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Now a New York Times bestseller and from the author of The Psychopath Test, a captivating and brilliant exploration of one of our world's most underappreciated forces: shame.
 
'It's about the terror, isn't it?'
 
'The terror of what?' I said.
 
'The terror of being found out.'
 
For the past three years, Jon Ronson has travelled the world meeting recipients of high-profile public shamings. The shamed are people like us - people who, say, made a joke on social media that came out badly, or made a mistake at work. Once their transgression is revealed, collective outrage circles with the force of a hurricane and the next thing they know they're being torn apart by an angry mob, jeered at, demonized, sometimes even fired from their job.
 
A great renaissance of public shaming is sweeping our land. Justice has been democratized. The silent majority are getting a voice. But what are we doing with our voice? We are mercilessly finding people's faults. We are defining the boundaries of normality by ruining the lives of those outside it. We are using shame as a form of social control.
 
Simultaneously powerful and hilarious in the way only Jon Ronson can be, So You've Been Publicly Shamed is a deeply honest book about modern life, full of eye-opening truths about the escalating war on human flaws - and the very scary part we all play in it.

• Sales Rank: #8670 in Books
• Published on: 2016-03-29
• Released on: 2016-03-29
• Original language: English
• Number of items: 1
• Dimensions: 8.20" h x .80" w x 5.50" l, .64 pounds
• Binding: Paperback
• 336 pages

Amazon.com Review

An Amazon Best Book of April 2015: Author Jon Ronson knows a thing or two about public shaming. When a trio of "academics" hijacked his persona for an infomorph—basically an automated Twitter feed that spewed inane comments about food in his name—he took the fight to the internet, where the virtual, virulent hordes soon compelled the spambot authors to cease and desist. The experience hatched a thought: Once upon a time, if you wanted to participate in a good, old-fashioned public humiliation, you actually had to show up. But as with most everything else, the internet has made condemnation an exercise in crowdsourcing, with today’s angry mobs trading stockades and scarlet As for social media and its inherent anonymity.

So You’ve Been Publicly Shamed is Ronson's tour through a not-necessarily-brave new world where faceless commenters wield the power to destroy lives and careers, where the punishments often outweigh the crimes, and where there is no self-control and (ironically) no consequences. On one hand, part of what makes this book (again, ironically) so fun to read is a certain schadenfreude; it’s fun to read about others' misfortunes, especially if we think they "had it coming." Jonah Lehrer, whose admitted plagiarism and falsifications probably earned him his fall, stalks these pages. But so does Justine Sacco, whose ill-conceived tweet probably didn’t merit hers; as it turns out, the internet doesn’t always differentiate the misdemeanors from the felonies. But the best reason to read this is Ronson's style, which is funny and brisk, yet informative and never condescending. So You’ve Been Publicly Shamed is not a scholarly book, nor is it a workbook about navigating ignominy. It's an entertaining investigation into a growing--and often disturbing--demimonde of uncharitable impulses run amok. --Jon Foro

Review

“Gutsy and smart. Without losing any of the clever agility that makes his books so winning, he has taken on truly consequential material and risen to the challenge….fascinating…shocking…Mr. Ronson’s gift for detail-picking is, as ever, a treat.” –The New York Times

“A sharp-eyed and often hilarious book…Jon Ronson has written a fresh, big-hearted take on an important and timely topic. He has nothing to be ashamed of.” –NPR.org
 
“A diligent investigator and a wry, funny writer, Ronson manages to be at once academic and entertaining.” –The Boston Globe

“This is a wonderful book.” –Jon Stewart 
 
“This book really needed to be written.” –Salon.com

“Required reading for the internet age.” – Entertainment Weekly

“With an introspective and often funny lens, [Ronson] tracks down those whose blunders have exploded in the public eye…So You've Been Publicly Shamed is an insightful, well-researched, and important text about how we react to others' poor decisions.” –The Huffington Post
 
“Personable and empathetic, Ronson is an entertaining guide to the odd corners of the shame-o-sphere.” –The Minneapolis Star Tribune

“It’s sharply observed, amusingly told, and, while its conclusions may stop just short of profound, the true pleasure of the book lies in arriving at those conclusions.”
 –The Onion

“Like all of Ronson’s books, this one is hard to put down, but you will absolutely do so at some point to Google yourself.” –TheMillions.com

