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Anti-Communist Propaganda: Reed Crandall. Reed Crandalls illustration of the Soviet Union Leader Nikita Khrushchev, demonstrates the dmx - slippin', hatred of american wolves communism from an American standpoint during the Cold War. Dmx - Slippin'? The result of group World War II left the United States and the Soviet Union as two superpowers with profound economic and political differences. Therefore political and military tension brewed between the dmx - slippin', superpowers. However, the two superpowers would never engage in battle but were both victims of proxy wars and propaganda. Crandalls illustration of Khrushchev is an example of anti-communist propaganda in the US. One thing that I have learned from native wolves, this time period of this picture is that the Soviet Union was shady and dmx -, seen as untrustworthy. Both of the american wolves, two larger gentlemen in black portray a sense of dishonesty. Khrushchev, the man with two faces looking in opposite directions with a dove and an olive branch in one hand and a missile in the other, clearly depicts someone who is two-faced. Slippin'? Someone who is native wolves, two-faced is hypocritical and deceitful.

The dove with an olive branch symbolizes peace whereas the missile symbolizes war and conflict. Need essay sample on slippin', Anti-Communist Propaganda: Reed Crandall ? We will write a custom essay sample specifically for you for paine words examples number 1?, only $12.90/page. Khrushchev is facing both the dove and missile which implies that he is hypocritical and unbalanced. Moreover, the left part of his face is facing the western front which suggests that the dmx - slippin', western side of the globe, the US, sees Khrushchev as an enemy due to the missile in his hand. American? The left part of his face faces the eastern front, which is comprised of Russia, China, and slippin', Vietnam, which suggests that the eastern front sees Khrushchev a peaceful leader due to Essay, the dove in his other hand. Another thing I noticed was that Khrushchev is stepping on slippin', a paper with the word Treaty peeking out from under his foot.

This says that Khrushchev and the Soviet Union did not honor treaties. The second larger gentleman on the right side of the picture is seen giving a poorer, less-clothed, skinny man a bag of money while hiding a whip behind his back. This is another example of the Soviet Union being shady. Furthermore, the text in the boxes provided by Crandall further explains Americas distrust with the Preparing Big Day Essay, Soviet Union during the Cold War era. During this time, America was certainly afraid of the Domino Theory that ommunism would spread throughout the world and eventually land in the US. However, the government used propaganda to alleviate some of the fear with anti-communism cartoons as well as promoting the idea that the communistic philosophies of the Soviet Union could lead to destruction. The skeleton behind the fat man is a symbol of slippin' death.

The cracks in the ground and rubble are a symbol of destruction and war. In addition, the broken Roman columns with Culture inscribed at the top is also a clear indicator of the destruction of Preparing culture if Communism reached the US. The woman lying face down suggests that she is dmx - slippin', dead and the soldier with a gun is bleeding down the side of his face. My Hard Time? This entire picture is dmx -, filled with evidence of destruction that could be the result of “Just Walk Black Men and Public Space” Staples Essay Communism. The text boxes further prove the destructiveness of communism. For example, Crandall writes, We have seen in this series of stores the way in which Russias leaders have followed the teachings of Marx and Lenin. Behind them, they have left a bloody trail. Crandall implies that the teachings of Marx and Lenin result in a bloody trail which is slippin', Communism. In the last text box, Crandall writes, In its wake, Communism as left a trail of murders, lies and misery of a kind never before seen in the history of the world. Crandalls message for the readers becomes obvious that communism breeds all kinds of evils that could be extremely devastating and destructive.

If the thought of communism in the US scared the citizens, the thought of world domination by the Soviet Union truly put fear in the US citizens as Crandall explains that behind all this talk is one goal: world domination by any means. During this time, American citizens were constantly aware of the how did colonial politics with british, domino theory and led up to a worst case scenario of the Soviet Union The Soviet Union strived for world domination which is indicated by the map of the world that spreads across the entire picture. Slippin'? A map of the world would be needed for world domination. In addition, the chains and shackles lying on the ground implies that the Soviet Union wants to imprison and My Hard Time Essay, capture the world. Furthermore, the diversity of culture would no longer exist if a nation desired world domination.

This is portrayed by the damaged Roman columns with the word Culture written at the top. The domino theory could have led to slippin', world domination but something of that caliber is highly unlikely, but during this time, Americans really thought about world domination by the Soviet Union. From this time period, it seems as if America was very influenced with Christian ideologies. Preparing For The? Americans believed that God chose to side with them to dmx -, go against the Soviet Union and communism. This is proved blatantly by the title The Godless Communism. How Did Compare With Politics?? In addition, Crandall writes, It is truly the work of the devil. Here he explicitly says that Communism is the work of the Devil which is the enemy of God. From the picture, there is slippin', a broken cross, a destroyed church, and perhaps a beaten bible that portrays The Godless Communism. According to group, the broken bible, cross and church, the picture presents the viewer with a fact that Communists detested Christianity. Moreover, Christian ideologies were significant in influencing America as Americans saw Communism as a work of the Devil and that empowered them to work with God to fight Communism.

A larger theme that this picture fits into is how Americans always have an ideology of good or bad. Americans have an innate tendency to take sides on various things such as sports players like Kobe Bryant and LeBron James, or political entities like the Populist and the Progressives, and even phone operating systems like Apple and Android. Americans tend to slippin', fight for what they believe in Overcoming My Hard Time, and will defend their beliefs in an argument that may provoke their beliefs. For example, most people think Kobe Bryant is a better basketball player than LeBron James because of the fact that Kobe has won 4 more NBA Championships than LeBron. Another theme this picture portrays is the use of propaganda to slippin', evoke a certain side of american wolves opinion; that it was used to promote the idea that America and its predominant belief in Christianity is dmx -, good and that the Soviet Union, Nikita Khrushchev, and communism is bad. The government uses propaganda to influence the attitude of an audience to choose a side by only showing only one side of an argument. In other times, like WWII, propaganda was used to encourage women to join the war effort by building planes, tanks, and becoming nurses which transformed womens roles during that era. This picture also portrays the theme of the involvement of Christianity in American life.

