Describes Delphi seminars, a teaching method developed by the authors during the 1970's at the Center for the Psychological Study of the Arts at the State University of New York, Buffalo. Designed primarily for the teaching of literature and the arts, the method can be applied to any subject at any level. The goal of the Delphi seminars is to engage students with the subject matter beginning with their personal experiences with the text.

Norman Holland was unquestionably the leading 20th-century American psychoanalytic literary critic. Long known as the Dean of American psychoanalytic literary critics, Holland produced an enormous body of scholarship that appeals to both neophytes in the field and advanced researchers, many of whom have been influenced by his writings. Holland was one of the first proponents of reader-response criticism, the theorist of readers' identity themes, and the author of fifteen books that have become classics in the field. Jeffrey Berman analyzes all of Holland's books, and many of his 250 scholarly articles, highlighting continuities and discontinuities in the critic's thinking over time. A controversial if not polarizing figure, Holland is discussed in relation to his closest colleagues, including Murray Schwartz, Bernard Paris, and Leslie Fiedler, as well as his fiercest critics, among them Frederick Crews, David Bleich, and Jonathan Culler, creating a dynamic and personal portrait. Insofar as this text illuminates the evolving mind of a premier literary critic, it produces a parallel profile of the American reader, the primary object of Holland's extensive work.

Know Thyself: The Value and Limits of Self-Knowledge takes the reader on tour of the nature, value, and limits of self-knowledge. Mitchell S. Green calls on classical sources like Plato and Descartes, 20th-century thinkers like Freud, recent developments in neuroscience and experimental psychology, and even Buddhist philosophy to explore topics at the heart of who we are. The result is an unvarnished look at both the achievements and drawbacks of the many attempts to better know one’s own self. Key topics in this volume include: Knowledge – what it means to know, the link between wisdom and knowledge, and the value of living an "examined life" Personal identity – questions of dualism (the idea that our mind is not only our brain), bodily continuity, and personhood The unconscious — including the kind posited by psychoanalysis as well as the form proposed by recent research on the so-called adaptive unconscious Free will – if we have it, and the recent arguments from neuroscience challenging it Self-misleading – the ways we willfully deceive ourselves, and how this relates to empathy, peer disagreement, implicit bias, and intellectual humility Experimental psychology – considerations on the automaticity of emotion and other cognitive processes, and how they shape us This book is designed to be used in conjunction with the free ‘Know Thyself’ MOOC (massive open online course) created through collaboration of the University of Connecticut's Project on Humility and Conviction in Public Life, and the University of Edinburgh’s Eidyn research centre, and hosted on the Coursera platform (https://www.coursera.org/learn/know-thyself). The book is also suitable as a text for interdisciplinary courses in the philosophy of mind or self-knowledge, and is highly recommended for anyone looking for a short overview of this fascinating topic.

Sigmund Freud can be a polarizing figure, beloved by many and despised by some. Focusing on eight key writers and scholars who either passionately loved or gleefully loathed Freud, this book represents Freud's wide legacy, the reach of his ideas, their controversies, and their ability still to provoke, inspire, confound, outrage, and compel. The book begins by focusing on four highly prolific authors whose admiration for Freud is boundless: Lionel Trilling, Harold Bloom, Kurt R. Eissler, and Peter Gay. Berman then explores four more writers whose aim was not simply to debunk Freud and destroy his monstrous creation but to cast both into hell: D. H. Lawrence, Vladimir Nabokov, Thomas Szasz, and Frederick Crews. Each chapter discusses the author's involvement with Freud, exploring the continuities and discontinuities of his or her writings, as well as offering snapshots of the writers, suggesting how their personal and professional lives were inextricably related. Berman draws out some surprising commonalities between the Freudolaters and Schadenfreudians, going on to discuss the current state of psychoanalysis and the “psychoanalytic credos” by which contemporary analysts live.

LITERATURE AND THE BRAIN goes straight to the human core of literature when it explains the different ways our brains convert stories, poems, plays, and films into pleasure. When we are deep into a film or book, we find ourselves "absorbed," unaware of our bodies or our surroundings. We don't doubt the existence of Spider-Man or Harry Potter, and we have real feelings about these purely imaginary beings. Our brains are behaving oddly, because we know we cannot act to change what we are seeing. This is only one of the special ways our brains behave to with literature, ways that LITERATURE AND THE BRAIN reveals. 474 pp. 13 ill.

A thoroughly revised edition of this successful undergraduate introduction to literary theory, this text includes core pieces by leading theorists from Russian Formalists to Postmodernist and Post-colonial critics. An ideal teaching resource, with helpful introductory notes to each chapter.

Literature and Emotion not only provides a defining overview of the field but also engages with emerging trends. Answering key questions such as ‘What is emotion?’ and ‘Why emotion and literature today?,’ Patrick Colm Hogan presents a clear and accessible introduction to this exciting topic. Readers should come away from the book with a systematic understanding of recent research on and theorization of emotion, knowledge of the way affective science has impacted literary study, and a sense of how to apply that understanding and knowledge to literary works.