"I started out snorting a couple of lines a night and ended up injecting and snorting about three grams a day."--That could be your dentist talking.
"I worked a lot with hangovers and made lots of mistakes when coming down off acid."--That might be your nurse.
"The patient was waking up and I was out cold."--And that was some unlucky patient's anesthesiologist.
Professionals trusted with our well-being are the last people we suspect of drug addiction. And yet they are at least as likely as anyone else to abuse alcohol and other drugs--a well-kept secret finally aired and fully examined in this powerful book. Drawing on more than 120 personal interviews with addicted physicians, dentists, nurses, pharmacists, attorneys, and airline pilots and those who treat them, Robert Coombs gives us a startling picture of drug abuse among "pedestal professionals." He discusses addiction as an occupational hazard for those with the easiest access to drugs, the greatest sense of immunity to their perils, and the most extensive means (and reasons) for hiding their problems. Throughout, the interviewees' eloquent and often harrowing testimony reminds us of the human drama behind the exhaustive research and analysis presented here. Their bittersweet stories bear out Coombs's contention that recovering addicts, free of their magical elixirs, can become more complete people than they were before addiction.
From the biological, psychosocial, and spiritual roots of addiction to the equally diverse approaches to recovery, to the merits and failures of government drug policy, Drug-Impaired Professionals offers a clear and complete overview of a complex problem that affects nearly every family in America.
Croydon, England, was the setting of the famous three-way friendship of D. H. Lawrence, Jessie Chambers, and Helen Corke, all of whom made literary records of their association, and all of whom appeared as characters in Lawrence novels. Perhaps the most objective of these records were Helen Corke’s, which became difficult to acquire. Their scarcity and their continuing usefulness were the stimulus for publication of this volume, which contains in four statements Helen Corke’s “major comment on Lawrence the man and Lawrence the artist.”
The “Portrait of D. H. Lawrence, 1909–1910,” a section from Corke’s unpublished autobiography, gives the reader glimpses into the earliest stages of the Lawrence-Corke friendship, when Lawrence worked to bring meaning back into Corke’s life after she had suffered a tragic loss. The “Portrait” tells of conversations before a log fire, German lessons, the reading of poetry, and sessions over Lawrence’s manuscript “Nethermere,” which the publishers renamed The White Peacock. In “Portrait,” Corke tells of working with Lawrence on revising the proofs of this book, of Lawrence’s encouragement of her own literary efforts, of their wandering together in the Kentish hill country, and of her first meeting with Jessie Chambers.
“Lawrence’s ‘Princess’” continues the narrative of the triple friendship, carrying it to its sad ending, but with the focus on Jessie Chambers. Perceptively and sympathetically written, it throws a clarifying light on the psychology of Lawrence and presents with literary charm another human being—Jessie, the Miriam of Sons and Lovers.
In combined narrative-critique method, Corke, in the essay “Concerning The White Peacock,” relates Lawrence’s problems in writing this novel and gives an analysis of its literary quality.
Lawrence and Apocalypse is cast in the form of a “deferred conversation” in which Lawrence and Corke discuss his philosophical ideas as presented in his Apocalypse. Although the book was written to present Lawrence’s ideas, its significance reposes equally in Corke’s reaction to his thought. As a succinct statement of Lawrence’s teachings about the nature of humanity, it has unique value.
Since the beginning of modern warfare, one of the favorite crusades of the international peacemakers has been toward disarmament. This book investigates the British origin of the disarmament idea--from World War I through the signing of the Treaty of Versailles. It traces the development of disarmament as a war aim, with special reference to the influence of British Liberal thought, and President Wilson's acceptance of disarmament as one of his Fourteen Points.
Disarmament is related to the other Allied war aims and to theLiberal and Labor parties during the war period. Particular attention is paid to the influence of public opinion and the British press. Neither an attack on nor an apology for the fiasco which followed, this is a lucid analysis of the events, tensions, personalities, and self-interests which led to the failure of an ideal.
Dream Zones explores the dreamed of and desired futures that constitute, sustain and disrupt capitalism in contemporary India.
Drawing on five years of research in and around India's Special Economic Zones (SEZs), the book follows the stories of regional politicians, corporate executives, rural farmers, industrial workers and social activists to show how the pursuit of growth, profit and development shapes the politics of industrialisation and liberalisation.
This book offers a timely reminder that the global economy is shaped by sentiment as much as reason and that un-realised expectations are the grounds on which new hopes for the future are sown.