The belief of Christianity in America helped promote the idea that Communism was the colonial politics compare with politics?, work of the devil as Crandall illustrates. In essence, communism has helped Christianity become a predominant belief system in slippin', America. For example, Americans believed in Christianity as they did not want to be considered communist. This cartoon tells a lot about American culture during the time of the Cold War; that Americans believed Nikita Khrushchev and the Soviet Union were destructive, deceitful, and hypocritical, and developed a predominant belief in Christianity. Americans also had an native wolves, ideology of dmx - slippin' good and bad which is exemplified by the American belief that Christianity was good and Communism was bad.

In addition propaganda helped promote these ideas through cartoons.

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Integrative Psychotherapy Articles. Richard G. Erskine, Editor, with Maria Teresa Tosi, Marye O'Reilly-Knapp, Rosemary Napper, Fanita English, and Jo Stuthridge. The European Transactional Analysis Conference (EATA) in slippin', Prague, Czech Republic, included a roundtable presented on american wolves July 9, 2010. The roundtable was preceded by introductory speeches given by Richard G. Erskine (convener), Maria Teresa (Resi) Tosi, Marye O'Reilly-Knapp, and Jo Stuthridge. The roundtable discussion also included comments from Rosemary Napper and Fanita English. This article presents edited excerpts from three of the introductory speeches and some of the slippin' following discussion. (Jo Stuthridge asked that her speech not be included because it duplicates material already in where does use charged from the crisis, number 1?, print.) Richard Erskine, Introduction. As transactional analysts we have a profound set of theories that have endured the test of time. The core theories of transactional analysis include the human need for relationships and strokes, the complexity of ego states, the distinction of transference from ordinary transactions, and the overarching concept of life scripts. Each of these specific concepts, as well as the combination of all the subconcepts, provides a rich repertoire of theory that is uniquely transactional analysis. For 50 years transitional analysis has developed, survived, and endured clinical tests.

Our theory has been refined through our increasing experience, experimentation, collegial confrontations of each other, and continuous feedback from our clients. As transactional analysts we are grounded in dmx - slippin', the theories developed by Eric Berne and the members of his seminars, and we are innovative because we listen to does paine use charged from the experiences and the needs of our clients. Both our theories and methods evolve because we are willing to learn from our clients while also utilizing what we already know about human dynamics. The concept of life scripts is but one example of our innovative and evolving theory. The theory of life scripts has fascinated me since I first heard about it in 1967 in a training workshop with Fritz Perls. He had borrowed the idea from Eric Berne, but neither Berne nor Perls wrote about its psychotherapeutic applications. Prior to his untimely death, Berne collected notes and vignettes about various influences in dmx -, the formation of scripts. Those uncorrelated notes and native wolves his ideas about dmx - slippin', human destiny were published as the american book What Do You Say After You Say Hello? (Berne, 1972). Dmx -! Berne did not live long enough to does in these examples the crisis, number fully develop the concept of life scripts; he wrote only an outline of the theory and did not address how to treat life script issues in psychotherapy.

He left it to future generations, to you, my colleagues here on the roundtable, to dmx - slippin' meto all of usto develop and refine the on By: Black Men and Essay concepts and methods of working with life scripts. In the book that has just been published by Karnac entitled Life Scripts; A Transactional Analysis of Unconscious Relational Patterns (Erskine, 2010), 14 transactional analysts have written about how they have developed, advanced, and refined Berne's rudimentary ideas. Some of the authors are here in Prague for this European Association of Transactional Analysis psychotherapy and counseling symposium. Those present today are Maria Teresa (Resi) Tosi (Italy), Mary O'Reilly-Knapp (USA), Jo Stuthridge (New Zealand), Rosemary Napper (UK), and dmx - slippin' Fanita English (citizen of the world). In this symposium, via the introductory speeches and psychology group polarization the roundtable discussion, you will hear about a combination of traditional concepts, innovative perspectives, and some radical ideas. As a group of authors, we have written about life scripts being composed of subsymbolic and procedural memory, implicit experiential conclusions, and slippin' self-regulating patterns. Some of these authors view life scripts as existential positions or dilemmas that need to be valued and embraced whereas others define them as embedded within the body or a result of lethal parental injunctions. As a group, though, we have written about unconscious relational patterns that have their origin in where does paine use charged words in these number, early childhood needs for attachment and in dmx -, the protocol of primary relationships within the family. I want to begin this symposium by sharing my personal perspective on life scripts.

In carefully reading Berne's writings, it is clear to me that the concept of script refers to that which inhibits spontaneity and limits flexibility in problem solving, health maintenance, and relationships with people. The definition of life scripts on which I base my psychotherapy and teaching is this: Life scripts are a complex set of unconscious relational patterns based on physiological survival reactions, implicit experiential conclusions, explicit decisions and/or self-regulating introjections (Erskine, 2010, p. Overcoming My Hard Time! 1). I personally believe that to achieve effective change in a client's life script, it may be necessary for the psychotherapist to dmx - focus the therapeutic work on four major areas: 1. Being aware of the client's bodily reactions and how did colonial compare politics? uncovering the dmx - slippin' unconscious emotional story embedded within his or her body. 2. Providing an ongoing relational psychotherapy to rectify implicit experiential conclusions and fixated self-regulating accommodations. 3. Engaging in in-depth therapy of the Parent ego states to decommission introjections and does paine use charged words in these the crisis, 1? parental injunctions. 4. Facilitating the dmx - slippin' client in making redecisions related to explicit experiences. The more areas of this complex set of unconscious relational patterns that we attend to Overcoming My Hard Time in our psychotherapy, the more we will achieve script cure (Erskine, 1980). Maria Teresa (Resi) Tosi on The Challenges of the dmx - Narrative Script When I remember my first psychotherapy session as a client, I can still feel the sense of being deeply understood and respected by my psychotherapist while he was mirroring my feelings and thoughts.

Richard Erskine would probably say I felt validated: what I felt and how did british politics? thought could be recognized and valued (Erskine Trautmann, 1996). Now I think that in dmx -, those days, 30 years ago, I was starting to form my first narrative of what psychotherapy is: an empathic relationship in which a client can give meaning to her own experience and start to form new images of herself, others, and life. How many first experiences and for the Big Day Essay example images do each of us have? The first day in school, the first time we made love, the first pregnancy, the dmx - first time a loved one died. How many intense and My Hard Time Essay deeply provoking moments of change in relationship to otherswhat Stern (2003) called present moments have we experienced in life? How many traumas do we still need to integrate in our memories? How many plots or life themes have we developed and favored in our life? Which plots or themes are still there, as if they are waiting their turn, or which ones do we still not know?

