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Highlights from the article: In his chapter, James William Anderson recounts that Winnicott's first analyst, James Strachey, and his wife Alix wrote disparagingly and mockingly about Winnicott to each other (p. 27; see also [5], p. 166). The comparison to the queen of England strikes me as an attempt to restore Winnicott to his throne, by softening the writer's "outing" of Winnicott's transgressions to protect readers from becoming so disappointed with Winnicott that they lose him as a good-enough theorist. Interestingly, while Anderson locates Winnicott's interest in the role of aggression in the development of one's True Self and coming to access it, neither Winnicott nor Anderson identifies the oedipal implications of these interactions. However, Caldwell also shows how Winnicott's technique includes a focus not just on the patient's love for Winnicott, but on Winnicott's love for his patient.

What does a hotel room symbolize for women? A room of a woman's own might mean more than just a small place, especially if she wants a free space to breathe. There has been a huge struggle for women to get out of their culturally defined roles in the society. Women have searched for some gates opening to their freedom by leaving all the cultural boundaries behind that they feel to be trapped inside. The two woman characters, Mrs. Susan Rawlings in Doris Lessing's short story "To Room Nineteen" (1978) and Mrs. Laura Brown in Michael Cunningham's novel The Hours (1998), find a similar way of escape from their social boundaries with a different ending for freedom. Susan and Laura both find out the key to their freedom in a hotel room, both numbered nineteen, in which they feel as themselves not as mother, wife or Mrs. Rawlings/Brown who has a specific position in the society. This paper analyses the two distinct lives both women have: the one before they enter that hotel room, which forces them to find a way to breath out of the roles they carry as burden, and the other life both women lead after entering the room. The hotel room is a passage to the liberation of Susan and Laura in different ways. This paper tries to prove that no matter how different times, places and conditions the women have; their fates are similar in a way. [ABSTRACT FROM AUTHOR]

Laurence Sterne's extraordinary novel Tristram Shandy is a debatable work of English Literature. However, the novel has been able to cope with numerous heavy criticisms and survived so far. Despite being a very long novel, very little happens in it as Sterne consciously aims to channel the attention to the style of the work rather than the content. Not only the characters, but also the stylistic constituents give notable clues concerning the ultimate aim of the book, which is to question the philosophy behind novel writing. During the eighteenth century, great novelists of the time were experimenting on the novel genre and trying to give a shape to it. Since the novelists of the time were not interested in breaking through the established traditions and rules of prose fiction, the newly born novel genre was gradually becoming repetitive and stereotyped both in terms of style and content. In that sense, Sterne can be said to have conducted the a challenging experiment as he wrote quite ahead of his time by mingling melancholy with comedy and presenting them in an unfamiliar style. Like the other novelists, Sterne's main concern is the representation of reality, but he questions the limitations of language and challenges the rigid framework of prose fiction. His understanding of real and reality differs from his contemporaries' to a large extent. The aim of this paper is to analyze how Laurence Sterne satirizes the established rules of novel writing by means of the content and style of his book in order to justify his ideas that language has its own limitations and "being realistic" in a novel means spontaneity rather than the application of artificial principles. Sterne openly confesses the extraordinary style which will be used in the construction of Tristram Shandy by saying "is a man to follow rules, or rules to follow him?" (204). [ABSTRACT FROM AUTHOR]

A review of the book "Clerical Households in Late Medieval Italy," by Roisin Cossar, is presented.

The methodology of economics has been applied with increasing frequency to non-market behavior and interactions. Peter Leeson's book WTF?!: An Economic Tour of the Weird illustrates both the promise and the perils of this practice. When applied judiciously to environments in which the strategic obfuscation of true motives is widespread, the economic approach can yield valuable insights. But when applied without proper attention to prevailing norms and values, the attempt to rationalize behavior can fall flat and invite ridicule. Economists seeking to understand cultural practices would do well to import insights from other disciplines, and temper their eagerness to export narrow conceptions of rationality. (JEL A12, B41, D01, D10, D23, Z13) [ABSTRACT FROM AUTHOR]

A review of the book "Pukka Indian: 100 Objects That Define India," by Jahnvi Lakhota Nandan and Shivani Gupta, is presented.

In Chapter 2, Stratford extends her focus from the face to the whole body, demonstrating that women (and, to some extent, men) were exhorted to improve their health and fitness. From a focus on the face and body, Stratford gaze radiates outwards to examine dress in Chapter 3. In Chapter 4, Stratford considers populations as a whole, examining the connections between racial degeneration, declining birth rates, and human evolution and the physical health and moral virtue of populations. [Extracted from the article]

A review of the book "The Brooklyn Wars: The Stories Behind the Remaking of New York's Most Celebrated Borough," by Neil DeMause, is presented.

A girl finds a way to keep her grandmother from missing India in this picture book. [ABSTRACT FROM AUTHOR]

Suleski provides several descriptions of this format: "popular copybooks", 'one-of-a-kind notebooks ...[which] have the feel of an informal compilation'; 'not lengthy historical, philosophical, or literary texts of interest to the highly educated or the well-to-do' (pp. 4, 11-12, 15). The reason for Suleski's inclusion of this manuscript appears to be that it contains a note on the topic of "luck" ( I shiyun i ) by the copyist, whom Suleski infers to be a non-elite student. [Extracted from the article]