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One of the most famous lines in movie history is, "I see dead people", uttered by a young boy. Is there any reason to believe that children can see the dead? Do they have spooky powers denied to adults? Do they grow out of these powers as they reach puberty? Do they forget that they once interacted with the dead? One study says that by age seven, 65 percent of children have had an imaginary friend. Are these "imaginary friends" actually spirits? Do children have the dead as their "imaginary" playmates? They're not imaginary at all. They're real, but they're dead! Children are natural mediums, psychics, and necromancers. They can channel the other world. Is the poltergeist phenomenon caused by children's imaginary friends? Can imaginary friends operate externally to children's minds? Are some children in cahoots with spirits? There is nothing more fascinating than the psychic abilities of children and the astonishing thing that eventually happens to them which suppresses their paranormal powers in order to allow them to enter the normal world, the adult world. What would you prefer – to remain a child all your life and have paranormal powers, or to become an adult and sacrifice your paranormal powers? Nature has made this a tradeoff. Do you want to be Peter Pan, who can fly but can never grow up, or do you want to join the adults and have adult fun and also adult responsibilities? Why do children lose their natural powers? Is it possible to get these powers back? Can adults recover their lost paranormal abilities, the abilities which society warned them as children never to play with? It's always dangerous to play with fire. It's even more dangerous to ignore your natural fire. Isn't it time to light up your life?
What Does Dead Mean? is a beautifully illustrated book that guides children gently through 17 of the 'big' questions they often ask about death and dying. Questions such as 'Is being dead like sleeping?', 'Why do people have to die?' and 'Where do dead people go?' are answered simply, truthfully and clearly to help adults explain to children what happens when someone dies. Prompts encourage children to explore the concepts by talking about, drawing or painting what they think or feel about the questions and answers. Suitable for children aged 4+, this is an ideal book for parents and carers to read with their children, as well as teachers, therapists and counsellors working with young children.
Get an (after) life! A belief in the afterlife is common to almost every faith and culture around the world. Even people who don’t consider themselves “spiritual” share a fascination in life after death. In this powerful guide, author and intuitive Diane Ahlquist shares her own knowledge of the subject, as well as the views of such religious and spiritual leaders as Edgar Cayce and the Dalai Lama.
Confident Parents, Confident Kids lays out an approach for helping parents—and the kids they love—hone their emotional intelligence so that they can make wise choices, connect and communicate well with others (even when patience is thin), and become socially conscious and confident human beings. How do we raise a happy, confident kid? And how can we be confident that our parenting is preparing our child for success? Our confidence develops from understanding and having a mastery over our emotions (aka emotional intelligence)—and helping our children do the same. Like learning to play a musical instrument, we can fine-tune our ability to skillfully react to those crazy, wonderful, big feelings that naturally arise from our child’s constant growth and changes, moving from chaos to harmony. We want our children to trust that they can conquer any challenge with hard work and persistence; that they can love boundlessly; that they will find their unique sense of purpose; and they will act wisely in a complex world. This book shows you how. With author and educator Jennifer Miller as your supportive guide, you'll learn: the lies we’ve been told about emotions, how they shape our choices, and how we can reshape our parenting decisions in better alignment with our deepest values. how to identify the temperaments your child was born with so you can support those tendencies rather than fight them. how to align your biggest hopes and dreams for your kids with specific skills that can be practiced, along with new research to support those powerful connections. about each age and stage your child goes through and the range of learning opportunities available. how to identify and manage those big emotions (that only the parenting process can bring out in us!) and how to model emotional intelligence for your children. how to deal with the emotions and influences of your choir—the many outside individuals and communities who directly impact your child’s life, including school, the digital world, extended family, neighbors, and friends. Raising confident, centered, happy kids—while feeling the same way about yourself—is possible with Confident Parents, Confident Kids.
Many clinicians recognize that denying or ignoring grief issues in children leaves them feeling alone and that acknowledging loss is crucial part of a child’s healthy development. Really dealing with loss in productive ways, however, is sometimes easier said than done. For decades, Life and Loss has been the book clinicians have relied on for a full and nuanced presentation of the many issues with which grieving children grapple as well as an honest exploration of the interrelationship between unresolved grief, educational success, and responsible citizenry. The third edition of Life and Loss brings this exploration firmly into the twenty-first century and makes a convincing case that children’s grief is no longer restricted only to loss-identified children. Children’s grief is now endemic; it is global. Life and Loss is not just the book clinicians need to understand grief in the twenty-first century—it’s the book they need to work with it in constructive ways.
