A SCHOLARLY BOOK REPOSITORY37 start with W start with W
Although many who are drawn to such work initially see it as a privilege—an opportunity to connect with the public in meaningful ways through the medium of history—the realities of the job almost inevitably alter that view. Not only do interpreters make considerable sacrifices, both emotional and financial, in order to pursue their work, but their sense of special status can lead them to avoid confronting troubling conditions on the job, at times fueling tensions in the workplace.
This case study also offers insights—many drawn from the author's seven years of working as an interpreter at Fort Snelling—into the way gendered roles and behaviors from the past play out among the workers, the importance of creative autonomy to historical interpreters, and the ways those on public history's front lines both resist and embrace the site's more difficult and painful histories relating to slavery and American Indian genocide.
Walking on Fire opens up new conversations about content and emotion for writers and offers exciting answers to the questions of why we make drama and why we connect to it. Linnell’s userfriendly theory and passionate approach create a framework for understanding the links between the writer’s work in creating the text, the text itself, and the audience’s engagement.
In this innovative study, Flora focuses on Inuit communities in Greenland and addresses a central puzzle: their alarmingly high suicide rate. She explores the deep connections between loneliness and modernity in the Arctic, tracing the history of Greenland and analyzing the social dynamics that shaped it. Flora’s thorough, sensitive engagement with the families that make up these communities uncovers the complex interplay between loneliness and a host of economic and environmental practices, including the widespread local tradition of hunting. Wandering Spirits offers a vivid portrait of a largely overlooked world, in all its fragility and nuance, while engaging with core anthropological concerns of kinship and the structure of social relations.
Marianna Torgovnick argues that we have lived, since the end of World War II, under the power of a war complex—a set of repressed ideas and impulses that stems from our unresolved attitudes toward the technological acceleration of mass death. This complex has led to gaps and hesitations in public discourse about atrocities committed during the war itself. And it remains an enduring wartime consciousness, one most recently animated on September 11.
Showing how different events from World War II became prominent in American cultural memory while others went forgotten or remain hidden in plain sight, The War Complex moves deftly from war films and historical works to television specials and popular magazines to define the image and influence of World War II in our time. Torgovnick also explores the 1961 trial of Adolf Eichmann, the emotional legacy of the Holocaust, and the treatment of World War II's missing history by writers such as W. G. Sebald to reveal the unease we feel at our dependence on those who hold the power of total war. Thinking anew, then, about how we account for war to each other and ourselves, Torgovnick ultimately, and movingly, shows how these anxieties and fears have prepared us to think about September 11 and our current war in Iraq.
Originally published in German as Die Gesellschaft der Uberlebenden, The War in Their Minds examines hitherto unused source material—psychiatric medical files of soldiers—to make clear how difficult it was for the soldiers and their families to readjust to normal, everyday life. Goltermann allows these testimonies of violence, guilt, justification, and helplessness speak for themselves and sensitively explores how the pension claims of returning soldiers were to compete with the claims of the Holocaust victims to compensation.
A War of Nerves is a history of military psychiatry in the twentieth century—an authoritative, accessible account drawing on a vast range of diaries, interviews, medical papers, and official records, from doctors as well as ordinary soldiers. It reaches back to the moment when the technologies of modern warfare and the disciplines of psychological medicine first confronted each other on the Western Front, and traces their uneasy relationship through the eras of shell-shock, combat fatigue, and post-traumatic stress disorder.
At once absorbing historical narrative and intellectual detective story, A War of Nerves weaves together the literary, medical, and military lore to give us a fascinating history of war neuroses and their treatment, from the World Wars through Vietnam and up to the Gulf War. Ben Shephard answers recurring questions about the effects of war. Why do some men crack and others not? Are the limits of resistance determined by character, heredity, upbringing, ideology, or simple biochemistry?
Military psychiatry has long been shrouded in misconception, and haunted by the competing demands of battle and of recovery. Now, for the first time, we have a definitive history of this vital art and science, which illuminates the bumpy efforts to understand the ravages of war on the human mind, and points towards the true lessons to be learned from treating the aftermath of war.
