The Essentials of Gestalt Theoretical Psychotherapy offer for the first time in English an insight into the guiding ideas of this integrative psychotherapy method, which is consistently anchored in Gestalt psychology (and in this respect also differs substantially from most streams of Gestalt therapy, with which it should not be confused). The anthology includes ten contributions by authors from Austria, Italy, Germany and the USA. These deal with fundamental questions and concepts of any psychotherapy: The role and meaning of consistency in practical life and in psychotherapy; the question of human epistemic possibilities and an epistemology appropriate for psychotherapy; the personality theory of Gestalt Theoretical Psychotherapy; the basic principles of therapeutic relationship and practice; the role of emotions in the example of phenomenal causality of feelings; the task of diagnostics in Gestalt Theoretical Psychotherapy; a clinical example related to anorexia; Gestalt psychological viewpoints for therapy progress; the role of relational determination in intrapsychic and interpersonal experience.
Entangled in the hybrid fields of ecomedia studies and material ecocriticism, Elena Past examines five Italian films shot on location and ponders the complex relationships that the production crews developed with the filming locations and the nonhuman cast members. She uses these films—Red Desert (1964), The Winds Blows Round (2005), Gomorrah (2008), Le quattro volte (2010), and Return to the Aeolian Islands (2010)—as case studies to explore pressing environmental questions such as cinema's dependence on hydrocarbons, the toxic waste crisis in the region of Campania, and our reliance on the nonhuman world. Dynamic and unexpected actors emerge as the subjects of each chapter: playful goats, erupting volcanoes, airborne dust particles, fluid petroleum, and even the sound of silence. Based on interviews with crew members and close readings of the films themselves, Italian Ecocinema Beyond the Human theorizes how filmmaking practice—from sound recording to location scouting to managing a production—helps uncover cinema's ecological footprint and its potential to open new perspectives on the nonhuman world.
Inscriptions were one of the trademarks of Romanization. Used as a real mass media, they covered almost all facets of Roman public and private life. Following common patterns, however, this habit of engraving inscriptions, the so-called “epigraphic habit”, took shape in different manifestations in each region, in each province, configuring diverse and attractive epigraphic cultures. This volume, the result of a Creative Europe project coordinated by the University of Navarra and with the participation of the University of Coimbra, the one at Bordeaux and La Sapienza in Roma and, also, of the Museo Nazionale Romano and different research centers in Portugal, France, Spain and Italy, reviews not only the functions of some of these inscriptions with new approaches to well-known repertoires but also the new tools that -from the rise of the Internet to the use of digital photogrammetry, from digital epigraphy to 3d epigraphy- are being implemented for their study, their understanding and, above all, the social dissemination of their values, builders, in large part, of European identity.
Imprensa da Universidade de Coimbra / Coimbra University Press
ISBN 10
9892623355
ISBN 13
9789892623351
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