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“There are no brakes on fantasy”
(Winnicott, 1945, p. 153)
To begin at the beginning …
There had been several years of concern about the Long family. Mrs Long, whose first marriage had been to an older, cruel, violent, and sexually abusive man, had a son (Robert) from that marriage. It was suspected—indeed, disclosed by Robert then retracted—that Mrs Long had sexually abused him and it also seemed to be a matter of local knowledge that, following the death of her husband, she had frequently entertained a group of young adolescent boys in her house. The first contact the clinic had with the family was a consultation about Robert, whose compulsive, sexualised actions had become extremely hard for his care staff and social worker to manage and understand.
Married again, to a man of her own age who, like her, had learning difficulties, Mrs Long had two further children and was pregnant with a third when she was referred. The assessment led the diagnostician to conclude that psychotherapy for Mrs Long was not at that point a treatment of choice; however, the first child of this second marriage, Katiebell, had begun to act in a sexually inappropriate way with her younger brother, being compelled to intrude repeatedly into his bedroom in the middle of the night for this sexual engagement, and a referral was made in relation to this. She had learning difficulties (global developmental delay, functioning on the first centile), was encopretic, still in nappies at night, neglected, and waif-like.See more
|Inga-Britt Krause||Karnac Books||ePub|
In this final chapter, I offer an overview of the processes described in this book. This may be seen as an introduction to the exercise that I outline in the Appendix which therapists and other health professionals can use either by themselves or in teams when they feel stuck over cross-cultural issues, be this in therapy or in organizational dynamics.
I have implied that just like in any other form of communication, communication in therapy is an uncertain process. No one can ever know the full extent of the patterns and processes that are implicated in and impact on what we do, feel, and think, and in social life it is a matter of fit, of more-or-less patterns rather than rigid rules. These are observations about social life in general, and if they hold for ourselves they also hold for others, regardless of cultural and social background. I have specifically been writing about cross-cultural work, but it follows that no clear boundaries can be drawn between cross-cultural and intra-cultural work. In one sense, therefore, good practice is no less than good cross-cultural practice, and we are therefore also addressing much wider issues of ethics and clinical governance. But we must also be aware that difference of colour and culture is a special case because differences of this nature easily become vehicles for politics, hierarchy, and other social processes, in particular obfuscating ways (Gilroy, 2000; Wallerstein, 2000). This is why the Macpherson Report on the inquiry into the murder of Stephen Lawrence is a milestone in race relations in Britain.See more
|Emily Cier||C&T Publishing||ePub|
FINISHED BLOCK SIZE
Crib: 38″ × 55½″
Lap: 53½″ × 55½″
Twin: 68½″ × 92½″
Queen: 91½″ × 92½″
This version of the Lone Star has been deconstructed down to its basic elements and built back up into a lattice pattern, in the process avoiding the original’s difficult seams.
The quilt is made from 3 colorways, using several prints from each colorway. Fabrics with little contrast in the print work best.
∗cw = color way
Keep the fabric folded on the manufacturer’s fold so Piece B and its reverse (Br) and Piece C and its reverse (Cr) can be cut at the same time.
Note: The fast2cut Half- & Quarter-Diamond Rulers (see Resources, page 63) make cutting the half- and quarter-diamonds easy.
∗wof = width of fabric ∗∗cw = color way ∗∗∗A summary of the method used to make the second cuts follows this chart.
Using the fast2cut Half- & Quarter-Diamond Ruler Set, or the measurements shown in the illustration (below), cut Pieces A, B, and Br from the 8¾″ strips. Start at the selvage edge and cut the B and Br quarter-diamonds. Then cut the A half-diamonds. Make sure to cut A, B, and Br pieces from each print. Remember to allow for the ¼″ top edge of Pieces B and Br as you cut them.See more
|Margaret Tait||Carcanet Press Ltd.|
Cave Drawing of the Water of the Earth and Sea
The drops that drop out of the hill
To run on to the ocean;
But they’ll be back again,
Sure as the salmon
One drop is like another drop.
There’s always some drop there.
You only feel surprised and discomfited
If a season turns too dry
And no water drips for a time.
But it’ll be back all the same.
There are years and years
And if the conformation changes
Something else takes the place of what goes.
Once the drop joins other drops it’s no longer a drop,
It’s a trickle.
Conjoining trickles stream down the burn,
Hitting the stones and jumping up, for all the world gaily,
Making a noise about it,
A sort of chatter
Like distant voices
Or like voices in another dimension.
A whole lot together
Runs deeply and you’d think, slowly,
But it might be swift enough too.
It all depends on the slope of the land.
All the land is in the long run sloping down to the sea.
There might be a hollow
Which the water has to fill up and overflow.
The water then could be a shallow poolSee more
|Robert de la Sizeranne||Parkstone International||ePub|
Mais qu’est-ce au juste que ce vainqueur ? Car, « Préraphaélisme » est un terme plus mystérieux qu’explicatif et il devait y avoir plus de disputes, une fois la cause gagnée, pour savoir ce qu’il voulait dire, qu’il n’y en avait eu, pendant la lutte pour le faire accepter. On y a vu les choses les plus diverses et les plus contradictoires. On y a vu le mépris de Raphaël, alors que Hunt, qui est non seulement un des préraphaélites, mais bien le préraphaélite par excellence, nous avertit dans ses mémoires que les grandes admirations de sa jeunesse furent les Raphaël de la National Gallery.
Le Chant d ’ amour
Edward Burne-Jones, 1865
Aquarelle et gouache sur papier, sur panneau, 56 x 78 cm
Museum of Fine Arts, BostonSee more
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