Sweeping through two centuries of American culture and military history, Franklin traces the evolution of superweapons from Robert Fulton's eighteenth-century submarine through the strategic bomber, atomic bomb, and Star Wars to a twenty-first century dominated by "weapons of mass destruction," real and imagined. Interweaving culture, science, technology, and history, he shows how and why the American pursuit of the ultimate defensive weapon—guaranteed to end all war and bring universal triumph to American ideals—has led our nation and the world into an epoch of terror and endless war.
In its innovative approach to South Africa's history, Washed with Sun breaks important new ground, combining the persuasive theory of cultural geography with the material specificity of landscape history.
“I thought my life began in Chicago. I was mistaken. That is where my body first made its appearance, but the contours of my life…had their start much sooner.”
In Water Thicker Than Blood, poet and professor George Uba traces his life as a Japanese American born in the late 1940s, a period of insidious anti-Japanese racism. His beautiful, impressionist memoir chronicles how he, like many Sansei (and Nisei) across the United States, grappled with dislocation and trauma while seeking acceptance and belonging.
Uba’s personal account of his efforts to achieve normality and assuage guilt unfolds as racial demographics in America are shifting. He struggled with inherently violent midcentury educational and childrearing practices and a family health crisis, along with bullying. Uba describes boy scouts and yogore (community rebels and castoffs) with vivid detail, using these vignettes to show how margins were blurred and how both sets of youth experienced injury through the same ideological pressures.
Water Thicker Than Blood is not a conventional story about recovery or family reconciliation. But itoffers an intimate look at the lasting—in some ways irreversible—damage caused by post-internment ideologies of “being accepted” and “fitting in inconspicuously.” It speaks volumes for the greater Sansei post-internment experience.
Margaret A. Syverson discusses the ways in which a theory of composing situations as ecological systems might productively be applied in composition studies. She demonstrates not only how new research in cognitive science and complex systems can inform composition studies but also how composing situations can provide fruitful ground for research in cognitive science.
Syverson first introduces theories of complex systems currently studied in diverse disciplines. She describes complex systems as adaptive, self-organizing, and dynamic; neither utterly chaotic nor entirely ordered, these systems exist on the boundary between order and chaos. Ecological systems are "metasystems" composed of interrelated complex systems. Writers, readers, and texts, together with their environments, constitute one kind of ecological system.
Four attributes of complex systems provide a theoretical framework for this study: distribution, embodiment, emergence, and enaction. Three case studies provide evidence for the application of these concepts: an analysis of a passage from an autobiographical poem by Charles Reznikoff, a study of first-year college students writing collaboratively, and a conflict in a computer forum of social scientists during the Gulf War. The diversity of these cases tests the robustness of theories of distributed cognition and complex systems and suggests possibilities for wider application.
Boia here examines the cultural influence of weather through the lens of anthropology and psychology, history, and catastrophe. He first investigates how human diversity is linked to weather and why people differ according to their native climates. He then looks at how climate can explain the dynamics of historical progress and the rise and fall of civilizations, citing how Nazis used it to justify the superiority of the "Aryan" race. And what can destroy or induce panic in a society more effectively than a good climatic jolt? Boia investigates the social upheaval caused by catastrophic weather conditions, citing the most gripping example in human history, the Biblical Flood.
The Weather in the Imagination is a thought-provoking chronicle of how humans throughout history have been bewildered, infuriated, and often terrified by the weather.
Violence is a topic of concern everywhere--in the media, in churches, in the halls of governments. In every land and in every culture violence is considered by most to be taboo, a last resort. Yet under certain conditions, from the level of the family to the level of nations, violence is used as a mechanism of social control. Various rationalizations thus emerge to distinguish between legitimate and illegitimate violence.