“An irresistibly gossipy cocktail with a chaser of guilt.” –Newsday
 
“With So You’ve Been Publicly Shamed Ronson has written a timely, interesting and titillating read for any Internet drama junkie.” –PopMatters.com

“[A] simultaneously lightweight and necessary book.” –Esquire

"A work of original, inspired journalism, it considers thecomplex dynamics between those who shame and those who are shamed, both of whom can become the focus ofsocial media’s grotesque, disproportionate judgments."  –The Financial Times

"[So You've Been Publicly Shamed] is both entertaining and fair -- a balance we could use a lot more of, online and off."  –Vulture

“Ronson is an entertaining and provocative writer, with a broad reach …[So You’ve Been Publicly Shamed] is a well-reported, entertainingly written account of an important subject.” –The Oregonian

"Ronson is a fun writer to read...fascinating." –Fast Company

“I was mesmerized. And I was also disturbed.”  –Forbes

"[So You've Been Publicly Shamed] promises to be the most relevant book of the year." –FlavorWire

"I was sickly fascinated by the book. I think it's Ronson's best book." –Mark Frauenfelder for BoingBoing

"With confidence, verve, and empathy, Ronson skillfully informs and engages the reader without excusing those caught up in the shame game. As he stresses, we are the ones wielding this incredible power over others' lives, often with no regard for the lasting consequences of our actions." –Starred Booklist Review

"Clever and thought-provoking, this book has the potential to open an important dialogue about faux moral posturing online and its potentially disastrous consequences." –Publishers Weekly

“Relentlessly entertaining and thought-provoking.”  –The Guardian

 “Certainly, no reader could finish it without feeling a need to be gentler online, to defer judgment, not to press the retweet button, to resist that primal impulse to stoke the fires of shame.” –The Times
 
“Excruciating, un-put-downable…So You've Been Publicly Shamed is a gripping read, packed with humor and compassion and Ronson's characteristic linguistic juggling of the poignant and the absurd.” –Chapter16.org
 
“A powerful and rewarding read, a book utterly of the moment.”—The Hamilton Spectator

“Ronson is a lovely, fluid writer, and he has a keen eye for painful, telling details.” —The Bloomberg View

“Fascinating and trenchant.” –The Denver Post
 
“[Ronson] is one of our most important modern day thinkers…[So You’ve Been Publicly Shamed] is one of the most therapeutic books imaginable.” – US News & Word Report

“Personable and empathetic, Ronson is an entertaining guide to the odd corners of the shame-o-sphere.” –The Houston Chronicle
 
“[A] satirical Malcolm Gladwell… an accessible, fun read.” – Everyday Ebook

"We love Jon Ronson. He’s thoughtful and very funny. [So You’ve Been Publicly Shamed] is a great book about the way the internet can gang up on people and shame them, when they deserve it, when they don’t deserve it and it’s great."  – Judd Apatow

"Jon Ronson is unreal. So You’ve Been Publicly Shamed –everyone should read that book. He’s one of my favorite human beings." – Bill Hader 

"[A] brilliant, thought-provoking book – a fascinating examination of citizen justice, which has enjoyed a great renaissance since the advent of the internet." – Tatler 

 
"A terrifying and keen insight into a new form of misguided mass hysteria." – Jesse Eisenberg
 
"A fascinating exploration of modern media and public shaming… It's a great conversation starter. Is Twitter the new Salem Witch trials?"– Reese Witherspoon
 

From the Hardcover edition.

About the Author
Jon Ronson’s books include the New York Times bestsellers The Psychopath Testand Lost at Sea: The Jon Ronson Mysteries, and international bestsellers Them: Adventures with Extremists and The Men Who Stare at Goats. He also cowrote the screenplay for Frank, which will be released in theaters August 2014, and which stars Michael Fassbender and Maggie Gyllenhaal. Ronson is a regular contributor toThis American Life and lives in London and New York City.

Most helpful customer reviews

92 of 93 people found the following review helpful.
"It was like we were ... making war on other people's flaws"
By S. McGee
If you're at all involved with social media, I'm willing to bet that if you stop and think for even a few seconds, you can come up with an example of someone -- famous or previously anonymous -- who has been publicly shamed. A car wash worker just lost his job for making disgusting, racist comments about President Obama's daughter -- the ensuing kerfuffle probably ended up winning a larger audience for those comments than he would have had in the first place, ironically enough. There was the tennis championship commenter who asked a female contestant to "give us a twirl" as she went out onto the court for her match (to show off her garb and legs), and more recently, the obituary writer who chose to comment, unflatteringly, on author Colleen McCullough's looks as if they were as important as her achievements. All have been named and shamed online. And that's just off the top of my head, in the last week or two.

