Search results for ""Ohio University Press""

Whether history or anthropology is the most fundamental social science remains still a controversial and undecided issue. For a proper understanding of this instructive controversy, the presuppositions of these two disciplines need to be critically and philosophically reviewed. Otherwise the true perspective of the controversy remains undisclosed and therefore unintelligible. A close and comprehensive understanding of language as the basic form of the life-world provides the cues necessary to show correctly the complementary relation between anthropology and history. That synchronic or sociological and diachronic or historical perspectives of science are mutually supportive ways of representing the same social activities has been persuasively argued in this book. Chattopadhyaya has pointedly examined in this connection the conflicting views of Sartre and Levi-Strauss. Also, he has selectively drawn upon, critically assessed, and brought the theories of Husserl, Heidegger, Popper, Quine, and Kuhn to bear upon the problem. The author’s conclusion centers around his own concept of human universals. The positive thesis of the book rejects the trichotomy of three cultures: scientific, humanistic, and technological. That this view is not a theoretical creature but a historical and cultural finding has been plausibly reasoned by Chattopadhyaya. The main trend of his reasoning clearly shows that the gulf between analytic philosophers and phenomenologists is either imaginary or highly exaggerated. In this specific case, the author, a student of Popper, perceptively aruges to the effect that if theorizations is primarily problem-oriented rather than “school-based,” one can see one’s way to rational solution in the convergent light of different but affine human or cultural origins. But his presentation and assessment of the views and arguments of Husseri, Popper, Quine and Kuhn are likely to prove controversial.

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In these stories of magic and memory, clustered around a resort hotel in a small Virginia community, Cary Holladay takes the reader on an excursion through the changes wrought by time on the community and its visitors. From the quiet of a rural forest to the rhythms of rock and roll, The Quick-Change Artist is at once whimsical and hard-edged, dizzying in its matter-of-fact delivery of the fantastic. Romance, a sense of place and belonging, and the supernatural—especially in the lives of children coming of age—offer windows into worlds beyond the ordinary throughout The Quick-Change Artist. In the title story, a young chambermaid is in love with a foreign magician who performs at the hotel where she works. In “Heaven,” set during the 1918 flu epidemic, a struggling mother and son rely on the support of their fortune-telling plow horse. The narrator of “Jane’s Hat” recalls a childhood enlivened by an unusual school principal and a friend who starts finding beauty everywhere. Horses and the people who love them, wanderers and those who feed them, creatures that disappear and those who search for them: these are stories with a constant heart.

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Lawyers and the legal profession have become scapegoats for many of the problems of our age. In The Lawyer Myth: A Defense of the American Legal Profession, Rennard Strickland and Frank T. Read look behind current antilawyer media images to explore the historical role of lawyers as a balancing force in times of social, economic, and political change. One source of this disjunction of perception and reality, they find, is that American society has lost touch with the need for the lawyer\u2019s skill and has come to blame unrelated social problems on the legal profession. This highly personal and impassioned book is their defense of lawyers and the rule of law in the United States. The Lawyer Myth confronts the hypocrisy of critics from both the right and the left who attempt to exploit popular misperceptions about lawyers and judges to further their own social and political agendas. By revealing the facts and reasoning behind the decisions in such cases as the infamous McDonald\u2019s coffee spill, the authors provide a clear explanation of the operation of the law while addressing misconceptions about the number of lawsuits, runaway jury verdicts, and legal \u201ctechnicalities\u201d that turn criminals out on the street. Acknowledging that no system is perfect, the authors propose a slate of reforms for the bar, the judiciary, and law schools that will enable today\u2019s lawyers—and tomorrow\u2019s—to live up to the noble potential of their profession. Whether one thinks of lawyers as keepers of the springs of democracy, foot soldiers of the Constitution, architects and carpenters of commerce, umpires and field levelers, healers of the body politic, or simply bridge builders, The Lawyer Myth reminds us that lawyers are essential to American democracy.

