The myth of the Victorian family remains a pervasive influence within a contemporary Britain that perceives itself to be in social crisis. Nostalgic for a golden age of "Victorian values" in which visions of supportive, united families predominate, the common consciousness, exhorted by social and political discourse, continues to vaunt the "traditional, natural" family as the template by which all other family forms are gauged. Yet this fantasy of family, nurtured and augmented throughout the Victorian era, was essentially a construct that belied the realities of a nineteenth-century world in which orphanhood, fostering, and stepfamilies were endemic. Focusing primarily on British children's texts written by women and drawing extensively on socio-historic material, The Fantasy of Family considers the paradoxes implicit to the perpetuation of the domestic ideal within the Victorian era and offers new perspectives on both nineteenth-century and contemporary society.

The challenge faced by family businesses and their stakeholders, is to recognise the issues that they face, understand how to develop strategies to address them and more importantly, to create narratives, or family stories that explain the emotional dimension of the issues to the family. The most intractable family business issues are not the business problems the organisation faces, but the emotional issues that compound them. Applying psychodynamic concepts will help to explain behaviour and will enable the family to prepare for life cycle transitions and other issues that may arise. Here is a new understanding and a broader perspective on the human dynamics of family firms with two complementary frameworks, psychodynamic and family systematic, to help make sense of family-run organisations. Although this book includes a conceptual section, it is first and foremost a practical book about the real world issues faced by business families. The book begins by demonstrating that many years of achievement through generations can be destroyed by the next, if the family fails to address the psychological issues they face. By exploring cases from famous and less well known family businesses across the world, the authors discuss entrepreneurs, the entrepreneurial family and the lifecycles of the individual and the organisation. They go on to show how companies going through change and transition can avoid the pitfalls that endanger both family and company. The authors then apply tools that will help family businesses in transition and offer their analyses and conclusions. Readers should draw their own conclusions from careful examination of the cases, identifying the problems or dilemmas faced and the options for improved business performance and family relationships. They should ask what they might have done in the given situation and what new insight into individual or family behaviour each case offers. The goal is to avoid a bitter ending.

From the villainous beast of “Little Red Riding Hood” and “The Three Little Pigs,” to the nurturing wolves of Romulus and Remus and Rudyard Kipling’s The Jungle Book, the wolf has long been a part of the landscape of children’s literature. Meanwhile, since the 1960s and the popularization of scientific research on these animals, children’s books have begun to feature more nuanced views. In Picturing the Wolf in Children’s Literature, Mitts-Smith analyzes visual images of the wolf in children’s books published in Western Europe and North America from 1500 to the present. In particular, she considers how wolves are depicted in and across particular works, the values and attitudes that inform these depictions, and how the concept of the wolf has changed over time. What she discovers is that illustrations and photos in works for children impart social, cultural, and scientific information not only about wolves, but also about humans and human behavior. First encountered in childhood, picture books act as a training ground where the young learn both how to decode the “symbolic” wolf across various contexts and how to make sense of “real” wolves. Mitts-Smith studies sources including myths, legends, fables, folk and fairy tales, fractured tales, fictional stories, and nonfiction, highlighting those instances in which images play a major role, including illustrated anthologies, chapbooks, picture books, and informational books. This book will be of interest to children’s literature scholars, as well as those interested in the figure of the wolf and how it has been informed over time.

What constitutes a ‘national literature’ is rarely straightforward, and it is especially complex when discussing writing for young people in an Irish context. Until recently, there was only a slight body of work that could be classified as ‘Irish children’s literature’ (whatever the parameters) in comparison with Ireland’s contribution to adult literature in the twentieth century. This volume looks critically at Irish writing for children from the 1980s to the present, examining the work of many writers and illustrators and engaging with all the major forms and genres. Topics include the gothic, the speculative, picturebooks, poetry, post-colonial discourse, identity and ethnicity, and globalization. Modern Irish children’s literature is also contextualized in relation to Irish mythology and earlier writings, thereby demonstrating the complexity of this fascinating area. The contributors, who are leading experts in their fields, examine a range of texts in relation to contemporary literary and cultural theory, and also in relation to writing for adults, thereby inviting a consideration of how well writing for a young audience can compare with writing for an adult one. This groundbreaking work is essential reading for all interested in Irish literature, childhood, and children’s literature.

This book studies children’s and young adult literature of genocide since 1945, considering issues of representation and using postcolonial theory to provide both literary analysis and implications for educating the young. Many of the authors visited accurately and authentically portray the genocide about which they write; others perpetuate stereotypes or otherwise distort, demean, or oversimplify. In this focus on young people’s literature of specific genocides, Gangi profiles and critiques works on the Cambodian genocide (1975-1979); the Iraqi Kurds (1988); the Maya of Guatemala (1981-1983); Bosnia, Kosovo, and Srebrenica (1990s); Rwanda (1994); and Darfur (2003-present). In addition to critical analysis, each chapter also provides historical background based on the work of prominent genocide scholars. To conduct research for the book, Gangi traveled to Bosnia, engaged in conversation with young people from Rwanda, and spoke with scholars who had traveled to or lived in Guatemala and Cambodia. This book analyses the ways contemporary children, typically ages ten and up, are engaged in the study of genocide, and addresses the ways in which child survivors who have witnessed genocide are helped by literature that mirrors their experiences.

Volume 17 of Progress in Self Psychology, The Narcissistic Patient Revisited, begins with the next installment of Strozier's "From the Kohut Archives": first publication of a fragment by Kohut on social class and self-formation and of four letters from his final decade. Taken together, Hazel Ipp's richly textured "Case of Gayle" and the commentaries that it elicits amount to a searching reexamination of narcissistic pathology and the therapeutic process. This illuminating reprise on the clinical phenomenology Kohut associated with "narcissistic personality disorder" accounts for the volume title. The ability of modern self psychology to integrate central concepts from other theories gains expression in Teicholz's proposal for a two-tiered theory of intersubjectivity, in Brownlow's examination of the fear of intimacy, and in Garfield's model for the treatment of psychosis. The social relevance of self psychology comes to the fore in an examination of the experience of adopted children and an inquiry into the roots of mystical experience, both of which concern the ubiquity of the human longing for an idealized parent imago. Among contributions that bring self-psychological ideas to bear on the arts, Frank Lachmann's provocative "Words and Music," which links the history of music to the history of psychoanalytic thought in the quest for universal substrata of psychological experience, deserves special mention. Annette Lachmann's consideration of empathic failure among the characters in Shakespeare's Othello and Silverstein's reflections on Schubert's self-states and selfobject needs in relation to the specific poems set to music in his Lieder round out a collection as richly broad based as the field of self psychology itself.