The tool of shaming someone publicly for breaking the law or violating the social contract in some other way is as old as time. But with the advent of the Internet, and specifically, the rise of tools like Twitter, shaming can go viral instantly. Instead of your immediate community knowing what you did wrong -- and deciding whether and when to forgive you, because they may have a sense of the broader context and of who you are as a person beyond that misstep -- the entire world now becomes aware, instantly, without any of that context. And the results, as Ronson shows, can be horrifying and potentially disproportionate. Imagine cracking a joke that you know that some folks might consider off color to a buddy sitting next to you at a conference presentation -- then having the woman in front of you turn around, snap your picture, smile at you -- and tweet about how offensive your comments were to women, already a minority and arguably struggling to find a way to feel comfortable in Silicon Valley's "bro culture". That's "D***legate", and it's one of the case studies that Ronson looks at to explore how the Internet has transformed public shaming from one form of potentially violent public pillorying and whipping to a non-violent but far longer lasting and even more damaging variant.

Since Ronson's focus is on the post-Twitter era, you won't find much here about folks like Bill Clinton and Monica Lewinsky, although Ronson explores an argument that suggests sexual misdeeds are viewed with more tolerance by potential shamers than other transgressions (in contrast to the past, when swingers "outed" by the News of the World committed suicide). But whether the name is a familiar one -- Jonah Lehrer, popular science writer pilloried for inventing quotes and for recycling his own content -- or someone unknown, such as the teenager turned into a pariah for mocking what she saw as a self-evident and superfluous sign at Arlington national cemetery requesting silence and respect -- he does a good job of exploring different examples of shame and reasons for shaming, as well as the societal and historical context.

Ronson does occasionally fall into the trap of what I refer to as "stunt" anecdotes: going off to explore things as a participant and taking notes because he knows it will make a good part of the copy to be a fly on the wall. So, the workshop on how to manage and address shame in which he participates becomes a gratuitous anecdote, and some other similar segments felt like overkill.

My five-star rating is as much for the timeliness of the topic as for the book's style and structure, which are really more average than the rating would suggest. It's an OK book, on a standalone basis, but it's the first to really assemble in a coherent fashion all the individual anecdotes and events around this particular theme. It certainly made me think. I've long been aware of the dangers of having a personal "brand", and been vigilant about what I say on social media and my privacy settings on Facebook, for instance. In the social media universe, there simply is no privacy -- or at least, none that you can count on -- and few of those "shame victims" that Ronson profiles in these pages are evil or malicious. Stupid, foolish, careless -- yes. Thoughtless, absolutely. But the shaming, the "mass online destruction" in which people seem to take such delight, seems so disproportionate. "We are defining the boundaries of normality by tearing apart the people outside of it."

This is a great starting point for dialog and discussion, and for that reason alone merits the full five stars.

151 of 161 people found the following review helpful.
Are you so sure it can't happen to you?
By Bookphile
Ronson starts his book off by recounting a personal story. A group of men who made highfalutin' claims to conducting some sort of social experiment set up a Twitter account using Ronson's name, though they claim they weren't trying to pretend to be him. This account began sending out Tweets that made Ronson fear that his friends and family would mistake them for some alternate universe of himself. He confronted the men on camera, the video was uploaded to YouTube, and commenters promptly began to wage a shame war on the perpetrators that ultimately ended with their taking down the fake Twitter account. Ah, sweet justice. Or was it?

Ronson began to wonder what happens to the people on the receiving end of an Internet mob's rage. Through digging into the stories of and conducting interviews with well-know people like disgraced author and journalist Jonah Lehrer and ordinary, previously unknown people like Justine Sacco, Ronson provides a vivid and disturbing picture of what happens to the people on the receiving end of vigilante-style justice and raises interesting philosophical questions about what this means for our larger culture.

