In order to complete training successfuIly, every psychoanalyst has to be a supervisee. This experience leads each analyst to want to become a supervisor. Until recently, very little has been discussed about wh at supervision is, how it is done, and how it is related to the various theories of psychoanalysis that are held as articles of faith. The 1980-1981 program of the William Alanson White Psychoanaly­ tic Society was devoted to supervision-with representatives of various "schools" demonstrating their ways of doing consultations with ana­ lysts about patients. This book is an extension of that endeavor. In it, supervisors of various persuasions discuss this topic. The editors-Leopold Caligor, Philip M. Bromberg, and James D. Meltzer-are to be congratulated for the high level of discourse repre­ sented by the various chapters. They are to be commended as weIl about the eloquent statement this book makes-namely, there are many an­ swers and approaches and no final answer to the questions raised by the volume.

You Can Learn Any Language -- Are you hesitating to learn a new language because you've heard it's difficult? Or are you trying right now but finding it harder than you imagined? What if you could become fluent in a new language in a very short period of time -- just months, or maybe even weeks? You can learn any new language quickly and easily. It doesn't require pain or frustration. It can be fun, exciting and enlightening. Of course, to have this experience you do need to know a few things. You need to find and use your hidden talent -- something we call the Third Ear. The Third Ear takes you step by step along a path to think about language learning in totally new ways. Ways that help you realise you already know how to learn any language. You just needed to be reminded.

Provides profiles of solo performers, bands, producers, and record labels from the alternative rock movement, ranging from the mid-1970s to the present, and includes discographies, album reviews, and photographs.

Presents a history of bebop from its roots in the late 1930s; describes the musicians, bands, and composers who contributed to this style of jazz; and evaluates key bebop recordings.

Seeking asylum from distant conflict in Eastern Europe, Zheljka and Mesud are given refuge in Norway at the home of Hans Olav and Mette. Their arrival has profound consequences. Apparently settled into a childless middle age, Mette revisits her own unresolved family history in her frantic desire to establish a connection with Zheljka. All the while, Mesud and Zheljka try to reinvent their love for each other in the aftermath of a brutal war. Both families struggle to acknowledge the unspoken pain in their lives as Zheljka's child, unwanted but not unloved, becomes the focus of a drama in which each of them will share.

This engrossing studyinvestigates the connections between hearing and deafness in experimental, Deaf, and multicultural theater. Author Kanta Kochhar-Lindgren focuses on how to articulate a Deaf aesthetic and how to grasp the meaning of moments of "deafness" in theater works that do not simply reinscribe a hearing bias back into one's analysis. She employs a model using a device for cross-sensory listening across domains of sound, silence, and the moving body in performance that she calls the "third ear." Kochhar-Lindgren then charts a genealogy of the theater of the third ear from the mid-1800s to the 1960s in examples ranging from Denis Diderot, the Symbolists, the Dadaists, Antonin Artaud, and others. She also analyzes the work of playwright Robert Wilson, the National Theatre of the Deaf, and Asian American director Ping Chong. She shows how the model of the third ear can address not only deaf performance but also multicultural performance, by analyzing the Seattle dance troupe Ragamala's 2001 production of Transposed Heads, which melded classical South Indian use of mudras, or hand gestures, and ASL signing. The shift in attention limned in Hearing Difference leads to a different understanding of the body, intersubjectivity, communication, and cross-cultural relations, confirming it as a critically important contribution to contemporary Deaf studies.

Audio Production and Critical Listening: Technical Ear Training, Second Edition develops your critical and expert listening skills, enabling you to listen to audio like an award-winning engineer. Featuring an accessible writing style, this new edition includes information on objective measurements of sound, technical descriptions of signal processing, and their relationships to subjective impressions of sound. It also includes information on hearing conservation, ear plugs, and listening levels, as well as bias in the listening process. The interactive web browser-based "ear training" software practice modules provide experience identifying various types of signal processes and manipulations. Working alongside the clear and detailed explanations in the book, this software completes the learning package that will help you train you ears to listen and really "hear" your recordings. This all-new edition has been updated to include: Audio and psychoacoustic theories to inform and expand your critical listening practice. Access to integrated software that promotes listening skills development through audio examples found in actual recording and production work, listening exercises, and tests. Cutting-edge interactive practice modules created to increase your experience. More examples of sound recordings analysis. New outline for progressing through the EQ ear training software module with listening exercises and tips.

Provides a complete historic overview of the sounds of the entire English-speaking Caribbean region, bringing together informative essays on the development of a range of music styles and the industry's top performers. Original.

Incorporating history along with the many reviews, this guide covers every era of swing music, from the classic age of Ellington, to the retro-swing of groups like Big Bad Voodoo Daddy. Profiles of over 500 swing musicians, arranged by specialty such as trumpeters, drummers, and vocalists, are combined with reviews of 1500 plus recordings on a 10 point scale. Yanow is a long-time writer and editor for a variety of jazz publications, including, Downbeat, Cadence, and Strictly Jazz. Annotation copyrighted by Book News, Inc., Portland, OR