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Social construction of reality is sometimes difficult to grasp. We sometimes think that meanings are external to us, that they originate out there somewhere, rather than in our social group. What this means is that a lot of the things in our life only exist because we’ve created them. They only exist because we give them validity to exist.
To better understand the social construction of reality, let’s consider pelvic examinations. Henslin and Biggs demonstrates how doctors construct social reality in order to define the examination as nonsexual. It became apparent that the pelvic examination unfolds much as a stage play does.
Scene 1 (the patient as person) In this scene, the doctor maintains eye contact with his patient, calls her by
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Before him is a woman lying on a table, her feet in stirrups, her knees tightly together, and her body covered by a drape sheet. The doctor seats himself on a low stool before the woman and says, “Let your knees fall apart” (rather than the sexually loaded “Spread your legs”), and begins the examination.
The drape sheet is crucial in this process of desexualization, for it dissociates the pelvic area from the person: Leaning forward and with the drape sheet above his head, the physician can see only the vagina, not the patient’s face. Thus dissociated from the individual, the vagina is transformed dramaturgically into an object of analysis. If the doctor examines the patient’s breasts, he also dissociates them from her person by examining them one at a time, with a towel covering the unexamined breast. Like the vagina, each breast becomes an isolated item dissociated from the person.
In this third scene, the patient cooperates in being an object, becoming, for all practical purposes, a pelvis to be examined. She withdraws eye contact from the doctor and usually from the nurse, is likely to stare at a wall or at the ceiling and avoids initiating
The themes in the novel tell a complete story of life, science, and the science of life. “It was very dehumanizing to be thought of as Mo, to be thought of as Mo in the medical records: ‘Saw Mo today.’ ” (Skloot 201). This animal like referral to patients then demonstrates just how far medical ethics has come. It also proves that these dehumanizing tactics are a major theme in the story.
Furthermore, the evidence places us into the mindset of the tempestuous Bobbette and creates a feeling of anger towards the doctors and a state of sadness due to the loss of a loved one through inferior medical techniques. The evidence, an example of pathos, matters because it gives the reader a sense of emotional understanding towards the Lacks family. Thus, the readers understand the effect of inferior medical techniques on not only the patient but the people strongly associated with the patients such as family members and close friends. Skloot wants the readers to understand the immorality of doctors breaking the unwritten code of medical ethics and, moreover, the impact on the people who suffer because of doctors’ arrogance towards
More specifically, the protagonist recalls herself as a young girl being held “by the hand” by a “woman with Kool”, who purchases for her a “Mason Mint” subsequently takes her to a cabin but abandons her, being “nowhere to be seen” at the moment of the young girl’s experience with the harrowing symptoms of presumed oral sex, therefore allowing for the assumption of her mother (the “woman with Kool”) being the person prompting her to partake in unpleasant sexual encounters at a tender age. Furthermore, the metaphor that she feels devoid of “arms or legs” lying in the cabin, in concert with the reference mentioned previously of her feeling like a girl in a sideshow (essentially like a puppet), fortifies this idea of her having no agency over herself, of being controlled and exploited by her
it relates the precarious reality constructions of empirical societies with ultimate reality.”
(Stoker 319) The revolting depiction of a man restraining a woman against her will, forcing her to do as he wishes, is by far the most suggestively insinuative scenes involving the notion of rape and sexual
Is Social Stability Worth the Price? Social stability is not worth the price that the citizens of the Brave New World payed for it. Social stability is not all bad, because there will never be fights or war. Also social stability can good for the economy for instance; the children learn to hate books and nature and desire only to engage in consumerism thus supporting the economy. The Government exerts total control over every aspect of its citizens lives.
Monetary and Societal Obstacles Societal simply comes from the word society and it means relating to society. Monetary refers to money. In our society monetary and societal obstacles can intertwine. These obstacles can even build on each other. Consequently, this can cause bigger problems if they are not handled correctly.
However, there is no highlight on her clothes, and there is no light under the table. These negative spaces swallow the light, and are what makes the work so unsettling. Every child at some point is afraid of what is under the bed, but as one grows those fears change. The one thing that doesn’t change is how that fear, shrouded in darkness, makes us feel like we may be consumed by the feeling of despair and emptiness. The woman’s hair is falling out of frame, bringing her into our world.
2.1 Introduction: Most scholars agree that defining the grotesque is not simple, because it is connected with the conceptions of time, space and culture. Generally, it can be recognized as something that challenges an established norm and as a device for questioning the role models of perfection that are informed by patriarchal cultures. ; so it is crucial to set up the contrasts between the elements that oppose each other in the narrative, and to frame the work in question within its time, space and culture. In this regard according to the feminist scholars like Kuryluk, women who rebel against the existing power are likely to be seen as a threat. These female protagonists because of their rebellious behavior and/or their imperfect bodies,
Women’s Body The Figuration of the female body is well described in both Woman at Point Zero by Nawal El-Saadawi and Margaret Atwood’s The Handmaid’s Tale. Both novels show that the women bodies are not their own and controlled by others which it turned into an object in order to survive. In this paper, I would like to argue how the objectification of the female bodies in both novels resulted in their oppression and sufferings. Moreover, what is the definition of the figuration of a body to both Offred and Firdaus? And is there a way out to survive this tragedy in both novels?
This white blanket is also present in other patients’ rooms at this institution, like in Joan’s room (218). Both women are under the same pressures of the patriarchy like the shadow of the earth covering the moon, creating the phases humans see. These shadows represent encroaching darkness for some women, a new moon they can not come back
When analyzing Kristeva’s essay on abjection one must first understand what abjection is (especially in terms of horror films). Abjection, from my understanding, is a mental state of deep and repulsing horror that one may experience when we see a rotting corpse, blood, or infected flesh or when a person commits crimes against children. And it is not just the existence of disgust in horror, but it is whole body, mental and physical suffering we encounter From what I understood Kristeva is attempting to delve into how abjection relates to horror, especially in a patriarchal society. Kristeva begins with what she calls a "phenomenological" examination of the abject. Kristeva uses her personal experience to try and give the reader a better understanding
What is reality? To what extent can you take a memory until it is something entirely fictional and entirely of your creation? To what boundaries can you make the claim of right and wrong and believe in it? What decides whether or not something is truly of great size and measure? To what extent can you say what you see to be truthfully real?
The crisp "drip, drip, drip" of runaway rain drops on the corner of a building, and the crisp clean air of a thunderstorm filling your lungs gently. Perhaps the wavy sight of hot air rising in the distance, sweat sticking to your skin and the feeling of your tensions being seeped out by the sun. These are ways in which the world presents itself to you, because You are loved. Massively. Ferociously.
Up until the mid-20th Century, these interrogations would often be done on women’s death beds because women would not be given medical care until they gave up the information that authorities wanted (Fadiman 1992). Even after this practice ended, as late as the 1960’s, women who had serious injuries from their abortions often refused to tell hospital staff the real reason for their injuries out of fear that they would be turned in to the police (Fadiman 1992). Women were so disrespected by legal authorities that the state felt it to be justified that women who received abortions could face death for their actions if they did not give in to the power of their authority. The state harbored the power to force women to make the choice between stigmatization, consisting of the death of the self, and actual death. This power was used to scare women out of receiving abortions as well as scaring them out of receiving help if their abortions caused them harm.