1001 Solution-Focused Questions: Handbook for by Fredrike P. Bannink

By Fredrike P. Bannink

Drawing on approximately 30 years of scientific perform, Bannink compiles solution-focused questions and protocols which are formulated to elicit the client’s services at the issue(s) that introduced her or him to remedy. categorised for basic use and to be used with particular sorts of clients—such as kids, undefined, and households, and people who have suffered trauma or who may benefit from medication—the questions exhibit how definitely the right use of language is a vital software in solution-focused interviewing. workouts and homework feedback invite self-reflection and experimentation with the solution-focused version, whereas case stories illustrate the model’s effectiveness with a wide selection of consumers. 1001 Solution-Focused Questions equips clinicians with a toolbox choked with ready-to-use ways, so they’re ready to supply aid as consumers locate their very own solution to a greater destiny.

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La época de su reproductibilidad técnica desligó al arte de su fundamento cultual: y el halo de su autonomía se extinguió para siempre. Se produjo entonces una modificación en la función artística que cayó fuera del campo de visión del siglo. E incluso se le ha escapado durante tiempo al siglo veinte, que es el que ha vivido el desarrollo del cine. En vano se aplicó por de pronto mucha agudeza para decidir si la fotografía es un arte (sin plantearse la cuestión previa sobre si la invención de la primera no modificaba por entero el carácter del segundo).

Semejante manera de ver las cosas está claro que no es progresivo. 42 te en la realidad que el aspecto puro de ésta, libre de todo cuerpo extraño, es decir técnico, no es más que el resultado de un procedimiento especial, a saber el de la toma por medio de un aparato fotográfico dispuesto a este propósito y su montaje con otras tomas de igual índole. Despojada de todo aparato, la realidad es en este caso sobremanera artificial, y en el país de la técnica la visión de la realidad inmediata se ha convertido en una flor imposible.

O echémosle una ojeada a la imagen de Dauthendey el fotógrafo, el padre del poeta, en tiempos de su matrimonio con aquella mujer a la que un día, poco después del nacimiento de su sexto hijo, encontró en el dormitorio de su casa de Moscú con las venas abiertas. La vemos junto a él que parece sostenerla; pero su mirada pasa por encima de él y se clava, como absorbiéndola, en una lejanía plagada de desgracias. Si hemos ahondado lo bastante en una de estas fotografías, nos percataremos de lo mucho que también en ellas se tocan los extremos: la técnica más exacta puede dar a sus productos un valor mágico que una imagen pintada ya nunca poseerá para nosotros.

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