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An Immense New Power to Heal
Is personalized medicine—what some scientists call genetic medicine—a pipe dream or a panacea? Francis Collins, current director of the National Institutes of Health and director of the Human Genome Project, considers this new era “the greatest revolution since Leonardo,” while Nobel Laureate Leland Hartwell compares personalized medicine to a train that has not yet left the station—“a very slow train with a very long way to go . . . before we arrive at our destination.” There is no denying that new technology, which has triggered an explosion of scientific information, is ushering in a revolution in medicine—for specialists, general practitioners and the public. Anyone can s...
Semibreve Shorthand
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The City Record
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Creativity
Creativity: Theory, History, Practice offers important new perspectives on creativity in the light of contemporary critical theory and cultural history. Innovative in approach as well as argument, the book crosses disciplinary boundaries and builds new bridges between the critical and the creative. It is organised in four parts: Why creativity now? offers much-needed alternatives to both the Romantic stereotype of the creator as individual genius and the tendency of the modern creative industries to treat everything as a commodity defining creativity, creating definitions traces the changing meaning of 'create' from religious ideas of divine creation from nothing to advertising notions of co...
This Sacred Life
This Sacred Life redescribes the meaning of this world and the value and purpose of human life within it.
Hermeneutics
This short introduction to hermeneutics demonstrates the central role of interpretation in our daily lives. By considering the historic developments in hermeneutic theory as well as its contemporary relevance, Zimmermann explains how humans continue to draw knowledge from the world around them.
Bartók and the Grotesque
In Bluebeard's Castle (1911), The Wooden Prince (1916/17), The Miraculous Mandarin (1919/24, rev. 1931) and Cantata Profana (1930), Bartók engaged scenarios featuring either overtly grotesque bodies or closely related transformations and violations of the body. In this book, Julie Brown argues that Bartók's concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. All three were thoroughly implicated in cultural constructions of the Modern during the period in which Bartók was composing.