The Web of Violence explores the interrelationship among personal, collective, national, and global levels of violence. This unique collection brings together a number of internationally known contributors to address the genesis and manifestations of violence in the search for a remedy for this confounding social problem.
As the global community becomes more intimate, we must better understand the nature of violence. The Web of Violence supports this aim by examining the dangerous human phenomenon from many perspectives, at different levels, and using multiple methodologies.
Contributors: Robert Jay Lifton, Christopher G. Ellison, John P. Bartkowski, Yuan-Horng Chu, Philip Smith, Robert Elias, Birgit Brock-Utne, Riane Eisler, Johan Galtung
“The authors put flesh on the feeling shared by all music teachers that the experience of music enhances thought and learning in unexpected directions, well beyond the simple act of enjoying the sound. … It’s exciting and necessary reading for all who are battling to ensure the place of music in the school curriculum."—Times Educational Supplement
Which is truly the weaker sex? Which has a harder time with its sexual and aggressive drives? The complicated business of being male is finally given its due in this book by John Munder Ross, a premier researcher and writer on the subject of masculinity. Distilling twenty years of study, he explores the male condition from infancy to manhood, exposing its complexity and fragility in the face of conflicting familial, social, and sexual impulses.
The author's psychoanalytic focus is anchored in clinical experience. But his interdisciplinary background leads him to draw on mythology, anthropology, sociology, history, and literature in formulating and illustrating his ideas about male identity and development. A boy's early identification with his mother, the evolution of his fatherly ambitions, the aggression and generational rivalry in father-son relationships, the developmental role of romantic, erotic passion: as Ross pursues these themes, he documents the ongoing changes in views of male psychology.
His book, then, is both a general intellectual history of the psychoanalytic study of male development and a lucid account of what that study has to tell us. Throughout, Ross emphasizes the feminine underside of a man's nature and the destructive potential inherent in asserting his virility, internal tensions that result in the complicated and often shaky sense of manhood so clearly described in this book. Compelling and insightful, What Men Want illuminates the concepts that figure most prominently in our understanding of the modern male condition: fatherhood, aggression, and heterosexual love. More than any other work to date, it solves the mystery of what it means to be male.
Drawing on a vast array of jokes and the work of dozens of comedians from Jay Leno and Lenny Bruce to Steve Allen and Billy Crystal, Davis reminds us of the extraordinarily subversive power of comedy. When we laugh, we accept the truth of the comic moment: that this is the way life really is. The book is in two parts. In the first, Davis explores the cultural conventions that even simple jokes take apart—the rules of logic, language, rationality, and meaning. In the second, he looks at the social systems that have been at the root of jokes for centuries: authority figures, power relations, and institutions. Whatever their style, comedians use the tools of the trade—ambiguous meanings, missed signals, incongruous characters, unlikely events—to violate our expectations about the world.
Setting comedy within a rich intellectual tradition—from Plato to Freud, Hobbes to Kant, in philosophy as well as sociology—Davis makes a convincing case for comedy as a subtle, complex, and articulated theory of culture and society. He reveals the unsuspected ways in which comedy, with its spotlight on the gap between appearance and reality, the ideal and the actual, can be a powerful mode for understanding the world we have made.
Weine investigates the survivors’ attempts to reconcile the contrasting, collective memories of having lived in a smoothly functioning, multiethnic society with the later memories of the ethnic atrocities. He discusses the little-known group concept of merhamet. Denoting compassion, forgiveness, and charity, merhamet was a critical cultural value for the Bosnian Muslims.
Weine also explores how ethnic cleansing was justified from the vantage point of psychiatrists who played prominent roles in instigating the horrors. He also provides personal portraits of leaders such as Jovan Raskovic and Radovan Karadzic. He concludes by describing the recovery efforts of survivors—how they work to confront the destructive nature of their memories while trying to bring about healing, both individually and collectively.
When Pain Strikes was first published in 1998. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
When pain strikes, do you raid the medicine cabinet? Read a self-help manual? Hit the roof? How we in North America respond to pain-what we think about it, what we say, and what we do-is the subject of this collection of writings and images.
