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In Repressed Spaces Paul Carter tours the cultural history of agoraphobia, the fear of open space. Its symptoms were first described in The Anatomy of Melancholy (1621) by Robert Burton, the British scholar and writer, although it wasn’t until 1871 that Carl Otto Westphal coined the term to describe several of his patients who experienced severe anxiety when walking through streets or squares. There have been many attempts to explain and treat the condition: critics of modernization have linked it to bad city planning; psychoanalysts, calling it "street panic", have blamed it on the Oedipus complex; psychiatrists have tied it to existential insecurity and describe it as the fear of places or situations that have triggered panic attacks. Freud believed that agoraphobia, like all phobias, was part of an "anxiety neurosis" and had a sexual origin.Taking as his starting-point the fact that Freud himself was agoraphobic, and analyzing the way people have negotiated open spaces from Greek and Roman times to the present day, Paul Carter finds that "space fear" ultimately results from the inhibition of movement. Along the way, the author asks why Freud repressed his agoraphobia, and examines literature, the work of architects and theorists – including Le Corbusier, Walter Benjamin and R. D. Laing – artists such as Munch, Lapique and Giacometti, and the German "street films" of the 1920s. He concludes by proposing a new way of regarding open space, a new "poetics of agoraphobia", one that is sensitive to the agoraphobe’s point of view and provides lessons for architects and urban planners today.

Most items will be dispatched the same or the next working day. A copy that has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

The influential Detroit “anti-rock” group Destroy All Monsters (Mike Kelley, Cary Loren, Niagara, Jim Shaw) made raucous music, irreverent art and legendary zines, performing and disseminating their activities through an elaborate self-mythology. The Destroy All Monsters zines have been reprinted in facsimile editions, but the art objects made by the members have never been examined as independent works. Return of the Repressed: Destroy All Monsters 1974–1977 is the first retrospective of the artwork itself, as well as a DAM overview. Produced in collaboration with the artists, it collects the work of the collective between circa 1974–1977, almost all of which is previously unpublished. Included are dozens of candid photographs of the group and their environs by DAM member Carey Loren, which serve as both documents of a proto-punk group at its height and snapshots of the collective’s often hilarious attempts to construct identities as characters in the larger Destroy All Monsters mythology; early prints and drawings by Jim Shaw that show the seeds of his later work, and remain powerful images; a voluminous quantity of drawings and etching by Mike Kelley, often of monsters and political personalities, that indicate the artist’s anarchic roots; and hitherto unseen drawings and prints by Niagara that show the heady imagination and sure-footed line that would continue to serve her well. Return of the Repressed leaves off just as DAM shifted into the now legendary rock band with Niagara at the helm.

Examines the psychological, cultural, and political implications of Gothic fiction, and helps to explain why horror writers and filmmakers have found such large and receptive audiences eager for the experience of being scared out of their wits.Exploring the psychological and political implications of Gothic fiction, Valdine Clemens focuses on some major works in the tradition: The Castle of Otranto, Frankenstein, Dr. Jekyll and Mr. Hyde, Dracula, The Shining, and Alien. She applies both psychoanalytic theory and sociohistorical contexts to offer a fresh approach to Gothic fiction, presenting new insights both about how such novels “work” and about their cultural concerns.Clemens argues that by stimulating a sense of primordial fear in readers, Gothic horror dramatically calls attention to collective and attitudinal problems that have been unrecognized or repressed in the society at large. Gothic fiction does more, however, than simply reflect social anxieties; it actually facilitates social change. That is, in frightening us out of our collective “wits,” Gothic fiction actually shocks us into using them in more viable ways.

Drawing on the work of Hannah Arendt and Theodor W. Adorno, this book illustrates the relevance and applicability of a political discussion of guilt and democracy. It appropriates psychoanalytic theory to analyse court documents of Austrian Nazi perpetrators as well as recent public controversies surrounding Austria's involvement in the Nazi atrocities and ponders how the former agents of Hitlerite crimes and contemporary Austrians have dealt with their guilt.Exposing the defensive mechanisms that have been used to evade facing involvement in Nazi atrocities, Leeb considers the possibilities of breaking the cycle of negative consequences that result from the inability to deal with guilt. Leeb shows us that only by guilt can individuals and nations take responsibility for their past crimes, show solidarity with the victims of crimes, and prevent the emergence of new crimes.

