How to Escape from a Straitjacket
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First Episode Psychosis an Information Guide Revised Edition
First episode psychosis An information guide revised edition Sarah Bromley, OT Reg (Ont) Monica Choi, MD, FRCPC Sabiha Faruqui, MSc (OT) i First episode psychosis An information guide Sarah Bromley, OT Reg (Ont) Monica Choi, MD, FRCPC Sabiha Faruqui, MSc (OT) A Pan American Health Organization / World Health Organization Collaborating Centre ii Library and Archives Canada Cataloguing in Publication Bromley, Sarah, 1969-, author First episode psychosis : an information guide : a guide for people with psychosis and their families / Sarah Bromley, OT Reg (Ont), Monica Choi, MD, Sabiha Faruqui, MSc (OT). -- Revised edition. Revised edition of: First episode psychosis / Donna Czuchta, Kathryn Ryan. 1999. Includes bibliographical references. Issued in print and electronic formats. ISBN 978-1-77052-595-5 (PRINT).--ISBN 978-1-77052-596-2 (PDF).-- ISBN 978-1-77052-597-9 (HTML).--ISBN 978-1-77052-598-6 (ePUB).-- ISBN 978-1-77114-224-3 (Kindle) 1. Psychoses--Popular works. I. Choi, Monica Arrina, 1978-, author II. Faruqui, Sabiha, 1983-, author III. Centre for Addiction and Mental Health, issuing body IV. Title. RC512.B76 2015 616.89 C2015-901241-4 C2015-901242-2 Printed in Canada Copyright © 1999, 2007, 2015 Centre for Addiction and Mental Health No part of this work may be reproduced or transmitted in any form or by any means electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system without written permission from the publisher—except for a brief quotation (not to exceed 200 words) in a review or professional work. This publication may be available in other formats. For information about alterna- tive formats or other CAMH publications, or to place an order, please contact Sales and Distribution: Toll-free: 1 800 661-1111 Toronto: 416 595-6059 E-mail: [email protected] Online store: http://store.camh.ca Website: www.camh.ca Disponible en français sous le titre : Le premier épisode psychotique : Guide pour les personnes atteintes de psychose et leur famille This guide was produced by CAMH Publications. -
The Theme Park As "De Sprookjessprokkelaar," the Gatherer and Teller of Stories
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories Carissa Baker University of Central Florida, [email protected] Part of the Rhetoric Commons, and the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Baker, Carissa, "Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories" (2018). Electronic Theses and Dissertations, 2004-2019. 5795. https://stars.library.ucf.edu/etd/5795 EXPLORING A THREE-DIMENSIONAL NARRATIVE MEDIUM: THE THEME PARK AS “DE SPROOKJESSPROKKELAAR,” THE GATHERER AND TELLER OF STORIES by CARISSA ANN BAKER B.A. Chapman University, 2006 M.A. University of Central Florida, 2008 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Humanities at the University of Central Florida Orlando, FL Spring Term 2018 Major Professor: Rudy McDaniel © 2018 Carissa Ann Baker ii ABSTRACT This dissertation examines the pervasiveness of storytelling in theme parks and establishes the theme park as a distinct narrative medium. It traces the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique. -
Coffeeville Edits
Christopher Welsh 1005 Inland Lane McKinney, TX 75070 (approximately 14,700 words) 407-574-3423 [email protected] Coffeyville By C.E.L. Welsh Harry slowed his breathing. Across from him, no more than twenty 20 paces away, a man aimed a gun at his heart and meant to fire. Harry wanted to keep his eyes on the gun barrel, that dot of empty blackness that would spit out a metal slug with his name on it, but he knew he should be watching the man's shoulders, his chest, his stomach; —all key areas where a man might tense, moments before he pulled the trigger. He should, but he couldn't. Harry watched none of these areas. Instead, he fixed on the gunman's eyes. Each of his His eyes where washeterochromatic; each a different color. That alone wouldn't be enough to draw in Harry, to cause him to risk making a mistake at this very crucial moment; it was the quality—the nature—of the heterochromatic eyes that drew him in. The right eye was a pale blue that reflected and amplified the stage lights surrounding them, seeming to shine under it's its own power. The left eye was a dull, steely gray that pulled light in, muting it, and causing the right eye to practically glow in the contrast. In addition, the man's eyes radiated something akin to hate...was it bitterness? Disgust? Whatever it was, the crowd surrounding the men seemed sure that the man with the gun had every intention of firing when the moment was right. -
Eugene Burger (1939-2017)
