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Contributors
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- By Lenard A. Adler, Pinky Agarwal, Rehan Ahmed, Jagga Rao Alluri, Fawaz Al-Mufti, Samuel Alperin, Michael Amoashiy, Michael Andary, David J. Anschel, Padmaja Aradhya, Vandana Aspen, Esther Baldinger, Jee Bang, George D. Baquis, John J. Barry, Jason J. S. Barton, Julius Bazan, Amanda R. Bedford, Marlene Behrmann, Lourdes Bello-Espinosa, Ajay Berdia, Alan R. Berger, Mark Beyer, Don C. Bienfang, Kevin M. Biglan, Thomas M. Boes, Paul W. Brazis, Jonathan L. Brisman, Jeffrey A. Brown, Scott E. Brown, Ryan R. Byrne, Rina Caprarella, Casey A. Chamberlain, Wan-Tsu W. Chang, Grace M. Charles, Jasvinder Chawla, David Clark, Todd J. Cohen, Joe Colombo, Howard Crystal, Vladimir Dadashev, Sarita B. Dave, Jean Robert Desrouleaux, Richard L. Doty, Robert Duarte, Jeffrey S. Durmer, Christyn M. Edmundson, Eric R. Eggenberger, Steven Ender, Noam Epstein, Alberto J. Espay, Alan B. Ettinger, Niloofar (Nelly) Faghani, Amtul Farheen, Edward Firouztale, Rod Foroozan, Anne L. Foundas, David Elliot Friedman, Deborah I. Friedman, Steven J. Frucht, Oded Gerber, Tal Gilboa, Martin Gizzi, Teneille G. Gofton, Louis J. Goodrich, Malcolm H. Gottesman, Varda Gross-Tsur, Deepak Grover, David A. Gudis, John J. Halperin, Maxim D. Hammer, Andrew R. Harrison, L. Anne Hayman, Galen V. Henderson, Steven Herskovitz, Caitlin Hoffman, Laryssa A. Huryn, Andres M. Kanner, Gary P. Kaplan, Bashar Katirji, Kenneth R. Kaufman, Annie Killoran, Nina Kirz, Gad E. Klein, Danielle G. Koby, Christopher P. Kogut, W. Curt LaFrance, Patrick J.M. Lavin, Susan W. Law, James L. Levenson, Richard B. Lipton, Glenn Lopate, Daniel J. Luciano, Reema Maindiratta, Robert M. Mallery, Georgios Manousakis, Alan Mazurek, Luis J. Mejico, Dragana Micic, Ali Mokhtarzadeh, Walter J. Molofsky, Heather E. Moss, Mark L. Moster, Manpreet Multani, Siddhartha Nadkarni, George C. Newman, Rolla Nuoman, Paul A. Nyquist, Gaia Donata Oggioni, Odi Oguh, Denis Ostrovskiy, Kristina Y. Pao, Juwen Park, Anastas F. Pass, Victoria S. Pelak, Jeffrey Peterson, John Pile-Spellman, Misha L. Pless, Gregory M. Pontone, Aparna M. Prabhu, Michael T. Pulley, Philip Ragone, Prajwal Rajappa, Venkat Ramani, Sindhu Ramchandren, Ritesh A. Ramdhani, Ramses Ribot, Heidi D. Riney, Diana Rojas-Soto, Michael Ronthal, Daniel M. Rosenbaum, David B. Rosenfield, Durga Roy, Michael J. Ruckenstein, Max C. Rudansky, Eva Sahay, Friedhelm Sandbrink, Jade S. Schiffman, Angela Scicutella, Maroun T. Semaan, Robert C. Sergott, Aashit K. Shah, David M. Shaw, Amit M. Shelat, Claire A. Sheldon, Anant M. Shenoy, Yelizaveta Sher, Jessica A. Shields, Tanya Simuni, Rajpaul Singh, Eric E. Smouha, David Solomon, Mehri Songhorian, Steven A. Sparr, Egilius L. H. Spierings, Eve G. Spratt, Beth Stein, S.H. Subramony, Rosa Ana Tang, Cara Tannenbaum, Hakan Tekeli, Amanda J. Thompson, Michael J. Thorpy, Matthew J. Thurtell, Pedro J. Torrico, Ira M. Turner, Scott Uretsky, Ruth H. Walker, Deborah M. Weisbrot, Michael A. Williams, Jacques Winter, Randall J. Wright, Jay Elliot Yasen, Shicong Ye, G. Bryan Young, Huiying Yu, Ryan J. Zehnder
- Edited by Alan B. Ettinger, Albert Einstein College of Medicine, New York, Deborah M. Weisbrot, State University of New York, Stony Brook
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- Book:
- Neurologic Differential Diagnosis
- Published online:
- 05 June 2014
- Print publication:
- 17 April 2014, pp xi-xx
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Contributors
