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The affective life of the transference modality is also explicated; as is Webster's proto-feminist approach to psychoanalysis, female sexuality and desire, and the cultural history of hysteria. This essay provides a review of the book I Conversion Disorder: Listening to the Body in Psychoanalysis i (2019), written by psychoanalyst and professor Dr Jamieson Webster. [Extracted from the article]

Swales and Owens begin by expounding upon Freud's notion that one can be of two minds about something, and proceed to elaborate on the place of this ambivalence in contemporary culture. Stephanie Swales and Carol Owens' I Psychoanalyzing Ambivalence With Freud and Lacan: On and Off the Couch i suggests that human beings are constituted by an unconscious fundamental ambivalence. [Extracted from the article]

Yet the literature on Internet addiction fails to establish the agent of this presumptive malady, Friedman points out, as well as what it is that users are actually doing or desiring that constitutes an addiction. In her new book, I Internet Addiction: A Critical Psychology of Users i (Routledge, 2021), Emaline Friedman takes on an enormous and weighty task. [Extracted from the article]

Interactivity as performance allows Nash to draw attention to affect and emotion, considering the different forms that interactive documentary engages with embodied performances such as augmented and virtual reality documentary and gaming. Nash acknowledges the fragility of the interactive documentary because of its experimental approach adopting software platforms that are still in development limiting the audience reach, but she remains hopeful throughout the book that the future for the interactive documentary lies ahead, and we have perhaps only scratched the surface. This book shows how interactive documentary appropriates digital technologies in order to find new methods of engaging with realities that often confront contemporary social concerns and the intricacies of truth. [Extracted from the article]

The authors of I Convict Criminology for the Future i have built and expanded on work begun in I Convict Criminology i (Ross and Richards, 2003).[1] The book results from the increased international interest in convict criminology, greater acceptance, and acknowledgment of the need for the discipline, and, finally, a Convict Criminology for the Future conference held in Padua, Italy (May 31, to 1 June 2019), which brought convict criminologists together from around the world. Conclusion Convict criminology appears to have settled into a more pronounced status in criminology, especially since achieving status as a Division of the American Society of Criminology. Convict criminology for the future: by Ross, Jeffrey Ian, and Vianello, Francesca, New York, Routledge, 202, 226 pp., $39.99 (Kindle); $139.31 (Hardcover); $52.95 (Paper), ISBN 978-0-367-86015-8. [Extracted from the article]

For nearly fifteen years, Christina Gerhardt, a professor of German and film studies at the University of Hawai'i at Manoa, has been studying radical German cinema in the context of the widespread cultural revolutions that broke out around the globe from the mid-1960s to the mid-1970s. This interview, which Abel conducted in 2014 when the iconoclastic Lemke was 74, is so lively and intelligent, particularly when Lemke is reminiscing about what mainstream Hollywood movies taught him, that he should be on any film lover's guest list for that perfect dinner party. [Extracted from the article]

Regardless, Martin-Jones' approach allows a formally and thematically diverse range of films to be discussed together. To describe this capacity for ethical encounters Martin-Jones turns to Gilles Deleuze's distinction between movement-image and time-image. To stabilize itself, Martin-Jones argues, the ruling world system needs to write its history in a manner that suppresses the memory of those people and cultures it destroys on its way to power. [Extracted from the article]

On 20 January 2019, late in the 35-day federal government shutdown by President Donald Trump, Sara Nelson, president of the International Association of Flight Attendants, drew national attention when she called on her fellow labor leaders to 'talk with your local and international unions about all workers joining together to end this shutdown with a general strike! But for Cal Winslow, the Seattle General Strike of 1919 was 'the only true general strike in US history, and the only time when workers in this country really ran a city ... ' Aptly named I Radical Seattle i , and devoting only one chapter to the actual strike, this study is not primarily about the strike and the "five-days that matter". While only mentioned in passing, the Winnipeg General Strike broke out in May 1919, a mere three months after the Seattle General Strike and lasted a remarkable six weeks and impressively inspired solidarity strikes in thirty additional Canadian cities. [Extracted from the article]

I Skills, Knowledge, and Expertise in Sport i , a collection of papers edited by Gunnar Breivik, is an excellent resource for those who are interested in the philosophy of skill, know-how (both in sport and in general), and how our embodied nature shapes sport and our sporting performances. Larsen's focus is quite particular, and she does not draw as many conclusions for sports in general as one might want, but her focus on parkour allows her to make several compelling points about how we should understand parkour. [Extracted from the article]

