"Eli Avidar looks into the abyss that divides Israel from its Arab neighbors, in order to understand the inherent flaws, prevailing misunderstandings, and tragic mistakes that characterize the relations and bloodletting, and how, if at all possible, to bridge the differences. In doing so, he offers a new perspective about the reality of the Middle East and all the clichés that have transformed the Hebrew-Arab lexicon into a complex and hopeless minefield. His analysis raises the question of whether the ongoing violent conflict between Israel and its neighbors might also be the result of a serious short circuit in communications. Is it possible that Israel, which has invested efforts and resources in knowing its adversaries, never even bothered to properly understand their language and their culture? Is it possible that Israeli leaders, who made their way to the top through the military and were privileged to know the most deeply hidden intelligence secrets, never learned to send messages of peace and reconciliation that the other side could respect and understand? Spanning six decades, the book explains why the main diplomatic initiatives have so far failed to solve the Israel-Palestinian conflict, and what needs to be done to break out of the vicious circle of ignorance and mutual suspicion that characterizes the conflict. Avidar uses his experience as diplomatic advisor to former foreign minister Ariel Sharon and as head of Israel's representative office in Qatar to reveal secret diplomatic meetings as well as the dynamics of the unique and complex diplomacy of the Middle East. He also tells about the activities of the 504 division of the Israel Defense Forces Intelligence Unit, in which he served as an operator of agents."--Publisher's description.

Based on accounts by survivors, disputes Bruno Bettelheim's psychoanalytic, individual-oriented theory about prisoners' submission to Nazi values. Attributes survival in concentration camps to social activity, which served individual needs without harming others. Argues that group bonding was not appreciated by Bettelheim due to his approach and his selectivity of survivor accounts. Draws on a more authoritative, representative sample. Chs. 1-2 present a history of the camps and discuss how they were administered; ch. 3 uses survivor testimony to explain camp life; chs. 4-5 discuss the views of Bettelheim and his opponents; chs. 6-8 explore the concentration camp experience through the eyes of prisoners; ch. 9 presents conclusions about surviving in the camps.

Bad Shoes & the Women Who Love Them is a lighthearted wake-up call to women to make informed decisions when buying and wearing fashionable shoes. Arming the reader with essential facts, citing medical literature as well as leading podiatric surgeons and orthopedists, Tanenbaum covers the history of high heels, Chinese foot binding, the controversy over cosmetic surgery of the foot, and what Freud had to say about women's shoes and sex. Illustrated by artist Vanessa Davis throughout, Bad Shoes & the Women Who Love Them also includes hilarious anecdotes from women who love shoes. And yes—it is possible to make smart footwear decisions without sacrificing style! Tanenbaum shows you how.

Edwin S. Shneidman is recognized as the central figure in the field of suicidology. His writings have taught countless psychologists and other health professionals about the complexity of suicide, death and bereavement. This collection of his writings spans the entirety of his career and offers a unique insight into the development of his thinking. The material is broken down into five parts: Psychological Assessment, Logic, Melville and Murray, Suicide, and Death and each section includes an introduction by the editor. Lives and Deaths is a vital resource for those in suicidology and related fields, allowing the reader to sample a variety of selections from Shneidman's work in one compact volume. The book is ideal for classroom use by upper level undergraduates and graduate students in the history of suicidology or as a supplemental text in a general suicidology course. It is also of interest to clinicians treating high-risk patients as well as a more general audience including psychologists, social workers, crisis counselors and suicide prevention specialists.

"Brian Leiter defends a set of radical ideas from Nietzsche: there is no objectively true morality, there is no free will, no one is ever morally responsible, and our conscious thoughts and reasoning play almost no significant role in our actions and how our lives unfold. Leiter presents a new interpretation of main themes of Nietzsche's moral psychology, including his anti-realism about value (including epistemic value), his account of moral judgment and its relationship to the emotions, his conception of the will and agency, his scepticism about free will and moral responsibility, his epiphenomenalism about certain kinds of conscious mental states, and his views about the heritability of psychological traits. In combining exegesis with argument, Leiter engages the views of philosophers like Harry Frankfurt, T. M. Scanlon, and Gary Watson, and psychologists including Daniel Wegner, Benjamin Libet, and Stanley Milgram. Nietzsche emerges not simply as a museum piece from the history of ideas, but as a philosopher and psychologist who exceeds David Hume for insight into human nature and the human mind, repeatedly anticipates later developments in empirical psychology, and continues to offer sophisticated and unsettling challenges to much conventional wisdom in both philosophy and psychology"

Discusses Jewish identity in America as reflected in the culture of immigrants and descendants of immigrants. Self-hatred or, at least, ambivalence about oneself in the face of native American values is one theme. Ch. 5 (pp. 98-125), "To Make 'a Jew': Projecting Antisemitism in Post-War America", analyzes two novels - Arthur Miller's "Focus" and Saul Bellow's "The Victim" - that explore the psychosocial dimensions of postwar antisemitism. They raise the question whether possibilities of Jewish-Gentile relations might lead to personal and social renovation. In "Focus", a crypto-fascist antisemite who has internalized racist stereotypes finally identifies symbolically as a Jew. In "The Victim", both Jew and Gentile partially overcome their mutual stereotyping. The main Jewish protagonist also overcomes some negative aspects of his self-image.

