Ordinarily, these discourses only cross paths long enough for historicists to charge psychoanalysis with an indifference to history, but here psychoanalysis, via Lacan, goes on the offensive. Refusing to cede historicity to the historicists, Copjec makes a case for the superiority of Lacan's explanation of historical process, its generative principles, and its complex functionings.

    These are the readers Bruce Fink addresses in this clear and practical account of Lacan's highly original approach to therapy. Written by a clinician for clinicians, Fink's Introduction is an invaluable guide to Lacanian psychoanalysis, how it's done, and how it differs from other forms of therapy. While elucidating many of Lacan's theoretical notions, the book does so from the perspective of the practitioner faced with the pressing questions of diagnosis, what therapeutic stance to adopt, how to involve the patient, and how to bring about change.Fink provides a comprehensive overview of Lacanian analysis, explaining the analyst's aims and interventions at each point in the treatment. He uses four case studies to elucidate Lacan's unique structural approach to diagnosis. These cases, taking up both theoretical and clinical issues in Lacan's views of psychosis, perversion, and neurosis, highlight the very different approaches to treatment that different situations demand.

    These books use excerpts from the major texts to explain essential topics, such as Jacques Lacan's core ideas about enjoyment, which re-created our concept of psychoanalysis.Lacan’s motto of the ethics of psychoanalysis involves a profound paradox. Traditionally, psychoanalysis was expected to allow the patient to overcome the obstacles which prevented access to "normal" sexual enjoyment; today, however, we are bombarded by different versions of the injunction "Enjoy!" Psychoanalysis is the only discourse in which you are allowed not to enjoy.Slavoj Žižek’s passionate defense of Lacan reasserts Lacan’s ethical urgency. For Lacan, psychoanalysis is a procedure of reading and each chapter reads a passage from Lacan as a tool to interpret another text from philosophy, art or popular ideology.

    This new translation of his complete works offers welcome, readable access to Lacan's seminal thinking on diverse subjects touched upon over the course of his inimitable intellectual career. .

    He explains in depth the tools Lacan gave him to navigate the extremes of his other two philosophical "masters," Jean-Paul Sartre and Louis Althusser. Élisabeth Roudinesco supplements Badiou's experience with her own perspective on the troubled landscape of the French analytic world since Lacan's death—critiquing, for example, the link (or lack thereof) between politics and psychoanalysis in Lacan's work. Their exchange reinvigorates how the the work of a pivotal twentieth-century thinker is perceived.

    Angelic to some, he is demonic to others. To recall Lacan’s career, now that the heroic age of psychoanalysis is over, is to remember an intellectual and literary adventure that occupies a founding place in our modernity. Lacan went against the current of many of the hopes aroused by 1968, but embraced their paradoxes, and his language games and wordplay resonate today as so many injunctions to replace rampant individualism with a heightened social consciousness. Widely recognized as the leading authority on Lacan, Élisabeth Roudinesco revisits his life and work: what it was – and what it remains.

    It presents a profound and challenging investigation into the nature of human reason, its knowledge and its illusions. Reason, Kant argues, is the seat of certain concepts that precede experience and make it possible, but we are not therefore entitled to draw conclusions about the natural world from these concepts. The Critique brings together the two opposing schools of philosophy: rationalism, which grounds all our knowledge in reason, and empiricism, which traces all our knowledge to experience. Kant's transcendental idealism indicates a third way that goes far beyond these alternatives.

    How does the spectacle of the sufferings of others (via television or newspapers) affect us? Are viewers inured--or incited--to violence by the depiction of cruelty? In Regarding the Pain of Others, Sontag takes a fresh look at the representation of atrocity--from Goya's The Disasters of War to photographs of the American Civil War, lynchings of blacks in the South, and the Nazi death camps, to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, Israel and Palestine, and New York City on September 11, 2001. In Regarding the Pain of Others Susan Sontag once again changes the way we think about the uses and meanings of images in our world, and offers an important reflection about how war itself is waged (and understood) in our time.Features an analysis of our numbed response to images of horror. This title alters our thinking about the uses and meanings of images, and about the nature of war, the limits of sympathy, and the obligations of conscience.

