The Soul Enchanted is a book about the life of a woman. It starts with a twist. A girl is engaged to a wealthy and credited man, from a noble family. On the verge of the wedding, she deeply questions their relationship and calls it off.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

The life of Michelangelo offers one of the most striking examples of the influence that a great man can have on his time. At the moment of his birth in the second half of the fifteenth century the serenity of Ghirlandajo and of Bramante illuminated Italian art. Florentine sculpture seemed about to languish away from an excess of grace in the delicate and meticulous art of Rossellino, Disiderio, Mino da Fiesole, Agostino di Duccio, Benedetto da Maiano and Andrea Sansovino. Michelangelo burst like a thunder-storm into the heavy, overcharged sky of Florence. This storm had undoubtedly been gathering for a long time in the extraordinary intellectual and emotional tension of Italy which was to cause the Savonarolist upheaval. Nothing like Michelangelo had ever appeared before. He passed like a whirlwind, and after he had passed the brilliant and sensual Florence of Lorenzo de' Medici and Botticelli, of Verocchio and Lionardo, was ended forever. All that harmonious living and dreaming, that spirit of analysis, that aristocratic and courtly poetry, the whole elegant and subtle art of the "Quattrocento," was swept away at one blow. Even after he had been gone for a long time, the world of art was still whirled along in the eddies of his wild spirit. Not the most remote corner was sheltered from the tempest; it drew in its wake all the arts together. Michelangelo captured painting, sculpture, architecture and poetry, all at once; he breathed into them the frenzy of his vigour and of his overwhelming idealism. No one understood him, yet all imitated him. Every one of his great works, the David, the cartoon for the war against Pisa, the vault of the Sistine Chapel, the Last Judgment, St. Peter's, dominated generations of artists and enslaved them. From every one of these creations radiated despotic power, a power that came above all from Michelangelo's personality and from that tremendous life which covered almost a century. No one work can be detached from that life and studied separately. They are all fragments of one monument, and the mistake that most historians make is to mutilate this genius by dividing it into different pieces. We must try to follow the entire course of the torrent from its beginning to its end if we are to have any comprehension of its formidable unity.

The book is an honest commentary on the ‘Father of The Nation’ – Mahatma Gandhi. Written by well known French philosopher Romain Rolland, the book is an attempt to shed light on Gandhi’s life, his ideals and philosophy. The author has probed and shown spiritual greatness of Gandhiji. The book explains in detail about his Non-violence strategy, his ethical approach to politics and religion as well as willingness to make sacrifices for truth. To portray an honest account of Gandhi’s life, Romain Rolland has also added criticism that he received from eminent personalities like Rabindranath Tagore and Andrews.

This intellectual portrait of Romain Rolland (1866-1944)--French novelist, musicologist, dramatist, and Nobel prizewinner in 1915--focuses on his experiments with political commitment against the backdrop of European history between the two world wars. Best known as a biographer of Beethoven and for his novel, Jean-Christophe, Rolland was one of those nonconforming writers who perceived a crisis of bourgeois society in Europe before the Great War, and who consciously worked to discredit and reshape that society in the interwar period. Analyzing Rolland's itinerary of engaged stands, David James Fisher clarifies aspects of European cultural history and helps decipher the ambiguities at the heart of all forms of intellectual engagement.Moving from text to context, Fisher organizes the book around a series of debates--Rolland's public and private collisions over specific committed stands--introducing the reader to the polemical style of French intellectual discourse and offering insight into what it means to be a responsible intellectual. Fisher presents Rolland's private ruminations, extensive research, and reexamination of the function and style of the French man of letters. He observes that Rolland experimented with five styles of commitment: oceanic mysticism linked to progressive, democratic politics; free thinking linked to antiwar dissent; pacifism and, ultimately, Gandhism; antifacism linked to anti-imperialism, antiracism, and all-out political resistance to fascism; and, most controversially, fellow traveling as a form of socialist humanism and the positive side of antifascism. Fisher views Rolland's engagement historically and critically, showing that engaged intellectuals of that time were neither naive propagandists nor dupes of political parties.David James Fisher makes a case for the committed writer and hopes to re-ignite the debate about commitment. For him, Romain Rolland sums up engagement in a striking, dialectical formula:

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The culture of psychoanalysis has many traditions and multiple schools of theory and thought. This work presents informative and original investigations into three overlapping areas of psychoanalytic tradition: the history of psychoanalysis; psychoanalytic culture criticism; and the application of psychoanalytic methods to the study of history. In this carefully crafted evaluation of various authors and subjects, Fisher's perceptions are informed by a deep and comprehensive knowledge of the psychoanalytic movement, its interaction with the wider context of European cultural and political history, and its philosophical and clinical origins. In examining the history of the movement, Fisher attempts to discover the fundamental inspiration of psychoanalysis by returning to the origins of the discipline. Freud is the central figure here, but Fisher also looks to the second generation of European analysts, including such maverick figures as Lacan and Spielrein, and mainstream figures as Fenichel to gain insight into the multidimensional and creative personalities who were drawn to Freud and his ideas. In his discussion of psychoanalytic culture criticism, Fisher analyzes symbolic meanings and psychological themes from a variety of written works. In an analysis of Freud's Civilization audits Discontents, the author argues that the figure of Romain Rolland is pervasive throughout the text as symbol, muse, stimulus, and adversary. Reading analytic theory and applying it to personalities and situations from the past allowed historians to address issues of their own inner world and to develop breathtaking possibilities for understanding the past. Brilliantly written and historical and critical in method, Cultural Theory and Psychoanalytic Tradition offers valuable insights into significant themes and ambiguities in the diverse areas of psychoanalysis. Intellectual historians and psychoanalysts will find reliable introductions and springboards f