Prescriptions For Virtuosity

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Although Chinese medicine is assumed to be a timeless healing tradition, the encounter with modern biomedicine threatened its very existence and led to many radical changes. Prescriptions for Virtuosity tells the story of how doctors of Chinese medicine have responded to the global dominance of biomedicine and developed new forms of virtuosity to keep their clinical practice relevant in contemporary Chinese society. Based on extensive ethnographic and historical research, the book documents the strategies of Chinese medicine doctors to navigate postcolonial power inequalities. Doctors have followed two seemingly contradictory courses of action. First, they have emphasized the unique “Chinese” characteristics of their practice, defining them against the perceived strengths of biomedicine, and producing an ontological divide between the two medical systems. These oppositions have inadvertently marginalized Chinese medicine, making it seem appropriate for clinical use only when biomedical solutions are lacking. Second, doctors have found points of convergence to facilitate the blending of the two medical practices, producing innovative solutions to difficult clinical problems. Prescriptions for Virtuosity examines how the postcolonial condition can generate not only domination but hybridity. Karchmer shows, for example, how the clinical methodology of “pattern discrimination and treatment determination” bianzheng lunzhi, which is today celebrated as the quintessential characteristic of Chinese medicine, is a twentieth-century invention. When subjected to the institutional standardizations of hospital practice, bianzheng lunzhi can lead to an impoverished form of medicine. But in the hands of a virtuoso physicians, it becomes a dynamic tool for moving between biomedicine and Chinese medicine to create innovative new therapies.

Hypermobility syndromes are more common, complex and varied than most practitioners realise. Every hypermobile patient is unique, and therefore challenging to treat using a pre-set paradigm or protocol. The hEDS population can be underserved by Western medicine and there is much that Chinese medicine can do for this community. This book is one of the first of its kind - a Chinese Medicine text focusing specifically on hypermobile Ehlers-Danlos Syndrome. Presenting existing bio-medical narratives before providing an in-depth exploration of the Chinese Medicine paradigms, this guide gives an overview of comprehensive treatment scenarios and addresses issues faced by EDS patients including pain management, psycho-emotional challenges, disruption of gut health, and chronic inflammation, including post-Lyme syndrome.

"From the perspectives of history and cultural anthropology, the authors consider problems of knowledge in Chinese medicine, the Hindu-Buddhist traditions of South Asian medicine, and the Greco-Arabic traditions of Islamic medicine.".

During the 1950s and 1960s, the heirs of Menghe medicine were key players in creating the institutional framework for contemporary Chinese medicine. Their students are now practicing all over the world, shaping Chinese medicine in Los Angeles, New York, Oxford, Mallorca, and Berlin. The history of the Menghe current is relevant to anyone interested in the development of Chinese medicine in late imperial and modern China. This book traces Chinese medical history along the currents created by generations of physicians linked to each other by a shared heritage of learning, by descent and kinship, by sentiments of native place as well as nationalist fervor, by personal rivalries and economic competition, by the struggle for the survival of tradition and glorious visions of a new global medicine. On the level of both theory and practice, this history marks a departure from the focus on texts and ideas that has dominated Western engagement with Chinese medicine to date. Its goal is to locate medicine within the concrete lives of physicians and their patients, restoring an agency to their actions that easily gets lost in our search for the forces or structures that shape historical process. To this end, the author interweaves social history and medical case studies, ethnography and biography to narrate a story of Chinese medicine that is very different from any that has been told before.

The contributors to Remapping Sound Studies intervene in current trends and practices in sound studies by reorienting the field toward the global South. Attending to disparate aspects of sound in Africa, South and Southeast Asia, Latin America, the Middle East, Micronesia, and a Southern outpost in the global North, this volume broadens the scope of sound studies and challenges some of the field's central presuppositions. The contributors show how approaches to and uses of technology across the global South complicate narratives of technological modernity and how sound-making and listening in diverse global settings unsettle familiar binaries of sacred/secular, private/public, human/nonhuman, male/female, and nature/culture. Exploring a wide range of sonic phenomena and practices, from birdsong in the Marshall Islands to Zulu ululation, the contributors offer diverse ways to remap and decolonize modes of thinking about and listening to sound. Contributors Tripta Chandola, Michele Friedner, Louise Meintjes, Jairo Moreno, Ana María Ochoa Gautier, Michael Birenbaum Quintero, Jeff Roy, Jessica Schwartz, Shayna Silverstein, Gavin Steingo, Jim Sykes, Benjamin Tausig, Hervé Tchumkam

Shannon Jackson explores a range of disciplinary, institutional, and political puzzles that engage the social and aesthetic practice of performance in this collection of twenty essential essays spanning her career. Back Stages starts by considering the historical connection between performance practice and movements of social reform, while later writings analyze disciplinary debates on the place of performance in higher education and within the contemporary field of socially engaged art, tracking fraught and allied relationships to literary studies, art history, visual culture, theater, social theory, and critical theory. At a time of increased aesthetic experimentation and political debate within the art world, these essays alight on artists, groups, and cultural organizations whose experiments have challenged conventions of curation and critique, including Theaster Gates, Paul Ramírez Jonas, Harrell Fletcher, and My Barbarian. Throughout, Jackson navigates the political ambivalences of performance, from the late nineteenth to the twenty-first century, tracking shifts in participatory art that seek to resist capitalism, even as such performance work paradoxically risks neoliberal appropriation by a post-Fordist experience economy. Back Stages surfaces unexpected cross-disciplinary connections and provides new opportunities for mutual engagement within a wide network of educational, artistic, and civic sectors. A substantial introduction excavates the critical links between the essays and a variety of disciplines and movements.

L. Wynn, BS, MS, PhD and Barbara Requa-Clark, PharmD; with 16 contributors