A Monster with a Thousand Hands makes visible a figure that has been largely overlooked in early modern scholarship on theater and audiences: the discursive spectator, an entity distinct from the actual bodies attending early modern English playhouses. Amy J. Rodgers demonstrates how the English commercial theater's rapid development and prosperity altered the lexicon for describing theatergoers and the processes of engagement that the theater was believed to cultivate. In turn, these changes influenced and produced a cultural projection—the spectator—a figure generated by social practices rather than a faithful recording of those who attended the theater. The early modern discursive spectator did not merely develop alongside the phenomenological one, but played as significant a role in shaping early modern viewers and viewing practices as did changes to staging technologies, exhibition practices, and generic experimentation. While audience and film studies have theorized the spectator, these fields tend to focus on the role of twentieth-century media (film, television, and the computer) in producing mass-culture viewers. Such emphases lead to a misapprehension that the discursive spectator is modernity's creature. Fearing anachronism, early modern scholars have preferred demographic studies of audiences to theoretical engagements with the "effects" of spectatorship. While demographic work provides an invaluable snapshot, it cannot account for the ways that the spectator is as much an idea as a material presence. And, while a few studies pursue the dynamics that existed among author, text, and audience using critical tools sharpened by film studies, they tend to obscure how early modern culture understood the spectator. Rather than relying exclusively on historical or theoretical methodologies, A Monster with a Thousand Hands reframes spectatorship as a subject of inquiry shaped both by changes in entertainment technologies and the interaction of groups and individuals with different forms of cultural production.
In this sophisticated overview of human emotions, a widely respected psychologist and author addresses the ambiguities and embraces the controversies that surround this intriguing subject. An insightful and lucid thinker, Jerome Kagan examines what exactly we do know about emotions, which popular assumptions about emotions are incorrect, and how scientific study must proceed if we are to uncover the answers to persistent and evasive questions about emotions. Integrating the findings of anthropological, psychological, and biological studies in his wide-ranging discussion, Kagan explores the evidence for great variation in the frequency and intensity of emotion among different cultures. He also discusses variations among individuals within the same culture and the influences of gender, class, ethnicity, and temperament on a person's emotional patina. In his closing chapter, the author proposes that three sources of evidence - verbal descriptions of feelings, behaviours, and measures of brain states - provide legitimate but different definitions of emotion. Translating data from one of these sources to another may not be possible, Kagan warns, and those who study emotions must accept, at least for now, that their understanding is limited to and by the domain of their information
“A lifesaver – not just for PA students, but for faculty and administrators trying our best to prepare them. Perfect for students to read and use on rotation.” – James Van Rhee, MS, PA-C, DFAAPA, Program Director, Yale Physician Assistant Online Program The first pocket-size resource to guide PA students through their pediatrics rotation Prepare for and thrive during your clinical rotations with the quick-access pocket guide series, The Physician Assistant Student’s Guide to the Clinical Year. The Pediatrics edition of this 7-volume series, discounted when purchased as a full set, delineates the exact duties required in this specialty. Written by experienced PA educators, this guide details the clinical approach to common presentations such as cough, fever, and skin changes. It also provides a systems-based approach to more than 60 of the most frequently encountered disease entities you will see in this rotation, including dermatitis, pharyngitis, and otitis media. Distinguished by brief, bulleted content with handy tables and figures, the reference offers all pertinent laboratory and imaging studies needed to confirm a diagnosis, with medication and management guidelines. This guide also describes the most common procedures you will learn during the pediatrics rotation, including foreign body removal, reduction of subluxed radial head, and administration of nebulizer treatments.A special chapter on management of urgent pediatric conditions, such as asthma exacerbation, head injuries, and fractures, is also included. Key Features: Provides a pocket-size overview of the PA pediatrics rotation Describes common clinical presentations, disease entities, and procedures Offers a step-by-step approach to diagnosis and treatment planning Includes clinical pearls throughout Reflects the 2019 NCCPA PANCE blueprint Includes two bonus digital chapters! Three guided case studies to reinforce clinical reasoning plus 25 rotation exam-style questions with remediating rationales Other books in this series: The Physician Assistant Student’s Guide to the Clinical Year: Family Medicine Internal Medicine Emergency Medicine Surgery OB-GYN Behavioral Health
A Monster with a Thousand Hands makes visible a figure that has been largely overlooked in early modern scholarship on theater and audiences: the discursive spectator, an entity distinct from the actual bodies attending early modern English playhouses. Amy J. Rodgers demonstrates how the English commercial theater's rapid development and prosperity altered the lexicon for describing theatergoers and the processes of engagement that the theater was believed to cultivate. In turn, these changes influenced and produced a cultural projection—the spectator—a figure generated by social practices rather than a faithful recording of those who attended the theater. The early modern discursive spectator did not merely develop alongside the phenomenological one, but played as significant a role in shaping early modern viewers and viewing practices as did changes to staging technologies, exhibition practices, and generic experimentation. While audience and film studies have theorized the spectator, these fields tend to focus on the role of twentieth-century media (film, television, and the computer) in producing mass-culture viewers. Such emphases lead to a misapprehension that the discursive spectator is modernity's creature. Fearing anachronism, early modern scholars have preferred demographic studies of audiences to theoretical engagements with the "effects" of spectatorship. While demographic work provides an invaluable snapshot, it cannot account for the ways that the spectator is as much an idea as a material presence. And, while a few studies pursue the dynamics that existed among author, text, and audience using critical tools sharpened by film studies, they tend to obscure how early modern culture understood the spectator. Rather than relying exclusively on historical or theoretical methodologies, A Monster with a Thousand Hands reframes spectatorship as a subject of inquiry shaped both by changes in entertainment technologies and the interaction of groups and individuals with different forms of cultural production.
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