Originally called mad-doctoring, psychiatry began in the seventeenth century with the establishing of madhouses and the legal empowering of doctors to incarcerate persons denominated as insane. Until the end of the nineteenth century, every relationship between psychiatrist and patient was based on domination and coercion, as between master and slave. Psychiatry, its emblem the state mental hospital, was a part of the public sphere, the sphere of coercion.The advent of private psychotherapy, at the end of the nineteenth century, split psychiatry in two: some patients continued to be the involuntary inmates of state hospitals; others became the voluntary patients of privately practicing psychotherapists. Psychotherapy was officially defined as a type of medical treatment, but actually was a secular-medical version of the cure of souls. Relationships between therapist and patient, Thomas Szasz argues, was based on cooperation and contract, as is relationships between employer and employee, or, between clergyman and parishioner. Psychotherapy, its emblem the therapist's office, was a part of the private sphere, the contract.Through most of the twentieth century, psychiatry was a house divided-half-slave, and half-free. During the past few decades, psychiatry became united again: all relations between psychiatrists and patients, regardless of the nature of the interaction between them, are now based on actual or potential coercion. This situation is the result of two major ""reforms"" that deprive therapist and patient alike of the freedom to contract with one another: Therapists now have a double duty: they must protect all mental patients-involuntary and voluntary, hospitalized or outpatient, incompetent or competent-from themselves. They must also protect the public from all patients.Persons designated as mental patients may be exempted from responsibility for the deleterious consequences of their own behavior if it is attributed to mental illne
From 1934 to 1954 Joseph I. Breen, a media-savvy Victorian Irishman, reigned over the Production Code Administration, the Hollywood office tasked with censoring the American screen. Though little known outside the ranks of the studio system, this former journalist and public relations agent was one of the most powerful men in the motion picture industry. As enforcer of the puritanical Production Code, Breen dictated "final cut" over more movies than anyone in the history of American cinema. His editorial decisions profoundly influenced the images and values projected by Hollywood during the Great Depression, World War II, and the Cold War. Cultural historian Thomas Doherty tells the absorbing story of Breen's ascent to power and the widespread effects of his reign. Breen vetted story lines, blue-penciled dialogue, and excised footage (a process that came to be known as "Breening") to fit the demands of his strict moral framework. Empowered by industry insiders and millions of like-minded Catholics who supported his missionary zeal, Breen strove to protect innocent souls from the temptations beckoning from the motion picture screen. There were few elements of cinematic production beyond Breen's reach he oversaw the editing of A-list feature films, low-budget B movies, short subjects, previews of coming attractions, and even cartoons. Populated by a colorful cast of characters, including Catholic priests, Jewish moguls, visionary auteurs, hardnosed journalists, and bluenose agitators, Doherty's insightful, behind-the-scenes portrait brings a tumultuous era and an individual both feared and admired to vivid life.
European Cinema in Crisis' examines the conflicting terminologies that have dominated the discussion of the future of European film-making. It takes a fresh look at the ideological agendas, from 'avante-garde cinema' to the high/low culture debate and the fate of popular European cinema.
Presents a model important for the exploration for Sn, W, Mo, Ag, Cu, Zn, Pb, In, and U mineralization in the Bohemian Massif and comparable ore deposit provinces worldwide.
A prospector's body is found near the railroad tracks south of Fairbanks. At the miner's cabin, Tlingit Alaska State Trooper Sergeant Robert Sable finds two bodies slumped over a table in pools of blood. While investigating the crime scene, he finds hidden under the base of the prospector's fireplace several hundred thousand dollars in gold nuggets the killers missed. Rumors fly that the prospector had found the Dutchman, a mine of myth, legend and a curse. Over the last hundred years, men have died trying to find the mine. If they found it, the curse would kill them and the mine would be lost again. Bennett's killers are closing on the mine's location and as Sable follows the clues, they lead him closer to the killers and mortal danger.
Everything you always wanted to know about theories, meta-theories, methods, and interventions but didn’t realize you needed to ask. This innovative textbook takes advanced undergraduate and graduate students "behind the curtain" of standard developmental science, so they can begin to appreciate the generative value and methodological challenges of a lifespan developmental systems perspective. It envisions applied developmental science as focused on ways to use knowledge about human development to help solve societal problems in real-life contexts, and considers applied developmental research to be purpose driven, field based, community engaged, and oriented toward efforts to optimize development. Based on the authors’ more than 25 years of teaching, this text is designed to help researchers and their students intentionally create a cooperative learning community, full of arguments, doubts, and insights, that can facilitate their own internal paradigm shifts, one student at a time. With the aid of extensive online supplementary materials, students of developmental psychology as well as students in other psychological subdisciplines (such as industrial-organizational, social, and community psychology) and applied professions that rely on developmental training (such as education, social work, counseling, nursing, health care, and business) will find this to be an invaluable guidebook and toolbox for conceptualizing and studying applied problems from a lifespan developmental systems perspective.
