Showing 41 - 50 of 277 annotations tagged with the keyword "Mother-Son Relationship"
Summary:In Illness as Narrative, Ann Jurecic thoughtfully examines the unruly questions that personal accounts of illness pose to literary studies: What is the role of criticism in responding to literature about suffering? Does the shared vulnerability of living in a body, which stories of illness intimately expose, justify empathic readings? What is the place of skepticism in responding to stories of suffering? Does whether or how we read illness narratives matter? Jurecic's questions entice discussion at an interesting cultural moment. The numbers of memoirs and essays about illness—and their inclusion in medical school and other humanities courses—multiplied from the later decades of the 20th century to the present. However, their increase, and their potential to encourage empathic readings, coincided with dominant literary theories that advocated vigorously skeptical, error-seeking responses to texts and their authors. Jurecic reminds us that Paul Ricoeur called such responses "the hermeneutics of suspicion" (3).
Summary:Dr. Jennifer White, age 64, is read her rights in a Chicago police station. But how much does the retired orthopedist who specializes in hand surgery really understand? Dr. White has Alzheimer's dementia. Her score of 19 on a mini-mental state examination (MMSE) is consistent with a moderate degree of cognitive impairment. She is questioned about the death of a neighbor, 75-year-old Amanda O'Toole, who lives 3 houses away. Amanda happens to be Dr. White's best friend and the godmother of her daughter. Amanda died at home, the result of head trauma. Four fingers of her right hand were cleanly and expertly chopped off. It seems that Dr. White is genuinely incapable of recalling whether she committed a murder or not. The physician is not charged with the crime but remains a suspect.
Summary:The writer Donald Hall gives us a lyrical armchair view through the windows of his house not only of the New Hampshire landscape, but also of his and his anscestors lives lived in that landscape. His honest and moving account from his 83rd year is captured in the following: "I feel the circles grow smaller, and old age is a ceremony of losses, which is on the whole preferable to dying at forty-seven or fifty-two [the ages his wife Jane Kenyon died and his father died]. When I lament and darken over my diminishments, I accomplish nothing. It's better to sit at the window all day, pleased to watch the birds, barns, and flowers. It is a pleasure to write about what I do" (p.41).
Adam (Joseph Gordon-Levitt) a 27 year-old writer is happy in his work and lives with Rachael, a painter, but he has not been feeling well. He goes for tests. The doctor—without looking him in the eye—bluntly tells him that he has spinal cancer and needs chemotherapy. With the support of his good friend, Kyle (Seth Rogan), Adam begins his treatments. Together they shave his head and he bonds with the much older men being treated at the clinic. Rachael promptly takes up with another man and Adam throws her out. He is assigned a 24 year-old psychotherapist, Katherine (Anna Kendrick) who is out of her depth in dealing with his condition and his fears, but they have an affinity for each other that will eventually “conquer all.”
Adam has an uneasy relationship with his mother (Anjelica Huston), a domineering personality who is coping with her husband’s slide into dementia. His illness forces him to see more of his parents and he slowly realizes how much she cares for him and wants to help; however, he avoids her and rarely volunteers any information.
In another encounter with the inept doctor, Adam learns that the chemotherapy hasn’t worked and he is referred for surgery. The woman surgeon’s bedside manner is even worse: incredibly, she meets him for the first time only as he is being wheeled into the operating room.
But the surgery is a success, and the film closes with Adam and Katherine falling into each others arms -- a disappointingly happy Hollywood ending.
Summary:This documentary is a film biography of American artist, Alice Neel (1900-1984), directed by her grandson, Andrew Neel. The film utilizes interviews with art historians; comments and interviews by Alice Neel herself; comments by her two sons and other family members; interviews with some of those that the artist painted; still photographs and other archival materials; and most spectacularly, displays of many Neel paintings. There are annotations of several important Neel paintings in this database. This film or sections of it would make a good accompaniment to discussions of those works.
Summary:An empty, old, red chair sits at a three-quarter view. One leg is cut off by the painting's frame. The chair is the only subject visible in the foreground, suggesting that the room it occupies is empty. In the composition's center is a window with a stark black blind pulled nearly halfway down. The view outside the room reveals two windows in a building across the way. These windows are stacked vertically, one on top of the other, and are nearly identical in appearance.
'Smut: Two Unseemly Stories' consists of two novellas, 'The Greening of Mrs Donaldson' and 'The Shielding of Mrs Forbes'. Both are slight but well-observed and nimbly narrated stories about sex and manners.
In 'The Greening of Mrs Donaldson', a newly widowed woman has to make ends meet; she takes in lodgers (initially a medical student and her boyfriend) and finds herself employed at a local medical school as a standardized or simulated patient (a patient instructor), joining several other stalwart characters in feigning illnesses and ailments for the educational benefit of training doctors. When her tenants do not have the money to pay their rent, they find another way of reimbursing Mrs Donaldson. 'The Shielding of Mrs Forbes' is about the marriage of vain handsome Graham Forbes to a wealthy, although not particularly beautiful, woman, much to the frustrated dismay of his mother. In both novellas, secrets about sex and surprising erotic arrangments threaten the measured, middle class lives of the Donaldson and Forbes families.
Summary:Extremely Loud and Incredibly Close, directed by Stephen Daldry, features an all star cast including Tom Hanks, Sandra Bullock, Max Von Sydow, Zoe Caldwell and John Goodman, but the true star is Thomas Horn as ten year old Oskar Schell who loses his father on 9/11. The film opens at his father's funeral; Oskar refuses to leave the limousine-- the coffin is empty, and without his father's body to mourn, death remains an abstraction.
Extremely Loud and Incredibly Close takes the reader inside the mind of nine year-old Oskar Schell who lost his father in the collapse of the Twin Towers. Oskar lives with a terrible secret − on that day he arrived home from school shortly after the planes hit the towers and listened to messages from his father on the answering machine. Hoping to protect his mother from the awful truth and not wanting to face his own helplessness − after all, his father was usually at his jewelry store, and it was just a tragic coincidence that he was attending a meeting at Windows on the World − Oskar hides the machine and replaces it with a new one. In the days that follow, he accompanies his mother and paternal grandmother to the cemetery with his father’s empty coffin and vows to find out all he can about his father’s death.
Oskar begins by searching his father’s closet. In a blue vase he finds an envelope with the name “Black” written on it and a small key inside. Determined to find the lock that this special key will open, Oskar sets out on a journey through the city, contacting all of the Blacks in the telephone book. As he searches for clues about his father and tries to make sense of a world transformed by terrorism, he connects with people who are enveloped in their own grief and overwhelmed by the world outside themselves.
The narrator of this novel, fifteen-year-old Christopher Boone, is autistic (or, more accurately, probably, has Asperger's Syndrome). He lives with his father and believes his mother died two years before. Christopher is extremely good at mathematics, seems to have a photographic memory, but does not like novels (other than detective stories, which are about observation and logic), because he cannot empathize with human emotions or make sense of the indirect or figurative. For Christopher, metaphors, like fictions, are lies. He is very fond of dogs, and hates to be touched by people.
When a neighbour's dog is killed, he decides to investigate and, with the encouragement of his teacher, to write a book about his investigation. He quickly makes some very disturbing discoveries. He learns that his mother is not dead after all, but living in London with the husband of the dead dog's owner. The fact that his father has lied to him devastates Christopher. He runs away to London to find his mother, and his courage and tenacity allow him to solve not only the mystery of the dog's death but that of his family's past and future.