Despite a wealth of findings that psychotherapy is an effective psychological intervention the principal mechanisms of psychotherapy change are still in debate. It has been suggested that all forms of psychotherapy provide a context which enables clients to transform the meaning of their experiences and symptoms in such a way as to help clients to feel better, and function more adaptively. However, psychotherapy is not the only healthcare intervention that has been associated with ‘meaning’: the reason why placebo have effects (...) has also been proposed to be a ‘meaning response’. Thus, it has been argued that the meaning of treatments has a central impact on beneficial (and by extension, negative) health-related responses. In light of the strong empirical support of a contextual understanding of psychotherapy and its effects, the aim of this conceptual analysis is to examine the role of meaning and its transformation in psychotherapy – in general – and within three different, commonly-used psychotherapy modalities. (shrink)

Last paragraphe: Finally, we need to take on board the strange and disturbing fact that the modern destruction of environments has occurred not as if nature counted for nothing but, on the contrary, has occurred in a world of longstanding climatic theories that have earmarked environmental objects as the very things that produce humankind. Modern man, oblivious of the impact of his actions and blinded by his faith in progress and polarized vision of the world? Our postmodernity also has its (...) own mythologies. (shrink)

This book undertakes a critical survey of art history across Europe, examining the recent conceptual and methodological concerns informing the discipline as well as the political, social and ideological factors that have shaped its development in specific national contexts.

Physical environmental factors – or ‘artifacts’ – are linked to healthcare outcomes in the field of social psychology. However, the role of artifacts remains rarely examined in the burgeoning discipline of placebo studies. In this paper, we argue that a careful consideration of artifacts – such as provider clothing and office décor – may carry significant potential in eliciting placebo effects in clinical settings. We discuss three potential mechanisms by which artifacts may enhance or diminish placebo (or nocebo) effects: classical (...) conditioning, response expectancy, and mindsets. We propose testable hypotheses and conclude by providing innovative research designs that might help to better advance this novel research agendum. (shrink)

A growing body of cross-cultural survey research shows high percentages of clinicians report using placebos in clinical settings. One motivation for clinicians using placebos is to help patients by capitalising on the placebo effect’s reported health benefits. This is not surprising, given that placebo studies are burgeoning, with increasing calls by researchers to ethically harness placebo effects among patients. These calls propose placebos/placebo effects offer clinically significant benefits to patients. In this paper, we argue many findings in this highly cited (...) and ‘hot’ field have not been independently replicated. Evaluating the ethicality of placebo use in clinical practice involves first understanding whether placebos are efficacious clinically. Therefore, it is crucial to consider placebo research in the context of the replication crisis and what can be learnt to advance evidence-based knowledge of placebos/placebo effects and their clinical relevance (or lack thereof). In doing so, our goal in this paper is to motivate both increased awareness of replication issues and to help pave the way for advances in scientific research in the field of placebo studies to better inform ethical evidence-based practice. We argue that, only by developing a rigorous evidence base can we better understand how, if at all, placebos/placebo effects can be harnessed ethically in clinical settings. (shrink)

Nunn's critique of the placebo concept is a radical and refreshing contribution to the debate. While there is much that can be contested in his analysis, his use of empirical and theoretical arguments to defend his conclusion - that the time has come to abandon the placebo construct altogether - presents an important challenge.

