This contributory volume, the first book of its kind, provides a snapshot of the ways in which discourse about Western music and race overlapped and became intertwined during the period from Wagner??'s death to the rise of National Socialism and fascism elsewhere in Europe. At these two framing moments such overlapping was at its most explicit: Wagner??'s racially inflected ???regeneration theories??? were at one end and institutionalised cultural racism at the other. The book seeks to provide insights into the key national contexts in which such discourses circulated in the interim period, as well as to reflect a range of archival, historical, critical, and philosophical approaches to the topic. National contexts covered include Germay, France, Spain, Italy, Great Britain and North America. The contributors to the volume are leading scholars in the field, and the book contains many illustrative music examples and images which bring the subject matter to life.

The purpose of medical education is to benefit patients by improving the work of doctors. Patient centeredness is a centuries old concept in medicine, but there is still a long way to go before medical education can truly be said to be patient centered. Ensuring the centrality of the patient is a particular challenge during medical education, when students are still forming an identity as trainee doctors, and conservative attitudes towards medicine and education are common amongst medical teachers, making it hard to bring about improvements. How can teachers, policy makers, researchers and doctors bring about lasting change that will restore the patient to the heart of medical education? The authors, experienced medical educators, explore the role of the patient in medical education in terms of identity, power and location. Using innovative political, philosophical, cultural and literary critical frameworks that have previously never been applied so consistently to the field, the authors provide a fundamental reconceptualisation of medical teaching and learning, with an emphasis upon learning at the bedside and in the clinic. They offer a wealth of practical and conceptual insights into the three-way relationship between patients, students and teachers, setting out a radical and exciting approach to a medical education for the future.

"The authors provide us with a masterful reconceptualization of medical education that challenges traditional notions about teaching and learning. The book critiques current practices and offers new approaches to medical education based upon sociocultural research and theory. This thought provoking narrative advances the case for reform and is a must read for anyone involved in medical education." -

David M. Irby, PhD, Vice Dean for Education, University of California, San Francisco School of Medicine; and co-author of Educating Physicians: A Call for Reform of Medical School and Residency

"This book is a truly visionary contribution to the Flexner centenary. It is compulsory reading for the medical educationalist with a serious concern for the future - and for the welfare of patients and learners in the here and now."

Professor Tim Dornan, University of Manchester Medical School and Maastricht University Graduate School of Health Professions Education.

"

Schoenberg and Redemption presents a new way of understanding Schoenberg's step into atonality in 1908. Reconsidering his threshold and early atonal works, as well as his theoretical writings and a range of previously unexplored archival documents, Julie Brown argues that Schoenberg's revolutionary step was in part a response to Wagner's negative charges concerning the Jewish influence on German music. In 1898, and especially 1908, Schoenberg's Jewish identity came into confrontation with his commitment to Wagnerian modernism to provide an impetus to his radical innovations. While acknowledging the broader turn-of-the-century Viennese context, Brown draws special attention to continuities between Schoenberg's work and that of Viennese moral philosopher Otto Weininger, himself an ideological Wagnerian. She also considers the afterlife of the composer's ideological position when, in the late 1920s and early 1930s, the concept of redeeming German culture of its Jewish elements took a very different turn.

This collection of original and classic essays examines the contributions that female authors have made to the short story. The introductory chapter discusses why genre critics have ignored works by women and why feminist scholars have ignored the short story genre. Subsequent chapters discuss early stories by such authors as Lydia Maria Child and Rose Terry Cooke. Other chapters are devoted to the influences (race, class, sexual orientation, education) that have shaped women's short fiction through the years. Women's special stylistic, formal and thematic concerns are also discussed in this study. The final essay addresses the ways our contemporary creative-writing classes are stifling the voices of emerging young female authors. The collection includes an extensive five-part bibliography.

How do different ethnic groups approach the short story form? Do different groups develop culture-related themes? Do oral traditions within a particular culture shape the way in which written stories are told? Why does "the community" loom so large in ethnic stories? How do such traditional forms as African American slave narratives or the Chinese talk-story shape the modern short story? Which writers of color should be added to the canon? Why have some minority writers been ignored for such a long time? How does a person of color write for white publishers, editors, and readers?
Each essay in this collection of original studies addresses these questions and other related concerns. It is common knowledge that most scholarly work on the short story has been on white writers: This collection is the first work to specifically focus on short story practice by ethnic minorities in America, ranging from African Americans to Native Americans, Chinese Americans to Hispanic Americans. The number of women writers discussed will be of particular interest to women studies and genre studies researchers, and the collections will be of vital interest to scholars working in American literature, narrative theory, and multicultural studies.