The book's five sections contain a myriad of complex reactions to the occurrence of pain: "Measure It" discusses biomedical responses; "Scream and Yell" explores therapeutic solutions; "Cut It Open" takes up surgical interventions; "Take a Pill" looks at pharmacology; and "Intensify It" examines positions that embrace pain. Each section comprises original artwork, scholarly analyses, poetic and literary texts, and discussions by activists. Hailing from the university, the gallery, and the community organization, the authors—as TV watchers, recreational drug users, recipients of medical attention, caregivers, midwives, or the HIV positive—inhabit and reconfigure our contemporary painscape, offering a new approach to the puzzle of pain.
Contributors: Charles R. Acland; Barbara McGill Balfour; Isabelle Brabant; Stephen Busby; Millie Chen; Michael Fernandes; Bob Flanagan; Thyrza Nichols Goodeve; Marie-Paule Macdonald; Ronald Melzack; Margaret Morse; Celeste Olalquiaga; John O'Neill; Gerard Päs; Elsie Petch; D. L. Pughe; Julia Scher; Cathy Sisler; Johanne Sloan; Jana Sterbak; Fred Tomaselli; Patrick D. Wall; Theodore Wan; Gregory Whitehead; Fred Wilson.
When Pain Strikes is published in collaboration with the Banff Centre for the Arts.
The poetry of the Late Roman Republican poet Gaius Valerius Catullus, a rich document of the human heart, is the earliest-known reasonably complete body of erotic verse in the West.
Though approximately 116 poems survive, uncertainties about the condition of the fragmented manuscript and the narrative order of the poems make the Catullan text unusually problematic for the modern critic. Indeed, the poems can be arranged in a number of ways, making a multitude of different plots possible and frustrating the reader’s desire for narrative closure.
Micaela Janan contends that since unsatisfied desire structures both the experience of reading Catullus and its subject matter, critical interpretation of the text demands a "poetics of desire." Furthermore, postmodern critical theory, narratology, and psychoanalysis suggest a flexible concept of the "subject" as a site through which a multitude of social, cultural, and unconscious forces move. Human consciousness, Janan contends, is inherently incomplete and in a continuous process of transformation. She therefore proposes an original and provocative feminist reading of Catullus, a reading informed by theories of consciousness and desire as ancient as Plato and as contemporary as Freud and Lacan.
The Late Roman Republic in which Catullus lived, Janan reminds us, was a time of profound social upheaval when political and cultural institutions that had persisted for centuries were rapidly breaking down—a time not unlike our own. Catullus’ poetry provides an unusually honest look at his culture and its contradictory representations of class, gender, and power. By bringing to the study of this major work of classical literature the themes of consciousness and desire dealt with in postmodern scholarship, Janan’s book invites a new conversation among literary disciplines.
Blacks with white skin. Since colonial times, showmen have exhibited the bodies of African Americans with white or gradually whitening skin in taverns, dime museums, and circus sideshows. The term "white Negro" has served to describe an individual born with albinism as well as those who have vitiligo, a disorder that robs the skin of its pigment in ever-growing patches. In The White African American Body, Charles D. Martin examines the proliferation of the image of the white Negro in American popular culture, from the late eighteenth century to the present day.
This enigmatic figure highlights the folly of the belief in immutable racial differences. If skin is a race marker, what does it mean for blacks literally to be white? What does this say not only about blacks but also about whites? Scientists have probed this mystery, philosophers have pondered its meaning, and artists have profited from the sale of images of these puzzling figures.
Lavishly illustratedwith many rarely seen photographsThe White African American Body shows how the white Negro occupied, and still occupies, the precarious position between white and black, and how this figure remains resilient in American culture.
