Hellenomania

Hellenomania, the second volume in the MANIA series, presents a wide-ranging, multi-disciplinary exploration of the modern reception of ancient Greek material culture in cultural practices ranging from literature to architecture, stage and costume design, painting, sculpture, cinema, and the performing arts. It examines both canonical and less familiar responses to both real and imagined Greek antiquities from the seventeenth century to the present, across various national contexts. Encompassing examples from Inigo Jones to the contemporary art exhibition documenta 14, and from Thessaloniki and Delphi to Nashville, the contributions examine attempted reconstructions of an ‘authentic’ ancient Greece alongside imaginative and utopian efforts to revive the Greek spirit using modern technologies, new media, and experimental practices of the body. Also explored are the political resonances of Hellenomaniac fascinations, and tensions within them between the ideal and the real, the past, present, and future. Part I examines the sources and derivations of Hellenomania from the Baroque and pre-Romantic periods to the early twentieth century. While covering more canonical material than the following sections, it also casts spotlights on less familiar figures and sets the scene for the illustrations of successive waves of Hellenomania explored in subsequent chapters. Part II focuses on responses, uses, and appropriations of ancient Greek material culture in the built environment—mostly architecture—but also extends to painting and even gymnastics; it examines in particular how a certain idealisation of ancient Greek architecture affected its modern applications. Part III explores challenges to the idealisation of ancient Greece, through the transformative power of colour, movement, and of reliving the past in the present human body, especially female. Part IV looks at how the fascination with the material culture of ancient Greece can move beyond the obsession with Greece and Greekness.

DIVThis book is Bernal’s response to criticisms to his 1987 book, BLACK ATHENA, which argued for an Afro-Asiatic origin for Greek civilization./div

"Letter correspondences"--P. [731]-739.

Eurocentrism remains a prevailing feature of Western-dominated social scientific perspectives, tending to ignore alternative views originating outside the West and thus maintaining a form of scholarly hegemony. As such, there is an urgent need to reconsider Eurocentrism in social science, to ask whether it constitutes an obstacle to understanding social problems and whether it is possible to go beyond Eurocentrism in the construction of reliable, more universal knowledge. At the same time, certain questions persist, particularly with regard to the extent to which recent revisionist challenges have really contributed to the surmounting of Eurocentric domination, and whether the constant repetition of the concept serves to reinforce it. This book engages with the central problems of Eurocentrism in the social sciences, bringing together the work of scholars from around the world to offer a critique of this perspective from both European and non-European positions, thus shedding light on the binaries that often come into being in debates in this field. Thematically organised and addressing a range of questions, including Eurocentrism in historical studies, in the understanding of religion and civilisation and in the study of international relations, as well as in the institutionalisation and professionalisation of research and discourses on modernisation in the Middle East, Eurocentrism at the Margins will appeal to scholars with interests in knowledge production and circulation, and Eurocentrism and post-colonialism in the social sciences.

The eleven essays in this collection address various aspects of cross-cultural studies. Contributors were visiting scholars at the Center for Cultural Research at Aarhus University in Denmark. The clarity provided by their reflections concerning both the rewards and limitations of cross-cultural studies will be increasingly important now that we've entered the pluralistic world of the new millennium.

Campbell's Psychiatric Dictionary is widely recognized as the definitive dictionary of psychiatry--up-to-date, comprehensive, and authoritative. Distinguished by its clarity and scholarship, it is unique among dictionaries in providing nearly encyclopedic discussions of many of the most important entries. The Ninth Edition is nearly double the size of the previous edition and has been updated, revised, and vastly expanded to cover the explosion of new words and terms in psychiatry (including terms reflective of the debate now informing the development of the DSM-V ), neuroscience, cognitive and clinical psychology, and neurodegenerative diseases as well as relevant terms and concepts from a wide range of related fields, including genetics, imaging, general medicine, forensic psychiatry, and sociology. It also covers the full range of treatments, including psychopharmacologic agents, behavior therapy, cognitive therapy, interpersonal therapy, and other brief therapies. The entries are clearly written, so that they can be understood by non-psychiatrists (including general readers), and they feature cross-references, so that readers can easily locate all the relevant information on a topic. Campbell's is written for the working library of a broad and diverse readership of specialists and non-specialists that includes psychiatrists, residents, neurologists, psychologists, nurses, social workers, counselors, lawyers, claims reviewers, and lay readers with an interest in mental health issues.

Theme park studies is a growing field in social and cultural studies. Nonetheless, until now little attention has been dedicated to the choice of the themes represented in the parks and the strategies of their representation. This is particularly interesting when the theme is a historical one, for example ancient Greece. Which elements of classical Greece find their way into a theme park and how are they chosen and represented? What is the “entertainment” element in ancient Greek history, culture and myth, which allows its presence in commercial structures aiming to people's fun? How does the representation of Greece change against different cultural backgrounds, e.g. in different European countries, in the USA, in China? This book frames a discussion of these representations within the current debates about immersive spaces, uses of history and postmodern aesthetics, and analyses how ancient Greece has been represented and made “enjoyable” in seven different theme parks across the world, providing an original and ground-breaking contribution to theme park studies and classical reception.