Contemporary psychoanalytic thinking about the interdependence of subjectivity and intersubjectivity has reenvisioned the analytic process, and with it the very nature of creative and engaged psychoanalytic listening. Yet few systematic writings on psychoanalytic listening or technique provide comprehensive instruction that would prepare the analyst for the kind of analytic listening needed to participate imaginatively in this sort of intersubjective experience.Offering a short course in analytic listening, Creative Listening and the Psychoanalytic Process provides a guide for the clinical uses of imaginative literature. Outside the psychoanalytic literature, extraordinary pieces of imaginative literature exist that provide the kind of experience in analytic listening that can guide clinicians in their work with patients. Certain works of fiction create textured, sensory worlds in which complex characters possessing shifting states of consciousness live within fluid emotional atmospheres. In this book, Fred Griffin demonstrates that by entering the worlds that original writers create in their texts, the psychoanalytic therapist will learn to attend more closely to varying emotional states that generate nuanced, multidimensional views of the analysand’s internal and relational worlds. He illustrates how these works capture more fully the sensory experience encountered by psychoanalysts when taking in what the patient communicates within the analytic space. Creative Listening and the Psychoanalytic Process presents case material alongside selected passages from works of fiction written by a range of creative writers, each of which stimulates analytic sensibility about this clinical experience. A conceptual framework is provided that makes these and other original works of fiction more accessible for these purposes. This book will be essential reading for psychoanalysts and psychoanalytic psychotherapists, as well as professors and graduate students studying psychoanalysis and literature. It will also appeal to literary scholars and those teaching and practicing in the field of narrative medicine.
This book introduces The Design Code ®, an idea-generating system developed by Northwest artist and educator, Fred Griffin. It is a remedy for the artists equivalent of writers block, those times when the well of ideas runs dry. This system makes it possible to find fresh ideas and execute great designs on deadline. Through many years of teaching design principles, Griffin found that if students worked first in black and white their grasp of basic design principles was much clearer than if they were dealing with the confusion of colour. Colour, a study unto itself, introduces an element of distraction -- hence the title, "Learning First in Black & White". Each lesson is explained with geometric shapes, followed by illustrations of an apple visually repeating the concepts. At the end of the book is a section that gives tips on how to dig deeper for better ideas. It's an answer to the question, "Where do ideas come from?" The other two books in the series (Tossing Around Ideas and Putting It All Together) reinforce the concepts covered in the first book. The Design Code® series provides an in-depth course in art composition and idea-generation. The Design Code® is to the visual arts what music theory is to music -- a type of DNA for visual composition. For instructors, its educational content that can work for students of any age. Defined and refined over many years of classroom testing, The Design Code® is the brainchild of Northwest artist and educator Fred Griffin whose interest in the logical side of art grew during his student days at the influential Chouinard Art Institute of Los Angeles (now California Institute of the Arts). The Design Code ® is for two types of readers: those with an understanding of design and experience in the field -- and those with interest and entry level skills who have never studied design. For experienced artists and designers, this book is a tool to lift oneself out of a creative dry spell. For those who are new to thinking to design, it also serves as a primer in the basics of composition. For either type of reader, these are books that you can return to again and again for inspiration and practical guidance.
In Today's society we see the SHEroes' and the HEroes', but we don't always see what happens "behind the scenes" of overcoming or maintaining their super human abilities in balancing entrepreneurship aligned with work, life, and parenting! This book is an empowering guide featuring bold and truthful advice from several men and women sharing their story of how they "do it all"! This Co-Authors edition is the all-in-one resource you need to create your "survival guide toolbox" with easy-to-use strategies, backed by real life stories, inspirational encouragement, and the tools needed for overcoming challenges faced by todays "ParentPreneur's".