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- By Leonard A. Adler, Henrik Anckarsäter, L. Eugene Arnold, Philip J. Asherson, Russell Barkley, Joseph Biederman, Andrew D. Blackwell, Jessica Bramham, Thomas E. Brown, Richard Bruggeman, Jan K. Buitelaar, C. Keith Conners, Jonathan H. Dowson, Steve V. Faraone, Christopher Gibbins, Christopher Gillberg, I. Carina Gillberg, Ylva Ginsberg, Laurence L. Greenhill, Julia D. Hunter, Cornelis C. Kan, Ronald C. Kessler, Scott H. Kollins, J. J. Sandra Kooij, Johanna Krause, Jonna Kuntsi, Florence Levy, Stephen P. McDermott, Gráinne McLoughlin, Mitul A. Mehta, Asko Niemela, Eleni Paliokosta, Yannis Paloyelis, Vangelis Pappas, Patricia Quinn, Maria Råstam, Doris Ryffel, David Shaw, Seija Sirviö, Thomas Spencer, Lacramioara Spetie, Siegfried Tuinier, Fiona E. van Dijk, Anne M. D. N. van Lammeren, Wim J. C. Verbeeck, Margaret Weiss, Timothy E. Wilens, Kiriakos Xenitidis
- Edited by Jan K. Buitelaar, Cornelis C. Kan, Philip Asherson, Institute of Psychiatry, London
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- Book:
- ADHD in Adults
- Published online:
- 04 April 2011
- Print publication:
- 03 March 2011, pp vii-ix
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Contributors
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- By Joanne R. Adler, David A. Alexander, Laurence Alison, Catherine C. Ayoub, Peter Banister, Anthony R. Beech, Amanda Biggs, Julian Boon, Adrian Bowers, Neil Brewer, Eric Broekaert, Paula Brough, Jennifer M. Brown, Kevin Browne, Elizabeth A. Campbell, David Canter, Michael Carlin, Shihning Chou, Martin A. Conway, Claire Cooke, David Cooke, Ilse Derluyn, Robert J. Edelmann, Vincent Egan, Tom Ellis, Marie Eyre, David P. Farrington, Seena Fazel, Daniel B. Fishman, Victoria Follette, Katarina Fritzon, Elizabeth Gilchrist, Nathan D. Gillard, Renée Gobeil, Agnieszka Golec de Zavala, Jane Goodman-Delahunty, Lynsey Gozna, Don Grubin, Gisli H. Gudjonsson, Helinä Häkkänen-Nyholm, Guy Hall, Nathan Hall, Roisin Hall, Sean Hammond, Leigh Harkins, Grant T. Harris, Camilla Herbert, Robert D. Hoge, Todd E. Hogue, Clive R. Hollin, Lorraine Hope, Miranda A. H. Horvath, Kevin Howells, Carol A. Ireland, Jane L. Ireland, Mark Kebbell, Michael King, Bruce D. Kirkcaldy, Heidi La Bash, Cara Laney, William R. Lindsay, Elizabeth F. Loftus, L. E. Marshall, W. L. Marshall, James McGuire, Neil McKeganey, T. M. McMillan, Mary McMurran, Joav Merrick, Becky Milne, Joanne M. Nadkarni, Claire Nee, M. D. O’Brien, William O’Donohue, Darragh O’Neill, Jane Palmer, Adria Pearson, Derek Perkins, Devon L. L. Polaschek, Louise E. Porter, Charlotte C. Powell, Graham E. Powell, Martine Powell, Christine Puckering, Ethel Quayle, Vernon L. Quinsey, Marnie E. Rice, Randall Richardson-Vejlgaard, Richard Rogers, Louis B Schlesinger, Carolyn Semmler, G. A. Serran, Ralph C. Serin, John L. Taylor, Max Taylor, Brian Thomas-Peter, Paul A. Tiffin, Graham Towl, Rosie Travers, Arlene Vetere, Graham Wagstaff, Helen Wakeling, Fiona Warren, Brandon C. Welsh, David Wexler, Margaret Wilson, Dan Yarmey, Susan Young
- Edited by Jennifer M. Brown, London School of Economics and Political Science, Elizabeth A. Campbell, University of Glasgow
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- Book:
- The Cambridge Handbook of Forensic Psychology
- Published online:
- 06 July 2010
- Print publication:
- 29 April 2010, pp xix-xxiii
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6 - Conscience and community in An Enemy of the People and The Crucible
- Edited by Christopher Bigsby, University of East Anglia
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- Book:
- The Cambridge Companion to Arthur Miller
- Published online:
- 28 March 2011
- Print publication:
- 22 April 2010, pp 89-103
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Summary
“It’s all clear to me now, finally at this late hour. They had their script. I had mine. Theirs: ‘Confess, lie, and you’ll live.’”
