Stuart Andrews

This hands-on manual from Leigh McCullough and associates teaches the nuts and bolts of practicing short-term dynamic psychotherapy, the research-supported model first presented in Changing Character, McCullough's foundational text. Reflecting the ongoing evolution of the approach, the manual emphasizes affect phobia, or conflict about feelings. It shows how such proven behavioral techniques as systemic desensitization can be applied effectively within a psychodynamic framework, and offers clear guidelines for when and how to intervene. Demonstrated are procedures for assessing patients, formulating core conflicts, and restructuring defenses, affects, and relationship to the self and others. In an easy-to-use, large-size format, the book features a wealth of case examples and write-in exercises for building key clinical skills. The companion website (www.affectphobiatherapy.com) offers useful supplemental resources, including Psychotherapy Assessment Checklist (PAC) forms and instructions.

Performing New Orleans examines the value of arts and culture in managing complex urban challenges, offering new perspectives on how artistic and everyday performances can be pivotal modes of practicing resilience. Through an exploration of understudied forms of performance in New Orleans, Stuart Andrews and Patrick Duggan highlight the centrality of the city's arts ecosystems as a vital aspect of its ability to "perform" resiliency. Performing New Orleans resists conventional definitions of arts practice; instead, it uses a diverse array of case studies to illustrate what arts practices are, what they do, and how they can enhance our understanding of people, place, and resilience. The case studies in this volume range from playing in the streets to painting murals; from tourist flourishes to the performative effect of infrastructure projects; from the design and leadership of arts centers to the unfolding of festivals, theater performances, art installations, and even public health messaging. The authors also review, critique, and rethink resilience theory and the often problematic idea of "being resilient." Andrews and Duggan bring together ideas from art and architecture, cultural geography, hazard mitigation, resilience theory, sustainability, theater, and water management to explore "performances" of the city to radically expand our understanding of urban adaptability. Performing New Orleans argues that a truly resilient city is one that recognizes arts and culture professionals as crucial, critical innovators.

Performing Home is the first sustained study of the ways in which artists create artworks in, and in response to, domestic dwellings.In the context of growing interest in ideas and practices that cross between architecture, arts practice and performance, it is valuable to understand what happens when artists make work in and about specific buildings. This is particularly important with domestic dwellings, which can be bound up with experiences, issues, practices and understandings of home. The book focuses on a range of recent artistic projects to identify and investigate critical ways by which artists practise domestic dwellings. In doing so, it addresses the ways in which artists enquire into a dwelling, are resident in a dwelling, adapt the form of a dwelling, practise a mobile dwelling, and make a dwelling. By considering these practices together, Andrews demonstrates the breadth and significance of recent artistic engagement in and with domestic dwellings and highlights the contribution that artistic practice can make to the ways in which we understand the form and practice of a building.Performing Home will be of particular relevance to scholars, students and practitioners in architecture, art and performance, to those in geography, material culture and cultural studies, and to anyone seeking to make sense of the place in which they live.

The Dramaturgy of the Door examines the door as a critical but under-explored feature of theatre and performance, asking how doors function on stage, in site-specific practice and in performances of place.This first book-length study on the topic argues that doors engage in and help to shape broad phenomena of performance across key areas of critical enquiry in the field. Doors open up questions of theatrical space(s) and artistic encounters with place(s), design and architecture, bodies and movement, interior versus exterior, im/materiality, the relationship between the real and the imaginary, and processes of transformation. As doors separate places and practices, they also invite us to see connections and contradictions between each one and to consider the ways in which doors frame the world beyond the stage and between places of performance.With a wide-ranging set of examples – from Shakespeare’s Macbeth to performance installations in the Mojave Desert – The Dramaturgy of the Door is aimed at performance makers and artists as well as advanced students and scholars in the fields of performance studies, cultural theory, and visual arts.

Focused on the Lake Poets' prose writing—including their journalism and correspondence—this collection of essays challenges some widely held assumptions. Much of the narrative is Bristol-based, as the city's reference library holds not only much of Southey's personal library, but the borrowing registers of the old subscription library which still record the titles that Coleridge and Southey borrowed in the 1790s.It places the poets' American Susquehanna project, customarily dismissed as the idealistic dreams of Oxbridge students, in the context of European emigration schemes prompted by the American Revolution. Similarly the label "Jacobin," suggesting French revolutionary brutality, is shown here to be no more apt a description than "Communist" was in 1950s America. However, the book does show that the poets did challenge the government's social and political assumptions of the day, often from a religious standpoint.The claim that the three poets abandoned democratic impulses when Napoleon invaded Switzerland is also here rebutted by their involvement—a decade later—in defending the independence of Spain and Portugal, not only against Bonaparte, but against their ancien-régime monarchies. When, in 1815, those monarchs were restored, Southey pinned his democratic hopes on the Portuguese colony of Brazil. At home, amid distress caused by wholesale demobilization and shrinkage of economically viable agricultural land, the poets understandably condemned the rabble-rousers and (correctly) predicted an assassination attempt.Coleridge and Southey, both youthful Unitarians and (like Wordsworth) devotees of the "religion of nature," are argued here to have defended the Established Church against Catholic Emancipation, while the two brothers-in-law's interest in Islam is shown to be more than mere obsessive Orientalism.