This book in no way defends the actions of the people it depicts, though Ronson does have sympathy for his subjects. Instead, he poses a very thought-provoking question: are you so sure this can't happen to you? While it's one thing for the Internet to bring real criminal actions to light and ensure they don't go unpunished, it's another thing for someone who does something stupid or ill-conceived to be subjected to the same scrutiny. After all, how many of us can say we've never made a tasteless joke or said something others might construe as offensive because we thought it was "safe" to do so? In this digital age, when we're all trying to express ourselves in 140 characters or less, it's far easier for that message to reach an audience we didn't intend it to reach.

This book's strength is that it humanizes the people on the receiving end of Internet justice and makes you ponder whether the scorched earth campaign waged against people like Justine Sacco is justified. At the end of the day, her life has not only been damaged, but destroyed, and it may remain that way forever, thanks to Google taking and storing everything anyone has ever said online. Does that punishment really fit the crime?

You'll feel uncomfortable when you read this book, and you should. I know I did. I squirmed as I thought of the times when I jumped on the outrage bandwagon and then moved on with my life without really stopping to wonder what had become of the people on the other end of the outrage. People should be called out for their bad behavior, but do they deserve to have their lives decimated? Do they deserve for their family and friends to have to worry about being associated with them, for fear that their names might be tainted as well? Do they deserve threats of violence? As Ronson points out, there's a reason why the stocks and pillories were phased out of our system of justice. We ought to be alarmed that they're reappearing because, digital or no, the effects they have are real and lasting.

112 of 120 people found the following review helpful.
Absolutely FASCINATING - And Changed my Views
By Karie Hoskins
I found this book to be just fascinating. The title is certainly intriguing, but it was also a rare book that actually made me change my opinions on an issue. And THAT doesn't happen very often. I also think in the research and writing of this book, author Jon Ronson had a similar experience.

One of his first quick examples involves an LA Fitness that was shamed on social media because they wouldn't cancel the membership of a couple who had lost their jobs and couldn't afford the fees. The result of that was that LA Fitness backed down - a story that makes one believe in the "power of the people".

"Something of real consequence was happening. We were at the start of a great renaissance of public shaming. After a lull of almost 180 years (public punishments were phased out in 1837 in the United Kingdom and in 1839 in the United States), it was back in a big way. When we deployed shame, we were utilizing an immensely powerful tool. It was coercive, borderless, and increasing in speed and influence. Hierarchies were being leveled out. The silenced were getting a voice. It was like the democratization of justice."

He may have started this project with that feeling, I don't think he believed this at the end.

One famous (infamous) example of modern day public shaming was the story of Justine Sacco - a woman who had made a VERY ill-thought out tweet at the beginning of a plane flight to Africa - and whose life was ruined by the time she landed. (To confirm how long public shaming can stay with you - I just typed "Justine S" into a search engine - her name was the first result and this happened in 2013.) As Ronson researches her story, and more importantly, meets and talks to Justine, the far reaching implications of a mistaken action that took only seconds to take, becomes very clear to him.

"A life had been ruined. What was it for: just some social media drama? I think our natural disposition as humans is to plod along until we get old and stop. But with social media, we've created a stage for constant artificial high drama. Every day a new person emerges as a magnificent hero or a sickening villain. It's all very sweeping, and not the way we actually are as people. What rush was overpowering us at times like this? What were we getting out of it?"

While most of what Ronson examines is what the shaming does to the shamee - but also - what it says about those who participate. I don't remember him using the term "mob mentality" - but that phenomenon is the underlying message of these case studies.

The portion of the book that had the greatest impact on me was Ronson's conversations and dealing with judge Ted Poe. (I, and maybe others know of him without knowing him - the judge that imposes sentences on people like standing on street corners holding signs about their crimes. What I knew of him made me think he was cruel and something like a "hanging judge". WOW did I have a different opnion after reading this part of the book and what we has to say about the people he dealt with.

And I think (feel) the same thing happened to Ronson. As he speaking with Judge Poe, "Social media shamings are worse than your shamings," I suddenly said to Ted Poe. He looked taken aback. "They are worse," he replied. "They're anonymous." "Or even if they're not anonymous, it's such a pile-on they may as well be." "They're brutal," he said.

I almost hated to put this book down - but in the week since I did so, I've thought about it many, many times - and have mentioned and discussed it with most of my friends and family. This one will stick with me for a LONG time.

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0 of 0 people found the following review helpful.
Iformative
By Operations
Not an easy read.

