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Paid to Party Cover

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Paid to Party

Working Time and Emotion in Direct Home Sales

Jamie L. Mullaney and Janet Hinson Shope

On any given night in living rooms across America, women gather for a fun girls’ night out to eat, drink, and purchase the latest products—from Amway to Mary Kay cosmetics. Beneath the party atmosphere lies a billion-dollar industry, Direct Home Sales (DHS), which is currently changing how women navigate work and family.

Drawing from numerous interviews with consultants and observations at company-sponsored events, Paid to Party takes a closer look at how DHS promises to change the way we think and feel about the struggles of balancing work and family. Offering a new approach to a flexible work model, DHS companies tell women they can, in fact, have it all and not feel guilty. In DHS, work time is not measured by the hands of the clock, but by the emotional fulfillment and fun it brings.

Pain Cover

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Pain

A Political History

Keith Wailoo

In this history of American political culture, Keith Wailoo examines why and how pain and compassionate relief has been a battleground for defining the line between society's liberal trends and conservative tendencies. Tracing the development of pain theories in politics, medicine, law, and society, and battles over the morality and economics of relief, Wailoo points to a tension at the heart of the conservative-liberal divide. Beginning with the post–World War II rise of a pain relief economy in response to concerns about recovering soldiers, Wailoo explores the 1960s rise of an expansive liberal pain standard, along with the emerging conviction that subjective pain was real, disabling, and compensable. These concepts were attacked during the Reagan era of the 1980s, when a conservative political backlash led to decreasing disability aid and the growing role of the courts as arbiters in the liberal-conservative struggle to define pain. Wailoo goes on to identify how, in the 1990s, new fronts in pain politics opened in states like Oregon and Michigan where advocates for death with dignity insisted that end-of-life pain warranted full relief. And, in the 2006 arrest of conservative talk show host Rush Limbaugh for doctor shopping for painkillers, Wailoo finds a cautionary tale about deregulation, which spawned an unmanageable market in pain relief products as well as gaps between the overmedicated and the undertreated. Today's debates over who is in pain, who feels another's pain, and what relief they deserve are new chapters of this enduring battle between liberal relief and conservative care. People in chronic pain have always sought relief—and have always been judged—but who decides whether someone is truly in pain? The story of pain in politics is more than rhetoric; it is a story of ailing bodies, broken lives, illness, and disability that has vexed government agencies and politicians from the World War II era to the present.

Pain, Death, and the Law Cover

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Pain, Death, and the Law

Austin Sarat, Editor

This collection of essays examines the relationship between pain, death, and the law and addresses the question of how the law constructs pain and death as jurisprudential facts. The empirical focus of these essays enables the reader to delve into both the history and the theoretical complexities of the pain-death-law relationship. The combination of the theoretical and the empirical broadens the contribution this volume will undoubtedly make to debates in which the right to live or die is the core issue at hand. This volume will be an important read for policy makers and legal practitioners and a valuable text for courses in law, the social sciences, and the humanities. Austin Sarat is William Nelson Cromwell Professor of Jurisprudence and Political Science, Amherst College.

The Pain of Reformation:Spenser, Vulnerability, and the Ethics of Masculinity Cover

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The Pain of Reformation:Spenser, Vulnerability, and the Ethics of Masculinity

Spenser, Vulnerability, and the Ethics of Masculinity

Joseph Campana Assistant Professor of English Rice University

The Pain of Reformation argues that Edmund Spenser's 1590 Faerie Queene represents an extended meditation on emerging notions of physical, social, and affective vulnerability in Renaissance England. Histories of violence, trauma, and injury have dominated literary studies, often obscuring vulnerability, or an openness to sensation, affect, and aesthetics that includes a wide range of pleasures and pains. This book approaches early modern sensations through the rubric of the vulnerable body, explores the emergence of notions of shared vulnerability, and illuminates a larger constellation of masculinity and ethics in post-Reformation England.Spenser's era grappled with England's precarious political position in a world tense with religious strife and fundamentally transformed by the doctrinal and cultural sea changes of the Reformation, which had serious implications for how masculinity, affect, and corporeality would be experienced and represented. Intimations of vulnerability often collided with the tropes of heroic poetry, producing a combination of defensiveness, anxiety, and shame. It has been easy to identify predictably violent formations of early modern masculinity but more difficult to see Renaissance literature as an exploration of vulnerability.The underside of representations of violence in Spenser's poetry was a contemplation of the precarious lives of subjects in post-Reformation England. Spenser's adoption of the allegory of Venus disarming Mars, understood in Renaissance Europe as an allegory of peace, indicates that The Faerie Queene is a heroic poem that militates against forms of violence and war that threatened to engulf Europe and devastate an England eager to militarize in response to perceived threats from within and without. In pursuing an analysis, disarmament, and redefinition of masculinity in response to a sense of shared vulnerability, Spenser's poem reveals itself to be a vital archive of the way gender, violence, pleasure, and pain were understood.

Paine and Jefferson in the Age of Revolutions Cover

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Paine and Jefferson in the Age of Revolutions

Edited by Simon P. Newman and Peter S. Onuf

The enormous popularity of his pamphlet Common Sense made Thomas Paine one of the best-known patriots during the early years of American independence. His subsequent service with the Continental Army, his publication of The American Crisis (1776–83), and his work with Pennsylvania’s revolutionary government consolidated his reputation as one of the foremost radicals of the Revolution. Thereafter, Paine spent almost fifteen years in Europe, where he was actively involved in the French Revolution, articulating his radical social, economic, and political vision in major publications such as The Rights of Man (1791), The Age of Reason (1793-1807), and Agrarian Justice (1797). Such radicalism was deemed a danger to the state in his native Britain, where Paine was found guilty of sedition, and even in the United States some of Paine’s later publications lost him a great deal of his early popularity.

