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|Gerry Souter||Parkstone International|
Christina’s World (pp. 234-235) n’est pas sans rappeler le monde d’Andrew Wyeth. Les métaphores sont infinies et elles ont toutes été employées. Seuls le souffle haletant des herbes hautes et le claquement lointain d’une chemise noire sur la corde à linge brise le silence de ce tableau, jusqu’à ce qu’elle bouge encore vers l’abri au loin. Elle s’érafle et lutte avec chaque brin d’herbe, tirant à la seule force de ses bras et traînant derrière elle le poids de ses membres inutiles. Mais elle ne bougera pas. Christina est fixée au flanc de cette colline depuis le dernier coup de pinceau de la fin de l’été 1948. L’exécution de l’esquisse originale a pris trois mois et demi. La tempera à l’œuf et le brossage à sec, techniques parfaitement maîtrisées par Wyeth, ne supportent pas la précipitation. Le tableau fut vendu pour 1 800 dollars (environ 15 500 dollars actuels), une des meilleures ventes dans l’histoire de l’art moderne, afin d’être exposé au Museum of Modern Art de New York.See All Chapters
|Rene Roussillon||Karnac Books||ePub|
Our conception of the psychoanalytic situation and the relationship that we maintain with it varies according to the issues that, in our view, are inherent in the work of analysis and the objectives that we assign to it. The psychoanalytic situation has remained very much as it was in the beginning, in its “golden age”, as Michel Neyraut (1974) puts it. However, our ideas about the objectives, the issues involved and the processes that unfold or should unfold in an analysis, have changed a great deal over time. Although they may not have gone back on the original definition of psychoanalysis, these developments have had a significant influence on its nature. It is possible to outline the major phases of what we could call the history of psychoanalysis and show how they follow on from one another. It would, no doubt, be more heuristic and more accurate to describe the field of tension in the work of psychoanalysis that is set up between the various polarities that have been discovered and abstracted throughout its history; that field of tension echoes the modulations that have occurred and the historical context in which they have appeared.See All Chapters
|Victoria Charles||Parkstone International||ePub|
|Ignacio Matte Blanco||Karnac Books||ePub|
The study of the psycho-physical unity in the hope of finding a solution to the problem of the measurability of psychical phenomena (as done in the previous chapter) has led us nowhere. We shall now turn our attention to the manifestations of psychical phenomena by means other than those we have so far considered. This has also been done by experimental psychologists, for instance in the study of intelligence. We shall concentrate here on another line of approach and on another subject, which seems more pertinent to the study of unconscious processes.
We may start with the clinical example of a patient with agoraphobia treated by psychotherapy. The improvement of his symptom can be measured easily and quite accurately by his behaviour. Ultimately this can be expressed in terms of distances from his house, of the number of times per week or day that he covers these distances and of the time, in minutes or hours, during which he succeeds in staying away from his house at various distances. Combining all these measurements into a composite whole we could express in a figure or index the degree of his improvement. We could then compare the respective successes of various methods of dierapy; our information would be increased by introducing another measure, namely the time required to reach a given index. So we could, with statistical evaluation in terms of numbers of cases and degrees of success, make quite accurate measurements of results. We assume all along that there is, somehow, a certain correspondence between the performance and the emotions causing it. But we do not know whether it is bi-univocal.See All Chapters
|David Pogue||O'Reilly Media||ePub|
For the first 20 years of the Macs existence, you began your workday by double-clicking the Macintosh HD icon in the upper-right corner of the screen. Thats where you kept your files.
These days, though, youd be disappointed if you did that. All youll find in the Macintosh HD window is a set of folders called Applications, Library, Users, and so onfolders you didnt put there.
Most of these folders arent very useful to you, the Macs human companion. Theyre there for OS Xs own usewhich is why, today, the Macintosh HD icon doesnt even appear on the screen. (At least not at first; you can choose FinderPreferences and turn the Hard disks checkbox back on, if you really want to.)
Think of your main hard drive window as storage for the operating system itself, which youll access only for occasional administrative purposes.
So where is your nest of files, folders, and so on? All of it, everything of yours on this computer, lives in the Home folder. Thats a folder bearing your name (or whatever name you typed in when you installed OS X).See All Chapters
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