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Research work on floriculture is being carried out at several research institutions. The crops which have received larger attention include rose, gladiolus, chrysanthemum, orchid, jasmine, tuberose, aster, marigold etc. The thrust till recently had been on crop improvement, standardization of agro-techniques including improved propagation methods, plant protection and post harvest management. In view of the fact that most of the cut flower production is being done under open field conditions, the research efforts generally relate to open cultivation. In recent years, however, technologies for protected cultivation and tissue culture for mass propagation have also received attention. A large number of varieties suitable for cut flower use, as well as garden display have been developed. Production technology, particularly the agronomic requirements and control methods for important diseases.

• Sales Rank: #13468426 in Books
• Published on: 2012-01-06
• Original language: English
• Number of items: 1
• Dimensions: 8.66" h x .41" w x 5.91" l, .60 pounds
• Binding: Paperback
• 180 pages

About the Author
Farah Aslam is doing Ph.D in the plant biotechnology. She has completed her MS in Botany with specialization in plant tissue culture techniques. She has all skills of lab management and green house management.

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This second edition of Designing Tall Buildings, an accessible reference to guide you through the fundamental principles of designing high-rises, features two new chapters, additional sections, 400 images, project examples, and updated US and international codes. Each chapter focuses on a theme central to tall-building design, giving a comprehensive overview of the related architecture and structural engineering concepts. Author Mark Sarkisian, PE, SE, LEED® AP BD+C, provides clear definitions of technical terms and introduces important equations, gradually developing your knowledge. Projects drawn from SOM’s vast portfolio of built high-rises, many of which Sarkisian engineered, demonstrate these concepts.

This book advises you to consider the influence of a particular site's geology, wind conditions, and seismicity. Using this contextual knowledge and analysis, you can determine what types of structural solutions are best suited for a tower on that site. You can then conceptualize and devise efficient structural systems that are not only safe, but also constructible and economical. Sarkisian also addresses the influence of nature in design, urging you to integrate structure and architecture for buildings of superior performance, sustainability, and aesthetic excellence.

• Sales Rank: #1079108 in Books
• Published on: 2016-01-08
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 6.25" w x .50" l, 1.12 pounds
• Binding: Paperback
• 300 pages

Review

"Designing Tall Buildings is the best book on structures and architecture available. It appeals to both architects and engineers, capturing the "why" and the "how" of tall building construction. It explains the history of tall buildings and details the structural rationale behind the art. Mark Sarkisian is a brilliant and engaging instructor, bringing structural theory to life. This book is a must-read for all designers." - Mary Comerio, Professor of the Graduate School, UC Berkeley, USA

"Designing Tall Buildings is a seminal reference guide that clearly illustrates the inseparability of architecture, structural design, and local context in the realization of tall buildings around the world. As one of SOM’s foremost structural engineering partners and a global thought leader on skyscraper design, Mark Sarkisian is the perfect author to give this message." – Antony Wood, Executive Director, Council on Tall Buildings and Urban Habitat, USA

"Designing Tall Buildings: Structure as Architecture clearly discusses the roles that structural design and nature play in tall buildings. Mark Sarkisian communicates an intuitive understanding of the interrelationships between forces at play. Clear and well written, with definitions at the end of each chapter, this book serves as an excellent learning tool." - Jon Daniel Davey, AIA, Professor of Architecture, Southern Illinois University, USA

"Sarkisian’s Designing Tall Buildings provides a masterful discussion of the synergy of architecture and structural engineering in landmark building designs by SOM. This book has inspired both students and faculty in design studio courses at Stanford University that aspire to combine technical rigor and creative thinking in architecture and engineering through the art of tall building design."- Greg Deierlein, Department of Civil and Environmental Engineering, Stanford University, USA

About the Author

Mark Sarkisian, PE, SE, LEED® AP BD+C, is the Partner-in-Charge of Seismic and Structural Engineering in the San Francisco office of SOM. He has developed innovative structural solutions for more than 100 international building projects, including some of the tallest buildings ever constructed. A world-renowned leader in the design of high performance seismic and environmentally responsible structural systems, Sarkisian has patented numerous inventions and has additional patents pending. He teaches, publishes, and lectures frequently around the world.

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All societies create images of the body to define themselves and to establish structures of power, knowledge, meaning, and desire. This book looks at current thought about the body from a range of perspectives.