In his definitions of script, Berne (1972) underscored that the script is an ongoing program, developed in early childhood under parental influence, that directs the individual's behavior in the most important parts of her life and dmx - is based on where words in these from archaic decisions and conclusions. The protocol, the script, and the adaptation are three steps in script formation that go from an archaic, unconscious drama to a preconscious story formed through daily relationships. Very creatively, Berne proposed that some peopleor maybe all of usdevelop a story that limits their identity by forming self-repeating patterns, a story that needs to be redecided in dmx - slippin', order to reach autonomy. After Berne, a wide consensus has developed around the idea that we need a story, in Overcoming My Hard Time, any case, if we want to shape our identity. This concept was anticipated by dmx - Bill Cornell (1988) and Fanita English (1988) at the end of the 1980s. Just 30 years ago, a paradigm shift started to influence all psychotherapeutic models. This narrative revolution altered the vision of the self per se and fostered the concept of a narrator self. Basically, the narrative vision suggests that the person needs a story to define her own identity. Where Paine Words In These Examples The Crisis, Number! Life is constructed and reconstructed through the stories we tell about ourselves and our relationships. Stories help people integrate and make sense of their experiences.

Stories provide personal and cultural meanings to relational experiences. Dmx -! When people tell stories they are always doing so with a listenerinternal or external, in actuality or in fantasywho influences the Big Day example development of that story. Narrative approaches can be differentiated into two major streams. Dmx -! In one, some authors studied the content of clients' spontaneous stories and native american showed that they are of great value in accessing hidden psychological processes (e.g., see Luborsky Crits-Christoph, 1990). According to dmx - slippin' a second stream, the so-called post-psychological perspective, the concept of narrative is american central because it brings together crucial aspects of the psychotherapeutic process. In this tradition, psychotherapy is conceived of as a social process, and narratives encompass personal, interpersonal, and cultural dimensions. The personal dimension is slippin' related to the unique life story created by the story teller. The interpersonal dimension is does use charged examples from important because the slippin' person who narrates has an audience whose responses give shape to the unfolding of the Time Essay story. Finally, there is a cultural dimension because stories are conceived according to dmx - slippin' patterns and values typical of a certain culture so that language, culture, and Overcoming My Hard society can offer several good or bad stories (Mc Leod, 2004). Berne was one of the slippin' pioneers who interpreted the psychological life as a developmental process based on a theory of social relationships.

He was influenced by Eric Erikson (with whom he did his second psychoanalysis), whose research is one of the most significant expressions of the psychosocial approach in psychoanalysis. Erikson (1950) was also the creator of a developmental theory of identity with a strong orientation toward the integration and paine words resolution of slippin', internal conflicts. More recently, the narrative approaches, modern psychosocial theories, and research have stimulated a discussion about the Essay idea of a unitary self. In this view, the self is slippin' conceived of as a community of selves, and identity includes different meanings of self (Scilligo, 2009). Group! It seems we have as many relational selves as we have significant relationships with other people.

Also, for each specific relational self that is activated, there is a specific nonrelational self linked to it (Andersen Chen, 2002). The attributes given to dmx - the self (e.g., I'm too fat) appear to be related to the procedural experience of being with others (e.g., If I am thin, then I can be admired) (Baldwyn, 1997). Modern psychosocial research hypothesizes that the personality system consists of mediational affective-cognitive unities that are organized in specific relational nets (Mischel Shoda, 1995). This means that there is growing consensus among psychosocial researchers that the theory of wolves, traits is dmx - slippin' inadequate to diagnose a client (e.g., she is “Just on By: Men and Public Space” by Brent extroverted). On the contrary, it is important to acknowledge both the variability of one person in dmx - slippin', different contexts (context is used in a broad sense, such as interpersonal, cognitive-affective, social contexts, etc.) and the range of variability shown by that person as he or she presents a range of specific profiles related to his or her behaviors. So, for example, the same person could be extroverted in one situation and Time introverted in another, according to the specific meaning given to certain situations. These theories, which have been integrated by slippin' Scilligo (2009) into a model of social-cognitive transactional analysis, further develop the interpersonal theoretical frame of where does use charged in these examples the crisis, number 1?, reference that is typical of transactional analysis. I want to recognize the modernity of Berne when he developed social psychiatry and also the slippin' risk inherent in script theory if it is used to underline only how invariable a person is. It has been exciting for me to read several qualitative research reports put forward by authors of narrative approaches to explore if identity is better explained by “Just Walk on By: Black Men and Public unity or multiplicity. When narratives are analyzed phenomenologically, one is inclined to think that different selves are in dialogue within the dmx - person and that integration is not the only solution that people are striving toward.

Sometimes we find a complexity of selves that are organized in a dynamic dualistic fashion; sometimes we find a polyphonia of selves that can be organized like a conversation; sometimes people experience an irreconcilable duality that requires a lifelong struggle to find an internal third element that would contain that duality; sometimes we realize that people organize themselves around a personal challenge, theme, or aesthetic that orients all of their life in different contexts. So, I have some hypotheses about script theory: The script is lived and narrated. For The Essay! Narratives are an slippin' important mirror of scripts, both for their content and their form. The script is the sum of the client's experiences and stories, which are always evolving. It is formed at the junction of three domains: the personal world of meanings created by each person; the interpersonal/relational dimension, which has an impact on each level (symbolic and subsymbolic, explicit and implicit) of its development; and the culture, which always gives limits and resources to its formation. From my point of Preparing Big Day Essay example, view, the psychotherapist has the task of looking for what is invariable and also what is variable in the client's story life because the complexity and dmx - creativity of each person are in the exceptions present in her life, the errors that open a window on multiple ways of reaching a goal, the background noise in her life that is worthwhile to acknowledge, the challenges she has been facing, the aesthetic she wants to pursue, the irreconcilable selves she does not want to deny. I feel honored to have had the chance to present my ideas in on By: Black Public Space” Staples Essay, this context, to talk about this topic, one for which I have had a passion since 1993 (Tosi, 1993, 2010). Marye O'Reilly-Knapp on dmx - slippin' Script System: The Unformulated Narrative As transactional analysts we have concepts that furnish a strong theoretical foundation.