And so the time has come for you to tell the story of your life. How will you do it? A straightforward, linear narrative? Perhaps you will adopt an experimental approach. Do you aim to produce something of great artistic merit? Will you tell the story simply, or do you want to convey something complex and beguiling? Will you be scrupulously truthful, or do you intend to embroider the facts and events? Perhaps you want to present a fantasy version of your life rather than the real thing. Perhaps you want others to admire you and respect you, so you will censor all the unsavory and disreputable things you did. You definitely won't be presenting a "warts and all" account. Or maybe you want people to know exactly who you are, so you will tell it exactly as it is. You will show the world your true self and they can take it or leave it. What kind of audience do you want? Do you seek people of refinement and the highest taste, or are you eager for the masses to crowd in to hear your tale? Are you an elitist or a populist? Do you want to have as large an audience as possible or as select an audience as you can find? Is quality better than quantity? Will you produce a crowd-pleasing thriller, or a high-minded meditation? Perhaps a horror story captures the essence of your life, or a sci-fi, or a western, or a rom-com. It is more tragedy than comedy, or did the laughs and fun times flow thick and fast? There are so many factors to consider. A life is not an easy thing, and its telling is even harder. Come inside and learn how to tell the story of your life.
Narrative play is a way of communicating with children using imaginative stories and narratives to share and make sense of life events. This book describes using narrative play therapeutically with children who have lived in multiple families, children who have problems with social understanding and children who have learning difficulties. Ann Cattanach explains how children's stories and narratives, whether they are about real or imagined events, can be interpreted as indicators of their experiences, their ideas, and a dimension of who they are. She demonstrates this with examples of children's stories from her clinical experience, and provides narrative play techniques and sample scripts both for therapists and for parents whose circumstances require a therapeutic parenting approach. This book is essential reading for play therapists, social workers and other professionals working with children, as well as parents and carers of children who are experiencing social and/or learning difficulties.
Children have been a part of the cinematic landscape since the silent film era, yet children are rarely a part of the theoretical landscape of film analysis. Lost and Othered Children in Contemporary Cinema, edited by Debbie C. Olson and Andrew Scahill, seeks to remedy that oversight. Throughout the over one-hundred year history of cinema, the image of the child has been inextricably bound to filmic storytelling and has been equally bound to notions of romantic innocence and purity. This collection reveals, however, that there is a body of work that provides a counter note of darkness to the traditional portraits of sweetness and light. Particularly since the mid-twentieth century, there are a growing number of cinematic works that depict childhood has as a site of knowingness, despair, sexuality, death, and madness. Lost and Othered Children in Contemporary Cinema challenges notions of the innocent child through an exploration of the dark side of childhood in contemporary cinema. The contributors to this multidisciplinary study offer a global perspective that explores the multiple conditions of marginalized childhood as cinematically imagined within political, geographical, sociological, and cultural contexts.
With this resource, the reader learns to recognize and understand different types of childhood losses while avoiding the stifling cliches that block feeling. The reader will also become aware of the myths that hinder the grief process and learn the four psychological tasks for grief. The author explains the technique of grief work, providing tools, ideas and inventories for educators to help kids commemorate loss.
This volume features a set of thought-provoking and long overdue approaches to situating Stanley Kubrick’s films in contemporary debates around gender, race, and age—with a focus on women’s representations. Offering new historical and critical perspectives on Kubrick’s cinema, the book asks how his work should be viewed bearing in mind issues of gender equality, sexual harassment, and abuse. The authors tackle issues such as Kubrick’s at times questionable relationships with his actresses and former wives; the dynamics of power, misogyny, and miscegenation in his films; and auteur "apologism," among others. The selections delineate these complex contours of Kubrick’s work by drawing on archival sources, engaging in close readings of specific films, and exploring Kubrick through unorthodox venture points. With an interdisciplinary scope and social justice-centered focus, this book offers new perspectives on a well-established area of study. It will appeal to scholars and upper-level students of film studies, media studies, gender studies, and visual culture, as well as to fans of the director interested in revisiting his work from a new perspective.