Since its foundation a little over a century ago, psychoanalysis has been fascinated by literature. Freud himself was fond of saying that poets were there before him, hinting that the findings of psychoanalysis were foreshadowed in works of literature. Sophocles's Oedipus Rex and Shakespeare's Hamlet are only the most famous literary works around which Freud developed his ideas - but literature appears 'in' psychoanalysis in the shape of Freud's brilliant and inventive storytelling, as well as in explicit theoretical themes. Literature in Psychoanalysis explores the ongoing dialogue between literature and psychoanalysis in contemporary essays that revisit and revise classic Freudian positions (such as Freud's and Jones's reading of Hamlet, and Freud's account of the 'uncanny') and consider literary treatments of the analytic (including Nicolas Abraham's remarkable 'Sixth Act' to Hamlet and Helene Cixous's feminist dramatization of Freud's 'Dora' case history in Portrait of Dora). The volume also presents the use of literary terms in the post-Freudian history of Freud's 'Wolf Man' through the stunning work of Nicolas Abraham and Maria Torok on the Wolf Man's buried 'magic word'.Resisting the idea of 'applying' psychoanalytic theory to literature, Steve Vine's collection, along with his helpful introductory notes to each section and essay, shows the ways in which literature and psychoanalysis are involved with each other. It is an invaluable resource for teachers and students of literature and theory alike, and for all those with a general interest in the interaction between literature and psychoanalysis.

Looks at the return of the sublime in post-modernity, and at intimations of a 'post-Romantic' sublime in Romanticism itself. The sublime is explored as a discourse of 'invention' -- taking the Latin meaning of to 'come upon', 'find', 'discover' that involves an encounter with the new, the unregulated and the surprising. Lyotard and Zizek, among others, have reconfigured the sublime for post-modernity by exceeding the subject-centred discourse of Romantic aesthetics, and promoting not a sublime of the subject, but of the unpresentable, the 'Real', the unknown, the other. 'Reinventing the Sublime' looks at 18th-century, Romantic, modernist and post-modern 'inventions' of the sublime alongside contemporary critical accounts of the relationship of sublimity to subjectivity, aesthetics, politics and history, including '9/11'. It reads Burke and Kant alongside post-modern discourses on the sublime, and Wordsworth, De Quincey and Mary Shelley in relation to temporality and materiality in Romanticism, and considers 'modernist' inflections of the sublime in T.S. Eliot, Virginia Woolf and Djuna Barnes in relation to the themes of disjunction and excess in modernity. The author examines the postmodern revisiting of the sublime in Thomas Pynchon, D.M Thomas and Toni Morrison, and draws on Lyotard's reading of the sublime as an aesthetic of the avant-garde and as a singular and disruptive 'event', to argue that the sublime in its post-modern and contemporary forms encodes an anxious but affirmative relationship to the ironies of temporality and history. 'Reinventing the Sublime' focuses on the endurance of the sublime in contemporary thinking, and on the way that the sublime can be read as a figure of the relationship of representation to temporality itself.

Looks at the return of the sublime in post-modernity, and at intimations of a 'post-Romantic' sublime in Romanticism itself. The sublime is explored as a discourse of 'invention' -- taking the Latin meaning of to 'come upon', 'find', 'discover' that involves an encounter with the new, the unregulated and the surprising. Lyotard and Zizek, among others, have reconfigured the sublime for post-modernity by exceeding the subject-centred discourse of Romantic aesthetics, and promoting not a sublime of the subject, but of the unpresentable, the 'Real', the unknown, the other. 'Reinventing the Sublime' looks at 18th-century, Romantic, modernist and post-modern 'inventions' of the sublime alongside contemporary critical accounts of the relationship of sublimity to subjectivity, aesthetics, politics and history, including '9/11'. It reads Burke and Kant alongside post-modern discourses on the sublime, and Wordsworth, De Quincey and Mary Shelley in relation to temporality and materiality in Romanticism, and considers 'modernist' inflections of the sublime in T.S. Eliot, Virginia Woolf and Djuna Barnes in relation to the themes of disjunction and excess in modernity. The author examines the postmodern revisiting of the sublime in Thomas Pynchon, D.M Thomas and Toni Morrison, and draws on Lyotard's reading of the sublime as an aesthetic of the avant-garde and as a singular and disruptive 'event', to argue that the sublime in its post-modern and contemporary forms encodes an anxious but affirmative relationship to the ironies of temporality and history. 'Reinventing the Sublime' focuses on the endurance of the sublime in contemporary thinking, and on the way that the sublime can be read as a figure of the relationship of representation to temporality itself.

'Defying the Dragon' tells a remarkable story of audacity: of how the people of Hong Kong challenged the PRC's authority, just as its president reached the height of his powers. Is Xi's China as unshakeable as it seems? What are its real interests in Hong Kong? Why are Beijing's time-honoured means of control no longer working there? And where does this leave Hongkongers themselves? Stephen Vines has lived in Hong Kong for over three decades. His book shrewdly unpacks the Hong Kong-China relationship and its wider significance-right up to the astonishing convergence of political turmoil and international crisis with Covid-19 and the 2020 crackdown. Vividly describing the uprising from street level, Vines explains how and why it unfolded, and its global repercussions. Now, the international community is reassessing relations with Beijing, just as Hong Kong's rebellion and China's handling of the pandemic have exposed the regime's weakness. In a crisis that has become existential all round, what lies ahead for Hong Kong, China and the world?

William Blake is acknowledged as a poet of opposition and contradiction: a writer who, from Songs of Innocence and Experience to his last epic Jerusalem, ceaselessly explored the conflicts between limitation and possibility, reason and energy, torment and joy. But the contradictions within Blake's own 'visionary' poetics are less often considered. Throughout his work, Blake powerfully dramatises the energies and agonies of his own poetic labour.

Abandoning his wife and children, Aaron Sisson leaves the mining community in pursuit of the 'life single': individual freedom, personal friendship, the 'male power' of passion and art. Playing the flute to pay his way he travels to post-war London, where he mixes with the modern Bohemian set and finds male friendship in Rawdon Lilly. Further travels take him to Milan and Florence ('a town of men') preoccupied with thoughts on the decline of humanity from the Renaissance to the modern age. For Aaron, in his own way, is striving to save civilization. Aaron's Rod was completed in 1921 but was then censored by Lawrence's publishers. This edition of the novel, based on the only authoritative surviving typescript, restores these cut passages and eliminates the errors of previous editions.

This collection of psychoanalytic readings of literary texts and literary readings of psychoanalytic texts has been carefully designed to work as an effective teaching text for introducing students to the complexities of psychoanalytic theory in practice. The texts selected are widely studied and map the development of the field from Freud to the most contemporary work.