emotional ailments, “leaving the trauma grumbling away
beneath the surface.” In contrast, MDMA-assisted psychotherapy, and
similar regimes involving psychedelic agents like psilocybin, appear to
M O D E R N PS YC H I AT RY I S C H A R AC T E R I ZE D BY
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190 E P ILOG U E
do a better job of targeting the root of the problem, making it easier
for patients to address their trauma. This could be something from
childhood, from a past relationship, or maybe from a current one.
The greater apparent root-level effectiveness of MDMA and certain
Is there a pill for love? What about an anti-love drug, to help you get over your ex? This book argues that certain psychoactive substances, including MDMA—the active ingredient in Ecstasy—might help ordinary couples work through relationship difficulties and strengthen their connection. Others may help sever emotional ties during a breakup, with transformative implications for how we think about love. Oxford ethicists Julian Savulescu and Brian D. Earp build a case for conducting research into "love drugs" and "anti-love drugs" and explore their ethical implications for individuals and society. Why are we still in the dark about the effects of common medications on romantic partnerships? How can we overhaul scientific research norms to put interpersonal factors front and center? Biochemical interventions into love and relationships are not some far-off speculation. Our most intimate connections are already being influenced by drugs we ingest for other purposes. Controlled studies are already underway to see whether artificial brain chemicals might enhance couples' therapy. And conservative religious groups are already experimenting with certain medications to quash romantic desires—and even the urge to masturbate—among children and vulnerable sexual minorities. Simply put, the horse has bolted. Where it runs is up to us. Love is the Drug arms readers with the latest scientific knowledge as well as a set of ethical tools that you can use to decide for yourself if these sorts of medications should be a part of our society. Or whether a chemical romance might be right for you.
while exploring its ethical implications for individuals and society.
The same aim, bolstered by the latest data and insights from the
cutting edge of bioethics, applies to the book in your hands.
This time our call for research is more urgent. MDMA, along
with psychedelic drugs like psilocybin (from “magic” mushrooms)
and even lysergic acid diethylamide (LSD), are moving quickly into
the center of mainstream medicine. Receptive pieces by hard-nosed
journalists and science writers are coming out almost daily. In the
New York Times alone, there have been articles
In the documentary L'Univers enchanté de Jacques Demy/The World of Jacques Demy, Catherine Deneuve paid the filmmaker an actress's greatest compliment when she described him as 'the charming prince who woke Sleeping Beauty'. Deneuve's fairy-tale metaphor also pays homage to Demy's own playful description of his filmmaking style. Cinéma en-chanté: the pun communicates on several levels. Demy's cinema has the rare quality of appealing to adults and to children, to cinephiles and the general public alike. In these early Demy films, enchantment communicated just as subtly the unsettling nature of the screen image that was beginning to take shape for Deneuve. Demy's Donkey Skin is arguably an equal source of the tale's iconic status in France today, and largely because of Deneuve. Against Donkey Skin's sets, Deneuve's costuming establishes the narrative trajectory of this psychedelic dream, an imposed dream that necessarily becomes her own.
own liberal use of jumpcuts, and fluorescent iris-outs between sequences.
‘Psychedelic’ is how Demy described his approach to Donkey
Skin’s mise-en-scène (Simsolo 1971 : 70).
Sets by San Francisco designer Jim Leon quote the psychedelic artists of the
late 1960s who sought to render visually the effects of hallucinogens on the
mind. The kaleidoscopic patterns of the castles’ stained glass
windows, the placement of
as pre-Einsteinian theories of light – the new book delivers at
least two big surprises. The first is that it starts out as a pastiche of
a well-known genre, the big-city private eye tale, though with a psychedelic twist: Pynchon’s private eye is a permanently stoned hippie
based in southern California, ‘circa 1970’. The second is that it more
or less stays that way, with no sustained excursions into mathematical
logic or mind-bending shifts of narrative direction.2
In terms of both style and subject matter, then, Taylor finds Inherent
Vice considerably more
At a time when monolingualist claims for the importance of ‘speaking English’ to the national order continue louder than ever, even as language diversity is increasingly part of contemporary British life, literature becomes a space to consider the terms of linguistic belonging. Bad English examines writers including Tom Leonard, James Kelman, Suhayl Saadi, Raman Mundair, Daljit Nagra, Xiaolu Guo, Leila Aboulela, Brian Chikwava, and Caroline Bergvall, who engage multilingually, experimentally, playfully, and ambivalently with English’s power. Considering their invented vernaculars and mixed idioms, their dramatised scenes of languaging – languages learned or lost, acts of translation, scenes of speaking, the exposure and racialised visibility of accent – it argues for a growing field of contemporary literature in Britain pre-eminently concerned with language’s power dynamics, its aesthetic potentialities, and its prosthetic strangeness. Drawing on insights from applied linguistics and translation studies as well as literary scholarship, Bad English explores contemporary arguments about language in Britain – in debates about citizenship or education, in the media or on Twitter, in Home Office policy and asylum legislation – as well as the ways they are taken up in literature. It uncovers both an antagonistic and a productive interplay between language politics and literary form, tracing writers’ articulation of linguistic alienation and ambivalence, as well as the productivity and making-new of radical language practices. Doing so, it refutes the view that language difference and language politics are somehow irrelevant to contemporary Britain and instead argues for their constitutive centrality to the work of novelists and poets whose inside/outside relationship to English in its institutionalised forms is the generative force of their writing.
Deporting Black Britons provides an ethnographic account of deportation from the UK to Jamaica. It traces the painful stories of four men who were deported after receiving criminal convictions in the UK. For each of the men, all of whom had moved to the UK as children, deportation was lived as exile – from parents, partners, children and friends – and the book offers portraits of survival and hardship in both the UK and Jamaica. Based on over four years of research, Deporting Black Britons describes the human consequences of deportation, while situating deportation stories within the broader context of policy, ideology, law and violence. It examines the relationship between racism, criminalisation and immigration control in contemporary Britain, suggesting new ways of thinking about race, borders and citizenship in these anti-immigrant times. Ultimately, the book argues that these stories of exile and banishment should orient us in the struggle against violent immigration controls, in the UK and elsewhere.
The archive has assumed a new significance in the history of sex, and this book visits a series of such archives, including the Kinsey Institute’s erotic art; gay masturbatory journals in the New York Public Library; the private archive of an amateur pornographer; and one man’s lifetime photographic dossier on Baltimore hustlers. The subject topics covered are wide-ranging: the art history of homoeroticism; casual sex before hooking-up; transgender; New York queer sex; masturbation; pornography; sex in the city. The duality indicated by the book’s title reflects its themes. It is an experiment in writing an American sexual history that refuses the confines of identity sexuality studies, spanning the spectrum of queer, trans, and the allegedly ‘normal’. What unites this project is a fascination with sex at the margins, refusing the classificatory frameworks of heterosexuality and homosexuality, and demonstrating gender and sexual indecision and flexibility. And the book is also an exploration of the role of the archive in such histories. The sex discussed is located both in the margins of the archives, what has been termed the counterarchive, but also, importantly, in the pockets of recorded desire located in the most traditional and respectable repositories. The sexual histories in this book are those where pornography and sexual research are indistinguishable; where personal obsession becomes tomorrow’s archive. The market is potentially extensive: those interested in American studies, sexuality studies, contemporary history, the history of sex, psychology, anthropology, sociology, gender studies, queer studies, trans studies, pornography studies, visual studies, museum studies, and media studies.
This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.