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2. Khan as theory-maker

Cooper, Judy Karnac Books ePub

Every gypsy tells fortunes according to his own stars.

[Eighteenth-century Bohemian proverb]

The need for an object

Although he is very much a theorist in the object relations tradition, Khan was chiefly preoccupied with the notion of self and of finding a satisfactory way of conceptualizing it. Unlike Klein, who stressed the object, Khan was concerned with how the self expresses itself and the fact that the experience of self requires an other there in order to achieve it. Other theorists have written of similar ideas in terms of “primary narcissism” and “mirroring”, but Khan, extending the ideas of his mentor, Winnicott, is set on answering the question: how does a realization of self come about in the analytic setting?

Because Khan believed that the experience of self was only meaningful in relation to the other, his theory and practice were built around being able to identify what kind of object a patient needed at any given time, what kind of object he was for a patient at any given time, and their use of him. He felt that any analyst dealing with schizoid patients needed to have a strong sense of himself as a person and that, hopefully, this firm sense of self in the analyst would generate an awareness of the object in the patient. Throughout his writings runs the leitmotif both explicitly and implicitly that someone in the analytic dyad needs to be in touch with the significance of the object before a patient can be aware of missing the object.

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Applying the System to the Analysis of Opera

Edward D. Latham University of North Texas Press PDF

Dramatic Closure

Let me stress that an intellectual approach to the play, a thorough analysis of it, is and always has been the director’s responsibility, not the actor’s. However, if we want to claim the right to be creative participants in bringing it to life, we must be armed with more than our technical skills. We should be able to make an intelligent evaluation of the play’s purpose: first, in order to be able to follow the director’s analysis when he shares his intentions with us, and, perhaps more importantly, so that we don’t go interpretively astray in the initial stages of our homework on the role.90

Consequently, in the analyses that are included in the subsequent chapters, the scoring of individual roles will always be undertaken with an eye toward how the analyses may be applied in a performance context. As Stanislavsky puts it, an objective “must have the power to attract and excite the actor”; units and objectives are “merely a technical method of arousing inner, living desires and aspirations.”91

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CHAPTER 11 DEEP LEARNING

Merron, Keith Berrett-Koehler Publishers ePub

The one important thing I have learned over the years is the difference between taking one’s work seriously and taking one’s self seriously. The first is imperative and the second disastrous.

—Margot Fonteyn

ALMOST EVERY CONSULTANT says he is committed to learning. Instead, most put up fences to learning. Even more to the point, expert consultants believe they make their living based on what they know. To reveal what they don’t know is the height of vulnerability and goes against every fiber of their being.

And yet, that is precisely what masterful consultants do—they admit they don’t know everything. They are committed not to the process of knowing but to the process of inquiry. And they are committed to the process of shared learning—their own and their clients. Most importantly, they get that if they want to help develop organizations that are great in their ability to create, discover, and learn, they need to model the same, moment by moment. Whether they know it or not, they live by the ancient Greek principle of aretê. Roughly translated, the concept of aretê means virtue, but not virtue in the modern moral sense of the term. In the ancient meaning, virtue or aretê had to do with a respect for wholeness in life, a striving for excellence in becoming fully human. Aretê was a dominant value in Greek life for hundreds of years, an ideal reflected in Homer’s epic poems, The Iliad and The Odyssey. Aretê, to the Greeks, was only possible when one is striving, striving to become. Moreover, it can never be attained, for those who think they have attained it have lost it, passing into egotistical pride.178

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16. But Someone Would Have Told Me!

Chapman, Alan Aeon Books ePub

16. BUT SOMEONE WOULD HAVE TOLD ME!

OR:
‘THE DEFINITION OF MAGICK

Hopefully, a definition of magick will reflect the magical experience of the person proffering it; otherwise, we’re listening to a charlatan. As such, a definition can be as profound as ‘magick is the science and art of causing change to occur in conformity with will15’ (and thinking about that for a second implies a lot more than just a description of a magical ritual), or as downright shallow as a ‘set of tools’.

The definition I offer is an attempt at accounting for all the various aspects of magick described in the previous chapters of this book, which are all informed by actual experience (and if you have been doing the exercises, hopefully you will find this definition satisfactory).

Here it is:

Magick is the art, science and culture of experiencing truth.

This definition recognises that:

Magick is the art of experiencing truth. In other words, you can choose any experience (say, dancing around in your underpants), decide what that experience will mean (‘it will rain’), undergo the experience (perform the dance), thus rendering the given meaning true (it will rain, because I have experienced the fact ‘it will rain’. Experience is the truth). See chapter 3 for more on this. What can be experienced using magick is limited only by your imagination (the subjective), but how that experience manifests is limited by the available means of manifestation (the objective).

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Medium 9781607058649

Square Play

Becky Goldsmith C&T Publishing ePub

square play

FINISHED QUILT: 50˝ × 50˝

Made by Becky Goldsmith.

If you want a quilt to be noticed, consider using lots of red. Red is bold. It makes you stop and look. In red, this quilt reminds me of a bandana on a warm summer day.

From the very beginning, I knew this quilt would be primarily red. Red, blue, and yellow form a triadic color scheme, which helped me to decide on the two accent colors.

My first thought was to make the narrow strips yellow. Refer to Auditioning Pieced Quilts to see how that turned out. Luckily, I made a few sample blocks to test the color combination before sewing all of the blocks.

The sample blocks also helped me realize that I needed to do more to highlight the small and medium-sized squares that form when the blocks are sewn together. My solution was to use solid red in the position that creates the diagonal grid. Medium-scale and small-scale prints come together to form distinctive smaller squares.

MATERIALS

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