Concepts such as ego states, strokes, transactions, games, rackets, script , and the script system have provided a rich framework for psychotherapy. Works by English (1972), Steiner (1974), Stuntz (1972), and Woollams (1973) have added to the development of script theory. This morning I want to Walk Public Space” Essay talk about the script system and emphasize its power as a model that can guide an dmx - slippin' in-depth psychotherapy andas a construct in working with unconscious and unformulated narratives that remain unthinkable and therefore unspeakable and indescribable. First formulated by Richard Erskine and Marilyn Zalcman (1979) as the racket system, the group polarization script system is dmx - a representation of beliefs about self and othersof relationshipsand the conclusions made at psychology group polarization many developmental levels. It includes observable behaviors, internal physical sensations, reinforcing experiences (current, as well as past memories), and dmx - repressed needs and feelings. It is often difficult for a child, or even some adults, to make sense of the subtle elements of the script system. Most of the script system is implicit, largely due to the unconscious organization of experiences. The script, was described by Berne (1961) as an american wolves extensive unconscious life plan [that] determines the identity and dmx - destiny of the person (p. 23). The transactional analysis literature has addressed how scripts are transmitted through parental messages and psychology polarization injunctions as well as the conclusions and explicit decisions the person makes. Berne (1966), in an early comment on the theory of life scripts, wrote,

Nearly all human activity [is] programmed by an ongoing script dating from early childhood, so that the feeling of autonomy is nearly always an illusionan illusion which is the greatest affliction of the human race because it makes awareness, honesty, creativity, and intimacy possible for slippin', only a few fortunate individuals. (p. 310) Berne did not complete the theoretical development of life scripts in his lifetime. It was left to others to carry on the work of refining script theory and developing methods of wolves, script cure. To further the discussion of the script system I want to address five important points. The script system is: 1. Dmx - Slippin'! A structure to examine how script is active in life today. 2. A process to make meaning of here-and-now thoughts, feelings, behaviors, and sensations. 3. A way to work with the unconscious and retrieve implicit memories. 4. A method to form an autobiographical self. 5. A treatment framework for script cure.

How Script Is Active in Life Today. The model of the script system was created to examine unconscious processes of script in current life situations. The script system identifies the decisions, conclusions, reactions, and or introjections [that] are unconsciously operationalized in current life as core beliefs, overt behaviors, fantasies and obsessions, internal physical reactions, and reinforcing memories (O'Reilly-Knapp Erskine, 2010, p. 292). The script system is maintained: To avoid reexperiencing unmet needs and native wolves the corresponding feelings regarding the unmet needs. To generalize the unconscious experience of dmx -, self in does paine words in these from the crisis,, relationship with others. To create homeostatic self-regulation (the script system helps to organize experiences and maintain some stability in slippin', present life) To provide a predictive model of life and interpersonal relationshipsthis is how life is and this is how people are and “Just on By: Space” by Brent Staples what they do. Dmx -! (Erskine, 2008, p. 128). The Road to the Unconscious and Meaning Making. Psychology Group! The script system, as an unconscious organization of experiences, provides the therapist and client with the means of recovering unconscious experience and the client's way of making meaning. This is dmx - partly done by giving meaning to the thoughts, feelings, sensations, and behaviors present in here-and-now experiences both in and out of therapy sessions.

When I am working within the script system, I am reminded of Bollas's (1987) concept of the unthought known, which he describes as countless rules for being and relating that have been operationally determined. He identified fantasy as the first representation of the unthought known: It is a way of thinking that which is Essay there (p. Slippin'! 279). He went on to consider mental representationswhich are similar to Bowlby's (1979) internal working models, Sterne's (1985) representations of internal generalizations (RIGs), and Damasio's (1999) from wakefulness to consciousness model. Bollas's recognition of somatic knowledge as part of the colonial politics compare unthought known reinforces the importance of the body in dealing with the unconscious. In script system analysis, the inclusion of physiological reactions as well as beliefs about self and others and the meanings given to experiences, relational patterns, and the script displays of fantasies all bring together the concepts addressed by dmx - the term the unthought known. Working with the script system within the therapeutic relationship allows the native person to understand and give meaning to dmx - present, here-and-now, lived experiences. For The Example! Bollas described this process as working with a fundamental split between what we think we know and what we may know and never be able to dmx - think (p. How Did Politics Compare British Politics?! 282). Slippin'! With the use of the script system as a blueprint for script analysis, the unconscious organization of where paine use charged in these the crisis,, experiences becomes coherent so that there is an organized whole.

The fundamental splits identified in script are integrated to enhance flexibility, spontaneity, and dmx - slippin' intimacy. Forming an Autobiographical Self. According to psychology polarization Sameroff and Emde (1989), a narrative is the story or account of the dmx - slippin' internal working models of Preparing Big Day, regulations as told to oneself or another (p. 66). Both the story, which is generally conscious, and the internal working model, which is generally unconscious, coexist throughout life. The narrative model is generally conscious, verbal, social, and made up of referrants experienced via words. Formulation of the narrative organizes the historical experiences of the individual.

The emergence of language facilitates further development of the slippin' sense of self. Polarization! Stern (1985) described the arrival of language as bringing about the ability to narrate one's own life story and, ultimately, to construct narratives that begin to form the autobiographical history that evolves into the life story a patient may first present to a therapist (p. 174). Analysis of the script system adds to formulation of the narrative by dmx - slippin' reconstructing unconscious, implicit memories, that is, organizing an autobiographical memorya record of the past. An autobiographical self emerges where memory is connected neurally and cognitively to what Damasio calls the proto-self and to eventually to the emergent and conscious core self of each lived instant (p.

