Set in San Francisco, Brocken Spectre examines the way the past presses up against the present. The speaker, raised in the wake of the AIDS crisis, engages with ideas of belatedness, of looking back to a past that cannot be inhabited, of the ethics of memory, and of the dangers in memorializing and romanticizing tragedy.

Tomas wants to be like his father - strong, brave and fearless. Pappi is a mountain guide, often away from home. He has taught Tomas to love the mountains, but also to fear their dangers - the winds and blizzards, the treacherous paths, the giddying slopes. Above all, Tomas fears the Brockenspectre - a huge, shadowy creature that lives alone in the heights, waiting for unwary climbers. Its looming figure haunts his thoughts and his dreams. When Pappi goes out one day and fails to return, Tomas knows it's up to him to search - up on the high mountain passes, where dangers await. Will Tomas find his father . . . or will the Brockenspectre find him?

Because of the ease with which we perceive, many people see perception as something that "just happens." However, even seemingly simple perceptual experiences involve complex underlying mechanisms, which are often hidden from our conscious experience. These mechanisms are being investigated by researchers and theorists in fields such as psychology, cognitive science, neuroscience, computer science, and philosophy. A few examples of the questions posed by these investigations are, What do infants perceive? How does perception develop? What do perceptual disorders reveal about normal functioning? How can information from one sense, such as hearing, be affected by information from another sense, such as vision? How is the information from all of our senses combined to result in our perception of a coherent environment? What are some practical outcomes of basic research in perception? These are just a few of the questions this encyclopedia will consider, as it presents a comprehensive overview of the field of perception for students, researchers, and professionals in psychology, the cognitive sciences, neuroscience, and related medical disciplines such as neurology and ophthalmology.

A Dictionary of Hallucinations is designed to serve as a reference manual for neuroscientists, psychiatrists, psychiatric residents, psychologists, neurologists, historians of psychiatry, general practitioners, and academics dealing professionally with concepts of hallucinations and other sensory deceptions.

Whether the rapt trances of Romanticism or the corpse-like figures that confounded Victorian science and religion, nineteenth-century depictions of bodies in suspended animation are read as manifestations of broader concerns about the unknowable in Anne C. McCarthy’s Awful Parenthesis. Examining various aesthetics of suspension in the works of poets such as Coleridge, Shelley, Tennyson, and Christina Rossetti, McCarthy shares important insights into the nineteenth-century fascination with the sublime. Attentive to differences between "Romantic" and "Victorian" articulations of suspension, Awful Parenthesis offers a critical alternative to assumptions about periodization. While investigating various conceptualizations of suspension, including the suspension of disbelief, suspended animation, trance, paralysis, pause, and dilatation, McCarthy provides historically-aware close readings of nineteenth-century poems in conversation with prose genres that include devotional works, philosophy, travel writing, and periodical fiction. Awful Parenthesis reveals the cultural obsession with the aesthetics of suspension as a response to an expanding, incoherent world in crisis, one where the audience is both active participant and passive onlooker.

With ovear 3000 cross-referenced entries this is an invaluable reference to the mystical and esoteric traditions. It gives succinct definitions in the fields of magic hermeticism, alchemy, spiritualism, parapsychology, eastern and western mysticism, mind and consciousness research divination, tarot, and a variety of less welll-known subjects. It also features biographies of leading figures in the field with details of their lives, philosophies and writings- from astrologer Evangeline Adams to the prophet Zarathustra.

Disinterest has been a major concept in Western philosophy since Descartes. Its desirability and importance have been disputed, and its deifinition reworked. by such pivotal figures as Nietzsche, Shaftesbury, Locke and Kant. In this groundbreaking book, Sean Gaston looks at the treatment of disinterest in the work of two major modern Continental philosophers: Jacques Derrida and Emmanuel Levinas. He identifies both as part of a tradition, obscured since the eighteenth-century, that takes disinterest to be the opposite of self-interest, rather than the absence of all interest. Such a tradition locates disinterest at the centre of thinking about ethics. The book argues that disinterest plays a signifcant role in the philosophy of both thinkers and in the dialogue between their work. In so doing it sheds new light on their respective contributions to moral and political philosophy. Moreover, it traces the history of disinterest in Western philosophy from Descartes to Derrida, taking contributions and in the of major philosopher in both the analytic, Anglo-American and Continental traditions: Locke; Shaftesbury; Hume; Smith; Nietzsche; Kant; Hegel; Heidegger. Derrida and Disinterest offers a new reading of Derrida, a stimulating account of the role and importance of disinterest in the history of Western philosophy and a provocative and original contribution to Continental ethics.