Taboo topics in addiction treatmentAn empirical review of clinical folklore

1993 ◽  
Vol 10 (3) ◽  
pp. 303-316 ◽  
Author(s):  
Emil J. Chiauzzi ◽  
Steven Liljegren
Keyword(s):  
1993 ◽  
Vol 3 (2) ◽  
pp. 197-216 ◽  
Author(s):  
Stephen Prothero

The status reversal ritual that American religious historiography has undergone in the last two decades has done much to “mainstream” previously taboo topics within the field. Many religious groups once dismissed as odd and insignificant “cults” are now seen as “new religious movements” worthy of serious scrutiny. One subject that has benefited from this reversal of fortunes is theosophy. Thanks to the work of scholars such as Robert Ellwood and Carl Jackson, theosophists are now part of the story of American religion. Exactly what part they are to play in that story remains, however, unclear.


2019 ◽  
Vol 6 (1) ◽  
pp. 19-52
Author(s):  
Shana Zaia

AbstractWhen Esarhaddon named his successors, he split the empire between two of his sons, with Assurbanipal as king of Assyria and Šamaš-šuma-ukīn as king of Babylonia. This arrangement functioned until 652 BCE, at which point a civil war began between the brothers. The war ended with Assurbanipal’s victory and Šamaš-šuma-ukīn’s death in 648 BCE. While Šamaš-šuma-ukīn’s death is mentioned in several of Assurbanipal’s inscriptions, it is still unclear how the king of Babylon met his end, and scholars have suggested theories ranging from suicide, assassination, execution, and accidental death. By offering a reexamination of the evidence for royal death in general and Šamaš-šuma-ukīn’s demise in particular, this article explores how possibly taboo topics such as fratricide, regicide, and suicide were depicted in Neo-Assyrian state texts and how Assurbanipal appears to have coped with his brother’s rebellion and death, especially as compared to Assyrian treatments of belligerent and rebellious foreign kings. This article argues that the relative silence around Šamaššuma- ukīn’s death is due to the fact that, while he was an enemy combatant, he was nonetheless a member of the Assyrian royal family and a legitimately-installed king. Overall, this article concludes that Assurbanipal uses several rhetorical strategies to distance himself from Šamaš-šuma-ukīn, especially invoking deus ex machina as a way to avoid even the potential accusation of fratricide and ultimately erasing his brother from the written record and Assyrian history.


2019 ◽  
Vol 20 (2) ◽  
pp. 254-269
Author(s):  
Ephraim Domingo ◽  
Analyn Caroy ◽  
Janice Carambas ◽  
Elaine Grace Dizon ◽  
Karyl Po-or

This paper explores the cuss words used by the Kankanaey young people of The Philippines, examines the reasons they use them and if these cuss words reflect their identity. It employs the qualitative approach and uses a semi-structured interview. Most of the cuss words are terms that range from taboo topics such as the genitals, to inoffensive terms such as body parts, to incapacity, and to words borrowed and modified from English, as well as those invented. These cuss words are usually used to express emotions that range from light to strong ones such as anger, disappointment, fright, or surprise.


2013 ◽  
Vol 2013 (1) ◽  
pp. 12979
Author(s):  
Bryant A. Hudson ◽  
Gerardo Okhuysen

1999 ◽  
Vol 90 (5) ◽  
pp. 218-224 ◽  
Author(s):  
Ronald W. Evans ◽  
Patricia G. Avery ◽  
Patricia Velde Pederson
Keyword(s):  

2009 ◽  
Vol 22 (3) ◽  
Author(s):  
Kelle Groom

AbstractDenise Duhamel and Michael Burkard continue the work of postconfessional poets like Robert Lowell, Sylvia Plath, and Anne Sexton using humor to explore culturally taboo topics and expand the traditional range of poetic subjects. The works of Duhamel and Burkard often explore subjects that are secret, shameful or unspoken made approachable through tender and satirical humor to turn these issues into something beautiful. Duhamel uses humor to critique American culture and the domestic arena with the clarity of an outsider while Burkard uses humor to write about loss and recovery, discovering the fantastic in the familiar. Through humor in first-person confessional poems these poets create a more open environment where the poet and their audiences may confront the truth of themselves and the world in which they live.


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