"The claim 'I'm straight' is the psychosexual analogue of 'The check is in the mail': if you need to say it, your credit or creditability is already in doubt." So begins Paul Morrison's dazzling polemic, which takes as its point of departure Foucault's famous remark that sex is "the explanation for everything."

Combining psychoanalytic, literary, and queer theory, The Explanation for Everything seeks to account for the explanatory power attributed to homosexuality, and its relationship to compulsory heterosexuality. In the process, Morrison presents a scathing indictment of psychoanalysis and its impact on the study of sexuality. In bold but graceful leaps, Morrison applies his critique to a diversity of examples: subjectivity in Oscar Wilde, the cultural construction and reception of AIDS, the work of Robert Mapplethorpe, the practice of bodybuilding, and the contemporary reception of the sexual politics of fascism.

Analytical, witty and astute, The Explanation for Everything will challenge and amuse, establishing Paul Morrison as one of our most exciting cultural critics.

Classical Hollywood Cinema, Sexuality, and the Politics of the Face examines the representation of iconic female faces in the golden age of Hollywood - Greta Garbo, Gloria Swanson, Elizabeth Taylor - and the gay male fetishization of those faces. Classical Hollywood cinema is given to an aesthetic and ideological struggle between rival scopic economies: an erotics of "to-be-looked-at-ness" is countered by a hermeneutics of "to-be-seen-through-ness." The latter emerges triumphant, but the legendary female faces of Hollywood resist, in their different ways, a coercive and normalizing knowledge, which is the source of the gay male investment in them. A disciplinary society privileges a hermeneutics of gaze; the iconomic female faces of classical Hollywood cinema demand an erotics. Classical Holly Cinema, Sexuality, and the Politics of the Face explores the tension between the two through detailed readings of Ninotchka, Sunset Boulevard, and Suddenly, Last Summer in the context of early and mid-century cinema and culture. It includes, for instance, an analysis of D. W. Griffith and blackface, the Stonewall riots and the coming-into-voice of the modern gay subject, several major films by Hitchcock, Citizen Kane, and the emergence of rival standards of beauty, both female and male, in figures such as Katharine Hepburn, Ingrid Bergman, Humphrey Bogart, Rock Hudson, and James Dean. This is an important study for students of queer theory, film theory and history, and gender and sexuality studies.

Morrison examines the legacy of the modernist poetics of Ezra Pound and T.S. Eliot, as it relates to current theoretical orthodoxies, and traces its influence on the current crisis in post-structural literary theory. Morrison reads the politics of post-structural theory in relation to the socio-cultural arguments espoused in the poetry and prose by Pound and Eliot, and reveals a continuity between that theory and high modernism's tendency towards fascism. Without reducing the political implications of poetry to mere caricature and without slighting the force and fact of literary mediation, Morrison has produced a book that will reshape the discussion of the social dimension of modernism. He concludes with a provocative analysis of deconstruction and the work of Paul de Man, and makes a case for a new post-structural theory that can accommodate history.

Classical Hollywood Cinema, Sexuality, and the Politics of the Face examines the representation of iconic female faces in the golden age of Hollywood – Greta Garbo, Gloria Swanson, Elizabeth Taylor – and the gay male fetishization of those faces. Classical Hollywood cinema is given to an aesthetic and ideological struggle between rival scopic economies: an erotics of “to-be-looked-at-ness” is countered by a hermeneutics of “to-be-seen-through-ness.” The latter emerges triumphant, but the legendary female faces of Hollywood resist, in their different ways, a coercive and normalizing knowledge, which is the source of the gay male investment in them. A disciplinary society privileges a hermeneutics of gaze; the iconomic female faces of classical Hollywood cinema demand an erotics. Classical Holly Cinema, Sexuality, and the Politics of the Face explores the tension between the two through detailed readings of Ninotchka, Sunset Boulevard, and Suddenly, Last Summer in the context of early and mid-century cinema and culture. It includes, for instance, an analysis of D. W. Griffith and blackface, the Stonewall riots and the coming-into-voice of the modern gay subject, several major films by Hitchcock, Citizen Kane, and the emergence of rival standards of beauty, both female and male, in figures such as Katharine Hepburn, Ingrid Bergman, Humphrey Bogart, Rock Hudson, and James Dean. This is an important study for students of queer theory, film theory and history, and gender and sexuality studies.

"The claim 'I'm straight' is the psychosexual analogue of 'The check is in the mail': if you need to say it, your credit or creditability is already in doubt." So begins Paul Morrison's dazzling polemic, which takes as its point of departure Foucault's famous remark that sex is "the explanation for everything."

Combining psychoanalytic, literary, and queer theory, The Explanation for Everything seeks to account for the explanatory power attributed to homosexuality, and its relationship to compulsory heterosexuality. In the process, Morrison presents a scathing indictment of psychoanalysis and its impact on the study of sexuality. In bold but graceful leaps, Morrison applies his critique to a diversity of examples: subjectivity in Oscar Wilde, the cultural construction and reception of AIDS, the work of Robert Mapplethorpe, the practice of bodybuilding, and the contemporary reception of the sexual politics of fascism.

Analytical, witty and astute, The Explanation for Everything will challenge and amuse, establishing Paul Morrison as one of our most exciting cultural critics.

How can we make health care processes safer and more consistent? How do we improve care outcomes for patients? With a range of coaching tips, activities, scenarios and reflective exercises, this book enables you to translate current research on patient safety in to everyday good practice, by increasing understanding of the key concepts and helping you to develop strategies to minimise the risk of patient harm. It focusses on Human Factors to support understanding of the relationship between human behaviour and fallibility, and the design of systems and processes, environments, tools, tasks and technology to improve patient safety. It also reflects the WHO Patient Safety Curriculum. Patient Safety is an essential text for all healthcare professionals.

Written by highly experienced researchers and authors, this practical workbook demystifies the research process for nursing students and practitioners. Fully updated to incorporate recent technological developments, this new edition features a range of exercises to both challenge and support the budding nurse researcher.