En gennemgang af sindssygehospitalerne Sct. Hans, Risskov, Oringe, Viborg, Middelfart, Nykøbing Sj., Vedsted og Augustenborg - deres historie og betydning samt et afsnit til hvert sted om nogle af de mennesker som har været indlagt.

Alternate cover edition of ISBN-13: ‎978-0141439471 / ISBN-10: 0141439475 'Now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart ...' Obsessed with creating life itself, Victor Frankenstein plunders graveyards for the material to fashion a new being, which he shocks into life with electricity. But his botched creature, rejected by Frankenstein and denied human companionship, sets out to destroy his maker and all that he holds dear. Mary Shelley's chilling Gothic tale was conceived when she was only eighteen, living with her lover Percy Shelley near Byron's villa on Lake Geneva. It would become the world's most famous work of horror fiction, and remains a devastating exploration of the limits of human creativity. Based on the third edition of 1831, this volume contains all the revisions Mary Shelley made to her story, as well as her 1831 introduction and Percy Bysshe Shelley's preface to the first edition. This revised edition includes as appendices a select collation of the texts of 1818 and 1831 together with 'A Fragment' by Lord Byron and Dr John Polidori's 'The Vampyre: A Tale'.

Winner of the Internationl Association for Jungian Studies (IAJS) Book Award for Best Clinical Book 2021 The Absent Father Effect on Daughters investigates the impact of absent – physically or emotionally – and inadequate fathers on the lives and psyches of their daughters through the perspective of Jungian analytical psychology. This book tells the stories of daughters who describe the insecurity of self, the splintering and disintegration of the personality, and the silencing of voice. Issues of fathers and daughters reach to the intra-psychic depths and archetypal roots, to issues of self and culture, both personal and collective. Susan E. Schwartz illustrates the maladies and disappointments of daughters who lack a father figure and incorporates clinical examples describing how daughters can break out of idealizations, betrayals, abandonments and losses to move towards repair and renewal. The book takes an interdisciplinary approach, expanding and elucidating Jungian concepts through dreams, personal stories, fairy tales and the poetry of Sylvia Plath, along with psychoanalytic theory, including Andre Green’s ‘dead father effect’ and Julia Kristeva’s theories on women and the body as abject. Examining daughters both personally and collectively affected by the lack of a father, The Absent Father Effect on Daughters is highly relevant for those wanting to understand the complex dynamics of daughters and fathers to become their authentic selves. It will be essential reading for anyone seeking understanding, analytical and depth psychologists, other therapy professionals, academics and students with Jungian and post-Jungian interests.

Only Georges Bataille could write, of an eyeball removed from a corpse, that "the caress of the eye over the skin is so utterly, so extraordinarily gentle, and the sensation is so bizarre that it has something of a rooster's horrible crowing." Bataille has been called a "metaphysician of evil," specializing in blasphemy, profanation, and horror. Story of the Eye, written in 1928, is his best-known work; it is unashamedly surrealistic, both disgusting and fascinating, and packed with seemingly endless violations. It's something of an underground classic, rediscovered by each new generation. Most recently, the Icelandic pop singer Björk Guðdmundsdóttir cites Story of the Eye as a major inspiration: she made a music video that alludes to Bataille's erotic uses of eggs, and she plans to read an excerpt for an album. Warning: Story of the Eye is graphically sexual, and is only suited for adults who are not easily offended.