By drawing New Zealand and Western Australia into the analysis, the collection provides an insightful overview that moves beyond the usual single-colony-centred histories. This edited collection, based on a workshop at the Australian National University held in April 2017, explores what "Aboriginal protection" meant in the Australian colonies and New Zealand in the nineteenth century. Marjan Lousberg's excellent chapter on Edward Shortland in New Zealand is a case in point. [Extracted from the article]

The impetus for Justine Lloyd's new book, I Gender and Media in the Broadcast Age i , was the relative absence of women's programs, and the work of women broadcasters, in historical accounts of the Australian Broadcasting Commission (ABC). Lloyd's comparative approach, considering, in turn, women's programming produced by the ABC, the Canadian Broadcasting Corporation (CBC) and the British Broadcasting Corporation (BBC), also draws on transnational histories such as Michele Hilmes's I Network Nations i . [Extracted from the article]

It is hard to define sculpture these days. Artists continue to make three-dimensional objects, but the range and variety of materials they employ defy classification. This is enchantingly evident in a show by the Armenian artist Karen Sargsyan at the Hudson Valley Center for Contemporary Art. Mr. Sargsyan, 36, makes figurative sculptures from cut paper. The works in the current show were created during his stay in Peekskill last fall as the center's artist in residence. Depending on how you look at it, the exhibition consists of either hundreds of individual cut paper sculptures arranged across the mezzanine gallery or a single installation made up of many parts. [ABSTRACT FROM PUBLISHER]

The article reviews the exhibition "Works on Paper" at Danese in New York City, New York.

Many of the entries are autobiographical, especially in the first five chapters (quotes 1-64), and the remaining twenty-two chapters (quotes 65-365) focus primarily on his writings, published and unpublished, as well as on commentaries by various analysts, Bion himself and Abel-Hirsch. The writings of Wilfred Bion have been studied since his early papers on group process in the mid-1940s through the early1950s, and were followed by his investigation of psychotic processes in the mid-1950s. Abel-Hirsch is a noted authority on the works of Melanie Klein, Hannah Segal and Bion and is a training and supervising analyst of the British Psychoanalytic Society. [Extracted from the article]

The editors, both prominent research psychoanalysts have assembled papers delivered at a 2014 conference in Mexico City that brought together neuroscientists and psychoanalysts for an exchange of ideas about the two fields. Psychoanalysis as conceived by its founder, Sigmund Freud, was both a study of how the mind evolved and functioned and a therapy for those who suffered from some interference in comfortable and presumably healthy functioning. In adopting this belief, they are following the lead of Levine et al. ([4]) who believe that trauma in the pre-verbal period of life registers and is maintained in the body of the traumatized patient and can only be treated successfully if the analyst reconstructs for the patient the unknown (by the patient) traumatic event. [Extracted from the article]

The article reviews the paper cutting exhibition of Swoon at Deitch Projects museum in New York City.

Is paper passe? Your answer will most likely depend on whether you're reading this sentence on newsprint or on a screen. But it's safe to say that artists and designers aren't ready to quit the stuff, at least by the measure of the latest show at the Museum of Arts and Design. They are, however, willing to pierce, shred, carve and slice it. ''Slash: Paper Under the Knife,'' the third show in the museum's Materials and Process series, explores the sometimes violent, always intricate art of paper cutting. (It follows ''Radical Lace and Subversive Knitting'' and ''Pricked: Extreme Embroidery'' in 2007 and 2008.) [ABSTRACT FROM PUBLISHER]

The article reviews the art exhibition "Cri du Coeur," by Nancy Spero at the Galerie Lelong in New York City.

The article reviews the exhibition "Slash: Paper Under the Knife," at the Museum of Arts and Design in New York City through April 4, 2010.

The article reviews the "Paper Exhibition" at the Artists Space in New York.

Reviews the exhibition `The Waking Dream: Photography's First Century,' 253 photographs collected by the Gilman Paper Company, at New York's Metropolitan Museum of Art, curated by Pierre Apraxine and Maria Morris Hambourg. Until July 4.