Across the country, families are being torn apart and people sent to prison, all because of a trendy new psychological phenomenon: recovered memory. According to many clinical psychologists, when the mind is forced to endure a horrifying experience, it has the ability to bury the entire memory of it so deeply within the unconscious that it can only be recalled in the form of a flashback triggered by a sight, a smell, or a sound. Therapists and lawyers have created an industry based on treating and litigating the cases of people who suddenly claim to have "recovered" memories of everything from child abuse to murder.Dr. Loftus reveals that despite decades of research, there is absolutely no controlled scientific support for the idea that memories of trauma are routinely banished into the unconscious and then reliably recovered years later.

Louise Bourgeois (1911–2010) invented a new kind of language for sculpture--a language that was essentially psychoanalytic, uniquely capable of expressing oedipal struggle, ominous forces of repression, sexual symbolism and material uncanniness. Famed for some of the twentieth century’s most enduring works, such as “The Destruction of the Father” (1974), “Arch of Hysteria” (1993) and “Maman” (1999), Bourgeois also disseminated her influence through her writings, collected in the 1998 volume Destruction of the Father/Reconstruction of the Father: Writings 1927–1997--originally published by Robert Violette, also the publisher of this new deluxe writings-cum-monograph two-volume set. Louise Bourgeois: The Return of the Repressed highlights the enduring presence of psychoanalysis as a motivational force and a site of exploration in the artist’s life and work. Selected and edited by Philip Larratt-Smith (Bourgeois’ literary archivist), and contextualized with eight extensive scholarly essays, this collection of approximately 80 previously unpublished writings spans some six decades of the artist’s production. The second volume in this gorgeous slipcased set is an impressive, up-to-date Bourgeois monograph that details works made right up until the artist’s death in 2010. Together, the two volumes comprise the most complete portrait of the life, work and thought of this seminal figure.

In the 1990s, a faddish pseudoscience, repressed memory theory, destroyed millions of American families by creating false memories of childhood sexual abuse. At the time, Mark Pendergrast published his widely acclaimed book Victims of Memory, exposing the false nature of the science and counseling techniques that were alienating teenagers and grown children from their families. In Memory Warp, Pendergrast revisits that subject, updating his research and describing where it stands now, in 2017.All notable scientific researchers in the field of memory now agree that repressed-memory theory is misguided and harmful--that the "memories" produced are false, and that those accused--mostly parents and other family members and caregivers--have suffered greatly from false allegations of horrible crimes against their own children. But does that mean that the scourge is now behind us?Unfortunately, no. The disproven theories of repressed memory continue to resurface throughout Amercan cultural life and, although usually more subtly, in the work of therapists. In this new book, Pendergrast provides a lively social history of our recent past, documenting how this incredible juggernaut of pseudoscience, which caused so much harm, came to be. But more importantly, the book also shows how these misguided theories continue to fester. And how, if we fail to learn from the lurid history of this movement, we may face another outbreak.Many authoritative books have have appeared on this subject over the years, including those of memory researchers who have confirmed Pendergrast's conclusions. But Memory Warp is the first to describe the threat that continues to exist today.

Can individuals "repress" the memory of traumatic childhood experiences? Does childhood sexual abuse cause victims to develop psychiatric disorders years later in adulthood? Dr. Harrison Pope examines the evidence for these two hypotheses, and takes a rigorous and incisive look at the studies available. His conclusions are startling-there is presently no satisfactory evidence that people can actually "repress" memories, nor is there adequate evidence that childhood sexual abuse causes adult psychiatric disorders. The fact remains that the "evidence" cited in many of these studies can be more readily explained by more mundane processes, such as early childhood amnesia, ordinary forgetfulness, or elective non-disclosure. Psychology Astray is written for students and scholars in the fields of psychology, mental health, medical research and law. The flaws in existing studies are exposed and illustrated, using simple and colorful analogies from ordinary life which everyone can understand.

