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Though not devoted exclusively to waiting, Bourdieu's argument that those who control economic and social power also control time anticipates some contemporary scholarship on waiting. Reviewing this and Liene Ozoliņa's 2018 Politics of Waiting, anthropologist Francisco Martínez notes that the texts “serve to push forward something akin to ‘waiting studies’” (115), a growing body of work largely based on the negative relationship between the power of institutions and the individual body on which the time of institutions registers. Much of her emotional life is bound up with thoughts of her husband Derek (Omari Hardwick), who is serving time in prison for selling firearms illegally and who is coming up for parole after four years away from Ruby. In scholarship, Christina N. Baker writes extensively on the film's portrayals of love, mass incarceration, and Black identity, especially of women (all of the principal characters are Black), and she investigates waiting directly, noting of Ruby, “Her life revolves around waiting and anticipation—she waits by the phone for her husband's daily phone calls and she anticipates seeing her husband as she takes the long bus trip to visit him every weekend” (113–14).

This paper explores the biography of Edwin Bissell Holt (1873–1946), an American psychologist and philosopher. Although today Holt is almost completely forgotten, he was one of the leading figures in early twentieth century American science. In my work I am going to show that Holt’s impact was remarkable and long-lasting both in psychology and in philosophy. In psychology, Holt was a pioneer of behaviorism (plausibly preceding John Watson), academic psychoanalysis and so–called ecological psychology. In philosophy, he arguably influenced the late philosophy of his teacher and cordial friend, William James. Holt was also one of the founders of the New Realism, a tradition that—although short-lived—transferred to American soil many ideas of British analytic movement and paved the way for American analytic philosophy. Unfortunately, due to Holt’s early withdrawal from academic life, some of his achievements were adopted by his students (e.g., by Edward Chase Tolman and James Gibson), while other fell into oblivion. By following Holt’s biography, I try to give him a proper place in the history of American science and—at the same time—to offer a kind of a prolegomena to more detailed studies on his thought that are certainly needed.

[...]running through Münsterberg's missive is a subtexual concern with gender: his vocal devotion to Radcliffe, a women's college formerly known as the Harvard Annex, speaks to his advocacy for women's access to higher education, even as his casual use of the qualifier \"female student\" carries connotations of sexual difference. \"First a human being\": Stein's Early Essays During the winter of 1901–02, when she was a medical student at Johns Hopkins, Stein wrote an essay entitled \"Degeneration in American Women,\" in which she directly responded to an article by Dr. George H. Engelmann published in the Journal of the American Medical Association. Defined in this way, work is necessarily a circumscribing force. Because labor opportunities are limited, the \"psychical rhythm[s]\" of an individual must \"adjust themselves to the requirements of the one kind of labor\" or another (Psychology and Industrial Efficiency, 36). While Psychology and Industrial Efficiency is foremost an introduction to the industrial-psychological model, Münsterberg also uses his book to reconstruct the concept of the psychological \"type.\" Since his research assumes that human beings are psychophysically unique, Münsterberg dismisses \"the average mind which the theoretical psychologist may construct as a type\" as having little explanatory value (Psychology and Industrial Efficiency, 9).

One hundred years ago, in 1916, Hugo Munsterberg was the first psychologist to publish a book on movie psychology, entitled The Photoplay: A Psychological Study. We revisit this visionary text, which was an anticipation of the field of cognitive movie psychology. We use the structure of his book to look into advances that have been made within the field and evaluate whether Munsterberg's initial claims and predictions have borne out. We comment on the empirical development of film studies regarding perceived depth and movement, attention, memory, emotion, and esthetics of the photoplay. We conclude that the most of Munsterberg's positions remain surprisingly topical one hundred years later. Keywords: anniversary, cognitive movie psychology, experimental movie psychology, Hugo Munsterberg, photoplay, review

