In the wake of the French Revolution, as attempts to restore political stability to France repeatedly failed, a group of concerned intellectuals identified a likely culprit: the prevalent sensationalist psychology, and especially the flimsy and fragmented self it produced. They proposed a vast, state-run pedagogical project to replace sensationalism with a new psychology that showcased an indivisible and actively willing self, or moi. As conceived and executed by Victor Cousin, a derivative philosopher but an academic entrepreneur of genius, this long-lived project singled out the male bourgeoisie for training in selfhood. Granting everyone a self in principle, Cousin and his disciples deemed workers and women incapable of the introspective finesse necessary to appropriate that self in practice.

Beginning with a fresh consideration of the place of sensationalism in the Old Regime and the French Revolution, Jan Goldstein traces a post-Revolutionary politics of selfhood that reserved the Cousinian moi for the educated elite, outraged Catholics and consigned socially marginal groups to the ministrations of phrenology. Situating the Cousinian moi between the fragmented selves of eighteenth-century sensationalism and twentieth-century Freudianism, Goldstein suggests that the resolutely unitary self of the nineteenth century was only an interlude tailored to the needs of the post-Revolutionary bourgeois order.

The Psyche and Schizophrenia offers a remarkably clear and comprehensive treatment of biopsychosocial development and psychotic processes. This extraordinary work lays the theoretical foundation for understanding the relationships between feeling and thinking (affect and logic) in normal as well as in pathological conditions, especially schizophrenia. Ciompi's affective-cognitive theory integrates interpersonal, familial, and social interactions with intrapsychic mental structures and yields startling new insights into the origins of "schizophrenic alienation." While Ciompi acknowledges the important role that genetic and biological models play in schizophrenia, he maintains that it is largely the psychosocial factors that determine long-term prognosis. Thus, The Psyche and Schizophrenia elaborates a number of new therapeutic approaches to the management of biological as well as environmental influences.

Drawing upon Piaget, Freud, and systems theory, as well as advanced current research, Ciompi develops a new model of the normal and pathological functioning of the psyche. This model presents cognition and emotion, the structure of logic and the dynamics of affects, as a complementary system governed by "ubiquitous laws of equilibrium."

In this brilliant synthesis of theoretical and empirical research, Ciompi proposes his novel theory of an "affectlogic" that probes the affective structures of logic as well as the logical structures of the emotions. Original in its conception and elegantly written, The Psyche and Schizophrenia is a major contribution to research on schizophrenia, and its penetrating insights and thorough analysis are sure to enrich the field of psychiatry for years to come.

Symbol and psyche are twin concepts in contemporary symbological studies, where the symbol is considered to be a "statement" by the psyche. The psyche is a manifold of conscious and unconscious contents, and the symbol is their mediator. Because Lorca's dramatic characters are psychic entities made up of both conscious and unconscious elements, they unfold, grow, and meet their fate in a dense realm of shifting symbols.

In Psyche and Symbol in the Theater of Federico García Lorca, Rupert Allen analyzes symbologically three dramatic works of Lorca. He has found Perlimplín to be a good deal more complex in both psyche and symbol than it has been admitted to be. Yerma involves psychological complications that have not been considered in the light of modern critical analysis, and the symbolic reaches ofBlood Wedding have until this book remained largely unexplored.

Lorca was no stranger to the "agony of creation," and this struggle sometimes appears symbolically in the form of his dramatic characters. Both Yerma and Blood Wedding reflect specific problems underlying the creative act, for they are "translations" into the realm of sexuality of the creative turmoil experienced by Lorca the poet. Perlimplín portrays the paradoxical suicide as a self-murder born out of the futile attempt to create not a poem, but a self.

Previous criticism of these three plays has been dominated by critical assumptions that are transcended by Lorca's own twentieth-century mentality. Allen's analysis provides a new view of Lorca as a dramatist and presents new material to students of symbology.