Through an examination of post-1997 Thai cinema and video art Arnika Fuhrmann shows how vernacular Buddhist tenets, stories, and images combine with sexual politics in figuring current struggles over notions of personhood, sexuality, and collective life. The drama, horror, heritage, and experimental art films she analyzes draw on Buddhist-informed conceptions of impermanence and prominently feature the motif of the female ghost. In these films the characters' eroticization in the spheres of loss and death represents an improvisation on the Buddhist disavowal of attachment and highlights under-recognized female and queer desire and persistence. Her feminist and queer readings reveal the entangled relationships between film, sexuality, Buddhist ideas, and the Thai state's regulation of heteronormative sexuality. Fuhrmann thereby provides insights into the configuration of contemporary Thailand while opening up new possibilities for thinking about queer personhood and femininity.

Religion and Psychoanalysis in India questions the assumptions of an established scientific, evidence-based global mental health paradigm by examining the practices of faith-based healing. It proposes that human beings demonstrate a dual loyalty: to science as faith and faith as science, both of which get reconfigured in the process. In this particular context, science and faith are deployed in ways that are not only different but at times contrary to mainstream discourses of science and religion, and faith healing becomes a point where these two discourses collide head-on in negotiating cultural values and practices. The book addresses key questions, such as: What is the value of 'faith healing' in understanding distress and treatment in different cultural contexts? What is a critical psychological perspective on faith and religious systems? What challenges do alternative religious practices pose to critical psychology? How should we re-imagine clinical work in a context marked by science and religion? Situated between 'West' and 'East', between the global mental health movement and local faith-based practices in India, the book addresses a wide audience that includes students and researchers in psychology, cultural and medical anthropology, the sociology of religion, cultural theory, postcolonial theory, and the sociology of science. It will also appeal to policy-makers and practitioners interested in the work of NGOs and the legal frameworks driving mental health movements in India.

A four-volume work on the early history of printing, based on earlier books, and published between 1810 and 1819.

Although spectral Indians appear with startling frequency in US literary works, until now the implications of describing them as ghosts have not been thoroughly investigated. In the first years of nationhood, Philip Freneau and Sarah Wentworth Morton peopled their works with Indian phantoms, as did Charles Brocken Brown, Washington Irving, Samuel Woodworth, Lydia Maria Child, James Fenimore Cooper, William Apess, Nathaniel Hawthorne, and others who followed. During the late 19th and early 20th centuries, Native American ghosts figured prominently in speeches attributed to Chief Seattle, Black Elk, and Kicking Bear. Today, Stephen King and Leslie Marmon Silko plot best-selling novels around ghostly Indians and haunted Indian burial grounds. RenŽe L. Bergland argues that representing Indians as ghosts internalizes them as ghostly figures within the white imagination. Spectralization allows white Americans to construct a concept of American nationhood haunted by Native Americans, in which Indians become sharers in an idealized national imagination. However, the problems of spectralization are clear, since the discourse questions the very nationalism it constructs. Indians who are transformed into ghosts cannot be buried or evaded, and the specter of their forced disappearance haunts the American imagination. Indian ghosts personify national guilt and horror, as well as national pride and pleasure. Bergland tells the story of a terrifying and triumphant American aesthetic that repeatedly transforms horror into glory, national dishonor into national pride.

Melancholy and the Archive examines how trauma, history and memory are represented in key works of major contemporary writers such as David Mitchell, Paul Auster, Haruki Murakami and Jose Saramago. The book explores how these authors construct crucial relationships between sites of memory-the archive becomes a central trope here-and the self that has been subjected to various traumas, various losses. The archive-be it a bureaucratic office (Saramago), an underground bunker (Auster), a geographical space or landscape (Mitchell) or even a hole (Murakami)-becomes the means by which the self attempts to preserve and conserve his or her sense of history even as the economy of trauma threatens to erase the grounds of such preservation: as the subject or self is threatened so the archive becomes a festishized site wherein history is housed, accommodated, created, even fabricated. The archive, in Freudian terms, becomes a space of melancholy precisely as the subject preserves not only a personal history or a culture's history, but also the history of the traumas that necessitates the creation of the archive as such.

This is a ghostly romance; with a twist. Nicole had no choice but to leave; as her husband was abusive. Yet, she did not know that she would have some help from a ghostly admirer. He helped her to escape from the clutches of her tormenting husband and start a new life. The only way that Nicole would listen to Bo (Soaring Eagle) was through his seductive advances. He caught her off guard several times, in order to show her that he was only there to help her. Somewhere, in between Nicole and Bo (Soaring Eagle) had a very special romance; that no one could ever break apart. He was her guardian, in love and life. He would lead her to the new love she so needed to fulfill her life.