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Napoleon Against Himself
Although Napoleon Bonaparte has been a favorite subject of biographers for nearly two centuries, to date no full-scale psychobiography of arguably the most compelling, fascinating, and complex leader in world history has ever been published. With Napoleon Against Himself, internationally recognized scholar Avner Falk fills this void. He not only considers Napoleon's intellect but also what use he made of it, how it affected his emotional life, and whether he used intellectualization as one of his unconscious defensive processes. Additionally, he examines Napoleon's ambivalent relationship with his mother, his identification with the &“Motherland,&” and his fits of narcissistic rage, violence, and aggression. Specifically, Falk focuses on his numerous irrational, self-defeating, and self-destructive actions. In weaving in the psychological interpretations that have previously been proposed for Napoleon's actions with his own new insights, Falk has created a most stimulating and original work that sheds much needed light on Napoleon's troubled inner world.
Wattana
She likes tea, sews, draws on papers and is a self-taught master of tying and untying knots. But she is not a crafty woman of the DIY set: she is Wattana, an orangutan who lives in the Jardin des Plantes Zoo in Paris. And it is in Paris where Chris Herzfeld first encounters and becomes impressed by Wattana and her exceptional abilities with knots. In Wattana: An Orangutan in Paris Herzfeld tells not only Wattana’s fascinating story, but also the story of orangutans and other primates—including bonobos, chimpanzees, and gorillas—in captivity. Offering a uniquely intimate look at the daily lives of captive great apes, Herzfeld uses Wattana’s life to trace the history of orangutans from...
The Castrato
The Castrato is a nuanced exploration of why innumerable boys were castrated for singing between the mid-sixteenth and late-nineteenth centuries. It shows that the entire foundation of Western classical singing, culminating in bel canto, was birthed from an unlikely and historically unique set of desires, public and private, aesthetic, economic, and political. In Italy, castration for singing was understood through the lens of Catholic blood sacrifice as expressed in idioms of offering and renunciation and, paradoxically, in satire, verbal abuse, and even the symbolism of the castrato’s comic cousin Pulcinella. Sacrifice in turn was inseparable from the system of patriarchy—involving teachers, patrons, colleagues, and relatives—whereby castrated males were produced not as nonmen, as often thought nowadays, but as idealized males. Yet what captivated audiences and composers—from Cavalli and Pergolesi to Handel, Mozart, and Rossini—were the extraordinary capacities of castrato voices, a phenomenon ultimately unsettled by Enlightenment morality. Although the castrati failed to survive, their musicality and vocality have persisted long past their literal demise.