French philosopher Gilles Deleuze is known as a thinker of creation, joyous affirmation, and rhizomatic assemblages. In this short book, Andrew Culp polemically argues that this once-radical canon of joy has lost its resistance to the present. Concepts created to defeat capitalism have been recycled into business mantras that joyously affirm “Power is vertical; potential is horizontal!”
Culp recovers the Deleuze’s forgotten negativity. He unsettles the prevailing interpretation through an underground network of references to conspiracy, cruelty, the terror of the outside, and the shame of being human. Ultimately, he rekindles opposition to what is intolerable about this world.
Forerunners is a thought-in-process series of breakthrough digital works. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.
A leading member of the new Afro-Cuban cultural movement, visual artist Juan Roberto Diago (b. 1971) has produced a body of work that offers a revisionist history of the Cuban nation. His “history”—a term he frequently inserts in his works using the visual language of graffiti—is not the official narrative of a racially harmonious nation, built thanks to the selfless efforts of generous white patriots. Diago’s Cuba is a nation built on pain, rape, greed, and the enslavement of millions of displaced Africans, a nation still grappling with the long-term effects of slavery and colonialism. To him, slavery is not the past, but a daily experience of racism and discrimination. Africa is not a root, but a wellspring of cultural renovation and personal affirmation, the ancestors that sustain him in his journey.
In the first examination of Diago’s creative work during his entire career, Alejandro de la Fuente provides parallel English- and Spanish-language text, illustrated throughout. The book traces Diago’s singular efforts to construct new pasts—the pasts required to explain the racial tensions of contemporary Cuba and the pasts of this Afro-Cuban present.
Thomas F. McGann Memorial Prize, Rocky Mountain Council on Latin American Studies, 2004
Southwest Book Award, Border Regional Library Association, 2003
In their efforts to impose colonial rule on Nueva Vizcaya from the sixteenth century to the middle of the seventeenth, Spaniards established missions among the principal Indian groups of present-day eastern Sinaloa, northern Durango, and southern Chihuahua, Mexico—the Xiximes, Acaxees, Conchos, Tepehuanes, and Tarahumaras. Yet, when the colonial era ended two centuries later, only the Tepehuanes and Tarahumaras remained as distinct peoples, the other groups having disappeared or blended into the emerging mestizo culture of the northern frontier. Why were these two indigenous peoples able to maintain their group identity under conditions of conquest, while the others could not?
In this book, Susan Deeds constructs authoritative ethnohistories of the Xiximes, Acaxees, Conchos, Tepehuanes, and Tarahumaras to explain why only two of the five groups successfully resisted Spanish conquest and colonization. Drawing on extensive research in colonial-era archives, Deeds provides a multifaceted analysis of each group's past from the time the Spaniards first attempted to settle them in missions up to the middle of the eighteenth century, when secular pressures had wrought momentous changes. Her masterful explanations of how ethnic identities, subsistence patterns, cultural beliefs, and gender relations were forged and changed over time on Mexico's northern frontier offer important new ways of understanding the struggle between resistance and adaptation in which Mexico's indigenous peoples are still engaged, five centuries after the "Spanish Conquest."
This is the first detailed, scholarly study of French foreign policy during the relatively brief period at the end of World War II when General de Gaulle was President of the provisional French government. During these years de Gaulle took the vitally important step of returning French foreign policy to the pragmatic, nationalist tradition of Poincaré and Louis Barthou. De Gaulle's efforts on the international scene, although not strikingly successful in themselves, foreshadowed many of the aims and policies which were pursued in various ways by his successors in the Fourth Republic and which he himself has reaffirmed in the years since 1958.
In the opening chapter, Mr. DePorte outlines French foreign policy between 1918 and 1940 and at the same time places de Gaulle firmly within that tradition of French diplomacy which rejected the notion that France could afford to be dependent on either Germany or Great Britain. In the second chapter, the author reviews de Gaulle's wartime experience, emphasizing his preoccupation with restoring France to full status as a Great Power and pointing out the extent to which his distrust of alliances preceded the problems he encountered with his allies as leader of the Free French. This discussion also includes a perceptive reevaluation of de Gaulle's difficulties with President Roosevelt.
