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Includes section "Book reviews."
Gayle Y. Iwamasa and Pamela A. Hays show mental health providers how to integrate cultural factors into cognitive behavior therapy (CBT). They describe the application of CBT with clients of diverse cultures and discuss how therapists can refine CBT to increase its effectiveness with clients from a variety of cultural backgrounds. Contributors examine the unique characteristics of CBT and its use with various racial, ethnic, and religious minority groups in the United States. Strategies for using CBT with older adults; individuals with disabilities; and lesbian, gay, bisexual, transgender, queer, and questioning clients are also examined. A chapter on culturally responsive CBT clinical supervision closes the volume. This new edition includes updated demographic information, a greater emphasis on culture-specific assessments, and a new chapter on using CBT with clients of South Asian descent. -- Résumé de l'éditeur.
An in-depth look at one of the twentieth century's star reporters and his biggest story. Thanks to one reporter’s skill, we can fix the exact moment on November 22, 1963 when the world stopped and held its breath: At 12:34 p.m. Central Time, UPI White House reporter Merriman Smith broke the news that shots had been fired at President Kennedy's motorcade. Most people think Walter Cronkite was the first to tell America about the assassination. But when Cronkite broke the news on TV, he read from one of Smith’s dispatches. At Parkland Hospital, Smith saw President Kennedy’s blood-soaked body in the back of his limousine before the emergency room attendants arrived. Two hours later, he was one of three journalists to witness President Johnson’s swearing-in aboard Air Force One. Smith rightly won a Pulitzer Prize for the vivid story he wrote for the next day’s morning newspapers. Smith’s scoop is journalism legend. But the full story of how he pulled off the most amazing reportorial coup has never been told. As the top White House reporter of his time, Smith was a bona fide celebrity and even a regular on late-night TV. But he has never been the subject of a biography. With access to a trove of Smith’s personal letters and papers and through interviews with Smith’s family and colleagues, veteran news reporter Bill Sanderson will crack open the legend. Bulletins from Dallas tells for the first time how Smith beat his competition on the story, and shows how the biggest scoop of his career foreshadowed his personal downfall. Skyhorse Publishing, as well as our Arcade imprint, are proud to publish a broad range of books for readers interested in history--books about World War II, the Third Reich, Hitler and his henchmen, the JFK assassination, conspiracies, the American Civil War, the American Revolution, gladiators, Vikings, ancient Rome, medieval times, the old West, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.
"How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China? Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, and a conception of vision based on Cartesian optics. The new landscape practice brought with it unprecedented emphasis on perception and redefined artistic expertise. Central to the pursuit of open-air painting from the late 1910s right through to the early 1960s was a reinvigorated and ever-growing urgency to see suitably as a Chinese and to see the Chinese homeland correctly. Examining this long-overlooked ocular turn, Gu not only provides an innovative perspective from which to reflect on complicated interactions of the global and local in China, but also calls for rethinking the nature of visual modernity there."
Includes list of members, v. 1, 3-
Includes reports of the committees on academic freedom.