Explore the vast range of titles available.

Over the past forty years, the health humanities, previously called the medical humanities, has emerged as one of the most exciting fields for interdisciplinary scholarship, advancing humanistic inquiry into bioethics, human rights, health care, and the uses of technology. It has also helped inspire medical practitioners to engage in deeper reflection about the human elements of their practice.In Health Humanities Reader, editors Tess Jones, Delese Wear, and Lester D. Friedman have assembled fifty-four leading scholars, educators, artists, and clinicians to survey the rich body of work that has already emerged from the field-and to imagine fresh approaches to the health humanities in these original essays. The collection's contributors reflect the extraordinary diversity of the field, including scholars from the disciplines of disability studies, history, literature, nursing, religion, narrative medicine, philosophy, bioethics, medicine, and the social sciences.With warmth and humour, critical acumen and ethical insight, Health Humanities Reader truly humanizes the field of medicine. Its accessible language and broad scope offers something for everyone from the experienced medical professional to a reader interested in health and illness.

The engaging essays in Second Star to the Right approach Peter Pan from literary, dramatic, film, television, and sociological perspectives and, in the process, analyze his emergence and preservation in the cultural imagination.

Earlier, [Lester D. Friedman] had quoted director [Paul Mazursky] as saying that Shelley Winters' vivid depiction of a \"Jewish mother\" in \"Next Stop, Greenwich Village\" was based on \"my own mother (whose) energy was not used, not plugged in, so it fizzled all over the place. The silver cord tremendously overdone can be bad . . . but no cord is worse.\" Friedman also criticized Woody Allen for perpetuating the myth of the Jewish male in hot pursuit of the \"blond shiksa,\" a theme which, Friedman said, suggests its own bankruptcy in \"Manhattan\" (1979) a film in which Allen's character pursues a blond (Mariel Hemingway) who is 16 years old. Friedman attacked the \"Jewish princess\" stereotypes, which he said were advanced - but not particularly comical - in both \"Goodbye Columbus,\" the filmed adaptation of the Philip Roth novella, and \"Private Benjamin,\" a comedy starring Goldie Hawn.

Addcox reviews Monstrous Progeny: A History of the Frankenstein Narratives by Lester D. Friedman and Allison B. Kavey and Frankenstein: The First Two Hundred Years by Christopher Frayling.

54-2060 PR5397 2015-47575 CIP Friedman, Lester D. Monstrous progeny: a history of the Frankenstein narratives, by Lester D. Friedman and Allison B. Kavey. Rutgers, 2016. 236p bibl index ISBN 9780813564241 cloth, $90.00; ISBN 9780813564234 pbk, $27.95; ISBN 9780813573700 ebook, $27.95

Medicine is the most scientific of the humanities and the most humanistic of the sciences,\" the late Edmund Pellegrino often said, paraphrasing Eric Wolf 's thoughts on anthropology. Thus, both humanists and practitioners, particularly those with several years of experience in the field, should welcome this book. It consists of nearly 50 chapters, some of which deal with classic medical humanities topics, such as the notions of health and disease and the theory of the body.

IF, WHILE WALKING through \"Jews in American Cinema: 1898-1990\" - the exhibition opening Sunday at the Museums at Stony Brook - you chance upon a photograph from the 1933 movie \"Counsellor-at-Law,\" it might be amusing to imagine this true, behind-the-scenes moment: Director William Wyler, about to cast the lead role of a Jewish lawyer, approaches producer Samuel Goldwyn about having a Jewish actor play the part. The moment is rich in ironies; Wyler was Jewish, as was Goldwyn, one of the original Hollywood moguls. If Goldwyn's logic, or at least his locution, seems convoluted, remember this is the man to whom such other immortal lines as \"Include me out,\" and \"In two words: Im-possible,\" also are attributed. Whatever his linguistic peculiarities, however, the producer's response to casting a \"Jewish\" role was, in fact, symptomatic of Hollywood's conflicted attitude toward the portrayal of Jews on screen. Such attacks gave him pause about the exhibition, the curator said. \"There's always an issue here, when you say people are influential, [Lester D. Friedman] said. \"It's always true among minorities, and maybe especially true among Jews . . . Do you want to reveal that {certain} people have influence? In essence, you set them up as targets for attacks about media bias. Instead of the old myth of the `international Jewish banking conspiracy,' now you have the myth of Jewish control over Hollywood.\"

The pedantry of American-Jewish Filmmakers produces a dense, lumpish tome written in ponderous prose. The film criticism and analysis in this book treats Hollywood as deserving the same bookish endeavor as literary critics apply to the written word. The result is such pretentiousness as \"feminist film criticism\" and ethnic film criticism which is featured in this book. The authors, two professors of \"cinema studies,\" examine the work of four Jewish movie directors: Woody Allen, Mel Brooks, Sidney Lumet and Paul Mazursky. The directors selected for examination are sons of East European immigrants; they were raised in New York before World War II and, supposedly, they suffer from \"the tensions that being Jewish in America creates.\" These considerations drove them to focus on the problems of assimilation and \"the intricacies of Jewish life in America.\" The authors' assertions are documented by a tedious inquiry into the work of each director, film by film, with detailed sifting and diagnosis. There are occasional insights of value for the general reader but, by and large, this is a book written for other professors of \"cinema studies.\"

Perhaps responding to the modern phenomenon known as [Peter Pan] syndrome, Kavey (history, CUNY, John Jay College) and [Lester D. Friedman] (media studies, Hobart and William Smith Colleges) collect nine excellent essays that explore the social and artistic impacts of J. M. Barries classic tale over the past century. The contributors trear subjects ranging from the Disney versions of Peter Pan and Steven Spielberg's Hook to what constitutes children's literature.