Venturini doesn't write in words and sentences. Instead, he lines the page with barbwire, concertina wire and spike strips that deliver the story deep into the reader's skin." –#1 New York Times Bestselling Author Chuck Palahniuk A town ruled by evil. A man ruled by darkness. Only one can survive. Curtis Quinn is a Chicago mob legend with a particular set of skills and a price on his head. When the woman he loves disappears, Curtis follows her trail to the occult town of Harlow, where no one is allowed to leave, and an enigmatic, sinister overlord known only as “the Mayor” rules by an autocratic regime. Beth Jarvis is a plucky teenager unwrapping the secrets of her hometown—Harlow—and the mysterious ceremony that awaits her on her eighteenth birthday. What Beth doesn’t know is the truth about her sister Kate, who escaped their strange town over a decade ago and has evaded the Mayor and his disciples ever since. What Curtis doesn’t know is that Kate is the woman he’s fallen in love with, and she’s running from a threat far greater than the mobsters who want to kill him. His fate collides with Beth’s as she tries to escape Harlow and the disgusting fate that awaits her, and Curtis finds himself unraveling a mystery that leads to an impossible and terrifying conclusion―that the Mayor of Harlow is more than just a man, and the hardest target he’s ever tried to kill.
Presented here are 60 games featuring some of the most outstanding efforts in history--dramatic comebacks (such as USC's 1974 triumph over Notre Dame), stunning upsets (Columbia's 21-20 win over Army in 1947 or Appalachian State's over Michigan, 34-32, in 2007--see front cover), great individual efforts (Jim Brown's 43 points in a single game), bizarre plays (Roy Riegel's wrong-way run that helped Georgia Tech defeat California), and Yale-Harvard, 29-29, in 1968 (the latter scoring 16 points in the final 42 seconds). Each story includes the highlights of the games, with quotes from many of the principals, a look at the contest's effects on football overall, career follow-ups for the key participants, and seasonal wrap-ups for the teams involved.
Long ago, the gods forged Twelve Swords of Power and threw them on the gameboard of life to watch men scramble. But they had forged too well: the Swords could kill the gods themselves. Now, the gods gone, the Swords are scattered across the land, some held by those of good heart, and some by evildoers. One is held by Arnfinn, a country boy who knows nothing of Sightblinder’s power: to make the viewer see that which he most desires—or most fears. Sightblinder must be used, if Ben of Purkinje is to rescue Prince Mark from the hell in which he lies captive, prisoner of the horrifying ageless Ancient One.
Prince Murat of Culm possesses Coinspinner, the Sword of Chance which brings untold good fortune to its owner. Can Coinspinner aid Murat in his efforts to acquire Woundhealer, the Sword of healing Murat’s ruler desperately needs? Or through lack of wit and Coinspinner’s propensity to whimsically change owners will Murat find himself caught up in different quest? Prince Adrian, away at a school for magic, is assigned a test of his abilities. More challenges than a school trial await him. Adrian is being relentlessly pursued by the greatest of evil wizards, Wood, armed with more than one of the great Swords and intent on Adrian’s destruction. Will Coinspinner decide Adrian’s fate? Will Adrian’s father, Mark, come to the boy’s aid in time to save him ? Who holds Coinspinner? Who commands the powers of Shieldbreaker and Sightblinder? What will come of Murat’s fascination with Princess Kristen? Warriors, wizards, princes, thieves … all seek the power of the Swords.
