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Children do not always have the capacity or need to express themselves through words. They often succeed in saying more about their feelings and experiences by communicating non-verbally through play and other expressive, creative activities. The basic premise of Speaking about the Unspeakable is that life's most pivotal experiences, both good and bad, can be truly expressed via the language of the imagination. Through creativity and play, children are free to articulate their emotions indirectly. The contributors, all experienced child therapists, describe a wide variety of non-verbal therapeutic techniques, including clay, sand, movement and nature therapy, illustrating their descriptions with moving case studies from their professional experience. Accessible and engaging, this book will inspire child psychologists and therapists, art therapists and anyone with an interest in therapeutic work with children.
Adham Hamed explores how a metaphoric understanding of the Middle East as an open space full of resonating sound bodies can be applied to the Middle East Conflict. Through inquiring into the experienced truths of large-scale political violence, the author suggests that music carries a potential for speaking ‘unspeakable’ truths. He explores hidden layers by applying the transrational approach to peace studies and proposes a non-territorial understanding of conflict. Hamed argues that security and justice discourses make up the dominant primary themes in this context. The Jerusalem Youth Chorus and the Egyptian band Eskenderella are examined as case studies. This book uncovers where their truths meet within and beyond the restrictions of formalized language. The author concludes that in moments of experienced resonance there is potential for change in the dynamics of rigid conflicts.
In this bold rereading of Freud's cultural texts, Diane Jonte-Pace uncovers an undeveloped "counterthesis," one that repeatedly interrupts or subverts his well-known Oedipal masterplot. The counterthesis is evident in three clusters of themes within Freud's work: maternity, mortality, and immortality; Judaism and anti-Semitism; and mourning and melancholia. Each of these clusters is associated with "the uncanny" and with death and loss. Appearing most frequently in Freud's images, metaphors, and illustrations, the counterthesis is no less present for being unspoken--it is, indeed, "unspeakable." The "uncanny mother" is a primary theme found in Freud's texts involving fantasies of immortality and mothers as instructors in death. In other texts, Jonte-Pace finds a story of Jews for whom the dangers of assimilation to a dominant Gentile culture are associated unconsciously with death and the uncanny mother. The counterthesis appears in the story of anti-Semites for whom the "uncanny impression of circumcision" gives rise not only to castration anxiety but also to matriphobia. It also surfaces in Freud's ability to mourn the social and religious losses accompanying modernity, and his inability to mourn the loss of his own mother. The unfolding of Freud's counterthesis points toward a theory of the cultural and unconscious sources of misogyny and anti-Semitism in "the unspeakable." Jonte-Pace's work opens exciting new vistas for the feminist analysis of Freud's intellectual legacy.
Speaking the Unspeakable in Postwar Germany is an interdisciplinary study of a diverse set of public speeches given by major literary and cultural figures in the 1950s and 1960s. Through close readings of canonical speeches by Hannah Arendt, Theodor W. Adorno, Ingeborg Bachmann, Martin Buber, Paul Celan, Uwe Johnson, Peter Szondi, and Peter Weiss, Sonja Boos demonstrates that these speakers both facilitated and subverted the construction of a public discourse about the Holocaust in postwar West Germany. The author's analysis of original audio recordings of the speech events (several of which will be available on a companion website) improves our understanding of the spoken, performative dimension of public speeches.While emphasizing the social constructedness of discourse, experience, and identity, Boos does not neglect the pragmatic conditions of aesthetic and intellectual production—most notably, the felt need to respond to the breach in tradition caused by the Holocaust. The book thereby illuminates the process by which a set of writers and intellectuals, instead of trying to mend what they perceived as a radical break in historical continuity or corroborating the myth of a "new beginning," searched for ways to make this historical rupture rhetorically and semantically discernible and literally audible.
Shortlisted for The Green Carnation Prize 2014 'This is not a fairytale. This is a story about how sex and money and power police our dreams.' Clear-eyed, witty and irreverent, Laurie Penny is as ruthless in her dissection of modern feminism and class politics as she is in discussing her own experiences in journalism, activism and underground culture. This is a book about poverty and prejudice, online dating and eating disorders, riots in the streets and lies on the television. The backlash is on against sexual freedom for men and women and social justice – and feminism needs to get braver. Penny speaks for a new feminism that takes no prisoners, a feminism that is about justice and equality, but also about freedom for all. It's about the freedom to be who we are, to love who we choose, to invent new gender roles, and to speak out fiercely against those who would deny us those rights. It is a book that gives the silenced a voice – a voice that speaks of unspeakable things.
