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The Suicidal Crisis has everything clinicians need to evaluate the risk of imminent suicide. What sets it apart is its clinical focus on those at the highest risk--the book includes individual case studies of acutely suicidal individuals, detailed instructions on how to conduct risk assessments, test cases with answer keys, and empirically validated Suicidal Crisis risk assessment scales.
From Nobel Prize–winning economist and New York Times bestselling author Robert Shiller, a groundbreaking account of how stories help drive economic events—and why financial panics can spread like epidemic viruses Stories people tell—about financial confidence or panic, housing booms, or Bitcoin—can go viral and powerfully affect economies, but such narratives have traditionally been ignored in economics and finance because they seem anecdotal and unscientific. In this groundbreaking book, Robert Shiller explains why we ignore these stories at our peril—and how we can begin to take them seriously. Using a rich array of examples and data, Shiller argues that studying popular stories that influence individual and collective economic behavior—what he calls "narrative economics"—may vastly improve our ability to predict, prepare for, and lessen the damage of financial crises and other major economic events. The result is nothing less than a new way to think about the economy, economic change, and economics. In a new preface, Shiller reflects on some of the challenges facing narrative economics, discusses the connection between disease epidemics and economic epidemics, and suggests why epidemiology may hold lessons for fighting economic contagions.
This open access book explores the emotional labour of crisis reporters in an original style that combines fictional and factual narrative. Exploring how journalists make sense of their emotional experience and development in relation to their professional ideology, it illustrates how media professionals learn to think and act within crisis situations. Drawing on in-depth interviews with journalists reporting on wars, terror attacks and natural disasters, the book rethinks traditional concepts in journalistic thought. Finally, it reflects on the specific, contemporary vulnerabilities of industry professionals, including the impact of new technologies, specific forms of precarity, and a particular strain of cynicism central to the industry. Combining comprehensive, empirical research with the fictional narrative of a journalist protagonist, Crisis Reporters, Emotions and Technology establishes an innovative approach to academic storytelling.
Crisis is everywhere: in Iraq, Afghanistan, Syria, and the Congo; in housing markets, money markets, financial systems, state budgets, and sovereign currencies. In Anti-Crisis, Janet Roitman steps back from the cycle of crisis production to ask not just why we declare so many crises but also what sort of analytical work the concept of crisis enables. What, she asks, are the stakes of crisis? Taking responses to the so-called subprime mortgage crisis of 2007–2008 as her case in point, Roitman engages with the work of thinkers ranging from Reinhart Koselleck to Michael Lewis, and from Thomas Hobbes to Robert Shiller. In the process, she questions the bases for claims to crisis and shows how crisis functions as a narrative device, or how the invocation of crisis in contemporary accounts of the financial meltdown enables particular narratives, raising certain questions while foreclosing others.
This book investigates the narrativity of some of the most popular survival horror video games and the gender politics implicit in their storyworlds. In a thorough analysis of the genre that draws upon detailed comparisons with the mainstream action genre, Andrei Nae places his analysis firmly within a political and social context. In comparing survival horror games to the dominant game design norms of the action genre, the author differentiates between classical and postclassical survival horror games to show how the former reject the norms of the action genre and deliver a critique of the conservative gender politics of action games, while the latter are more heterogeneous in terms of their game design and, implicitly, gender politics. This book will appeal not only to scholars working in game studies, but also to scholars of horror, gender studies, popular culture, visual arts, genre studies and narratology.
This landmark collection of essays demonstrates the capacity of literary and cultural criticism, working in dialogue with contemporary narrative texts, to provide penetrating insights into a public sphere defined by a succession of overlapping global crises, ranging from finance and economics to the environment, geopolitics, terrorism, and public health.
In his new book, "Bad History, Worse Policy: How a False Narrative about the Financial Crisis Led to the Dodd-Frank Act," (AEI Press) Wallison argues that the Dodd-Frank Act -- the Obama administration's sweeping financial regulation law -- will suppress economic growth for years to come. Based on his essays on financial services issues published between 2004 and 2012, Wallison shows that the act was based on a false and ideologically motivated narrative about the financial crisis." -- Provided by publisher.
Crises aren't real objective events. Instead, Spector demonstrates they are claims of urgency imposed by leaders to assert power and exert control.
WHAT IS THE STORY GRID? The Story Grid is a tool developed by editor Shawn Coyne to analyze stories and provide helpful editorial comments. It's like a CT Scan that takes a photo of the global story and tells the editor or writer what is working, what is not, and what must be done to make what works better and fix what's not. The Story Grid breaks down the component parts of stories to identify the problems. And finding the problems in a story is almost as difficult as the writing of the story itself (maybe even more difficult). The Story Grid is a tool with many applications: 1. It will tell a writer if a Story ?works? or ?doesn't work. 2. It pinpoints story problems but does not emotionally abuse the writer, revealing exactly where a Story (not the person creating the Story'the Story) has failed. 3. It will tell the writer the specific work necessary to fix that Story's problems. 4. It is a tool to re-envision and resuscitate a seemingly irredeemable pile of paper stuck in an attic drawer. 5. It is a tool that can inspire an original creation.
The Narrative Turn in Fiction and Theory explores the philosophical and historical underpinnings of the postwar crisis and return of storytelling and shows their relevance for the ongoing debate on the significance of narrative for human existence.