Topics examined include American drug history and policy, the legalization issue, drugs and creativity, treatment, and prevention. A chronological overview of drug-taking in human history and a resource guide are provided. One chapter offers an in-depth description of an effective drug abuse prevention model and a program using the model.
Defusing Chicken-Little prognostications about English, this volume suggests that dark claims about language are not to be taken at face value. Instead, these claims function as a signal: time to step back. Offering just such a time-out, eminent linguists explore the fuller picture underlying language in our society, examining prescriptivism, Black English, Ozark English, American Sign Language, English-Only, and Endangered Languages.
After helping stomp out such linguistic fires, the linguists showcase the potent workings of language: world englishes, language and politics, media, prejudice, creativity, gender, and humor, thus opening the way to better informed views on the function of language in schools, and more linguistically sound public policies.
The study begins in the 1750s with Diderot's Neveu de Rameau, and situates that text in relation to Rousseau's reflections on the voice and the burgeoning discipline of musical aesthetics. Upon tracing the linkage of music and madness that courses through the work of Herder, Hegel, Wackenroder, and Kleist, Hamilton turns his attention to E. T. A. Hoffmann, whose writings of the first decades of the nineteenth century accumulate and qualify the preceding tradition. Throughout, Hamilton considers the particular representations that link music and madness, investigating the underlying motives, preconceptions, and ideological premises that facilitate the association of these two experiences. The gap between sensation and its verbal representation proved especially problematic for romantic writers concerned with the ineffability of selfhood. The author who chose to represent himself necessarily faced problems of language, which invariably compromised the uniqueness that the author wished to express. Music and madness, therefore, unworked the generalizing functions of language and marked a critical limit to linguistic capabilities. While the various conflicts among music, madness, and language questioned the viability of signification, they also raised the possibility of producing meaning beyond significance.