我們與他人的關係就是生活的成敗關鍵。 我們不能阻擋海潮，但可以學著衝浪。無論你是本來就擅長與人交際，還是有社交恐懼症的內向者，都可以在這個情感距離及孤獨感持續提升的時代，締結更深刻的友誼、尋覓愛侶、重燃愛火，並拉近與他人的關係。 《華爾街日報》暢銷書《成功不再跌跌撞撞》（Barking Up the Wrong Tree）作者再度帶來一本拉近情感距離及消除孤獨感的萬靈丹——本書是一本機智、令人驚喜又有趣的指引，幫助你建立更緊密的友誼、與伴侶重燃愛火並拉近與他人的距離，無論是外向者或內向者、社交高手或社交恐懼者皆適用。 ◎可以以貌取人嗎？◎患難之交才是真朋友？◎愛能克服一切？◎「沒有人是孤島」又是什麼意思？在《和他人相處融洽》一書中，艾瑞克．巴克將深究這些古老格言，引用科學證據揭露人際關係之普遍觀念背後令人費解的事實。巴克結合其引人入勝的說故事能力與幽默感，詳細說明人質談判技巧與婚姻爭執的共通點、破解江湖騙子如何叱吒職業足壇二十餘載，以及為何觀點與我們完全相反的人反而可能成為我們最信賴且親密的朋友。 你將從本書學到：●結交朋友最重要的兩件事，以及卡內基搞錯了什麼？●如何產生愛意、重燃愛火並延續愛情（幸福婚姻無法完全客製化，但這個辦法很接近了。）●有效促成伴侶做出改變的道德「手段」●社群媒體如何改善人際關係●如何解除孤獨感以及為何老生常談沒有用精彩內容不僅如此。本書充滿驚奇故事，包括史上最了不起的女偵探、最天花亂墜的成功騙子、天才馬兒、偷東西的隱士，以及完美記憶力的危害及寬慰。巴克運用科學界現有的最佳證據——既非陳腔濫調亦非一廂情願——在做出裁決前分析問題的各種面向，他的發現令人驚訝又違背直覺，可以在你最需要的時候，適時改變你與世界及周遭親友互動的方式。
With great narrative inventiveness and emotional amplitude, Allan Gurganus gives us artistic Manhattan in the wild 1980s, where young artists--refugees from the middle class--hurl themselves into play
From the author of the Wall Street Journal bestseller Barking Up the Wrong Tree comes a cure-all for our increasing emotional distance and loneliness―a smart, surprising, and thoroughly entertaining guide to help build better friendships, reignite love, and get closer to others, whether you’re an extrovert or introvert, socially adept or socially anxious.Can you judge a book by its cover? Is a friend in need truly a friend indeed? Does love conquer all? Is no man an island? In Plays Well With Others, Eric Barker dives into these questions, drawing on science to reveal the truth beyond the conventional wisdom about human relationships. Combining his compelling storytelling and humor, Barker explains what hostage negotiation techniques and marital arguments have in common, how an expert con-man lied his way into a twenty-year professional soccer career, and why those holding views diametrically opposed to our own actually have the potential to become our closest, most trusted friends.Lev
The Baruya are a tribal society in highlands Papua New Guinea, with whom Western contact was first made in 1951. During the last twenty years, Maurice Godelier has spent many long periods of time living among this people, and in this book he presents a detailed account of their lives and their forms of social organization. The focus of the book is on inequality and power in this classless society. Godelier discusses both the power that certain men (the Great men) have over others through their control of war, shamanism, hunting, and rites of initiation, as well as the extraordinary power and domination that men in general exert over women. He explores how this domination is produced and maintained, examining it in particular through a detailed study of male and female initiation. He also analyzes the role that sexuality plays in Baruya thought and theories, showing that in the Baruya view, every aspect of domination - be it (in Western categorization) economic, political, or symbolic -
What role does food and cooking play in how people imagine themselves and their communities? In this book Wendy Wall argues that representations of housework in the early modern period helped to forge crucial conceptions of national identity. Rich with a detailed account of household practices in the period, Staging Domesticity reads plays on the London stage in the light of the first printed cookbooks in England. Working from original historical sources on wetnursing, laundering, sewing, medical care and butchery, Wall shows that domesticity was represented as deeply familiar but also enticingly alien. Wall analyses a wide range of the repertoire, including some now little-known plays, as well as key works in the period by Shakespeare and others. Wall concludes that, rather than dramatizations of only court-based and aristocratic domestic life, literature of the period drew on work from the more common household.
The modern world is forcing us to understand emotion in order to cope with new problems such as road rage and epidemic levels of depression, as well as age-old problems such as homicide, genocide and racial tension. At the same time, scholarly research is leading us to appreciate how emotion helps us to understand and transcend our selfish interests, to connect with others, to feel what is just and moral, and not just think it, and to construct societies and cultures that govern our joint efforts. This book draws upon scholarly research to address, explain and legitimize the role that emotion plays in everyday interaction and in many of the pressing social, moral, and cultural issues that we face today.
The history of Shakespearean performance is very well served at its two extremes, with volumes providing a valuable historical overview of the subject and others concentrating on the performance history of a particular play. However, no individual volume provides an in-depth consideration of the stage histories of a number of plays, chosen for their particular significance within specific cultural contexts. Shakespeare in Stages addresses this gap. The original case studies explore significant anglophone performances of the plays, as well as ideas about 'Shakespeare', through the changing prisms of three different cultural factors that have proved influential in the way Shakespeare is staged: notions of authenticity, attitudes towards sex and gender, and questions of identity. Ranging from the sixteenth to the twenty-first centuries and examining productions of plays in Britain, USA, Canada, Australia, and South Africa, the studies focus attention on the complex interaction between par
The modern world is forcing us to understand emotion in order to cope with new problems such as road rage and epidemic levels of depression, as well as age-old problems such as homicide, genocide and racial tension. At the same time, scholarly research is leading us to appreciate how emotion helps us to understand and transcend our selfish interests, to connect with others, to feel what is just and moral, and not just think it, and to construct societies and cultures that govern our joint efforts. This book draws upon scholarly research to address, explain and legitimize the role that emotion plays in everyday interaction and in many of the pressing social, moral, and cultural issues that we face today.