I Das Grenzland Im Jahre 1772 annektierte das Habsburgerreich im Süden Polens gelegene Gebiete und gliederte sie als „Königreich Galizien und Lodomerien“ in seinen Herrschaftsbereich ein. Nach dem Zusammenbruch der Habsburger Monarchie im I. Weltkrieg wurde Galizien 1918 Teil des erneut unabhängigen Polen. In Ostgalizien gründeten ukrainische Nationalisten eine kurzlebige „West-Ukrainische Republik“. Im Anschluss weiterer Kampfhandlungen zwischen Polen, Ukrainern und Sowjets annektierte Polen dann ganz Ostgalizien, das von den Polen „Kleines Ostpolen“ genannt wurde, einschließlich der nördlichen Gebiete Wolhyniens und Polesiens. (...) Die im Gefolge des Kriegsendes neu entstandenen Grenzen wurden 1923 international anerkannt. Ostgalizien und Wolhynien wurden 1939 von der UdSSR annektiert und der ukrainischen Sowjetrepublik angegliedert. Während der deutschen Besatzung zwischen 1941–1944 war Ostgalizien Teil des von den Deutschen kontrollierten Generalgouvernements Polen. Im Anschluss an die Befreiung dieser Gebiete durch die Rote Armee kam Ostgalizien wiederum an die ukrainische Sowjetrepublik. Seit der ukrainischen Unabhängigkeit 1991 ist es Teil der West-Ukraine. Das ehemalige ostgalizische Grenzlandgebiet erstreckt sich von der im Norden gelegenen Kreishauptstadt L'viv bis zu der im Süden gelegenen, der ehemaligen österreichischen Provinz Bukowina zugehörigen Stadt Chernivtsi, von der Bergkette der Karpaten im Westen bis zum Fluss Sbrutsch und zu den Ebenen von Podolien im Osten. Es handelt sich um ein Gebiet, das berühmt, aber durchaus auch berüchtigt ist. (shrink)

This note shows that two epigrams concerning the decline of Rome edited in Alexander Riese’s Anthologia Latina under the names of Augustine and Appian (Anth. Lat. 870-871 R.2) are no more than the transcription of six lines taken from the satire against sloth of Jakob Locher’s Stultifera navis, the Latin translation of Sebastian Brant’s famous Narrenschiff.

Dieses Buch ist bis heute eine der populärsten Darstellungen der Relativitätstheorie geblieben. In der vorliegenden Version haben J. Ehlers und M. Pössel vom Max-Planck-Institut für Gravitationsphysik (Albert-Einstein-Institut) in Golm/Potsdam den Bornschen Text kommentiert und einen den anschaulichen, aber präzisen Stil Borns wahrendes, umfangreiches Ergänzungskapitel hinzugefügt, das die stürmische Entwicklung der Relativiatätstheorie bis hin zu unseren Tagen nachzeichnet. Eingegangen wird auf Gravitationswellen und Schwarze Löcher, auf neuere Entwicklungen der Kosmologie, auf Ansätze zu einer Theorie der Quantengravitation und auf die zahlreichen raffinierten (...) Experimente, welche die Gültigkeit der Einsteinschen Theorie mit immer größerer Genauigkeit bestätigt haben. Damit bleibt dieses Buch nach wie vor einer der unmittelbarsten Zugänge zur Relativitätstheorie für alle die sich für eine über das rein populärwissenschaftliche hinausgehende Einführung interessieren. (shrink)

Despite having unwelcome effects on interpersonal relationships, disagreements constitute the mainstream of talk in dissertation defense sessions. This paper reports on variations in the design of disagreement turns in 20 Iranian defense sessions in L2 English. Drawing on and modifying Locher’s classification of disagreement strategies, turns were classified into two main categories of “mitigated” and “unmitigated”. Then, for each category, linguistic and paralinguistic devices, which were used in framing disagreements, were identified. The data features almost an equal number of (...) mitigated and unmitigated disagreements. “But with hedged contradictory remarks”, and “hedges” were the most frequent mitigating strategies, whereas “Direct opposite views” and “but with contradictory remarks” were the most frequent strategies in unmitigated and aggravated disagreements. Finally, the implications of the results for research on face and institutional talk are discussed. (shrink)