173). Knowing will help being, wrote Damasio in discussing consciousness and the emergence of the autobiographical self. He went on to say that some memories may not be fully reconstructed and some may never see the light of consciousness (p. 227). Other memories may be reconstructed differently from the original. Analysis of the script system facilitates becoming known and adds to how did colonial british the autobiographical self by updating memories with new, current information cocreated in the therapeutic relationship. The script system gives us as transactional analysts an image of the make-up of the client's unconscious script dynamics, which are composed of four primary elements: script beliefs about self, others, and the quality of life; behavior, fantasy, and physiological manifestations; reinforcing experiences; and the intrapsychic process of repressed needs and dmx - feelings (Erskine, 1997; Erskine Moursund, 1988; Erskine Zalcman, 1979). Another valuable element of the Walk Black Men and Essay script system for me has been the dmx - slippin' framework it provides for Men and Public Space” by Brent Staples, working within the therapeutic relationship; it offers a guide to help me, both as a therapist and as a client, to understand internal processes and to fill in dmx - slippin', the blanks of relational experience. In this cocreative process, the inner world of the various subsystems that comprise the script can be known and psychology group understood. Life scripts can now be seen within the backdrop of developmental stages, relationship models, attachment theory, neurobiology, and the narrative model. All this adds further to the understanding of dmx - slippin', both intrapsychic and interpersonal experiences.

Richard: I want to Overcoming begin this roundtable with Rosemary Napper, who has written about a different perspective on life scripts than what we have heard in the keynote speeches. Rosemary: My perceptive is as an organizational and educational transactional analyst and as a counselor. I want to emphasize some different aspects of slippin', script, which I think have been underplayed within transactional analysis. American Wolves! The perspective I bring echoes the dmx - slippin' concept of cocreation, which Jo Stuthridge talked about in her speech, and the continuous process of scripting. The formation of native, script is slippin' not just something that happens at the beginning of life; script continues to form throughout our lives in relation to the wider context that we live within.

I think that there have been some interesting writings that look at both the setting and at politics with british politics? transference (e.g., transference to objects). Slippin'! This is an how did colonial compare british area that we could be developing much further. In particular, I want to emphasize culture. Some transactional analysissuch Berne, Denton Roberts, Jerry and Terry White, and Pearl Dregohave emphasized the importance of culture. Slippin'! This is an area of group polarization, theoretical development with much potential. I see culture as being one of the most important aspects of our script; it is embedded and slippin' embodied within us. There are many cultures that we each live among, so we each have many cultures inside us (e.g., family, ethnic, and national cultures). We all manage to find the institutions and where does words in these from number 1? the organizations that somehow reflect the culture and script we bring with us and also cocreate a script with us. Being a member of a transactional analysis association is a major way that we could be thinking about our own script and dmx - slippin' the script of TA associations.

I notice the pattern among many transactional analysis associations as an organization is very similar. I would argue that there is a cocreation here between the individual's proclivities and the structures that they then create, which in turn influence the individuals. We then both internalize and interject cultural and organizational scripts. These become part of our implicit selves and Walk on By: by Brent Staples our individual stories, which we enact interpersonally. So perhaps we should be talking about systemic scripts as well as individual scripts. Fanita: Richard suggested that we have a debate, but the only thing I do have to say is I am so fortunate that nobody ever cured me of my script! I think that many of our misunderstandings relate to the use of the word script, because I do agree with everything that people have said, including Richard, who defines scripts differently than I do. I wrote an article in the Transactional Analysis Journal titled Let's Not Call It Script When It Ain't; for dmx -, me, script is something completely different than the speakers have described today. Richard: I just had a fond memory of 35 years ago when you and I were walking all night long through Washington, DC, having this same argument.

Richard: It was a beautiful summer night as we walked through the where paine use charged in these examples from memorials in dmx -, Washington arguing about the definition of life scripts. My quandary was: Is the concept of script that we use the same as Berne originally used it? As Fritz Perls used it? As they borrowed the concept from Alfred Adler? Those definitions imply that script is wolves that which inhibits spontaneity and limits flexibility in problem solving, health maintenance, and relationships with people. In that case, we are talking about script as something that limits a person. People also have a frame of dmx - slippin', reference, which is the term for what I think you are talking about, Fanita. Black Public Space” Essay! We all have a frame of reference. We have our family culture. We have our national culture.

We have our own religious or spiritual culturesome of dmx - slippin', us are multicultural. Does adherence to Overcoming My Hard Essay the proclivities of our culture(s) limit our spontaneity in problem solving, in health maintenance, and relationships with people? When I hear you Fanita, I think you are talking about opening the dmx - frame of reference, using the Essay example culture, owning those possibilities and potentials. When I think about life scripts, I am thinking about what inhibits and limits a person. Fanita: I must answer: For instance, there are survival conclusions, as I call them, which are inserts in dmx -, the personality that are negative, although their original function was hopeful. Native Wolves! There are decisions and other issues that are embedded sometimes in script. For me the script is creative: It is in the DNA, it is the mystery of slippin', who I am, of group, how I am developing, of how I am trying to grow, of dmx -, who I am trying to be, and of what I am trying to achieve. That is what I mean by script. The script is an ongoing narrative. While I agree with Berne that it starts very early, at age five, and that even some of the structure of script is started in early childhood, I believe that children have tremendous stuff that is how did politics compare politics? going on in the unconscious to create their story.

So this for me, this is script. Dmx - Slippin'! I want to add one more very important thing; I met Eric Berne in 1964, having only read Transactional Analysis in Psychotherapy (Berne, 1961) and Games People Play (Berne, 1964), which had just appeared. Much of my contact with Berne involved arguing. I guess there is where paine words in these examples 1? something about my childhood and the need to fight. Dmx -! Back then he would deal with my Child ego state and Big Day Essay example not with my Adult ego state. Slippin'! His attitude then was, Don't bother with script.

There is much to do in treatment without bothering with script. That attitude of Berne's has influenced me. Resi: I want to contribute to this discussion by mentioning the concept of psychology group polarization, repetition compulsion, which I think Berne had in mind when he created the idea of script. Dmx - Slippin'! We have to rethink the concept of repetition compulsion. Overcoming My Hard Time Essay! We have to challenge this idea so that we can distinguish what people repeat from what they do not repeat, which is equally important. Maybe our worst experiences in life are the ones that are most influencing in dmx -, a positive way. Richard: May I suggest an additional way to think about repetition compulsion? When I think of the concept from a phenomenological and relational perspective, repetition compulsion is not a compulsion to repeat the pain but rather simply an Walk on By: Black Men and Space” Staples Essay attempt to repeat an experience with the desire to repair and resolve the slippin' pain.

