Ziyad Marar Reaktion Books, 2003 Library of Congress BF575.H27M37 2003 | Dewey Decimal 152.42
The dream of a happy life has preoccupied thinkers since Plato, and in modern times it has become one of the signature tunes of our age – the rise of therapists, gurus, New Age cults and the use of Prozac are familiar indicators of how ubiquitous the pursuit of happiness has become within Western culture.
The Happiness Paradox examines how this modern obsession has evolved. Ziyad Marar shows how the state of mind we seek remains highly elusive, and much of the energy devoted to searching for happiness is wasted or even self-defeating. The author argues that happiness is a deceptively simple idea that will always be elusive because it is based on a paradox: the conflict between feeling good while simultaneously being good. It is the conflict, for example, between the desire to break rules, for adventure or self-expression, and the need to follow them to gain the approval of society; these tensions permeate what Freud called the two central parts of a happy life: love and work.
Drawing on a wide and varied range of sources – from psychology, philosophy, history, popular novels, television and films – this book will engage all those who are looking for meaning within their lives. It challenges the conventional search for happiness, while suggesting a bolder way to live with one of the central paradoxes of our time.
Robert Morris, a leading figure in postwar American art, is best known as a pioneer of minimalist sculpture, process art, and earthworks. Yet Morris has resisted affiliation with any one movement or style. An extraordinarily versatile artist, he has produced dances, performance pieces, prints, paintings, drawings, and installations, working with materials including plywood, felt, dirt, aluminum, steel mesh, fiberglass, and encaustic. Throughout his career, Morris has written influential critical essays, commenting on his own work as well as that of other artists, and exploring through text many of the theoretical concerns addressed in his artwork—about perception, materiality, space, and the process of artmaking. Have I Reasons presents seventeen of Morris’s essays, six of which have never been published before. Written over the past fifteen years, the essays, along with the volume’s many illustrations, provide an invaluable record of the recent thought of a major American artist.
The writings are arranged chronologically, beginning with “Indiana Street,” a vivid autobiographical account of the artist’s early years in Kansas City, Missouri. Have I Reasons includes reflections on Morris’s own site-specific installations; transcripts of seminars he conducted in conjunction with exhibitions; and the textual element of The Birthday Boy, the two-screen video-and-sound piece he installed at the Galleria dell’Accademia in Florence, Italy, on the occasion of the five hundredth anniversary of Michelangelo’s David. Essays range from original interpretations of Cézanne’s Mont Sainte-Victoire paintings and Jasper Johns’ early work to engagements with one of Morris’s most significant interlocutors, the philosopher Donald Davidson. Have I Reasons conveys not only Morris’s enduring deep interest in philosophy and issues of resemblance and representation but also his more recent turn toward directly addressing contemporary social and political issues such as corporate excess and preemptive belligerence.
This book illuminates issues in medical ethics revolving around the complex bond between healer and patient, focusing on friendship and other important values in the healing relationship. Embracing medicine, philosophy, theology, and bioethics, it considers whether bioethical issues in medicine, nursing, and dentistry can be examined from the perspective of the healing relationship rather than external moral principles.
Distinguished contributors explore the role of the health professional, the moral basis of health care, greater emphasis on the humanities in medical education, and some of the current challenges facing healers today.
Hearing Things is a meditation on sound’s work in literature. Drawing on critical works and the commentaries of many poets and novelists who have paid close attention to the role of the ear in writing and reading, Angela Leighton offers a reconsideration of literature itself as an exercise in hearing.
An established critic and poet, Leighton explains how we listen to the printed word, while showing how writers use the expressivity of sound on the silent page. Although her focus is largely on poets—Alfred Tennyson, W. B. Yeats, Robert Frost, Walter de la Mare, Wallace Stevens, Elizabeth Bishop, Jorie Graham, and Alice Oswald—Leighton’s scope includes novels, letters, and philosophical writings as well. Her argument is grounded in the specificity of the text under discussion, but one important message emerges from the whole: literature by its very nature commands listening, and listening is a form of understanding that has often been overlooked. Hearing Things offers a renewed call for the kind of criticism that, avoiding the programmatic or purely ideological, remains alert to the work of sound in every literary text.
