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From its first depictions in ancient medical literature to contemporary depictions in brain imaging, mania has been largely associated with its Greek roots, \"to rage.\" Prior to the nineteenth century, \"mania\" was used interchangeably with \"madness.\" Although its meanings shifted over time, the word remained layered with the type of madness first-century writers described: rage, fury, frenzy. Even now, the mental illness we know as bipolar disorder describes conditions of extreme irritability, inflated grandiosity, and excessive impulsivity.Spanning several centuries,Manic Mindstraces the multiple ways in which the word \"mania\" has been used by popular, medical, and academic writers. It reveals why the rhetorical history of the word is key to appreciating descriptions and meanings of the \"manic\" episode.\" Lisa M. Hermsen examines the way medical professionals analyzed the manic condition during the nineteenth and twentieth centuries and offers the first in-depth analysis of contemporary manic autobiographies: bipolar figures who have written from within the illness itself.

Jewish film characters have existed almost as long as the medium itself. But around 1990, films about Jews and their representation in cinema multiplied and took on new forms, marking a significant departure from the past. With a fresh generation of Jewish filmmakers, writers, and actors at work, contemporary cinemas have been depicting a multiplicity of new variants, including tough Jews; brutish Jews; gay and lesbian Jews; Jewish cowboys, skinheads, and superheroes; and even Jews in space. The New Jew in Film is grounded in the study of over three hundred films from Hollywood and beyond. Nathan Abrams explores these new and changing depictions of Jews, Jewishness, and Judaism, providing a wider, more representative picture of this transformation. In this compelling, surprising, and provocative book, chapters explore masculinity, femininity, passivity, agency, and religion in addition to a departure into new territory—including bathrooms and food. Abrams’s concern is to reveal how the representation of the Jew is used to convey confidence or anxieties about Jewish identity and history as well as questions of racial, sexual, and gender politics. In doing so, he provides a welcome overview of important Jewish films produced globally over the past twenty years.

Spanienbilder in deutschen Reiseromanen der Gegenwart stellen ein bisher kaum erforschtes Gebiet dar. Daher werden in dieser Studie fünf seit der Jahrtausendwende erschienene Romane unterschiedlicher Genres analysiert, die sich den Spanienerfahrungen deutscher Reisender widmen. Deren Spanienbilder werden auf den Ebenen der imaginären und der tatsächlichen Raumerfahrung produziert, wobei die große Diskrepanz zwischen diesen beiden Ebenen zu Enttäuschungen führt. Durch verschiedene Erzähltechniken werden dabei die Figuren als naiv und ihre meist negativen Spanienbilder als Spiegel des eigenen Scheiterns entlarvt sowie gängige spanische Stereotype in Frage gestellt.

Offers a psychosocial analysis of psychological man in classic European art films. Inspired by Rieff's (1966) reference to the four European auteurs, discusses four of their films: Chabrol's \"The Cousins\" (1959), Fellini's \"La Dolce Vita\" (1960), Antonioni's \"La Notte\" (1961) and Bergman's \"The Silence\" (1963). Recurring themes include the decline of religion and community, unmodulated narcissism and individualism, transgressive sexual behavior and pleasure-seeking, and existential anxiety and despair. Informed by a progressive perspective, relates these themes to the contexts of advanced capitalist France, Italy and Sweden in the late 1950s and early 1960s. Although these complex, multi-layered films lend themselves to various psychoanalytic interpretations, focuses on Rieff's ideas about character and culture. Concludes by assessing the films' portraits of psychological man, treatment of decadence, and relevance for understanding the self in society. (Quotes from original text)

This chapter contains sections titled: Religious? Global? Mediated? Some Problems of Terminology The Case of Religious Print The Danish Cartoon Imbroglio Conclusion Bibliography

This chapter contains sections titled: The Poet of the City Pimping for Rome The Problem with Panegyric

This chapter contains sections titled: Standard Tombs of the Ramesside Period The Ramesside Afterlife The Tomb as Temple: Samut and Djehutyemheb Offerings and Offering‐Systems in the New Kingdom Anhurmose at Mashayikh: Ramesside Tombs in the Provinces The Ramesside Coffin