When experience with uncontrollable events gives rise to the expectation that events in the future will also elude control, disruptions in motivation, emotion, and learning may ensue. "Learned helplessness" refers to the problems that arise in the wake of uncontrollability. First described in the 1960s among laboratory animals, learned helplessness has since been applied to a variety of human problems entailing inappropriate passivity and demoralization. While learned helplessness is best known as an explanation of depression, studies with both people and animals have mapped out the cognitive and biological aspects. The present volume, written by some of the most widely recognized leaders in the field, summarizes and integrates the theory, research, and application of learned helplessness. Each line of work is evaluated critically in terms of what is and is not known, and future directions are sketched. More generally, psychiatrists and psychologists in various specialties will be interested in the book's argument that a theory emphasizing personal control is of particular interest in the here and now, as individuality and control are such salient cultural topics.

"This is the colorful and dramatic biography of two of America's most controversial entrepreneurs: Moses Louis Annenberg, 'the racing wire king, ' who built his fortune in racketeering, invested it in publishing, and lost much of it in the biggest tax evasion case in United States history; and his son, Walter, launcher of TV Guide and Seventeen magazines and former ambassador to Great Britain."--Jacket.

Museums have lengthy history, going back to the Renaissance Cabinets of Curiosity, and they are indices of changing fashions of perception insofar as the categories museum curators use to classify objects change over time. The major focus of Tyburczy s study is sexuality on display, which sets up, in turn, her investigation of the effects of museum display on the history of sexuality. Historical context for the museum is one of her themes (and how categories of normacly and perversity change over time), with another themes being the work of sex museums n redefining what sex means in the modern public sphere; she also folds in consideration of the pleasures and dangers of exhibiting marginalized sexual subjects (women, nonwhite races, LGBT individuals, and the like); last, she explores the paradox of asserting (as she does) that all museums are sex museums bodies move around and toward objects on display, they reshape the typical dances of museum-goers along with their preconscious motivations in visiting a museum. She proposes that explicit display or restagings of sexual artifacts provides new ways for approaching and understanding issues of desire, sexual identity, and sexual practices as they intersect with the history of the modern museum and with sexual history during the past two centuries. Her fieldwork sites are: the Leather Archives & Museum in Chicago, the Museum of Sex in New York, the World Erotic Art Museum in Miami Beach, and El Museo del Sexo in Mexico City. Such institutions allow Tyburczy to show how alternative sexuality (inclusive of kink, fetish, and sadomasochistic cultures) and slavery dangerously crisscross on the surface of objects. There are plenty of cases here, in short, to keep the casual reader titillated and the erudite reader surprised."