Burnout is common among doctors in the West, so one might assume that a medical career in Malawi, one of the poorest countries in the world, would place far greater strain on the idealism that drives many doctors. But, as A Heart for the Work makes clear, Malawian medical students learn to confront poverty creatively, experiencing fatigue and frustration but also joy and commitment on their way to becoming physicians. The first ethnography of medical training in the global South, Claire L. Wendland’s book is a moving and perceptive look at medicine in a world where the transnational movement of people and ideas creates both devastation and possibility.
Wendland, a physician anthropologist, conducted extensive interviews and worked in wards, clinics, and operating theaters alongside the student doctors whose stories she relates. From the relative calm of Malawi’s College of Medicine to the turbulence of training at hospitals with gravely ill patients and dramatically inadequate supplies, staff, and technology, Wendland’s work reveals the way these young doctors engage the contradictions of their circumstances, shedding new light on debates about the effects of medical training, the impact of traditional healing, and the purposes of medicine.
Zora Neale Hurston is a controversial figure, equally praised and criticized for her representation of African-Americans; while some critics emphasize her ebullience and celebration of Black culture, others call her fiction stereotypical and essentialist. Observing the workings of the recurrent humor in her works helps explode this critical binary opposition. Specifically, the carnivalesque and the heteroglossia often subvert essentialist notions of (Black) identity.
Jonah's Gourd Vine's protagonist, the preacher-womanizer John Pearson, can be seen as an African rather than an African-American trickster figure, i.e. as a mobile character whose liminality helps him fight essentialist definitions imposed on him by both the white establishment and his own community. Janie's romantic search for self-fulfillment in Their Eyes Were Watching God is undermined by the humor and the carnival, which emphasize her shifting and multiply defined identity. Finally, the African-Americanized story of Moses and the Hebrews shows the conflicts involved in their search for a unified national and cultural identity. In these three novels, Hurston appears as a subversive presence whose manipulation of humor underscores a complex political vision.
Do you put family photos on your desk at work? Are your home and work keys on the same chain? Do you keep one all-purpose calendar for listing home and work events? Do you have separate telephone books for colleagues and friends? In Home and Work, Christena Nippert-Eng examines the intricacies and implications of how we draw the line between home and work.
Arguing that relationships between the two realms range from those that are highly "integrating" to those that are highly "segmenting," Nippert-Eng examines the ways people sculpt the boundaries between home and work. With remarkable sensitivity to the symbolic value of objects and actions, Nippert-Eng explores the meaning of clothing, wallets, lunches and vacations, and the places and ways in which we engage our family, friends, and co-workers. Commuting habits are also revealing, showing how we make the transition between home and work selves though ritualized behavior like hellos and goodbyes, the consumption of food, the way we dress, our choices of routes to and from work, and our listening, working, and sleeping habits during these journeys.
The ways each of us manages time, space, and people not only reflect but reinforce lives that are more "integrating" or "segmenting" at any given time. In clarifying what we take for granted, this book will leave you thinking in different ways about your life and work.
As we live longer and die slower and differently than our ancestors, we have come to rely more and more on end-of-life caregivers. These workers navigate a changing landscape of old age and death that many of us have little preparation to encounter. How We Die Now is an absorbing and sensitive investigation of end-of-life issues from the perspectives of patients, relatives, medical professionals, and support staff.
Karla Erickson immersed herself in the daily life of workers and elders in a Midwestern community for over two years to explore important questions around the theme of “how we die now.” She moves readers through and beyond the many fears that attend the social condition of old age and reveals the pleasures of living longer and the costs of slower, sometimes senseless ways of dying.
For all of us who are grappling with the “elder boom,” How We Die Now offers new ways of thinking about our longer lives.