Among global environments, the undersea is unique in the challenges it poses - and the opportunities it affords - for sensation, perception, inquiry, and fantasy. The Aesthetics of the Undersea draws case studies in such potencies from the subaqueous imaginings of Western culture, and from the undersea realities that have inspired them. The chapters explore aesthetic engagements with underwater worlds, and sustain a concern with submarine "sense," in several meanings of that word: when submerged, faculties and fantasies transform, confronting human subjects with their limitations while enlarging the apparent scope of possibility and invention. Terrestrially-established categories and contours shift, metamorphose, or fail altogether to apply. As ocean health acquires an increasing share of the global environmental imaginary, the histories of submarine sense manifest ever-greater importance, and offer resources for documentation as well as creativity. The chapters deal with the sensory, material, and formal provocations of the underwater environment, and consider the consequences of such provocations for aesthetic and epistemological paradigms. Contributors, who hail from the United States, United Kingdom and Australia, include scholars of literature, art, new media, music and history. Cases studies range from baroque and rococo fantasies to the gothic, surrealism, modernism, and contemporary installation art. By juxtaposing early modern and Enlightenment contexts with matters of more recent - and indeed contemporary - importance, The Aesthetics of the Undersea establishes crucial relations among temporally remote entities, which will resonate across the environmental humanities.

"Sent Before My Time" is an exploration of the workings of a neo natal intensive care unit from a child psychotherapist's point of view. It examines the relationships between the babies, the parents and the staff.

Margaret Cohen s careful editorial revision modernizes and renews Flaubert s stylistic masterpiece. In addition, Cohen has added to the Second Edition a new introduction, substantially new annotations, and twenty-one striking images, including photographs and engravings, that inform students understanding of middle-class life in nineteenth-century provincial France. In Madame Bovary, Flaubert created a cogent counter discourse that exposed and resisted the dominant intellectual and social ideologies of his age. The novel s subversion of conventional moral norms inevitably created controversy and eventually led to Flaubert s prosecution by the French government on charges of offending "public and religious morality." This Norton edition is the only one available that includes the complete manuscript from Flaubert s 1857 trial. "Criticism" includes sixteen studies regarding the novel s central themes, twelve of them new to the Second Edition, including essays by Charles Baudelaire, Henry James, Roland Barthes, Jonathan Culler, and Naomi Schor. A Chronology and Selected Bibliography are also included."

This book is a tribute to Donald Melzer's extraordinary contribution to psychoanalysis. It includes many of the papers given at the Tavistock Centre in London to celebrate Meltzer's 75th Birthday. Among the contributions, Margaret Rustin and Michael Rustin write on the work of Samuel Beckett; Gianna Williams elaborates upon Meltzer's thinking about the meeting of mother and baby; Didier Houzel discusses the aesthetic conflict and its connection with beauty and violence; and the Psychoanalytic Group of Barcelona describe their experience in working with Meltzer as a visiting supervisor. There are also several papers discussing the clinical relevance of Meltzer's thinking, particularly in work with children and adolescents.Apart from these papers, the book also contains a candid review by Meltzer of his own writing and thinking. This book provides a unique set of perspectives on his work and influence, and the sheer diversity of fields in which his thinking is now being used. It will surely be of continuing value to anyone interested in the state of psychoanalysis

A rich history of underwater filmmaking and how it has profoundly influenced the aesthetics of movies and public perception of the oceans In The Underwater Eye, Margaret Cohen tells the fascinating story of how the development of modern diving equipment and movie camera technology has allowed documentary and narrative filmmakers to take human vision into the depths, creating new imagery of the seas and the underwater realm, and expanding the scope of popular imagination. Innovating on the most challenging film set on earth, filmmakers have tapped the emotional power of the underwater environment to forge new visions of horror, tragedy, adventure, beauty, and surrealism, entertaining the public and shaping its perception of ocean reality. Examining works by filmmakers ranging from J. E. Williamson, inventor of the first undersea film technology in 1914, to Wes Anderson, who filmed the underwater scenes of his 2004 The Life Aquatic with Steve Zissou entirely in a pool, The Underwater Eye traces how the radically alien qualities of underwater optics have shaped liquid fantasies for more than a century. Richly illustrated, the book explores documentaries by Jacques Cousteau, Louis Malle, and Hans Hass, art films by Man Ray and Jean Vigo, and popular movies and television shows such as 20,000 Leagues Under the Sea, Creature from the Black Lagoon, Sea Hunt, the Bond films, Jaws, The Abyss, and Titanic. In exploring the cultural impact of underwater filmmaking, the book also asks compelling questions about the role film plays in engaging the public with the remote ocean, a frontline of climate change.

Doing Things Differently celebrates the work of Donald Meltzer, who was such a lively force in the training of child psychotherapists at the Tavistock Clinic for many years. The book represents the harvest of Meltzer's thinking and teaching, and covers such topics as dimensionality in primitive states of mind, dreaming, supervision, and the claustrum.

With particular reference to nineteenth-century French culture, the contributors explore the role realism has played in the social construction of gender and sexuality. Among their subjects are nineteenth-century physiologies, photographs, caricatures, and Balzac's Comedie humaine; the ethnographic claims of the Goncourts' naturalism and the historical claims of Zola's; and the allure of exotica displayed at new museums and international expositions.

For a century, the history of the novel has been written in terms of nations and territories: the English novel, the French novel, the American novel. But what if novels were viewed in terms of the seas that unite these different lands? Examining works across two centuries, "The Novel and the Sea" recounts the novel's rise, told from the perspective of the ship's deck and the allure of the oceans in the modern cultural imagination. Margaret Cohen moors the novel to overseas exploration and work at sea, framing its emergence as a transatlantic history, steeped in the adventures and risks of the maritime frontier.

Cohen explores how "Robinson Crusoe" competed with the best-selling nautical literature of the time by dramatizing remarkable conditions, from the wonders of unknown lands to storms, shipwrecks, and pirates. She considers James Fenimore Cooper's refashioning of the adventure novel in postcolonial America, and a change in literary poetics toward new frontiers and to the maritime labor and technology of the nineteenth century. Cohen shows how Jules Verne reworked adventures at sea into science fiction; how Melville, Hugo, and Conrad navigated the foggy waters of language and thought; and how detective and spy fiction built on sea fiction's problem-solving devices. She also discusses the transformation of the ocean from a theater of skilled work to an environment of pristine nature and the sublime.

A significant literary history, "The Novel and the Sea" challenges readers to rethink their land-locked assumptions about the novel.

"The Literary Channel" defines a crucial transnational literary "zone" that shaped the development of the modern novel. During the first two centuries of the genre's history, Britain and France were locked in political, economic, and military struggle. The period also saw British and French writers, critics, and readers enthusiastically exchanging works, codes, and theories of the novel. Building on both nationally based literary history and comparatist work on poetics, this book rethinks the genre's evolution as marking the power and limits of modern cultural nationalism.

In the Channel zone, the novel developed through interactions among texts, readers, writers, and translators that inextricably linked national literary cultures. It served as a forum to promote and critique nationalist cliches, whether from the standpoint of Enlightenment cosmopolitanism, the insurgent nationalism of colonized spaces, or the non-nationalized culture of consumption. In the process, the Channel zone promoted codes that became the genre's hallmarks, including the sentimental poetics that would shape fiction through the nineteenth century.

Uniting leading critics who bridge literary history and theory, "The Literary Channel" will appeal to all readers attentive to the future of literary studies, as well as those interested in the novel's development, British and French cultural history, and extra-national patterns of cultural exchange. Contributors include April Alliston, Emily Apter, Margaret Cohen, Joan DeJean, Carolyn Dever, Lynn Festa, Francoise Lionnet, Deidre Shauna Lynch, Sharon Marcus, Richard Maxwell, and Mary Helen McMurran."

The nineteenth-century French novel has long been seen as the heroic production of great men, who confronted in their works the social consequences of the French Revolution. And it is true that French realism, especially as developed by Balzac and Stendhal, was one of the most influential novelistic forms ever invented. Margaret Cohen, however, challenges the traditional account of the genesis of realism by returning Balzac and Stendhal to the forgotten novelistic contexts of their time. Reconstructing a key formative period for the novel, she shows how realist codes emerged in a "hostile take-over" of a prestigious contemporary sentimental practice of the novel, which was almost completely dominated by women writers.

Cohen draws on impressive archival research, resurrecting scores of forgotten nineteenth-century novels, to demonstrate that the codes most closely identified with realism were actually the invention of sentimentality, a powerful aesthetic of emerging liberal-democratic society, although Balzac and Stendhal trivialized sentimental works by associating them with "frivolous" women writers and readers. Attention to these gendered struggles over genre explains why women were not pioneers of realism in France during the nineteenth century, a situation that contrasts with England, where women writers played a formative role in inventing the modern realist novel. Cohen argues that to understand how literary codes respond to material factors, it is imperative to see how such factors take shape within the literary field as well as within society as a whole. The book also proposes that attention to literature as a social institution will help critics resolve the current, vital question of how to practice literary history in the wake of poststructuralism.

Among global environments, the undersea is unique in the challenges it poses - and the opportunities it affords - for sensation, perception, inquiry, and fantasy. The Aesthetics of the Undersea draws case studies in such potencies from the subaqueous imaginings of Western culture, and from the undersea realities that have inspired them. The chapters explore aesthetic engagements with underwater worlds, and sustain a concern with submarine "sense," in several meanings of that word: when submerged, faculties and fantasies transform, confronting human subjects with their limitations while enlarging the apparent scope of possibility and invention. Terrestrially-established categories and contours shift, metamorphose, or fail altogether to apply. As ocean health acquires an increasing share of the global environmental imaginary, the histories of submarine sense manifest ever-greater importance, and offer resources for documentation as well as creativity. The chapters deal with the sensory, material, and formal provocations of the underwater environment, and consider the consequences of such provocations for aesthetic and epistemological paradigms. Contributors, who hail from the United States, United Kingdom and Australia, include scholars of literature, art, new media, music and history. Cases studies range from baroque and rococo fantasies to the gothic, surrealism, modernism, and contemporary installation art. By juxtaposing early modern and Enlightenment contexts with matters of more recent - and indeed contemporary - importance, The Aesthetics of the Undersea establishes crucial relations among temporally remote entities, which will resonate across the environmental humanities.

Margaret Cohen's encounter with Walter Benjamin, one of the twentieth century's most influential cultural and literary critics, has produced a radically new reading of surrealist thought and practice. Cohen analyzes the links between Breton's surrealist fusion of psychoanalysis and Marxism and Benjamin's post-Enlightenment challenge to Marxist theory. She argues that Breton's surrealist Marxism played a formative role in shaping postwar French intellectual life and is of continued relevance to the contemporary intellectual scene.