Introduction Sean Grant; Susanne Hempel; Benjamin Colaiaco ...
Mindfulness-Based Relapse Prevention for Substance Use Disorders,
07/2015
Book Chapter
Open access
Relapsing to substance use following treatment is highly prevalent among U.S. adults. Depending on the type of substance and severity of use considered, 7 to 20 percent of U. S. adults have a ...substance use disorder (SUD) in a given year (Grant et al., 2004; Compton et al., 2007; Hasin et al., 2007; Kessler et al., 2005; Substance Abuse and Mental Health Services Administration, 2011). However, only 10 percent of U.S. adults with SUDs actually seek treatment (Substance Abuse and Mental Health Services Administration, 2008), and 40 to 60 percent of those receiving treatment experience relapse within 12 months (McLellan
The Daoist Horse Taming Pictures are a series of twelve illustrated poems, ten of which are equine-centered and two of which are non-equine-centered. They use the analogy of horse training, or ...“taming the wild horse,” to discuss Daoist contemplative practice, specifically the necessity of reining in sensory engagement and harnessing chaotic psychological patterns through dedicated and prolonged meditation. Here the “wild” or “untamed horse” symbolizes ordinary mind and habituated consciousness, which are characterized by high degrees of sensory engagement, emotional volatility, and intellectual reactivity. The poems and associated verse commentary were most likely written by Gao Daokuan, a Daoist monk
Being with Horses Komjathy, Louis
Taming the Wild Horse,
03/2017
Book Chapter
The Horse Taming Pictures are a series of twelve illustrated poems that depict Daoist practice and stages on the contemplative path through the analogy of horse training. The text consists of twelve ...poems with thirteen accompanying illustrations, the first ten of which are equine-centered and the last three of which are non-equine-centered. Illustrations 1–10 depict a sequence of training through which the horse gradually settles down and eventually becomes at ease. Illustrations eleven through thirteen portray various dimensions of Daoist religious commitment and alchemical transformation, including clerical identity (11), immortal potentiality (12), and immortality (13). Along the way, we
CONCLUSION Pauline Fletcher
Gardens and Grim Ravines,
03/2017
Book Chapter
It might be possible to reach a fair degree of consensus on what constitutes a “typically romantic landscape.” Such a landscape, one imagines, would inevitably contain lakes and mountains, or wooded ...glens and rocky crags, and it would almost certainly be wild and solitary. Is it possible to describe an equally typical Victorian landscape? We have seen that the Victorian poets produced landscapes that range from enclosed bowers to wind-swept seacoasts. Such a range reflects the complexity of the age, and underlines the difficulties inherent in making any generalizations about the period.
Nevertheless, some general trends have emerged during the
These reflections have as their point of departure, as the title of this lecture¹ clearly indicates, Michel Foucault’s bookFolie et déraison: Histoire de la folie à l’âge classique.²
This book, ...admirable in so many respects, powerful in its breadth and style, is even more intimidating for me in that, having formerly had the good fortune to study under Michel Foucault, I retain the consciousness of an admiring and grateful disciple. Now, the disciple’s consciousness, when he starts, I would not say to dispute, but to engage in dialogue with the master or, better, to articulate the interminable and silent
It may be that there is something necessarily mad in every question and every problem, as there is in their transcendence in relation to answers, in their insistence through solutions and the manner ...in which they maintain their own openness. (Gilles Deleuze)¹
What madness haunts the questions and problems that draw Foucault and Derrida to each other as teacher and student (master and disciple) and as friends, only to drive them apart as rivals? Of course, initially it is the problem of madness in its relation to history, to the birth of modernity and modern subjectivity, and specifically its presence
In the first edition of hisHistory of Madness,¹ Michel Foucault offered an original interpretation of the comparison established between sensible knowledge and the visions of the madman in the First ...Meditation.² He reconstructed there a speculative echo of what was, historically, ‘the great confinement’ of the mad, the philosophical text manifesting in an exemplary way the attitude of the classical age towards madness: reduced to silence ‘by a strangecoup de force’, madness would cease to concern the man of reason, no longer having anything to teach him.
However interesting the light thus shed on a mental attitude may
