Seeing And Being Seen

This book examines the themes that surface when considering clinical situations where patients feel stuck and where a failure to develop impedes the progress of analysis.

#1 NATIONAL BESTSELLER SHORTLISTED FOR THE 2019 HILARY WESTON WRITERS' TRUST PRIZE FOR NONFICTION NAMED ONE OF THE BEST BOOKS OF 2019 BY THE GLOBE AND MAIL • CBC • CHATELAINE • QUILL & QUIRE • THE HILL TIMES • POP MATTERS A bold and profound meditation on trauma, legacy, oppression and racism in North America from award-winning Haudenosaunee writer Alicia Elliott. In an urgent and visceral work that asks essential questions about the treatment of Native people in North America while drawing on intimate details of her own life and experience with intergenerational trauma, Alicia Elliott offers indispensable insight into the ongoing legacy of colonialism. She engages with such wide-ranging topics as race, parenthood, love, mental illness, poverty, sexual assault, gentrifcation, writing and representation, and in the process makes connections both large and small between the past and present, the personal and political—from overcoming a years-long battle with head lice to the way Native writers are treated within the Canadian literary industry; her unplanned teenage pregnancy to the history of dark matter and how it relates to racism in the court system; her childhood diet of Kraft Dinner to how systemic oppression is directly linked to health problems in Native communities. With deep consideration and searing prose, Elliott provides a candid look at our past, an illuminating portrait of our present and a powerful tool for a better future.

This memoir of Michelle Dunn Marsh's life and work as a book designer, cultural producer, and publisher unfolds through photographs drawn from the author's collection (featuring many prints gifted to her from projects, or obtained through trade), and notes on her formative encounters with some of American photography's master practitioners over the last twenty-five years.Portraits of her by Stephen Shore, Larry Fink, Sylvia Plachy, Will Wilson, and others punctuate a loosely chronological narrative exploring the author's evolution of seeing, the influences of family, education, geographies, mentors, and photography itself on that process, and her commitment to the printed book as a vessel of future histories.

The practice of morality and the formation of identity among an indigenous Latin American culture are framed in a pioneering ethnography of sight that attempts to reverse the trend of anthropological fieldwork and theory overshadowing one another. In this vital and richly detailed work, methodology and theory are treated as complementary partners as the author explores the dynamic Mayan customs of the Q'eqchi' people living in the cultural crossroads of Livingston, Guatemala. Here, Q'eqchi', Ladino, and Garifuna (Caribbean-coast Afro-Indians) societies interact among themselves and with others ranging from government officials to capitalists to contemporary tourists. The fieldwork explores the politics of sight and incorporates a video camera operated by multiple people—the author and the Q'eqchi' people themselves—to watch unobtrusively the traditions, rituals, and everyday actions that exemplify the long-standing moral concepts guiding the Q'eqchi' in their relationships and tribulations. Sharing the camera lens, as well as the lens of ethnographic authority, allows the author to slip into the world of the Q'eqchi' and capture their moral, social, political, economic, and spiritual constructs shaped by history, ancestry, external forces, and time itself. A comprehensive history of the Q'eqchi' illustrates how these former plantation laborers migrated to lands far from their Mayan ancestral homes to co-exist as one of several competing cultures, and what impact this had on maintaining continuity in their identities, moral codes of conduct, and perception of the changing outside world. With the innovative use of visual methods and theories, the author's reflexive, sensory-oriented ethnographic approach makes this a study that itself becomes a reflection of the complex set of social structures embodied in its subject.

Essentially clinical in its approach, Psychic Retreats discusses the problem of patients who are 'stuck' and with whom it is difficult to make meaningful contact. John Steiner, an experienced psychoanalyst, uses new developments in Kleinian theory to explain how this happens. He examines the way object relationships and defences can be organized into complex structures which lead to a personality and an analysis becoming rigid and stuck, with little opportunity for development or change. These systems of defences are pathological organisations of the personality: John Steiner describes them as 'psychic retreats', into which the patient can withdraw to avoid contact both with the analyst and with reality. To provide a background to these original and controversial concepts, the author builds on more established ideas such as Klein's distinction between the paranoid-schizoid and depressive positions, and briefly reviews previous work on pathological organizations of the personality. He illustrates his discussion with detailed clinical material, with examples of the way psychic retreats operate to provide a respite from both paranoid-schizoid and depressive anxieties. He looks at the way such organizations function as a defence against unbearable guilt and describes the mechanism by which fragmentation of the personality can be reversed so the lost parts of the self can be regained and reintegrated in to the personality. Psychic Retreats is written with the practising psychoanalysts and psychoanalytic psychotherapists in mind. The emphasis is therefore clinical throughout the book, which concludes with a chapter on the technical problems which arise in the treatment of such severely ill patients.

Using feminist theory and examining films that describe women artists who see others through the lens of feminist theology, this book puts forward an original view of the act of seeing as an ethical activity - a gesture of respect for and belief in another person's visible and invisible sides, which guarantees the safekeeping of the Other's memory.

During the later Middle Ages people became increasingly obsessed with vision, visual analogies and the possibility of visual error. In this book Dallas Denery addresses the question of what medieval men and women thought it meant to see themselves and others in relation to the world and to God. Exploring the writings of Roger Bacon, Duns Scotus, Peter Aureol and Nicholas of Autrecourt in light of an assortment of popular religious guides for preachers, confessors and penitents, including Peter of Limoges' Treatise on the Moral Eye, he illustrates how the question preoccupied medieval men and women on both an intellectual and practical level. This book offers a unique interdisciplinary examination of the interplay between religious life, perspectivist optics and theology. Denery presents significant new insights into the medieval psyche and conception of the self, ensuring that this book will appeal to historians of medieval science and those of medieval religious life and theology.

How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever. "Seeing comes before words. The child looks and recognizes before it can speak." "But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but word can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled." John Berger's Ways of Seeing is one of the most stimulating and influential books on art in any language. First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has.