This novel is the classic of Satanism. It caused a sensation when it first appeared in 1891 because of its extraordinarily detailed and vivid descriptions of the Black Mass. These descriptions are also authentic, for J. K. Huysmans, who has been called the greatest of the French decadents, had firsthand knowledge of the satanic practices, witch cults, and the whole of the occult underworld thriving in late nineteenth-century Paris. At its center is Durtal, a writer obsessed with the life of one of the blackest figures in history, Gilles de Rais. The legendary crimes, trial, and confession of this grotesque fifteenth-century child murderer, sadist, necrophile, and practitioner of all the black arts unfold in episode after horrifying episode. Mystical thematic threads connect this greatest of all revelers in evil with Durtal's own passionate pursuit, the reflection of a religious quest that was to lead Huysmans from uncertain agnosticism back to Catholicism. Durtal, the mouthpiece for the strange personality of Huysmans, leads a hermit-like existence cloistered from his fashionable contemporaries. Surrounding him are others equally cut off, sharing a nostalgic longing for the Middle Ages. There is a simply religious bell-ringer, a learned astrologer, a medical doctor versed in homeopath and occult lore, and a fourth person — a sheltered, unsatisfied bourgeois by day and mysterious succubus by night. They take refuge where they can from the forces of modern times — in a bell tower, in abstruse knowledge, and in diabolism. Huysmans' ability to mesmerize his readers with torrents of sound and image is itself suspiciously akin to the magic arts. His intoxication with the abominable and the depraved is magnified by his extreme sensitivity. He combines grimly realistic detail with esoteric knowledge, and searches relentlessly for the divine in the depths of evil and in the furthest reaches of human experience. The republication of this novel, along with the previous publication of Against the Grain, will make his works accessible to the larger audience that will surely find them both important and fascinating, as have Oscar Wilde, Havelock Ellis, and many other major literary figures.

A Selection from The Collected Fictions of Jorge Luis Borges

The 120 Days of Sodom by Marquis de Sade relates the story of four wealthy men who enslave 24 mostly teenaged victims and sexually torture them while listening to stories told by old prostitutes. The book was written while Sade was imprisoned in the Bastille and the manuscript was lost during the storming of the Bastille. Sade wrote that he "wept tears of blood" over the manuscript's loss. Many consider this to be Sade crowning achievement.

The macabre but beautiful work Les Chants de Maldoror has achieved a considerable reputation as one of the earliest and most extraordinary examples of Surrealist writing. It is a long narrative prose poem which celebrates the principle of Evil in an elaborate style and with a passion akin to religious fanaticism. The French poet-critic Georges Hugnet has written of Lautréamont: "He terrifies, stupefies, strikes dumb. He could look squarely at that which others had merely given a passing glance." Little is known of the author of Maldoror, Isidore Ducasse, self-styled Comte de Lautréamont, except that he was born in Montevideo, Uruguay, in 1846 and died in Paris at the age of twenty-four. When first published in 1868-69, Maldoror went almost unnoticed. But in the 1890s the book was rediscovered and hailed as a work of genius by such eminent writers as Huysmans, Léon Bloy, Maeterlinck, and Rémy de Gourmont. Later, Lautréamont was to be canonized by the Paris Surrealists as one of their principal "ancestors." This edition, translated by Guy Wernham, includes also a long introduction to a never-written, or now lost, volume of poetry. Thus, except for a few letters, it includes all the surviving literary work of Lautréamont.

At once a time-travelling horror story and a fugue-like feminist manifesto, this is a singular, genre-warping new novel from the author of the acclaimed Paradise Rot. “It’s 1992 and I’m the Gloomiest Child Queen.” Welcome to 1990s Norway. White picket fences run in neat rows and Christian conservatism runs deep. But as the Artist considers her past, her practice and her hatred, things start stirring themselves up around her. In a corner of Oslo, a coven of witches begins cooking up some curses. A time-travelling Edvard Munch arrives in town to join a black metal band, closely pursued by the teenaged subject of his painting Puberty, who has murder on her mind. Meanwhile, out deep in the forest, a group of school girls get very lost and things get very strange. Awful things happen in aspic. Jenny Hval’s latest novel is a radical fusion of feminist theory and experimental horror, and a unique treatise on magic, gender and art.

Sixty years after its original publication, Ray Bradbury’s internationally acclaimed novel Fahrenheit 451 stands as a classic of world literature set in a bleak, dystopian future. Today its message has grown more relevant than ever before. Guy Montag is a fireman. His job is to destroy the most illegal of commodities, the printed book, along with the houses in which they are hidden. Montag never questions the destruction and ruin his actions produce, returning each day to his bland life and wife, Mildred, who spends all day with her television “family.” But when he meets an eccentric young neighbor, Clarisse, who introduces him to a past where people didn’t live in fear and to a present where one sees the world through the ideas in books instead of the mindless chatter of television, Montag begins to question everything he has ever known.