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.

(2000). Literary Culture and U.S. Imperialism: From the Revolution to World War II. History: Reviews of New Books: Vol. 29, No. 1, pp. 15-15.

Literary Culture and U.S. Imperialism: From the Revolution to World War II

VOLUME ONE Introduction - Atkinson and Delamont PART ONE: JUSTIFICATION Kundera's Immortality - Atkinson and Silverman Beyond Translations - Tierney Interpreting Menchu's Account - Treuba Accounts - Scott and Lynan PART TWO: TRADITIONS The Guerilla Journalist - De Graef and Stein From Anecdote to Analysis - Dougherty PART THREE: METHODS Do I Like Them Too Much? - Yow Analyzing the Analyzed - Roper Methods and Theory - Dunaway Telling and Listening - De Vault The Zoom Model - Pamphilon What Is the Legend after All? - Degh Meaning and Identity in Cyber Space - Kendall VOLUME TWO PART ONE: NARRATIVES Narrative Turn or Blind Alley? - Atkinson Unexpected Studies - Cary The Teller, the Tale - Gudmundsdottir PART TWO: EXAMPLES (A) Not Illness Listening to Queer Maps - Brown (A) Not Illness The Bubble That Burst - Day Sclater Jane's Divorce Story (B) Illness Sport, Spinalcord Injury etc - Sparkes and Smith (B) Illness Survivors and Victims - Crossley (B) Illness Illness Narratives - Ezzy (B) Illness The Validity of Angels - Lather VOLUME THREE PART ONE: LIFE HISTORY, ORAL HISTORY, ETC Upper Class Life - Roos and Roos We'll Remain in This Cesspool - Siegelbaum and Walkowitz Go to College - Hickey Exploring Myths - Freund and Quilici Oral History of Schooling - Summerfield Semantic Slippage and Moral Fall - Herzfeld PART TWO: AUTO-ETHNOGRAPHY Among the Chosen - Barone Reflections on Residential School and Our Future - Whattam VOLUME FOUR PART ONE: PERFORMANCE AND PERFORMERS Urban Legends, Myths etc The Hit List - Delamont Rude Words - Fine Cadaver Stories - Hafferty Atrocity Stories - Dingwall Rocky the Police Dog - Bennett Golden Oranges and Silver Ships - Dubish Breaking the Spell - Slater Turkish Women's Mevled - Tapper PART TWO: OTHER PERFORMERS Re/Searching Speaking and Listening - Butterwick The Theatre of Ethnography - Mienczakowski Missed Memories - Tsimouris Bridge between Worlds - Caraveli-Chaves Honour and the Sentiments of Loss - Abu-Lughod Telling Performances - Tucker Double-Edge Sword - Green Stages in Life - Ratcliff Dance Ethno-Graphics and the Moving Body - Farnell Theoretical and Methodological Considerations - Kaeppler Tea The Way of Tea - Kondo Sing Singing Contests in the Ethnic Enclosure of the Post-War Japanese Community - Hosokawa Martial Arts The Ritual Dimension of Karate-Do - Donahue Carnival Afro-Bahian Carnival - Dunn PART THREE: TESTIMONIOS RM and DS - Smelt

Performance and performativity

Gathering together episodes from American theater history, my dissertation focuses on the destabilizing identities and paradoxical resolutions of so-called “Indian” and slavery plays to address nineteenth-century melodrama’s fundamental engagement with race. Melodrama is a spectacular form that uses iconic images to move audiences to feel powerful emotions and to assign moral legibility to societal problems. Given the significant role of territorial expansion and chattel slavery in US history, race has always presented Americans with crucial moral dilemmas. Melodrama has long provided a dominant mode of representation for addressing such dilemmas that hinges upon racially inflected conceptions of good and evil. Yet melodrama’s search for moral legibility depends upon contentious performance rituals that make this search far more complex than it is generally conceived to be. I argue that its paradoxical resolutions provide a ritualized framework for the staging of contested identities and ideologies during the period of America’s national formation. My view of melodrama accounts for the interactive and raucous nature of nineteenth-century performance culture. It also incorporates the contributions of Native Americans and African Americans, which deserve more attention in studies of antebellum melodrama. I argue that melodrama has its origins in a colonial history—fraught with genocidal wars against indigenous peoples and the theft of African persons for slave labor—that shapes America’s socio-political structures throughout much of the nineteenth century. My account of melodrama’s rise iii throws into sharp relief how central the moral dilemmas posed by racial conflict have been to this influential American form since its beginnings. Placing Indian and slavery plays alongside one another, including Metamora (1829), Nick of the Woods (1838), The Forest Princess (1848), The Escape (1858), The Stars and Stripes (1848), and The Octoroon (1859), I emphasize the important points of connection between their representations of racialized victimization and vilification. Melodrama still influences the way we think and talk about race in America, and a look at our contemporary cultural moment shows that melodrama’s paradoxical search for moral legibility continues to unfold.

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A Raucous Entertainment: Melodrama, Race, and the Search for Moral Legibility in Nineteenth-Century America

It would be a shame if people shied away from this book because of its title, which in echoing Fredric Jameson promises some large-scale theorizing, or its bulky subtitle, which may suggest a rather esoteric take on a single author with a relatively limited literary output. In fact, Brown’s book is a major reinterpretation of the American 1890s that convincingly demonstrates the centrality of amusement and play for understanding emergent modern mass culture. What Walter Benn Michaels did for the market and Mark Seltzer did for machine culture, Brown does for recreation, giving the concept and its material practice a specificity, weight, and importance previously unseen. As Brown writes in his introduction, his study actually has three related ambitions: to examine Crane’s peculiar texts in light of the recreational,” which Brown defines as “the many sites where we seek physical and psychic pleasure publicly” (3); to revise our understanding of the American 1890s by way of these close readings of Crane; and to offer his method of analysis as a model for what he gamely calls a “new materialism” (18). On the first two of these accounts, revising our sense of Crane and his time, Brown succeeds admirably; he has produced the richest interpretation of Crane’s texts since the 1960s. Brown’s interpretation is rich precisely

The Material Unconscious: American Amusement, Stephen Crane and the Economies of Play (review)

The anonymous tattered man stands poking at the corpse of Jim Conklin, whose death he has just witnessed alongside the novel’s protagonist, Henry Fleming. The scene is peculiar, but also not particularly unique in the novel; as critics have long noted, Red Badge is seeped in the thematic and formal visibility of death, in the stakes of death’s imaginative visualizations and in its halting, repetitive appearances in the narrative. Fleeting examinations of corpses—casual touches and long looks— punctuate the novel, itself an 1895 post-mortem of the American Civil War that it obliquely reproduces. So like death more generally, and like the particular deaths in Red Badge, this scene archives what we know to be a “regular,” repetitive event as much as it calls attention to the singular strangeness of death’s arrival at any particular moment, its status as a “funny thing.” Repeatedly translating “Jim” as character into a “reg’lar

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Lindsay V. Reckson

Papers

A "Reg'lar Jim Dandy": Archiving Ecstatic Performance in Stephen Crane