From Hans Christian Andersen's fairytale characters to Lewis Carroll's Wonderland and Emily Dickinson's poetic imagery, the writings and lives of some of the world's most celebrated authors indicate signs of autism and Asperger's Syndrome. Through analysis of biographies, autobiographies, letters and diaries, Professor Julie Brown identifies literary talents who display characteristics of Autistic Spectrum Disorder (ASD) and uncovers the similarities in their writing that suggest atypical, autistic brains. Providing close readings of authors' works, Brown explores writing processes, content, theme, structure and writing style to reveal the underlying autistic traits that have influenced their writing. The book provides an overview of ASD and common threads in autistic writing followed by an illuminating exploration of how these threads are evident in the literature of both well-known and lesser known authors. This groundbreaking study of autism in literature will be of interest to anyone with a professional or personal interest in literature or the autistic mind.

The grotesque is one of art's most puzzling figures - transgressive, comprising an unresolveable hybrid, generally focussing on the human body, full of hyperbole, and ultimately semantically deeply puzzling. In Bluebeard's Castle (1911), The Wooden Prince (1916/17), The Miraculous Mandarin (1919/24, rev. 1931) and Cantata Profana (1930), BartA(3)k engaged scenarios featuring either overtly grotesque bodies or closely related transformations and violations of the body. In a number of instrumental works he also overtly engaged grotesque satirical strategies, sometimes - as in Two Portraits: 'Ideal' and 'Grotesque' - indicating this in the title. In this book, Julie Brown argues that BartA(3)k's concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. While BartA(3)k developed each interest in highly individual ways, and did so separately to a considerable extent, the three concerns remained conceptually interlinked. All three were thoroughly implicated in cultural constructions of the Modern during the period in which BartA(3)k was composing.

This collection of original and classic essays examines the contributions that female authors have made to the short story. The introductory chapter discusses why genre critics have ignored works by women and why feminist scholars have ignored the short-story genre. Subsequent chapters discuss early stories by such authors as Lydia Maria Child and Rose Terry Cooke. Other chapters are devoted to the influences (race, class, sexual orientation, education) that have shaped women's short fiction through the years. Women's special stylistic, formal, and thematic concerns are also discussed in this study. The final essay addresses the ways our contemporary creative-writing classes are stifling the voices of emerging young female authors. The collection includes an extensive five-part bibliography.

The purpose of medical education is to benefit patients by improving the work of doctors. Patient centeredness is a centuries old concept in medicine, but there is still a long way to go before medical education can truly be said to be patient centered. Ensuring the centrality of the patient is a particular challenge during medical education, when students are still forming an identity as trainee doctors, and conservative attitudes towards medicine and education are common amongst medical teachers, making it hard to bring about improvements. How can teachers, policy makers, researchers and doctors bring about lasting change that will restore the patient to the heart of medical education? The authors, experienced medical educators, explore the role of the patient in medical education in terms of identity, power and location. Using innovative political, philosophical, cultural and literary critical frameworks that have previously never been applied so consistently to the field, the authors provide a fundamental reconceptualisation of medical teaching and learning, with an emphasis upon learning at the bedside and in the clinic. They offer a wealth of practical and conceptual insights into the three-way relationship between patients, students and teachers, setting out a radical and exciting approach to a medical education for the future.

"The authors provide us with a masterful reconceptualization of medical education that challenges traditional notions about teaching and learning. The book critiques current practices and offers new approaches to medical education based upon sociocultural research and theory. This thought provoking narrative advances the case for reform and is a must read for anyone involved in medical education." -

David M. Irby, PhD, Vice Dean for Education, University of California, San Francisco School of Medicine; and co-author of Educating Physicians: A Call for Reform of Medical School and Residency

"This book is a truly visionary contribution to the Flexner centenary. It is compulsory reading for the medical educationalist with a serious concern for the future - and for the welfare of patients and learners in the here and now."