Tema Nason, Ethel [Rosenberg]: The Fictional Autobiography (1990)When the Wooster Group, one of the more controversial of the experimental theatrical troupes active during the 1970s and 1980s, incorporated segments of The Crucible (1953) into their performance piece entitled LSD (… Just the High Points …) (1984), Arthur Miller’s threat of legal action eventually forced the project to be withdrawn from the stage. Even though the excerpts included from Miller’s work were reduced first from forty-five minutes to twenty-five minutes and then later to ten minutes – and that recited virtually in gibberish – the dramatist objected on the grounds that such a treatment might be regarded as a parody, which violated his initial intention, rather than an homage, and so might somehow preclude a serious New York revival of his play. Not only does Miller’s action provide a fascinating case study in the ongoing debate over who “owns” or maintains interpretive authority over the written text when it becomes a performance text – the author or the director – it also evidences what might seem a peculiar paradox. As David Savran notes, “By insisting on his own interpretation, Miller has, ironically, aligned himself with the very forces that The Crucible condemns, those authorities who exercise their power arrogantly and arbitrarily to ensure their own continued political and cultural dominion.”
5 - Albee’s 3½
- Edited by Stephen Bottoms, University of Leeds
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- Book:
- The Cambridge Companion to Edward Albee
- Published online:
- 28 May 2006
- Print publication:
- 21 July 2005, pp 75-90
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At the end of Who's Afraid of Virginia Woolf? (1962), after George has intoned the Mass of the Dead for the imaginary child who has been exorcised, and after Honey and Nick have been educated out of selfishness into mutuality and sent home to bed, George and Martha are left alone to live on without any comforting illusion. It is early Sunday morning, but the mood is one of doubt and uncertainty. Although, as George insists, “It was . . . time” for them to alter the foundation that has kept their marriage working, he can only offer a tentative assurance that “maybe” now “It will be better”; and even though Martha asserts that she is “cold” and “afraid,” there can be no turning back - though she will be able to depend upon his strength and support (as he “puts his hand gently on her shoulder”) to help see them through whatever new terrors might come. For in Albee, embracing change, while essential for growth, is always frightening because it means facing the unknown.
6 - Repetition and regression in Curse of the Starving Class and Buried Child
- Edited by Matthew Roudané, Georgia State University
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- Book:
- The Cambridge Companion to Sam Shepard
- Published online:
- 28 May 2006
- Print publication:
- 27 May 2002, pp 111-122
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In a 1988 interview, Sam Shepard commented on the centrality of the notion of family and heredity to his thought: “What doesn't have to do with family? There isn't anything, you know what I mean? Even a love story has to do with family. Crime has to do with family. We all come out of each other - everyone is born out of a mother and a father, and you go on to be a father. It's an endless cycle.” Whether critics consider Curse of the Starving Class (1977) and Buried Child (1978) the first two parts of a “family trilogy” completed by True West (1980), or the first two movements in a quintet - those three works plus Fool for Love (1983) and A Lie of the Mind (1985) - they all agree that these two plays mark a turning point to a more realistic, perhaps somewhat O'Neillian dramaturgy. Yet, as Charles R. Lyons insists, it is a realism to which Shepard attaches his own original signature by ironically undercutting it: “Shepard took up another highly conventionalized aesthetic form - dramatic realism - and reconfigured its typical structure to accommodate the more open, fluid conventions of his writing . . . this shift forms another 'appropriation': Shepard's borrowing of the conventions of dramatic realism, theatrical schemes which, by this point, were also 'popular' although decidedly not ideologically radical.”
