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Medium 9781855754027

CHAPTER SIX: Developing trans-culturally sensitive theory and practice

Karnac Books ePub

Valerie Batts

Introduction

Awhite female therapist reflects after her first supervision session with a male Indian psychologist, “How do I know what the impact of my vastly different life experiences are on this prospective relationship? Does it matter?”

A white male supervisor completes a third supervisory session with a black South African supervisee, appearing to have no concerns. The supervisee asks himself, “How do I handle the frustration—and scare—that comes up in me as I realize I am not being seen for who I really am? I wonder if I should ask for another supervisor.”

Since the early 1960s in the USA, organizations that support clinicians of colour in a variety of clinical disciplines have been suggesting and demonstrating that “culture” matters (Pinder-hughes, 2004). Most clinician supervisors trained in traditional academic settings in the USA and in the UK in the pre-1960s era were taught the accepted western-based psychological frame that neutrality is possible and desirable in supervisory relationships. Although it was generally expected that psychotherapists would engage in their own therapy, typically this action was considered to aid in the development of such neutrality. Further, personal therapy typically did not address cultural issues. Thus, when discomfort across lines of differences occurred, the situation involved risk taking. Examining our responses and behaviour in this situation through the lens of world view enhances our ability to function effectively.

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Medium 9781855752795

21. Technique

Neville Symington Karnac Books ePub

WORST WORDS

The worst words, the words that hurt,
Are the words you don’t use.
You are afraid to use them, because they hurt
And you know they will hurt.
So you go on using another set of words.
They are the words that please, or at least get by.
They make life easier, they grease the wheels,
And no one notices them as they go by.
Until there comes a moment when the worst words
Are the ones you need, the words to do the trick,
The worst trick, to tell the terrible truth.
But it is too late. You have lost the trick of those words.

Anthony Thwaite, Times Literary Supplement (27 November 1998)

Psychoanalysts, in their discussions about the pathology of their patients, differentiate between theory and practice.

“Now you’ve filled my head with all this theory, but how do I apply it in practice?”

asks the exasperated psychoanalyst? The disdainful answer might be:

“If you’ve internalized all that has been said about narcissism in this book, then you will just naturally apply it in your dealings with your patients.”

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Medium 9780596809157

3. Navigating the Software

Paul Teetor O'Reilly Media ePub

R is a big chunk of software, first and foremost. You will inevitably spend time doing what one does with any big piece of software: configuring it, customizing it, updating it, and fitting it into your computing environment. This chapter will help you perform those tasks. There is nothing here about numerics, statistics, or graphics. This is all about dealing with R as software.

You want to change your working directory. Or you just want to know what it is.

Use getwd to report the working directory, and use setwd to change it:

From the main menu, select File Change dir... .

From the main menu, select Misc Change Working Directory.

For both Windows and OS X, the menu selection opens the current working directory in a file browser. From there, you can navigate to a new working directory if desired.

Your working directory is important because it is the default location for all file input and outputincluding reading and writing data files, opening and saving script files, and saving your workspace image. When you open a file and do not specify an absolute path, R will assume that the file is in your working directory.

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Medium 9781855758568

Chapter Seven: Destructiveness and Complex Forms of the “Survival” of the Object

Rene Roussillon Karnac Books ePub

In this chapter, I intend to develop some thoughts on what Winnicott's idea of the “survival of the object” has contributed to the analysis of destructiveness and its specific clinical manifestations. My hypothesis is that the question of the survival of the object implies a paradigmatic variation thanks to which some aspects of the destructiveness typical of issues involving narcissism and the sense of identity can be interpreted psychodynamically; indeed, the whole question of destructiveness, above and beyond the aspect that I shall focus on here, probably becomes more understandable thanks to Winnicott's contribution. I would argue that the idea of the survival of the object is a crucial one if we are to preserve, when the floodgates of its manifestations are open, a truly psychoanalytic stance as regards destructiveness.

In psychoanalytic circles, the survival of the object is undoubtedly one of the most widely known of Winnicott's ideas—another, for example, would be that of transitionality. This does not mean that the idea in itself, or the consequences that follow on from it, are easy to understand. As for myself, as early as 1978, I was convinced of the fact that Winnicott's hypothesis concerning the use of the object amounted to a kind of revolution in our conception of the genesis of the idea of the object's reality—not with regard to the perception of the object, but its conception and discovery in terms of its being an “other-subject”. Winnicott went on to add another significant paradigmatic modification with the idea that what becomes of a mental process depends at least partly on the interpretation that the other-subject to whom it is addressed brings to bear on that process, that is, on the object's response.

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Medium 9781574412840

26. Macumba! (1971)

Michael Sparke University of North Texas Press PDF

26.

Macumba!

(1971)

“Without Stan the band couldn’t exist very long. Well, it’s his music. You can play Stan Kenton music, but you can’t really get that sound unless you’ve got him there. I mean, the arrangement will do it, but a great leader gives it that added dimension,” said John Von Ohlen.1

The leader makes a band.

It is his name, his reputation that draws the people.

It is his presence that is a guarantee of quality.

It is his skill and personality that sells his music to the audience.

He is the focal point for public respect and admiration.

He is the star!

No one knew this better than Stan Kenton, who over the years had attracted more dedicated fans than any other leader in the business, and no one knew better than Stan the likely consequences if ill-health forced him off the road for any length of time. In 1947 the band had collapsed the same day he did, with consequential lost bookings and cancellation fees, and in 1971 with a burgeoning record company to take care of, the results would be even more catastrophic.

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