basic research and clinical data in an attempt to derive a cohesive model which explains the behavioral effects of the drug. Johnson is an experimental psychologist, and his work underlies many of the chapters which suggest that lithium decreases the behavioral response to novel external stimuli. He then utilizes this foundation to propose a cognitive model for lithium's anti-manic action, its inhibition of violent impulsivity, and its prophylactic effects in recurrent depression. Previous formulations which were clinically based, such as that of Mabel Blake Cohen and her associates, stressed the primacy of depression and noted the \"manic defense\" as an attempt to ward off intolerable depression. In direct contrast, Johnson views mania as the primary disturbance in bipolar disorder. He considers depression in bipolar disease as an over-zealous homeostatic inhibitory responsf to a maniaassociated cognitive overload. Consistent with this, he believes, lit lum exerts its anti-manic effect by decreasing cognitive processing in a manner analogous to his animal studies. Johnson also suggests that lithium exerts its prophylactic effect in recurrent depressions by treating subclinical mania. These concepts are supported by the work of Johnson's associate, Kukopulos, to whom the book is dedicated. The bulk of the research which describes the cognitive disturbance in mania is complex, however, and uncomfortably open to multiple interpretations. Recognized as a preliminary effort, Johnson's formulation may help to guide further research. Although Johnson clearly traces lithium actions through a broad range of subjects, his discussion of the neurophysiological aspects of this drug is notably spotty. In particular, Johnson ignores the work of Svensson, DeMontigny, Aghajanian, and others who suggest that serotonergic systems may play an important role in the antidepressant actions of lithium. As a result, he fails to discuss one of the most important current uses of lithium: as an agent used in conjunction with antidepressant medications to increase treatment response in medication-resistant forms of depression. Lithium augmentation of antidepressant medication also challenges the formulation presented by Johnson. This formulation suggests that lithium should have no therapeutic value in patients, such as those with endogenous depression, who already \"under-process\" cognitive information. The omission of lithium augmentation in depression is clearly unfortunate in this text. Overall, this volume demonstrates the benefits of a single-authored text. It it clearly organized and readable. The bibliography is also broad and useful. In this book, Johnson primarily addresses a research audience, and his model seems designed to stimulate thought rather than to improve clinical technique. In this capacity, his book will be of most interest to behavioral psychologists. Other books, focusing purely on clinical data, may be more useful to clinicians. Nevertheless, the clear organization, the large bibliography, and the thoughtful presentation may make this text a useful addition to a clinical library as well.

The Body in Pain: The Making and Unmaking of the World.

Caliban and the Witch: Women, the Body and Primitive Accumulation

Being emblematic of our big real world, Waiting for Godot shows how and why people cannot stop hoping until the end of time If Godot is the one who will provide what the two old tramps, Vladimir and Estragon, really desire, he seems to be ever beyond their reach No matter how uncertain whether he will come or not, they never give up waiting Godot is the promise that kindles their hope at every moment of despair We can notice Godot's absolute authority and control over them comes from his very absence In fact, this play was written to tell us about the human condition that all human beings suffer this repeated delay of satisfaction and the reproduction of desire all their lives What matters in this symbolic system is not how to make the signifier meaningful but how to prolong the unsatisfactory, meaningless time The characters in this play are about to be aware how empty these symbols are Since the gap between what man hopes for and what the world actually grants is the very essence of the social structure, the contradiction between those two will be never resolved Time has stopped for those who are worn out to watch all their labors have been sterile and still have their labors unfinished Nothing real ever happens and nothing ever changes One day is a duplicate of another The two act structure of the play presents this ontological structure of the human world Meaning cannot be found in the symbolic world And hope is definitely alien to the world of this play Every evening, however, the two men renew their weary and hopeless waiting That is, people make a compromise with the world and pretend they have meanings so that they can keep on hoping This play shows the habit of waiting is the last thing they choose to protect themselves from being fully aware of the cruel truth of life

Waiting for Godot에 나타난 희망의 구조

Defining and relating translation and original in Walter Benjamin's "The task of the translator" and "On language as such and on the language of man"

Corporate sponsorship and business involvement in the visual arts have become increasingly common features in our cultural lives. From Absolut Vodka's sponsorship of art shows to ABN-AMRO Bank's branding of Van Gough's self-portrait to advertise its credit cards, we have born witness to a new sort of patronage, in which the marriage of individual talent with multinational marketing is beginning to blur the comfortable old distinctions between public and private. Chin-tao Wu's book is the first concerted attempt to detail the various ways in which business values and the free-market ethos have come to permeate the sphere of the visual arts since the 1980s. charting the various shifts in public policy which first facilitated the entry of major corporations into the cultural sphere, it analyses the roles of governments in injecting the principles of the free market into public arts agencies - in particular the Arts Council in Great Britain and the National Endowment for the Arts in the USA. It goes on to study the corporate take-over of art museums, highlighting the ways in which ;cultural capital' can be garnered by various social and business 'elites' through commercial involvement in the arts, and shows how corporations have succeeded in integrating themselves into the infrastructure of the art world itself by showcasing contemporary art in their own corporate premises. Mapping for the first time the increasingly hegemonic position that corporations and corporate elites have come to occupy in the cultural arena, this is a provocative contribution to the debate on public culture in Britain and America.

