The Perfume of Soul from Freud to Lacan seeks to understand the human sense of smell and its marks on our subjectivity from a psychoanalytic perspective. Accessibly written, the book considers whether our understanding of the sense of smell and odours in culture has changed over time, and where we locate olfaction in theories of psychoanalysis. Beginning with the theorisation of the sense of smell in philosophy and medicine, Berjanet Jazani explores what treatment of this sense we can find in historical and contemporary linguistic and cultural context. Jazani then takes examples from the psychoanalytic clinic as well as cultural references, from cinema to ancient literature, to elaborate the marks of the olfactory experiences on our subjectivity and sexuality. Lacanian theories, clinical anecdotes and autobiographical references are woven together to raise some critical questions about the law of odours as well as the invisible marks of breathing on subjective position, body, and symptom. The Perfume of Soul from Freud to Lacan will be of great interest to psychoanalysts, academics, and all readers who are interested in psychoanalysis, philosophy, and culture.

Rather, Halpern argues, sodomy was implicated with aesthetic categories from the very start, as he traces a connection between sodomy and the unrepresentable that runs from Shakespeare's sonnets to Oscar Wilde's novella The Portrait of Mr. W. H., Freud's famous essay on Leonardo da Vinci, and Jacques Lacan's seminar on the ethics of psychoanalysis.

Freud's invention of psychoanalysis was based on his own desire to know something about the unconscious, but what have been the effects of this original desire on psychoanalysis ever since? How has Freud's desire created symptoms in the history of psychoanalysis? Has it helped or hindered its transmission? Exploring these questions brings Serge Cottet to Lacan's concept of the psychoanalyst's desire: less a particular desire like Freud's and more a function, this is what allows analysts to operate in their practice. It emerges during analysis and is crucial in enabling the analysand to begin working with the unconscious of others when they take on the position of analyst themselves. What is this function and how can it be traced in Freud's work? Cottet's book, first published in 1982 and revised in 1996, is a classic of Lacanian psychoanalysis. It is not only a scholarly study of Freud and Lacan, but a thought-provoking introduction to the key issues of Lacanian psychoanalysis.

"These days, who still has a soul?" asks Julia Kristeva in this psychoanalytic exploration. Drawing on her many years of experience as a practicing psychoanalyst, Kristeva reveals to readers a new kind of patient, symptomatic of an age of political upheaval, mass mediated culture, and the dramatic overhaul of familial and sexual mores. New Maladies of the Soul poses a troubling question about the human subject in the West today: Is the psychic space that we have traditionally known disappearing? Kristeva finds that the psychoanalytic models of Freud and Lacan need to be reread in light of this new patient, a product of the contemporary moral crisis of values resulting from a loss of ideology and a deterioration of belief. By revisiting Freud and Lacan, Kristeva offers the hope of a new psychoanalysis. Each patient, she contends, suffers from a unique malady which must be targeted. In the first half of the book, Kristeva offers a series of detailed case studies that reinforce her provocative theoretical notions. These case studies illustrate today's "new maladies"—common psychiatric disturbances as they are manifested in today's patient. Drawing on the work of the psychologist Helene Deutsch and the writer Germaine de Stael. Kristeva turns her attention to women's experiences and contributions. Delving into art, literature, autobiography, and theories of language, she continues with an exploration of cultural products ranging from the Bible to the work of Leonardo da Vinci. Kristeva offers the hope that these maladies harbor new creative potential and new hope for the soul—if we can comprehend their effect on the individual and collective experiences of our time.

Starting with St. Paul's argument that the Greeks were afflicted with homosexuality to punish their excessive love of statues, Richard Halpern uncovers a tradition in which aesthetic experience gives birth to the sexual—and thus reverses the Freudian thesis that erotic desire is sublimated into art. Rather, Halpern argues, sodomy was implicated with aesthetic categories from the very start, as he traces a connection between sodomy and the unrepresentable that runs from Shakespeare's Sonnets to Oscar Wilde's novella The Portrait of Mr. W.H., Freud's famous essay on Leonardo da Vinci, and Jacques Lacan's seminar on the ethics of psychoanalysis. Drawing on theology, alchemy, psychoanalysis, philosophy, and literary criticism, Shakespeare's Perfume explores how the history of aesthetics and the history of sexuality are fundamentally connected.

Sullivan explores the impact of Aristotelian and Cartesian conceptions of humanness on works by Shakespeare, Spenser, Milton and Sidney.

How Does Analysis Work? uses short, compelling vignettes from people in Lacanian analysis to explore how analytic interpretation works. Insights, revelations, connections, meanings and non-meanings all feature in these anonymous accounts of crucial moments in analysis, providing a sense of what it is all about. Drawn from a wide range of analysands, some seasoned analysts and others just starting out, these vignettes show how change takes place. The short pieces are drawn from Lacanian analysis, but many go against cliched views of what Lacanians do in their work, spanning both the classical and the radically innovative and showing the use of humour and theatre in psychoanalytic practice. How Does Analysis Work? will be of great interest to psychoanalysts and Lacanian analysts in practice and in training, as well as anyone who is curious about the analytic process.