Recommendations based on "Structure and Dynamics of the Psyche"

This book focuses on works of art, their creators, and the circumstances affecting their creation. This revision is designed to provide readers with a more streamlined approach to understanding Italian Renaissance art without losing the enthusiasm and appreciation that Hartt demonstrated for this area and which earlier editions of this book conveyed so successfully. Italy and Italian Art; Duecento Art in Tuscany and Rome; Florentine Art of the Early Trecento; Sienese Art of the Early Trecento; Later Gothic Art in Tuscany and Northern Italy; The Beginnings of Renaissance Architecture; Gothic and Renaissance in Tuscan Sculpture; Gothic and Renaissance in Florentine Painting; The Heritage of Masaccio and the Second Renaissance Style; The Second Renaissance Style in Architecture and Sculpture; Absolute and Perfect Painting: The Second Renaissance Style; Crisis and Crosscurrents; Science, Poetry, and Prose; The Renaissance in Central Italy; Gothic and Renaissance in Venice and Northern Italy; The High Renaissance in Florence; The High Renaissance in Rome; High Renaissance and Mannerism; High and Late Renaissance in Venice and on the Mainland; Michelangelo and the Maniera.

The Roman statesman and philosopher Seneca (4 BCE–65 CE) recorded his moral philosophy and reflections on life as a highly original kind of correspondence. Letters on Ethics includes vivid descriptions of town and country life in Nero’s Italy, discussions of poetry and oratory, and philosophical training for Seneca’s friend Lucilius. This volume, the first complete English translation in nearly a century, makes the Letters more accessible than ever before.Written as much for a general audience as for Lucilius, these engaging letters offer advice on how to deal with everything from nosy neighbors to sickness, pain, and death. Seneca uses the informal format of the letter to present the central ideas of Stoicism, for centuries the most influential philosophical system in the Mediterranean world. His lively and at times humorous expositions have made the Letters his most popular work and an enduring classic. Including an introduction and explanatory notes by Margaret Graver and A. A. Long, this authoritative edition will captivate a new generation of readers.

Vasari's Lives of the Painters, Sculptors, and Architects are and always have been central texts for the study of the Italian Renaissance. They can and should be read in many ways. Since their publication in the mid-sixteenth century, they have been a source of both information and pleasure. Their immediacy after more than four hundred years is a measure of Vasari's success. He wished the artists of his day, himself included, to be famous. He made the association of artistry and genius, of renaissance and the arts so familiar that they now seem inevitable. In this book Patricia Rubin argues that both the inevitability and the immediacy should be questioned. To read Vasari without historical perspective results in a limited and distorted view of The Lives.Rubin shows that Vasari had distinct ideas about the nature of his task as a biographer, about the importance of interpretation, judgment, and example - about the historian's art. Vasari's principles and practices as a writer are examined here, as are their sources in Vasari's experiences as an artist.

In this, his most famous and influential work, Carl Jung made a dramatic break from the psychoanalytic tradition established by his mentor, Sigmund Freud. Rather than focusing on psychopathology and its symptoms, the Swiss psychiatrist studied dreams, mythology, and literature to define the universal patterns of the psyche.In Psychology of the Unconscious, Jung seeks a symbolic meaning and purpose behind a given set of symptoms, placing them within the larger context of the psyche. The 1912 text examines the fantasies of a patient whose poetic and vivid mental images helped Jung redefine libido as psychic energy, arising from the unconscious and manifesting itself consciously in symbolic form. Jung's commentary on his patient's fantasies offers a complex study of symbolic psychiatry and foreshadows his development of the theory of collective unconscious and its constituents, the archetypes.The author's role in the development of analytical psychology, a therapeutic process that promotes creativity and psychological development, makes this landmark in psychoanalytic methodology required reading for students and others interested in the practice and process of psychology.

"Hanssen’s exacting, expansive study of the ways Benjamin reconceives history and nature in one another’s presence, or distance, is part of the increasing recognition of what it must take intellectually and imaginatively to come to terms with this thinker’s soaring innovations."—Stanley Cavell, Harvard University"In this profoundly learned book Hanssen interprets Benjamin's The Origin of German Tragic Drama as the key to understanding his entire corpus. . . . Many books about Benjamin are impenetrable. This one is not." —S. Gittleman, Choice"Beatrice Hanssen has provided an arresting new reading of Benjamin, based on a wide range of materials and a subtle understanding of theoretical issues, both in his time and our own. Her interpretation is informed by contemporary deconstructionist approaches to the fundamental questions raised by Benjamin’s texts, which she demonstrates anticipate many of the concerns of Derrida, Levinas and other recent thinkers."—Martin Jay, University of California, Berkeley"Beatrice Hanssen elaborates Benjamin's extremely novel and complex notion of 'history' with unparalleled thoroughness, cogency, and clarity."—Samuel Weber, University of California, Los Angeles

Dr. Carl Gustav Jung, author of some of the most provocative hypotheses in modern psychology, describes what he regards as an authentic religious function in the unconscious mind.  Using a wealth of material from ancient and medieval Gnostic, alchemistic, and occultistic literature, he discusses the religious symbolism of unconscious processes and the possible continuity of religious forms that have appeared and reappeared through the centuries.  “These compact vigorous essays constitute Dr. Jung’s most sustained interpretation of the religious function in individual experience.”—Journal of Social Philosophy

'Psychotic contents, especially in paranoid cases, show close analogies with the type of dream that the primitive aptly calls a 'big dream'. Unlike ordinary dreams, such a dream is highly impressive, numinous, and its imagery frequently makes use of motifs analagous to or even identical with those of mythology. I call these structures archetypes because they function in a way similar to instinctual patterns of behaviour.' The importance of this volume of Jung's writings on psychosis can scarcely be overrated both in historical terms and for the understanding of Jung's psychology. It begins with his famous work, 'The Psychology of Dementia Praecox'. It was this work that established his reputation as a psychiatric investigator of the first rank and it was this work also that engaged Freud's interest and led to their eventual famous meeting. The research in this work contains the seed of his theoretica divergence form psychoanalysis. Following on from this are a further nine papers on psychopathology and schizophrenia revealing Jung's original thinking in this area and providing valuable insight into the development of his later concepts such as the archetypes and the collective unconscious.

Containing accounts of the author's field work among Sioux and Yurok Indians, and an examination of the American, German and Russian characters, this is an interpretation of human life on psychological lines. Using case histories as springboards for theoretical discussion of the formative years of childhood, Professor Erikson identifies human life as a delicate balance between bodily, mental and social influences. The main chapters are devoted to anxiety in young children, apathy in American Indians, confusion in veterans of war, and arrogance in young Nazis.

The Postmodernism Reader traces the origins, development and the politics of postmodernism through the key writings of postmodernist thinkers. This collection of foundational essays restores the poignancy that has been lost – or even emphatically rejected – in the debate about postmodernism by focusing on central formative texts and the predominant thinkers we have come to associate with postmodernist theory.Michael Drolet's authoritative introductory essay and his careful selection of texts provide a solid basis for the study of postmodernism by uncovering the philosophical origins of present theories and focusing on their major aspects; guiding the reader through the maze of knowledge that we call postmodernism.Arranged into three parts, the essays cover the origins of the term postmodernism, its evolution and its political ramifications. Included are writings by Foucault, Derrida, Deleuze, Baudrillard, Lyotard, Bauman, Jameson, Berman and Irigaray.

The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria.In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere.As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures."Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries.