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Made-for-TV biographical drama which depicts author J.K. Rowling's
rise to fame. The film follows Rowling (Poppy Montgomery/Madison
Desjarlais/Aislyn Watson) from her childhood through her adult life
including her experiences with her first marriage, the birth of her
daughter and the death of her mother before she found fame with the
publication of the hugely successful 'Harry Potter' series.
Death is often encountered in English courses-Hamlet's death,
celebrity death, death from the terrorist attacks on 9/11-but
students rarely have the opportunity to write about their own
experiences with death. In Death Education in the Writing
Classroom, Jeffrey Berman shows how college students can write
safely about dying, death, and bereavement. The book is based on an
undergraduate course on love and loss that Berman taught at the
University at Albany in 2008. Part 1, "Diaries," is organized
around Berman's diary entries written immediately after each class.
These entries provide a week-by-week glimpse of class discussions,
highlighting his students' writings and their developing bonds with
classmates and teacher. Part 2, "Breakthroughs," focuses on several
students' important educational and psychological discoveries in
their understanding of love and loss. The student writings touch on
many aspects of death education, including disenfranchised grief.
The book explores how students write about not only mourning and
loss but also depression, cutting, and abortion-topics that occupy
the ambiguous border of death-in-life. Death Education in the
Writing Classroom is the first book to demonstrate how love and
loss can be taught in a college writing class-and the first to
describe the week-by-week changes in students' cognitive and
affective responses to death. This interdisciplinary book will be
of interest to writing teachers, students, clinicians, and
bereavement counselors.
Death is often encountered in English courses-Hamlet's death,
celebrity death, death from the terrorist attacks on 9/11-but
students rarely have the opportunity to write about their own
experiences with death. In Death Education in the Writing
Classroom, Jeffrey Berman shows how college students can write
safely about dying, death, and bereavement. The book is based on an
undergraduate course on love and loss that Berman taught at the
University at Albany in 2008. Part 1, "Diaries," is organized
around Berman's diary entries written immediately after each class.
These entries provide a week-by-week glimpse of class discussions,
highlighting his students' writings and their developing bonds with
classmates and teacher. Part 2, "Breakthroughs," focuses on several
students' important educational and psychological discoveries in
their understanding of love and loss. The student writings touch on
many aspects of death education, including disenfranchised grief.
The book explores how students write about not only mourning and
loss but also depression, cutting, and abortion-topics that occupy
the ambiguous border of death-in-life. Death Education in the
Writing Classroom is the first book to demonstrate how love and
loss can be taught in a college writing class-and the first to
describe the week-by-week changes in students' cognitive and
affective responses to death. This interdisciplinary book will be
of interest to writing teachers, students, clinicians, and
bereavement counselors.
Mental illness can often be the driving force behind creativity.
This relationship is never more apparent than in the memoirs of
writers who have lived, worked and created with a mental illness.
Mad Muse examines and unpicks this fascinating relationship,
demonstrating that mental illness is often intergenerational while
the story of mental illness is intertextual. The study begins with
William Styron's iconic memoir Darkness Visible, moving through a
succession of mental illness memoirs from some of the most
important authors in the genre, including Kate Millett, Kay
Redfield Jamison, Linda Sexton, Lauren Slater, Andrew Solomon and
Elyn Saks. From memoirs that blur the boundaries between historical
truth and narrative truth to a first-person account of
schizophrenia, Berman discusses the challenges of reading books
which inspire hope and courage in many readers but may also
sometimes have unintended consequences. In so doing, it illuminates
the complex, co-existing relationship between the arts and mental
health and represents an invaluable contribution to the study of
health humanities.
Norman Holland was unquestionably the leading 20th-century American
psychoanalytic literary critic. Long known as the Dean of American
psychoanalytic literary critics, Holland produced an enormous body
of scholarship that appeals to both neophytes in the field and
advanced researchers, many of whom have been influenced by his
writings. Holland was one of the first proponents of
reader-response criticism, the theorist of readers’ identity
themes, and the author of fifteen books that have become classics
in the field. Jeffrey Berman analyzes all of Holland’s books, and
many of his 250 scholarly articles, highlighting continuities and
discontinuities in the critic’s thinking over time. A
controversial if not polarizing figure, Holland is discussed in
relation to his closest colleagues, including Murray Schwartz,
Bernard Paris, and Leslie Fiedler, as well as his fiercest critics,
among them Frederick Crews, David Bleich, and Jonathan Culler,
creating a dynamic and personal portrait. Insofar as this text
illuminates the evolving mind of a premier literary critic, it
produces a parallel profile of the American reader, the primary
object of Holland’s extensive work.
