The ideas of psychoanalyst Otto Gross (1877 - 1920) have had a seminal influence on the development of the psychoanalytic discipline and yet his work has been largely overlooked. Sexual Revolutions introduces the work of Otto Gross to the academic and clinical fields of psychoanalysis and Jungian Analysis.

From the launch of the Journal of Social Research in 1932 to the recent work of Jurgen Habermas on law and democracy, the Frankfurt School has produced some of the most ambitious and influential theories of the past century. This new introduction to the critical theory of the School provides a thorough, concise and up-to-date assessment of thinkers including Pollock, Marcuse, Horkheimer, Adorno, Neumann, Lowenthal, Fromm, Kirchheimer and Habermas. Peter Stirk's lively account places the formative work of the School within the context of the Weimar Republic and of Nazi Germany. He contrasts this environment with the very different background of 1950s Germany in which Habermas embarked on his academic career. Stirk goes on to discuss the enduring relevance of political theory to the contemporary political agenda. In particular, he illustrates the continuing validity of the Frankfurt School's criticism of positivist, metaphysical and more recently postmodernist views, and its members' attempts to incorporate psychological perspectives into broader theories of social dynamics. He assesses their contribution to key areas of contemporary debate, including morality, interest, individual and collective identity and the analysis of authoritarian and democratic states. Specifically focused on the interests and needs of social scientists, philosophers and historians of ideas, Critical Theory, Politics and Society is an essential book both for students and for all those who wish to grasp the contours of critical theory and to understand its enduring relevance.

Reconsiders the role played by mimesis - and by Goethe's Wilhelm Meister as a mimetic work - in the novels of Early German Romanticism. Mimesis, or the imitation of nature, is one of the most important concepts in eighteenth-century German literary aesthetics. As the century progressed, classical mimeticism came increasingly under attack, though it also held its position in the works of Goethe, Schiller, and Moritz. Much recent scholarship construes Early German Romanticism's refutation of mimeticism as its single distinguishing trait: the Romantics' conception of art as the very negationof the ideal of imitation. In this view, the Romantics saw art as production (poiesis): imaginative, musical, transcendent. Mattias Pirholt's book not only problematizes this view of Romanticism, but also shows that reflections on mimesis are foundational for the German Romantic novel, as is Goethe's great pre-Romantic novel Wilhelm Meister's Apprenticeship. Among the novels examined are Friedrich Schlegel's Lucinde, shown to be transgressive in its use of the aesthetics of imitation; Novalis's Heinrich von Ofterdingen, interpreted as an attempt to construct the novel as a self-imitating world; and Clemens Brentano's Godwi, seen to signal the endof Early Romanticism, both fulfilling and ironically deconstructing the self-reflective mimeticism of the novels that came before it. Mattias Pirholt is a Research Fellow in the Department of Literature at Uppsala University, Sweden.

Herbert Marcuse, Erich Fromm, Max Horkheimer, Franz Neumann, Theodor Adorno, Leo Lowenthal—the impact of the Frankfurt School on the sociological, political, and cultural thought of the twentieth century has been profound. The Dialectical Imagination is a major history of this monumental cultural and intellectual enterprise during its early years in Germany and in the United States. Martin Jay has provided a substantial new preface for this edition, in which he reflects on the continuing relevance of the work of the Frankfurt School.

Provides a view of the late Stifter as a forerunner of twentieth-century modernism.Adalbert Stifter has always been viewed as a natural heir to the Great Classical tradition, even by those critics who detect disturbing subtexts in his fiction. But he should be viewed quite differently: however well disguised, heis in truth a closet modernist, and a major trailblazer for Kafka and the Absurd. This is most evident in his late fiction, which has been almost universally ignored, dismissed or disparaged by his critics. His last novel Witiko in particular has been conspicuously neglected by both nineteenth- and twentieth-century critics. Ragg-Kirkby demonstrates -- largely by way of close reading -- that this is Stifter's extreme masterpiece. Beneath the surface of Biedermeier stuffiness is a vision of fracture, emptiness, meaninglessness, and mania not only more radical than that of any other 19th-century author, but arguably more radical than that of any 20th-century author, precisely because there is such a disjuncture between text and sub-text. In his final novel, Stifter simply leaves the future behind. Helena Ragg-Kirkby is a lecturer in German at the University of Sheffield.uncture between text and sub-text. In his final novel, Stifter simply leaves the future behind. Helena Ragg-Kirkby is a lecturer in German at the University of Sheffield.uncture between text and sub-text. In his final novel, Stifter simply leaves the future behind. Helena Ragg-Kirkby is a lecturer in German at the University of Sheffield.uncture between text and sub-text. In his final novel, Stifter simply leaves the future behind. Helena Ragg-Kirkby is a lecturer in German at the University of Sheffield.

Classic study of Jewish libertarian thought, from Walter Benjamin to Franz Kafka Towards the end of the nineteenth century, there appeared in Central Europe a generation of Jewish intellectuals whose work was to transform modern culture. Drawing at once on the traditions of German Romanticism and Jewish messianism, their thought was organized around the cabalistic idea of the “tikkoun”: redemption. Redemption and Utopia uses the concept of “elective affinity” to explain the surprising community of spirit that existed between redemptive messianic religious thought and the wide variety of radical secular utopian beliefs held by this important group of intellectuals. The author outlines the circumstances that produced this unusual combination of religious and non-religious thought and illuminates the common assumptions that united such seemingly disparate figures as Martin Buber, Franz Kafka, Walter Benjamin and Georg Lukács.