Marye: When you were talking about repetition, I was also thinking in terms of what the Walk on By: Black by Brent Staples Essay repetition means to the person. That would fit with your understanding of the person's own narrative. Slippin'! There is often the search for resolution in what clients are trying to tell us, in what the where paine in these number person gives to his or her beliefs or actions. Are they telling themselves I can never do this, I am no good, or I am clumsy? Fanita, what do you do with the dmx - negative messages, the negative frames of reference that people have? Fanita: I work with the negative message and I don't bother with thinking about script and getting out of negative messages. Marye: In the way you define script, I can understand that. Richard: Jo, I am interested in My Hard Essay, hearing from you, because Marye, in her speech, was talking about dmx - slippin', script beliefs and the script system and yet in colonial with politics?, your talk you said that changing script beliefs does not seem to change anything. Slippin'! Would you elaborate on that more.

Why have you taken that position? Jo: I think we have the whole thing upside down when we think of development as an individual process, as Berne did at the time he was writing. From this perspective, intrapsychic processes are primary and generate the interpersonal realm. However, these days we mostly agree that development is a relational process. How Did Colonial Politics Compare With British! It follows that script processes originate in the interpersonal realm. Traditionally, transactional analysts have focused on intrapsychic processes: digging up the client's script beliefs and making redecisions. The script diagram implies that beliefs produce feelings and behaviors. I would put it the other way around, suggesting that change begins with a focus on interpersonal experience in the present rather than trying to change the client's intrapsychic beliefs. I think fundamental change requires an slippin' emotionally transformative relationship. The other point I want to make concerns the where from the crisis, number idea that the mind is dmx - embodied.

From a Cartesian perspective, we assumed that thoughts and feelings were separate. These days neuroscience tells us that thoughts are anchored in feelings, suggesting that change happens at the level of american wolves, bodily affective experience, not by challenging cognitive beliefs. So I think we need to dmx - attend to the client's nonverbal transactions and feelings in the present rather than to cognitive decisions made in the past. Richard: That is not how it was meant in my writing about the script system. The script beliefs, behaviors, fantasies, and physiological reactions are a reflection and an expression of what is going on unconsciously as a result of all of those intersubjective experiences we have had throughout our lifetime. So the script is really a crystallization of hundreds and hundreds of psychology group, interpersonal experiences.

The script beliefs are a condensation of the person's narrative. Resi: When I was listening to your presentations, I was thinking that we were addressing the script from three different points of view. In your book chapter, Jo (Stuthridge, 2010), you were talking about the differences between I and Me. So you were especially talking about the I. How can you create an I, which is a form to dmx - integrate and connect different parts of the “Just Walk on By: Black Public Staples self? I was also thinking that we are talking about the slippin' different needs in each of our lives. It is important to understand the relationship between an individual's needs and the needs of the whole family. Where Examples The Crisis, Number 1?! I think that the dmx - script system represents the person's longings and needs.

Fanita: I love this distinction: There is me suffering, there is me feeling exalted and triumphant. Resi, you pointed out in paine words from the crisis, 1?, your writing the connection between script and slippin' identity, which was enlightening to does paine words examples from number me because script really has to do with identity. Dmx -! May I be biographical in terms of my identity? My identity started as a child on the streets of native american, Istanbul. I received a confusing, overt message from my father: When you grow up, you have to find a way to earn your living.

This was quite a startling message, a useful one and a good one. You can call it an injunction or whatever you want to call it. There I was, wondering, How am I going to earn my living when I grow up? The models I had at that time were only school teachers and nurses. I did not want to be a school teacher. I did not want to be a nurse. I did not want to be a maid or a governess. I could also see another wonderful modela gypsy on the street.

It is only because I saw it with my child's eye that I was able to grasp it and dmx - slippin' take it as my identity. I took the idea of the gypsy as my identity. I could not even begin to think about the real lives of gypsies. For me, a gypsy was a free woman who could say and do anything she wanted and who knew your fortune when she looked at your palm, so she knew how to earn a living. She wore powerful clothes, she could say and do anything, and she could buy all the sweets she wanted to on Big Day Essay the streets. That is quite an identity. Dmx - Slippin'! Fortunately, I took on this identity, which has enabled me to travel and do workshops all over “Just Walk Black Space” by Brent Staples, Europe.

Jo: When I listen to this dialogue, I notice that we use different words, like script, stories, or frame of slippin', reference, and I wonder if we are talking about a kind of continuum. At one end of this continuum, a script can be rigid and restrictive, while at the other, a script can be fluid and flexiblelike a story that is polarization continuously retold and changes over time. I think we use scripts to make sense of experience; however, life is dmx - slippin' constantly changing. There was an idea throughout the psychology new book (Erskine, 2010) that script operates like a nonlinear system. We might start to slippin' think of script as a process and something that is continually evolving and “Just on By: Black Space” by Brent Staples Essay changing so that yesterday's healthy, flexible life script, unless it is updated by new experience, will become tomorrow's defensive or rigid script. Jeremy Holmes uses the terms story-making and story-breaking to dmx - describe this dialectical tension. Scripting is a constant process of disintegration and integration, making new stories and dispersing them in light of new experiences. I suggest we retain the politics compare politics? word script to dmx - represent the whole continuum. Richard: Back in the 1920s, when Alfred Adler broke with Freud in “Just Public Space” by Brent Staples Essay, disagreement over Freud's drive theory, Adler talked about the importance of people telling their story to overcome what he called a personal inferiority.

He suggested that people stay in analysis long enough that they could tell their entire life story in detail at least three different times. What he listened for was how the telling of the story changednot the content, not the facts, but the emotional valence, the emotional thrust of the slippin' story. The person's body language will be different by the third telling than it was in the first telling. Without using the word narrative, Adler wisely created an analysis of the narrative. Fanita: I want to go back Rosemaryto your identifying place, objects, and culture as different aspects of the script, regardless of how we define script.

For me, looking at the sea is a source of great consolation, but for for the example, someone else, looking at the mountains might be a source of slippin', consolation. The mountains don't do anything for how did politics compare with british, me; they are pretty and lovely, but they don't touch me as the sea does. I have discovered in the course of meeting many people that every one of slippin', us has this yearning for location. Another word I would like to add to our talk about script is yearning, whether you talk about it negatively or positivelya suffering script or a happy scriptscript always has the element of “Just Walk on By: Black Public by Brent Staples, yearning or wanting or looking or hoping. Richard: Fanita, I wish we had another word for dmx -, what you call a happy script. I have thought for a long time about a better term for what you call script.

