Showing 91 - 100 of 206 annotations tagged with the keyword "Nature"
Arabella is a young lady who has lived for a long while at her father’s secluded country home. She spends her time reading romances (in 18th century Britain, "romance" meant fictional works posing as historical accounts of tragic heroines, leibestods, and undying affection--usually French in origin).
She has come to believe the romances to be true and models her behavior after the rigid rules of womanhood contained in them. Moreover, she interprets others’ action or outside events according to romantic expectations.
When Arabella finally goes into society, all are struck with her wisdom and beauty, but are baffled by her behavior and constant references to various romantic characters. She scorns her persistent suitor, Mr. Glanville, since he does not, at first, pursue her according to the rules of romance. He neither pines away, nor allows her to send him to the far ends of the earth to think of her without hope, forever. He soon learns to humor her caprices.
Arabella goes through many adventures all of which depend on her obsession. When she falls ill after diving into a river to save her honor, a doctor is called in to treat her. Learning of her obsession, he resolves to cure her. Using cold logic, he dissolves Arabella’s misconceptions.
The poem is narrated by Fra Lippo Lippi, a Florentine painter and friar of the fifteenth century. Lippi is stopped by watchmen just as he drunkenly leaves a bordello. They tell him that he ought not be on the streets at night and are surprised to find a friar in such a state. Drunkenly, Lippi tells them his story. He was orphaned and taken to a monastery where the monks set him to work painting on the walls of the church.
The friars are amazed by his skill, but insist that he remove his work for it is a representation of bodies, not of souls. It does not teach a moral lesson, either. So Lippi sarcastically paints a gruesome picture of the martyred Saint Lawrence. When a group of nuns enlist his help, he paints a cloudy collection of saints surrounding Mary but in the corner is an image of himself. He enters their presence in all his fleshy glory.
Victorian critic and poet Edmund Gosse was the child of respected zoologist Philip Gosse, a minister within the Plymouth Brethren, a fundamentalist evangelical sect. This memoir of Gosse’s childhood and young adulthood details his upbringing by parents whose faith and literal approach to Scripture directed all their domestic practices.
It details the older Gosse’s agony as he struggles to reconcile his scientific vocation with his religious faith in the face of the hefty challenges posed by Chambers, Lyell and Darwin’s mid-century hypotheses about the age of the earth and the diversity of its species.
Edmund’s own agony as he realizes his inability to fulfill his parents’ expectations for him in terms of religious vocation is another significant thread. While "father and son" is the primary relationship explored, the early parts of the memoir describe Emily Gosse’s influence on her son, particularly during her illness and death from breast cancer.
This fairy tale by Wilhelm Grimm, rediscovered in 1983, is prefaced by a short letter to "Mili," presumably a young girl much like the one in the story; what follows is a tale designed to teach children that life can be unpredictable. The story also demonstrates, however, that the unknown can sometimes provide shelter and security even when things are not familiar.
A young widowed mother, afraid for her daughter when the village they lived in was about to be attacked by invading warriors, sends the child to hide in the forest for three days. Alone and frightened, the girl loses her way, prays to God and is led to a little house tucked away in the woods where she meets a kind old hermit, Saint Joseph.
Three days (translated thirty years earth time) later, he decides it is time for the girl to return to her mother, whose dying wish is to see her daughter once more before death. Handing Mili a rosebud, he promises that after she meets her mother, she will be able to return: "Never fear. When this rose blooms, you will be with me again." The next morning the neighbors find the child and mother together, dead in their sleep.
Summary:Published in 1734, this poem of 7-syllable couplets describes how Peter goes to visit his college friend Cassinus. He finds Cassinus filthy and miserable in his dorm room and asks his friend why he is such a mess. Cassinus replies that he is in this state because of Celia. Peter wonders if Celia has died; if she has cheated on Cassinus; if she has been struck down by some disfiguring disease; or, ultimately, if there is something terribly wrong with Cassinus. No, replies Cassinus, to each of these in turn. He makes Peter promise not to divulge the terrible secret he has discovered about his once beloved Celia, and then tells him: "Nor wonder how I lost my wits; / Oh! Celia, Celia, Celia shits."
Summary:These poems stem from Coles's studies of the lives of poor black children in the South, and Native-American children in the Southwest and Alaska. In his Introduction to the first section of the book, Coles writes, "The words in this section tend to be soldiers." These tough, sad, hopeful, and militant poems give voice to children and adults on the firing-line during the civil rights movement of the 1960's. The poems in the second section, which arise from Coles's work among Native-Americans, are quieter in tone, more radiant, lyrical, and even transcendent.