Whether they see themselves as King of the Wild Things or protector of Toto, children live in a world filled with animals--both real and imaginary. From Black Beauty to Barney, animal characters romp through children's books, cartoons, videos, and computer games. As Gail Melson tells us, more than three-quarters of all children in America live with pets and are now more likely to grow up with a pet than with both parents. She explores not only the therapeutic power of pet-owning for children with emotional or physical handicaps but also the ways in which zoo and farm animals, and even certain purple television characters, become confidants or teachers for children--and sometimes, tragically, their victims.
Yet perhaps because animals are ubiquitous, what they really mean to children, for better and for worse, has been unexplored territory. Why the Wild Things Are is the first book to examine children's many connections to animals and to explore their developmental significance. What does it mean that children's earliest dreams are of animals? What is the unique gift that a puppy can give to a boy? Drawing on psychological research, history, and children's media, Why the Wild Things Are explores the growth of the human-animal connection. In chapters on children's emotional ties to their pets, the cognitive challenges of animal contacts, animal symbols as building blocks of the self, and pointless cruelty to animals, Melson shows how children's innate interest in animals is shaped by their families and their social worlds, and may in turn shape the kind of people they will become.
2014 Choice Outstanding Academic Title
Criminologists are primarily concerned with the analysis of actions that violate existing laws. But a growing number have begun analyzing crimes as actions that inflict harm, regardless of the applicability of legal sanctions. Even as they question standard definitions of crime as law-breaking, scholars of crime have few theoretical frameworks with which to understand the etiology of harmful action.
In Why We Harm, Lois Presser scrutinizes accounts of acts as diverse as genocide, environmental degradation, war, torture, terrorism, homicide, rape, and meat-eating in order to develop an original theoretical framework with which to consider harmful actions and their causes. In doing so, this timely book presents a general theory of harm, revealing the commonalities between actions that impose suffering and cause destruction.
Harm is built on stories in which the targets of harm are reduced to one-dimensional characters—sometimes a dangerous foe, sometimes much more benign, but still a projection of our own concerns and interests. In our stories of harm, we are licensed to do the harmful deed and, at the same time, are powerless to act differently. Chapter by chapter, Presser examines statements made by perpetrators of a wide variety of harmful actions. Appearing vastly different from one another at first glance, Presser identifies the logics they share that motivate, legitimize, and sustain them. From that point, she maps out strategies for reducing harm.
Wild by Design defines and explains the five fundamental strategies Ruddick employs, often in combination, to give life, beauty, and meaning to landscapes: Reinvention, Restoration, Conservation, Regeneration, and Expression. Drawing on her own projects—from New York City’s Queens Plaza, formerly a concrete jungle of traffic, to a desertscape backyard in Baja, California, to the Living Water Park in Chengdu, China—she offers guidance on creating beautiful, healthy landscapes that successfully reconnect people with larger natural systems.
A revealing look into the approach of one of sustainable landscape design’s most innovative practitioners, Wild by Design stretches the boundaries of landscape design, offering readers a set of broader, more flexible strategies and practical examples that allow for the unexpected exuberance of nature to be a welcome part of our gardens, parks, backyards, and cities.
Geschiere begins in the forests of southeast Cameroon with the Maka, who fear “witchcraft of the house” above all else. Drawing a variety of local conceptions of intimacy into a global arc, he tracks notions of the home and family—and witchcraft’s transgression of them—throughout Africa, Europe, Brazil, and Oceania, showing that witchcraft provides powerful ways of addressing issues that are crucial to social relationships. Indeed, by uncovering the link between intimacy and witchcraft in so many parts of the world, he paints a provocative picture of human sociality that scrutinizes some of the most prevalent views held by contemporary social science.
One of the few books to situate witchcraft in a global context, Witchcraft, Intimacy, and Trust is at once a theoretical tour de force and an empirically rich and lucid take on a difficult-to-understand spiritual practice and the private spaces throughout the world it so greatly affects.
At the beginning of the twentieth century, “hysteria” was a medical or psychiatric diagnosis applied primarily to women. In fact, the term itself comes from the Greek, meaning “wandering womb.” We have since learned, however, that this diagnosis evolved from certain assumptions about women’s social roles and mental characteristics, and is no longer in use.
