her several years earlier, written in Chinese, LuLing's attempt to hold on to fading memories of her life in China. This story within a story--LuLing's life in a village called Immortal Heart; the secrets passed on by her nursemaid Precious Auntie (who, we learn, is also her mother); a cave where bones are mined that may be the teeth of Peking Man; tales of ghosts and curses--parallels in many ways the present-day issues confronting Ruth: an inability to speak up to her partner and his two daughters; why she remains a ghostwriter, without a voice of her own; an increasingly problematic and confusing relationship with her mother. Answers to both women's puzzles and problems unfold as LuLing's story is translated in its entirety, providing answers through memory and words that could not be spoken, only recorded.
Summary:This edited anthology, which includes poems, essays, short stories, and other creative forms (e.g., a radio diary, a letter to a social service agency), is organized into sections that include Body and Self, Diagnosis and Treatment, Womanhood, Family Life and Caregiving, Professional Life and Illness, and Advocacy. Most works found their way into this collection through a call for submissions, although a few selections are well known, such as Lynne Sharon Schwartz's "So You're Going to Have a New Body !," or an excerpt from Rachel Naomi Remen's Kitchen Table Wisdom (see annotations). In addition, the anthology also includes essays by scholars such as Arthur W. Frank and Rita Charon, who theorize gendered illness narratives.
The speaker in this short poem is a physician whose father's "castrated body" is "crooked in prostatic pain." From the family home in Tennessee, the dying man's wife provides daily phone reports to the son about her husband's deteriorating condition. The speaker's mind swirls with conflicting feelings: he thinks about "Dr. Death," whose efforts he has just come to understand; he thinks about the suffering experienced by his father and his mother's "terminal voice"; and he considers "how many of those little pain killers it might take."
Similarly, recollection of the Hippocratic vows intrudes to counsel against the kind of assistance his filial nature wants to provide. The internal debate about choices directs readers back to the title's imperative, "let's talk about it," suggesting, I believe, the need for social and professional discourse about quality of life, futility, and physician-assisted-suicide.
Rob Morrow of "Northern Exposure" fame portrays Lyle Maze, a very sweet artist/sculptor with Tourette's syndrome. Even though early scenes demonstrate the challenges presented by involuntary shoulder shrugs, arm twitches, popping sounds, and vocalizations associated with Tourette's, the story quickly evolves into a fairly predictable tale of love. Mike (Craig Sheffer) is engaged to Callie (Laura Linney), but spends months of time incommunicado--practicing medicine in Burundi and other remote locations.
For different reasons, both Lyle and Callie are cast into lives defined by isolation and loneliness. Shortly after Mike has left for his most recent assignment, Callie learns that she is pregnant. Alone and confused by Mike's long absences, she turns increasingly to Lyle for friendship and support. Not surprisingly, they fall in love.