With In Search of Good Form, Joseph Zinker emphasizes seeing and being with as keys to a phenomenological approach in which therapist and patient co-create and mutually articulate their own experiences and meanings. He considers Gestalt field theory, the Gestalt interactive cycle, and Gestalt concepts.

To all of those familiar with the Gestalt model and its many creative extensions and applications, the name Joseph Zinker needs no introduction. A master Gestalt therapist and a cofounder of the Gestalt Institute of Cleveland, Joseph trained with Fritz Perls in the 1960's and has been influential in the growth and development of Gestalt theory and methodology for over three decades. His groundbreaking 1976 book, Creative Process in Gestalt Therapy, remains a best-seller and classic. It eloquently presents his unique contributions to the Gestalt method including dreamwork as theater, the choreography of expressive movement, experiment, and application of the arts to psychotherapy. In his most recent book, In Search of Good Form: Gestalt Therapy with Couples and Families, (Analytic Press, 1998) Joseph inspires a return to Gestalt therapy with couples and families, Joseph inspires a return to Gestalt therapy's roots in humanism, holism, and faith in the creative power of growth and integration that resides in each of us. Aside from his books, he has published many articles on psychotherapy, the arts, and the phenomenology of love. In recent years his focus has been on the development of couple and family therapy. He now leads workshops around the world and is well know as an engaging teacher, helping and inspiring therapists and lay people alike. Joseph has experienced drama and struggle in his rich life, resulting in a deep compassion for his fellow man. He is seen as lively and creative, at times funny, at others deeply moving as he lovingly reaches out to workshop participants.

What do we mean when we say that a novel's conclusion "feels right"? How did feeling, form, and the sense of right and wrong get mixed up, during the nineteenth century, in the experience of reading a novel? Good Form argues that Victorian readers associated the feeling of narrative form—of being pulled forward to a satisfying conclusion—with inner moral experience. Reclaiming the work of a generation of Victorian “intuitionist” philosophers who insisted that true morality consisted in being able to feel or intuit the morally good, Jesse Rosenthal shows that when Victorians discussed the moral dimensions of reading novels, they were also subtly discussing the genre’s formal properties. For most, Victorian moralizing is one of the period’s least attractive and interesting qualities. But Good Form argues that the moral interpretation of novel experience was essential in the development of the novel form—and that this moral approach is still a fundamental, if unrecognized, part of how we understand novels. Bringing together ideas from philosophy, literary history, and narrative theory, Rosenthal shows that we cannot understand the formal principles of the novel that we have inherited from the nineteenth century without also understanding the moral principles that have come with them. Good Form helps us to understand the way Victorians read, but it also helps us to understand the way we read now.

Filling in a form may be an everyday experience, yet as an aspect of design that affects all our lives, forms are quite often overlooked. This is a handbook on form design for designers, students and anyone interested in improving client communication and information handling.

Paul Goodman left his mark in a number of fields: he went from being known as a social critic and philosopher of the New Left to poet and literary critic to author of influential works on education (Compulsory Mis-education) and community planning (Communitas). Perhaps his most significant achievement was in his contribution to the founding and theoretical portion of the classic text Gestalt Therapy (with F. S. Perls and R. E. Hefferline, 1951), still regarded as the cornerstone of Gestalt practice. Taylor Stoher's Here Now Next is the first scholarly account of the origins of Gestalt therapy, told from the point of view of its chief theoretician by a man who knew him well. Stoehr describes both Goodman's role in establishing the principal ideas of the Gestalt movement and the ways in which his practice as a therapist changed him, ultimately leading to a new vocation as the "socio-therapist" of the body politic. He places Goodman in the midst of his world, showing how his personal and public life - including his political activities in the 1960s - were transformed by Gestalt ideas, and he presents revealing sketches of other major figures from those days - Fritz Perls, Wilhelm Reich, A. S. Neill, and others.

A summation and extension of Lynch's vision for the exploration of city form. With the publication of The Image of the City in 1959, Kevin Lynch embarked upon the process of exploring city form. Good City Form is both a summation and an extension of his vision, a high point from which he views cities past and possible. First published in hardcover under the title A Theory of Good City Form.

First Published in 2010. Routledge is an imprint of Taylor & Francis, an informa company.