    It is both witness and tribute to the late theory of mind—the so-called structural theory, with its stress on aggression, indeed the death drive, as the pitiless adversary of eros.Civilization and Its Discontents is one of the last of Freud's books, written in the decade before his death and first published in German in 1929. In it he states his views on the broad question of man's place in the world, a place Freud defines in terms of ceaseless conflict between the individual's quest for freedom and society's demand for conformity.Freud's theme is that what works for civilization doesn't necessarily work for man. Man, by nature aggressive and egotistical, seeks self-satisfaction. But culture inhibits his instinctual drives. The result is a pervasive and familiar guilt.Of the various English translations of Freud's major works to appear in his lifetime, only one was authorized by Freud himself: The Standard Edition of the Complete Psychological Works of Sigmund Freud under the general editorship of James Strachey.Freud approved the overall editorial plan, specific renderings of key words and phrases, and the addition of valuable notes, from bibliographical and explanatory. Many of the translations were done by Strachey himself; the rest were prepared under his supervision. The result was to place the Standard Edition in a position of unquestioned supremacy over all other existing versions.

    Discussing previous attempts to give a feminist reading of his work, she argues for women's autonomy based on an indifference to the Lacanian phallus.

    It begins with a Preface, created after the rest of the manuscript was completed, that explains the core of his method and what sets it apart from any preceding philosophy. The Introduction, written before the rest of the work, summarizes and completes Kant's ideas on skepticism by rendering it moot and encouraging idealism and self-realization. The body of the work is divided into six sections of varying length, entitled "Consciousness," "Self-Consciousness," "Reason," "Spirit," "Religion," and "Absolute Knowledge." A myriad of topics are discussed, and explained in such a harmoniously complex way that the method has been termed Hegelian dialectic. Ultimately, the work as a whole is a remarkable study of the mind's growth from its direct awareness to scientific philosophy, proving to be a difficult yet highly influential and enduring work.

    "An important text in the rethinking of sexuality and sexual politics spurred by the feminist and gay liberation movements".--Margaret Cerullo, Hampshire College.

    Three young friends meet over apricot cocktails at the Bec-de-Gaz bar on the rue Montparnasse. They are Jean-Paul Sartre, Simone de Beauvoir and their friend Raymond Aron, who opens their eyes to a radical new way of thinking. Pointing to his drink, he says, 'You can make philosophy out of this cocktail!'From this moment of inspiration, Sartre will create his own extraordinary philosophy of real, experienced life–of love and desire, of freedom and being, of cafés and waiters, of friendships and revolutionary fervour. It is a philosophy that will enthral Paris and sweep through the world, leaving its mark on post-war liberation movements, from the student uprisings of 1968 to civil rights pioneers.At the Existentialist Café tells the story of modern existentialism as one of passionate encounters between people, minds and ideas. From the ‘king and queen of existentialism'–Sartre and de Beauvoir–to their wider circle of friends and adversaries including Albert Camus, Martin Heidegger, Maurice Merleau-Ponty and Iris Murdoch, this book is an enjoyable and original journey through a captivating intellectual movement. Weaving biography and thought, Sarah Bakewell takes us to the heart of a philosophy about life that also changed lives, and that tackled the biggest questions of all: what we are and how we are to live.

    The resulting book reveals Said’s abiding interest in Freud’s work and its important influence on his own.He proposes that Freud’s assumption that Moses was an Egyptian undermines any simple ascription of a pure identity, and further that identity itself cannot be thought or worked through without the recognition of the limits inherent in it. Said suggests that such an unresolved, nuanced sense of identity might, if embodied in political reality, have formed, or might still form, the basis for a new understanding between Jews and Palestinians. Instead, Israel’s relentless march towards an exclusively Jewish state denies any sense of a more complex, inclusive past.

    A leading exponent of French existentialism, her work complements, though it is independent of, that of her great friend Jean-Paul Sartre. In "The Ethics of Ambiguity," Madame de Beauvoir penetrates at once to the core ethical problems of modern man: what shall he do, how shall he go about making values, in the face of this awareness of the absurdity of his existence? She forces the reader to face the absurdity of the human condition, and then, having done so, proceeds to develop a dialectic of ambiguity which will enable him not to master the chaos, but to create with it.