Yet despite this legacy, historians have paid less attention to Paine than to other leading Patriots such as Thomas Jefferson. In Paine and Jefferson in the Age of Revolutions, editors Simon Newman and Peter Onuf present a collection of essays that examine how the reputations of two figures whose outlooks were so similar have had such different trajectories.

Painted Fires Cover

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Painted Fires

Painted Fires, first published in 1925, narrates the trials and tribulations of Helmi Milander, a Finnish immigrant, during the years approaching the First World War. The novel serves as a vehicle for McClung’s social activism, especially in terms of temperance, woman suffrage, and immigration policies that favour cultural assimilation. In her afterword, Cecily Devereux situates Painted Fires in the context of McClung’s feminist fiction and her interest in contemporary questions of immigration and “naturalization.” She also considers how McClung’s representation of Helmi Milander’s story draws on popular culture narratives.

The Painted King Cover

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The Painted King

Art, Activism, and Authenticity in Hawai`i

Glenn Wharton

The famous statue of Kamehameha I in downtown Honolulu is one of the state’s most popular landmarks. Many tourists—and residents—however, are unaware that the statue is a replica; the original, cast in Paris in the 1880s and the first statue in the Islands, stands before the old courthouse in rural Kapa‘au, North Kohala, the legendary birthplace of Kamehameha I. In 1996 conservator Glenn Wharton was sent by public arts administrators to assess the statue’s condition, and what he found startled him: A larger-than-life brass figure painted over in brown, black, and yellow with “white toenails and fingernails and penetrating black eyes with small white brush strokes for highlights. . . . It looked more like a piece of folk art than a nineteenth-century heroic monument.”

The Painted King is Wharton’s account of his efforts to conserve the Kohala Kamehameha statue, but it is also the story of his journey to understand the statue’s meaning for the residents of Kapa‘au. He learns that the townspeople prefer the “more human” (painted) Kamehameha, regaling him with a parade, chants, and leis every Kamehameha Day (June 11). He meets a North Kohala volunteer who decides to paint the statue’s sash after respectfully consulting with kahuna (Hawaiian spiritual leaders) and the statue itself. A veteran of public art conservation, Wharton had never before encountered a community that had developed such a lengthy, personal relationship with a civic monument. Going against the advice of some of his peers and ignoring warnings about “going native,” Wharton decides to involve the people of Kapa‘au in the conservation of their statue and soon finds himself immersed in complex political, social, and cultural considerations, including questions about representations of the Native Hawaiian past: Who should decide what is represented and how? And once a painting or sculpture exists, how should it be conserved?

The Painted King examines professional authority and community involvement while providing a highly engaging and accessible look at “activist conservation” at work, wherever it may be found.

77 color illus.

Painting Borges Cover

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Painting Borges

Philosophy Interpreting Art Interpreting Literature

A provocative examination of the artistic interpretation of twelve of Borges' most famous stories. In Painting Borges, Jorge J. E. Gracia explores in depth the artistic interpretation of fiction using a novel and philosophically sophisticated approach. The book presents a provocative theory of the artistic interpretation of literature, thus contributing both to aesthetics and hermeneutics; it provides original artistic and philosophical interpretations of twelve of Borges's most famous stories, thus making new inroads in to the understanding of Borges's work; and it introduces readers to recent figurative Argentinean and Cuban art, two of the most vibrant artistic currents today. The book breaks new ground because, although the artistic interpretation of literature is nothing new in the history of art, the philosophical exploration of how artists have interpreted literature is a topic that has been largely ignored.

Painting Dixie Red Cover

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Painting Dixie Red

When, Where, Why, and How the South Became Republican

Edited by Glenn Feldman

Has the South, once the "Solid South" of the Democratic Party, truly become an unassailable Republican stronghold? If so, when, where, why, and how did this seismic change occur? Moreover, what are the implications for the U.S. body politic?

Painting Dixie Red is the first volume to grapple with these difficult yet critical questions. In this fascinating and timely collection, a distinguished group of scholars engages in an enlightening debate. Some make the case that the South has become Republican, and some contend that it has not. Some outline the region's exceptionalism, and some reject the idea of regional distinctiveness. Some point to white discontent over civil rights as the root of political changes, and some cite color-blind factors. All offer invaluable insights into U.S. politics during these ultra-partisan times.

Painting Indiana III Cover

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Painting Indiana III

Heritage of Place

Text by Rachel Berenson Perry. Indiana Plein Air Painters Association, Inc. and Indiana Landmarks

The work of T. C. Steele, William Forsyth, J. Ottis Adams, Otto Stark, and Richard Gruelle, known collectively as the Hoosier Group, established plein air ("in the open air") painting as a major art form in Indiana. The vitality of this style is represented in Painting Indiana III: Heritage of Place which includes 100 juried works by current Indiana plein air artists, along with paintings by the Hoosier Group, all featuring notable Indiana landmarks. This richly illustrated book will delight Hoosiers and art lovers around the world.

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