Freud promised his patients absolute confidentiality, regardless of
what they revealed, but privacy in psychotherapy began to erode a
half-century ago. Psychotherapists now seem to serve as "double
agents" with a dual and often conflicting allegiance to patient and
society. Some therapists even go so far as to issue Miranda-type
warnings, advising patients that what they say in therapy may be
used against them. Confidentiality and Its Discontents explores the
human stories arising from this loss of confidentiality in
psychotherapy. Addressing different types of psychotherapy
breaches, Mosher and Berman begin with the the story of novelist
Philip Roth, who was horrified when he learned that his
psychoanalyst had written a thinly veiled case study about him.
Other breaches of privacy occur when the so-called duty to protect
compels a therapist to break confidentiality by contacting the
police. Every psychotherapist has heard about "Tarasoff," but few
know the details of this story of fatal attraction. Nor are most
readers familiar with the Jaffee case, which established
psychotherapist-patient privilege in the federal courts.
Similiarly, the story of Robert Bierenbaum, a New York surgeon who
was brought to justice fifteen years after he brutally murdered his
wife, reveals how privileged communication became established in a
state court. Meanwhile, the story of New York Chief Judge Sol
Wachtler, convicted of harassing a former lover and her daughter,
shows how the fear of the loss of confidentiality may prevent a
person from seeking treatment, with potentially disastrous results.
While affirming the importance of the psychotherapist-patient
privilege, Confidentiality and Its Discontents focuses on both the
inner and outer stories of the characters involved in noteworthy
psychotherapy breaches and the ways in which psychiatry and the law
can complement but sometimes clash with each other.
The first book-length study of the psychoanalytic memoir, this book
examines key examples of the genre, including Sigmund Freud's
mistitled An Autobiographical Study, Helene Deutsch's
Confrontations with Myself: An Epilogue, Wilfred Bion's War Memoirs
1917-1919, Masud Khan's The Long Wait, Sophie Freud's Living in the
Shadow of the Freud Family, and Irvin D. Yalom and Marilyn Yalom's
A Matter of Death and Life. Offering in each chapter a brief
character sketch of the memoirist, the book shows how personal
writing fits into their other work, often demonstrating the
continuities and discontinuities in an author's life as well as
discussing each author's contributions to psychoanalysis, whether
positive or negative.
Bringing together the human story of care with its representation
in film, fiction and memoir, this book combines an analysis of care
narratives to inform and inspire ideas about this major role in
life. Alongside analysis of narratives drawn from literature and
film, the author sensitively interweaves the story of his wife's
illness and care to illuminate perspectives on dealing with human
decline. Examining texts from a diverse range of authors such as
Leo Tolstoy, Edith Wharton and Alice Munro, and filmmakers such as
Ingmar Bergman and Michael Haneke, it addresses questions such as
why caregiving is a dangerous activity, the ethical problems of
writing about caregiving, the challenges of reading about
caregiving, and why caregiving is so important. It serves as a fire
starter on the subject of how we can gain insight into the
challenges and opportunities of caregiving through the creative
arts.
Freud promised his patients absolute confidentiality, regardless of
what they revealed, but privacy in psychotherapy began to erode a
half-century ago. Psychotherapists now seem to serve as "double
agents" with a dual and often conflicting allegiance to patient and
society. Some therapists even go so far as to issue Miranda-type
warnings, advising patients that what they say in therapy may be
used against them. Confidentiality and Its Discontents explores the
human stories arising from this loss of confidentiality in
psychotherapy. Addressing different types of psychotherapy
breaches, Mosher and Berman begin with the the story of novelist
Philip Roth, who was horrified when he learned that his
psychoanalyst had written a thinly veiled case study about him.
Other breaches of privacy occur when the so-called duty to protect
compels a therapist to break confidentiality by contacting the
police. Every psychotherapist has heard about "Tarasoff," but few
know the details of this story of fatal attraction. Nor are most
readers familiar with the Jaffee case, which established
psychotherapist-patient privilege in the federal courts.
Similiarly, the story of Robert Bierenbaum, a New York surgeon who
was brought to justice fifteen years after he brutally murdered his
wife, reveals how privileged communication became established in a
state court. Meanwhile, the story of New York Chief Judge Sol
Wachtler, convicted of harassing a former lover and her daughter,
shows how the fear of the loss of confidentiality may prevent a
person from seeking treatment, with potentially disastrous results.