Folded paper transcends mere craft in the Parrish Art Museum's exhibition ''Paper Transformed -- Origami.'' Here is an astonishing array of lifelike animals made of nothing but folded paper. Some of them are life-size, like a heron, its neck crooked, greeting visitors at the entrance to the show. The nearly 100 sculptures on display here, by the world's leading contemporary origami artists, were made without cutting or gluing. According to the book that accompanies the exhibition, many of the pieces were made with a single sheet of paper. [ABSTRACT FROM PUBLISHER]

The article reviews the exhibition of Ursula von Rydingsvard at Dieu Donné in New York City.

Reviews the drawing exhibit of Antonin Artaud entitled `Antonin Artaud: Works on Paper' at the Museum of Modern Art in New York City, New York.

Reviews two art exhibitions featuring the works of Cory Arcangel at the Team Gallery and Deitch Projects in New York.

The article reviews the exhibition "A Century at American Art on Paper" at Debra Force Fine Art in New York City.

The article reviews the exhibition "John Mitchell: Works on Paper 1956-1992" at the Cheim & Reid Gallery in New York City during June 15-16, 2007.

Reviews the art exhibition 'Works on Paper,' at the Seventh Regiment Armory in New York City.

Reviews the exhibition `The Waking Dream' at New York's Metropolitan Museum of Art from March 25-July 4, 1993. A collection of 250 photos from the Gilman Paper Company Collection; The story of photography from its beginnings 100 years ago; Louis-Jacques Daguerre; William Henry Fox Talbot; More.

Reviews the dance-theater piece `The Pink: A Paper Ritual of Eros,' directed by Muna Tseng.

Steven Harvey Fine Art Projects 24 East 73rd Street, Second Floor, Manhattan [ABSTRACT FROM PUBLISHER]

By now it's no surprise to find a museum-worthy show of a major artist at a Chelsea gallery. The spoils of this season are such that a large trove of 1970s and '80s Lichtensteins arrived last month without much fanfare at the Gagosian Gallery on West 24th Street, overshadowed by another Gagosian coup -- Monet's late paintings -- a few blocks away. At the Lichtenstein exhibition it's harder to forget that you're in a place of business. The bulk of the more than 50 works in ''Roy Lichtenstein: Still Lifes'' comes from unnamed private collections, not museums, and some are for sale. The very idea of Lichtenstein, who died in 1997, as a studious genre painter may seem like a market-generated fiction; certainly the show is less inviting than the gallery's ''Roy Lichtenstein: Girls'' in 2008. [ABSTRACT FROM PUBLISHER]

The brevity of Ree Morton's art career had little to do with the usual reasons for the disappearance of talented women. Morton had married and started a family before she became a full-time artist in the late 1960s, taking just a decade to get up to speed with all the major ''isms.'' She had a show at the Whitney Museum of American Art and an installation at the South Street Seaport and was the subject of an Artforum essay by the influential critic Lucy Lippard. Then in 1977 -- just shy of her 41st birthday -- Morton died in a car accident. Her death, coming not long after those of Eva Hesse in 1970 and Robert Smithson in 1973, dealt another cruel blow to postminimal sculpture. The art world recognized her achievements with a Morton retrospective at the New Museum in 1980. [ABSTRACT FROM PUBLISHER]

The article reviews a dance performance by Marie Cool and Fabio Balducci at the show "Performa 07," at various locations in New York City.

The article reviews a photography exhibition titled "Daniel Gordon: Thin Skin II," by Daniel Gordon at the Zach Feuer Gallery in New York City.

The article reviews a dance performance by the Wally Cardona Quartet at the Dance Theater Workshop in New York City.

The article reviews the play "The History of Valentyne and Orson," directed by Ralph Lee and performed by Ian Lassiter and Tom Marion at the Cathedral Church of Saint John the Divine in Morningside Heights, New York City through Sunday.

The article reviews the dance performance "We Failed to Hold This Reality in Mind," by Hooman Sharifi at the Norway in New York Festival held in New York.

Reviews the art exhibition 'The Changing of the Avant-Garde: Visionary Architectural Drawings From the Howard Gilman Collection,' on view at the Museum of Modern Art in New York City through January 6, 2002.

Reviews the exhibition 'David to C é zanne: 19th Century French Drawings,' at the Pierpont Morgan Library in New York City until September 8, 2002.

Reviews the art exhibition `Master Drawings From the Smith College Museum of Art,' at the Frick Collection in New York City.

The article reviews the exhibition "Ephemereal Metal: Interlock-Interweave in Elsa Mott Ives Gallery in New York, New York from February 28 to April 4, 1996.