Medical traditions encapsulate the knowledge of life, health, nutrition, diseases and their treatment patiently assembled by populations over a long period of time in the past, carefully handed down through generations, and subsequently recorded in writing and preserved in books now scattered in libraries across the world. Rarely the object of a specific study, they are approached here as a field in its own right. The present essay explores such key topics as the impact of tradition approach on medical historiography, the relation between written documents and practice, and the transmission of knowledge across time and cultures with its possible modifications and their processes and causes. Though based on a decade-long close scrutiny of the Greek medical tradition, it establishes parallels with other traditions, and invites not only to do comparative study, but also to apply to other traditions the approach proposed here. By laying down the foundations for a fresh analysis of ancient medical knowledge as a discipline, Medical Traditions - Exploring the Field will be a reference for any scholar interested in the medical record of the past, be it for the sake of history or for renewed applications in present day.

Cultural Writing. Middle Eastern Studies. Religious Studies. ASHURA is largely made up of photographs or video stills of Ashura, the ceremony of self-flagellation and bloodletting performed by some Twelver Shi'ites to mark their wait for the coming of a twelfth imam. Blood literally soaks these men, the floor, the street, their sneakers, and Toufic's lens does not blink. Meanwhile his thoughts on the cultural and philosophic implications of the ritual, strangely cool and confident against a background of such ecstatic religious fervor, reframes everything from film to Islam to Toufic himself. Toufic writes: "Al-Husayn, the grandson of the prophet Muhammad and the son of the first Shi'ite imam, 'Ali, was slaughtered alongside many members of his family in the desert in 680. This memory is torture to me. But, basically, one can say "this memory is torture to me" of every memory, since each reminiscence envelops at some level the memory of the origin of memory..."

We are all fascinated by the mystery of metamorphosis – of the caterpillar that transforms itself into a butterfly. Their bodies have almost nothing in common. They don’t share the same world: one crawls on the ground and the other flutters its wings in the air. And yet they are one and the same life. Emanuele Coccia argues that metamorphosis – the phenomenon that allows the same life to subsist in disparate bodies – is the relationship that binds all species together and unites the living with the non-living. Bacteria, viruses, fungi, plants, animals: they are all one and the same life. Each species, including the human species, is the metamorphosis of all those that preceded it – the same life, cobbling together a new body and a new form in order to exist differently. And there is no opposition between the living and the non-living: life is always the reincarnation of the non-living, a carnival of the telluric substance of a planet – the Earth – that continually draws new faces and new ways of being out of even the smallest particle of its disparate body. By highlighting what joins humans together with other forms of life, Coccia’s brilliant reflection on metamorphosis encourages us to abandon our view of the human species as static and independent and to recognize instead that we are part of a much larger and interconnected form of life.

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This book is significant for its concept of "openness"--the artist's decision to leave arrangements of some constituents of a work to the public or to chance--and for its anticipation of two themes of literary theory: the element of multiplicity and plurality in art, and the insistence on literary response as an interaction between reader and text.