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Whole Psychiatry: Alternatives to Conventional Psychopharmacology with Robert Hedaya
Meds: Myths and Realities: NP0035 – Session 4
Is psychopharmacology is a 'go-to' in your practice? Join Robert Hedaya as he discusses how to treat the bodily systems that underlay many mental health issues while avoiding medication. After the session, please let us know what you think. If you ever have any technical questions or issues, please feel free to email support@psychotherapynetworker.org.Tough Customers: Is It Them or Us?
By Rich Simon As therapists, many of us practice in two different worlds. In the first, we see polite, well-behaved, articulate clients with solid values. They engage fully in therapy, talk cogently about their problems, listen attentively to our responses, make reasonably good-faith efforts to follow our suggestions, and sooner or later get better. No wonder we genuinely like these people! Does This Kid Need Medication? with Ron Taffel
Meds: Myths and Realities: NP0035 – Session 3
Do you feel like you could be a more effective therapist with your younger clients? Do you find it hard to determine when interventions--psychological and pharmacological--might be needed? Join Ron Taffel and learn to identify key diagnostic signs that indicate medications could be helpful when dealing with depression, anxiety, AD/HD, and affective disorders. After the session, please let us know what you think. If you ever have any technical questions or issues, please feel free to email support@psychotherapynetworker.org.
| Blood and Guts - Page 5 |
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Briony, misunderstanding everything around her, falsely accuses Robbie of a crime that sends him to prison for many years. He's released when he agrees to enlist in the war and ends up at Dunkirk, where the retreating British and French troops wait on the beach to be rescued or killed. Both Cecilia and Briony have become nurses and hear the stories of the wounded and dying. Briony yearns for a way of atoning for her offense, and finds to her grief that there is none, except perhaps by writing a novel about it—a novel in which she restores to the young lovers the lives of which she deprived them in her childhood. The film has a literary delicacy, a distance from the horrors of rape and war, which lets us enter it calmly and reflect on it as we would on a novel. Instead of trying to shock us into alertness, it makes us think, discreetly pulling away from the sight of blood. Its most prominent "special effect" is a gigantic close-up of a single, typewritten vulgarity. The last portion of the film is at Dunkirk, where the army waits and dies on the beach. A tracking shot observes the beach from above crowded with dead and dying soldiers for five or six minutes. We're allowed some reflective distance as Robbie experiences war and as, across the channel, the sisters/nurses witness many of the same horrors he sees. All three mature with compassion. |
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