While affirming the importance of the psychotherapist-patient
privilege, Confidentiality and Its Discontents focuses on both the
inner and outer stories of the characters involved in noteworthy
psychotherapy breaches and the ways in which psychiatry and the law
can complement but sometimes clash with each other.
An exploration of the relationship between literature and life,
this study examines the effect on readers of "suicidal
literature"-novels and poems that depict, and sometimes glorify,
the act of suicide. Beginning with a discussion of the growing
incidence of suicide in American culture, Jeffrey Berman
investigates the portrayal of suicide in the works of four authors
who later took their own lives-Virginia Woolf, Ernest Hemingway,
Sylvia Plath, and Anne Sexton- and two who did not-Kate Chopin and
William Styron. In each case Berman discusses the writer's shifting
attitude toward suicide, the tendency of critics to romanticize
fictional suicide, and the impact of writing about suicide on the
artist's own life. At the same time, Berman draws on his
experiences as a teacher of these writings, analyzing student
reactions to "literary suicide" as recorded in class
diaries-responses ranging from grief and confusion to anger and
guilt. By looking at the connection between real and imagined
suicide, Berman seeks to shed fresh light on a subject long
enshrouded in silence, fear, and mystery.
Norman Holland was unquestionably the leading 20th-century American
psychoanalytic literary critic. Long known as the Dean of American
psychoanalytic literary critics, Holland produced an enormous body
of scholarship that appeals to both neophytes in the field and
advanced researchers, many of whom have been influenced by his
writings. Holland was one of the first proponents of
reader-response criticism, the theorist of readers’ identity
themes, and the author of fifteen books that have become classics
in the field. Jeffrey Berman analyzes all of Holland’s books, and
many of his 250 scholarly articles, highlighting continuities and
discontinuities in the critic’s thinking over time. A
controversial if not polarizing figure, Holland is discussed in
relation to his closest colleagues, including Murray Schwartz,
Bernard Paris, and Leslie Fiedler, as well as his fiercest critics,
among them Frederick Crews, David Bleich, and Jonathan Culler,
creating a dynamic and personal portrait. Insofar as this text
illuminates the evolving mind of a premier literary critic, it
produces a parallel profile of the American reader, the primary
object of Holland’s extensive work.
Bringing together the human story of care with its representation
in film, fiction and memoir, this book combines an analysis of care
narratives to inform and inspire ideas about this major role in
life. Alongside analysis of narratives drawn from literature and
film, the author sensitively interweaves the story of his wife's
illness and care to illuminate perspectives on dealing with human
decline. Examining texts from a diverse range of authors such as
Leo Tolstoy, Edith Wharton and Alice Munro, and filmmakers such as
Ingmar Bergman and Michael Haneke, it addresses questions such as
why caregiving is a dangerous activity, the ethical problems of
writing about caregiving, the challenges of reading about
caregiving, and why caregiving is so important. It serves as a fire
starter on the subject of how we can gain insight into the
challenges and opportunities of caregiving through the creative
arts.
In Companionship in Grief, Jeffrey Berman focuses on the most
life-changing event for many people--the death of a spouse. Some of
the most acclaimed memoirs of the past fifty years offer insights
into this profound loss: C. S. Lewis's A Grief Observed; John
Bayley's three memoirs about Iris Murdoch, including Elegy for
Iris; Donald Hall's The Best Day the Worst Day; Joan Didion's
best-selling The Year of Magical Thinking; and Calvin Trillin's
About Alice. These books explore the nature of spousal bereavement,
the importance of caregiving, the role of writing in recovery, and
the possibility of falling in love again after a devastating loss.
Throughout his study, Berman traces the theme of love and loss in
all five memoirists' fictional and nonfictional writings as well as
in those of their spouses, who were also accomplished writers.
Combining literary studies, grief and bereavement theory,
attachment theory, composition studies, and trauma theory,
Companionship in Grief will appeal to anyone who has experienced
love and loss. Berman's research casts light on five remarkable
marriages, showing how autobiographical stories of love and loss
can memorialize deceased spouses and offer wisdom and comfort to
readers.
This is a candid look at a form of self-injury that is increasingly
prevalent but rarely discussed. Cutting, a form of self-mutilation,
is a growing problem in the United States, especially among
adolescent females. It is regarded as self-destructive behavior,
yet paradoxically, people who cut themselves generally do not wish
to die but to find relief from unbearable psychological pain.
