No detailed description available for "Signs of Humanity / L'homme et ses signes".

Nous sommes tous piégés par nos émotions, et le travail sur celles-ci constitue le quotidien de tout psychothérapeute. Thérapie cognitive et émotions expose de manière synthétique comment les thérapies comportementales et cognitives (TCC) abordent les problèmes émotionnels et leurs interrelations avec les comportements et les cognitions. Livre polyphonique, il regroupe dix experts et propose une présentation théorique des modèles des émotions et de leurs applications pratiques en thérapie individuelle, de groupe ou en thérapie familiale. Témoignage de vigueur, de rigueur et de créativité, il ouvre la voie à un renouvellement des pratiques et des formations, au coeur de la troisième vague des TCC. Cette présente édition comporte un nouveau chapitre qui synthétise les données de la médecine fondée sur des preuves qui valident certaines des thérapies de troisième vague. Elle met également au jour certains faits marquants tels que l'accent mis sur l'optimisme par la psychologie positive, la thérapie focalisée sur la compassion ainsi que le travail patient effectué par les chercheurs pour valider les approches cognitives et comportementales des émotions. F. Dattilio, F. Mehran, D. Page, P. Philippot, C. Pull, M.-C. Pull, A. Salamat, R. Toth, P. Vuille ont participé à cet ouvrage. Livre polyphonique, Thérapie cognitive et émotions regroupe dix experts et propose une présentation théorique des modèles des émotions et de leurs applications pratiques en thérapie individuelle, de groupe ou en thérapie familiale.

Emotions permeate every aspect of our lives and not only provide us with invaluable information about our environment and the people in it, but also influence our perception of situations and events. Interestingly, this domain, so ubiquitous in our everyday lives, largely resists attempts at scientific definition. One reason for this could be that emotions rarely occur in isolation but are usually combined or embedded in other states of mind. Moreover, the experience of emotions may be influenced not only by culture but also by individual language. Analysis is further complicated by the fact that emotions are abstract and require complex linguistic coding to make an invisible emotional state of the speaker at least rudimentarily visible to the listener. For this reason, the present volume aims to investigate the perception, encoding, reception, and influence potential of emotions in context and across languages using different corpora. The following questions are central: To what extent do emotions influence our perception of events and facts? and To what extent can emotion concepts be defined language-specifically, but also universally, on the basis of our perception? Therefore, the eight contributions analyze emotions in different contexts and from different starting points to uncover the cognitive mechanisms underlying the perception and influence of emotion concepts. The first four papers focus primarily on emotional and sensory experiences and interactions that are set in motion when we are confronted with emotions, while the following four focus on the different facets of emotion across languages to show which emotion concepts are language-specific or universal, and thus contribute to a better understanding of this complex field.

Debussy's Critics: Sound, Affect, and the Experience of Modernism explores the music of Claude Debussy and its early reception in light of the rise of the empirical human sciences in Western Europe around the turn of the twentieth century. In the midst of a sea change in conceptions of the human person, the critics who wrote about Debussy's music in the Parisian press-continually returning to this music's nebulous relationship to sensation and sensibilité-attempted to articulate a music aesthetic appropriate to the fully embodied, material self of psychological modernism. While scholarship on French music in this period has often emphasized its affinities with other art forms, such as Impressionist painting and Symbolist poetry, Debussy's Critics demonstrates that a preoccupation with the specifically sonic materiality of Debussy's music, informed by late nineteenth-century scientific discourses on affect, perception, and cognition, was central to this music's historical intervention. Foregrounding the dynamic exchange between sounds and ideas, this book reveals the disorienting and bewildering experience of listening to Debussy's music, which compelled its early audiences to reimagine the most fundamental premises of the European art-music tradition.