16673 Slices
Medium 9781855754300


Gladeana McMahon Karnac Books ePub

You have the skills to improve the way you interact with other people, influencing a more positive outcome for yourself, although there are still some common areas of concern that you need to consider before you can really say you live an appropriately anger-free life.

If you are unable to manage your time effectively, you will not follow through on the promises you make yourself to improve your life. You might find yourself wanting and wishing things to be different, but saying you don't have enough time to practise your new skills.

Time is a valuable commodity. How many times do you catch yourself saying, ‘I'd want to but don't have the time’, or ‘There really does seem too much to do’? Too much activity leads to exhaustion; too little and you could become bored and frustrated. There are 168 hours in a week and 8,736 hours in a 365-day year, and so, with a finite amount of time, it is important that you make the most of what you have.

If you have answered yes to 2 and 3 and no to 1, 4, and 5, you might need to consider how you allocate your time and whether this is effective for you

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Medium 9781782203988

Tale Four: Anxiety and Avoidance: A Pianist is Afraid to Demonstrate her Prowess

Rainer Matthias Holm-Hadulla Karnac Books ePub

“Things are going downhill fast”

Maria (twenty-eight) comes to me for psychotherapeutic treatment because, in the past few months, the “subliminal anxieties” that have dogged her for years have got worse. She says she has always had difficulty making new acquaintances. Slight changes in her environment make her feel helpless. She would like nothing more than “to show what I'm capable of” but she now believes that there is something pathological about her nervousness, which is compounded with palpitations, trembling, and sweaty palms. At school, she would invariably blush when the teacher asked her a question. For many years, she has also been subject to a fear of being alone. Driving a car gets her “uptight”; she avoids air travel. In the past few months, things have got “really bad”. Various doctors have “not found anything” and prescribed tranquillisers, but this cannot be a long-term solution. She is getting more timid all the time; sometimes she feels “really desperate”. She is afraid of becoming dependent on the tablets. In the past few years, she has also been the victim of frequent infections, rashes, and back pains. Things are “going downhill fast”.

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Medium 9781855757080

CHAPTER TWO: Integrating research in a clinical setting for child psychotherapy: A case study about facilitating and hindering factors in psychoanalytic psychotherapy

Judith Trowell Karnac Books ePub

Integrating research in a clinical setting
for child psychotherapy: A case study
about facilitating and hindering factors
in psychoanalytic psychotherapy

Siv Boalt Boëthius 1

The aim of this chapter is to describe a case study, which illustrates a strategy for introducing research activity into a clinically oriented staff group working with psychoanalytic psychotherapy. Prior to the start of this project, the staff members had been engaged mainly in clinical work with children and their parents, and in training programmes focusing on psychotherapeutic treatment and supervision. The objective was to enable staff members to develop their clinical work through the systematic collection and analysis of clinical data. The idea was to conduct clinically based research on psychoanalytic psychotherapy directed at showing, for example, what kind of treatment was given to which patients and how the various treatments worked for different categories of patients. This approach can be described as empirical research based on clinical practice, theoretical assumptions regarding child development and modern psychoanalytic theory. It involves the systematic collection of both quantitative and qualitative data and an analysis of these data aimed at illuminating the specified purposes of the clinical work.

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Medium 9781780490441

Chapter Four - Narrative Therapy and Trauma

David Todd Karnac Books ePub

Maggie Carey


For most people, experiencing a brain injury is traumatic, and for many the injury itself has occurred through traumatic circumstances. A narrative response to trauma explores the “sense of self” that has been traumatised or “injured” through the trauma. Trauma can subordinate a preferred story of self and disconnect people from a sense of having any agency in their lives. It can have the effect of escalating hopelessness, despair, and emptiness. Being able to use this distress or emotional pain as entry points to a preferred story of self can provide alternative places to stand in relation to the effects of the trauma. Rather than stay “stuck” in the single-storied account of loss and emotional pain, we can invite people to step into these different territories of self that have been subjugated. A narrative approach centres on creating opportunities for people to experience a reinvigoration of the very thin stories about their “sense of self” that are a consequence of the trauma, and to pick up on the ways in which they have been responding to what has happened. This can then be richly storied in order to develop a sense of being more able to navigate one's own life. This chapter will bring together the breadth of literature on narrative therapy and trauma. It will highlight links between philosophy, theory, and practice, with a particular emphasis on the philosophical work of Jacques Derrida and a focus on the practice known as the “absent but implicit”.

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Medium 9781855756168

Chapter Three: Rhythms of the Unconscious

Jan Campbell Karnac Books ePub


Rhythms of the unconscious

We all have rhythm. Memories have a rhythm and so has the unconscious. Character is built through rhythm. A rhythm to begin with, is like the dream. Far away, on the horizon of what seems our distant past we perceive this indistinct and shadowy ghost and then, as it suggests itself to us, the memory begins to grow and move closer. We can imagine it and colour it in. As gradually our sensations begin to give this memory body and materiality; a character, a scene, or an event come into view. The rhythm of memory therefore suggests, and we answer mimetically with, an affectual bodily rhythm that brings ourselves to life. The past is always beating in relation to the present, but as a dream other, this history is only sensible, can only become composed as character, when we can carry and remake these dreams in relation to the world.

Dreaming pleasure

We are all aware of those memories, often summoned by evocative objects in everyday life sending us into a kind of reverie and dreaming; bringing to life, like Proust's Madeleine cake, the memories of childhood. Time, here, returns through the image, but it is an image that is brought into being by what we sense and feel, as if our senses can put us back there: into a landscape of what we have forgotten. For me, it is the smell of sandalwood and I am back sitting in what my grandmother used to call her summerhouse, but was in effect just a wooden hut with big windows at the back of her garden. I follow my daydream, dissociate and float in my mind, until the image comes, faint at first and then stronger. There it is: an octagonal shaped white house with a thatched roof, my bedroom with the grey sea-light streaming through slanted windows. Free association and images pan out, cinema-like, to reveal the hill on which my Granny lived, the beautiful curve of Lyme Bay below. And then, another image of me and my brother, swinging legs side by side in the sandalwood shed, or sitting together on the top of a flight of crustacean studded, stone steps that lead down to the beach. Although this is a memory, it is inseparable from the objects that materialise and embody it. Sandalwood reminds me of summer as a child and being with my brother, when we were like twins, exploring the rock pools for sea anemones and crabs. The beach at Lyme also reminds me of my father in a photo holding my hands and laughing as I scowl furiously into the camera. Sea-light is also the grey-blue of my mother's eyes, as she puts up her hand to shield herself from cross children or perhaps the sun's glare.

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