In Repressed Spaces Paul Carter tours the cultural history of agoraphobia, the fear of open space. Its symptoms were first described in The Anatomy of Melancholy (1621) by Robert Burton, the British scholar and writer, although it wasn’t until 1871 that Carl Otto Westphal coined the term to describe several of his patients who experienced severe anxiety when walking through streets or squares. There have been many attempts to explain and treat the condition: critics of modernization have linked it to bad city planning; psychoanalysts, calling it "street panic", have blamed it on the Oedipus complex; psychiatrists have tied it to existential insecurity and describe it as the fear of places or situations that have triggered panic attacks. Freud believed that agoraphobia, like all phobias, was part of an "anxiety neurosis" and had a sexual origin. Taking as his starting-point the fact that Freud himself was agoraphobic, and analyzing the way people have negotiated open spaces from Greek and Roman times to the present day, Paul Carter finds that "space fear" ultimately results from the inhibition of movement. Along the way, the author asks why Freud repressed his agoraphobia, and examines literature, the work of architects and theorists – including Le Corbusier, Walter Benjamin and R. D. Laing – artists such as Munch, Lapique and Giacometti, and the German "street films" of the 1920s. He concludes by proposing a new way of regarding open space, a new "poetics of agoraphobia", one that is sensitive to the agoraphobe’s point of view and provides lessons for architects and urban planners today.

'This is what I really want. I want to discover ways to discriminate the important things in human life. I want to find ways of getting past this blind fumbling with existence.' - Marion Milner, from A Life of One’s Own. How often do we really ask ourselves, 'What will make me happy? What do I really want from life?' In A Life of One’s Own Marion Milner, a renowned British psychoanalyst, artist and autobiographer, takes us on an extraordinary and compelling seven-year inward journey to discover what it is that makes her happy. On its first publication, W. H. Auden found the book 'as exciting as a detective story' and, as Milner searches out clues, the reader quickly becomes involved in the chase. Using her own personal diaries, she analyses moments of everyday life that can bring surprising joy, such as walking, listening to music, and drawing. She also records, in a disarmingly clear and insightful manner, the struggle between the urge to order and control one’s thoughts and standing back to let them wander where they may. A pioneering account of lived experience that also anticipates the contemporary phenomenon of mindfulness, A Life of One’s Own is a great adventure in thinking and living whose insights remain as fresh today as they were on the book’s first publication in the 1930s. This Routledge Classics edition includes a revised Introduction by Rachel Bowlby.

Victims of the Book uncovers a long-neglected but once widespread subgenre: the fin-de-siècle novel of formation in France. In the final decades of the nineteenth century, social commentators insistently characterized excessive reading as an emasculating illness that afflicted French youth. Novels about and geared toward adolescent male readers were imbued with a deep worry over young Frenchmen’s masculinity, as evidenced by titles like Crise de jeunesse (Youth in Crisis, 1897), La Crise virile (Crisis of Virility, 1898), La Vie stérile (A Sterile Life, 1892), and La Mortelle Impuissance (Deadly Impotence, 1903). In this book, François Proulx examines a wide panorama of these novels, as well as polemical essays, pedagogical articles, and medical treatises on the perceived threats posed by young Frenchmen’s reading habits. Fin-de-siècle writers responded to this pathologization of reading with a profusion of novels addressed to young male readers, paradoxically proposing their own novels as potential cures. In the early twentieth century, this corpus was critically revisited by a new generation of writers. Victims of the Book shows how André Gide and Marcel Proust in particular reworked the fin-de-siècle paradox to subvert cultural norms about literature and masculinity, proposing instead a queer pact between writer and reader.

The first critical guide to the essential literature reflecting and expressing psychoanalytic approaches to religion, this volume's concentrates on critical assessments that steer the user toward works of lasting value. The book's first priority is to include publications clearly aimed at continuing the Freudian tradition and contributing to the psychoanalytic study of religion. The book will be of interest to scholars and students of psychology and religion as well as the general reader who is seeking works on those topics. Most of the psychoanalytic literature in English since 1920 is included and is organized in 21 topical sections. Cross-references and indexes increase the usefulness of the work. The author has tried to include every coherent effort, guided by psychoanalytic theory, to offer an explanation, understanding, or interpretation of religion or religious behavior. The work will be of interest in the fields of psychoanalysis, psychology, sociology, anthropology, history, literature, folklore, and religion. Public libraries will find this a valuable reference tool to offer the general reader who is interested in a broad spectrum of ideas.