Beginning with the stock market crash of 1929 and ending with America's entry into the Second World War, the long Depression decade was a period of immense social, economic and political turmoil. In response, writers as various as John Dos Passos, William Faulkner, Eugene O'Neill, Langston Hughes, Pearl S. Buck and others looked to the past to make sense of the present. In this important new study of the 1930s, the distinguished cultural historian Peter Conn traces the extensive and complex engagement with the past that characterized the imaginative writing of the decade. Moving expertly between historical events and literature, Conn includes discussions of historical novels, plays and poems, biographies and autobiographies, as well as factual and imaginary works of history. Mapping the decade's extraordinary intellectual range with authority and flair, The American 1930s is a widely anticipated contribution to American literary studies.
Kerry Powell examines Wilde's plays in relation to popular theatre of the 1890s, both in England and on the Continent. Along with revealing insights into the sexual and moral politics of the era, Powell provides an indispensable basis for understanding Wilde's achievement as a playwright. At his best, Wilde reconstitutes the dramatic fashions of the era, and partly as a result his plays have prevailed over the works, many now forgotten, that they simultaneously imitate and undermine. Through his analysis, Powell looks at the plays of, among others, Arthur Shirley, Lady Violet Greville, Sydney Grundy and W. Lestocq as well as the impact of Ibsen on Wilde. The book contains production photographs from plays by Wilde and by little-known playwrights and an appendix of biographies. Oscar Wilde and the Theatre of the 1890s will be of interest to students and specialists of drama, theatre history and English literature.
The aim of this collection is to illustrate the pervasive influence of humanist rhetoric on early-modern literature and philosophy. The first half of the book focuses on the classical rules of judicial rhetoric. One chapter considers the place of these rules in Shakespeare's The Merchant of Venice, while two others concentrate on the technique of rhetorical redescription, pointing to its use in Machiavelli's The Prince as well as in several of Shakespeare's plays, notably Coriolanus. The second half of the book examines the humanist background to the philosophy of Thomas Hobbes. A major new essay discusses his typically humanist preoccupation with the visual presentation of his political ideas, while other chapters explore the rhetorical sources of his theory of persons and personation, thereby offering new insights into his views about citizenship, political representation, rights and obligations and the concept of the state.
The aim of this collection is to illustrate the pervasive influence of humanist rhetoric on early-modern literature and philosophy. The first half of the book focuses on the classical rules of judicial rhetoric. One chapter considers the place of these rules in Shakespeare's The Merchant of Venice, while two others concentrate on the technique of rhetorical redescription, pointing to its use in Machiavelli's The Prince as well as in several of Shakespeare's plays, notably Coriolanus. The second half of the book examines the humanist background to the philosophy of Thomas Hobbes. A major new essay discusses his typically humanist preoccupation with the visual presentation of his political ideas, while other chapters explore the rhetorical sources of his theory of persons and personation, thereby offering new insights into his views about citizenship, political representation, rights and obligations and the concept of the state.
Beginning with the stock market crash of 1929 and ending with America's entry into the Second World War, the long Depression decade was a period of immense social, economic and political turmoil. In response, writers as various as John Dos Passos, William Faulkner, Eugene O'Neill, Langston Hughes, Pearl S. Buck and others looked to the past to make sense of the present. In this important new study of the 1930s, the distinguished cultural historian Peter Conn traces the extensive and complex engagement with the past that characterized the imaginative writing of the decade. Moving expertly between historical events and literature, Conn includes discussions of historical novels, plays and poems, biographies and autobiographies, as well as factual and imaginary works of history. Mapping the decade's extraordinary intellectual range with authority and flair, The American 1930s is a widely anticipated contribution to American literary studies.
The history of Shakespearean performance is very well served at its two extremes, with volumes providing a valuable historical overview of the subject and others concentrating on the performance history of a particular play. However, no individual volume provides an in-depth consideration of the stage histories of a number of plays, chosen for their particular significance within specific cultural contexts. Shakespeare in Stages addresses this gap. The original case studies explore significant anglophone performances of the plays, as well as ideas about 'Shakespeare', through the changing prisms of three different cultural factors that have proved influential in the way Shakespeare is staged: notions of authenticity, attitudes towards sex and gender, and questions of identity. Ranging from the sixteenth to the twenty-first centuries and examining productions of plays in Britain, USA, Canada, Australia, and South Africa, the studies focus attention on the complex interaction between par
It is often assumed that we can never know how the earliest audiences responded to the plays and playbooks of Shakespeare, Marlowe, and other Renaissance dramatists. In this study, old compilations of early modern dramatic allusions provide the surprising key to understanding pre-1660 reception. Whether or not it begins with powerful emotion, that reception creatively applies and appropriates the copious resources of drama for diverse purposes, lessons, and interests. Informed also by critical theory and historical research, this understanding reveals the significance of response to Tamburlaine and Falstaff as well as the importance of drama to Edmund Spenser, John Donne, John Milton, and many others. It makes possible the study of particular responses of women and of workers and contributes to the history of subjectivity, reading, civil society, and aesthetics, and demands a fresh view of dramatic production.