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Some of the American West’s grandest legends are about people who in reality were remorseless killers, robbers, and bandits. These outlaws flourished during the 1800s and gained notoriety throughout the following century. How did their fame persist, and what has inspired the publishing, movie, and television industries to recreate their fictionalized careers over and over again? Mark Dugan brings reality to the forefront in The Making of Legends. Some of the characters in his accounts are practically unknown but deserve more recognition than the bandits whose names are mythic. Exhaustive archival research enables him to recreate such colorful lives as North Carolina’s Malina Blaylock, who, disguised as a man, joined her outlaw husband in the Confederate army; slippery escape artist David Lewis, the Robin Hood of the Cumberland, who finally stopped two bullets in a chaotic Pennsylvania shoot-out; Wyatt Earp, in his mysterious post-OK Corral year, amidst the Coeur d’Alene gold rush; and grim “Laughing Sam” Hartman, of South Dakota. Dugan sets the stage by explaining how newspapers and dime novels fanned the flames of public fascination with outlaws. He unmasks the real Billy the Kid, traces the paths of Butch Cassidy and the Sundance Kid to their historic shoot-out in South America, and masterfully summarizes the Civil War grudges, bloodshed, and wanton destruction along the Kansas-Missouri border that spawned Jesse and Frank James and the Younger brothers gang. In researching the lawless era of the American frontier, Dugan discovered much information that has never been published — material that will expand readers’ views of frontier history and people, both good and bad. The Making of Legends proves that the actual stories of notorious legends can be more exciting, moving, and intriguing than anything dreamed up in a dime novel or a Hollywood fantasy. With The Making of Legends Mark Dugan’s pursuit of outlaws takes him to Pennsylvania, North Carolina, Texas, California, South Dakota, Idaho, Oregon, Nebraska, Indiana, Wyoming, and Montana.

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Sometimes it’s possible to pick up a book and hear the words being spoken by the characters as if you were sitting across the table from them. This is the sensation you’ll have as you read through The Handywoman Stories by Lenore McComas Coberly. Whether the story describes the civil defense preparations of a small West Virginia town in World War II, the same town years later dealing with an influx of hippies, or the return of a woman to her roots after decades up north, the voices are convincing and true. “I nearly got kicked in the head by a cow before I learned that if you use your full strength pulling milk, you won’t get much milk,” says one. “To see Zevelda the way she was that Sunday is, well, not something you‘re very likely to see,” says another. The Handywoman Stories themselves are driven by characters shaped by the place they have lived most all of their lives. They deal with economic depression, mine and war deaths, the arrogance of community leaders, and what might have been, but was not, a stultifying environment. Their tools are astonishing resourcefulness, steadfast friendship, and always humor. Lenore McComas Coberly has woven together a bittersweet community of strong Appalachian women and men in this remarkable collection. Moving and joyful, these stories are made from the stuff of life.

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The title of Helen Papanikolas’ second collection of short stories, The Apple Falls from the Apple Tree, is taken from an old Greek proverb and speaks of the new generation’s struggle with the vestiges of Greek customs. Gone are the raw, overt emotions of the pioneers, their bold prejudices, and, especially, the haunting black fatalism of funerals. Yet their children retain much of their parents’ culture. Although they live far from the old Greek towns, we see their rivalries, envy of the successful, and hubris as they respond to their experiences of intermarriage, old age, and loss. The exoticism and color of immigrant life wanes as each generation that follows those first patriarchs and matriarchs becomes “more like the Americans.” These are stories of the long passage of immigration—from accommodation, to the straddling of two cultures, and ending with assimilation. They are stories of a particular people, but they could be about any people.

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The Phenomenology of Pain is the first book-length investigation of its topic to appear in English. Groundbreaking, systematic, and illuminating, it opens a dialogue between phenomenology and such disciplines as cognitive science and cultural anthropology to argue that science alone cannot clarify the nature of pain experience without incorporating a phenomenological approach. Building on this premise, Saulius Geniusas develops a novel conception of pain grounded in phenomenological principles: pain is an aversive bodily feeling with a distinct experiential quality, which can only be given in original first-hand experience, either as a feeling-sensation or as an emotion. Geniusas crystallizes the fundamental methodological principles that underlie phenomenological research. On the basis of those principles, he offers a phenomenological clarification of the fundamental structures of pain experience and contests the common conflation of phenomenology with introspectionism. Geniusas analyzes numerous pain dissociation syndromes, brings into focus the de-personalizing and re-personalizing nature of chronic pain experience, and demonstrates what role somatization and psychologization play in pain experience. In the process, he advances Husserlian phenomenology in a direction that is not explicitly worked out in Husserl’s own writings.

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Meredith Sue Willis’s Out of the Mountains is a collection of thirteen short stories set in contemporary Appalachia. Firmly grounded in place, the stories voyage out into the conflicting cultural identities that native Appalachians experience as they balance mainstream and mountain identities. Willis’s stories explore the complex negotiations between longtime natives of the region and its newcomers and the rifts that develop within families over current issues such as mountaintop removal and homophobia. Always, however, the situations depicted in these stories are explored in the service of a deeper understanding of the people involved, and of the place. This is not the mythic version of Appalachia, but the Appalachia of the twenty-first century.