""Cutting and the Pedagogy of Self-Disclosure"" is the first book
to explore how college students write about their experiences as
cutters. The idea behind the book arose when Patricia Hatch
Wallace, a high school English teacher, wrote a reader-response
diary for a graduate course taught by Professor Jeffrey Berman in
which she revealed for the first time that she had cut herself
twenty years earlier. At Berman's suggestion, Wallace wrote her
Master's thesis on cutting. Not long after she finished her thesis,
two students in Berman's expository writing course revealed their
own experiences as cutters. Their disclosures encouraged several
students in another writing class to share their own cutting
stories with classmates. Realizing that so many students were
writing about the same phenomenon, Berman and Wallace decided to
write a book about a subject that is rarely discussed inside or
outside the classroom. In Part 1, Wallace discusses clinical and
theoretical aspects of cutting and then applies these insights to
several memoirs and novels, including Susanna Kaysen's ""Girl"",
""Interrupted"", Caroline Kettlewell's ""Skin Game"", and Patricia
McCormick's ""Cut"". The motivation behind Wallace's research was
the desire to learn more about herself, and she reads these stories
through her own experience as a cutter. In Part 2, Berman focuses
on the pedagogical dynamics of cutting: how undergraduate students
write about cutting, how their writings affect classmates and
teachers, and how students who cut themselves can educate everyone
in the classroom about a problem that has personal, psychological,
cultural, and educational significance.
During the past decade, Jeffrey Berman has published widely on the
pedagogy of personal writing. In Diaries to an English Professor
(1994), he explored the ways in which undergraduate students can
use psychoanalytic diaries to deal with conflicted issues in their
lives. Surviving Literary Suicide (1999) investigated how graduate
students respond to novels and poems that portray and sometimes
glorify self-inflicted death. And in Risky Writing (2002), Berman
considered the ways teachers can encourage college students to
write safely on a wide range of subjects often deemed too personal
or too dangerous for the classroom, from grieving the loss of a
friend to confronting sexual abuse. Empathic Teaching builds on
that earlier work by showing how a pedagogy based on understanding
the other can transform the experience of learning. Berman begins
with a discussion of several well-known stories and films featuring
literature instructors who exert a formative influence on their
students, including Good-bye, Mr. Chips, The Blackboard Jungle, Up
the Down Staircase, and Dead Poets Society. He then goes on to
examine the pedagogical importance of empathy, trauma, and
forgiveness in helping students cope with the ordinary and
extraordinary challenges of everyday life. Subsequent chapters are
devoted to an analysis of actual student writing - powerful,
insightful, authentic essays about lived experience that reveal
both intellectual and emotional growth. In the book's final
chapter, Berman considers the risks and benefits of empathic
teaching, demonstrating how teachers can play a therapeutic role in
the classroom without being therapists. Teachers who are regarded
as trusting, supportive, and dependable, he argues, become
attachment figures, influencing students to be more sensitive to
and connected with their classmates' lives. Or, as Berman
succinctly puts it, empathic teaching leads to empathic learning,
an education for life.
This is the final volume in a trilogy of works that examine the
impact of writing and reading about traumatic subjects. Diaries to
an English Professor (1994) explores the ways in which
undergraduate students use psychoanalytic diaries to probe
conflicted issues in their lives. Surviving Literary Suicide (1999)
investigates how graduate students respond to suicidal literature
-- novels and poems that portray and sometimes glorify
self-inflicted death.
In Risky Writing, Jeffrey Berman builds on those earlier
studies, describing ways teachers can encourage college students to
write safely on a wide range of subjects often deemed too personal
or too dangerous for the classroom: grieving the loss of a beloved
relative or friend, falling into depression, coping with the
breakup of one's family, confronting sexual abuse, depicting a drug
or alcohol problem, encountering racial prejudice. Berman points
out that nearly everyone has difficulty talking or writing about
such issues because they arouse shame and tend to be enshrouded in
secrecy and silence. This is especially true for college students,
who are just emerging from adolescence and find themselves at
institutions that rarely promote self-disclosure.
Recognizing the controversial nature of his subject, Berman
confronts academic opposition to personal writing head on. He also
discusses the similarities between the "writing cure" and the
"talking cure", the role of the teacher and audience in the
self-disclosing classroom, and the pedagogical strategies necessary
to minimize risk, including the importance of empathy and other
befriending skills.
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