Showing 831 - 840 of 884 annotations tagged with the keyword "Society"
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.
The setting is Germany in the late 1920s. Rosalie, the central character, is a "sociable," cheerful 50 year old widow who lives with her adult unmarried daughter and her adolescent son. Her manner is youthful but "her health had been affected by certain critical organic phenomena of her time of life." Rosalie is keenly aware of all that menopause implies: the loss of sexual allure and of a (biologic) purpose in life. She feels "superannuated."
Along comes a young man, well-built, who is the American-born tutor for her son. She is overwhelmed by physical attraction for him, becoming infatuated, much to the disapproval of her repressed, cerebral daughter. She feels young and attractive once more, believing that her heightened state of sensuality has resulted in the resumption of what appears to be menstrual bleeding.
Planning to declare her love to the tutor, Rosalie arranges a family excursion to the Rhine castle where the black swans swim. In the decaying alcoves of the castle, she does so; the pair will rendezvous that night. The rendezvous never takes place; Rosalie has hemorrhaged. She is found to have a large, metastatic uterine tumor.
Dr. Papper, a revered figure in the field of anesthesiology, questioned why it took so long for anesthesia to be "discovered": after all, pain and suffering existed long before the mid-nineteenth century. This book is a result of Papper’s graduate studies in literature and history and explains his thesis that "societal concern with pain and suffering, and the subsequent development of surgical anesthesia in the Romantic era . . . are outgrowths of Romantic subjectivity."
The book provides biographies of scientists, physicians and poets, such as Humphry Davy, Thomas Beddoes, Sr., Samuel Taylor Coleridge and Percy Bysshe Shelley, along with analyses of Romantic poetry as related to pain and suffering. Papper theorizes that the exchange of ideas amongst these intellectuals and the political upheavals of the time paved the way for society to recognize that the pursuit of happiness could include the relief of pain.
Summary:Doris Grumbach, novelist and critic, experienced the landmark of her seventieth birthday as a traumatic event. She resolved to keep a diary during the months surrounding this time, both to record her "despair" and to seek answers to "what has my life meant?" The result is a relentless reflection on the losses associated with growing old, and on the loss of civility associated with contemporary urban life. Yet there is the liberation which age allows, in setting priorities and discarding the trivial. Ever observant and informed, Grumbach’s commentary on the present and the past is both interesting and moving.
This novel was inspirational for several generations of pre-medical and medical students. It follows the hero, Martin Arrowsmith, from his days as a medical student through the vicissitudes of his medical/scientific career. There is much agonizing along the way concerning career and life decisions. While detailing Martin’s pursuit of the noble ideals of medical research for the benefit of mankind and of selfless devotion to the care of patients, Lewis throws many less noble temptations and self-deceptions in Martin’s path. The attractions of financial security, recognition, even wealth and power distract Arrowsmith from his original plan to follow in the footsteps of his first mentor, Max Gottlieb, a brilliant but abrasive bacteriologist.
In the course of the novel Lewis describes many aspects of medical training, medical practice, scientific research, scientific fraud, medical ethics, public health, and of personal/professional conflicts that are still relevant today. Professional jealousy, institutional pressures, greed, stupidity, and negligence are all satirically depicted, and Martin himself is exasperatingly self-involved. But there is also tireless dedication, and respect for the scientific method and intellectual honesty.
Martin’s wife, Leora, is the steadying, sensible, self-abnegating anchor of his life. In today’s Western culture it is difficult to imagine such a marital relationship between two professionals (she is a nurse). When Leora dies in the tropics, of the plague that Martin is there to study, he seems to lose all sense of himself and of his principles. The novel comes full circle at the end as Arrowsmith gives up his wealthy second wife and the high-powered, high-paying directorship of a research institute to go back to hands-on laboratory research.
Summary:For forty years, James Langstaff (1825-1889) practiced medicine in a small town near Toronto. He witnessed the advent of anesthesia, antisepsis, new drug remedies, germ theory, and public health. Chapters are devoted to his management of surgery, obstetrics, and diseases, especially in women and children, his finances, and his role and that of his suffragist wife in the political and social fabric of their community. A reformer and temperance advocate, Langstaff was quick to adopt medical innovations, but slow to abandon familiar practices.
On the first page, Morris summarizes his project in this book: to "describe how the experience of pain is decisively shaped or modified by individual human minds and by specific human cultures. It explores what we might call the historical, cultural, and psychosocial construction of pain." Contemporary Western culture tries to convince us that pain is nothing but an aspect of disease and, therefore, a medical problem. But pain only exists in human experience; nerve impulses are not pain.
In calling our attention to the social and cultural meanings of pain, Morris begins with Tolstoy's short novel, The Death of Ivan Ilyich (see this database). He then presents various images of human suffering: gender-based pain, as in Charlotte Perkins Gilman's, The Yellow Wallpaper (see this database: annotated by Felice Aull, also annotated by Jack Coulehan); religious views, as in the stories of Job and the Christian martyrs; the aesthetic ideal, as manifested in the romantic idea of the sublime as painful; social uses, as in satire and torture (see Kafka's In the Penal Colony, annotated in this database); the relationship between pain and sex, as in the work of Marquis de Sade; and tragic pain, as evidenced in Sophocles' Philoctetes.
Throughout the book, Morris refers to the "invisible epidemic" of chronic pain that exists in the United States today. This epidemic of chronic pain can be adequately understood and treated only by approaching it with a cultural model, rather than a disease model.
Summary:The new U.S. President is tiny, strange, and apparently brilliant. Somehow the people believe that he will identify problems and find solutions. People are fainting. No one seems to know what is going on. No one thought such a tiny man could be elected President, but he won in a landslide. The society seems to believe the President can do great things; but no one seems to have any idea what those might be. Meanwhile, people keep fainting.
Summary:James, a dwarf, lives in a dwarf house and has a dwarf girl-friend. His brother, MacDonald, thinks of James as a dwarf first and a person second. MacDonald is really bothered by James wanting to marry--as if marriage and sexual relations were something dwarfs shouldn't do. When MacDonald tells his mother James has other people to talk to in the dwarf house, she says, "Dwarfs, not people. He's hiding from the real world." She too does not see dwarfs as real people, and sees herself as punished by giving birth to a dwarf. Yet at the wedding itself, the bride is genuinely happy, as MacDonald recognizes to his surprise.
Helen van Horne, the good doctor, has left her solitary practice as a physician in rural East Africa to become chief of the Department of Medicine at City Hospital. She is a tough, hard-as-nails woman who has given up the comforts of marriage, family, and human indiscretion for her profession. While the folks in South Bronx initially "hate" her because of her skin color, they soon learn that van Horne is a model of rectitude, dedication, and compassion. The Hispanic chief resident becomes her disciple.
Van Horne's yearning for human comfort and sexual gratification brings her into intimate contact with a lazy, irresponsible, but charming male student. Out of weakness, she tells the failing student that he will pass the rotation, but is later challenged by the chief resident, who has left her own lazy husband and dedicated herself to be "just like you." Van Horne realizes her own weakness, allows the failing grade to be recorded, then contemplates (but rejects) suicide.