1 Eugene Burger (1939-2017) Photo: Michael Caplan A Celebration of Life and Legacy by Lawrence Hass, Ph.D. August 19, 2017 (This obituary was written at the request of Eugene Burger’s Estate. A shortened version of it appeared in Genii: The International Conjurors’ Magazine, October 2017, pages 79-86.) “Be an example to the world, ever true and unwavering. Then return to the infinite.” —Lao Tsu, Tao Te Ching, 28 How can I say goodbye to my dear friend Eugene Burger? How can we say goodbye to him? Eugene was beloved by nearly every magician in the world, and the outpouring of love, appreciation, and sadness since his death in Chicago on August 8, 2017, has been astonishing. The magic world grieves because we have lost a giant in our field, a genuine master: a supremely gifted performer, writer, philosopher, and teacher of magic. But we have lost something more: an extremely rare soul who inspired us to join him in elevating the art of magic. 2 There are not enough words for this remarkable man—will never be enough words. Eugene is, as he always said about his beloved art, inexhaustible. Yet the news of his death has brought, from every corner of the world, testimonies, eulogies, songs of praise, cries of lamentation, performances in his honor, expressions of love, photos, videos, and remembrances. All of it widens our perspective on the man; it has been beautiful and deeply moving. Even so, I have been asked by Eugene’s executors to write his obituary, a statement of his history, and I am deeply honored to do so. -
Therapeutic Magic: Demystifying an Engaging Approach to Therapy
Therapeutic Magic: Demystifying an Engaging Approach to Therapy Steven Eberth, OTD, OTRL, CDP Richard Cooper, Ed.D, FAOTA, OTR Warren Hills, Ph.D, LPC, NCC ●What strategies could you use to introduce therapeutic magic with your clients? Quick Survey ●What barriers exist that may impede your ability to use therapeutic magic? History of Magic • Dr. Rich Cooper • In the beginning . ●The use of magic as a therapeutic activity has existed since World War 1 History of Magic ●Occupational therapy literature evidenced the use of therapeutic magic in 1940 History of ●Project Magic was conceived by magician, Magic David Copperfield and Julie DeJean, OTR ●In 1981, the Department of Occupational Therapy at the Daniel Freeman Center for Diagnostic and Rehabilitative Medicine in Inglewood, California piloted the use of magic History of ●In 1982, Project Magic was endorsed by the Magic American Occupational therapy Association ●The Healing of Magic program was developed History of by world renown illusionists Kevin and Cindy Magic Spencer ●In 1988, Kevin suffered injuries to his head and lower spinal cord from a near-fatal car accident ●In support of his own recovery, he worked with therapists in North Carolina on what was to become the foundation for “The Healing of Magic” ●Kevin earned Approved Provider Status from the American Occupational Therapy Association History of ●He is considered the leading authority on the therapeutic use of magic in in physical and Magic psychosocial rehabilitation https://www.spencersmagic.com/healing-of- magic/ Our Story Our humble beginning . ● How we got started ● The search for training materials begins ● What we’ve done: WMU Story ● # of students ● Grant for materials ● Resource boxes ● Documentation and reimbursement skills ● Program evaluation student surveys I am in my second fieldwork one right now at the Kalamazoo Psychiatric Hospital. -
Magic Show! 2 Choose a Trick to Perform
EI-5166 Ages 6+ Grades 1+ MagicMagic SchoolSchool TextbookTextbook Begin magic school here! Welcome to the Magic Show! 2 Choose a trick to perform. You have just entered the exciting, magical world of illusion. Spend some time The number of stars next to the title of each trick indicates how easy a trick is studying steps 1-5 to understand how this book works. Then turn the page to begin to learn and perform. Start with the # tricks. They are easy to learn and do your magic schooling. Soon, everyone will be yelling, “How did you do that?” not require much practice. The ## tricks are easy, but require more practice. The ### tricks require more time to learn and some more practice to get the illusion just right. Study the diagram below to understand the format for Becoming a Magician the tricks. Become familiar with your props. 1 Here are the magical items included in this kit. Study the pictures and their names below. If you are learning a trick and do not know what an item is, refer back to these pictures. Magic wand Surprise Blue trick box bottle with lid Egg cup Vanishing and half egg water vase Green trick box Practice your tricks. Metal ring 4 plastic rings with loose partition 3 (red, yellow, blue) Before the day of your big performance, practice, practice, practice! Red square with hole Memorize the tricks you plan to perform. You don’t want to be looking at this and 2 plastic windows guide during your show. It’s a good idea to practice in front of a mirror, with 4 rubber bands Spring too. -
Ring Report March 2017 Meeting and Dennis' Deliberation
