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Kimmy Walker played the Alter Game with the monster under her bed to stop it from making a mess. They switched bodies and the portal to the monster world sucked the two of them because of confusion. Now, the unlikely duo are working together to bring the child back to her world.
The simplicity of children's picture books--stories told with illustrations and a few well chosen words or none at all--makes them powerful tools for teaching morals and personal integrity. Children follow the story and see the characters' behaviors on the page and interpret them in the context of their own lives. But unlike many picture books, most children's lives don't feature monsters. This collection of new essays explores the societally sanctioned behaviors imparted to children through the use of monsters and supernatural characters. Topics include monsters as instructors, the normalization of strangers or the "other," fostering gender norms, and therapeutic monsters, among others.
Dennis McCarthy's work with distressed or traumatized children begins with an exercise that is simple but effective: he invites the child to communicate with him in their own way, through the non-verbal language of play. This book is useful for play therapists and other professionals working therapeutically with young children and their families.
H. M. Milner was a hugely successful playwright, producing a great many melodramas and popular tragedies. His most notable work, The Man and The Monster; or The Fate of Frankenstein - a melodramatic adaptation of Mary Shelley's famous 1818 novel, Frankenstein - opened at the Royal Coberg Theatre in July of 1826. Many of the horror stories of monsters and ghouls, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
Mixed feelings about motherhood—uncertainty over having a child, fears of pregnancy and childbirth, or negative thoughts about one’s own children—are not just hard to discuss, they are a powerful social taboo. In this beautifully written book, Barbara Almond brings this troubling issue to light. She uncovers the roots of ambivalence, tells how it manifests in lives of women and their children, and describes a spectrum of maternal behavior—from normal feelings to highly disturbed mothering. In a society where perfection in parenting is the unattainable ideal, this compassionate book also shows how women can affect positive change in their lives.
Background on Tommy Tommy had just had his eighth birthday party. Hardly any of his friends had come. For several weeks, Tommy had been acting strange and some of his friends were not playing with him anymore. He was quiet and didnt talk much He always. Seemed &.that something on his mind usually he dust sat under the big tree on the playground and stared off into space. The Monsters In the neither world of darkness, a monster waited. He waited for night. He had found a child who was afraid of the dark. The monster fed upon fear. The child always kept a light on in his room o the monster couldnt get to him. The only way to reach him was through his dreams. So the monster would wait until the child was asleep. Then he would enter his dreams and make him afraid. The monster would feed on that feat and grow stronger. When he had grown strong enough, he could enter the light and take the childs life force. Then the monster could survive on that life force until he found another child who was afraid. The only way the monster could he stopped was if the child over came his fear. Then the monster would die. Only then would the children of this world be safe. So the monster waited.
Tim Burton’s films are well known for being complex and emotionally powerful. In this book, Helena Bassil-Morozow employs Jungian and post-Jungian concepts of unconscious mental processes along with film semiotics, analysis of narrative devices and cinematic history, to explore the reworking of myth and fairytale in Burton’s gothic fantasy world. The book explores the idea that Burton’s lonely, rebellious ‘monstrous’ protagonists roam the earth because they are unable to fit into the normalising tendencies of society and become part of ‘the crowd’. Divided into six chapters the book considers the concept of the archetype in various settings focusing on: the child the monster the superhero the genius the maniac the monstrous society. Tim Burton: The Monster and the Crowd offers an entirely fresh perspective on Tim Burton’s works. The book is essential reading for students and scholars of film or Jungian psychology, as well as anyone interested in critical issues in contemporary culture. It will also be of great help to those fans of Tim Burton who have been searching for a profound academic analysis of his works.
“A remarkable creation, a baroque opera of grief, laced with lines of haunting beauty and profundity.” —The Washington Post Now in paperback, the bold, genre-defying book that asked: What if Mary Shelley had not invented Frankenstein's monster at all but had met him when she was a girl of eight, sitting by her mother's grave, and he came to her unbidden? In a riveting mix of fact and poetic license, Laurie Sheck gives us the "monster" in his own words: recalling how he was "made" and how Victor Frankenstein abandoned him; pondering the tragic tale of the Shelleys and the intertwining of his life with Mary's (whose fictionalized letters salt the narrative, along with those of her nineteenth-century intimates); taking notes on all aspects of human striving--from Gertrude Stein to robotics to the Northern explorers whose lonely quest mirrors his own--as he tries to understand the strange race that made yet shuns him, and to find his own freedom of mind.
This edited book draws from work that focuses on the act of telling family stories, as well as their content and structure. The process of telling family stories is linked to central aspects of development, including language acquisition, affect regulation, and family interaction patterns. This book extends across traditional developmental psychology, personality theory, and family studies. Drawing broadly on the epigenetic framework for individual development articulated by Erik Erikson, as well as on conceptions of the family life cycle, the editors bring together contemporary examples of psychological research on family stories and their implications for development and change at different points in the life course. The book is divided into sections that focus on family stories at different points in the life cycle, from early childhood and the beginnings of narrative skill, through adolescence, young adulthood, midlife, and then mature adulthood and its intergenerational meaning. During each of these periods of the life cycle, research focusing on individual development within an Eriksonian framework of ego strengths and virtues is highlighted. The dynamic role of family stories is also featured here, with work exploring the links between family process, intergenerational attachment, and storytelling. Sociocultural theories that emphasize how such development is situated in the wider cultural context are also featured in several chapters. This broad lifespan developmental focus serves to integrate the exciting diversity of this work and foster further questions and research in the emerging field of family narrative. The book is intended primarily for researchers and advanced-level students in the fields of developmental and personality psychology, as well as those in family studies and in gerontology. It may also be of interest to those in the helping professions who are concerned with family therapy and family issues, and may--due to its content and illustrative material--have appeal to a wider market of the lay public. The chapters are written in a readily accessible style and the analyses are presented in a fairly non-technical way. Because family stories are charted across the lifespan, it would be a suitable companion book to a more traditional lifespan textbook in certain courses.