This enthusiastically received collection contains Isaiah Berlin's appreciation of seventeen people of unusual distinction in the intellectual or political world - sometimes in both. The names of many of them are familiar - Winston Churchill, Franklin D. Roosevelt, Chaim Weizmann, Albert Einstein, L. B. Namier, J. L. Austin, Maurice Bowra. With the exception of Roosevelt he met them all, and he knew many of them well. For this new edition four new portraits have been added, including recollections of Virginia Woolf and Edmund Wilson. The volume ends with a vivid and moving account of Berlin's meetings in Russia with Boris Pasternak and Anna Akhmatova in 1945 and 1956.

Psychology has worked hard to explore the inner self. Modem psychology was born in Wundt's laboratory and Freud's consulting room, where the inner self was pressed to reveal some of its secrets. Freud, in particular, devoted most of his life to explor ing the hidden recesses inside the self-hidden even from the conscious mind, he said. From Freud's work right down to the latest journal article on self-schemata or self-esteem, psychologists have continued to tell us about the inner self. More recently, psychology has turned some of its attention to the outer self, that is, the self that is seen and known by other people. Various psychologists have studied how the outer self is formed (impression formation), how people control their outer selves (impression management), and so forth. But how is the outer self related to the inner self? There is an easy answer, but it is wrong. The easy answer is that the outer self is mostly the same as the inner self. Put another way, it is that people reveal their true selves to others in a honest and straightforward fashion, and that others accurately perceive the individual as he or she really is. Sometimes it works out that way, but often it does not. The issue is far too complex for the easy answer.

Reprint of the original, first published in 1883.

The public and private distinction is essential to our moral and political vocabularies as it continues to structure our social and legal practices. Public and Private provides a multidisciplinary perspective on this distinction which has been at the centre of controversial debate in recent years. The focus of the debate has been on delineating acceptable boundaries between public and private in economic, social and cultural spheres. What is the nature and scope of citizenship? What are the implications of new reproductive technologies? And what is the fate of state sovereignty in a globalised world economy? At first glance these questions may appear unrelated, yet they all raise underlying and serious concerns regarding the scope and proper boundaries between the public and the private. Public and Private will stimulate the current debate with its original approach and provide a valuable resource for all those interested in the role the public and private play in structuring our societies.

Proposing a new approach to Jamesian aesthetics, Daniel Hannah examines the complicated relationship between Henry James's impressionism and his handling of 'the public.' Hannah challenges solely phenomenological or pictorial accounts of literary impressionism, instead foregrounding James's treatment of the word 'impression' as a mediatory unit that both resists and accommodates invasive publicity. Thus even as he envisages a breakdown between public and private at the end of the nineteenth century, James registers that breakdown not only as a threat but also as an opportunity for aesthetic gain. Beginning with a reading of 'The Art of Fiction' as both a public-forming essay and an aesthetic manifesto, Hannah's study examines James's responses to painterly impressionism and to aestheticism, and offers original readings of What Maisie Knew, The Wings of the Dove, and The American Scene that treat James's articulation of impressionism in relation to the child, the future of the novel, and shifts in the American national imaginary. Hannah's study persuasively argues that throughout his career James returns to impressionability not only as a site of immense vulnerability in an age of rapid change but also as a crucible for reshaping, challenging, and adapting to the public sphere’s shifting forms.