First published in 1998. This study explains addiction in terms of social psychological processes, looks at the fundamental nature of addiction and its causes, pharmacology, attribution and volitional theories, as well as a context for drug problems.
The book presents the conclusions of a psychologist seeking to make sense of contemporary particle physics as described in a number of popular science texts and media articles, written by physicists, seeking to explain the workings of the sub-atomic world. The accounts, it is argued, are a) mutually exclusive and contradictory, and b) metaphysical or magical in essence. Themes of the book include: a discussion of the way we allow physicists to invent things that have no perceivable qualities, on the grounds that they 'must' be there because otherwise their preconceptions are wrong or their sums don't work; that, from a psychological perspective, contemporary theory in particle physics has the same properties as any other act of faith, and the same limitations as belief in God; and that physics has now reached a point at which increasingly physicists research their own psychological constructions rather than anything which is unambiguously 'there' or real. It encourages people to ask basic questions of the type we often use to question the existence of God; such as 'Where is he/it?', 'Show me?', 'Do it then', 'When did it happen?', 'How do you know it exists?', and so on, and suggests that people take a leaf out of Dawkins' text, The God Delusion, but apply it to high-end physics as much as to religious dogma: turning water into wine is a mere conjuring trick compared to producing an entire universe out of nothing.
Drugspeak The Analysis of Drug Discourse describes the way in which conversations between drug users vary and change according to context and circumstance in ways that suggest that there is no single truth about the state we call addicted. The central thesis of the book is that the explanations that drug users give for their drug use make sense not so much as sources of facts, but as primarily functional statements shaped by a climate of moral and legal censure. Consequently the significance of drug conversations lies not in their literal semantics but in the purposes such conversations serve. The argument raises a number of fundamental issues about the performative rather than the informative nature of language, about the nature of the scientific facts concerning drug use, and about the very nature of science itself. Starting with a general overview of the problems arising from a mechanistic and deterministic view of science, the book identifies a need for a new approach to the un
Current attitudes towards drug misuse in the media, government and even treatment centers often exaggerate the pharmacological power of drugs. Their coercive influence is widely believed to be so great that to experiment with a drug is tantamount to addiction. This book argues that such beliefs are largely inaccurate and harmful. Research shows that explanations for drug use vary according to circumstances. Drug users may explain that they have lost their willpower and capacity for personal decision-making, because this is the explanation expected of them, but most actually use drugs because they want to and because they see no good reason for giving them up. Addicted behavior is therefore a form of learned helplessness that encourages passivity and irresponsibility.
* Having picked up the sword of the Crusader in my last novel A PINT-SIZED WHISPERER exposing the scandalous pressure applied to pregnant women to terminate their foetus after being told their unborn babies were likely to be suffering with the dreaded Downs Syndrome, I now lighten up. Although A PINT-SIZED WHISPERER was commercially received successfully and questions raised in the House of Commons which rebuked certain sections of the NHS, I now return to my genre of easy-reading fiction. * MY FAIR ELIZA is a light-hearted parody of Alan Jay Werners book and George Bernard Shaws evergreen musical show My Fair Lady. * It is more than that. It is a heartfelt tribute to those dedicated people, they used to call crimpers, who couple their dexterity with brush, comb and scissors with a friendliness that keep us amused and entertained while we are sat shrouded by a voluminous sheet in their salon chairs.
First published in 1998. This study explains addiction in terms of social psychological processes, looks at the fundamental nature of addiction and its causes, pharmacology, attribution and volitional theories, as well as a context for drug problems.
Professor Ripley, in this 1980 study of Julius Caesar, offers one of the most detailed stage histories ever attempted, focusing upon aspects both of English and American staging from 1599 to 1973. His primary sources include promptbooks and groundplans, letters, diaries and reviews. He approaches the play from four different angles: he examines the texts used in all major productions, and makes valuable deductions about the taste and sensibility of an age from cuts, alterations, additions and redistribution of parts. He explains in detail the staging of the play at various points in time, and demonstrates how sets and costumes, bits of business, handling of crowd scenes and lighting affected its business. He reconstructs performances of the four main roles by the greater and lesser lights of each period. Finally, he comments on the way in which the theories of critics and, in modern times, directors' ideas have influenced understanding of the play.
Drugspeak The Analysis of Drug Discourse describes the way in which conversations between drug users vary and change according to context and circumstance in ways that suggest that there is no single truth about the state we call addicted. The central thesis of the book is that the explanations that drug users give for their drug use make sense not so much as sources of facts, but as primarily functional statements shaped by a climate of moral and legal censure. Consequently the significance of drug conversations lies not in their literal semantics but in the purposes such conversations serve. The argument raises a number of fundamental issues about the performative rather than the informative nature of language, about the nature of the scientific facts concerning drug use, and about the very nature of science itself. Starting with a general overview of the problems arising from a mechanistic and deterministic view of science, the book identifies a need for a new approach to the un
What is it that accounts for the differences between musical beginners, advanced music makers, and world class performers? Virtually everyone likes music and has the capacity to be musical in some way (despite what some may say about themselves). Yet far fewer people come to be so involved with it that they identify themselves as musicians, and fewer still become musicians of international class. Psychology for Musicians provides the basis for answering this question. Examining the processes that underlie the acquisition of musical skills, Lehmann, Sloboda, and Woody provide a concise, accessible, and up-to-date introduction to psychological research for musicians.
Just about everyone likes to listen to music to put them "in the mood," and these techniques get you "out" of a mood! The "Tao" part is about accepting what you're feeling, and dealing with it, by using Dr. Ortiz's methods. Includes musical menus that you can use to create your own program for dealing with issues, koans for meditation, and various other fun exercises to make music a part of your holistic health program. Appendix, bibliography, index.
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