Taking a fresh look at the past hundred years of shared Palestinian and Jewish-Israeli history, Baruch Kimmerling reveals surprising relations of influence between a stateless indigenous society and the settler-immigrants who would later form the state of Israel. Shattering our assumptions about these two seemingly irreconcilable cultures, Kimmerling composes a sophisticated portrait of one sides behavior and characteristics and the way in which they irrevocably shaped those of the other." "By merging Israeli and Jewish studies with a wealth of scholarship on Palestinians and the Middle East, Kimmerling introduces a unique conceptual framework for analyzing the cultural, political, and material overlap of both societies. A must-read for those concerned with Israel and the relations between Jews and Arabs, Clash of Identities is an exploration of the ever-evolving, always-contending identities available to Israelis and Palestinians and the fascinating contexts in which they take form.

Gornick on V. S. Naipaul, James Baldwin, George Gissing, Randall Jarrell, H. G. Wells, Loren Eiseley, Allen Ginsberg, Hayden Carruth, Saul Bellow, and Philip Roth and the intimate relationship between emotional damage and great literature. Vivian Gornick, one of our finest critics, tackled the theme of love and marriage in her last collection of essays, The End of the Novel of Love , a National Book Critics Circle Award finalist. In this new collection, she turns her attention to another large theme in literature: the struggle for the semblance of inner freedom. Great literature, she believes, is not the record of the achievement, but of the effort. Gornick, who emerged as a major writer during the second-wave feminist movement, came to realize that “ideology alone could not purge one of the pathological self-doubt that seemed every woman's bitter birthright.” Or, as Anton Chekhov put it so memorably: “Others made me a slave, but I must squeeze the slave out of myself, drop by drop.” Perhaps surprisingly, Gornick found particular inspiration for this challenge in the work of male writers—talented, but locked in perpetual rage, self-doubt, or social exile. From these men—who had infinitely more permission to do and be than women had ever known—she learned what it really meant to wrestle with demons. In the essays collected here, she explores the work of V. S. Naipaul, James Baldwin, George Gissing, Randall Jarrell, H. G. Wells, Loren Eiseley, Allen Ginsberg, Hayden Carruth, Saul Bellow, and Philip Roth. Throughout the book, Gornick is at her best: interpreting the intimate interrelationship of emotional damage, social history, and great literature.

"In this published version of the Lord Northcliffe Lectures in Literature, delivered at University College London in Spring 1975, Professor Heller is concerned with the imaginative mediation between life and art which is a major theme in the work of the four writers he discusses. The profound process by which a great work of literary art ('poem' in the title is used in a sense close to the German 'Dichtung') may grow out of a situation in life, mirror, and yet transcend it is illustrated by Goethe in Marienbad, Nietzsche in the 'Waste Land', Rilke in Paris and Thomas Mann in Venice." -- Goodreads

"This is the first book to consider both deaf and hearing perspectives on the dynamics of adult sibling relationships. Deaf and hearing authors Berkowitz and Jonas conducted individual open-ended interviews. The book documents how the 150-year history of educational decisions and societal attitudes became imbedded in sibling bonds"--

The 1948 war that led to the creation of the State of Israel also resulted in the destruction of Palestinian society when some 80 per cent of the Palestinians who lived in the major part of Palestine upon which Israel was established became refugees. Israelis call the 1948 war their 'War of Independence' and the Palestinians their 'Nakba', or catastrophe. After many years of Nakba denial, land appropriation, political discrimination against the Palestinians within Israel and the denial of rights to Palestinian refugees, the Nakba is beginning to penetrate Israeli public discourse. This book explores the construction of collective memory in Israeli society, where the memory of the trauma of the Holocaust and of Israel's war dead competes with the memory claims of the dispossessed Palestinians. Against a background of the Israeli resistance movement, Lentin's central argument is that commemorating the Nakba by Israeli Jews is motivated by an unresolved melancholia about the disappearance of Palestine and the dispossession of the Palestinians, a melancholia that shifts mourning from the lost object to the grieving subject. Lentin theorises Nakba co-memory as a politics of resistance, counterpoising commemorative practices by internally displaced Israeli Palestinians with Israeli Jewish discourses of the Palestinian right of return, and questions whether return narratives by Israeli Jews, courageous as they may seem, are ultimately about Israeli Jewish self-healing rather than justice for Palestine.

