Bøger udgivet af Wayne State University Press

Representing more than twenty years of anthropological research, Walkin' over Medicine, originally published by Westview Press in 1993, presents the results of Loudell F. Snow's community-based studies in Arizona and Michigan, work in two urban prenatal clinics, conversations and correspondence with traditional healers, and experience as a behavioral scientist in a pediatrics clinic. Snow also visited numerous pharmacies, grocery stores, and specialty shops in several major cities, accompanied families to church services, and attended weddings, baptisms, graduations, and funerals.

With over 200 photographs chosen from thousands in the collection of Henry Ford Museum & Greenfield Village, Beyond the Model T gives attention to Henry Ford's numerous ventures outside of the auto industry. This revised edition, with 26 additional photographs and two new chapters, completes the portrait of Ford's life, giving depth to a man previously known only for the Model T. Through vivid photographs and narration, Ford's boundless energy and vision are revealed.An enthusiastic and courageous entrepreneur, Henry Ford used profits from the Model T to launch projects in a multitude of areas, from education to rubber production. Ford R. Bryan presents an unknown Henry Ford, focusing on his experimental humanitarian and business enterprises- including those that failed. New to this edition are chronicles of factory and general hospitals, nursing schools and services, health clinics, and a research institute established by Henry Ford, and the more than a dozen commissaries Ford operated, selling a wide assortment of items to Ford employees and their families from pillow cases to children's shoes. These accounts give testimony to Ford's investment in the well-being of the working class, a category in which he included himself despite his wealth, and disclose his dreams for a country uponwhich he undeniably left his mark.

In a nostalgic, yet nimble telling of his boyhood in Flushing, Michigan, Edmund Love notes that he was born into a world that ceased to exist almost as soon as he entered it. "In the first twelve years of my life," he writes, "rural America was swept away as though it has been a picture on a blackboard that had suddenly been erased."The Situation in Flushing is a humorous portrait of a place and people that have vanished from the American scene. With his unique brand of satire, Love provides sharp and amusing insight into the events and personalities that shaped his youth.

From the Introduction:Sudden and unexpected loss of communication is a terrifying, dehumanizing experience that tears away at the essence of life itself.For decades, speech and language pathologists have sought to better understand it. The term aphasia is used to generally describe a condition whereby speech and language skills are partially or totally lost. Aphasia is the result of damage to or disturbance of those areas in the brain responsible for speech and language functions.A tremendous variety of specific impairments can occur to plague the individual with aphasia. Impairments of comprehension, reading disturbances, writing difficulties, and confusion with numericalprocesses can accompany oral language problems such as word loss, loss of sentence structure, and confusion in utilizing wordforms. . .To understand aphasia at this level alone is to miss the full nature of this terribly debilitating condition. For the effect that aphasia has on the person who must bear its consequences is a profound area of interest that is not always understood and. . . seldom considered. Aphasia, MyWorld Alone has been written to help open this often closed door. . .Helen Wulf has put down on paper a depth of feeling, thought, and analysis concerning the aphasic experience that personalizes the disorder in a gripping, readable manner. She delves so deeply intoher aphasia that the reader is actually drawn up into the agony and frustration that is the daily burden of the aphasic individual.Speech pathologists who actively work with aphasic patients will immediately recognize the value of Helen Wulf's analysis of her aphasia. Her reactions to various forms of treatment will also be beneficial, especially to those who are allowing certain aphasics to determine which speech and language deficits are most debilitating and, consequently, which area should be emphasized in the initial stages of treatment.Family and friends of the aphasic will be warmly introduced to those inner thoughts so long hidden from their ears. . . This book. . . should be extremely useful in family counseling. . . As many speech pathologists have indicated, the need for "family treatment" is immediate, real, and often of critical importance. . .As the field of aphasia rehabilitation continues its growth ... our ability to help the aphasic and his family will expand. It is felt that in its small way, this book will help make aphasia less of a world alone.A new chapter has been added to this revised edition in which Helen Wulf assesses her feelings and the progress she has made six to eight years post-stroke.

Everyone from scholars and students of television and media studies, genre studies, gender and sexuality studies, and popular culture, to superfans who can't believe the show is over will revel in this highly approachable and fun read.

