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Though suicide in American literature seems to belong to the twentieth century, core patterns of suicide had already emerged in the nineteenth-century novel. Five suicide themes are analyzed in selected novels from 1798 to 1909, with chapter paradigms drawing on an array of historical, cultural, and social-scientific sources and medical theories from 1792 to the present. Chapter one argues that Charles Brockden Brown's dramatization of the murder-suicide sequence in Wieland (1798), filtered through semi-fictional experimentation on suicide and scientific readings in Erasmus Darwin, maps the new nation's violence, and prefigures contemporary theory about suicidal pathology. Chapter two identifies Nathaniel Hawthorne's Blithedale Romance (1852) as a >suicide-survivor novel< or >Uberlebendenroman.< Erich FROMM's insights about self-destruction and characterological necrophilia, and contemporary theory about suicide survivorship, structure my analysis of how suicide unsettles mode as the arhythmical journey of the survivor's healing and philosophical investigations are traced. Chapter three explores >symbolic-age crisis,< the modern term underscoring what Dr. Henry Morselli perceived in the 1890s: suicides often occur during failed developmental transitions. Such struggles in Rebecca Harding Davis's >Life in the Iron Mills< (1861), Stephen Crane's Maggie (1893), and Theodore Dreiser's Sister Carrie (1900) parallel the post-Civil War growing pains of our country as social observers such as Jacob Riis and Henry and William James voiced fears about the >epidemic< of suicide. Chapter four probes the choice of a suicide method vis-a-vis its lethality in Edith Wharton's The House of Mirth (1905), which follows the author's excursion into problems of self-determination in the bedrugged upper echelons of society. Modern suicidologist Edwin S. Shneidman's rubrics of classification explain Lily Bart's gradual and ambivalent self-poisoning as a >subintentioned< suicide; nineteenth-century pharmacology on chloral hydrate (in the work of Drs. David H. Tuke and George Miller Beard, among others) provides historical context. Chapter five is also grounded in nineteenth-century cultural perspectives about suicide, evaluating gender-specific features in the suicide deaths of male and female artists in Henry James's Princess Casamassima (1886), Kate Chopin's The Awakening (1899), and Jack London's Martin Eden (1909).
Interview
(1995)
Editorial
(1995)
Female Psychosexuality
(1995)
Jewish Food Rituals
(1995)
The host of disease
(1995)
The Reality of Trauma
(1995)
Review of J. Cooper: Speak of Me as I am. The Life and Work of Masud Khan, London (Karnac) 1993.
(1995)
A socialist humanistic view of crime is presented that views it not simply as an act of transgression or deviance, but as a reflection of the inner state of an individual and those elements of the individual's life that motivated him or her to transgress the law. The current criminal justice system uses negative peace – the threat and application of force to deter or process acts of crime – but largely fails because it ignores the interconnection between the inner world of the individual and the peace or turmoil of the surrounding world. A positive peace approach to crime emphasizes elimination of the structural sources of crime and violence within society – poverty, inequality, racism, and alienation – that lay the foundation for crime. Love, compassion, and social justice are the hallmarks of a socialist humanist view of solutions to crime. 25 References. Adapted from the source document.
In memoriam
(1995)
The author gives students of the Interpersonal approach (to psychoanalysis) an understanding of how Interpersonal psychoanalysis came to be and how its tenets evolved from the particular histories of the early Interpersonalists, histories that were shaped by the cultures of the countries these analysts came from, by world events, and by individual family backgrounds. He (argues that) the understanding of Interpersonal theory and technique is enlivened and enriched by some acquaintance with the varied personal and professional experiences of those analysts who are generally considered the pioneers of the Interpersonal tradition in psychoanalysis: Harry Stack Sullivan (1892-1949), Sandor Ferenczi (1873-1933), Clara Thompson (1893-1958), Erich FROMM (1900-1980), Frieda FROMM-Reichmann (1889-1957), Karen Horney (1885-1952).
And Fromm Where...
(1995)
Trauma and Ignorance
(1995)
>Mexikanische Zeit. Erich Fromm in Mexico<: Die Art, wie in Mexiko mit der Zeit umgegangen wird, unterscheidet sich beträchtlich von der westeuropäischen oder nordamerikanischen: Der Mexikaner >hat< oder >nimmt sich< mehr Zeit; die in der Ländern der protestantischen Arbeitsethik hochgeschätzte Tugend der Pünktlichkeit ist ihm fremd. In der >mexikanischen Zeit<, zu der viele Feste gehören, bekundet sich eine dem matrizentrischen Komplex zugehörige Art von Gesellschafts- Charakter. Man lebt unbekümmert in den Tag hinein, erwartet, dass immer genug zum Leben vorhanden ist, und sucht das verlorengegangene Paradies wiederzufinden. Wie kam Fromm mit dieser Art von Lebenseinstellung zurecht? Anfangs galt er – der aus Deutschland emigrierte Psychoanalytiker, der in den USA praktiziert und gelehrt hatte – bei vielen seiner Schüler als >autoritär<. Schon die Forderung nach pünktlichem Beginn und die Begrenzung der analytischen Sitzung auf 50 Minuten galten ihnen als unannehmbar. Mit der Zeit kam jedoch ein fruchtbarer Austausch zustande: Seine Schüler erlernten von Fromm nicht nur die psychoanalytische Technik, sondern sie waren auch zutiefst von der dahinterstehenden Persönlichkeit beeindruckt. Umgekehrt sind Fromms ganzheitliche Sicht des Menschen und seine biophile Grundhaltung nicht ohne die Erfahrungen, die er während seiner langjährigen Tätigkeit in Mexiko machte, zu verstehen. So trug die >mexikanische Zeit< viel zur Entwicklung der >humanistischen Psychoanalyse< bei.