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Family constellations work has broadened and developed in many different fields as a method of counseling and therapy. In addition to constellations in organizations and schools, applying this approach to working with illness and disease has expanded the potential for healing effects in the field of medicine as well. A view of transgenerational entanglements and family dynamics casts a new light on health and disease, and the insights gained from constellations with illness and health problems have led to a more holistic view of those who are ill. In Even if it Costs me my Life, Stephan Hausner aims to provide a picture of the healing potential of systemic constellations, entering into the reciprocal effects of family dynamics and illness. Extensive use of case studies demonstrates this technique in action, revealing how existing illnesses and pathologies are rooted within the family dynamic, and setting up healing postures to facilitate growth, development, and direction.
Family constellations work has broadened and developed in many different fields as a method of counseling and therapy. In addition to constellations in organizations and schools, applying this approach to working with illness and disease has expanded the potential for healing effects in the field of medicine as well. A view of transgenerational entanglements and family dynamics casts a new light on health and disease, and the insights gained from constellations with illness and health problems have led to a more holistic view of those who are ill. In Even if it Costs me my Life, Stephan Hausner aims to provide a picture of the healing potential of systemic constellations, entering into the reciprocal effects of family dynamics and illness. Extensive use of case studies demonstrates this technique in action, revealing how existing illnesses and pathologies are rooted within the family dynamic, and setting up healing postures to facilitate growth, development, and direction.
This book has been written for those who are interested in deepening their understanding of the practice of family constellations. Many might ask whether this practice hasn't already been detailed in Hellinger's own books and videos. This book is a response to many practical questions of therapists and coaches. When I speak about the 'art' and 'craft' of the work, I am using these terms in the old sense. To become a painter, you have to master colours, techniques, perspective, etc. That is the master craft which the art requires. The more finely trained the craftsmanship, the more masterly will be the result of a new expression or theme. Art and depth of expression are not things which can be learned, but craftsmanship is. In addition to the few artists who truly break new ground, we have to also recognise the great number of learned practitioners of the arts. They have mastered their craft to such an extent that there is depth and expression in their work, even though they may not have developed a new, revolutionary style. In my training programme for constellation facilitators, a core of material has emerged which I pass on to those in training as a basic foundation for practising this craft. From the feedback in these groups, I am confident that this is a solid basis for the work with constellations.
The canon of Edgar Allan Poe, one of the foremost writers of dark and atmospheric fiction and poetry, offers readers haunted shores teeming with various erudite men brooding in the waning light over their feelings for unobtainable women. Yet, whether the tales or verses are grotesque or sinister, Poe's narrators are Outsiders, dealing with emotions that so many LGBT individuals feel: isolation and abandonment as well as loneliness and lost love. In the Shirley Jackson Award nominated Where Thy Dark Eye Glances, editor Steve Berman has assembled a range of tales that queer the prose and poetry of the Poe, the man himself, as well as dark and eerie stories about reading Poe's work.
Simple songs or airs, in which a male poetic voice either seduces or excoriates a female object, were an influential vocal genre of the French Baroque era. In this comprehensive and interdisciplinary study, Catherine Gordon-Seifert analyzes the style of airs, which was based on rhetorical devices of lyric poetry, and explores the function and meaning of airs in French society, particularly the salons. She shows how airs deployed in both text and music an encoded language that was in sensuous contrast to polite society's cultivation of chaste love, strict gender roles, and restrained discourse.
Over the past seven years I've lived in more places than I can remember. I lived and worked in Shanghai, New York, Berlin, Bangkok, Munich and a few more places, not including the dozens of places I've stayed at for just a few days or weeks.While writing these lines I'm in a small town in Malaysia.I've basically lived out of a backpack for the past seven years. And the longer I'm doing this, the less stuff I need. Right now I carry less than 10 items around with me in a carry on backpack that weighs less than 10kg. I go wherever I want to go. I currently spend less than $800 a month. Including everything. My most precious possession is a $300 Acer laptop.I've started a clothing company in China, for the Chinese market, which failed miserably. I've launched more than 10 websites, some of them made some money, some of them didn't. I shut down all of them. I've written seven books (this is my eighth). None of them was a bestseller. I write a blog where I published more than 500 articles so far. I've more than 100,000 monthly readers spread across multiple platforms.I'm by no means successful. Or rich. But I have more than enough, by all means. I have access to everything I need. And I can buy and afford everything I need.I'm not a minimalist. Or a digital nomad. Or an entrepreneur. Or a blogger. Or an author.I'm mostly trying to just be myself. I'm trying to be myself in a world where it gets harder and harder every single day to just be yourself.It's not always been easy. As a matter of fact it's probably been hard more often than it's been easy. But every day of struggle and doubt has been worth it. Being yourself and creating your own life instead of just living a life is always worth the struggle.This right here is my story. This is what I've learned about life, myself and the world around me.I'm everywhere and nowhere. And I own nothing and everything...
Hyakunin’shu: Reading the Hundred Poets in Late Edo Japan explores the “popular literary literacy” of the Japanese at the edge of modernity. By reproducing and translating a well-known annotated and illustrated Ansei-era (1854–1859) edition of the Hyakunin isshu—for hundreds of years the most basic and best-known waka primer in the entire Japanese literary canon—Joshua Mostow reveals how commoners of the time made sense of the collection. Thanks to the popularization of the poems in the early modern period and the advent of commercial publishing, the Hyakunin’shu (as it was commonly called) was no longer the exclusive intellectual property of the upper classes but part of a poetic heritage shared by all literate Japanese. Mostow traces the Hyakunin’shu’s history from the first published collections in the early sixteenth century and printed commentaries of formerly esoteric and secret exegesis to later editions that include imagined portraits of the poets and, ultimately, pictures of the “heart”—pictorializations of the meaning of the poems themselves. His study illuminates the importance of “variant One Hundred Poets,” such as the Warrior One Hundred Poets, in popularizing the collection and the work’s strong association with feminine education from the early eighteenth century onward. The National Learning (Kokugaku) movement pursued a philological analysis of the poems, leading to translations of the Hyakunin’shu into contemporary, vernacular, spoken Japanese. The poems eventually served as the basis of a card game that became a staple of New Year festivities. This volume presents some innovations in translating premodern Japanese poetry: in the Introduction, Mostow considers the Hyakunin’shu’s reception during the Edo, when male homoerotic relationships were taken for granted, and makes the case for his translating the love poems in a non-heteronormative way. In addition, the translated poems are lineated to give readers a sense of the original edition’s chirashi-gaki, or “scattered writing,” allowing them to see how each poem’s sematic elements are distributed on the page.