Marcus Porcius Cato ("the Younger") is most famous for being Julius Caesar's nemesis. His sustained antagonism was in large part responsible for pushing the Romans towards civil war. Yet Cato never wanted war even though he used the threat of violence against Caesar. This strategic gamble misfired as Caesar, instead of yielding, marched on Rome, hurling the Republic into a bloody civil war. Refusing to inhabit a world ruled by Caesar, Cato took his own life. Although the Roman historian Sallust identified Cato and Caesar as the two most outstanding men of their age, modern scholars have tended to dismiss Cato as a cantankerous conservative who, while colorful, was not a critical player in the events that overtook the Republic. This book, in providing a much-needed reliable biography of Cato, contradicts that assessment. In addition to being Caesar's adversary, Cato is an important and fascinating historical figure in his own right, and his career-in particular, his idiosyncrasies-shed light on the changing political culture of the late Republic. Cato famously reached into Rome's hallowed past and found mannerisms and habits to adopt that transformed him into the foremost champion of ancestral custom. Thus Cato did things that seemed strange and even bizarre such as wearing an old-fashioned tint of purple on his senatorial toga, refusing to ride a horse when on public business, and going about barefoot and without the usual tunic as an undergarment. His extreme conservatism-which became celebrated in later ages, especially in Enlightenment Europe and revolutionary America--was actually designed to give him a unique advantage in Roman politics. This is not to claim that he was insincere in his combative promotion of the mos maiorum (the way of the ancestors), but his political manipulation of the Romans' reverence for their traditions was masterful. By providing a new, detailed portrait of Cato, the book also presents a unique narrative of the age he helped shape and inadvertently destroy.
In these short, accessible essays, Alford writes about the personal "Why I Pray," as well as the political "Simone Weil and Donald Trump." He makes some difficult theologians, such as Karl Barth and Soren Kierkegaard, accessible, while not hesitating to criticize them. Alford argues the genius of Christianity is in God making himself vulnerable so as to know what it is to be human; otherwise, God stands at a terrible distance from humanity. From this perspective, Christianity is about the teachings of Christ, and God's willingness to suffer. The resurrection, so central to most Christians, becomes less important. Myriad religious thinkers are considered, including Albert Camus, Thomas Merton, Reinhold Niebuhr, Rudolf Bultmann, and Paul Tillich, among others, including Simone Weil. Also addressed is the relationship between religion and psychology, as well as the status of natural law. Notable is the author's attitude, which combines respect for great thinkers and a willingness to call them out as wrong, confused, or misguided. Unafraid of atheism, Alford thinks many of the so-called new atheists judge religion as though it were a science, a confusion of categories. Once a philosopher of science, he knows the scope and limits of scientific explanation better than most.
Long, long ago, the Gods forged Twelve Swords of Power, each with a unique and deadly quality. They forged too well, for the swords could kill the Gods themselves. Then the swords were lost, scattered across the land; and many are they, both good and evil, who are desperate to find them again. This story is of Farslayer, the sword that can kill from across an entire world. The game is fierce; the prize is the sword. The players are Black Pearl, an ensorcelled mermaid, and Cosmos her treacherous lover; Prince Zoltan and Prince Mark; the evil macrowizard Wood; and an enigmatic woman who arrives astride a griffin.
Isaac C. Parker, the stern U.S. judge for Indian Territory from 1875 to 1896, brought law and order to a lawless frontier region. He held court in the border city of Fort Smith, Arkansas, but his jurisdiction extended over the Indian tribal lands to the west. Pressing juries for convictions, Parker sent seventy-nine convicted criminals to the gallows - as many as six at a time. More often than not, however, he passed sentences on thousands of liquor dealers, rapists, and cattle and horse thieves - even throwing Belle Starr in the penitentiary for stealing a horse from a crippled boy. Credit is due to this "hanging judge" and the men who rode for Parker and restored order - two hundred deputy marshals, sixty-five of whom died in the line of duty. This new edition includes a foreword by Larry D. Ball, who situates Parker's court within the context of unrest and rising crime in Indian Territory.
Montopolis is a multiethnic neighborhood located approximately four miles southeast of downtown Austin. The area was long visited and occasionally occupied by various Texas Indian nations; the first documented European or American to settle here was Jessie C. Tannehill, who in 1830 built a cabin and townsite and gave the new community its pretentious name. Instead of establishing a permanent presence in Montopolis, however, subsequent European colonizers looked a few miles upriver to the new settlement of Waterloo, later to be called Austin. Rural and sparsely populated, the remainder of the 19th century saw the Montopolis area used primarily for plantation agriculture. In the 1920s, succeeding waves of Mexican migrants helped establish the modern neighborhood that exists today. Between the 1950s and 1970s, the City of Austin annexed Montopolis, although the area retains much of its rural character.
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