This is the last of Cooper’s Leatherstocking tales, in which his hero, Natty Bumpo, is on the frontier as an old man living and reliving his experiences in the developing West. As the reader follows Leatherstocking in his final venture, he/she repeatedly encounters an interesting character, Obed Bat (or Battius, as he is sometimes called because of his propensity for imposing Latinate terms on everything he sees).
Dr. Bat claims to be a medical practitioner who has chosen to study the natural world, the flora and fauna of the prairie. In a novel that is replete with unintentional comedy, Dr. Bat invites apparent, intentional and pointed ridicule. He chronically mistakes his own donkey for new species of wild animal; his vapid attempts at providing any kind of serious medical advice to the various travelers he encounters remind the reader of the tenuous position of the medical practitioner in the early to mid nineteenth century.
Although this adventure is the last trip for Natty, Dr. Bat’s presence is a major portion of the old-fashioned charm of Cooper’s novels. The unlikely collection of characters in this novel keep meeting, even though they are independently trekking across the vast land between the Mississippi and the Platte. There are, of course, buffalo and Sioux--friendly and otherwise--who must be tamed or overcome.
This film tells the story of Alfred Kinsey (Liam Neeson), the scientist who famously changed his focus in mid-career from the study of gall wasps to the study of human sexuality and through his publications on male and female sexuality (1948, 1953) revolutionized the way we think and talk about sex. Kinsey entered adult life with the classic Boy Scout's view of sex that it was best not to think about it. (He collected a million gall wasps instead.) But under the influence of one of his students, Clara McMillen (Laura Linney), who later became his wife, and listening to the questions some students were asking about sex, he decided to teach a course at Indiana University on human sexuality. "Sexual morality needs to be reformed," he proclaims, and "science will show the way."
He begins doing statistical research on individual sexual behavior, training his interviewers to be open and neutral as they encounter a very wide variety of behaviors. He also encourages them to experiment sexually among themselves, and later even to participate in sexual encounters filmed for research purposes. Naturally, not everyone accepts this readily, and there are problems between Alfred and Clara, among the research assistants, and eventually between the whole project and Indiana University and the Rockefeller Foundation.
Rockefeller withdraws its support, complaining that Kinsey is preaching in public, and Clara tearfully complains that some social restraints are needed to keep people from hurting each other. The assistants struggle with the ties between sex, which is part of the experiment, and love, which is not. Kinsey continues striving, but with much reduced means. The film ends with video clips of interview subjects speaking strongly about the benefits that Kinsey's revolution has brought to them, one woman concluding: "You saved my life, sir!"
Born in 1728 the tenth child in a struggling Scottish farm family, John Hunter was a wayward and unteachable child who spent most of his time outdoors. At the age of 20, with no prospects and having lost his father and 6 siblings, he wrote for help to his older brother William, who was practicing midwifery in London and had just opened England's first anatomy school, one featuring the revolutionary opportunity for students to dissect their own cadavers.
John rode the 400 miles to London on horseback, apprenticed with great success under William, learned dissection, then surgery, and went on to become a supremely gifted anatomist and surgeon, one whose brilliant and tireless experimentation broke with ancient and outmoded medical traditions and established the foundation for modern science-based surgery. (When John arrived in London, the city's Company of Barber-Surgeons had only just dissolved to allow surgeons to organize themselves independently of barbers.)
One of his most important activities in working for his brother--and which continued when he made his own way--was the procuring of cadavers, which because of the customs of the time involved him intimately in the grisly business of grave-robbing.
Howard Carter very skillfully weaves together the various meanings that the heart holds for us--biological, medical, psychological, cultural, and spiritual. He does so through four patients that he interviewed when he was appointed to a distinguished professorship in medical humanities in a joint program of St. Patrick Hospital and the University of Montana, in Missoula.
Each of the sections of the book focuses on one of the patients who suffers, respectively, from a prototypical heart problem: a young man with congenital defects who undergoes successful surgery; a middle-aged woman with a viral illness who learns how to live with her chronic heart condition; a middle-aged man whose blocked coronary arteries are cleared, as is the stress in his life; and an old man who turns to spiritual matters as he faces heart failure.
What contribute significantly to the uniqueness of this book are the essays that Carter provides at the end of each Patient Section. They are the vehicles for the synthesis of the patient stories, the scholarly look at how "we have largely lost the anchoring image of the heart" in American society, and his very poignant personal reflections about life in (or at least near) the wilderness of Montana. (See Solid Footing, Higher Ground -Third Essay as an excellent example of his skillful and moving writing.)