This study interprets eighteenth-century satire’s famous typographical obsession as a fraught response to the Enlightenment’s "ocularcentric" epistemological paradigms, as well as to a print-cultural moment identified by book-historians as increasingly "visual" — a moment at which widespread attention was being paid, for the first time, to format, layout, and eye-catching advertising strategies. On the one hand, the Augustans were convinced of the ability of their elaborately printed texts to function as a kind of optical machinery rivaling that of the New Science, enhancing readers’ physical but also moral vision. On the other hand, they feared that an overly scrutinizing gaze might undermine the viewer’s natural faculty for candor and sympathy, delight and desire. In readings of Pope, Swift, and Montagu, Mannheimer shows how this distrust of the empirical gaze led to a reconsideration of the ethics, and most specifically the gender politics, of ocularcentrism. Whereas Montagu effected this reconsideration by directly satirizing both the era’s faith in the visual and its attendant publishing strategies, Pope and Swift pursued their critique via print itself: thus whether via facing-page translations, fictional editors, or disingenuous footnotes, these writers sought to ensure that typography never became either a mere tool of (or target for) the objectifying gaze, but rather that it remained a dynamic and interactive medium by which readers could learn both to see and to see themselves seeing.
From 1642 to 1660, live theater was banned in England. The market for printed books, however—including plays—flourished. How did this period, when plays could be read but not performed, affect the way drama was written thereafter? As Katherine Mannheimer demonstrates, the plays of the following decades exhibited a distinct self-consciousness of drama’s status as a singular art form that straddled both page and stage. Scholars have commented on how the ban on live performance changed the way consumers read plays, but no previous book has addressed how this upheaval changed the way dramatists wrote them. In Restoration Drama and the Idea of Literature, Mannheimer argues that Restoration playwrights recognized and exploited the tension between print and performance inherent to all drama. By repeatedly and systematically manipulating this tension, these authors’ works sought to court the reader while at the same time also challenging emergent concepts of "literature" that privileged textuality and print culture over the performing body and the live voice.
The Profession of Widowhood explores how the idea of ‘true’ widowhood was central to pre-modern ideas concerning marriage and of female identity more generally. The medieval figure of the Christian vere vidua or “good” widow evolved from and reinforced ancient social and religious sensibilities of chastity, loyalty and grief as gendered ‘work.’ The ideal widow was a virtuous woman who mourned her dead husband in chastity, solitude, and most importantly, in perpetuity, marking her as “a widow indeed” (1 Tim 5:5). The widow who failed to display adequate grief fulfilled the stereotype of the ‘merry widow’ who forgot her departed spouse and abused her sexual and social freedom. Stereotypes of widows ‘good’ and ‘bad’ served highly-charged ideological functions in pre-modern culture, and have remained durable even in modern times, even as Western secular society now focuses more on a woman’s recovery from grief and possible re-coupling than the expectation that she remain forever widowed. The widow represented not only the powerful bond created by love and marriage, but also embodied the conventions of grief that ordered the response when those bonds were broken by premature death. This notion of the widow as both a passive memorial to her husband and as an active ‘rememberer’ was rooted in ancient traditions, and appropriated by early Christian and medieval authors who used “good” widowhood to describe the varieties of female celibacy and to define the social and gender order. A tradition of widowhood characterized by chastity, solitude, and permanent bereavement affirmed both the sexual mores and political agenda of the medieval Church. Medieval widows—both holy women recognized as saints and ‘ordinary women’ in medieval daily life—recognized this tradition of professed chastity in widowhood not only as a valuable strategy for avoiding remarriage and protecting their independence, but as a state with inherent dignity that afforded opportunities for spiritual development in this world and eternal merit in the next.