The remaining chapters of the book deal in detail with the working out of diplomatic policies and problems during de Gaulle's term in office. Domestic affairs are discussed when events at home had a bearing on policy abroad. Through the issues and attitudes of these years--the Franco-Soviet pact, the distrust of allies and their blocs, the attempts to organize other groupings around France, the proposals for a Western European entity in which at least part of Germany could find a place--runs the unifying theme of the constant thrust for recognition of France's standing as a major power. During this period de Gaulle suffered many setbacks, but it is noteworthy that his basic objective the acceptance of France's right to participate in the great decisions of peace and war--which he himself did not achieve, was attained by his successors.
The Drama Therapy Decision Tree provides an integrated model for therapeutic decision-making by deconstructing the processes of choosing drama therapy interventions. The authors strive to provide a common language for communicating what drama therapists do in terms of diagnoses and interventions, especially for students and early career professionals in the field.
The book provides a systematic method for drama therapists and drama therapy students to use to determine the most appropriate therapy technique for clients. Paige Dickinson and Sally Bailey have identified and analyzed their own experiences with the task, and here they explain how to put learned theory into practice. In doing so, they provide early career drama therapy professionals a reliable and effective tool for making clinical decisions and offer practitioners a point of reference in addressing the socio-emotional needs of their clients.
The authors explain the basic tools drama therapists use in therapy situations, identify the core healing concepts of the practice, discuss the basic treatment planning process, and explain how these components are used together to identify an appropriate type of intervention for the client. They also offer examples of how this system can be applied to a variety of common diagnoses, and the appendices provide resources to connect drama therapy interventions to global treatment outcomes.
A unique study of lectionaries and graphic design as a site of biblical reception
How artists portrayed the Bible in large canvas paintings is frequently the subject of scholarly exploration, yet the presentation of biblical texts in contemporary graphic designs has been largely ignored. In this book Amanda Dillon engages multimodal analysis, a method of semiotic discourse, to explore how visual composition, texture, color, directionality, framing, angle, representations, and interactions produce potential meanings for biblical graphic designs. Dillon focuses on the artworks of two American graphic designers—the woodcuts designed by Meinrad Craighead for the Roman Catholic Sunday Missal and Nicholas Markell’s illustrations for the worship books of the Evangelical Lutheran Church in America—to present the merits of multimodal analysis for biblical reception history.
Now in paperback!
The volume covers Qumran scholarship in separate countries: the USA, Canada, Israel, France, Germany, Spain, the Netherlands, Scandinavia, Italy, and Eastern Europe. Each essay carries a detailed bibliography for the respective country. Biographies of all the major scholars active in the field are briefly given as well. This book thereby exhaustively surveys past and present Qumran research, outlining its particular development in various circumstances and national contexts. For the first time, perspectives and information not recorded in any other publication are highlighted.
Features:
The man with the golden mouth.
Dio Cocceianus Chrysostomus (AD ca. 40–ca. 120), of Prusa in Bithynia, Asia Minor, inherited with his brothers large properties and debts from his generous father Pasicrates. He became a skilled rhetorician hostile to philosophers. But in the course of his travels he went to Rome in Vespasian’s reign (69–79) and was converted to Stoicism. Strongly critical of the emperor Domitian (81–96) he was about 82 banned by him from Italy and Bithynia and wandered in poverty, especially in lands north of the Aegean, as far as the Danube and the primitive Getae. In 97 he spoke publicly to Greeks assembled at Olympia, was welcomed at Rome by emperor Nerva (96–98), and returned to Prusa. Arriving again at Rome on an embassy of thanks about 98–99 he became a firm friend of emperor Trajan. In 102 he traveled to Alexandria and elsewhere. Involved in a lawsuit about plans to beautify Prusa at his own expense, he stated his case before the governor of Bithynia, Pliny the Younger, 111–112. The rest of his life is unknown.
Nearly all of Dio’s extant Discourses (or Orations) reflect political concerns (the most important of them dealing with affairs in Bithynia and affording valuable details about conditions in Asia Minor) or moral questions (mostly written in later life; they contain much of his best writing). Some philosophical and historical works, including one on the Getae, are lost. What survives of his achievement as a whole makes him prominent in the revival of Greek literature in the last part of the first century and the first part of the second.
The Loeb Classical Library edition of Dio Chrysostom is in five volumes.
The man with the golden mouth.
