A gripping biography of the actor best known for his role in Jaws.

Symposium on Hate Wayne Downey, M.D. Notes on Hate and Hating Linda Mayes, M.D. Discussion of Downey's Notes on Hate and Hating Ernst Prelinger, Ph.D. Thoughts on Hate Edward R. Shapiro, M.D. Discussion of Prelinger's Thoughts on Hate Clinical papers Susan Sherkow, M.D. Further Reflections on the Watched Play State, Play Interruptions, and the Capacity to Play Alone Barbara Novak From Chaos to Developmental Growth Silvia M. Bell, Ph.D. Early Vulnerability in the Development in the Phallic Narcissistic Phase Howard M. Katz, M.D. Motor Action, Emotion, and Motive Papers on Technique M. Barrie Richmond, M.D. Counter Responses as Organizers in Adolescent Analysis and Therapy Lawrence N. Levenson, M.D. Resistance to Self-observation in Psychoanalytic Treatment Papers on Theory A. Scott Dowling, M.D. A Reconsideration of the Concept of Regression John M. Jemerin, M.D. Latency and the Capacity to Reflect on Mental States Harold Blum, M.D. Two Principles of Mental Functioning Contributions from Developmental Psychology Golan Shahar, Ph.D., et al. Representations in Action Susan A. Bers, Ph.D., et al. The Sense of Self in Anorexia Nervosa Patients

Robert Shaw is most celebrated today as the Oscar-nominated star in movies like From Russia with Love, A Man For All Seasons, The Sting and - most memorably of all - as Quint in the record-breaking Jaws. His breakthrough came when Hollywood was experiencing something of a British Invasion. Sean Connery, Peter O'Toole, Vanessa Redgrave and Richard Burton were among the new stars. But Shaw was arguably more talented than any, a figure of extraordinary and wide-ranging promise. More than just a mesmerising actor on stage and screen, he was also a gifted writer. He wrote no less than six published novels (winning the Hawthornden Prize), while his plays include the acclaimed Man in The Glass Booth. The flipside to Shaw's diverse abilities was his well-earned reputation as a hellraiser. A fiercely competitive man in all areas of his life, whether playing table tennis or drinking whisky, he emptied mini-bars, crashed Aston Martins, fathered nine children by three different women, made (and spent) a fortune, and set fire to Orson Welles' house. He died at 51, having driven himself too hard, too fast, but unable to get over his father's suicide when Shaw was just 11. John French, Shaw's biographer, knew him well, professionally and personally. Robert Shaw: The Price of Success is a perceptive, sympathetic, but unsparing portrait of the blessings and curses endowing this mercurial, enigmatic and deeply engaging man. This edition features a new foreword written by Richard Dreyfuss. Praise 'Both impressive and immaculate, a tremendously skilled biography... chillingly well told.' Sheridan Morley 'I liked Robert Shaw: The Price of Success tremendously, and applaud its digital rebirth.' Robert Sellers, author of Hellraisers and Don't Let The Bastards Grind You Down

"Few American musicians have touched more people in more ways than has Robert Shaw. A minister's son whose early preparation and temperament seemed to destine him for the pulpit, Shaw instead turned his faith and eloquence to the service of music. From his days as a youthful member of the Fred Waring Glee Club, he went on to achieve fame as conductor of the Robert Shaw Chorale. Today he is the musical director of the Atlanta Symphony. Joseph Mussulman deftly places Shaw and his career against the backdrop of developments in American musical history. He documents the renaissance of the choral tradition, the flowering of the community orchestra, the rise of the recording industry, the role of live radio broadcasts, and the widening recognition of twentieth-century American composers--whose music Shaw has always courageously championed. Mussulman also describes the problems involved in developing new avenues of artistic patronage, and the delights and difficulties of touring. Part III, 'A phoenix in Atlanta,' has a dual focus: it examines the south's reentry into the mainstream of American musical life and reports on Shaw's often stormy tenure in Atlanta. But what emerges most powerfully from this biography is the character of Shaw himself. In his capacity as director of numerous ensembles, Shaw has addressed his musicians--many of them part-time non-professionals--in hortative letters that open with the salutation 'Dear people.' These messages not only express his deeply held beliefs about the spiritual values of great music but also reveal his warmth, wit, and irrepressible humor. Dear People ... Robert Shaw chronicles the career of a remarkable man and a gifted musician, whose foremost conviction is that 'to be an artist is not the privilege of a few but the necessity of us all.'"--Dust jacket.

The therapist's body is a vital part of the therapeutic encounter, yet there is an inherent inadequacy in current psychotherapeutic discourse to describe the bodily phenomena. Until recently, for instance, the whole area of touch in psychotherapy has been given very little attention. The Embodied Psychotherapist uses accounts of therapists' own experiences to address this inadequacy in discourse, and provides strategies for incorporating these feelings into therapeutic work with clients. Drawing on these personal accounts, it also discusses the experiences that can be communicated to the therapist during the encounter. This description and exploration of how practitioners use their bodily feelings within the therapeutic encounter book will be valuable for all psychotherapists and counsellors.

What makes great leaders like Jeff Bezos and Elon Musk extraordinary? All In shows leaders and aspiring leaders how obsession can fuel the most incredible success, but also take a toll on a leader, his or her family and work colleagues.