The modern equivalent of hysteria, however, may be borderline personality disorder, defined as “a pervasive pattern of instability of self-image, interpersonal relationships, and mood, beginning in early adulthood and present in a variety of contexts.” This diagnosis is applied to women so much more often than to men that feminists have begun to raise important questions about the social, cultural, and even the medical assumptions underlying this “illness.” Women are said to be “unstable” when they may be trying to reconcile often contradictory and conflicting social expectations.
In Women and Borderline Personality Disorder, Janet Wirth-Cauchon presents a feminist cultural analysis of the notions of “unstable” selfhood found in case narratives of women diagnosed with borderline personality disorder. This exploration of contemporary post-Freudian psychoanalytic notions of the self as they apply to women’s identity conflicts is an important contribution to the literature on social constructions of mental illness in women and feminist critiques of psychiatry in general.
Work Better, Live Better traces the rise of motivational rhetoric in the workplace across the expanse of two world wars, the Great Depression, and the Cold War. Beginning in the early twentieth century, managers recognized that force and coercion—the traditional tools of workplace discipline—inflamed industrial tensions, so they sought more subtle means of enlisting workers' cooperation. David Gray demonstrates how this "motivational project" became a highly orchestrated affair as managers and their allies deployed films, posters, and other media, and drew on the ideas of industrial psychologists and advertising specialists to advance their quests for power at the expense of worker and union interests.
Should teenagers have jobs while they’re in high school? Doesn’t working distract them from schoolwork, cause long-term problem behaviors, and precipitate a “precocious” transition to adulthood?
This report from a remarkable longitudinal study of 1,000 students, followed from the beginning of high school through their mid-twenties, answers, resoundingly, no. Examining a broad range of teenagers, Jeylan Mortimer concludes that high school students who work even as much as half-time are in fact better off in many ways than students who don’t have jobs at all. Having part-time jobs can increase confidence and time management skills, promote vocational exploration, and enhance subsequent academic success. The wider social circle of adults they meet through their jobs can also buffer strains at home, and some of what young people learn on the job—not least, responsibility and confidence—gives them an advantage in later work life.
We consider the few who live in fear of such scenarios to be alarmist or even paranoid. But Worst Cases shows that such individuals—like Cassandra foreseeing the fall of Troy—are more reasonable and prescient than you might think. In this book, Lee Clarke surveys the full range of possible catastrophes that animate and dominate the popular imagination, from toxic spills and terrorism to plane crashes and pandemics. Along the way, he explores how the ubiquity of worst cases in everyday life has rendered them ordinary and mundane. Fear and dread, Clarke argues, have actually become too rare: only when the public has more substantial information and more credible warnings will it take worst cases as seriously as it should.
A timely and necessary look into how we think about the unthinkable, Worst Cases will be must reading for anyone attuned to our current climate of threat and fear.
Writer’s block is more than a mere matter of discomfort and missed deadlines; sustained experiences of writer’s block may influence academic success and career choices. Writers in the business world, professional writers, and students all have known this most common and least studied problem with the composing process. Mike Rose, however, sees it as a limitable problem that can be precisely analyzed and remedied through instruction and tutorial programs.
Rose defines writer’s block as “an inability to begin or continue writing for reasons other than a lack of skill or commitment,” which is measured by “passage of time with limited productive involvement in the writing task.” He applies insights of cognitive psychology to reveal dimensions of the problem never before examined.
In his three-faceted approach, Rose develops and administers a questionnaire to identify writers experiencing both high and low degrees of blocking; through stimulated recall he examines the composing processes of these writers; and he proposes a cognitive conceptualization of writer’s block and of the composing process.
In drawing up his model, Rose delineates many cognitive errors that cause blocking, such as inflexible rules or conflicting planning strategies. He also discusses the practices and strategies that promote effective composition.
