In 1929, the German city of Dusseldorf was afflicted by a horrifying series of brutal, random and often fatal attacks upon women and young girls. With weapons ranging from knives and hammers to his bare strangling hands, a shadowy predator left a mounting trail of sexual assault, carnage and murder in his wake, fomenting mortal terror amongst the local populace. Police finally arrested Peter Kurten, a convicted felon, in connection with the crimes; his subsequent confessions revealed a staggering career of evil, documented in at least 69 cases of theft, arson, rape, throttling, stabbing, hammering, hacking, mutilation, blood-drinking and corpse immolation spanning some 30 years. THE SADIST, an in-depth forensic and psychiatric report on Kurten by Dr. Karl Berg, was published in 1931 in the "Deutschen Zeitschrift fur die Gesamte Gerichtliche Medizin”, revealing fully for the first time the irreconcilable lusts, compulsions, obsessions, pathologies and atrocities of a remorseless and psychopathic sex-killer – the inhuman monster known as the Vampire of Dusseldorf. The report is illustrated by 8 pages of detailed and disturbing forensic photographs.

In this conclusion; Delores and Max picked the wrong stunner to play with in their suburban play room. It turned out Pippa was a mega sadist with a disturbing history told in rewinds. By the time they realised something was very wrong it was too late, and their own sexually sadistic demise was underway. Pippa's own past continues in further rewinds and it become if not understandable, then clear why she does the things to other human beings that she does. And what she does to this professional couple defies any kind of logic or belief. The question is, can they be saved? Or is it too late? And what will become of Pippa - the toxic chameleon like beauty who prefers her own company unless she is seriousLY hurting others less fortunate who might be in her company? The ending is sudden, and brutally graphic.

Looking at works by Carrie Mae Weems, Toni Morrison, Emily Dickinson, Flannery O'Connor, Dorothy Allison, Carson McCullers, and Zora Neale Hurston, Claire Raymond uncovers a pattern of femininity constructed around representations of sadistic violence in American women's literature and photography from the late nineteenth and twentieth centuries. Dickinson's poetry is read through its relationship to the Southern Agrarian critics who championed her work. While the representations of violence found in Carrie Mae Weems's installation From Here I Saw What Happened and I Cried, Morrison's Beloved, Dickinson’s poetry, O'Connor's 'A View of the Woods' and 'A Good Man Is Hard to Find,' Allison's Bastard Out of Carolina, McCullers' Ballad of the Sad Café, and Hurston's Mules and Men are diverse in terms of artistic presentation, all allude to or are set in the antebellum and Jim Crow South. In addition, all involve feminine characters whose subjectivity is shaped by the practice of seeing acts of violence inflicted where there can be no effective resistance. While not proposing an equivalence between representing violence in visual images and written text, Raymond does suggest that visual images of violence can be interpreted in context with written evocations of violent imagery. Invoking sadism in its ethical sense of violence enacted on a victim for whom self-defense and recourse of any kind are impossible, Raymond's study is ultimately an exploration of the idea that a femininity constructed by the positioning of feminine characters as witnesses to sadistic acts is a phenomenon distinctly of the American South that is linked to the culture's history of racism.

This book contains the second volume of Wilhelm Stekel's ground-breaking treatise on two extremes of the human condition: sadism and masochism. This fascinating text is a clear and concise exploration of the subject that will appeal to both students and collectors alike. Within this work Stekel also makes frequent reference to the work of his contemporaries, such as Jung and Freud, which he does in an attempt to familiarise the reader with the nature of the conditions dealt with. Wilhelm Stekel was an Austrian physician and psychologist, often described as Freud's most distinguished pupil. This vintage book was originally published in 1929, and is being republished now in an affordable, modern edition compleye with specially commissioned new biography of the author.

Vampirism, Cannibalism and Necrophilia; Castration and Amputation Complexes; Genital Mutilation; Bestiality and Sodomy with Dogs; Impalement Fantasies; Crucifixion Complexes; Urolagnia and Coprophilia; Anal Fetishes; Whippings, Beatings and Blood All these and numerous other psychosexual proclivities are detailed in the 64 case histories that make up Wilhelm Stekel’s legendary "Sadism And Masochism", which first gave us the term “paraphilia” to describe sexually deviant mental illness. This landmark text in the study of venereal mania and aberration is presented in a new, modern translation highlighting the cases chosen by Stekel to represent the most disturbing, violent and extreme strains of sexual perversion ever recorded. First published in English in 1929, "Sadism And Masochism" remains the most important book of its kind since Krafft-Ebing’s "Psychopathia Sexualis" of the previous century, a masterpiece documenting all that is cruel and aberrant in humankind.

Sadism: Psychoanalytic Developmental Perspectives is founded on the premise that paying close attention to what is happening in our internal world can help us understand the rise of sadism in the world of popular culture. Voyeuristic sadism as a form of entertainment appears to be on the rise, an increase corresponding with an upsurge in public appetite for sadomasochism as a recreational activity. This book acts as a forum in which psychotherapists present psychoanalytic perspectives on the phenomenon of sadomasochism at different stages of the human lifecycle: in childhood, adolescence, adulthood and in later life, and consider its developmental roots. Over the last half-century, through books, movies, computerized video games and drama, the stories we are being sold as representing aspects of contemporary culture market two commodities: sadism and victory. How might we understand this, and can psychoanalysis help us make meaning of this aspect of human relating?

This vintage work contains a treatise on an anthropological interpretation of sadism, masochism, and lycanthropy, which has been compiled from the notes of a lecture delivered at a meeting of the 'Royal Society of Medicine'. This fascinating and arresting collection of notes will be of considerable utility to anyone with an interest in psychiatry or the influential work of Robert Eisler. It is a book not to be missed by collectors of this kind of literature. Many antiquarian books such as this are becoming increasingly rare and expensive, and it is with this in mind that we are republishing this volume now in an affordable, modern edition complete with a new prefatory biography of the author.

Dr. Ellenbogen has surfaced once again to answer the age-old question, "Is psychology dead, or is it just sleeping?" And once again, he has pulled together some of the zaniest, most irreverent articles from his satirical Journal of Polymorphous Perversityr - a magazine that the Wall Street Journal called, "A social scientist's answer to Mad magazine." It just may prove to be the most effective self-help book you ever pick up!More Oral Sadism and the Vegetarian Personality unearths such gems as: What clinicians write down and what they really mean. Politically correct interpersonal relating. Anecdotes to falling asleep during the therapy session. The fine art of appearing to care about patients. How to accomodate the non-living...and much more!

Betty Cannon is the first to explore the implications of Sartrean philosophy for the Freudian psychoanalytic tradition. Drawing upon Sartre's work as well as her own experiences as a practicing therapist, she shows that Sartre was a "fellow traveler" who appreciated Freud's psychoanalytic achievements but rebelled against the determinism of his metatheory. The mind, Sartre argued, cannot be reduced to a collection of drives and structures, nor is it enslaved to its past as Freud's work suggested. Sartre advocated an existentialist psychoanalysis based on human freedom and the self's ability to reshape its own meaning and value. Through the Sartrean approach Cannon offers a resolution to the crisis in psychoanalytic metatheory created by the current emphasis on relational needs. By comparing Sartre with Freud and influential post-Freudians like Melanie Klein, Otto Kernber, Margaret Mahler, D.W. Winnicott, Heinz Kohut, Harry Stack Sullivan, and Jacques Lacan, she demonstrates why the Sartrean model transcends the limitations of traditional Freudian metatheory. In the process, she adds a new dimension to our understanding of Sartre and his place in twentieth-century philosophy.