In Far Company, we hear Cindy Hunter Morgan thinking about the many ways we carry the natural world inside of us as a kind of embedded cartography. Many of these poems commune not only with lost ancestors but also past poets. We hear conversations with Emily Dickinson, James Wright, Walt Whitman, and W. S. Merwin. These poets, who are part of Hunter Morgan's poetic lineage, are beloved figures in the far company she keeps, but the poems she writes are distinctly hers. Poet Larissa Szporluk remarked, "e;The poems in this collection are quiet and deceptively simple. My first response was to be amazed by a seeming innocence in delivery-straightforward, picturesque, and compassionate-that then matured like a crystal into something precious and masterful. We are left with the whole forest having met all the trees one by one. There is so much respect in this collection-respect for natural processes that include intergenerational relationships, shared territories, and myths."e; The poems in Far Company reveal a mind and a heart negotiating both self and world with compassion and invention. They are cinematic in the way they navigate loss, memory, dislocation, hope, and love-abstractions evoked in deeply specific and nuanced ways. There is the drone that flies over Hunter Morgan's grandparents' farm before the house burns and the stag-handled knife in a pocket, its single blade "e;folded inside like a secret"e; on a train in Greece. But this collection is full of quieter cinema, too-a grandfather bending to cinch the girth of a horse, days "e;green / with snap peas and wild tendrils,"e; and "e;raindrops beading like sweat / on the lips of snapdragons."e; The root of this book is Hunter Morgan's love for family and her love for the land her family has shared. These poems map a journey to many places, inward and outward, and engage with the natural world and the built world, moving between both of those environments in ways that acknowledge the complexities of such crossings. Often melancholic but never sentimental, this collection belongs with any reader who seeks out literature in the organic world.

In the aftermath of a messy divorce, Frances Kai-Hwa Wang writes in the hope of beginning to build a new life with four children, bossy aunties, unreliable suitors, and an uncertain political landscape. The lyric essays in You Cannot Resist Me When My Hair Is in Braids deftly navigate the space between cultures and reflect on lessons learned from both Asian American elders and young multiracial children, punctuated by moments rich with cultural and linguistic nuance. In her prologue, Wang explains, "e;Buddhists say that suffering comes from unsatisfied desire, so for years I tried to close the door to desire. I was so successful, I not only closed the door, I locked it, barred it, nailed it shut, then stacked a bunch of furniture in front of it. And now that door is open, wide open, and all my insides are spilling out."e; Full of current events of the day and #HashtagsOfTheMoment, the topics in the collection are wide ranging, including cooking food to show love, surviving Chinese School, being an underpaid lecturer, defending against yellow dildos, navigating immigration issues, finding love in a time of elections, crying with children separated from their parents at the border, charting the landscape of frugal/hoarder elders during the pandemic, witnessing COVID-inspired anti-Asian American violence while reflecting on the death of Vincent Chin, teaching her sixteen-year-old son to drive after the deaths of Trayvon Martin and George Floyd, and trusting the power of writing herself into existence. Within these lyric essays, some of which are accompanied by artwork and art installations, Wang finds the courage and hope to speak out for herself and for an entire generation of Asian American women. A notable work in the landscape of Asian American literature as well as Midwest and Michigan-based literature, You Cannot Resist Me When My Hair Is in Braids features a clear and powerful voice that brings all people together in these political and pandemic times.

Offered in the oral traditions of the Nez Perce, Native American writer W. S. Penn records the conversations he held with his granddaughter, lovingly referred to as "e;Bean,"e; as he guided her toward adulthood while confronting society's interest in possessions, fairness, and status. Drawing on his own family history and Native mythology, Penn charts a way through life where each endeavor is a journey-an opportunity to love, to learn, or to interact-rather than the means to a prize at the end. Divided into five parts, Penn addresses topics such as the power of words, race and identity, school, and how to be. In the essay "e;In the Nick of Names,"e; Penn takes an amused look at the words we use for people and how their power, real or imagined, can alter our perception of an entire group. "e;To Have and On Hold"e; is an essay about wanting to assimilate into a group but at the risk of losing a good bit of yourself. "e;A Harvest Moon"e; is a humorous anecdote about a Native grandfather visiting his granddaughter's classroom and the absurdities of being a professional Indian. "e;Not Nobody"e; uses "e;Be All that You Can Be Week"e; at Bean's school to reveal the lessons and advantages of being a "e;nobody."e; In "e;From Paper to Person,"e; Penn imagines the joy that may come to Bean when she spends time with her Paper People-three-foot-tall drawings, mounted on stiff cardboard-and as she grows into a young woman like her mom, able to say she is a person who is happy with what she has and not sorry for what she doesn't. Comical and engaging, the essays in Raising Bean will appeal to readers of all backgrounds and interests, especially those with a curiosity in language, perception, humor, and the ways in which Native people guide their families and friends with stories.

