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A short biography of Margaret Lowenfeld, and the pioneering work of the Institute of Child Psychology and the Margaret Lowenfeld Trust, are detailed on the Press website.
A classic book on propaganda technique proposes a general theory of the strategy and tactics of propaganda. This classic book on propaganda technique focuses on American, British, French, and German experience in World War I. The book sets forth a simple classification of various psychological materials used to produce certain specific results and proposes a general theory of strategy and tactics for the manipulation of these materials. In an introduction (coauthored by Jackson A. Giddens) written for this edition, Harold Lasswell notes that this study was partially an exercise in the discovery of appropriate theory. It raised the crucial questions of how to classify the content of propaganda—for instance, a distinction is made between "value demands" (war aims, war guilt, and casting the enemy as evil personified) and "expectations" (the illusion of victory)—and how to summarize the procedures employed in organizing and carrying out propaganda operations. Propaganda Technique in World War I deals primarily with problems of internal administration and lateral coordination rather than with the relationship between policymakers and propagandists. However, Jackson Giddens enumerates procedures in the book that illustrate an underlying assumption that decision makers were deeply involved in propaganda and influenced by considerations of public opinion. He takes the study of propaganda further by elaborating on the nature and meaning of the category of "war aims" and its relation to the propagandist, for this, more than any other category of content, "is the catalyst of transnational political action." Giddens's exploration of the development of a comprehensive theory of propaganda adds another dimension to Lasswell's study while confirming its value as outstanding groundwork for continuing research.
Top tennis experts contribute to this analysis of optimal techniques for all the essential strokes of the game. 160 photos.
The second edition of Play Therapy Techniques includes seven new chapters in addition to the original twenty-four. These lively chapters expand the comprehensive scope of the book by describing issues involved in beginning and ending therapy, using metaphors, playing music and ball, and applying the renowned "Color Your Life" technique. The extensive selection of play techniques described in this book will add to the clinical repertoire of students and practitioners of child therapy and counseling. When used in combination with formal education and clinical supervision, Play Therapy Techniques, Second Edition, can be especially useful for developing treatment plans to address the specific needs of various clinical populations. Students and practitioners of child therapy and counseling, including psychologists, psychiatrists, social workers, nurses, and child life specialists will find this second of Play Therapy Techniques informative and clinically useful.
This book distills the essence of child psychoanalysis from the practice and thought of its founder Anna Freud, who for over 50 years has been at the forefront of this controversial field. Children are the most refractory of all subjects to treat analytically. Here, for the first time, is a primer on the difficult technique as practiced at the Hampstead Clinic in London, which was founded by Anna Freud and is today the leading child analytic center in the world. She and her colleagues expose their wealth of experience to systematic review, which yields up rich insights not only into child psychoanalysis and psychotherapy but also into basic child development. In addition, their findings have relevance to the understanding of emotional disturbance at all ages. The book follows the treatment situation through all its stages, from the first session to termination and follow-up. It focuses on the interaction between therapist and child in the treatment room, illustrating the points with copious clinical vignettes. One point examined is the structure of treatment with respect to such matters as scheduling sessions and handling interruptions. Another element that comes under scrutiny is the development of the child's relationship to the therapist, which subsumes such factors as establishing an alliance, transference, and resistance. The child's repertoire of expressions, both verbal and nonverbal, is explored, as is the therapist's armamentarium of interpretations and interventions. Woven throughout the description of these elements is incisive commentary by Anna Freud. Her commonsense approach gives the book unique value, lifting it to a rare level of human wisdom.
C .G. and Emma Jung recognized that Dora Kalff had an unusual ability to relate to children and their inner lives and so encouraged her to extend Jung's work to the treatment of children. Kalff brought to this endeavor her experience as a student of languages (including Sanskrit and Chinese), classical piano, and Eastern contemplative practices. She traveled from her native Switzerland to London, where she studied with Margaret Lowenfeld and was influenced by her contacts with D.W. Winnicott.Kalff developed a way of working she called "Sandspiel" or "sandplay." This method introduced a shallow sandbox in which the patient could arrange the sand in whatever form expressed itself from within, with or without the addition of miniatures. In this book, Kalff presents nine case studies, which include sandplay in the therapeutic work. She conveys the importance of the therapist's empathic acceptance of the patient, creating a "free and protected space," as well as the experience required to understand and be affected by symbolic reflections of inner dilemmas and to recognize the psychic organization represented by the patient in the sand.
In Swim Speed Secrets, 4-time Olympian, gold medalist, and triathlon world champion Sheila Taormina reveals the swim technique used by the world’s fastest swimmers. Over the course of 4 Olympic Games and throughout her career as a world champion triathlete, Taormina refined her exceptional technique as a student of the sport, studying the world’s best swimmers using underwater photographs and video analysis. From Johnny Weissmuller to Michael Phelps, the world’s fastest swimmers share two common elements: high stroke rate and a high-elbow underwater pull. Many swimmers and triathletes neglect the underwater pull, distracted by stroke count or perfecting less critical details like body position, streamlining, and roll. Swim Speed Secrets focuses on producing power—the most crucial element of swimming—to help triathletes and swimmers overhaul their swim stroke and find the speed that’s been eluding them. With a commonsense approach that comes from decades of practice and years of hands-on coaching experience, Taormina shows swimmers how to transition to faster swimming. Swim Speed Secrets includes: The best drills to cultivate a more sensitive feel for the water Dryland and strength building exercises to develop arm position and upper body musculature Crisp photos of Olympic swimmers and variations in their high-elbow underwater pull Clear descriptions of the key moments of the underwater pull Tips that helped her perform at a world-class level for two decades Sheila Taormina’s Swim Speed Secrets brings the focus back where it belongs—to a powerful underwater stroke. With this approach, triathletes and swimmers can stop swimming for survival and break through to new levels of speed and confidence in the water.
Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle. In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing the historical construction of the observer. He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision. Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s.
This seminal text by the founder of sandplay therapy offers clinicians and students a foundational account of the workings and practice of this therapy. Through simple but elegant narratives of actual casework, Kalff articulates her theoretical understanding of how sandplay therapy heals and transforms the psyche. Dr. Martin Kalff, the author’s son, provides a new introduction in which he shares original historical material about his mother and her development of the sandplay therapy method. A comprehensive index and tables of illustrations and references are included for ease of study and understanding.