Moving from the literary to the visual, from the artistic to the autobiographical, and from the psychoanalytic to the historical, the book defines for the first time the trauma of the Holocaust as a radical crisis of witnessing "the unprecedented historical occurrence of...an event eliminating its own witness." Through the alternation of a literary and clinical perspective, the authors focus on the henceforth modified relation between knowledge and event, literature and evidence, speech and survival, witnessing and ethics.

    A team of contemporary fiction scholars from both sides of the Atlantic has been assembled to provide a thorough and readable analysis of each of the novels in question. The books in the series will all follow the same structure:a biography of the novelist, including other works, influences, and, in some cases, an interview; a full-length study of the novel, drawing out the most important themes and ideas; a summary of how the novel was received upon publication; a summary of how the novel has performed since publication, including film or TV adaptations, literary prizes, etc.; a wide range of suggestions for further reading, including websites and discussion forums; and a list of questions for reading groups to discuss.

    His closing chapter, 'Global and Intercultural Performance', is completely rewritten in light of the post-9/11 world. Fully revised chapters with new examples, biographies and source material provide a lively, easily accessible overview of the full range of performance for undergraduates at all levels in performance studies, theatre, performing arts and cultural studies. Among the topics discussed are the performing arts and popular entertainments, rituals, play and games as well as the performances of everyday life. Supporting examples and ideas are drawn from the social sciences, performing arts, post-structuralism, ritual theory, ethology, philosophy and aesthetics.User-friendly, with a special text design, Performance Studies: An Introduction also includes the following features:numerous extracts from primary sources giving alternative voices and viewpoints biographies of key thinkers student activities to stimulate fieldwork, classroom exercises and discussion key reading lists for each chapter twenty line drawings and 202 photographs drawn from private and public collections around the world.

    In Writing History, Writing Trauma, Dominick LaCapra provides a broad-ranging, critical inquiry into the problem of trauma, notably with respect to major historical events. In a series of interlocking essays, he explores theoretical and literary-critical attempts to come to terms with trauma as well as the crucial role post-traumatic testimonies—particularly Holocaust testimonies—have assumed in recent thought and writing. In doing so, he adapts psychoanalytic concepts to historical analysis and employs sociocultural and political critique to elucidate trauma and its after effects in culture and in people.In the first chapter LaCapra addresses trauma from the perspective of history as a discipline. He then lays a theoretical groundwork for the book as a whole, exploring the concept of historical specificity and insisting on the difference between transhistorical and historical trauma. Subsequent chapters consider how Holocaust testimonies raise the problem of the role of affect and empathy in historical understanding, and respond to the debates surrounding Daniel Jonah Goldhagen's book Hitler's Willing Executioners: Ordinary Germans and the Holocaust. The book's concluding essay, "Writing (About) Trauma," examines the various ways that the voice of trauma emerges in written and oral accounts of historical events. Theoretically ambitious and historically informed, Writing History, Writing Trauma is an important contribution from one of today's foremost experts on trauma.

    has been fully revised. Packed with 75% new material, L.A. Bizarro boasts scores of fresh discoveries plus original photos presented in luscious, lurid color. Connoisseurs of the weird and wonderful, Anthony Lovett and Matt Maranian steer readers into a world of culinary curiosities, morbid museums, sexual sideshows, and dipsomaniacal dives. From pet cemeteries to piata district, hundreds of odd and outr delights are laid bare for visitors and Angelenos alike.

