Aging Men, Masculinities and Modern Medicine explores the multiple socio-historical contexts surrounding men’s aging bodies in modern medicine from a global perspective. The first of its kind, it investigates the interrelated aspects of aging, masculinities and biomedicine, allowing for a timely reconsideration of the conceptualisation of aging men within the recent explosion of social science studies on men’s health and biotechnologies including anti-aging perspectives. This book discusses both healthy and diseased states of aging men in medical practices, bringing together theoretical and empirical conceptualisations. Divided into four parts it covers: Historical epistemology of aging, bodies and masculinity and the way in which the social sciences have theorised the aging body and gender. Material practices and processes by which biotechnology, medical assemblages and men’s aging bodies relate to concepts of health and illness. Aging experience and its impact upon male sexuality and identity. The importance of men’s roles and identities in care-giving situations and medical practices. Highlighting how aging men’s bodies serve as trajectories for understanding wider issues of masculinity, and the way in which men’s social status and men’s roles are made in medical cultures, this innovative volume offers a multidisciplinary dialogue between sociology of health and illness, anthropology of the body and gender studies.

The threats to privacy are well known: the National Security Agency tracks our phone calls; Google records where we go online and how we set our thermostats; Facebook changes our privacy settings when it wishes; Target gets hacked and loses control of our credit card information; our medical records are available for sale to strangers; our children are fingerprinted and their every test score saved for posterity; and small robots patrol our schoolyards and drones may soon fill our skies. The contributors to this anthology don't simply describe these problems or warn about the loss of privacy—they propose solutions. They look closely at business practices, public policy, and technology design, and ask, “Should this continue? Is there a better approach?” They take seriously the dictum of Thomas Edison: “What one creates with his hand, he should control with his head.” It's a new approach to the privacy debate, one that assumes privacy is worth protecting, that there are solutions to be found, and that the future is not yet known. This volume will be an essential reference for policy makers and researchers, journalists and scholars, and others looking for answers to one of the biggest challenges of our modern day. The premise is clear: there's a problem—let's find a solution.

At its beginning, every age has been "modern." We speak of "pre-" and "post-" modern ages. We are likewise tempted to identify what is most up-to-date with what is true. But to he up-to-date is to be out-of-date. If we Find what is really true in any age, it will he true in all ages. This proposition is central to this hook. Moreover, what is true will appear in different guises, as will what is false. The "modern age" had often considered itself relativist, or secular, or skeptical. It strove to divest itself of its theological and metaphysical back-grounds, only to find that the central themes from this tradition recur again and again, most often under political or even scientific forms. This book proposes to "see" these classical and revelational roots within their modern forms. But we also find the proposition that what exists is only what we make. We find no "truth" but that of our own confection. When we find only our own "truth" however, we do not really find or know ourselves. We do not cause what it is to be ourselves in the first place. The central truth that the "Modern age" does not acknowledge is that its own existence along with that of the world itself is first a gift. When we see the "modern age" in this light we can again rediscover what we really are. Hopefully, we can choose and rejoice what we are intended to be in any age as the gift of being is something that transcends all ages even while dwelling within them.

Providing a counterpoint to readings of modern American culture that focus on the cult of youth, Edith Wharton and the Modern Privileges of Age interrogates early twentieth-century literature’s obsessions with aging past early youth. Exploring the ways in which the aging process was understood as generating unequal privileges and as inciting intergenerational contests, this study situates constructions of age at the center of modern narrative conflicts. Dawson examines how representations of aging connect the work of Edith Wharton to writings by a number of modern authors, including Willa Cather, Marjorie Kinnan Rawlings, Zora Neale Hurston, F. Scott Fitzgerald, Floyd Dell, Eugene O’Neill, and Gertrude Atherton. For these writers, age-based ideologies filter through narratives of mourning for youth lost in the Great War, the trauma connected to personal change, the contested self-determination of the aged, the perceived problem of middle-aged sexuality, fantasies of rejuvenation, and persistent patterns of patriarchal authority. The work of these writers shows that as the generational ascendancy of some groups was imagined to operate in tandem with disempowerment of others, the charged dynamics of age gave rise to contests about property and authority. Constructions of age-based values also reinforced gender norms, producing questions about personal value that were directed toward women of all ages. By interpreting Edith Wharton’s and her contemporaries’ works in relation to age-based anxieties, Dawson sets Wharton’s work at the center of a vital debate about the contested privileges associated with age in contemporary culture.

A groundbreaking study of how emotions motivate attempts to counter species loss. This groundbreaking book brings together environmental history and the history of emotions to examine the motivations behind species conservation actions. In Recovering Lost Species in the Modern Age, Dolly Jørgensen uses the environmental histories of reintroduction, rewilding, and resurrection to view the modern conservation paradigm of the recovery of nature as an emotionally charged practice. Jørgensen argues that the recovery of nature—identifying that something is lost and then going out to find it and bring it back—is a nostalgic practice that looks to a historical past and relies on the concept of belonging to justify future-oriented action. The recovery impulse depends on emotional responses to what is lost, particularly a longing for recovery that manifests itself in such emotions as guilt, hope, fear, and grief. Jørgensen explains why emotional frameworks matter deeply—both for how people understand nature theoretically and how they interact with it physically. The identification of what belongs (the lost nature) and our longing (the emotional attachment to it) in the present will affect how environmental restoration practices are carried out in the future. A sustainable future will depend on questioning how and why belonging and longing factor into the choices we make about what to recover.