The reissue of this classic study of writer’s block includes a new preface by the author that advocates more mixed-methods research in rhetoric and composition, details how he conducted his writer’s block study, and discusses how his approach to a study like this would be different if conducted today.
Women seeking to express concerns about childbirth or to challenge institutionalized medicine by writing online birth plans or birth stories exercise rhetorical agency in undeniably feminist ways. In Writing Childbirth: Women’s Rhetorical Agency in Labor and Online, author Kim Hensley Owens explores how women create and use everyday rhetorics in planning for, experiencing, and writing about childbirth.
Drawing on medical texts, popular advice books, and online birth plans and birth stories, as well as the results of a childbirth writing survey, Owens considers how women’s agency in childbirth is sanctioned, and how it is not. She examines how women’s rhetorical choices in writing interact with institutionalized medicine and societal norms. Writing Childbirth reveals the contradictory messages women receive about childbirth, their conflicting expectations about it, and how writing and technology contribute to and reconcile these messages and expectations.
Demonstrating the value of extending rhetorical investigations of health and medicine beyond patient-physician interactions and the discourse of physicians, Writing Childbirth offers fresh insight into feminist rhetorical agency and technology and expands our understanding of the rhetorics of health and medicine.
Psychoanalysis and writing instruction have much to offer each other, asserts Mark Bracher. In this book, Bracher examines the intersection between these two fields and proposes pedagogical uses of psychoanalytic technique for writing instruction.
Psychoanalysis reveals that the writing process is profoundly affected by factors that current theories have largely neglected—forces such as enjoyment, desire, fantasy, and anxiety, which, moreover, are often unconscious. Articulating an approach based on the work of Jacques Lacan, Bracher shows how a psychoanalytic perspective can offer useful insights into the nature of the writing process, the sources of writing problems, and the dynamics of writing instruction. He further demonstrates that writing instruction constitutes the most favorable venue outside of individual psychoanalytic treatment for pursuing psychoanalytic research and practice. Like psychoanalytic treatment proper, writing instruction can function as a way of reducing psychological conflict and as a means of pursuing psychoanalytic research into the workings of the mind. Empirical studies and personal testimonies have demonstrated the psychological (and even the physical) benefits of writing about personal conflict in an academic setting; such benefits promise to be enhanced and consolidated through the application of psychoanalytic principles to the teaching of writing.
All of these texts have in common the imperative of disguise, represented as the most crucial consequence of dominant discourse, within which subordination might speak only by knowing its place, and write only by producing hidden transcripts.
Caustic, pointed, satiric, Writing in Disguise is an engaging critique of aspects of academia involving the misuse, misappropriation, and misappreciation of verbal communication in its many guises.
Ronald J. Pelias is concerned with writing about performance, from the everyday performative routines to the texts on stage. He seeks to write performatively, to offer poetic or aesthetic renderings of performance events in order to capture some sense of their nature. In his quest for the spirit of theatrical performances, Pelias asks more of the written word than the word can deliver. Yet the attempt is both desirable—and necessary. To discuss performance without some accounting for its essence as art, he asserts, is at best misleading, at worst, fraud.
Pelias divides his efforts to present performance events into three general categories: "Performing Every Day," "On Writing and Performing," and "Being a Witness." "Performing Every Day" focuses on performances ranging from the daily business of enacting roles to the telling of tales that make life meaningful. It incorporates essays about the ongoing process of presenting oneself in everyday life; the gender script that insists that men enact manly performances; the classroom performances of teachers and students; stories of gender, class, and race that mark identity; and a performance installation entitled "A Day’s Talk."
"On Writing and Performing" examines the written script and performance practices. It includes a description of a struggle between a writer and a performer as they protect their own interests; an intimate look at an apprehensive performer; a short play entitled "The Audition"; and a chronicle of performance process from the perspective of an actor.
"Being a Witness" examines performance from the perspective of the audience and the director: being an audience member; viewing theatre in the context of New York City; directing and being directed by actors’ bodies; and watching The DEF Comedy Jam.
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