• Sales Rank: #1714046 in Books
• Brand: Brand: Writers n Readers
• Published on: 1999-03
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 6.25" w x .75" l,
• Binding: Paperback
• 192 pages

Features

• Used Book in Good Condition

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0 of 0 people found the following review helpful.
Useful as primer or refresher on the "meanings" of the body in philosophy, art, literature and life.
By Samuel C.
This is not another practical manual on "body talk" and how to read it. Its focus is rather on how the body can be interpreted and "talked about" in the texts of the arts and humanities. Fifteen years ago I sensed the body was underserved by theorists. Even after the neo-Freudian, langage-based theory of Lacan and the sex/textual studies of Barthes, I found myself unsure of the appropriate diction for addressing representations of the human body in prose fiction, poetry, biography and autobiography, the visual arts, and of course the performing arts. And what about the body of the author and its influence on the reader. Readership theory had challenged the old Romantic paradigm of art as pure "self-expression," replacing it with a "transactional" model that connected the author with an "implied reader," which began to seem like only half of the transaction. Can a reader hear the writer's voice without seeing an image of the speaker? (Was Shelly the angelic man-boy the reader might visualize while reading his poetry or was he the dominating, forceful specimen with a grip as strong as the damning judgments that some feminist critics have made about him? Was Emily Dickinson slight in stature, thin-boned, pale and unattractive or was she the rough-riding, libidinous warrior-adventurer of Paglia's "Sexual Personae"?)

The "performing" arts, unlike the subjectivity of literature, afford us more opportunities to see the relationship between semantically-rich meanings and the body of the artist. For example, pianist Bill Evans is frequently cited by jazz critics as the example of an artist whose very "touch" at the keyboard is capable of expressing a wide range of emotions--from melancholia, loneliness, and resignation to defiance, passion, and delirium. What is rarely taken into account are the photos of his physical features, revealing not the shy and thin aesthete of the earliest written accounts of his appearance but a player with broad and powerful shoulders, large and heavy hands, and fingers that are not only long but exceptionally "thick." Suddenly it becomes clear how the sound Evans' extracted from a piano could be so different from the sound produced by other players at the same piano, pressing the identical keys and playing the same chord voicings. The size and weight of Evans' hands alone account, in great part, for the complexity and "volume" (not loudness, but "fullness") of the tones he coaxes from a grand piano, in construction one of the most mechanical and percussive of instruments. Other players get the spectator's attention by standing up and "banging" the piano from above, some even making an orgasmic display of their efforts with vocal squealing accompanying each sound. More than one photo of Evans captures him with his head beneath the keyboard, his hands above him, touching the keys as if making an offering to his Muse. The leverage and mechanics of his body could not have been more complementary to the demands of a Steinway, the mechanical apparatus serving for him as an instrument of worshipful expression.

Of course, the body and its meanings in literature--especially after the theory and practice of Roland Barthes--can no longer be limited to questions about the its representations "in" the text. Instead, the body now "is" a text, worthy of the reader's closest attention to each nuanced movement and expressive detail. Toward the end of a career of over 30 scholarly papers presented at various conferences, most of them for audiences of 5-6 people, I decided to go for broke by presenting a paper in the subject area that could be counted upon to draw overflow audiences at the annual meeting of the Popular Culture Association. Inspired by Barthes' representation of the transaction between reader and text as a metaphoric striptease, or form of "textual erotica," and experienced as a pianist whose credits included working several traditional burlesque shows (with a standard repertory of "Shangri La," "Temptation," Harlem Nocturne, " etc.), I presented a paper interpreting the various significations of the body dancing on one of the round tables at a typical, syndicated, upscale "Gentleman's Club,." It was clearly a participatory experience for many of the male spectators, whose huddling around the dime-sized dance tables resembled boy scouts encircling a small, warm camp fire. They seemed less voyeurs than a supportive community of squires serving their lady with the regular offering of their folded dollar-bills into the elastic garter belt of the lady they served. Her claim to a place of importance was signified to the other dancers in the room by the overflow of dollar bills in a belt inadequate to the task of holding them secure. With each loosened bill, the squires responded like dutiful servants, each more eager than the next to secure the vagrant bill and keep it safe until the conclusion of the performance. The audience was standing-room only, the largest i'd presented for at a scholarly meeting. Just one thing was missing: any hint of the "erotic" in the "text" of my analysis. From the first through last tune, the dancers wore as little as the city ordinance allowed, with no attempt at strip tease. The songs, moreover, were hit tunes played loudly and at random from a juke box. Dance for 4-5 rocking tunes, then a breather or a table change. Conclusion: modern-day Gentleman's Clubs are the antithesis of the erotic. Read a book instead (erotica fiction by D.H. Lawrence, John Fowles and Grace Metalious immediately comes to mind).