The course of events is predetermined and cannot be changed. Forces beyond our control—or even our comprehension—shape our fates. Such is the deterministic worldview embedded in a wide swath of contemporary cinema, from arthouse experiments to popular genre films, through both thematic concerns and narrative structures. These films, especially the recent spate of “elevated” science fiction and horror, tap into this deep-seated anxiety by focusing on characters who ultimately fail to transcend the patterns and structures that define them. Thomas M. Puhr identifies and analyzes the ways that cinema has dealt with the tension between fate and free will, from Stanley Kubrick’s The Shining to Christopher Nolan’s Tenet. He examines films that express deterministic ideas, including circular narratives of stasis or confinement and fatalistic portraits of external forces dictating characters’ lives. Puhr considers determinism at the levels of the individual, the family, and society, reading films in which characters are trapped by past or alternate selves, the burdens of family histories, or oppressive social structures. He explores how films such as Joel and Ethan Coen’s Inside Llewyn Davis, Ari Aster’s Hereditary, Jordan Peele’s Us, and Lucrecia Martel’s Zama confront the limits of human agency. Puhr relates deterministic themes to the nature of moviegoing: In denying characters any ability to choose alternative paths, these films mirror how viewers themselves can only sit and watch. Recasting the works of some of today’s most compelling directors, Fate in Film is an innovative critical account of an unrecognized yet crucial aspect of contemporary cinema.
This volume is focused on Banach spaces of functions analytic in the open unit disc, such as the classical Hardy and Bergman spaces, and weighted versions of these spaces. Other spaces under consideration here include the Bloch space, the families of Cauchy transforms and fractional Cauchy transforms, BMO, VMO, and the Fock space. Some of the work deals with questions about functions in several complex variables.
In this book, Thomas J. Connelly draws on a number of key psychoanalytic concepts from the works of Jacques Lacan, Slavoj Žižek, Joan Copjec, Michel Chion, and Todd McGowan to identify and describe a genre of cinema characterized by spatial confinement. Examining classic films such as Alfred Hitchcock's Rope and Stanley Kubrick's The Shining, as well as current films such as Room, Green Room, and 10 Cloverfield Lane, Connelly shows that the source of enjoyment of confined spaces lies in the viewer's relationship to excess. Cinema of Confinement offers rich insights into the appeal of constricted filmic spaces at a time when one can easily traverse spatial boundaries within the virtual reality of cyberspace.
This book surveys the entire range of crime films, including important subgenres such as the gangster film, the private eye film, film noir, as well as the victim film, the erotic thriller, and the crime comedy. Focusing on ten films that span the range of the twentieth century, Thomas Leitch traces the transformation of the three leading figures that are common to all crime films: the criminal, the victim and the avenger. Analyzing how each of the subgenres establishes oppositions among its ritual antagonists, he shows how the distinctions among them become blurred throughout the course of the century. This blurring, Leitch maintains, reflects and fosters a deep social ambivalence towards crime and criminals, while the criminal, victim and avenger characters effectively map the shifting relations between subgenres, such as the erotic thriller and the police film, within the larger genre of crime film that informs them all.
This biographical dictionary is devoted to the actors who provided voices for all the Disney animated theatrical shorts and features from the 1928 Mickey Mouse cartoon Steamboat Willie to the 2010 feature film Tangled. More than 900 men, women, and child actors from more than 300 films are covered, with biographical information, individual career summaries, and descriptions of the animated characters they have performed. Among those listed are Adriana Caselotti, of Snow White fame; Clarence Nash, the voice of Donald Duck; Sterling Holloway, best known for his vocal portrayal of Winnie the Pooh; and such show business luminaries as Bing Crosby, Bob Newhart, George Sanders, Dinah Shore, Jennifer Tilly and James Woods. In addition, a complete directory of animated Disney films enables the reader to cross-reference the actors with their characters.
For more than a century, original music has been composed for the cinema. From the early days when live music accompanied silent films to the present in which a composer can draw upon a full orchestra or a lone synthesizer to embody a composition, music has been an integral element of most films. By the late 1930s, movie studios had established music departments, and some of the greatest names in film music emerged during Hollywood’s Golden Age, including Alfred Newman, Max Steiner, Dimitri Tiomkin, and Bernard Herrmann. Over the decades, other creators of screen music offered additional memorable scores, and some composers—such as Henry Mancini, Randy Newman, and John Williams—have become household names. The Encyclopedia of Film Composers features entries on more than 250 movie composers from around the world. It not only provides facts about these artists but also explains what makes each composer notable and discusses his or her music in detail. Each entry includes Biographical material Important dates Career highlights Analysis of the composer’s musical style Complete list of movie credits This book brings recognition to the many men and women who have written music for movies over the past one hundred years. In addition to composers from the United States and Great Britain, artists from dozens of other countries are also represented. A rich resource of movie music history, The Encyclopedia of Film Composers will be of interest to fans of cinema in general as well as those who want to learn more about the many talented individuals who have created memorable scores.