Everyone has secrets. Elizabeth Good’s seem shocking – at first – until the room begins to shift, hands raise, tears well, and hurting hearts respond, “I thought I was the only one.” Brave enough to lay her own story on the table, Elizabeth Good noticed, as the scales of shame and fear began to fall from her eyes, the same was happening to others in domino effect of healing. Thousands who have lived paralyzed by secrets are learning to speak up and live free through Good’s Real Talk curriculum, and the move of God is not so quietly transforming churches, business, families, and communities. Now readers can engage with the same tools, giving them permission (often for the first time in their lives) to Speak the Unspeakable and change the trajectory of their life, discovering their purpose for impacting others, and becoming the ultimate key to unlock a spirit of silence and brokenness threatening to tear the contemporary church apart. Speak the Unspeakable is an invitation to transformation and a handbook for getting the job done. The world of silence in which we’ve been living, is starting to shift culturally as Good leads others (individuals and groups from kids to CEOs) through her unconventional approach to emotional healing and next-level living. Using the language and lessons gained from her decades as a pastor, licensed psychologist, and not-for-profit activist working with sex trafficking victims, Good is uniquely equipped to guide and support readers on their journey as they “trade unspoken problems for unspeakable results.”
'Compassionate' Guardian 'Extremely affecting' Scotsman As a teenager, Harriet Shawcross stopped speaking at school for almost a year. As an adult, she became fascinated by the limits of language. From the inexpressible trauma of trench warfare and the aftermath of natural disaster to the taboo of coming out, Harriet examines all the ways in which words scare us. She studies wartime poet George Oppen, interviews the author of The Vagina Monologues, meets Nepalese earthquake-survivors and the founders of the Samaritans and asks what makes us silent?
John Bell, FRS was one of the leading expositors and interpreters of modern quantum theory. He is particularly famous for his discovery of the crucial difference between the predictions of conventional quantum mechanics and the implications of local causality, a concept insisted on by Einstein. John Bell's work played a major role in the development of our current understanding of the profound nature of quantum concepts and of the fundamental limitations they impose on the applicability of the classical ideas of space, time and locality. This book includes all of John Bell's published and unpublished papers on the conceptual and philosophical problems of quantum mechanics, including two papers that appeared after the first edition was published. The book includes a short Preface written by the author for the first edition, and also an introduction by Alain Aspect that puts into context John Bell's enormous contribution to the quantum philosophy debate.
A master of the personal essay candidly explores love, death, and the counterfeit rituals of American life in this "brave, funny compendium" (Slate) Nearly fifteen years after her debut collection, My Misspent Youth, captured the ambitions and anxieties of a generation, Meghan Daum returns to the personal essay with The Unspeakable, a powerful collection of ten new works. Where her previous collection explores what it is to be a struggling twenty-something urban dweller with an overdrawn bank account and oversized ambition, The Unspeakable contends with parental death, the decision not to have children, and more-a new set of challenges tackled by a writer at her best, investigated in the same uncompromising voice that made Daum one of the most engaging thinkers writing today. In The Unspeakable, Daum pushes back against the false sentimentality and shrink-wrapped platitudes that surround so much of the contemporary American experience. But Daum also operates in a comic register. With perfect precision, she reveals the absurdities of the New Age search for the "Best Possible Experience," champions the merits of cream-of-mushroom-soup casserole, and gleefully recounts a quintessential "only-in-L.A." story of playing charades at a famous person's home. Combining the piercing insight of Joan Didion with humor reminiscent of Nora Ephron's, Daum dissects our culture's most dangerous illusions while retaining her own joy and compassion. Through it all, she dramatizes the search for an authentic self in a world where achieving an identity is never simple and never complete.
Adham Hamed explores how a metaphoric understanding of the Middle East as an open space full of resonating sound bodies can be applied to the Middle East Conflict. Through inquiring into the experienced truths of large-scale political violence, the author suggests that music carries a potential for speaking ‘unspeakable’ truths. He explores hidden layers by applying the transrational approach to peace studies and proposes a non-territorial understanding of conflict. Hamed argues that security and justice discourses make up the dominant primary themes in this context. The Jerusalem Youth Chorus and the Egyptian band Eskenderella are examined as case studies. This book uncovers where their truths meet within and beyond the restrictions of formalized language. The author concludes that in moments of experienced resonance there is potential for change in the dynamics of rigid conflicts.