Kirjahaku

"The world is full of hate but few people know how to hate well". So begins Gerald Schoenewolf's study of hate. His main argument is that most people hate in destructive ways. As individuals we routinely act out hateful feelings - from jealousy to loathing to bitterness to contempt to disgust to irritation to rage - with hardly a backward glance. We are concerned with the immediate need to protect ourselves, or to get and create a climate of animosity and distrust. To hate well, we must be able to distinguish between our objective and subjective hate, willing to risk verbalizing the objective hate and determined to ride out the consequences of verbalizing it. This book explores the many ways people express subjective hate - including characterological, perverse, cultural, political, sexual and parent-child hate. It provides a history of the development of the art of hating in the psychotherapeutic laboratory, and then a chapter on the "art of hating in everyday life". In a final chapter, "The Future of Hate", Schoenewolf confesses that this book is itself an expression of hate - objective hate - which he hopes will move readers to become more aware of how their subjective hate impedes them, It is written without psychoanalytic jargon and aims to be of interest to both professionals and lay people.

To find more information about Rowman and Littlefield titles, please visit www.rowmanlittlefield.com.

This is the second volume of a series that collects my most prominent screenplays. FREUD IN LOVE AND THREE OTHER SCREENPLAYS is, like those in the first volume, is comprised of literary screenplays; two are adaptions of noted literary works and the other two are the most literary of the screenplays I have written. One, MAID OF THE MIST, was specifically written in verse to be read-as well as to be produced. The other one, Freud in Love, though not written in verse, is a classic story about real characters involved in a universal theme. FREUD IN LOVE, the lead-off script, is based on historical accounts of not only Sigmund Freud but the fascinating psychoanalytic world of Vienna in the Victorian era. It is a love triangle focusing on Freud, his handsome but troubled young prot g , Victor Tausk, and an emancipated psychoanalyst-belle from France, Lou Andreas-Salome. NOTES FROM THE UNDERGROUND is one of Dostoyevski's darkest and most psychological novels. Adapting it into a screenplay was not difficult, for he wrote wonderful scenes with ironic streams of consciousness and brilliant stretches of dialog between The Mouse and Liza, the tender whore whom the Mouse uses and abuses. The title, MAID OF THE MIST, was taken from the name of the boat that for many years has taken tourists up to the Niagara Falls. The girl who was known as the Maid of the Mist was named Lelawala, daughter of Chief Eagle Eye, and it is her myth that was the source of this screenplay, based in part on the notes of French explorer LaSalle. It is a musical, written in verse and with songs. The modern version of HAMLET included here is absolutely true to Shakespeare. Old English has been changed to modern English, but otherwise it is line for line just the way Shakespeare wrote it. I have edited it a bit to adapt it for the screen. I hope this version will be produced, so modern audiences can again enjoy the vitality of this enduring tragedy.

The author, a psychoanalyst, has collected his philosophical poems and primitive drawings (the latter which he did while his patients were on the couch. Two categories of poems populate the book. Those in the first section, "Holding On," were mainly done in the first half of his life, and evidence a disturbed viewpoint of regretting and brooding about things. Those in the second section, "Letting Go," describe the state of accepting life as it is and living in harmony, a state which he aspired to obtain after about 40 years of his own psychotherapy. In all there are 58 poems and 50 drawingsWhile the author believes that the later poems represent emotional maturity, he does not now see himself as mature, but rather, improved. He passes on this collection in the hope that others will benefit from his journey.

Advances the proposition that the first responsibility of psychotherapists is to analyse their own resistance to their patients. This primer aims at both new and experienced professionals, outlining the various kinds of counterresistance, their manifestations and how to analyse and resolve them.

Arguing that no one approach is correct for all patients, this textbook provides an overview of the various disorders observed by psychotherapists. It describes how gestalt and behavioural orientations are integrated with a psychodynamic understanding to produce individualised treatment.