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Seminal text for psychoanalysts A special edition to coincide with the 50th anniversary of the first publication of this classic text, with a new introduction and epilogue Excellent sales for previous edition, life sales - 3,740 Introduction by Leo Rangell, former president of the International Psycho-analytic Association
This book deals with one particular problem that is with the ways and means by which the ego wards off unpleasure and anxiety, and exercises control over impulsive behavior, affects, and instinctive urges. It is a major contribution to psychoanalytic psychology.
Salman Akhtar is a Professor of Psychiatry, a Training and Supervising Analyst, a member of numerous editorial boards, winner of many awards, including the highly prestigious Sigourney Award, a writer of several hundred articles, a poet, and the author or editor of over one hundred books. A modern-day Renaissance man, his elegant writing is simultaneously scholarly and literary and brings a light touch to profound material. Phoenix Publishing House is proud to present his most inspiring works in a stunning ten-volume hardback set, fit to grace the shelves of collectors and libraries with its high-quality finish.
The author formulates here the existence of an anxiety apparatus whose functioning is a part of the ego and the personality structure and illustrates how in attacking this apparatus the ego is attacking itself. An example is given of the workings of the death instinct, and a differentiation is made between the ego's defence mechanisms and other pathological character devices.
Perfect for any student of the human brain, this historic text looks at the most pleasant human emotion, elation.
By way of a personal note, I can reveal to the reader that I was led to Sanskrit by an exposure to Indian philosophy while still a child. These early mystical interests gave way in the university to scholarly pursuits and, through reading the works of Franklin Edgerton, Louis Renou and Etienne Lamotte, I was introduced to the scientific study of the· past, to philology and the academic study of an ancient literature. In this period I wrote a number of books on Sanskrit aesthetics, concentrating on the sophisticated Indian notions of suggestion. This work has culminated in a three-volume study of the Dhvanyaloka and the Dhvanyalokalocana, for the Harvard Oriental Series. Eventually I found that I wanted to broaden my concern with India, to learn what was at the universal core of my studies and what could be of interest to everyone. In reading Indian literature, I came across so many bizarre tales and ideas that seemed incomprehensible and removed from the concerns of everyday life that I became troubled. Vedantic ideas of the world as a dream, for example, to which I had been particularly partial, seemed grandiose and megalomanic. I turned away with increasing scepticism from what I felt to be the hysterical outpourings of mystical and religious fanaticism.
What is the role of unconscious fantasies in psychological development, in psychopathology, and in the arts? In Unconscious Fantasies and the Relational World, Danielle Knafo and Kenneth Feiner return to these interlinked questions with a specific goal in mind: a contemporary appreciation of fantasy in its multiform relational contexts. To this end, they provide detailed examinations of primal scene, family romance, and castration fantasies, respectively. Each category of fantasy is pushed beyond its "classical" psychoanalytic meaning by attending to the child's ubiquitous concerns about sexual difference and feelings of incompleteness; her perception of the parental relationship; and the multiple, shifting identifications that grow out of this relationship. Evocative clinical examples illuminate the manner in which patients and analysts play out these three core fantasies. They are balanced by chapters that explore the generative side of these same fantasies in the arts. David Lynch's film Blue Velvet provides an artistic rendering of the primal scene; Jerzy Kosinki's life and work illustrates the family romance; and French multimedia artist Orlan's "carnal art" recreates the trauma of castration. Unconscious Fantasies and the Relational World is a tightly woven study of broad and basic questions. It is in equal measure a contemporary re-visioning of the grounds of fantasy formation, a relationally informed guide to clinical techniques for dealing with unconscious fantasy, and an examination of the generative potential of unconscious fantasy in the arts. Out of the authors’ broadening and broad-minded sensibility emerges an illuminating study of the manifold ways in which unconscious fantasies shape lives and enrich clinical work.