From the opening sequence, in which mid-nineteenth-century Indian fishermen hear the possibility of redemption in an old woman's madness, No Aging in India captures the reader with its interplay of story and analysis. Drawing on more than a decade of ethnographic work, Lawrence Cohen links a detailed investigation of mind and body in old age in four neighborhoods of the Indian city of Varanasi (Banaras) with events and processes around India and around the world. This compelling exploration of senility—encompassing not only the aging body but also larger cultural anxieties—combines insights from medical anthropology, psychoanalysis, and postcolonial studies. Bridging literary genres as well as geographic spaces, Cohen responds to what he sees as the impoverishment of both North American and Indian gerontologies—the one mired in ambivalence toward demented old bodies, the other insistent on a dubious morality tale of modern families breaking up and abandoning their elderly. He shifts our attention irresistibly toward how old age comes to matter in the constitution of societies and their narratives of identity and history.

In this major work, Blumenberg takes issue with Karl Löwith's well-known thesis that the idea of progress is a secularized version of Christian eschatology, which promises a dramatic intervention that will consummate the history of the world from outside. Instead, Blumenberg argues, the idea of progress always implies a process at work within history, operating through an internal logic that ultimately expresses human choices and is legitimized by human self-assertion, by man's responsibility for his own fate.

This is a sweeping and provocative work of aesthetic theory: a trenchant critique of the philosophy of art as it developed from the eighteenth century to the early twentieth century, combined with a carefully reasoned plea for a new and more flexible approach to art. Jean-Marie Schaeffer, one of France's leading aestheticians, explores the writings of Kant, Schlegel, Novalis, Hegel, Schopenhauer, Nietzsche, and Heidegger to show that these diverse thinkers shared a common approach to art, which he calls the "speculative theory." According to this theory, art offers a special kind of intuitive, quasi-mystical knowledge, radically different from the rational knowledge acquired by science. This view encouraged theorists to consider artistic geniuses the high-priests of humanity, creators of works that reveal the invisible essence of the world. Philosophers came to regard inexpressibility as the aim of art, refused to consider second-tier creations genuine art, and helped to create conditions in which the genius was expected to shock, puzzle, and mystify the public. Schaeffer shows that this speculative theory helped give birth to romanticism, modernism, and the avant-garde, and paved the way for an unfortunate divorce between art and enjoyment, between "high art" and popular art, and between artists and their public. Rejecting the speculative approach, Schaeffer concludes by defending a more tolerant theory of art that gives pleasure its due, includes popular art, tolerates less successful works, and accounts for personal tastes. "[A] remarkable work.... [Schaeffer's] writing is governed by ... the ideals of clarity and consequence, the ideas of logic, truth, and evidence.... Schaeffer is so precise and unrelenting a philosophical critic that one wonders how some of the philosophies he anatomizes here can possibly survive the operation."--From the foreword by Arthur C. Danto

The excessive worship of adolescence and its social empowerment by adult institutions is the deeply rooted cause of a serious cultural malaise. So argues semiotician Marcel Danesi in Forever Young, an unforgiving and controversial look at modern culture's incessant drive to create a 'teen-aging' of adult life. Written for the general reader and based on five year's worth of interviews with over 200 adolescents and their parents, Danesi begins by asserting that one of the early causes of this crystallization of adolescence as an age category can be traced back to theories of psychology at the turn of the twentieth century. Since then, the psychological view of adolescence as a stressful period of adjustment has become a self-fulfilling prophecy. This, in tandem with the devaluation of the family by the media and society at large, has led to a maturity gap - a fissure in family dynamics that is eagerly and ably exploited by the mass media. Unlike many academic digressions into the malaise of modern culture, Forever Young provides concrete answers on how the 'forever young syndrome' can be addressed. One solution is to dispel the myth that experts and professionals are the people best equipped to give advice on raising children. The second is to recognize the value of family, in all its different combinations, as the primary institution of child-rearing. The third is to challenge the pervasive notion that teen culture is a sophisticated endeavour - that, for example, pop music can claim to have produced some of the best musical art in the world, surpassing Mozart or Bach. By laying bare the misguided tenets that have brought about, and continue to promote, a 'forever young' mentality, Marcel Danesi demonstrates that the 'teen-aging' of culture has come about because it is, simply put, good for business. Teen tastes have achieved cultural supremacy because the western economic system requires a conformist and easily manipulated market, and has thus joined forces with the media-entertainment oligarchy to promote a deterministic 'forever young' market.

First Harper torchbook edition l972.