A re-edit of classic photobook of the 20th century. The transsexual community of Paris in the 1950s and 1960s.

Clara’s at a breaking point. She’s got writer’s block, her friends ask a lot without giving much, her psychologist is useless, and her demanding publishing job leaves little time for self care. She seeks solace in the community around her, yet, while her friends provide support and comfort, she is often left feeling empty, unable to express an underlying depression that leaves her immobilized and stifles any attempts at completing her poetry collection. In This is How I Disappear, Mirion Malle paints an empathetic portait of a young woman wrestling with psychological stress and the trauma following an experience of sexual assault. Malle displays frankness and a remarkable emotional intelligence as she explores depression, isolation, and self-harm in her expertly-drawn novel. Her heroine battles an onslaught of painful emotions and while Clara can provide consolation to those around her, she finds it difficult to bestow the same understanding unto herself. Only when she allows her community to guide her towards self-love does she find relief. Filled with 21st century idioms and social media communication, This Is How I Disappear opens a window into the lives of young people as they face a barrage of mental health hurdles. Scenes of sisterhood, fun nights out singing karaoke, and impromptu FaceTime therapy sessions show how this generation is coping, connecting, and healing together.

Depression is an experience known to millions. But arguments rage on aspects of its definition and its impact on societies present and past: do drugs work, or are they merely placebos? Is the depression we have today merely a construct of the pharmaceutical industry? Is depression under- or over-diagnosed? Should we be paying for expensive 'talking cure' treatments like psychoanalysis or Cognitive Behavioural Therapy? Here, Clark Lawlor argues that understanding the history of depression is important to understanding its present conflicted status and definition. While it is true that our modern understanding of the word 'depression' was formed in the late nineteenth and early twentieth centuries, the condition was originally known as melancholia, and characterised by core symptoms of chronic causeless sadness and fear. Beginning in the Classical period, and moving on to the present, Lawlor shows both continuities and discontinuities in the understanding of what we now call depression, and in the way it has been represented in literature and art. Different cultures defined and constructed melancholy and depression in ways sometimes so different as to be almost unrecognisable. Even the present is still a dynamic history, in the sense that the 'new' form of depression, defined in the 1980s and treated by drugs like Prozac, is under attack by many theories that reject the biomedical model and demand a more humanistic idea of depression - one that perhaps returns us to a form of melancholy.

Violet Ambrose is grappling with two major issues: Jay Heaton and her morbid secret ability. While the sixteen-year-old is confused by her new feelings for her best friend, she is more disturbed by her "power" to sense dead bodies - or at least those that have been murdered. Since she was a little girl, she has felt the echoes the dead leave behind in the world...and the imprints that attach to their killers. Violet has never considered her strange talent to be a gift, but now that a serial killer is terrorizing her small town Violet realizes she might be the only person who can stop him. Despite his fierce protectiveness over her, Jay reluctantly agrees to help Violet find the murderer - and Violet is unnerved by her hope that Jay's intentions are much more than friendly. But even as she's falling in love, Violet is getting closer to discovering a killer...and becoming his prey herself.

This textbook includes all 13 chapters of Français interactif. It accompanies www.laits.utexas.edu/fi, the web-based French program developed and in use at the University of Texas since 2004, and its companion site, Tex's French Grammar (2000) www.laits.utexas.edu/tex/ Français interactif is an open acess site, a free and open multimedia resources, which requires neither password nor fees. Français interactif has been funded and created by Liberal Arts Instructional Technology Services at the University of Texas, and is currently supported by COERLL, the Center for Open Educational Resources and Language Learning UT-Austin, and the U.S. Department of Education Fund for the Improvement of Post-Secondary Education (FIPSE Grant P116B070251) as an example of the open access initiative.

In this engrossing book, Hollis Clayson provides the first description and analysis of French artistic interest in women prostitutes, examining how the subject was treated in the art of the 1870s and 1880s by such avant-garde painters as Cézanne, Degas, Manet, and Renoir, as well as by the academic and low-brow painters who were their contemporaries. Clayson not only illuminates the imagery of prostitution-with its contradictory connotations of disgust and fascination-but also tackles the issues and problems relevant to women and men in a patriarchal society. She discusses the conspicuous sexual commerce during this era and the resulting public panic about the deterioration of social life and civilized mores. She describes the system that evolved out of regulating prostitutes and the subsequent rise of clandestine prostitutes who escaped police regulation and who were condemned both for blurring social boundaries and for spreading sexual licentiousness among their moral and social superiors. Clayson argues that the subject of covert prostitution was especially attractive to vanguard painters because it exemplified the commercialization and the ambiguity of modern life.