Ring Report March 2017 Meeting and Dennis’ Deliberation Posted on March 21, 2017 by Dennis Phillips Ring Report Ring #170 “The Bev Bergeron Ring” SAM Assembly #99 March 2017 Meeting President Craig Schwarz brought our monthly meeting to order. We took a moment to remember the late Jim Zachary who recently passed on. Dan Stapleton did an update on this year’s Magicpalooza , the Florida State Magic Convention. This year called the Close-Up Conference and Competition held May 12th -14th at the Orlando/Maitland Sheraton Hotel Member Marty Kane, announced the release of his new book, “Card ChiKanery” which is loaded with great card magic. The Bev Bergeron Teach-in was the classic “Coin Through Handkerchief” which can be found in the Bobo book. Phil Schwartz presented his Magic History Moment #83, a look at his collection of letters between Charles Carter and Floyd Thayer. Carter was a Pennsylvania born illusionist who began touring the U.S. in 1906. He was trained in the legal professor and had an elegant writing style. He bought and later sold to Houdini, the Martinka’s magic business in New York and moved to San Francisco and lived in a grand house. Carter avoided the competition in America and toured his illusion show overseas on five tours until his death in Bombay, India in 1936. Carter had his illusions built by Floyd Thayer’s company in Los Angeles. Phil is a 40-year long Thayer collector and wrote the Ultimate Thayer, a comprehensive history of Thayer’s magic company. In addition to showing us, the correspondence between Carter and Thayer, Phil also showed an original Carter Egyptian theme poster nicknamed “Carter on a Camel.” It was startling to see the low prices that Carter paid Thayer for illusions back in the 1920s and early 1930s until Phil explained that we must multiply the amount by 17 times due to dollar inflation. -
Rare Books, Manuscripts, Maps & Photographs
Rare Books, Manuscripts, Maps & Photographs - Including the Trevor Dawson Magic Collection (613) Wed, 30th Sep 2020, Live Online | Viewing in Edinburgh Viewing Times: Book an Appt Viewing by appt from 28-29 Sept. Lot 185 Estimate: £150 - £250 + Fees American Magicians's Postal Envelope Fronts & Envelopes a collection, comprising chiefly envelope fronts P.C. Sorcar, Calcutta (to the Magicians Round Table), c.1948; P.C. Sorcar, Calcutta (to the Great Okito Bamberg), 1951; P.C. Sorcar, Calcutta, 1945; Ottokar Fischer, Vienna (to John Lippy), Oscar S. Teale (to Homer H. Woulffe), 1919; Mora Chinese Magical Diversions (to Mr Libonati Magician), 1943; Postcard to Monsieur Adelphe Blind, unfranked; Tarbell System Incorporated (unfranked); The Show of a Thousand Wonders, Wood the Man of Mystery (to Arthur Felsman), 1931; Madame Reno the Empress of Magic, (to Woulffe), 1912; Dell O'Dell (to R.C. Buff), 1941; Harry Rice (to Arthur P. Felsman), 1923; Amedeo the International Deceptionist (to Homar Hermann), 1949; envelope from Powell Prince of Mystery...; envelope back only from Ralph Emerson Powell Prince of Modern Magic; envelope from Jadu Chakra India (to T. Okito Bumberg), 1951; Kilg Felton The Man of Mystery (to A.P. Felsman), date not legible; Arthur D Gans (to Arthur Felsman), 1929; Elite Entertainers Arthur D. Gans (to A. Felsman), 1919; Richiardi Jr. (to Mr Joe Palens), 1957; Gambols with Newmann's in Ghosts, unaddressed; The Great Newman (envelope back); Return in Ten Days to Virgil (to R.G. Buff), 1950; Charles J. Hagen (to H.H. Woulfe), 1919; Lighter the Wizard (unaddressed); Frederic la Delle (to A.P. -
ICLA 2016 – Abstracts Group Session Panels Content Computational Comparative Literature
ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 ICLA 2016 – Abstracts Group Session Panels Content Computational Comparative Literature. Corpus-based Methodologies ................................................. 5 16082 - Assia Djebar et la transgression des limites linguistiques, littéraires et culturelles .................. 7 16284 - Pictures for Everybody! Postcards and Literature/ Bilder für alle! Postkarten und Literatur . 11 16309 - Talking About Literature, Scientifically..................................................................................... 14 16377 - Sprache & Rache ...................................................................................................................... 16 16416 - Translational Literature - Theory, History, Perspectives .......................................................... 18 16445 - Langage scientifique, langage littéraire : quelles médiations ? ............................................... 24 16447 - PANEL Digital Humanities in Comparative Literature, World Literature(s), and Comparative Cultural Studies ..................................................................................................................................... 26 16460 - Kolonialismus, Globalisierung(en) und (Neue) Weltliteratur ................................................... 31 16499 - Science et littérature : une question de langage? ................................................................... 40 16603 - Rhizomorphe Identität? Motivgeschichte und kulturelles Gedächtnis im -
Biblioteca Digital De Cartomagia, Ilusionismo Y Prestidigitación
