logo for Dartmouth College Press
Le Français - Instructor’s Manual
Départ—Arrivée
John A. Rassias and Jacqueline de La Chapelle Skubly
Dartmouth College Press, 2008
The third of three connected volumes of Le Français, making up a unique  French language tutorial by the renowned creator of The Rassias Method®
[more]

front cover of Letter to Beaumont, Letters Written from the Mountain, and Related Writings
Letter to Beaumont, Letters Written from the Mountain, and Related Writings
Jean-Jacques Rousseau
Dartmouth College Press, 2012
Published between 1762 and 1765, these writings are the last works Rousseau wrote for publication during his lifetime. Responding in each to the censorship and burning of Emile and Social Contract, Rousseau airs his views on censorship, religion, and the relation between theory and practice in politics. The Letter to Beaumont is a response to a Pastoral Letter by Christophe de Beaumont, Archbishop of Paris (also included in this volume), which attacks the religious teaching in Emile. Rousseau’s response concerns the general theme of the relation between reason and revelation and contains his most explicit and boldest discussions of the Christian doctrines of creation, miracles, and original sin. In Letters Written from the Mountain, a response to the political crisis in Rousseau’s homeland of Geneva caused by a dispute over the burning of his works, Rousseau extends his discussion of Christianity and shows how the political principles of the Social Contract can be applied to a concrete constitutional crisis. One of his most important statements on the relation between political philosophy and political practice, it is accompanied by a fragmentary “History of the Government of Geneva.” Finally, “Vision of Peter of the Mountain, Called the Seer” is a humorous response to a resident of Motiers who had been inciting attacks on Rousseau during his exile there. Taking the form of a scriptural account of a vision, it is one of the rare examples of satire from Rousseau’s pen and the only work he published anonymously after his decision in the early 1750s to put his name on all his published works. Within its satirical form, the “Vision” contains Rousseau’s last public reflections on religious issues. Neither the Letter to Beaumont nor the Letters Written from the Mountain has been translated into English since defective translations that appeared shortly after their appearance in French. These are the first translations of both the “History” and the “Vision.”
[more]

front cover of Life beyond Medicine
Life beyond Medicine
The Joys and Challenges of Physician Retirement
Sharon Romm
Dartmouth College Press, 2018
Physicians retire at all ages—older doctors forsake medical practice when tired of it or when forced to do so by age or illness; younger practitioners leave because of burnout, disillusionment with the medical system, or a desire to engage in new activities. But research and literature about physician retirement is scanty. Given the limited resources available, many physicians who want to retire from medicine remain mired in indecision, wondering how their life might be different if they left medicine. Sharon Romm has written the definitive guide to help health care professionals of all ages prepare for the joys and challenges ahead.
[more]

front cover of The Living Line
The Living Line
Modern Art and the Economy of Energy
Robin Veder
Dartmouth College Press, 2015
Robin Veder’s The Living Line is a radical reconceptualization of the development of late-nineteenth- and early-twentieth-century American modernism. The author illuminates connections among the histories of modern art, body cultures, and physiological aesthetics in early-twentieth-century American culture, fundamentally altering our perceptions about art and the physical, and the degree of cross-pollination in the arts. The Living Line shows that American producers and consumers of modernist visual art repeatedly characterized their aesthetic experience in terms of kinesthesia, the sense of bodily movement. They explored abstraction with kinesthetic sensibilities and used abstraction to achieve kinesthetic goals. In fact, the formalist approach to art was galvanized by theories of bodily response derived from experimental physiological psychology and facilitated by contemporary body cultures such as modern dance, rhythmic gymnastics, physical education, and physical therapy. Situating these complementary ideas and exercises in relation to enduring fears of neurasthenia, Veder contends that aesthetic modernism shared industrial modernity’s objective of efficiently managing neuromuscular energy. In a series of finely grained and interconnected case studies, Veder demonstrates that diverse modernists associated with the Armory Show, the Société Anonyme, the Stieglitz circle (especially O’Keeffe), and the Barnes Foundation participated in these discourses and practices and that “kin-aesthetic modernism” greatly influenced the formation of modern art in America and beyond. This daring and completely original work will appeal to a broad audience of art historians, historians of the body, and American culture in general.
[more]


Send via email Share on Facebook Share on Twitter