It is impossible to imagine the future of academic libraries without an extensive consideration of open access—the removal of price and permission barriers from scholarly research online. As textbook and journal subscription prices continue to rise, improvements in technology make online dissemination of scholarship less expensive, and faculty recognize the practical and philosophical appeal of making their work available to wider audiences. As a consequences, libraries have begun to consider a wide variety of open access “flavors” and business models. These new possibilities have significant impact on both library services and collection policies, and the call for new skills within library staffing. Volume 9 of the series Creating the 21st-Century Academic Library is the first of two addressing the topic of open access in academic libraries and focuses on policy and infrastructure for libraries that wish to provide leadership on their campus in the transition to more open forms of scholarship. Chapters in the book discuss how to make the case for open access on campus, as well as the political and policy implications of libraries that themselves want to become publishing entities. Infrastructure issues are also addressed including metadata standards and research management services. Also considered here is how interlibrary loan, preservation and the library’s role in providing textbooks, support the concept of open access. It is hoped that this volume, and the series in general, will be a valuable and exciting addition to the discussions and planning surrounding the future directions, services, and careers in the 21st-century academic library.
An invaluable text for dysphagia courses in speech-language pathology programs, Dysphagia Assessment and Treatment Planning: A Team Approach, Fifth Edition integrates the fundamentals of aerodigestive tract anatomy and physiology with objective assessment techniques and multidisciplinary treatment approaches. Contributors from speech-language pathology, otolaryngology, and gastroenterology present a variety of perspectives across domains of the professionals who serve patients with swallowing disorders. The in-depth, evidence-based assessment techniques and treatment models represent the most current dysphagia research and best practices. The book’s organization reflects the progression of most graduate-level dysphagia courses, with assessment techniques presented in the first half and special populations discussed in the latter half. The fifth edition has been thoroughly updated, with expanded references, perspectives on recently published literature reviews, and additional figures and tables. The authors have also added new pedagogical features and content revisions: * Treatment approaches have been updated to include new material on neuroplasticity, chin tuck against resistance (CTAR), and prophylactic strategies. * A new chapter on telehealth and dysphagia is available on the companion website and in the ebook version. * The chapter on endoscopy has been enhanced and expanded. * The chapters on fluoroscopy have been streamlined and condensed. * A new chapter focuses on the impact of dysphagia on the airway and how artificial airways may affect swallowing function. * The most recent nutrition guidelines have been updated, with a special focus on integration of texture modifications and dietary preferences with optimal nutrition. * The pediatrics chapter now provides a detailed discussion of thickeners and adequate nutrition. * End-of-chapter reflection questions have been updated. * Effective and well-documented examples of specific treatments have been included as supplementary boxes. * Additional videos with case studies are available. Also available is a separate companion workbook for students, Dysphagia Assessment and Treatment Planning Workbook, Fifth Edition. The workbook includes practical exercises aligned with each chapter of the textbook. The activities and questions are designed to clarify and expand on information presented in the text and should be of interest not only to students but also to practicing clinicians seeking fresh approaches. The workbook has been thoroughly updated to reflect the new organization and content of the textbook. Disclaimer: Please note that ancillary content such as bonus chapter material may not be included as published in the original print version of this book.
This study interprets eighteenth-century satire’s famous typographical obsession as a fraught response to the Enlightenment’s "ocularcentric" epistemological paradigms, as well as to a print-cultural moment identified by book-historians as increasingly "visual" — a moment at which widespread attention was being paid, for the first time, to format, layout, and eye-catching advertising strategies. On the one hand, the Augustans were convinced of the ability of their elaborately printed texts to function as a kind of optical machinery rivaling that of the New Science, enhancing readers’ physical but also moral vision. On the other hand, they feared that an overly scrutinizing gaze might undermine the viewer’s natural faculty for candor and sympathy, delight and desire. In readings of Pope, Swift, and Montagu, Mannheimer shows how this distrust of the empirical gaze led to a reconsideration of the ethics, and most specifically the gender politics, of ocularcentrism. Whereas Montagu effected this reconsideration by directly satirizing both the era’s faith in the visual and its attendant publishing strategies, Pope and Swift pursued their critique via print itself: thus whether via facing-page translations, fictional editors, or disingenuous footnotes, these writers sought to ensure that typography never became either a mere tool of (or target for) the objectifying gaze, but rather that it remained a dynamic and interactive medium by which readers could learn both to see and to see themselves seeing.
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