    As the idea of childhood innocence took hold, it became racialized: popular culture constructed white children as innocent and vulnerable while excluding black youth from these qualities. Actors, writers, and visual artists then began pairing white children with African American adults and children, thus transferring the quality of innocence to a variety of racial-political projects—a dynamic that Robin Bernstein calls “racial innocence.” This phenomenon informed racial formation from the mid-19th century through the early 20th century.Racial Innocence takes up a rich archive including books, toys, theatrical props, and domestic knickknacks which Bernstein analyzes as “scriptive things” that invite or prompt historically located practices while allowing for resistance and social improvisation. Integrating performance studies with literary and visual analysis, Bernstein offers singular readings of theatrical productions, from blackface minstrelsy to Uncle Tom’s Cabin to The Wonderful Wizard of Oz; literary works by Joel Chandler Harris, Harriet Wilson, and Frances Hodgson Burnett; material culture including Topsy pincushions, Uncle Tom and Little Eva handkerchiefs, and Raggedy Ann dolls; and visual texts ranging from fine portraiture to advertisements for lard substitute. Throughout, Bernstein shows how “innocence” gradually became the exclusive province of white children—until the Civil Rights Movement succeeded not only in legally desegregating public spaces, but in culturally desegregating the concept of childhood itself.Writing in Children’s Literature, Philip Nel notes that Racial Innocence is “one of those rare books that shifts the paradigm—a book that, in years to come, will be recognized as a landmark in children’s literature and childhood studies.” In the journal Cultural Studies, reviewer Aaron C. Thomas says that Bernstein’s “theory of the scriptive thing asks us to see children as active participants in culture, and, in fact, as expert agents of the culture of childhood into which they have been interpellated. In this way, Bernstein is able not only to describe the effects of 19th-century radicalization on 21st century US culture, but also to illuminate the radicalized residues of our own childhoods in our everyday adult lives.” Racial Innocence was awarded the 2012 Outstanding Book Award from the Association for Theatre in Higher Education, and the award committee noted that the book “is a historiographic tour de force that traces a genealogy of the invention of the innocent (white) child and its racialized roots in 19th and 20th century U.S. popular culture.”

    Then, in performing posthumanist readings of such diverse works as Temple Grandin's writings, Wallace Stevens's poetry, Lars von Trier's Dancer in the Dark, the architecture of Diller+Scofidio, and David Byrne and Brian Eno's My Life in the Bush of Ghosts, he shows how this philosophical sensibility can transform art and culture.For Wolfe, a vibrant, rigorous posthumanism is vital for addressing questions of ethics and justice, language and trans-species communication, social systems and their inclusions and exclusions, and the intellectual aspirations of interdisciplinarity. In What Is Posthumanism? he carefully distinguishes posthumanism from transhumanism (the biotechnological enhancement of human beings) and narrow definitions of the posthuman as the hoped-for transcendence of materiality. In doing so, Wolfe reveals that it is humanism, not the human in all its embodied and prosthetic complexity, that is left behind in posthumanist thought.

    

    In lively and timely essays, an international group of feminist thinkers challenges the assumptions and norms that have previously defined studies about the body. These wide-ranging essays grapple with topics such as the material reality of race, the significance of sexual difference, the impact of disability experience, and the complex interaction between nature and culture in traumatic events such as Hurricane Katrina. By insisting on the importance of materiality, this volume breaks new ground in philosophy, feminist theory, cultural studies, science studies, and other fields where the body and nature collide.

    The volume includes recent essays from Alastair Duckworth, Marilyn Butler, D.A. Miller, Isobel Armstrong and Karen Newman.

    The Fifth Edition features updated information throughout, including new theories and models such as the Healthy Action Process Approach (HAPA) and the Community Readiness Model (CRM), sections on grant writing and preparing a budget, real-life examples of marketing principles and processes, and a new classification system for evaluation approaches and designs. Health Education, Health Promotion, Health Educators, and Program Planning, Models for Program Planning in Health Promotion, Starting the Planning Process, Assessing Needs, Measurement, Measures, Measurement Instruments and Sampling, Mission Statement, Goals, and Objectives, Theories and Models Commonly Used for Health Promotion Interventions, Interventions, Community Organizing and Community Building, Identification and Allocation of Resources, Marketing: Making Sure Programs Respond to Wants and Needs of Consumers, Implementation: Strategies and Associated Concerns, Evaluation: An Overview, Evaluation Approaches and Designs, Data Analysis and Reporting. Intended for those interested in learning the basics of planning, implementing, and evaluating health promotion programs

    Chapters focus on the supernatural elements of the work, as well as the author´s treatment of the physical self.

    Humans are creative; it is a quality embedded in the fabric of our being, and a reality that reflects our existence as being made in the image of God.This book is a compilation of our e-books Liturgy for Creatives and On Becoming Creative, and new reflections—encompassing Alabaster's lived experience as a creative company for the past two years. It is a first step, the beginning of a conversation that allows readers to engage their faith and creativity against the larger backdrop of the God who has made all that is made.

    By examining the work produced by writers at the end of their lives, it elucidates the difference between growing old and disintegrating.

    Photographs.