Gordon Orley had to escape a life of physical and sexual abuse by his father and mother. He is fourteen years old. He gave himself a new name and started a fresh life. This young man was highly intelligent. He happened upon a couple who took him in as one of their own. He excelled in terms of his education and became a highly regarded psychologist and teacher at the University of British Columbia. The death of his serial killer brother, at the hands of Sgt. Jack Rhodes, launched him onto a murderous path of revenge. For all his education, he could not reverse what he was becoming or help himself. He is able to hide in plain view. Sgt. Rhodes is drawn into a trap.
Mat s plan, obtain a PhD, the union card needed to do research, find a cure for cancer, then humbly accept his Nobel Prize. However, circumstances profoundly influenced this plan. After losing his funding in cancer research as a result of political infighting, Mat took a position in the blossoming field of toxicology, an outgrowth of the fears surrounding synthetic chemicals. Although successful in this area, Mat found it difficult to accept that synthetic chemicals or pharmaceuticals were responsible for most human cancers and birth defects. Along the way, he became involved with reproductive and other health problems in dogs and other domestic animals. Determining the cause of these problems led to difficulties with the powers-that-be and loss of his job.
This book explores the lives and achievements of two Irish sisters, Edith and Florence Stoney, who pioneered the use of new electromedical technologies, especially X-rays but also ultraviolet radiation and diathermy. In addition, the narrative follows several intertwined themes as experienced by the sisters during their lifetimes. Their upbringing, influenced by their liberal-minded scientist father, set the tone for both their lives. Irish independence fractured their family heritage. Their professional experiences, fulfilling for Florence as a qualified doctor but often frustrating for Edith as a Cambridge-educated scientist, mirrored those of other aspiring women during this period, when the suffragist movement expanded and women’s lobby groups were formed. World War I created an environment in which their unusual specialist knowledge was widely needed, and the sisters’ war experiences are carefully examined in the book. But ultimately this is the extraordinary story of two independent but closely bonded sisters and their abiding love and support for one another.
Compounds labeled with carbon-14 and tritium are indispensable tools for research in biomedical sciences, discovery and development of pharmaceuticals and agrochemicals. Preparation of Compounds Labeled with Tritium and Carbon-14 is a comprehensive, authoritative and up-to-date discussion of the strategies, synthetic approaches, reactions techniques, and resources for the preparation of compounds labeled with either of these isotopes. A large number of examples are presented for the use of isotopic sources and building blocks in the preparation of labeled target compounds, illustrating the range of possibilities for embedding isotopic labels in selected moieties of complex structures. Topics include: Formulation of synthetic strategies for preparing labeled compounds Isotope exchange methods and synthetic alternatives for preparing tritiated compounds In-depth discussion of carbon-14 building blocks and their utility in synthesis Preparation of enantiomerically pure isotopically labeled compounds Applications of biotransformations Preparation of Compounds Labeled with Tritium and Carbon-14 is an essential guide to the specialist strategies and tactics used by chemists to prepare compounds tagged with theradioactive atoms carbon-14 and tritium.
Wave Optics in Infrared Spectroscopy starts where conventional books about infrared spectroscopy end. Whereas the latter are based on the Bouguer-Beer-Lambert law, the cornerstones of this book are wave optics and dispersion theory. This gap between both levels of theory is bridged to allow a seamless transition from one to the other. Based on these foundations, the reader is able to choose which level of theory is adequate for the particular problem at hand. Advanced topics like 2D correlation analysis, chemometrics and strong coupling are introduced and viewed from a wave optics perspective. Spectral mixing rules are also considered to better understand spectra of heterogeneous samples. Finally, optical anisotropy is examined to allow a better understanding of spectral features due to orientation and orientational averaging. This discussion is based on a 4 x 4 matrix formalism, which is used not only to simulate and analyze complex materials, but also to understand vibrational circular dichroism from a (semi-) classical point of view. Wave Optics in Infrared Spectroscopy is written as a tool to reunite the fragmented field of infrared spectroscopy. It will appeal to chemists, physicists, and chemical/optical engineers. - Assists the reader (including those with less physical science backgrounds) in using more of the extensive benefits that infrared spectroscopy can provide by making them better aware and informed about the higher-level theory - Foundations of the book are built on wave optics and dispersion theory versus the Bouguer-Beer-Lambert law of conventional infrared spectroscopy literature - Limits of lower level of theory are explained in detail - Provides a thorough introduction to more sophisticated topics with a smooth transition from lower to higher-level theory
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