Performing Home is the first sustained study of the ways in which artists create artworks in, and in response to, domestic dwellings.In the context of growing interest in ideas and practices that cross between architecture, arts practice and performance, it is valuable to understand what happens when artists make work in and about specific buildings. This is particularly important with domestic dwellings, which can be bound up with experiences, issues, practices and understandings of home. The book focuses on a range of recent artistic projects to identify and investigate critical ways by which artists practise domestic dwellings. In doing so, it addresses the ways in which artists enquire into a dwelling, are resident in a dwelling, adapt the form of a dwelling, practise a mobile dwelling, and make a dwelling. By considering these practices together, Andrews demonstrates the breadth and significance of recent artistic engagement in and with domestic dwellings and highlights the contribution that artistic practice can make to the ways in which we understand the form and practice of a building.Performing Home will be of particular relevance to scholars, students and practitioners in architecture, art and performance, to those in geography, material culture and cultural studies, and to anyone seeking to make sense of the place in which they live.

The Dramaturgy of the Door examines the door as a critical but under-explored feature of theatre and performance, asking how doors function on stage, in site-specific practice and in performances of place.This first book-length study on the topic argues that doors engage in and help to shape broad phenomena of performance across key areas of critical enquiry in the field. Doors open up questions of theatrical space(s) and artistic encounters with place(s), design and architecture, bodies and movement, interior versus exterior, im/materiality, the relationship between the real and the imaginary, and processes of transformation. As doors separate places and practices, they also invite us to see connections and contradictions between each one and to consider the ways in which doors frame the world beyond the stage and between places of performance.With a wide-ranging set of examples – from Shakespeare’s Macbeth to performance installations in the Mojave Desert – The Dramaturgy of the Door is aimed at performance makers and artists as well as advanced students and scholars in the fields of performance studies, cultural theory, and visual arts.

Die affekt-fokussierte Psychotherapie ist ein evidenzbasiertes Verfahren, in dessen Zentrum die Behandlung von Affektphobien bzw. konflikthaften Emotionen steht. Das Manual zeigt, wie durch die Konfrontation mit abgewehrten Gefuhlen (Affektexposition) auch chronische Storungen erfolgreich behandelt werden konnen. Dargestellt werden die theoretischen Grundlagen, Diagnostik und Formulierung der Psychodynamik, die Umstrukturierung der Abwehr, der Affekte und der Selbst- und Objektvorstellungen. Jedes Kapitel ermoglicht die Uberprufung der Lernfortschritte durch konkrete Ubungen und Tests.

The mystical county of Cornwall, rich in folklore and legends, is also home to an array of paranormal activity. Drawing on historical and contemporary sources, this selection includes sightings of UFOs and big cats, ghosts, sea monsters, piskies and many other bizarre phenomena in the county. Accompanied by eyewitness interviews, press reports and previously unpublished investigation accounts carried out by the authors, this incredible volume will invite the reader to view the county in a whole new light. Paranormal Cornwall is sure to appeal to everyone interested in the mysteries of the paranormal.

Unitarian confrontation with the late eighteenth-century political establishment is reflected in published sermons, pamphlets and parliamentary debates. Price and Priestly were only the most notorious members of a well-educated, close-knit and closely articulate intellectual opposition, all the more formidable for dominating the major literary reviews. Focusing on many lesser-known dissenting publicists, this study uncovers largely unacknowledged continuities in Unitarian critiques of government policies, and in Unitarian campaigns against government interference in matters of conscience. The French Revolution was attractive to Unitarians because the new French constitution, like the American Bill of Rights, broke the stranglehold of an opressive established church. Yet this new analysis questions whether Burke was justified in equating British antitrinitarians with French republicans, and suggests that the increasingly strident criticism of Pitt's wartime ministries might have been muted or even silenced, if the Unitarian Relief Bill had been passedin 1792 rather than 1813.

The Rediscovery of America features some twenty representatives of England, France and America, whose careers in some sense straddled the Atlantic in the last quarter of the eighteenth century. While not establishing causal links between the American and French Revolutions, the collective weight of these individual responses to the new America supports the idea of an 'Atlantic Revolution'. This study of the writings and transatlantic experiences of the revolutionary generation shows the power of American images in shaping political rhetoric, if not political reality.