Biblioteca-Videoteca digital, cartomagia, ilusionismo, prestidigitación, juego de azar, Antonio Valero Perea. BIBLIOTECA / VIDEOTECA INDICE DE OBRAS POR TEMAS Adivinanzas-puzzles -- Magia anatómica Arte referido a los naipes -- Magia callejera -- Música -- Magia científica -- Pintura -- Matemagia Biografías de magos, tahúres y jugadores -- Magia cómica Cartomagia -- Magia con animales -- Barajas ordenadas -- Magia de lo extraño -- Cartomagia clásica -- Magia general -- Cartomagia matemática -- Magia infantil -- Cartomagia moderna -- Magia con papel -- Efectos -- Magia de escenario -- Mezclas -- Magia con fuego -- Principios matemáticos de cartomagia -- Magia levitación -- Taller cartomagia -- Magia negra -- Varios cartomagia -- Magia en idioma ruso Casino -- Magia restaurante -- Mezclas casino -- Revistas de magia -- Revistas casinos -- Técnicas escénicas Cerillas -- Teoría mágica Charla y dibujo Malabarismo Criptografía Mentalismo Globoflexia -- Cold reading Juego de azar en general -- Hipnosis -- Catálogos juego de azar -- Mind reading -- Economía del juego de azar -- Pseudohipnosis -- Historia del juego y de los naipes Origami -- Legislación sobre juego de azar Patentes relativas al juego y a la magia -- Legislación Casinos Programación -- Leyes del estado sobre juego Prestidigitación -- Informes sobre juego CNJ -- Anillas -- Informes sobre juego de azar -- Billetes -- Policial -- Bolas -- Ludopatía -- Botellas -- Sistemas de juego -- Cigarrillos -- Sociología del juego de azar -- Cubiletes -- Teoria de juegos -- Cuerdas -- Probabilidad -
Not for Distribution
14 THE STRAITJACKET, THE BED, AND THE PILL Material culture and madness Benoît Majerus The seat [. .] consists of a sinkhole (a), a pot (b), discharge pipes (c) ventilation tubes (d). The whole device is covered up to the mouth of the sinkhole and the pot with wood; the pot is closed with a screwable tight lid. Sinkhole and pot are constructed like faïence tubes and have a wall thickness of 0.1’. [. .] The inside diameter of the upper sinkhole measures 1.0’, the lower only 0:27’.1 The proliferation of asylums in the nineteenth century2 resulted in an exhaustive and prescriptive literature, which went beyond discussion on the cardinal architectural principles to elaborate upon spaces for the insane. Any self-respecting psychiatrist had to take Taylorinto account the materiality and of these newFrancis places. If this aspect was gradu- ally abandoned during the second half of the nineteenth century – Emile Kraepelin and GeorgeNot Beard, for instance, for were distribution more interested in nosological issues – the first half of the nineteenth century saw many psychiatrists, such as the likes of Joseph Guislain3 or Etienne Esquirol,4 debating the (future) materiality of institutions for the insane. These treatises offer easy access for anyone interested in the material culture of asylums.5 The excerpt quoted above is taken from this corpus. In 1869, the German physician Emil Fries published a booklet devoted to the construction of toilets in asylums. Without wishing to declare a toilet an objet social total that might unravel the entire history of psychiatry, the object such as imagined by Fries nevertheless allows us to address several facets of psychiatric history and to uncover the potential of a nar- rative that is mindful of material culture: the importance attached to drilling patients through hygiene education, a history of odours inside asylums, the difficulty in man- aging persons suspected of misusing even such mundane objects as toilets. -
INTERVIEW with ROBERT BLOCH - 1 - by Jean-Marc Lofficier
INTERVIEW WITH ROBERT BLOCH - 1 - By Jean-Marc Lofficier INTERVIEW WITH ROBERT BLOCH Randy and Jean-Marc Lofficier RL: Who do you consider to be at the root of your inspiration for your writing of terror and horror fiction? RB: Well, I spent eleven years in an advertising agency! Actually, as a child I was interested in reading that sort of thing. But, I was more interested, and I think most imaginative children are, in the mysteries of death, age and cruelty. Why do these things happen? Why do people do these things to one another? An innocent child believes in the protection and security of his daddy and mama, his friends and his safe home environment. Then to read and learn about these things is a great shock. I've done a good deal of talking with many other contemporary writers of this sort of fiction, people like Stephen King, Peter Straub, Richard Matheson and half-a- dozen others. They all had the same experience; they all feel this was their motivation. Some kids don't think about these things particularly, but I did. Particularly when I was hiding under the bed or in the closet after seeing something like Lon Chaney in The Phantom of the Opera for the first time at the age of 8 or 9. I decided, as I guess most of these people did, if you can't lick ‘em, join ‘em. So, I learned the method of what it is that terrifies other people as well. Yet, I tried to do it in a way that is safe.