Dio Cocceianus Chrysostomus (AD ca. 40–ca. 120), of Prusa in Bithynia, Asia Minor, inherited with his brothers large properties and debts from his generous father Pasicrates. He became a skilled rhetorician hostile to philosophers. But in the course of his travels he went to Rome in Vespasian’s reign (69–79) and was converted to Stoicism. Strongly critical of the emperor Domitian (81–96) he was about 82 banned by him from Italy and Bithynia and wandered in poverty, especially in lands north of the Aegean, as far as the Danube and the primitive Getae. In 97 he spoke publicly to Greeks assembled at Olympia, was welcomed at Rome by emperor Nerva (96–98), and returned to Prusa. Arriving again at Rome on an embassy of thanks about 98–99 he became a firm friend of emperor Trajan. In 102 he traveled to Alexandria and elsewhere. Involved in a lawsuit about plans to beautify Prusa at his own expense, he stated his case before the governor of Bithynia, Pliny the Younger, 111–112. The rest of his life is unknown.
Nearly all of Dio’s extant Discourses (or Orations) reflect political concerns (the most important of them dealing with affairs in Bithynia and affording valuable details about conditions in Asia Minor) or moral questions (mostly written in later life; they contain much of his best writing). Some philosophical and historical works, including one on the Getae, are lost. What survives of his achievement as a whole makes him prominent in the revival of Greek literature in the last part of the first century and the first part of the second.
The Loeb Classical Library edition of Dio Chrysostom is in five volumes.
The man with the golden mouth.
Dio Cocceianus Chrysostomus (AD ca. 40–ca. 120), of Prusa in Bithynia, Asia Minor, inherited with his brothers large properties and debts from his generous father Pasicrates. He became a skilled rhetorician hostile to philosophers. But in the course of his travels he went to Rome in Vespasian’s reign (69–79) and was converted to Stoicism. Strongly critical of the emperor Domitian (81–96) he was about 82 banned by him from Italy and Bithynia and wandered in poverty, especially in lands north of the Aegean, as far as the Danube and the primitive Getae. In 97 he spoke publicly to Greeks assembled at Olympia, was welcomed at Rome by emperor Nerva (96–98), and returned to Prusa. Arriving again at Rome on an embassy of thanks about 98–99 he became a firm friend of emperor Trajan. In 102 he traveled to Alexandria and elsewhere. Involved in a lawsuit about plans to beautify Prusa at his own expense, he stated his case before the governor of Bithynia, Pliny the Younger, 111–112. The rest of his life is unknown.
Nearly all of Dio’s extant Discourses (or Orations) reflect political concerns (the most important of them dealing with affairs in Bithynia and affording valuable details about conditions in Asia Minor) or moral questions (mostly written in later life; they contain much of his best writing). Some philosophical and historical works, including one on the Getae, are lost. What survives of his achievement as a whole makes him prominent in the revival of Greek literature in the last part of the first century and the first part of the second.
The Loeb Classical Library edition of Dio Chrysostom is in five volumes.
The man with the golden mouth.
Dio Cocceianus Chrysostomus (AD ca. 40–ca. 120), of Prusa in Bithynia, Asia Minor, inherited with his brothers large properties and debts from his generous father Pasicrates. He became a skilled rhetorician hostile to philosophers. But in the course of his travels he went to Rome in Vespasian’s reign (69–79) and was converted to Stoicism. Strongly critical of the emperor Domitian (81–96) he was about 82 banned by him from Italy and Bithynia and wandered in poverty, especially in lands north of the Aegean, as far as the Danube and the primitive Getae. In 97 he spoke publicly to Greeks assembled at Olympia, was welcomed at Rome by emperor Nerva (96–98), and returned to Prusa. Arriving again at Rome on an embassy of thanks about 98–99 he became a firm friend of emperor Trajan. In 102 he traveled to Alexandria and elsewhere. Involved in a lawsuit about plans to beautify Prusa at his own expense, he stated his case before the governor of Bithynia, Pliny the Younger, 111–112. The rest of his life is unknown.
Nearly all of Dio’s extant Discourses (or Orations) reflect political concerns (the most important of them dealing with affairs in Bithynia and affording valuable details about conditions in Asia Minor) or moral questions (mostly written in later life; they contain much of his best writing). Some philosophical and historical works, including one on the Getae, are lost. What survives of his achievement as a whole makes him prominent in the revival of Greek literature in the last part of the first century and the first part of the second.
The Loeb Classical Library edition of Dio Chrysostom is in five volumes.
The man with the golden mouth.
