The Third Ear

You Can Learn Any Language -- Are you hesitating to learn a new language because you've heard it's difficult? Or are you trying right now but finding it harder than you imagined? What if you could become fluent in a new language in a very short period of time -- just months, or maybe even weeks? You can learn any new language quickly and easily. It doesn't require pain or frustration. It can be fun, exciting and enlightening. Of course, to have this experience you do need to know a few things. You need to find and use your hidden talent -- something we call the Third Ear. The Third Ear takes you step by step along a path to think about language learning in totally new ways. Ways that help you realise you already know how to learn any language. You just needed to be reminded.

This book includes a step-by-step preparation for clients' receptivity to the stories, describing how rapport can be established and resistance lowered during the initial sessions of hypnotherapy. Then the stories are set within their original clinical context, so that we can comprehend their powerful impact on the course of therapy.

In order to complete training successfuIly, every psychoanalyst has to be a supervisee. This experience leads each analyst to want to become a supervisor. Until recently, very little has been discussed about wh at supervision is, how it is done, and how it is related to the various theories of psychoanalysis that are held as articles of faith. The 1980-1981 program of the William Alanson White Psychoanaly tic Society was devoted to supervision-with representatives of various "schools" demonstrating their ways of doing consultations with ana lysts about patients. This book is an extension of that endeavor. In it, supervisors of various persuasions discuss this topic. The editors-Leopold Caligor, Philip M. Bromberg, and James D. Meltzer-are to be congratulated for the high level of discourse repre sented by the various chapters. They are to be commended as weIl about the eloquent statement this book makes-namely, there are many an swers and approaches and no final answer to the questions raised by the volume

Seeking asylum from distant conflict in Eastern Europe, Zheljka and Mesud are given refuge in Norway at the home of Hans Olav and Mette. Their arrival has profound consequences. Apparently settled into a childless middle age, Mette revisits her own unresolved family history in her frantic desire to establish a connection with Zheljka. All the while, Mesud and Zheljka try to reinvent their love for each other in the aftermath of a brutal war. Both families struggle to acknowledge the unspoken pain in their lives as Zheljka's child, unwanted but not unloved, becomes the focus of a drama in which each of them will share.

This engrossing studyinvestigates the connections between hearing and deafness in experimental, Deaf, and multicultural theater. Author Kanta Kochhar-Lindgren focuses on how to articulate a Deaf aesthetic and how to grasp the meaning of moments of "deafness" in theater works that do not simply reinscribe a hearing bias back into one's analysis. She employs a model using a device for cross-sensory listening across domains of sound, silence, and the moving body in performance that she calls the "third ear." Kochhar-Lindgren then charts a genealogy of the theater of the third ear from the mid-1800s to the 1960s in examples ranging from Denis Diderot, the Symbolists, the Dadaists, Antonin Artaud, and others. She also analyzes the work of playwright Robert Wilson, the National Theatre of the Deaf, and Asian American director Ping Chong. She shows how the model of the third ear can address not only deaf performance but also multicultural performance, by analyzing the Seattle dance troupe Ragamala's 2001 production of Transposed Heads, which melded classical South Indian use of mudras, or hand gestures, and ASL signing. The shift in attention limned in Hearing Difference leads to a different understanding of the body, intersubjectivity, communication, and cross-cultural relations, confirming it as a critically important contribution to contemporary Deaf studies.

The author draws on his studies of cultures around the world to demonstrate how dominance of the ear as the primary sense organ for gathering and processing information is directly linked to compassion and peacefulness