The flaws in today's healthcare systems and practices are well-documented: millions remain far from optimal health due to a variety of psychological and social factors; large numbers of patients do not fully cooperate with medical advice; errors in medical decision-making -- some stemming from flaws in interpersonal relations -- regularly lead to needless suffering and death. Further, the effects of emotions, personality, and motivation on healing are not well incorporated into traditional medical care. The Oxford Handbook of Health Psychology compiles the most relevant scholarship from psychology, medicine, and public health to offer a thorough and authoritative model of the biopsychosocial approach to health. A collection of international contributors addresses all relevant concepts in this model, including its applications to health promotion, health behavior change, and treatment.

Although Herman Melville's masterworks Moby-Dick and Benito Cereno have long been the subject of vigorous scholarly examination, the impact of African culture on these works has received surprisingly little critical attention. Presenting a groundbreaking reappraisal of these two powerful pieces of fiction, Sterling Stuckey reveals how African customs and rituals heavily influenced one of America's greatest novelists. The Melville that emerges in this innovative, intertextual study is one profoundly shaped by the vibrant African-influenced music and dance culture of nineteenth-century America. Drawing on extensive research, Stuckey reveals how celebrations of African culture by black Americans, such as the Pinkster festival and the Ring Shout dance form, permeated Melville's environs during his formative years and found their way into his finest fiction. Also demonstrated is the extent to which the author of Moby-Dick is indebted to Frederick Douglass's depiction of music, especially the blues, in his classic slave narrative. Connections between Melville's work and African culture are also extended beyond America to the African continent itself. With readings of hitherto unexplored chapters in Delano's Voyages and Travels in the Northern and Southern Hemispheres and other nonfiction sources--such as Joseph Dupuis's Journal of a Residence in Ashantee --Stuckey links Benito Cereno and Moby-Dick , pinpointing the sources from which Melville drew to fashion major characters that appear aboard both the Pequod and the San Dominick . Combining inventive literary and historical analysis, Stuckey shows how myriad aspects of African culture coalesced to create the unique vision conveyed in Moby-Dick and Benito Cereno. Ultimately, African Culture and Melville's Art provides a wealth of insight into the novelist's expressive power and the development of his distinct cross-cultural aesthetic.

The late 20th century saw great movement in the philosophy of language, often critical of the fathers of the subject--Gottlieb Frege and Bertrand Russell--but sometimes supportive of (or even defensive about) the work of the fathers. Howard Wettstein's sympathies lie with the critics. But he says that they have often misconceived their critical project, treating it in ways that are technically focused and that miss the deeper implications of their revolutionary challenge. Wettstein argues that Wittgenstein--a figure with whom the critics of Frege and Russell are typically unsympathetic--laid the foundation for much of what is really revolutionary in this late 20th century movement. The subject itself should be of great interest, since philosophy of language has functioned as a kind of foundation for much of 20th century philosophy. But in fact it remains a subject for specialists, since the ideas are difficult and the mode of presentation is often fairly technical. In this book, Wettstein brings the non-specialist into the conversation (especially in early chapters); he also reconceives the debate in a way that avoids technical formulation. The Magic Prism is intended for professional philosophers, graduate students, and upper division undergraduates.

Meaning seems to shift from context to context; how do we know when someone says "grab a chair" that an ottoman or orange crate will do, but when someone says "let's buy a chair," they won't? Somehow, in spite of this slipperiness, we usually understand each other in conversations, and have straightforward ways of querying each other when we sense a gap in understanding. We seem capable of using ordinary language to communicate with as much precision as we are willing to take the time and effort for--through attention to interactive feedback, and the use of paraphrastic modification, specification, and explication. In Plastic Glasses and Church Fathers, Kronenfeld offers a theory that explains both the usefulness of language's variability of reference and the mechanisms which enable us to understand each other in spite of the variability. His theory is rooted in the tradition of ethnoscience (or cognitive anthropology), a tradition which promotes an ethnography of explicit methodology and mathematically precise theory while remaining responsive to the complexity of particular cultures. Kronenfeld accomplishes three things with his theory. First, he distinguishes prototypic referents from extended referents. Second, he describes the various bases of semantic extensions. Finally he details how we use the situational context of usage, the linguistic context of opposition and inclusion, and the conceptual context of knowledge about the world to interpret communicative events.