In the last ten years, books about reading body language--in daily life as well as in the arts--have flooded the market. Moreover, the preoccupation with the reflection of the face in the mirror and with improving it with cosmetics (and surgery) reflects a spectator trapped in the narcissism (in psychoanalytic terms) of the world of an "infant"--or as the most influential neo-Freudian theorist, Jacques Lacan, would put it, someone who is so obsessed with the body as to be fixated, incapable of moving beyond the "mirror" stage of the infant to the signifying / sign-reading stage of an adult who is equipped to communicate with others, But post-modern theory, along with its esoteric jargon, can invite a similar isolation from the world of common experience. The new millennium, at least to my ears, has become hostile to theory. Or, perhaps the more apt word is "indifference"--better yet, an unconsciously-practiced "triage" by the individual to a proliferation of "infotainment" on a scale that defies understanding and demands a robust defense. The stakes are nothing less than self-survival. Change is so rampant, the digitalization of human experience so sudden, the dominance of "the Cloud" so complete that the once exciting, provocative theories of Derrida, Foucault and Baudrillard are on the verge of obsolescence, each another bit/byte of energy swallowed up by the indiscriminate "stream" that now sub-merges texts, traditions and, seemingly overnight, threatens the existential terrain of the subjective self. The continual tweaking of abstruse jargon is less evidence of renewed interest in postmodern theory than the "coded" defense of the few remaining hold-outs. But if theory is at an impasse, why shouldn't theory's loss become literature's gain? I think college students need to read and understand the classic philosophers and, from there, the radical revolution of the Romantics, who replaced the Enlightenment with a brighter light than the Age of Reason was capable of providing.

This book was one of many that assisted me in writing a number of papers delivered at scholarly conferences and subsequently published,, many from a feminist point-of-view, whether analyzing the work of Dorothy Arzner (the first woman director in Hollywood) or refuting the feminist stereotyping used to discredit Yeats, Joyce and Lawrence--which led me to the discovery of numerous texts by young "revisionist" feminists who were challenging a prevailing, almost "party-line," form of "woman-as-victim" feminism. But at the present time, students (as we all are as "learners") would seem better served by going to the literature itself--not the theory and criticism of it. And they should not do so under the illusion that upon successful completion of a substantial canon of authors--ancient and modern, British and American--they will have their choice of graduate programs much less job offers from tony colleges and universities. Canonical literature must always be read as its own reward and should, God willing, a vocational reward ensue from that exercise, all the better. The drill is plain and simple: first, the complete plays by William Shakespeare--and from no idealogy or theory other than "reader-response," which is a complete and total engagement with the text, calling upon the reader to undertake a Stanislavsky-like relation to character and story throughout each reading--not in the pursuit of more "information" (we have too much of that) but rather the unending quest for understanding, knowledge, and thoughtful interpretation that is an examination of the self and its history in the present moment. ("The French Lieutenant's Woman" is a compelling, non-sentimental view of a Victorian age that illuminates our own Puritannical heritage and challenges us to evolve from the protagonist's superficial "modern sensibility" and dilletantish trifling with the science of evolution to a whole and genuine transformation requiring that he lose the self in order to regain his soul. The author, John Fowles, provides two endings, and it's not certain that either the character or the reader will select the best option. (Today, after a vote separating Britain from the EU, the internet was abuzz with Brits who were recorded Googling, post-election,, questions like: "What's the EU?" "What's a Brsexit?" "Is it good or bad? Will it help me or hurt me?" The option is there, or rather "was" there. The uninformed nature of the questions and their tardiness should, at the least, attest that Britain made the choice it deserved.).