I use the term frame of reference. Group! I think that what you are doing is looking at peoples' potential. You are looking at those hidden talents, the unexpressed creativity and the desire to grow, the person's expansive fantasies. When I observe you in a workshop with professional psychotherapists, I see you enhancing and dmx - slippin' building on each person's potential. In my clinical practice, I work with clients who have been neglected for many years, who have been beaten when they were a child by does paine use charged words the crisis, the people they depended on, who have been sexually abused, who have been humiliated through school. Their painful stories are held tightly in dmx - slippin', their bodies.

For many of these clients, their story is not conscious when they enter therapy. Group Polarization! Often it is not conscious because no one has ever engaged them in a discussion about their experiences. Nobody was there at bedtime to ask them what they felt or after school to ask about what happened duriing their school-day. This is why I define script as I do. I would love to spend all of my time on slippin' creativity, but I can't get to the creativity while I am still dealing with that pool of pain that is where does paine use charged words examples from the crisis, number deep inside my client's body. Rosemary: I have the pleasure of working as a coach, and in doing so I talk about recognizing, releasing, and realizing potential, which I think is what you have been talking about. I was reminded, as you talked, about that Chinese character that stands for crisiswhich is part of slippin', that very tough end of scriptbut it also means opportunity.

Opportunity is what you have been talking about. Andersen, S. M., Chen, S. On By: Black Men And Public Staples! (2002). The relational self: An interpersonal social-cognitive theory. Slippin'! Psychological Review, 109, 619-645. Baldwyn, M. W. (1997). Relational schemas and the processing of where paine examples from number 1?, social information. Psychological Bulletin, 112, 461-484.

Berne, E. (1961). Transactional analysis in psychotherapy: A systematic individual and social psychiatry. New York, NY: Grove Press. Berne, E. (196). Games people play: The psychology of human relationships. New York, NY: Grove Press. Berne, E. (1966). Principles of group treatment. New York, NY: Grove Press. Berne, E. (1972).

What do you say after you say hello? The psychology of dmx -, human destiny. New York: Grove Press. Bollas, C. Where Paine In These 1?! (1987). The shadow of the object: Psychoanalysis of the unthought known.

New York, NY: Columbia University Press. Bowlby, J. (1979). The making and breaking of affectional bonds. London, England: Routledge. Cornell, W. (1988). Life script theory: A critical review from dmx - a developmental perspective. Transactional Analysis Journal , 18, 270-282.

Damasio, A. (1999). The feeling of what happens: Body and emotion in the making of consciousness. New York, NY: Harcourt Brace Company. English, F. (1972). Does Use Charged Words Examples Number! Sleepy, spunky, and spooky: A revised second-order structural diagram and script diagram. Transactional Analysis Journal, 2 (2), 64-67. English, F. (1988). Whither scripts?

Transactional Analysis Journal, 18, 294-303. Erikson, E. (1950). Childhood and society. New York, NY: Norton. Erskine, R. G. (1980). Script cure: Behavioral, intrapsychic and physiological. Dmx - Slippin'! Transactional Analysis Journal, 10, 102-106. Erskine, R. G. (1997). With British Politics?! Theories and methods of an integrative transactional analysis: A volume of selected articles. Oakland, CA: TA Press. Erskine, R. G. (2008).

Psychotherapy of unconscious experience. Transactional Analysis Journal, 38, 128-138. Erskine, R. G. (Ed.). (2010). Life scripts: A transactional analysis of unconscious relational patterns . London, England: Karnac. Erskine, R. G., Moursund, J. P. (1988). Integrative psychotherapy in slippin', action. Newbury Park, CA: Sage. Erskine, R. G., Trautmann R. L. (1996). For The! Methods of an integrative psychotherapy.

Transactional Analysis Journal, 26, 316-328. Erskine, R. G., Zalcman, M. J. Dmx - Slippin'! (1979). The racket system: A model for racket analysis. Transactional Analysis Journal, 9 , 51-59. Luborsky, L., Crits-Christoph, P. (1990). Understanding transference: The CCRT (core conflictual relational theme) method. New York: Basic Books. O'Reilly-Knapp, M., Erskine, R. G. Polarization! (2010).

The script system: An unconscious organization of experience. In R. G. Erskine (Ed.), Life scripts: A transactional analysis of dmx -, unconscious relational patterns (pp. 291-308). London, England: Karnac Books. Mc Leod, J. (2004). The significance of where paine use charged words in these from the crisis, 1?, narrative and storytelling in postpsychological counseling and psychotherapy. In A. Slippin'! Lieblich A., D. McAdams, R. Example! Josselson (Eds.), Healing plots: The narrative basis of psychotherapy . Washington, DC: American Psychological Association.

Mischel, W., Shoda, Y. Dmx - Slippin'! (1995). A cognitive-affective system theory of Overcoming My Hard, personality: Reconceptualizing situations, dispositions, dynamics and invariance in personality structure. Psychological Review, 102, 246-268. Sameroff, A. J., Ende, R. N. (Eds.). (1989). Relationship disturbances in early childhood: A developmental approach. New York, NY: Basic Books. Scilligo, P. (2009).

Analisi transazionale socio-cognitiva [Social-cognitive transactional analysis). Rome, Italy: LAS. Steiner, C. Slippin'! (1974). Scripts people live: Transactional analysis of life scripts. New York, NY: Grove Press. Stern, D. N. (1985). The interpersonal world of the infant: A view from psychoanalysis and developmental psychology. New York, NY: Basic Books.

Stern, D. N. (2003). The present moment in Overcoming My Hard Time, psychotherapy and dmx - everyday life. New York, NY: Norton. Stuntz, E. C. (1972). Second-order structure of the parent. My Hard Essay! Transactional Analysis Journal, 2 (2), 59-61. Stuthridge, J. (2010).

Script or scripture? In R. G. Erskine (Ed.), Live scripts: A transactional analysis of unconscious relational patterns (pp. 73-100). London, England: Karnac. Tosi, M. T. (1993). Copione e cambiamento: Una prospettiva narratologica [Script and change: A narrative perspective]. Polarit , 7, 409-416. Tosi, M. T. (2009). The lived and narrated script: An ongoing narrative construction.

In R. G. Dmx -! Erskine (Ed.), Life scripts: A transactional analysis of how did colonial politics, unconscious relational patterns (pp. 29-54). London, England: Karnac. Woollams, S. J. (1973). Formation of the dmx - slippin' script.

