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Jason Dean and Geoffrey Raynor

are kept separate, and the depressive position, in which the two are integrated. The similarity between the main theme of Star Wars and the theories of Melanie Klein raises the question: how can viewing the series through a Kleinian lens enhance our

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Albert H. Friedlander

‘Frankfurt, the St Paul’s Church filled with guests ranging from George Weidenfeld to some of the old guard of intellectuals from the past, was a strange place’, said George Steiner. ‘The city itself, with its skyscrapers proclaiming its economic status, obscured its own memories of an old republic of letters. The fake Goethe House on the square, and the Börneplatz as a reminder of the vanished Jewish community, were depressing. In the bookshops, there were photos and the books of Adorno, Habermas, and my own work. It was all quite depressing, although the laudatio by Joschke Fischer, an unusual autodidact, showed that Germany was aware of the fact that so much of its intellectual past had gone into exile – like the truth.’

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Edited by Stephen Prince

photographs. Jason Dean and Geoffrey Raynor bring a psychoanalytic lens to the St ar Wars films. They draw on psychoanalyst Melanie Klein’s theories of aggression and psychological positioning, which she termed “depressive” and “paranoid-schizoid,” and they

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Steven Lovatt

surprising, then, that when the depressive characters within Edwards’ storyworlds lose their sensation of time, this correlates to their impression that ‘nothing at all is happening anywhere.’ Parallel to this, on the level of the narrative, the reader

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Henglien Lisa Chen and David Orr

Colucci (Director), U.K. / Australia 2015, Mini DV PAL / 64min / Sundanese, Bahasa, English, Italian (English subtitles), https://www.therai.org.uk/film/film-sales/breaking-the-chains Reviewed by David Orr In the often depressing history of mental health

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Tony Bayfield

judges for the Jewish Book of the Year prize. That year, we awarded it to a brilliant but depressing book, The Pity of it All , a study of German Jewry from the time Moses Mendelssohn journeyed from Dessau to Berlin until the German people democratically

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Nigel Dodd

qualitative characteristics, this is depressing stuff. Either/or-ism of any kind is troubling, however, and we must be careful not to veer from what Zelizer (2011: 314) rightly decries as a tendency to exclude qualitative features of money completely from

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Introduction

Anthropological Approaches to the Study of Children in the Middle East

Erika Friedl and Abderrahmane Moussaoui

irritants and dangers of depressing civic failures that impair social cohesion and joie de vivre. Schools are no help either because most teachers subscribe to an authoritarian mode of teaching that does not allow pupils to find strength in their common

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Jens Eder

coolly represent abstract thoughts about depression, and depressive characters may even be represented comically, like the robot Marvin in The Hitchhiker’s Guide to the Galaxy (Garth Jennings, 2005). But films can also express existential feelings

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Allison Macleod

-worthy moments of excess and raunchy humor. In the Q&A following the screening, director Bitte Andersson described how Dyke Hard began as a personal project by Andersson and her group of friends to counter what they saw as a tradition of depressing queer films