We are all haunted by things we fear, repress, and those things of which we have no conscious knowledge. We are thus haunted by a variety of "ghosts" in our lives so that, at times, we might notice those things we have ignored, and so too allow the repressed elements of our world a chance to speak more directly to us. Being honest with ourselves means listening better to what haunts us, and to wrestle with our own ghosts, as humans have often claimed throughout history to wrestle with God. Recognizing how we are ceaselessly haunted by that which threatens to undo our representations of ourselves is what draws together a series of reflections in this book on how we will never be able to rid ourselves of such hauntings. By examining a series of "hauntings," this study looks at what continues to haunt the field of continental philosophy, the various things that haunt our sovereign construction of ourselves, the church, our words and language in general, and even how our texts are endlessly haunted by the autobiographical "I" we are often taught to exclude from our writings.

Haunted Selves, Haunting Places in English Literature and Culture offers a series of readings of poetry, the novel and other forms of art and cultural expression, to explore the relationship between subject and landscape, self and place. Utilizing an interdisciplinary approach grounded in close reading, the text places Jacques Derrida’s work on spectrality in dialogue with particular aspects of phenomenology. The volume explores writing and culture from the 1880s to the present day, proceeding through four sections examining related questions of identity, memory, the landscape, and our modern relationship to the past. Julian Wolfreys presents a theoretically informed understanding of the efficacy of literature and culture in connecting us to the past in an affective and engaged manner.

Life is an ongoing struggle for patients who have been chronically traumatized. They typically have a wide array of symptoms, often classified under different combinations of comorbidity, which can make assessment and treatment complicated and confusing for the therapist. Many patients have substantial problems with daily living and relationships, including serious intrapsychic conflicts and maladaptive coping strategies. Their suffering essentially relates to a terrifying and painful past that haunts them. Even when survivors attempt to hide their distress beneath a facade of normality—a common strategy—therapists often feel besieged by their many symptoms and serious pain. Small wonder that many survivors of chronic traumatization have seen several therapists with little if any gains, and that quite a few have been labeled as untreatable or resistant. In this book, three leading researchers and clinicians share what they have learned from treating and studying chronically traumatized individuals across more than 65 years of collective experience. Based on the theory of structural dissociation of the personality in combination with a Janetian psychology of action, the authors have developed a model of phase-oriented treatment that focuses on the identification and treatment of structural dissociation and related maladaptive mental and behavioral actions. The foundation of this approach is to support patients in learning more effective mental and behavioral actions that will enable them to become more adaptive in life and to resolve their structural dissociation. This principle implies an overall therapeutic goal of raising the integrative capacity, in order to cope with the demands of daily life and deal with the haunting remnants of the past, with the “unfinished business” of traumatic memories. Of interest to clinicians, students of clinical psychology and psychiatry, as well as to researchers, all those interested in adult survivors of chronic child abuse and neglect will find helpful insights and tools that may make the treatment more effective and efficient, and more tolerable for the suffering patient.

"The question, 'Who am I?' resounded throughout the surrealist movement. The exploration of dreams and the unconscious prompted surrealists to reject the notion of a unified, indivisible self by revealing the subject to be haunted by otherness and instability. In this book David Lomas explores the surrealist concepts of the self and subjectivity from a psychoanalytic viewpoint. Employing a series of case studies devoted to individual artists, Lomas arrives at a radically new account of surrealist art and its cultural and intellectual roots." "Weaving together psychoanalytic and historical material, the author analyses works by Ernst, Dali, Masson, Miro and Picasso with regard to such themes as automatism, hysteria, the uncanny and the abject. Lomas focuses closely on individual artworks, examines the specific circumstances in which they were produced and offers new insights into the artists and their projects as well as the theories of Bataille, Breton and others. Lomas demonstrates the powerful connection between the history of psychoanalysis and the history of surrealism, and along the way shows the unique value of psychoanalytic theory as a tool for the art historian."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

This is a book of ghost stories, and for the most part, ghosts are jealous monsters, intent upon our destruction. They never appear overtly here, yet we gradually become aware of their presence the way spirits in haunted houses trod over creaky floors, slam doors, and issue sudden gusts of wind. The poems are Koan-like—the fewer the words, the more charged they are. The engine driving this sense of haunting and loss is money, which Davis describes as “federal bone” boiling around us. Bison in Nebraska are reduced to bones, “seven/standing men/tall” fodder for the fertilizer used by farmers in the 1800s. Though they often specify dates, there’s an equality to the hauntings—every instance has its moment, and persists, despite being in the past, present, or future. If there really was a 1980 or 1848 or 1499, Davis implies it is somewhere. Index of Haunted Houses is spooky and sad—a stunning debut, one that will surprise, convince, and most of all, delight.

'The path up is the path down... The way back is the way onward... Black is white and white is black... The great secret is no secret... Come closer and I will tell you...' * * * * * * * * * * * * * * * * * * * * * * * * New poems and writings where being haunted is shorthand for the poetics of memories and feelings. * * * * * * * * * * * * * * * * * * * * * * * * "I've loved Toby Chown's sparse poetry for some time. This small collection is a gem, full of woven myths and deep imaginings. He goes to dark places to find small flowers growing and shines moonlight on our evaporating civilisation. And the deathly line at the heart of it could stand as the admonition for our age: 'Learn to become haunted.'" - Steve Thorp, author of Soul Meditations and editor, Unpsychology Magazine