Dio Cocceianus Chrysostomus (AD ca. 40–ca. 120), of Prusa in Bithynia, Asia Minor, inherited with his brothers large properties and debts from his generous father Pasicrates. He became a skilled rhetorician hostile to philosophers. But in the course of his travels he went to Rome in Vespasian’s reign (69–79) and was converted to Stoicism. Strongly critical of the emperor Domitian (81–96) he was about 82 banned by him from Italy and Bithynia and wandered in poverty, especially in lands north of the Aegean, as far as the Danube and the primitive Getae. In 97 he spoke publicly to Greeks assembled at Olympia, was welcomed at Rome by emperor Nerva (96–98), and returned to Prusa. Arriving again at Rome on an embassy of thanks about 98–99 he became a firm friend of emperor Trajan. In 102 he traveled to Alexandria and elsewhere. Involved in a lawsuit about plans to beautify Prusa at his own expense, he stated his case before the governor of Bithynia, Pliny the Younger, 111–112. The rest of his life is unknown.
Nearly all of Dio’s extant Discourses (or Orations) reflect political concerns (the most important of them dealing with affairs in Bithynia and affording valuable details about conditions in Asia Minor) or moral questions (mostly written in later life; they contain much of his best writing). Some philosophical and historical works, including one on the Getae, are lost. What survives of his achievement as a whole makes him prominent in the revival of Greek literature in the last part of the first century and the first part of the second.
The Loeb Classical Library edition of Dio Chrysostom is in five volumes.
This e-book features the complete text found in the print edition of Dangerous Work, without the illustrations or the facsimile reproductions of Conan Doyle's notebook pages.
Can computer science solve our social problems? With Discourses on Social Software Jan Van Eijck and Rineke Verbrugge suggest it can, offering the reader a fascinating introduction to the innovative field of social software. Compiling a series of discussions involving a logician, a computer scientist, a philosopher, and a number of researchers from various other academic fields, this collection details the many ways in which the seemingly abstract disciplines of logic and computer science can be used to analyze and solve contemporary social problems.
From slave to sage.
Epictetus was a crippled Greek slave of Phrygia during Nero’s reign (AD 54–68) who heard lectures by the Stoic Musonius before he was freed. Expelled with other philosophers by the emperor Domitian in 89 or 92, he settled permanently in Nicopolis in Epirus. There, in a school that he called “healing place for sick souls” he taught a practical philosophy, details of which were recorded by Arrian, a student of his, and survive in four books of Discourses and a smaller Encheiridion, a handbook that gives briefly the chief doctrines of the Discourses. He apparently lived into the reign of Hadrian (AD 117–138).
Epictetus was a teacher of Stoic ethics, broad and firm in method, sublime in thought, and now humorous, now sad or severe in spirit. How should one live righteously? Our god-given will is our paramount possession, and we must not covet others’. We must not resist fortune. Man is part of a system; humans are reasoning beings (in feeble bodies) and must conform to god’s mind and the will of nature. Epictetus presents us also with a pungent picture of the perfect (Stoic) man.
The Loeb Classical Library edition of Epictetus is in two volumes.
From slave to sage.
Epictetus was a crippled Greek slave of Phrygia during Nero’s reign (AD 54–68) who heard lectures by the Stoic Musonius before he was freed. Expelled with other philosophers by the emperor Domitian in 89 or 92, he settled permanently in Nicopolis in Epirus. There, in a school that he called “healing place for sick souls” he taught a practical philosophy, details of which were recorded by Arrian, a student of his, and survive in four books of Discourses and a smaller Encheiridion, a handbook that gives briefly the chief doctrines of the Discourses. He apparently lived into the reign of Hadrian (AD 117–138).
Epictetus was a teacher of Stoic ethics, broad and firm in method, sublime in thought, and now humorous, now sad or severe in spirit. How should one live righteously? Our god-given will is our paramount possession, and we must not covet others’. We must not resist fortune. Man is part of a system; humans are reasoning beings (in feeble bodies) and must conform to god’s mind and the will of nature. Epictetus presents us also with a pungent picture of the perfect (Stoic) man.
The Loeb Classical Library edition of Epictetus is in two volumes.