Essays and poems exploring the diverse range of the Arab American experience.

The story of Civil Rights icon and Black lawyer who fought racism and political oppression with uncommon devotion.

It will be of special interest to scholars and students of television and media studies, as well as fans of science fiction.

Mothers of Invention: Film, Media, and Caregiving Laborconstructs a feminist genealogy that foregrounds the relationship between acts of production on the one hand and reproduction on the other. In this interdisciplinary collection, editors So Mayer and Corinn Columpar bring together film and media studies with parenting studies to stake out a field, or at least a conversation, that is thick with historical and theoretical dimension and invested in cultural and methodological plurality. In four sections and sixteen contributions, the manuscript reflects on how caregiving shapes the work of filmmakers, how parenting is portrayed on screen, and how media contributes to radical new forms of care and expansive definitions of mothering. Featuring an exciting array of approaches-including textual analysis, industry studies, ethnographic research, production histories, and personal reflection-Mothers of Invention is a multifaceted collection of feminist work that draws on the methods of both the humanities and the social sciences, as well as the insights borne of both scholarship and lived experience. Grounding this inquiry is analysis of a broad range of texts with global reach-fromthe films Bashu, The Little Stranger (Bahram Beyzai, 1989), Prevenge (Alice Lowe, 2016), and ADeal with the Universe (Jason Barker, 2018) to the television series Top of the Lake (2013-2017)and Jane the Virgin (2014-2019), among others-as well as discussion of the creative practices,be they related to production, pedagogy, curation, or critique, employed by a wide variety of filmand media artists and/or scholars. Mothers of Invention demonstrates how the discourse of parenting and caregiving allows the discipline toexpand its discursive frameworks to address, and redress, current theoretical, political, and social debates about the interlinked futures of work and the world. This collection belongs on the bookshelves of students and scholars of cinema and media studies, feminist and queer media studies, labor studies, filmmaking and production, and cultural studies.

Hawaii Five-O, created by Leonard Freeman in 1968, is an American police procedural drama series that was produced by CBS Productions and aired for twelve seasons. Author Brian Faucette discusses the show's importance by looking at how it framed questions around the security and economy of the Hawaiian Islands in connection with law enforcement, the diversity of its population, the presence of the US military, and the influx of tourists. Faucette begins by discussing how the show both conformed to and adapted within the TV landscape of the late 1960s and how those changes helped to make it the longest-running cop show in American TV history until it was surpassed by Law and Order. Faucette argues that it was Freeman's commitment to filming on location in Hawaii that ensured the show would tackle issues pertinent to the islands and reflect the diversity of its people, culture, and experiences, while helping to establish a viable film and TV industry in Hawaii, which is still in use today. Faucette explains how a dedication to placing the show in political and social context of the late 1960s and 1970s (i.e., questions around policing, Nixon's call for "e;law and order,"e; the US military's investment and involvement in the Vietnam War, issues of racial equality) rooted it in reality and sparked conversation around these issues. Another key element of the show's success is its connection to issues of tourism and the idea that TV can create a form of "e;tourism"e; from the safety of the home. Faucette concludes with discussion of how Hawaii Five-O led to the development of other shows, as well as attempts to reboot the show in the 1990s and in 2010. Faucette makes a strong argument for the series as a distinctive artifact of a time in US history that witnessed profound changes in culture, politics, and economics, one that will excite not only scholars and students of television and media studies but any die-hard fan of gripping police procedurals.