Professor Tim Dornan, University of Manchester Medical School and Maastricht University Graduate School of Health Professions Education.

"

The Sounds of the Silents in Britain explores the sonic dimension of film exhibition in Britain, from the emergence of cinema through to the introduction of synchronized sound. Edited by Julie Brown and Annette Davison, the volume includes original scholarship from many highly-regarded experts on British silent film from a range of disciplinary backgrounds, such as film history, theatre studies, economic history, and musicology. The essays provide an introduction to diverse aspects of early film sound: vocal performance, from lecturing and reciting, to voicing the drama; music, from the forerunners of music for visual spectacle to the impact of legislation and the development of film music practice; and performance in cinemas more generally, from dancing and singalong films, to live stage prologues, and even musical performances captured in British Pathe's early sound shorts. Other topics include the sonic eclecticism of performances at the Film Society, British International Pictures' first synchronized sound films, and the role of institutions such as the Musicians' Union and the Performing Right Society in relation to cinema music and musicians. In addition to tackling these familiar topics from surprising new angles, The Sounds of the Silents in Britain also debunks some of the myths about the sonic dimension of film exhibition. For example, the book reveals that local venue licensing decisions had a profound effect on whether music could even be performed with film in some British performances spaces and cities, and that the same was true of live acts alongside film - even into the late 1920s. The books also bring to light the fact that, in terms of special film presentation and orchestral accompaniment, practices in London were arguably more sophisticated than those in New York before the onset of World War I; that lecturing to film in Aberdeen, Scotland had almost as long a life as Japanese benshi; and that the London Film Society was as eclectic in its approach to sound as it was in programming the films themselves. Filled with both archival research and sound musicological analysis, The Sounds of the Silents in Britain represents an important addition to early film and film music scholarship.

The Sounds of the Silents in Britain explores the sonic dimension of film exhibition in Britain, from the emergence of cinema through to the introduction of synchronized sound. Edited by Julie Brown and Annette Davison, the volume includes original scholarship from many highly-regarded experts on British silent film from a range of disciplinary backgrounds, such as film history, theatre studies, economic history, and musicology. The essays provide an introduction to diverse aspects of early film sound: vocal performance, from lecturing and reciting, to voicing the drama; music, from the forerunners of music for visual spectacle to the impact of legislation and the development of film music practice; and performance in cinemas more generally, from dancing and singalong films, to live stage prologues, and even musical performances captured in British Pathe's early sound shorts. Other topics include the sonic eclecticism of performances at the Film Society, British International Pictures' first synchronized sound films, and the role of institutions such as the Musicians' Union and the Performing Right Society in relation to cinema music and musicians. In addition to tackling these familiar topics from surprising new angles, The Sounds of the Silents in Britain also debunks some of the myths about the sonic dimension of film exhibition. For example, the book reveals that local venue licensing decisions had a profound effect on whether music could even be performed with film in some British performances spaces and cities, and that the same was true of live acts alongside film - even into the late 1920s. The books also bring to light the fact that, in terms of special film presentation and orchestral accompaniment, practices in London were arguably more sophisticated than those in New York before the onset of World War I; that lecturing to film in Aberdeen, Scotland had almost as long a life as Japanese benshi; and that the London Film Society was as eclectic in its approach to sound as it was in programming the films themselves. Filled with both archival research and sound musicological analysis, The Sounds of the Silents in Britain represents an important addition to early film and film music scholarship.

Move past trauma, balance your emotions, and reconnect with your body's innate wisdom in The Body Awareness Workbook for Trauma. There is a piercing epidemic of trauma in the world today. Every few days there are reports of another tragedy, of more lives lost to gun violence, loved ones and family homes lost to floods, hurricanes, or fires. Women have come to speak openly about the trauma of sexual assault, and we are finally talking openly about the trauma inflicted on people of colour, on transgender people, and immigrants. But now that this trauma is out in the open, how do we heal? For years, we've understood the connection between trauma and mental health issues, such as depression and anxiety. But somatic psychology has recently shown that our bodies hold on to trauma, and trauma can manifest in physical symptoms, such as pain, hormone imbalance, sexual dysfunction, and addiction. In addition, we now know that developmental trauma-trauma that emerges when basic childhood needs are not met-can result in profound emotional stress and lead to serious diseases. Building on this knowledge, this cutting-edge guide offers simple skills for connecting and calming your body, balancing your emotions, and rewiring old patterns of reactivity for better self-regulation. The mind-body approach in this book is designed to guide you away from post-traumatic stress disorder (PTSD) and trauma and toward posttraumatic growth. Using these exercises, you'll learn how to reconnect and relate to your body-and yourself as a whole-in a new and healthy way. If you're ready to move past your trauma and rediscover your body's innate capacity for healing, growth, vitality, and joy, this unique guide will help light the way.