Throughout the seventeenth century, early modern play readers and playgoers copied dramatic extracts (selections from plays and masques) into their commonplace books, verse miscellanies, diaries, and songbooks. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays is the first to examine these often overlooked texts, which reveal what early modern audiences and readers took, literally and figuratively, from plays. As this under-examined archival evidence shows, play readers and playgoers viewed plays as malleable and modular texts to be altered, appropriated, and, most importantly, used. These records provide information that is not available in other forms about the popularity and importance of early modern plays, the reasons plays appealed to their audiences, and the ideas in plays that most interested audiences.
Tracing the course of dramatic extracting from the earliest stages in the 1590s, through the prolific manuscript circulation at the universities, to the closure and reopening of the theatres, Estill gathers these microhistories to create a comprehensive overview of seventeenth-century dramatic extracts and the culture of extracting from plays. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays explores new archival evidence (from John Milton’s signature to unpublished university plays) while also analyzing the popularity of perennial favorites such as Shakespeare’s The Tempest. The study of dramatic extracts is the study of particulars: particular readers, particular manuscripts, particular plays or masques, particular historic moments. As D. F. McKenzie puts it, “different readers [bring] the text to life in different ways.” By providing careful analyses of these rich source texts, this book shows how active play-viewing and play-reading (that is, extracting) ultimately led to changing the plays themselves, both through selecting and manipulating the extracts and positioning the plays in new contexts.
Madly transfixing details—noodles, toilet paper, toothpaste, a first subway ride, a sock full of dollars—become milestones in a discovery of America. These details, combined with Federman's feel for the desperation of his characters, create a book that is simultaneously hilarious and frightening. The concrete play of its language, its use of found materials, give the viewer/reader a sense of constant and strange discovery. To turn these pages is to turn the corners of a world of words as full as any novel of literary discourse ever presented. Double or Nothing challenges the way we read fiction and the way we see words, and in the process, gives us back more of our own world and our real dilemmas than we are used to getting.
Picked for American Book Review's 100 Best First Lines from Novels
"The HIV+ men incarcerated in Limestone Prison's Dorm 16 were put there to be forgotten. Not only do Benjamin Fleury-Steiner and Carla Crowder bring these men to life, Fleury-Steiner and Crowder also insist on placing these men in the middle of critical conversations about health policy, mass incarceration, and race. Dense with firsthand accounts, Dying Inside is a nimble, far-ranging and unblinking look at the cruelty inherent in our current penal policies."
---Lisa Kung, Director, Southern Center for Human Rights
"The looming prison health crisis, documented here at its extreme, is a shocking stain on American values and a clear opportunity to rethink our carceral approach to security."
---Jonathan Simon, University of California, Berkeley
"Dying Inside is a riveting account of a health crisis in a hidden prison facility."
---Michael Musheno, San Francisco State University, and coauthor of Deployed
"This fresh and original study should prick all of our consciences about the horrific consequences of the massive carceral state the United States has built over the last three decades."
---Marie Gottschalk, University of Pennsylvania, and author of The Prison and the Gallows
"An important, bold, and humanitarian book."
---Alison Liebling, University of Cambridge
"Fleury-Steiner makes a compelling case that inmate health care in America's prisons and jails has reached the point of catastrophe."
---Sharon Dolovich, University of California, Los Angeles
"Fleury-Steiner's persuasive argument not only exposes the sins of commission and omission on prison cellblocks, but also does an excellent job of showing how these problems are the natural result of our nation's shortsighted and punitive criminal justice policy."
---Allen Hornblum, Temple University, and author of Sentenced to Science
Dying Inside brings the reader face-to-face with the nightmarish conditions inside Limestone Prison's Dorm 16---the segregated HIV ward. Here, patients chained to beds share their space with insects and vermin in the filthy, drafty rooms, and contagious diseases spread like wildfire through a population with untreated---or poorly managed at best---HIV.
While Dorm 16 is a particularly horrific human rights tragedy, it is also a symptom of a disease afflicting the entire U.S. prison system. In recent decades, prison populations have exploded as Americans made mass incarceration the solution to crime, drugs, and other social problems even as privatization of prison services, especially health care, resulted in an overcrowded, underfunded system in which the most marginalized members of our society slowly wither from what the author calls "lethal abandonment."
This eye-opening account of one prison's failed health-care standards is a wake-up call, asking us to examine how we treat our forgotten citizens and compelling us to rethink the American prison system in this increasingly punitive age.