"Awake in the Dark is peopled by characters embarking on journeys of self-discovery; they unearth the past and the secrets that shaped them. In "The House on Kronenstrasse," a woman returns to Germany to find her childhood home; in "The Porcelain Monkey," the shocking origins of an Orthodox Jewish woman's faith are revealed; in "The Lamp," the harrowing experiences of a young woman leave her with the perfect daughter and a strange light; and in "Dark Urgings of the Blood," a patient is convinced that she shares a disturbing history with her psychiatrist"--Publisher website (December 2006).

Sigmund Freud and Josef Breuer on hysteria, J.A. Symonds and Havelock Ellis on sexuality, a novel by Ford Madox Ford and Joseph Conrad, The Waste Land of T.S. Eliot (and Ezra Pound), even the Lyrical Ballads of Wordsworth and Coleridge: men making books together. Wayne Koestenbaum's startling interpretation of literary collaboration focuses on homosexual desire: men write together, he argues, in order either to express or to evade homosexual feelings. Their writing becomes a textual intercourse, the book at once a female body they can share and the child of their partnership. These man-made texts steal a generative power that women's bodies seem to represent. Seen as the site of a struggle between homosexual and homophobic energies, the texts Koestenbaum explores - works of psychoanalysis, sexology, fiction, and poetry - emerge as more complex, more revealing. They crystallize and refract the anxiety of male sexuality at the end of the last century, and open up a deeper understanding of connections today between the erotic and the literary. Drawing upon the work of feminist critics, Koestenbaum connects male collaboration and the exchange of women within patriarchy: he peers into both medical texts and imaginative literature, disturbing our ready acceptance of the co-authored work. This strong and unsettling book transforms our understanding of the creative process, providing a new sense of what both collaborative and solitary artistry mean.

"This is a book about the public display of death in contemporary culture. It consists of a series of essays on specific cases in which death is displayed in museums and in photography. The essays focus mainly on representations of violence and death in events in recent Israeli history, including the assassination of Yitzhak Rabin and the Palestinian Intifada, and on the visual presence of traumatic events in Israeli culture throughout the twentieth century. They show how images of these events both shape and aestheticize the viewer's experience of death."--

Claims unconscious desire plays a constitutive role in global political economy. This is the first book to examine global political economy from a psychoanalytic perspective. It claims that the libidinal-the site of unconscious desire-plays not a supplementary or trivial, but a constitutive role in global political economy. Consumption, for example, is not simply a way of satisfying a material or biological need but a doomed attempt at soothing our deeply held sense of loss; and capital is not just a means to material growth and prosperity but is invested with "drive" that seduces, beguiles, and manipulates in the service of unending accumulation. Thus, in contrast to political economy, which assumes a rational subject, libidinal economy is founded on the notion of a desiring subject, who obeys a logic not of good sense or self-interest but profligacy and irrationality. By applying a psychoanalytic lens, Global Libidinal Economy thereby seeks to uncover the unconscious excesses and antagonisms emergent in such key political economy categories as "production," "trade," and "ecology," while also bringing out significant contemporary themes relating to "gender" and "race."

Originally published in 1951, this title looks at the study of the hand in relation to psychological diagnosis. This was at the time a new branch of psychology and the author is keen to point out it must not be viewed as perfect or indeed complete. Practical experience and a deeper understanding of psycho-motor phenomena had altered some of the author's theoretical views since the earlier titles. This book builds on and extends her previous research, including new research studies particularly on children who were at the time termed 'mentally defective'. It was designed to contribute some new diagnostic possibilities to psychology and psychiatry. Today we can enjoy it as part of psychology's history.

As Karen Malpede points out in her introduction to Acts of War, tragedy "arose as a complement to, perhaps also as an antidote to, war." The greatest of the early playwrights wrote from experience—Aeschylus and Sophocles were generals in the Athenian army, and Euripides was a combat veteran. Electronic media reports war instantly, but the stage provides an unrivaled venue for facing the horror of armed conflict on a human scale.This timely anthology of plays by American and British writers bears witness to the realities of the wars in Iraq and Afghanistan for combatants and civilians alike and asks what it means to be a citizen in a democracy at war. From violence on the battlefield and in the cells of Guantanamo to the toll exacted on the homefront, the seven plays collected by Malpede, Messina, and Shuman explore in depth the costs of war. Sometimes with humor or erotic charge, always with compassion and surprising insight, these contemporary plays return to the theater a necessary social edge.Karen Malpede’s introduction sets the plays in the broader contexts of theater’s roots and recent history, while award-winning journalist and author Chris Hedges provides a foreword.