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|Sikha Saha Bagui||O'Reilly Media||ePub|
TableA-1.Table definitions of the tables in the Student_course database
ER Diagram for the Student_course Database
FigureA-1.Diagram for the Student_course database
(Students may be in the database and not registered for any courses, but if a course is recorded in the
(Courses may exist where they are not offered in a section, but a section, if offered, must relate to one and only one course).See All
|Jane A.J. Kise||Solution Tree Press||ePub|
Before you begin reading this chapter, take a moment to reflect on the following questions:
• Describe an incident in which your supervisor (school principal or district personnel) praised the way a colleague implemented a strategy or solved an instructional dilemma. Did you feel expected to implement the strategy or solution in exactly the same way? Or did you feel free to implement a practice that provided the same outcome for students, but in a very different way?
• Think of a discussion with content-alike staff during which you looked at strategies for deepening student content knowledge. Were you ever hesitant to disagree for fear of being judged? What strategy did you dislike? Why?
Imagine a team in which two teachers actually think the other’s classroom is harmful to students. Or perhaps you don’t have to use your imagination. We’ve certainly seen it time and again. The following descriptions came from conversations Jane had with two teachers on the same grade-level team.See All
|Lloyd, Naomi||Karnac Books||ePub|
Although it would take until the end of that year for events surrounding my training as a relationship counsellor to reach their final conclusion, the summer of 2005 marked a period of continuing psychological and emotional stability. As Anna and I looked back, I was reminded of how often my analysis would lead us to speculate on whether I might learn to view endings not as a “death”, but as containing the potential for change and more akin to “re-birth and renewal”.
While not naturally drawn to this perspective, I now recognise this as an aspect of my pathology—so that I no longer regard my affinity with death as containing a “philosophical truth” demanding unquestioning acceptance. During this particularly strengthening period, Anna helped me develop a deeper appreciation of an alternative outlook…though a more definitive resolution had yet to be achieved.
Unsurprisingly, the process of re-visiting this issue provoked a dream that emerged three months before my analysis ended, at a time when Patrick and I were re-decorating:See All
|Gertrud Mander||Karnac Books||ePub|
Herman Melville's Bartleby: an illustration of clinical casework
“About suffering they were never wrong
W. H. Auden
Resistance is encountered in psychotherapy in many different forms and can be seen as a survival strategy. This chapter interprets the short story Bartleby the Scrivener, by Herman Melville, as a fictional case of defiant resistance, which some patients develop to fend off external demands experienced as intolerable impingements. Clinical material from two particularly intractable cases of narcissistic damage is introduced in the second part of the paper to support the hypothesis that the therapist needs to contain and understand this kind of resistance as a defensive stance in the service of protecting a weak self structure, thereby making the patient feel held and enabled to shed the fear of impingement and to bear what Melville called the “cosmic orphanhood” of man.
Works of fiction are a gold-mine for therapists, as they often describe characters whose behaviour and personalities resemble the psychopathology of clinical cases. Before the invention of psychoanalysis, fictional narratives provided glimpses and interpretations of the unconscious processes in the inner world and of the complexity of emotional conflict, object relations, and individual psychopathology. The life stories of fictitious heroes and villains can help their readers recognize something of themselves in these others, and they demonstrate universal truths about complex psychological structures. Shakespeare, Tolstoy, Balzac, Proust, and many others have peopled their works with protagonists and minor characters who could be diagnosed as suffering from conditions definable as manic-depressive, perverse, narcissistic, self-destructive, or borderline, the likes of whom turn up daily in the consulting room. As it is getting increasingly difficult to publish case histories because of the need for confidentiality, the choice of fictitious characters can be a convenient way of presenting clinical narratives and to demonstrate therapeutic points.See All
|Carola Luther||Carcanet Press Ltd.|
It began with the owl moving into the attic under the chimney where wind lived like an animal, then the mouse and its offspring bedding down in softnesses long forgotten in the cellar, then spiders, many of them, hanging their shadows in string bags beneath them, touching toes with themselves under lintel and eave, then flies dead or alive, lining up on the rims of windows, followed by the flurry of the neighbour with her autumn Christmas card The Weeping
Donkey, then pigeons, whole flocks, and starlings going nowhere, then the heron elbowing the owl
(now withdrawn deep into the pillow of itself) along to the furthest reaches of the garret, then the postman with his post and the ghosts of the few correspondents and their waiting people, the community of churches coming in from their places guarding the status of steeples on the tops of hills, the yellowing hills, six of them, raggy and dying, with their listing sheep and other ragamuffins of heather, the child with her plastic farm, the fuming woman, the timid woman, the man who doesn’t have to say a word to keep them schtum, the dog and its limp, the cat, unchallenged king of the cooling car bonnet, the car beneath its bonnet, tarmac, oil stain, litter, weeds, wasps stunned by darkness, damp, mould, rot, the loud and terrible mouths eating and eating, until it became clear she must pack up her tarpaulin and trek Ferreira, gingerly crossing the stepping stones to a new rectangle of light, a geometric shape of empty grass to set up home in, where, apart from the wind and the creaking of stars, it might, for a while, be quiet.See All
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