The preceding recommendation to "jump cut" from Plato to Shakespeare is, of course, irresponsible, even in the context of the present millenium's apathy toward the cultural highlights of the bypassed eleven ceturiess. "Beowulf" can be safely circumvented (except by linguists and archetypal scholars), but two centuries prior to the Renaissance we meet up with a Pilgrim clothed not in the abstract, symbollic garb of Danté but wearing threads identical to the ones we're sitting on. After Shakespeare, the most important author is not Milton but Chaucer, whose opening lines to the "Prologue" to the "Canterbury Tales" should not only be required reading but mandatory memorizing. In a mere 26 lines Chaucer: 1. gives birth to spring and its season of growth in the mineral, animal and human worlds (external and interal); 2. fathers forth the English language which, like the nature that "priketh" in the hearts of restless birds with an eye on a mate, is a marriage of Anglo-Saxon and Norman French; 3. pronounces the birth of English literature in arguably the language's most sensuously earthy, spirtually sublime epic poem (though almost three-quarters short of its planned destination.) I may be old-fashioned, a senior citizen, a printed name of extinct e-meritus (a synonym for "disabled") status. But when I encounter degree'd professors who can distinguish the jargon among 6-7 French feminist theorists but don't recognize a single character or phrase from "The Canterbury Tales," I'm frankly disheartened. Maybe it's time to set right the most recent crop of careerists scrambling for residency in a dying discipline ("The students can't write! We must have more seminars on writing pedagogy!")

Been there, done that--many times over. No one's able to bring themselves to admit the secret that could undermine their own careers--viz. that students can't read! Why? Begin with the ceremonial practice that's long been "in place": 1. The reading assignment is given; 2. the assumption is made that the assignment was undertaken and completed; 3. the teacher provides commentary prior to moving to the next item on his syllabus. The foregoing is an oft-repeated, meaningless, unproductive charade. But so much for the failures of education to save us from a polarized political culture incapable of seeing the world in any shade that's not 100% white or 100% black. Students simply must be taught, shown, and "creatively positioned" to understand an as yet unfamiliar language of nuance, complexity and, above all, irony (in 50 shades of grey). But besides threatening, seducing, rewarding, and creating imaginative games and contests, the teacher must be willing to assign the texts most worthy of reading. What's the gain of assigning contemporaneous reading of Kate Chopin's novelette "The Awakening" in 3-4 separate courses at the expense of Chaucer's complex women characters (The Wife of Bath, Criseyde) or Faulkner's vital women of deep desire and high-minded courage--Caddy ("Sound and the Fury"), Addy Bundren ("As I Lay Dying"), and Rosa Coldfield ("Absalom! Absalom!). Is such a reading syllabus too challenging for the student--or too much for the person responsible for planting those texts and overseeing their development in curious, often voracious, rapidly expanding young minds. Teach the students, be a nice guy, "like" the students ostensibly so they'll like you in return. But teach them texts they will never forget. Things that are difficult, challenging and hard-earned--these are the prizes of any college education that's worth the price.

8 of 8 people found the following review helpful.
Fun Introduction to an Important Theoretical Issue
By Incantessimo
The question of the body and embodiment has become a central issue in 20th century philosophy, and will doubtless continue to occupy thinkers in the years to come. From the phenomenological school (Merleau-Ponty) to current issues in cognitive science (Lakoff and Johnson's Philosophy in the Flesh), we are wrestling with the question: what does it mean for us to be embodied, and how must this affect our view of reality and what we can say about reality and ourselves?
Since Descartes, Western thought has struggled under the illusion that the mind can be separated from the body: that the two exist somehow in different and distinct spheres: one involving pure reason, the other involving corporeality, flesh, embodiment. But increasingly we are realizing that our embodiment affects our thought, and to think about 'pure reason' is often a distorting abstraction. An increasing awareness of Eastern thought - which does not make this body/mind distinction - broadens our (those of us in the West) thinking and forces us to question long-held assumptions. This is being increasingly realized in the fields of sociology, psychology, cognitive science, philosophy and anthropology.
All this is dealt with in a funny and easy to read way in Cavallaro's book. It is a subject that too few people know about, yet it affects everything we do: from philosophy, to art, to society. For those who then want something meatier, I suggest the above works: Maurice Merleau-Ponty's "Phenomenology of Perception", Lakoff and Johnson's "Philosophy in the Flesh", the journal "Body and Society" and the book by the same name edited by Bryan Turner and Mike Featherstone.

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• Sales Rank: #5450667 in Books
• Published on: 2007
• Binding: Hardcover

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• Published on: 1900-01-01
• Binding: Unknown Binding

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