8 - Lillian Hellman
- from Part 2 - Inheritors
- Edited by Brenda Murphy, University of Connecticut
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- Book:
- The Cambridge Companion to American Women Playwrights
- Published online:
- 28 May 2006
- Print publication:
- 28 June 1999, pp 118-133
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Although a number of women who wrote for the American stage before Lillian Hellman, including Susan Glaspell, Rachel Crothers, and Sophie Treadwell, have recently been receiving serious attention from theatre scholars and historians, Hellman was the first woman playwright to be admitted to the previously all-male space of the canon of American dramatic literature - and that on the basis of two major successes from the 1930s which remain to this day the best known of her eight original plays: The Children’s Hour (1934), which introduced Hellman to theatre audiences and provided the longest run (691 performances) of her thirty-year playwriting career; and The Little Foxes (1939), a perennial favorite with actresses that continues to be given star-studded Broadway revivals. While it may not seem particularly surprising that these same two works, sixty years or more after their New York premieres, continue to be the focus of critical commentary on Hellman, what is somewhat ironic, though perhaps not unexpected, is that they have become the center of contention among feminist scholars, for whom their canonized position is seen as deeply problematic.
The Children’s Hour concerns accusations of lesbianism involving two teachers at a girls’ boarding school; though the rumors are founded on the lies of a vicious child, without evidentiary proof, they fuel a campaign of vilification and hatred, leading ultimately to the broken engagement of one woman and the suicide of the other. Because the lesbian experience is described as socially disruptive, named by the community as “unnatural”- the designation most frequently appearing in the dialogue Hellman writes for her characters - and eventuates in the death of the abject sexual Other, recent criticism tends to regard the play as a “profoundly conservative text”whose adherence to realism’s codes inscribes lesbianism as an “enigma”that must be “purged,”and thus a play whose very canonization valorizes heterosexism and homophobia.
6 - Before the Fall -and after
- Edited by Matthew C. Roudané, Georgia State University
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- Book:
- The Cambridge Companion to Tennessee Williams
- Published online:
- 28 May 2006
- Print publication:
- 11 December 1997, pp 114-127
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Another decent thing about me is my tolerance and my love of people and my gentleness toward them. I think I have acquired that through suffering and loneliness.
Tennessee Williams, unpublished journalPerhaps because he wrote verse even before he turned to short fiction and drama (his poems, in fact, began to appear in little magazines as early as 1933, prior to his first plays being given amateur productions), Tennessee Williams often used poetry - his own and that of others - as intertext in his works for the stage. Over a dozen of his full-length plays in their printed versions feature epigraphs from writers as various as Sappho, Dante, Rimbaud, Yeats and, an especial favorite of his, Hart Crane. Both Summer and Smoke (1947) and The Night of the Iguana (1961) incorporate a poem that provides a key to the drama. In the former, the Southern parson's daughter, Alma Winemiller, recites William Blake's “Love's Secret,” albeit in altered form, at her literary club gathering, not only foreshadowing the course the action will take as she loses Dr. John Buchanan to another, but also hinting at the rejection that may be visited upon a somehow forbidden '”Love that never told can be.” In the latter, the 97-year-old minor poet Jonathan Coffin (called Nonno) exuberantly declaims his final poem - only slightly revised from one the playwright himself wrote on a visit to Mexico in 1940 - about the decay that inevitably follows the ripening of all things living, pleading for the “courage” necessary to endure in the face of awareness of mortality.
6 - Conscience and community in An Enemy of the People and The Crucible
- Edited by Christopher Bigsby, University of East Anglia
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- Book:
- The Cambridge Companion to Arthur Miller
- Published online:
- 28 May 2006
- Print publication:
- 13 November 1997, pp 86-100
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Summary
“It's all clear to me now, finally at this late hour. They had their script. I had mine. Theirs: 'Confess, lie, and you'll live.'”
Tema Nason, Ethel [Rosenberg]: The Fictional Autobiography (1990)When the Wooster Group, one of the more controversial of the experimental theatrical troupes active during the 1970s and 1980s, incorporated segments of The Crucible (1953) into their performance piece entitled LSD (. . . Just the High Points . . .) (1984), Arthur Miller's threat of legal action eventually forced the project to be withdrawn from the stage. Even though the excerpts included from Miller's work were reduced first from forty-five minutes to twenty-five minutes and then later to ten minutes - and that recited virtually in gibberish - the dramatist objected on the grounds that such a treatment might be regarded as a parody, which violated his initial intention, rather than an homage, and so might somehow preclude a serious New York revival of his play. Not only does Miller's action provide a fascinating case study in the ongoing debate over who “owns” or maintains interpretive authority over the written text when it becomes a performance text - the author or the director - it also evidences what might seem a peculiar paradox. As David Savran notes, “By insisting on his own interpretation, Miller has, ironically, aligned himself with the very forces that The Crucible condemns, those authorities who exercise their power arrogantly and arbitrarily to ensure their own continued political and cultural dominion.”