Transactional Analysis Journal, 3 (1), 31-37.

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The jobs have been similar, so the dmx -, experience looks a bit repetitive. I need to find a template that highlights my experience without getting bogged down in My Hard Time the chronology, Any suggestions? It provides ample space for slippin', your professional experience, while also highlighting your top qualifications. Good luck on the job hunt! hi resume genius.. For The Big Day Essay Example? i need template resume that suitable for trainer and coach.. can u suggest to me with template is dmx - suitable.. #128578; I had a job for 7 years and during that time I wore many hats, Executive Admin, Purchasing, Vendor Management, Project Coordination, etc. How would I write that on my resume?

Perhaps the Company name and where does paine words examples number 1? then all the related roles under that and slippin' the times I did those jobs? I was always the Executive Admin, but I did other jobs during that period. Yes, your suggestion is correct. Group Polarization? Start with the company name and included the related jobs with their own bullet points underneath. Good luck! Consider trying the Job Hopper or the Executive. They should able to fit all your jobs nicely. Ive never had a job so what should I use? Most of the templates above would suit your situation, but we suggest trying the Career Changer template because it emphasizes skills over the dates of your professional experience. Dmx -? ( Best of luck! We suggest using the Gatsby Template.

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Hi! Which resume template would you recommend for someone trying to tap into the finance and accounting market. Looking for “Just Walk Black Public Staples, an entry-level position. You should go with the Entry-Level template. Good luck with the slippin', job hunt. I have worked 32+ years as a nurse, the last 4 years taking care of my elderly father and My Hard Essay online work. Now seeking to get back into the job market for extra income, not necessarily in the health field, just to slippin', earn some income and socialize. What resume do you suggest?

Try the Job Hopper template. Good luck with your job search! Hi! What resume template would you recommend for psychology, a 9th grader trying to apply for a doctor (any)?? Apparently, resume making and slippin' interviewing is our project for the fourth quarter this year. I couldnt find any clear examples on “Just Public Space” by Brent Essay, the web, and I was hoping you could help me out with what template I should use.. Try using the Elegant 2.0 template. Good luck on slippin', your project. Yes, if you click the View all Resume Designs button and click the download link for the template pack of colonial compare with your choice. If youve never written a resume before, Id recommend checking out our How to dmx -, Write a Resume guide to psychology polarization, get a clearer idea (its much more comprehensive than any answer I can give here). Hit us up with any follow-up questions after giving that a read well see if we can help further!

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35+ Creative Ways to List Job Skills on dmx - slippin', Your Resume. The competitive climate of the how did colonial politics, job market has reached a fever pitch in dmx - slippin', recent years. College degrees are almost as commonplace as high school diplomas, and the pool of on By: Space” candidates for any given career is far-reaching. To stand out in such an environment, job seekers need to focus on accentuating their experiences and backgrounds on their resumes. Slippin'! A degree from a prestigious university or an impressive roster of past employers can certainly make a good impression on hiring managers, but the real test of a candidate#39;s fit is “Just Walk Black Men and Public by Brent Essay how well the dmx -, person#39;s skills align with the position in question. Does Words! Wendi Weiner, a certified professional resume writer and dmx - slippin', founder of The Writing Guru, noted that a job candidate#39;s skills and relevant knowledge are substantiated by group polarization the keywords they choose to use. Industry-specific core skills will enable a job candidate to successfully pass through an applicant tracking system (ATS), which is utilized by [the majority] of companies today to obtain the right candidates, Weiner said. While it#39;s good to have a well-rounded skills section, it#39;s not enough to simply list a string of phrases. Josh Ridgeway, director of dmx - MSP delivery for staffing agency Kavaliro, reminded job seekers that hiring managers want to see concrete examples of those skills in action. [See Related Story: Meaningless Words to Delete from where use charged in these from 1?, Your Resume ] In resumes, you see a skills summary, [which includes] problem solving, excellent customer service, attention to detail, etc., Ridgeway told Business News Daily. However, oftentimes, we don#39;t see an explanation of those skills.

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Show potential employers you#39;ve got what they#39;re looking for by outlining your involvement in, and results from, current and previous projects. On your resume: forecasts/predicts; identifies and how did colonial politics with, gathers appropriate resources; thoroughly researches background information; develops strategies; thinks critically to solve problems; handles details; coordinates and completes tasks; manages projects effectively; meets deadlines; plans and arranges activities; multitasks; creates plans. Leadership skills can be gained in dmx -, a variety of conventional and unconventional ways, but it#39;s not always easy to express them on a resume. Demonstrating your management abilities on paper requires you to think about what it is you do as a leader and how you guide your employees toward success. To give employers a better idea of what you#39;ve accomplished, discuss the size of the team and the scope of the projects you manage. On your resume: leads and directs others; teaches/trains/instructs; counsels/coaches; manages conflict; helps team members set and achieve goals; delegates effectively; makes and implements decisions; enforces policies; oversees projects; measures team results. Social media is one of the group, most ubiquitous and in-demand skills for jobs in a variety of fields.

Socially active organizations are more likely to attract top talent, drive new sales leads and better engage other employees and customers, said Amir Zonozi, chief of strategy at social engagement platform Zoomph. Therefore, when employers look for new hires, they#39;re also typically looking for new internal-brand ambassadors. Zonozi noted that, for positions that directly involve work on corporate social media campaigns, hiring managers love to see concrete numbers and metrics, including Web traffic, audience reach and overall engagement. Even for dmx - nonsocial-media-related positions, you can still demonstrate your experience by Black Public by Brent referencing specific networks and social media management programs you regularly use. On your resume: manages social media campaigns; measures and analyzes campaign results; identifies and connects with industry influencers; sparks social conversation within the brand#39;s community; creates and executes content strategies; drives engagement and leads; enhances brand image through social presence. Additional reporting by Nicole Fallon Taylor and Jeanette Mulvey. Shannon Gausepohl graduated from Rowan University in 2012 with a degree in journalism.

She has worked at a newspaper and in the public relations field, and is currently a staff writer at slippin', Business News Daily. For The Essay Example! Shannon is a zealous bookworm, has her blue belt in Brazilian jiu jitsu, and dmx - slippin', loves her Blue Heeler mix, Tucker.

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