"... if Améry’s pessimism disparages life, his humanism reaffirms it. By trying to make sense of our existence, Améry reminds us of why human life is precious." —Alan Wolfe, The New Republic "The pessimistic tone of this book is provocative and should interest students and faculty involved with issues of aging." —Choice "The writing challenges and searches, trying to cut beneath conventional language and expectations, seeking to delineate qualities of lived experience in their most essential dimensions." —Contemporary Gerontology Five profoundly (...) moving and courageously honest essays about the process of aging by the famous Belgian author of At the Mind’s Limits. Each essay covers a set of issues about growing old, from the way aging makes the old progressively see time as the essence of their existence to the argument that everyone compromises with death in old age. (shrink)

Kaurna, the language of the Adelaide Plains, is an awakening language undergoing revival since 1989 (Amery 2016). Though little knowledge of Kaurna remains in the oral tradition and no sound recordings of the language as it was spoken in the nineteenth century exist, a surprising number and range of emotion terms were documented. A great many of these involve thetangka‘liver’ followed bykuntu‘chest’,wingku‘lungs’,yurni‘throat’ andyurlu‘forehead’, whilstmukamuka‘brain’ andyuri‘ear’ are involved in cognition. The role ofpultha‘heart’ is minimal. But these are not the only means (...) to talk about emotions.Muiyu‘pit of the stomach’, a more elusive term, which may or may not be located in a body part andyitpi‘seed’ are also central to emotions. These three termstangka‘liver’,muiyu‘pit of the stomach’ andyitpi‘seed’, appear to be viewed byTeichelmann & Schürmann (1840)and especiallyTeichelmann (1857)as seats of emotion. In addition, there are a range of other means to express emotion, simple verbs and interjections.This paper will discuss in detail the historical documentation, its interpretation and the ways in which this documentation is used today. In the context of re-introducing a reclaimed language, such as Kaurna, how to talk about emotions can become the topic of serious and sometimes unresolved debate. The title of a book of poetry (Proctor & Gale 1997) ended up having two translations, one involvingtangka‘liver’ and the otherpultha‘heart’. Historical phrases expressing emotions are often co-opted in names, speeches, poetry and written texts. (shrink)

There existed a tradition of mimetic experimentation in the late nineteenth century, whereby morphologists sought to scale down sublime natural phenomena to tabletop devices in the laboratory. Experimenters constructed analogs of the aurora, attempting to replicate the colors and forms of the phenomenon with discharge tube experiments and electrical displays, which became popular spectacles at London’s public galleries. This paper analyses a closely allied but different kind of imitation. Between 1872 and 1884, Professor Karl Selim Lemström (1838–1904) attempted to reproduce (...) the aurora borealis in all of its complexity atop four mountains in northern Finland. Crucially, his “artificial aurora” was to materialize at the same scale as the original phenomenon and in its natural habitat in the polar atmosphere. With his experiment Lemström hoped to uncover the workings of the aurora and the electrical currents that he believed were always present within the atmosphere; his epistemological framework was one of learning by making. This paper sheds light on the broader problem of what it meant to authentically replicate a phenomenon that remained largely enigmatic, and, most importantly, how this replication could be verified. This prompts a discussion as to whether model experiments needed only to appear visually similar to the objects they purported to imitate, were required to preserve their form, or needed to be materially identical in order to the original to be identified as legitimate “reproductions” in the late nineteenth century. (shrink)

This series helps practitioners to redefine and recreate their daily practice in ways that are healthier for both patients and practitioners. The books provide a welcome antidote to demoralisation and burn-out amongst practitioners, reversing cynicism and reviving our feeling of pride in health practice. The fifth book in this series, The Integrated Practitioner: Food for Thought, written for readers who prefer a more academic and reflective understanding of the themes of books 1-4. It incorporates the theoretical background for each of (...) the concepts discussed in the first four workbooks, giving context to, and providing an underpinning of, modern medical practice. (shrink)

This extraordinary new series fills a void in practitioner development and well-being. The books take a reflective step back from the tick-box, target-driven and increasingly regulated world of 21st century health practice; and invite us to revisit what health and health practice actually are.

This article suggests that, during the 1820s and 1830s, Britain experienced a mirage moment. A greater volume of material was published on the mirage in scientific journals, treatises, travel literature and novels during these two decades than had occurred before in British history. The phenomenon was examined at the confluence of discussions about the cultural importance of illusions, the nature of the eye and the imperial project to investigate the extra-European natural world. Explanations of the mirage were put forward by (...) such scientists and explorers as Sir David Brewster, William Wollaston and General Sir James Abbott. Their demystification paralleled the performance of unmasking scientific and magical secrets in the gallery shows of London during the period. The practice of seeing involved in viewing unfathomable phenomena whilst simultaneously considering their rational basis underwrote these different circumstances. I use this unusual mode of visuality to explore the ways the mirage and other illusions were viewed and understood in the 1820s and 1830s. Ultimately, this paper argues that the mirage exhibited the fallibility of the eyes as a tool for veridical perception in a marvellous and striking way, with consequences for the perceived trustworthiness of ocular knowledge in the period. (shrink)