Toward the Psychology of Malefaction This is a book about human wickedness. I would like to identify two obstacles in the path that this book seeks to traverse. One obstacle is an inappropriate scientism; the other is an inappropriate moralism. There is a kind of scientism that prevents us from seeing that human beings are responsible for what happens on the planet. It is a view that, in the name of science, downplays the role of human beings as agents in what takes place. This view is often expressed in a paradigm that regards human conduct as the "dependent variable," while anything that impinges on the human being is considered the "independent variable." The paradigm further takes the relationship between the dependent and independent variable to be the result of natural law. It charac teristically ignores the possibility that individual or collective deci sion or policy, generated by human beings and not by natural law, is and can be regulatory of conduct.

The Englishwoman’s Review, which published from 1866 to 1910, participated in and recorded a great change in the range of possibilities open to women. The ideal of the magazine was the idea of the emerging emancipated middle-class woman: economic independence from men, choice of occupation, participation in the male enterprises of commerce and government, access to higher education, admittance to the male professions, particularly medicine, and, of course, the power of suffrage equal to that of men. First published in 1979, this twelfth volume contains issues from 1879. With an informative introduction by Janet Horowitz Murray and Myra Stark, and an index compiled by Anna Clark, this set is an invaluable resource to those studying nineteenth and early twentieth-century feminism and the women’s movement in Britain.

Am I depressed or just unhappy? In the last two decades, antidepressants have become staples of our medicine cabinets—doctors now write 120 million prescriptions annually, at a cost of more than 10 billion dollars. At the same time, depression rates have skyrocketed; twenty percent of Americans are now expected to suffer from it during their lives. Doctors, and drug companies, claim that this convergence is a public health triumph: the recognition and treatment of an under-diagnosed illness. Gary Greenberg, a practicing therapist and longtime depressive, raises a more disturbing possibility: that the disease has been manufactured to suit (and sell) the cure. Greenberg draws on sources ranging from the Bible to current medical journals to show how the idea that unhappiness is an illness has been packaged and sold by brilliant scientists and shrewd marketing experts—and why it has been so successful. Part memoir, part intellectual history, part exposé—including a vivid chronicle of his participation in a clinical antidepressant trial—Manufacturing Depression is an incisive look at an epidemic that has changed the way we have come to think of ourselves.

This is the story of a dedicated group of foreign and Chinese reformers who tried, but failed, to solve China's intractable industrial problems over the three decades prior to 1949. It explores the complex rivalries of Chinese and foreigners against a backdrop of extreme nationalism.

​This book demonstrates how social distress or anxiety is reflected, modified, and evolves through the medium of the motion picture. Tracing cinema from its earliest forms, the authors show how film is a perfect medium for generating and projecting dreams, fantasies, and nightmares, on the individual as well as the societal level. Arising at the same time as Freud’s influential ideas, cinema has been intertwined with the wishes and fears of the greater culture and has served as a means of experiencing those feelings in a communal and taming environment. From Munsterberg’s original pronouncements in the early 20th century about the psychology of cinema, through the pioneering films of Melies, the works of the German expressionists, to James Bond and today’s superheroes this book weaves a narrative highlighting the importance of the social dream. It develops the idea that no art form goes beyond the ordinary process of consciousness in the same way as film, reflecting, as it does, the cognitive, emotional, and volitional aspects of human nature.​