Exploiting a link between early modern concepts of the medical and the literary, David Houston Wood suggests that the recent critical attention to the gendered, classed, and raced elements of the embodied early modern subject has been hampered by its failure to acknowledge the role time and temporality play within the scope of these admittedly crucial concerns. Wood examines the ways that depictions of time expressed in early modern medical texts reveal themselves in contemporary literary works, demonstrating that the early modern recognition of the self as a palpably volatile entity, viewed within the tenets of contemporary medical treatises, facilitated the realistic portrayal of literary characters and served as a structuring principle for narrative experimentation. The study centers on four canonical, early modern texts notorious among scholars for their structural- that is, narrative, or temporal- difficulties. Wood displays the cogency of such analysis by working across a range of generic boundaries: from the prose romance of Philip Sidney's Arcadia, to the staged plays of William Shakespeare's Othello and The Winter's Tale, to John Milton's stubborn reliance upon humoral theory in shaping his brief epic (or closet drama), Samson Agonistes. As well as adding a new dimension to the study of authors and texts that remain central to early modern English literary culture, the author proposes a new method for analyzing the conjunction of character emotion and narrative structure that will serve as a model for future scholarship in the areas of historicist, formalist, and critical temporal studies.

Exploiting a link between early modern concepts of the medical and the literary, David Houston Wood suggests that the recent critical attention to the gendered, classed, and raced elements of the embodied early modern subject has been hampered by its failure to acknowledge the role time and temporality play within the scope of these admittedly crucial concerns. Wood examines the ways that depictions of time expressed in early modern medical texts reveal themselves in contemporary literary works, demonstrating that the early modern recognition of the self as a palpably volatile entity, viewed within the tenets of contemporary medical treatises, facilitated the realistic portrayal of literary characters and served as a structuring principle for narrative experimentation. The study centers on four canonical, early modern texts notorious among scholars for their structural- that is, narrative, or temporal- difficulties. Wood displays the cogency of such analysis by working across a range of generic boundaries: from the prose romance of Philip Sidney's Arcadia, to the staged plays of William Shakespeare's Othello and The Winter's Tale, to John Milton's stubborn reliance upon humoral theory in shaping his brief epic (or closet drama), Samson Agonistes. As well as adding a new dimension to the study of authors and texts that remain central to early modern English literary culture, the author proposes a new method for analyzing the conjunction of character emotion and narrative structure that will serve as a model for future scholarship in the areas of historicist, formalist, and critical temporal studies.

This insightful study examines the strategies used by outsiders to usurp Hawaiian lands and undermine indigenous Hawaiian culture. Drawing upon historical and contemporary examples, Houston Wood investigates the journals of Captain Cook, Hollywood films, commercialized hula, Waikiki development schemes, and the appropriation of Pele and Kilauea by haoles to explore how these diverse productions all displace Native culture. Yet, the author emphasizes the voices that have never been completely silenced and can be heard asserting themselves today through songs, chants, literature, the internet, and the Native nationalist sovereignty movement. This impassioned argument about the linkages between textual and physical displacements of Native Hawaiians will engage all readers interested in Pacific literature and postcolonial studies.

The film industry and mainstream popular culture are notorious for promoting stereotypical images of Native Americans: the noble and ignoble savage, the pronoun-challenged sidekick, the ruthless warrior, the female drudge, the princess, the sexualized maiden, the drunk, and others. Over the years, Indigenous filmmakers have both challenged these representations and moved past them, offering their own distinct forms of cinematic expression. Native Americans on Film draws inspiration from the Indigenous film movement, bringing filmmakers into an intertextual conversation with academics from a variety of disciplines. The resulting dialogue opens a myriad of possibilities for engaging students with ongoing debates: What is Indigenous film? Who is an Indigenous filmmaker? What are Native filmmakers saying about Indigenous film and their own work? This thought-provoking text offers theoretical approaches to understanding Native cinema, includes pedagogical strategies for teaching particular films, and validates the different voices, approaches, and worldviews that emerge across the movement.

Invitation to Peace Studies is the first textbook in the field to emphasize 21st-century research and controversies and to encourage the more frequent use of a gender perspective in analyzing peace, war and violence. Recent empirical research forms the core of most chapters, but substantial attention is also given to faith-based ideas, movements, and peace pioneers. The book examines compelling contemporary topics like cyber warfare, drones, robots, digital activism, hactivism, the physiology of peace, rising rates of suicide, and peace through health. It is also unique in its use of a single coherent perspective-that of a global peace network-to make sense of the historically unprecedented and interconnected web of diverse ideas, individuals, groups, organizations, and movements currently promoting peace across the world.

This book explores the varying contexts in which indigenous filmmaking takes place and how they challenge some of the basic assumptions of viewers.Though interest in indigenous feature-length films has expanded greatly in recent years, there is as yet no book-length examination of this subject. "Native Features" will fill this gap.Written for students and the general viewing public, "Native Features" explores the varying contexts in which indigenous filmmaking takes place. The book demonstrates how indigenous films challenge some of the basic assumptions of viewers who experience these films while using national cinemas as their models. Each chapter includes little known information that is likely to increase the understanding and pleasure of all who view these diverse films."Native Features" should function as an essential guide for everyone interested in indigenous peoples or in innovative films.