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Medium 9780596527754

11. Preliminaries

Maurice Naftalin O'Reilly Media ePub

In this chapter, we will take time to discuss the concepts underlying the framework, before we get into the detail of the collections themselves.

An iterator is an object that implements the interface Iterator:

The purpose of iterators is to provide a uniform way of accessing collection elements sequentially, so whatever kind of collection you are dealing with, and however it is implemented, you always know how to process its elements in turn. This used to require some rather clumsy code; for example, in earlier versions of Java, you would write the following to print the string representation of a collection’s contents:

The strange-looking for statement was the preferred idiom before Java 5 because, by restricting the scope of itr to the body of the loop, it eliminated accidental uses of it elsewhere. This code worked because any class implementing Collection has an iterator method which returns an iterator appropriate to objects of that class. It is no longer the approved idiom because Java 5 introduced something better: the foreach statement, which you met in Part I. Using foreach, we can write the preceding code more concisely:

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Medium 9781771870023

Showdown in Fort Benton

Worrell, P.J. Thistledown Press ePub

Showdown in Fort Benton

I’M TREATING MY WIFE TO A weekend in Fort Benton and it’s not even her birthday or our anniversary. She was very impressed with the room I booked. It’s their most expensive room. And I mean high end. It even has a balcony where they say ladies used to watch gunfights on Front Street. Plus we’ve got a view of two teepees pitched across the Upper Missouri River. After we checked in on Friday night, my wife soaked in the clawfoot tub and I toasted myself for coming up with such a brilliant idea.

Last night, we ate at The Union Grille. That’s the name of the posh restaurant in our hotel. We had duck with a rice mixture and a pistachio sauce. Pricey, not a lot of food, but Sheila raved about it. The only time I ever tasted pistachio before, it was ice-cream in Waskesiu.

Sheila said not to splurge again tonight, so we’re at Bob’s Riverfront Café. It’s the only eating establishment that isn’t a pub. The Sunday special is hamburger steak, beverage and dessert included, for $11.99. Some country and western crooner is going on and on about how he’s gonna pay the rent.

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Medium 9781608681297

CHAPTER SIX: Self-Directed Neuroplasticity

MFT Linda Graham New World Library ePub


Self-Directed Neuroplasticity

To exist is to change; to change is to mature; to mature is to go on creating one’s self endlessly.


THE PRACTICES TAUGHT in the previous chapters help you establish a safe and strong neural platform for rewiring conditioned patterns encoded in your brain’s circuitry. Over time, these practices steadily strengthen the prefrontal cortex to do that rewiring and sustain the changes you create in your brain circuitry.

The actual rewiring, and the establishment of new patterns of coping, occurs through the three processes of brain change presented in this chapter: new conditioning, deconditioning, and reconditioning. All three processes can be used again and again as you discover more old strategies that you want to replace with more resilient ways of coping. These processes have a cumulative effect. The more you rewire into your brain skillful, resilient patterns of coping, the more competent your brain becomes at the task.

New conditioning creates new neural pathways in your brain. You learn new, more adaptive coping strategies that will then lead to greater resilience. We know that new experiences, and repeating those experiences, cause neurons in your brain to fire in ways that create and stabilize those neural pathways. To rewire your brain for resilience, you seek out new experiences that you know will encode these more adaptive coping strategies into your brain’s circuitry and repeat them.

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Medium 9781855757684

Introduction: Felix de Mendelssohn

Earl Hopper Karnac Books ePub

Felix de Mendelssohn

These two intriguing papers that comprise the section entitled “The mind and the social system” explore the largely uncharted territory at the confluence of individual developmental psychology with specific structures and functions of social systems. Through the use of extensive but pertinent international literature, the authors bring to us a plethora of original insights gathered from their formidable and formative clinical experiences in Eastern Europe under the workings of totalitarian regimes and ideologies, and the sudden, often traumatic, collapse of these extreme forms of “social order”.

Helena Klímová, from Prague, in her astute and moving paper “The false we/the false collective self”, takes us with patience and high descriptive power through the stages of individual and collective psycho-social development that underlie the pernicious, all-pervading processes of life under totalitarian dictatorship.1

Klímová registers the effects of these projections of the individual self on to and into the collective life in terms of “parallel processes”, although it must be said that one could also think here of a kind of reciprocally incremental feedback effect. Her use of some small but well-chosen case vignettes is helpful in illustrating not only theoretical, but also empathic qualities in her understanding of these complex processes.

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Medium 9781783102891

Gedichte in Druckgrafiken Verrückte Verse

Edmond de Goncourt Parkstone International ePub





Hokusais Werk ist außerordentlich vielseitig und umfasst unzählige Zeichnungen und Malereien. Sicherlich ist es tief in der japanischen Tradition verwurzelt, doch wusste der Maler diese Tradition in seinem Sinne umzugestalten und seinen Ansprüchen anzupassen. Traditionellerweise tritt die japanische Malerei in drei Formen auf: im Kakemono oder Makimono, im Fächer und in der Zeichnung für den Holzschnitt, die der Meister – so wie die Vorlage des Holzschneiders – in der Größe des Druckstocks anfertigte. Die Zeichnung selbst wurde stets in chinesischer Tusche ausgeführt. Erst später färbte der Maler die ersten schwarzen Drucke probeweise für sich und seine Freunde ein. Kakemonos sind großformatige, als Wandschmuck dienende Bilder, während die kleinformatigen Makimonos in der Hand getragen wurden. Bei den sogenannten Surimonos handelt es sich hingegen um luxuriöse Grafiken.


Alle Werke wurden in einer komplexen Drucktechnik angefertigt, die im Laufe der Geschichte des japanischen Drucks weiterentwickelt und verbessert wurde. Die großen Meister des japanischen Drucks, die dessen Feinheit und Schönheit zum Höhepunkt brachten, waren insbesondere die Künstler des Ukiyo-e. Ab der Mitte des 18. Jahrhunderts war es dank der neuen Techniken möglich, die ersten Zeichnungen in Farbe zu drucken.

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