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With Drawing Your Stress Away and Hello, This Is Your Body Talking, art therapist and educator Dr. Lucia Capacchione presents a new concept in adult coloring: the draw-it-yourself coloring book. Forty years ago, Capacchione originated the Creative Journal Method to help clients and students reduce stress, heal trauma and unleash creativity. Since then, her research-based techniques have been used internationally in schools, counseling centers, support groups, addiction recovery centers, and programs for veterans. Drawing Your Stress Away and Hello, This Is Your Body Talking are a wonderful introduction to Capacchione’s methods, which include drawing, coloring, and writing with the non-dominant hand to help the user shed inhibitions and rediscover the artistic spontaneity of childhood. Capacchione gently guides readers to use drawing for meditation, stress release, and self-care. In Hello, This Is Your Body Talking, simple breathing, drawing, and writing prompts encourage physical awareness and relaxation. Drawing Your Stress Away helps reduce tension through emotional expression, self-nurturing, and artistic discovery. Unlike traditional coloring books, which require fine motor control in highly detailed predetermined patterns, Capacchione’s “anti-coloring books” provide the inspiration for users to make their own art; tune out their inner critics; and take the training wheels off their natural creativity.

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Gruel and truffles, wine and gin, opium and cocaine. Making a Man: Gentlemanly Appetites in the Nineteenth-Century British Novel addresses consumption of food, drink, and drugs in the conspicuously consuming nineteenth century in order to explore the question of what, in fact, makes a man in novels of the period. Gwen Hyman analyzes the rituals of dining room, drawing room, opium den, and cocaine lab, and the ways in which these alimentary behaviors make, unmake, and remake the gentlemanly body. The gentleman, Making a Man argues, is a dangerous alimental force. Threatened with placelessness, he seeks to locate and mark himself through his feasting and fasting. But in doing so, he inevitably threatens to starve, to subsume, to swallow the community around him. The gentleman is at once fundamental and fundamentally threatening to the health of the nation: his alimental monstrousness constitutes the nightmare of the period’s striving, anxious, alimentally fraught middle class. Making a Man makes use of food history and theory, literary criticism, anthropology, gender theory, economics, and social criticism to read gentlemanly consumers from Mr. Woodhouse, the gruel-eater in Jane Austen’s Emma, through the vampire and the men who hunt him in Bram Stoker’s Dracula. Hyman argues that appetite is a crucial means of casting light on the elusive identity of the gentleman, a figure who is the embodiment of power and yet is hardly embodied in Victorian literature.

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Blending historical fact and classical myth, the author of Zorba the Greek and The Last Temptation of Christ transports the reader 3,000 years into the past, to a pivotal point in history: the final days before the ancient kingdom of Minoan Crete is to be conquered and supplanted by the emerging city-state of Athens. Translated by Theodora Vasils and Themi Vasils. The familiar figures who peopled that ancient world—King Minos, Theseus and Ariadne, the Minotaur, Diadalos and Ikaros—fill the pages of this novel with lifelike immediacy. Written originally for an Athenian youth periodical, At the Palaces of Knossos functions on several levels. Fundamentally, it is a gripping and vivid adventure story, recounted by one of this century’s greatest storytellers, and peopled with freshly interpreted figures of classical Greek mythology. We see a new vision of the Minotaur, portrayed here as a bloated and sickly green monster, as much to be pitied as dreaded. And we see a grief-stricken and embittered Diadalos stomping on the homemade wax wings that have caused the drowning of his son, Ikaros. On another level, At the Palaces of Knossos is an allegory of history, showing the supplanting of a primitive culture by a more modern civilization. Shifting the setting back and forth from Crete to Athens, Kazantzakis contrasts the languid, decaying life of the court of King Minos with the youth and vigor of the newly emerging Athens. Protected by bronze swords, by ancient magic and ritual, and by ferocious-but-no-longer-invincible monsters, the kingdom of Crete represents the world that must perish if classical Greek civilization is to emerge into its golden age of reason and science. In the cataclysmic final scene in which the Minotaur is killed and King Minos’s sumptuous palace burned, Kazantzakis dramatizes the death of the Bronze Age, with its monsters and totems, and the birth of the Age of Iron.

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