Charles Demuth is widely recognized as one of the most significant American modernists. His precisionist cityscapes, exquisite flowers, and free-wheeling watercolors of vaudeville performers, homosexual bathhouses, and cabaret scenes hang in many of the country's most prestigious collections, including the Metropolitan Museum of Art, the Philadelphia Museum of Art, the Columbus Museum of Art, the Amon Carter Museum in Fort Worth, the Art Institute of Chicago, and in Demuth's Lancaster, Pennsylvania, family residence, now home of the Demuth Foundation. At a (...) time when many American artists remained tied to Europe, Demuth "Americanized" European modernism. This collection of 155 of his letters offers valuable views of the arts and letters colonies in Provincetown, New York, and Paris. Besides offering information on Demuth's own works, the letters also shed light on the output of his contemporaries, as well as references to their trips, liaisons, and idiosyncrasies. Demuth numbered among his correspondents some of the most famous artists and writers of his time, inluding Georgia O'Keeffe, Eugene O'Neill, John Reed, Gertrude Stein, Alfred Stieglitz, Carl Van Vechten, and William Carlos Williams. In his travels in the United States and abroad, he encountered many other talented contemporaries: Peggy Bacon, Muriel Draper, Marcel Duchamp, the Stettheimer sisters, artists and writers, patrons, and gallery owners. Whether he is offering to pick up a copy of Joyce'sUlyssesfor Eugene O'Neill or trying to convince Georgia O'Keeffe to decorate his music room, Demuth is always in the thick of art and literary life. Flamboyant in attire but descreet in his homosexuality, Demuth also reveals in his letters the life of a talented homosexual in the teens and twenties. With his best friends Robert Locher and Marsden Hartley, he circulated through the art colonies of Greenwich Village, Provincetown, and Paris, meeting everyone. The book also contains reprints of some short appraisals of Demuth and his work that were published during his lifetime, long out of print, including pieces by A. E. Gallatin, Angela E. Hagen, Marsden Hartley, Helen Henderson, Henry McBride, Carl Van Vechten, Rita Wells, and Willard Huntington Wright. Author note:Bruce Kellneris Emeritus Professor of English, Millersville University, and a member of the Demuth Foundation Board of Directors. He is the author or editor of 10 other books. (shrink)

A reanalysis of the eight astronomical images that Johann Adam Schall von Bell incorporated in the first Chinese treatise on the telescope to illustrate the telescopic discoveries made by Galileo Galilei shows that they were borrowed from the works on telescopic astronomy by Galileo Galilei and Johann Georg Locher, a student of Christopher Scheiner. Except minor changes to both Galileo’s illustrations of the telescopic view of the moon and nebulae and Locher’s illustration of sunspots, Locher’s images about (...) the phases of Venus and Jovian satellites were redrawn presumably to convey a clearer commitment to Tycho Brahe’s system of the world and most of the contents in Locher’s image of Saturn was replaced by Schall’s own observation. These changes seem to be the result of two important factors that confined the transcultural transmission of astronomical knowledge from Europe to China through the Jesuits in the seventeenth century, namely the official standpoint of the Catholic Church on the ongoing cosmological issues and the cultural tradition of Chinese astronomy. (shrink)

A reanalysis of the eight astronomical images that Johann Adam Schall von Bell incorporated in the first Chinese treatise on the telescope to illustrate the telescopic discoveries made by Galileo Galilei shows that they were borrowed from the works on telescopic astronomy by Galileo Galilei and Johann Georg Locher, a student of Christopher Scheiner. Except minor changes to both Galileo’s illustrations of the telescopic view of the moon and nebulae and Locher’s illustration of sunspots, Locher’s images about (...) the phases of Venus and Jovian satellites were redrawn presumably to convey a clearer commitment to Tycho Brahe’s system of the world and most of the contents in Locher’s image of Saturn was replaced by Schall’s own observation. These changes seem to be the result of two important factors that confined the transcultural transmission of astronomical knowledge from Europe to China through the Jesuits in the seventeenth century, namely the official standpoint of the Catholic Church on the ongoing cosmological issues and the cultural tradition of Chinese astronomy. (shrink)