Privatising culture: Corporate art intervention since the 1980s

As literary modernism was emerging in the late nineteenth and early twentieth centuries, a number of its most important figures and precursors began to talk about their own writing as a kind of starvation. The Art of Hunger: Aesthetic Autonomy and the Afterlives of Modernism uses this trope as a lens through which to examine contemporary literature’s engagement with modernism, arguing that hunger offers a way of grappling with the fate of aesthetic autonomy through modernism’s late twentieth-century afterlives. The art of hunger appears at moments where aesthetic autonomy enters a period of crisis, and in this context, the writers examined here develop an alternate theory of aesthetic autonomy, which imagines art not as a conduit for freedom, but rather as an enactment of unfreedom. This book traces this theme from the origins of modernism to the end of the twentieth century, focusing particularly on three authors who redeploy the modernist art of hunger as a response to key moments in the history of modernist aesthetic autonomy’s delegitimization: Samuel Beckett in post-Vichy France; Paul Auster in post-1968 Paris and New York; and J. M. Coetzee in late apartheid South Africa. Combining historical analysis of these literary fields with close readings of individual texts, and drawing extensively on new archival research, this book offers a counter-history of modernism’s post-World War II reception and a new theory of aesthetic autonomy as a practice of unfreedom.

The Art of Hunger: Aesthetic Autonomy and the Afterlives of Modernism

In 2007, Paul Chan mounted a project, Waiting for Godot in New Orleans , that took as its centerpiece the performance of Samuel Beckett’s modernist play Waiting for Godot in the devastated streets of post-Katrina New Orleans. This essay argues that this transnational, community-based performance of a quintessentially modernist play offers a way of reconceptualizing transnational modernism in light of the dynamics of performance, and intercultural and community-based theatre practices in light of the pressures of modernist autonomy. Read in this light, Chan’s project emerges as a provocative attempt to redeploy the autonomous, decontextualizing impulses of Beckett’s play, putting them to work as the basis for new community formations and forms of social and political engagement.

Waiting for Godot in New Orleans: Modernist Autonomy and Transnational Performance in Paul Chan's Beckett

This article examines Chris Kraus’s work, especially her 2016 short story ‘Face’ and her 2006 novel Torpor, to argue that women’s engagement with modernism returns in global art as a risk, ...

The Future of Modernist Risk: Chris Kraus at the Limits of Global Art

The language of starvation is a commonplace in discussions of Samuel Beckett’s writing. His texts are described as emaciated and skeletal, as famished and anorexic. His language, characters, plots, settings, form, content, bodies, style, structure, syntax, and contextual reference are all open to charges of being starved, deprived, or wasted, of going hungry. Terry Eagleton is concurring with a majority view, and making exemplary use of a common metaphor, when he speaks of Beckett’s “anorexic texts,” crafted from “[s]tarved words, gaunt bodies and sterile landscapes” (25).1 Such language is at once pervasive and under-examined, signaling a relationship between hunger and Beckett’s writing that has received much passing acknowledgement but surprisingly little sustained attention. It implies a connection that goes far beyond a simple thematic interest in starvation, infiltrating the very structure of his texts, working its way into their very bones. This essay will argue that this critical intuition actually identifies a central element of Beckett’s postwar aesthetics, in which Beckett uses hunger and related experiences as a way of thinking through his ideas about art and language. In this sense, Beckett’s postwar work develops gropingly towards what might be termed an “aesthetics of hunger”—an aesthetics that takes its structure from hunger. Starvation becomes pervasive in Beckett’s work after the Second World War. Living out their lives against a backdrop of constant, grinding deprivation, his characters of this period almost never have enough to eat. In Waiting for Godot (1953), only Pozzo is genuinely well-fed; Lucky, Vladimir, and Estragon can only beg for his leftovers and trade an ever-diminishing stock of root vegetables. The characters of Endgame (1957) are similarly deprived, inhabiting a world of gradual depletion, in which there are no more sugar

Alys Moody

Papers

The Art of Hunger: Aesthetic Autonomy and the Afterlives of Modernism

Waiting for Godot in New Orleans: Modernist Autonomy and Transnational Performance in Paul Chan's Beckett

The Future of Modernist Risk: Chris Kraus at the Limits of Global Art

Tasteless Beckett: Towards an Aesthetics of Hunger

Eden of Exiles: The Ethnicities of Paul Auster's Aesthetics