Precision Therapy is full of fast, effective hypnoanalytic techniques. It presents a series of adaptable prompt sheets for therapy sessions, plus a collection of illuminating case histories and supporting resources. Precision Therapy aims to stimulate an abrupt shift in personal awareness, creating a 'spontaneous remission'
This exploration delves into the novels of J.M. Coetzee, engaging with significant European literary works and contemporary global literature to articulate an ethico-aesthetic ideal for the modern novel. The term "serious" draws from Aristotle’s definition of tragedy, emphasizing the communal and political-ethical responsibilities of art. "Fiction," also rooted in Aristotelian thought, highlights the playful aspect of art, contrasting with the seriousness of daily life. By referencing post-Enlightenment thinkers like Schiller, Arnold, Leavis, and Auerbach, the discussion maintains a balance between seriousness as a moral criterion for literary evaluation and playfulness as essential to artistic creation. This includes the formal and epistemological duties of the realist novel, which dominated the long nineteenth century. Coetzee emerges as a contemporary exemplar of serious fiction, harmonizing realism with imagination, tragedy with the mundane, and aesthetic autonomy with ethical obligation. Key works by Coetzee, such as "Waiting for the Barbarians," "Life & Times of Michael K.," "Disgrace," and "Diary of a Bad Year," are analyzed alongside influential traditional and modern authors, including Tolstoy, Dostoevsky, Joyce, Kafka, Beckett, Imre Kertész, W.G. Sebald, Eimear McBride, Cormac McCarthy, and Jiang Rong.
The dramatic and prose works of Samuel Beckett have long been understood as central to twentieth-century literature and particularly to questions about aesthetics, ethics, and the modernism-postmodernism distinction. Duncan McColl Chesney addresses many of the main issues in Beckett criticism by focusing on a key aspect of Beckett’s work throughout his long silence. Chesney links Beckett’s language and silence back to his predecessors, especially Joyce and Proust – laterally to contemporary movements of minimalism in the sister arts and theoretically in in-depth discussions of Blanchot and Adorno. By doing so, Chesney addresses how Beckett’s works remain true, to the end, to a minimalist impulse that is essentially modernist or late modernist without giving over to the rising dominant of postmodernism. Chesney delineates a sigetics – a discourse of silence whose main strategies in Beckett are reticence and ellipsis – and through studies of Godot , Endgame , Krapp’s Last Tape , Happy Days , the Trilogy , Company , and other works, teases out of Beckett’s minimal aesthetics a Beckettian minimal ethics. In brief glimmers in his texts Beckett provides proleptic hints at reconciliation and the possibility of ethical life that are neither theological nor mystical, but that minimally hold to an alternate rationality from that of the reified world of exchange and catastrophe.