Schoenberg and Redemption presents a new way of understanding Schoenberg's step into atonality in 1908. Reconsidering his threshold and early atonal works, as well as his theoretical writings and a range of previously unexplored archival documents, Julie Brown argues that Schoenberg's revolutionary step was in part a response to Wagner's negative charges concerning the Jewish influence on German music. In 1898, and especially 1908, Schoenberg's Jewish identity came into confrontation with his commitment to Wagnerian modernism to provide an impetus to his radical innovations. While acknowledging the broader turn-of-the-century Viennese context, Brown draws special attention to continuities between Schoenberg's work and that of Viennese moral philosopher Otto Weininger, himself an ideological Wagnerian. She also considers the afterlife of the composer's ideological position when, in the late 1920s and early 1930s, the concept of redeeming German culture of its Jewish elements took a very different turn.

A Practical Approach to Alternative Dispute Resolution provides a comprehensive and easily digestible commentary on all of the major areas of out-of-court dispute resolution. Designed to support teaching and learning on the Bar Professional Training Course, it will also be of interest to practitioners who are looking for a clear exposition of the range of ADR processes. Written by an authoritative and highly respected author team, this book contains a range of features designed to enhance the reader's understanding of the key points, including sample documentation, flow diagrams, tables, further resources, and examples drawn from a range of different types of practice. Now in its fifth edition, this book has established itself as a go-to reference on ADR. Online resources - Updates to cases and procedures - Useful links for each chapter - Diagrams and figures from the book

Theorists of the soundtrack have helped us understand how the voice and music in the cinema impact a spectator's experience. James Buhler and Hannah Lewis edit in-depth essays from many of film music's most influential scholars in order to explore fascinating issues around vococentrism, the voice in cinema, and music's role in the integrated soundtrack.The collection is divided into four sections. The first explores historical approaches to technology in the silent film, French cinema during the transition era, the films of the so-called New Hollywood, and the post-production sound business. The second investigates the practice of the singing voice in diverse repertories such as Bergman's films, Eighties teen films, and girls' voices in Brave and Frozen. The third considers the auteuristic voice of the soundtrack in works by Kurosawa, Weir, and others. A last section on narrative and vococentrism moves from The Martian and horror film to the importance of background music and the state of the soundtrack at the end of vococentrism. Contributors: Julie Brown, James Buhler, Marcia Citron, Eric Dienstfrey, Erik Heine, Julie Hubbert, Hannah Lewis, Brooke McCorkle, Cari McDonnell, David Neumeyer, Nathan Platte, Katie Quanz, Jeff Smith, Janet Staiger, and Robynn Stilwell

The Jackson ADR Handbook was created following recommendations by Lord Justice Jackson for an authoritative handbook for Alternative Dispute Resolution (ADR). The first edition, written in collaboration with a specialist editorial advisory board, laid a strong foundation as an essential guide to ADR, and received judicial endorsement in the Court of Appeal and the Technology and Construction Court. The second edition built upon that success, becoming a set text with the Bar Standards Board. This fully revised third edition integrates a range of important new case law, locates ADR within an increasingly digital landscape, and addresses calls from within the judiciary for ADR to be incorporated at all stages of the dispute resolution process. Designed in a concise, user-friendly format, the text provides an in-depth overview of the options and principles of ADR, before looking at five focused areas: the interplay between ADR, CPR, and litigation; negotiation; mediation; recording and enforcing settlement; and other ADR options including the international perspective. Additional materials such as mediation providers, specimen documents, precedents, and practice tips are available on a companion website at www.oup.com/ADR3e