Depression is an experience known to millions. But arguments rage on aspects of its definition and its impact on societies present and past: do drugs work, or are they merely placebos? Is the depression we have today merely a construct of the pharmaceutical industry? Is depression under- or over-diagnosed? Should we be paying for expensive 'talking cure' treatments like psychoanalysis or Cognitive Behavioural Therapy? Here, Clark Lawlor argues that understanding the history of depression is important to understanding its present conflicted status and definition. While it is true that our modern understanding of the word 'depression' was formed in the late nineteenth and early twentieth centuries, the condition was originally known as melancholia, and characterised by core symptoms of chronic causeless sadness and fear. Beginning in the Classical period, and moving on to the present, Lawlor shows both continuities and discontinuities in the understanding of what we now call depression, and in the way it has been represented in literature and art. Different cultures defined and constructed melancholy and depression in ways sometimes so different as to be almost unrecognisable. Even the present is still a dynamic history, in the sense that the 'new' form of depression, defined in the 1980s and treated by drugs like Prozac, is under attack by many theories that reject the biomedical model and demand a more humanistic idea of depression - one that perhaps returns us to a form of melancholy.
Violet Ambrose is grappling with two major issues: Jay Heaton and her morbid secret ability. While the sixteen-year-old is confused by her new feelings for her best friend, she is more disturbed by her "power" to sense dead bodies - or at least those that have been murdered. Since she was a little girl, she has felt the echoes the dead leave behind in the world...and the imprints that attach to their killers. Violet has never considered her strange talent to be a gift, but now that a serial killer is terrorizing her small town Violet realizes she might be the only person who can stop him. Despite his fierce protectiveness over her, Jay reluctantly agrees to help Violet find the murderer - and Violet is unnerved by her hope that Jay's intentions are much more than friendly. But even as she's falling in love, Violet is getting closer to discovering a killer...and becoming his prey herself.
4,000 square foot of blue-flecked linoleum is decorated with maps of the world... This random patchwork, traversed by thousands of people scuffing its surface, is slowly being worn away, the floor underneath emerging as new oceans eroding the graphic landmass. Fallen sticky price labels and other detritus settle across an ever-evolving cartography formed by human footfall. In 2018 and 2019 Helen Sear spent several weeks in Durham North Carolina inside the vast warehouse premises of The Scrap Exchange, an organisation dedicated to re-diverting surplus materials from landfill and creating environmental awareness and community through reuse. Constructing a makeshift studio on the shop floor she invited visitors to have their portraits taken, photographed hands holding chosen objects, sometimes recording brief conversations. Photographing strangers in the formal style of studio portraiture enabled a momentary stillness and connection amid the agitation of peripheral vision overload.
This textbook includes all 13 chapters of Français interactif. It accompanies www.laits.utexas.edu/fi, the web-based French program developed and in use at the University of Texas since 2004, and its companion site, Tex's French Grammar (2000) www.laits.utexas.edu/tex/ Français interactif is an open acess site, a free and open multimedia resources, which requires neither password nor fees. Français interactif has been funded and created by Liberal Arts Instructional Technology Services at the University of Texas, and is currently supported by COERLL, the Center for Open Educational Resources and Language Learning UT-Austin, and the U.S. Department of Education Fund for the Improvement of Post-Secondary Education (FIPSE Grant P116B070251) as an example of the open access initiative.
“There's lots of good news for the middle aged…A very jolly book with clear scientific explanations.”—The Telegraph David Bainbridge is a vet with a particular interest in evolutionary zoology—and he has just turned forty. As well as the usual concerns about greying hair, failing eyesight, and goldfish levels of forgetfulness, he finds himself pondering some bigger questions: have I come to the end of my productive life as a human being? And what I am now for? By looking afresh at the latest research from the fields of anthropology, neuroscience, psychology, and reproductive biology, it seems that the answers are surprisingly, reassuringly encouraging. In clear, engaging and amiable prose, Bainbridge explains the science behind the physical, mental and emotional changes men and women experience between the ages of 40 and 60, and reveals the evolutionary—and personal—benefits of middle age, which is unique to human beings and helps to explain the extraordinary success of our species. Middle Age will change the way you think about midlife, and help turn the crisis into a cause for celebration. “Bainbridge's zoological examination of the human animal results in a study that is full of surprises...Heartening.”—Sunday Times “Thought-provoking. [It] should certainly shed some new light on one's own potbellied or menopausal mid-life crisis...Fascinating.”—Evening Standard
Père de la photographie suédoise moderne, Christer Strömholm (1918-2002) continue d'exercer une grande influence sur l'ensemble de la scène photographique scandinave. Son oeuvre foisonnante et éclectique s'est progressivement imposée pour accéder aujourd'hui à une légitime notoriété. Elle a longtemps dérouté tant il paraissait difficile d'admettre qu'un photographe ait pu s'imprégner avec autant de profit des différents univers plastiques et critiques qu'il a côtoyés et explorés. Amoureux de Paris où il vécut une grande partie de sa vie, il s'est, comme Brassaï, intéressé aux graffiti ou aux fulgurances des nuits urbaines ; de même, comme Doisneau, il a épié les enfants des rues ou les marchés aux puces ... Mais la manière Strömholm ne se confond avec aucune autre. Elle éclate dans son travail sur la place Blanche, dans le quartier Pigalle, dont il capte et interprète les activités et les faunes noctambules avec une acuité rare.