Brings into relief a critical relationship between the female mind and body that is essential to understanding the discursive position of the turn-of-the-century woman writer. This book includes novels that confront this mind/body problem through a wide variety of styles and genres that challenge conventional fin-de-siecle notions of femininity.

This is Szasz's most ambitious work to date. In his best-selling book, The Myth of Mental Illness, he took psychiatry to task for misconstruing human conflict and coping as mental illness. In Our Right to Drugs, he exposed the irrationality and political opportunism that fuels the Drug War. In The Meaning of Mind, he warns that we misconstrue the dialogue within as a problem of consciousness and neuroscience, and do so at our own peril.

Offering an authoritative and timely account of the relationship between literature and medicine in the eighteenth century and Romantic period, a time when most diseases had no cure, this collection provides a valuable overview of how two dynamic fields influenced and shaped one another. Covering a period in which both medicine and literature underwent frequent and sometimes radical change, the volume examines the complex mutual construction of these two fields via various perspectives: disability, gender, race, rank, sexuality, the global and colonial, politics, ethics, and the visual. Diseases, fashionable and otherwise, such as Defoe's representation of the plague, feature strongly, as authors argue for the role literary genres play in affecting people's experience of physical and mental illness (and health) across the volume. Along with its sister publication, Literature and Medicine in the Nineteenth Century, this volume offers a major critical overview of the study of literature and medicine.

Nathanael West has been hailed as “an apocalyptic writer,” “a writer on the left,” and “a precursor to postmodernism.” But until now no critic has succeeded in fully engaging West’s distinctive method of negation. In American Superrealism, Jonathan Veitch examines West’s letters, short stories, screenplays and novels—some of which are discussed here for the first time—as well as West’s collaboration with William Carlos Williams during their tenure as the editors of Contact. Locating West in a lively, American avant-garde tradition that stretches from Marcel Duchamp to Andy Warhol, Veitch explores the possibilities and limitations of dada and surrealism—the use of readymades, scatalogical humor, human machines, “exquisite corpses”—as modes of social criticism. American Superrealism offers what is surely the definitive study of West, as well as a provocative analysis that reveals the issue of representation as the central concern of Depression-era America.

Bollas offers an original and illuminating theory of hysteria that weaves its well-known features - repressed sexual ideas; indifference to conversions; over-identification with the other - into the hysteric form.

Chicago cartoonist Sarah Moon tackles life's real issues with a healthy dose of sharp wit in her syndicated comic strip Just Breathe. As Sarah's cartoon alter ego, Shirl, undergoes artificial insemination, her situation begins to mirror Sarah's own difficult attempts to conceive. However, Sarah's dreams of the future did not include her husband's infidelity: snag number two in Sarah's so-called perfect life. With Chicago—and her marriage—in the rearview mirror, she flees to the small Northern California coastal town where she grew up, a place she couldn't wait to leave. Now she finds herself revisiting the past—an emotionally distant father and the unanswered questions left by her mother's death. As she comes to terms with her lost marriage, Sarah encounters a man she never expected to meet again: Will Bonner, the high school heartthrob she'd skewered mercilessly in her old comics. Now a local firefighter, he's been through some changes himself. But just as her heart is about to reawaken, Sarah discovers she is pregnant. With her ex's twins. It's hardly the most traditional of new beginnings, but who says life and love are predictable… or perfect? The winds of change have led Sarah here. Now all she can do is just close her eyes… and breathe.

An original, wide-ranging contribution to the study of French writing in the nineteenth and early twentieth centuries, this book examines the ways in which the unconscious was understood in literature in the years before Freud. Exploring the influence of medical and psychological discourse over the existence and/or potential nature of the unconscious, Michael R. Finn discusses the resistance of feminists opposing medical diagnoses of the female brain as the seat of the unconscious, the hypnotism craze of the 1880s and the fascination, in fiction, with dual personality and posthypnotic crimes. The heart of the study explores how the unconscious inserts itself into the writing practice of Flaubert, Maupassant and Proust. Through the presentation of scientific evidence and quarrels about the psyche, Michael R. Finn is able to show the work of such writers in a completely new light.

Offers an authoritative account of literature and medicine at a vital point in their emergence during the eighteenth century.

While ancient civilizations worshipped strong, active emotions, modern societies have favored more peaceful attitudes, especially within the democratic process. We have largely forgotten the struggle to make use of thymos, the part of the soul that, following Plato, contains spirit, pride, and indignation. Rather, Christianity and psychoanalysis have promoted mutual understanding to overcome conflict. Through unique examples, Peter Sloterdijk, the preeminent posthumanist, argues exactly the opposite, showing how the history of Western civilization can be read as a suppression and return of rage. By way of reinterpreting the Iliad, Alexandre Dumas's Count of Monte Cristo, and recent Islamic political riots in Paris, Sloterdijk proves the fallacy that rage is an emotion capable of control. Global terrorism and economic frustrations have rendered strong emotions visibly resurgent, and the consequences of violent outbursts will determine international relations for decades to come. To better respond to rage and its complexity, Sloterdijk daringly breaks with entrenched dogma and contructs a new theory for confronting conflict. His approach acknowledges and respects the proper place of rage and channels it into productive political struggle.

Literary Slumming: Slang and Class in Nineteenth-Century France applies a sociolinguistic approach to the representation of slang in French literature and dictionaries to reveal the ways in which upper-class writers, lexicographers, literary critics, and bourgeois readers participated in a sociolinguistic concept the author refers to as “literary slumming”, or the appropriation of lower-class and criminal language and culture. Through an analysis of spoken and embodied manifestations of the anti-language of slang in the works of Eugène François Vidocq, Honoré de Balzac, Eugène Sue, Victor Hugo, the Goncourt Brothers, and Émile Zola, Literary Slumming argues that the nineteenth-century French literary discourse on slang led to the emergence of this sociolinguistic phenomenon that prioritized lower-class and criminal life and culture in a way that ultimately expanded class boundaries and increased visibility and agency for minorities within the public sphere.