Slices & Articles Get by the slice or add to your own ebook
Assuming you'll be installing Windows XP, Windows Vista, or Windows 7, Fusion lets you configure a new virtual machine and install Windows in it with a single procedure. Follow these steps:
Launch VMware Fusion (in
If you're running Fusion for the first time, you may see a Welcome screen. If so, click the Create New Virtual Machine button at the bottom. Otherwise, choose File > New. The New Virtual Machine Assistant appears.
Insert your Windows installer disc.
The window changes to show the version of Windows on the disc (as long as it's Windows XP or later).
Air apparent: Having trouble completing Step 3 on a MacBook Air? See the sidebar Installing Windows on a MacBook Air (p. 33).
Leave Install This Operating System selected, and click Continue.
At this point, you can choose the Easy Install method, which automates the entire installation of Windows and VMware Tools, or a standard installation, in which you manually complete each step of the Windows installation process:See All Chapters
|Nathalia Brodskaya||Parkstone International|
Dominique Peyronnet (1872 – 1943)
Avant de devenir peintre, Dominique Peyronnet était ouvrier lithographe, ce qui explique la qualité et la précision graphique de ses dessins. Cet artiste français ne fut pas prolixe puisqu’il ne peignit qu’une trentaine de toiles. Ses sujets favoris demeurent les marines ou les paysages sylvestres nocturnes. Son trait est vif et précis, ses vagues semblent être tracées au couteau, et figées dans le temps, ses couleurs restent attrayantes. La précision de ses traits qui semblent suspendre le temps au bord de la toile donne
à ses œuvres une sensation de merveilleux et d’étrangeté.
La dilatation qui existe entre l’intention et la réalisation crée chez les naïfs, et chez Peyronnet en particulier, un sentiment étrange et poétique. Du décalage naît l’inattendu. Cette atmosphère trouble distingue ses œuvres et leur donne un souffle que peu d’artistes surent conserver.
Force est de comprendre pourquoi les surréalistes, pour qui la peinture doit « renforcer notre connaissance abstraite proprement dite », s’intéressèrent à la peinture naïve.See All Chapters
There any number of reasons to develop extensions to NetBeans. Perhaps you are a developer, working on a project that has some unique needs (such as deployment to a particular application server or use of a code analysis tool), and you use NetBeans and would like to have support for that tool integrated into your development environment. Or you could have a development tool that you would like to integrate with NetBeans and sell as an extension. Or you could simply be embarking on a project to create a large desktop application, and you can save several person-years by using the NetBeans core without its development-tool-specific functionality to handle the menus, windowing, file access, configuration, and browsing aspects of your application.
This half of the book is about writing modules to plug into NetBeans to extend its functionality. So it is of particular interest to people developing or using tools for software development, people developing desktop applications in Java, or anyone who simply uses the NetBeans IDE and would like to change the way something works. We assume you have some familiarity with NetBeans as a development tool and its user interface components and with the Java language.See All Chapters
|David H. Ikard||Indiana University Press||ePub|
All I know is I want to die, but I don’t want to die alone.
Paul Beatty, The White Boy Shuffle
Sometimes you have to laugh to keep from crying.
African American colloquialism
When the lapd cops who brutally beat rodney king are acquitted of all charges in Paul Beatty’s The White Boy Shuffle, we get a rare glimpse behind reluctant black leader Gunnar Kaufman’s façade of racial skepticism and discursive political humor. Overwhelmed emotionally by the injustice of the verdict and the powerlessness that he feels as a black man and writer to confront it, Gunnar reports that as he watched “the [white] announcer gloat [on television], my pacifist Negro chrysalis peeled away, and a glistening anger began to test its wings.”1 When one of the African American locals suggests that Gunnar – a “street poet” – channel his feelings in a publicly displayed poem, Gunnar rejects the idea, musing that “even at its most reflective or its angriest, my poetry was little more than an opiate devoted to pacifying my cynicism.”2 Though Gunnar understands that the angry mobs that blindly attack whites are as ineffective in combating racial inequality as his poetry writing, he thinks that theirs is a more courageous and emotionally satisfying enterprise, for at the very least their violent response gives them a tangible outlet for their rage and presses the white dominant power structure to take notice and respond. Referring to poets like himself as “tattletales,” “whiners,” and drive-by “instigators,” he concludes, “You write about blowing up the White House and they tap your phone, but only when you buy some dynamite will they tap you on the shoulder and say, ‘Come with me.’”3See All Chapters
|Arnold Rothstein||Karnac Books||ePub|
The goals of this chapter are to demonstrate the value of the concept compromise formation in thinking about diagnosing and diagnoses as well as to explore the therapeutic value of thinking about psychoanalytic diagnoses as co-constructions. I will pursue this goal by presenting analytic data from a long re-analysis, and then by discussing it in the service of highlighting the subjectivity of the analytic activity of diagnosing.
My analytic work is organized from the perspective of compromise formation theory. This perspective emphasizes that analy-sands’ and analysts’ conscious fantasies and behaviours are manifest contents derived from complexes of compromise formations that are co-constructions. Compromise formation theory provides the analyst with a theoretical perspective delineating the multiple determinants of clinical data. An analyst working from this perspective may choose to interpret pleasurable aspects of data, unplea-sures and related defensive functions, and/or their self-defeating characteristics. The dialectical–constructivist dimension (Hoffman, 1998) elaborates the reciprocal shaping influences of analyst and analysand on their respective complexes of compromise formations. I wish to acknowledge that, in addition to the important workof Hoffman, my thinking has also been significantly influenced by the contributions of Aron (1996), Gill (1994), Jacobs (1986, 1991), Levenson (1983), Renik (1993), and Stolorow (1995). This list is not intended to be exhaustive. Rather, it represents those colleagues to whom I have been exposed at professional meetings and in the literature, and whose work, to a greater or lesser degree, represents a paradigm shift in psychoanalysis that has been progressing for more than twenty years.See All Chapters
Business & Economics