Can individuals "repress" the memory of traumatic childhood experiences? Does childhood sexual abuse cause victims to develop psychiatric disorders years later in adulthood? Dr. Harrison Pope examines the evidence for these two hypotheses, and takes a rigorous and incisive look at the studies available. His conclusions are startling-there is presently no satisfactory evidence that people can actually "repress" memories, nor is there adequate evidence that childhood sexual abuse causes adult psychiatric disorders. The fact remains that the "evidence" cited in many of these studies can be more readily explained by more mundane processes, such as early childhood amnesia, ordinary forgetfulness, or elective non-disclosure. Psychology Astray is written for students and scholars in the fields of psychology, mental health, medical research and law. The flaws in existing studies are exposed and illustrated, using simple and colorful analogies from ordinary life which everyone can understand.

In the 1990s, a faddish pseudoscience, repressed memory theory, destroyed millions of American families by creating false memories of childhood sexual abuse. At the time, Mark Pendergrast published his widely acclaimed book Victims of Memory, exposing the false nature of the science and counseling techniques that were alienating teenagers and grown children from their families. In Memory Warp, Pendergrast revisits that subject, updating his research and describing where it stands now, in 2017.All notable scientific researchers in the field of memory now agree that repressed-memory theory is misguided and harmful--that the "memories" produced are false, and that those accused--mostly parents and other family members and caregivers--have suffered greatly from false allegations of horrible crimes against their own children. But does that mean that the scourge is now behind us?Unfortunately, no. The disproven theories of repressed memory continue to resurface throughout Amercan cultural life and, although usually more subtly, in the work of therapists. In this new book, Pendergrast provides a lively social history of our recent past, documenting how this incredible juggernaut of pseudoscience, which caused so much harm, came to be. But more importantly, the book also shows how these misguided theories continue to fester. And how, if we fail to learn from the lurid history of this movement, we may face another outbreak.Many authoritative books have have appeared on this subject over the years, including those of memory researchers who have confirmed Pendergrast's conclusions. But Memory Warp is the first to describe the threat that continues to exist today.

A psychological study of eating disorders

Anthony is a bland and cautious American office worker living in Tokyo with nothing exceptional about him. Or so he thinks. When his young son is killed, Anthony begins a violent and bizarre metamorphosis, his flesh transforming into metal, his body expressing his repressed rage and lust for revenge. Anthony is becoming the weapon that will destroy the man who killed his son and, if his rage cannot be contained, the entire city in the process. Cult director Shinya Tsukamoto's Tetsuo trilogy come

Johnny Guitar stars Oscar winner Joan Crawford (Best Actress, Mildred Pierce) as Vienna, a saloon owner with a sordid past. Persecuted by the townspeople, Vienna must protect her life and property when a lynch mob led by her sexually repressed rival, Emma Small (Oscar winner Mercedes McCambridge, Best Acrtress, All the King's Men), attempts to frame her for a string of robberies she did not commit. An Olive "Signature" feature.

18" woofer coneCLOTH surround pulp body4"VCID 4.75" deep a15 cloth~81 grams repressed THICK cone 2 available/price is per piece****. Due to the na...

A repressed nurse with a free-spirited split personality causes much romantic confusion for herself and the men in her life.

Oscar winner Kevin Kline (A Fish Called Wanda) and the luminous Sandrine Bonnaire (Vagabond, La Ceremonie) square off in this stylish and sophisticated drama comedy of newfound passions and mid-life triumphs, set on the postcard-perfect isle of Corsica. Lovely, repressed and quietly intelligent, French chambermaid Helene (Bonnaire) comes upon a couple (The L Word's Jennifer Beals and Marie Antoinette's Dominic Gould) engaging in an intense chess match, and discovers she has a knack for the game.

Originally released in 1990 on London's WARRIORS DANCE label, there was nothing quite like it at the time. It's sound was heavily inspired by UK warehouse parties where hip hop, soul, reggae, rare groove, and acid house were played side by side. Remastered & officially repressed.

U Brown's 1979 album repressed on vinyl with a bonus 10" from Dickie Ranking

Timothy Spall, Elaine Cassidy, Laurence Fox. E.M. Forster's romantic novel gets a breathtaking cinematic treatment, bringing to life the story of a repressed young English woman who escapes to Italy in search of the sexual and political freedom she so desires. 2007/color/86 min/NR/fullscreen.