Using a cognitive-functional linguistic framework and cross-linguistic research on discourse markers, Christopher J. Fresch investigates the use of five discourse markers in the documentary papyri of the third to first centuries BCE and the Greek translations of the Hebrew Bible. Through this analysis, Fresch proposes linguistically grounded descriptions for how each discourse marker uniquely functions to guide readers in how they process and comprehend the text. Based on these descriptions, he examines the instances of these discourse markers in the Greek translation of the Minor Prophets and how the translator used them to render the Hebrew text. Fresch presents a picture of a translator who selected discourse markers based on their own understanding of the structure, flow, and meaning of the underlying Hebrew text. Their use attests to a translator who was contextually aware and who desired to produce a translation in idiomatic Koine.
This renowned study follows the evolution of French painting from the Revolution through the Napoleonic era. Beginning with David's revolutionary classicism, Friedlaender scrutinizes the work of early-nineteenth-century artists against the background of their times. He reveals the baroque tendencies diffused into the art of Prudhon and the same predisposition, mixed with a strong realism, in the work of Géricault.
Two distinct trends appear, deriving from Pussin and Rubens. The author follows the styles as they mature, and represents their consumation in two great masters—the refined and abstract classicism of Ingres and the baroque of Delacroix with its flamboyant colorism and exotic subjects.
Wrestling with the experience of living online as a non-digital native
Joanna Fuhrman didn’t grow up online. Her generation entered the digital age as adults, with optimism about the possibilities it would bring for community building. In the alien landscape of the internet, they indeed found moments of joy and connection, but they also watched in anguish as what had been sold as a utopian space instead magnified the anti-democratic demons of necrocapitalism. In this darkly comic and surreal collection, Fuhrman lets herself fall into the internet wormhole of these conflicting realities. With titles ranging from “You Won’t Believe How Your Favorite Childhood Star Looks Now” to “We’ll Burn That Algorithm When We Get to It,” the feminist prose poems in Data Mind remix the tropes of digital life with the puckishness and embodied urgency for which Fuhrman is celebrated.
Last winter, a man tried to break Marcel Duchamp’s Fountain sculpture. The sculpted foot of Michelangelo’s David was damaged in 1991 by a purportedly mentally ill artist. With each incident, intellectuals must confront the unsettling dynamic between destruction and art. Renowned art historian Dario Gamboni is the first to tackle this weighty issue in depth, exploring specters of censorship, iconoclasm, and vandalism that surround such acts.
Gamboni uncovers here a disquieting phenomenon that still thrives today worldwide. As he demonstrates through analyses of incidents occurring in nineteenth- and twentieth-century America and Europe, a complex relationship exists among the evolution of modern art, destruction of artworks, and the long history of iconoclasm. From the controversial removal of Richard Serra’s Tilted Arc from New York City’s Federal Plaza to suffragette protests at London’s National Gallery, Gamboni probes the concept of artist’s rights, the power of political protest and how iconoclasm sheds light on society’s relationship to art and material culture.
Compelling and thought-provoking, The Destruction of Art forces us to rethink the ways that we interact with art and react to its power to shock or subdue.
Western moral and political theory in the last two centuries has widely held that morality and politics are independent of a divine reality. Claiming that this consensus is flawed, prominent theologian Franklin I. Gamwell argues that there is a necessary relation between moral worth and belief in God. Without appealing to the beliefs of any specific religion, Gamwell defends a return to the view that moral and political principles depend on a divine purpose.
To separate politics from the divine misrepresents the distinctive character of human freedom, Gamwell maintains, and thus prevents a full understanding of the nature of justice. Principles of justice define "democracy on purpose" as the political form in which we pursue the divine good.
Engaging in a dialogue with such major representatives of the dominant consensus as Kant, Habermas, and Rawls, and informed by the philosophical writings of Alfred North Whitehead, this book makes the case for a neoclassical metaphysics that restores a religious sensibility to our political life.
A recurrent and popular setting in American cinema, the dressing room has captured the imaginations of filmmakers and audiences for over a century. In The Dressing Room: Backstage Lives and American Film, the only book-length study of the space, author Desirée J. Garcia explores how dressing rooms are dynamic realms in which a diverse cast of performers are made and exposed. Garcia analyzes the backstage film, which spans film history, modes, and genre, to show how dressing rooms have been a useful space for filmmakers to examine the performativity of American life. From the Black maid to the wife and mother to the leading man, dressing rooms navigate, shape, and challenge society’s norms. The stakes are high in dressing rooms, Garcia argues, because they rehearse larger questions about identity and its performance, negotiating who can succeed and who cannot, and on what terms.
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