Münsterberg initially outlined the promise of psychology applied to the law in the first decade of the 20th century. This great psychologist gets at most a passing reference in textbooks (and an occasional slurred acknowledgment) yet his vision for applied psychology generally, and forensic psychology in particular, was accurate, forceful, and presented widely to the general population. The seed he planted was slow in germinating for forensic practitioners yet when it did emerge in the last quarter of the century, Canadian psychologists made disproportionate contributions to the science on which professional applications stood. To understand the development and future prospects for Canadian forensic psychologists requires a broad view of our teaching, research, and practice and the application of lessons from the genesis of our specialty. Münsterberg a été un pionnier de la psychologie appliquée qui a fait valoir ses possibilités dans le contexte du droit, au tout début des années 1900. C'est à peine si ce grand psychologue est mentionné dans les manuels scolaires (et ses travaux sont à l'occasion mentionnés en passant). Pourtant, sa vision de la psychologie appliquée et de la psychologie judiciaire en particulier s'est révélée juste et puissante, et a été présentée à la population générale. Les graines qu'il a semées ont mis du temps à germer au sein du domaine médicolégal, mais lorsqu'elles ont pris de l'ampleur, dans les 25 dernières années du siècle, les psychologues canadiens ont grandement contribué à la science sur laquelle reposaient les applications professionnelles. Pour comprendre l'évolution et les perspectives d'avenir pour les psychologues judiciaires canadiens, il faut présenter un aperçu élargi de l'enseignement, de la recherche, de la pratique et de l'application des leçons tirées de la genèse de ce domaine spécialisé.

Purpose - This article seeks to depict the pivotal role Hugo Munsterberg, the great pioneer in industrial psychology, played in the lives of his students, some of whom were feminists regardless of his own chauvinistic opinions. The article aims to examine the contributions made by Mary Calkins, Ethel Puffer, and William Marston, all former students of Munsterberg, who went on to make valuable contributions in psychology, women's issues, the polygraph, and the creation of the first and most famous comic book super heroine.Design methodology approach - Synthesizing articles from history journals, writings about the figures of interest, published works by the figures themselves and other resources, this paper illustrates how Hugo Munsterberg impacted the scholarly careers of Calkins, Puffer, and Marston who all made valuable contributions to academia and popular culture.Findings - This paper concludes that Munsterberg's influence was evident in the works of Calkins, Puffer, and Marston in areas as diverse as the psychology of beauty to the detection of deception. Despite his own chauvinistic views Munsterberg had an amicable and productive relationship with the aforementioned students, which sometimes extended beyond a professional relationship. Consequently, they initiated a research agenda that was greatly influenced by Dr Munsterberg.Originality value - This article highlights Dr Hugo Munsterberg's influence on Calkins, Puffer, and Marston, who made valuable contributions in women's issues, as well as the development of DISC theory, and the super-heroine Wonder Woman.

In the 1920s, researchers attempted to gauge the emotional impact of motion pictures by measuring spectators' respiration and blood pressure during screenings. This paper analyzes psychophysiological spectator studies conducted by William M. Marston at Columbia University and Universal Studios and traces the roots of his methods to Hugo Münsterberg's applied psychology. Examining the model of embodied spectatorship and concepts of film aesthetics articulated in Marston's experiments exposes their ethical and epistemological implications. Further, despite his claims to objectivity, Marston's interpretation of his data reflected cultural clichés and perpetuated the universalist fallacies of biologically oriented psychology.

Hugo Münsterberg was among the most famous psychologists in the world at the turn of the 20th century. Despite his preeminence and associations with prominent leaders in several disciples, including Frank Parsons, his abrasive personality and unpopular politics led to his work being largely ignored during the 20th century. One such work is H. Münsterberg's (1910c) Vocation and Learning: A Popular Reading Course, which represents an early trait‐and‐factor psychological model of vocation. This triangular model suggests that people and vocations are composed of thinking, feeling, and willing dimensions that must be aligned to find the most suitable vocation for the person.

Psychotechnics is a relatively young branch of psychological research and application, with Hugo Munsterberg giving the first lectures on psychotechnics at the University of Berlin in 1910. In a discussion about contributions to the regional history of psychology in Czechoslovakia, the development of applied psychology internationally is presented.