Undoubtedly, emotions sometimes thwart our epistemic endeavours. But do they also contribute to epistemic success? The thesis that emotions 'skew the epistemic landscape', as Peter Goldie puts it in this volume, has long been discussed in epistemology. Recently, however, philosophers have called for a systematic reassessment of the epistemic relevance of emotions. The resulting debate at the interface between epistemology, theory of emotions and cognitive science examines emotions in a wide range of functions. These include motivating inquiry, establishing relevance, as well as providing access to facts, beliefs and non-propositional aspects of knowledge. This volume is the first collection focusing on the claim that we cannot but account for emotions if we are to understand the processes and evaluations related to empirical knowledge. All essays are specifically written for this collection by leading researchers in this relatively new and developing field, bringing together work from backgrounds such as pragmatism and scepticism, cognitive theories of emotions and cognitive science, Cartesian epistemology and virtue epistemology.

Undoubtedly, emotions sometimes thwart our epistemic endeavours. But do they also contribute to epistemic success? The thesis that emotions 'skew the epistemic landscape', as Peter Goldie puts it in this volume, has long been discussed in epistemology. Recently, however, philosophers have called for a systematic reassessment of the epistemic relevance of emotions. The resulting debate at the interface between epistemology, theory of emotions and cognitive science examines emotions in a wide range of functions. These include motivating inquiry, establishing relevance, as well as providing access to facts, beliefs and non-propositional aspects of knowledge. This volume is the first collection focusing on the claim that we cannot but account for emotions if we are to understand the processes and evaluations related to empirical knowledge. All essays are specifically written for this collection by leading researchers in this relatively new and developing field, bringing together work from backgrounds such as pragmatism and scepticism, cognitive theories of emotions and cognitive science, Cartesian epistemology and virtue epistemology.

This book represents the first systematic account of the theory and practice of psychoanalytical social work. For students and those entering the field of social work who are interested in psychoanalytical social work it offers an overview of the diverse fields of practice of psychoanalytical social work and combines this with a description of its history, relation to other areas of social work and relevant psychoanalytical theories.The authors are convinced for this reason that both for students on degree courses as also for social workers and social education workers in further training the book offers an important contribution and fills a gap in this field. Equally, it addresses practicing social workers, social educationalists, psychiatrists or psychotherapists offering comprehensive insight into this particular form of social work for those working in centers for counseling or early intervention or in social pediatrics. The authors have taken pains to make descriptions as clear and approachable as possible so as also to reach those who may not be familiar with psychoanalytical concepts, and have therefore included a chapter outlining the psychoanalytical theories of particular relevance to social work. At the end of the book they have, in addition, included around 20 definitions of important psychoanalytical concepts. In these definitions the relevance for the practice of social work is taken into particular account. The book is rounded off with a contribution by colleagues in the Association for Psychoanalytical Social Work in Tubingen/Rottenburg (Germany) bringing the practice of psychoanalytical social work to life in the form of case studies."

This book represents the first systematic account of the theory and practice of psychoanalytical social work. For students and those entering the field of social work who are interested in psychoanalytical social work it offers an overview of the diverse fields of practice of psychoanalytical social work and combines this with a description of its history, relation to other areas of social work and relevant psychoanalytical theories. The authors are convinced for this reason that both for students on degree courses as also for social workers and social education workers in further training the book offers an important contribution and fills a gap in this field. Equally, it addresses practising social workers, social educationalists, psychiatrists or psychotherapists offering comprehensive insight into this particular form of social work for those working in centres for counselling or early intervention or in social paediatrics.

Disney-animated version of the Robin Hood tale, with Robin characterised as a fox, Allan-a-Dale a rooster, Little John a bear, Friar Tuck a badger and the Sheriff of Nottingham a wolf. Robin and his merry band rob from the rich and give to the poor while England is ruled by the corrupt King John (voiced by Peter Ustinov) - whose snake advisor Hiss looks and sounds suspiciously like Terry-Thomas!

Box set containing all five films from the hugely popular 'Herbie' series. In 'The Love Bug' (1969), Herbie, a Volkswagen with a mind of its own, gets involved with a race car driver (Dean Jones), after a stuffy rival (David Tomlinson) takes a haughty attitude towards the car. In 'Herbie Rides Again' (1974), Herbie tries to help an old woman who is trying to prevent a property developer from building a skyscraper on her land. In 'Herbie Goes to Monte Carlo' (1977), a spy ring hide a huge diamond in Herbie's gas tank while he is racing in a Paris to Monte Carlo race. Herbie also finds time to fall in love with a Lancia. In 'Herbie Goes Bananas' (1980), the little VW is being driven to Brazil to to race in Rio, but finds several slapstick obstacles in his way. Finally, in 'Herbie Fully Loaded' (2005), the world's wackiest Volkswagen is back in action. Maggie Peyton (Lindsay Lohan), the first Peyton to graduate from college receives a graduation present from her dad (Michael Keaton). But instead of a 250Z, she instead receives a Volkswagon Bug (Herbie) who soon takes over all of Maggie's driving. After having her best friend Kevin (Justin Long) restore Herbie, she goes to the car show and beats all-time racer Trip Murphy (Matt Dillon). He demands a rematch and attempts to discover the secret behind Herbie. After losing a big race to Trip because of Herbie's stubbornness, Maggie enters the Daytona 500. But will Herbie win?

Die Psychoanalyse hat sich in ihrer inzwischen hundertjahrigen Geschichte zu einer wirkmachtigen Theorie, die zumindest in Teilen vielerorts rezipiert worden ist, und zu einer Institution der Ausbildung von Adepten wie auch der Krankenbehandlung entwickelt. Bei naherer Betrachtung zeigen sich jedoch in ihrer Geschichte und aktuellen Verfassung innere Widerspruchlichkeiten und Bruche, die zu verstehen ihr mit ihrer personenzentrierten Theorie nicht gelingt. In diesem Band werden wissenschaftliche, institutionelle und historische Aspekte der Psychoanalyse mit Hilfe verschiedener soziologischer Ansatze untersucht."

Psychiatrische Zwangseinweisungen sind staatliche Akte der Freiheitsentziehung. Ihre Haufigkeit unterliegt starken regionalen Schwankungen und ubertrifft das medizinisch notwendige Mass erheblich. Die empirische Analyse zeigt, dass Zwangseinweisungen bevorzugt dieselben Personengruppen treffen wie Inhaftierungen, so dass die Psychiatrie partiell die Justiz erganzt. Ihre Bedeutung liegt in dieser Perspektive v. a. darin, dass sie in einer "zivilisierter" (Elias) werdenden Gesellschaft zu einer Transformation sozialer Kontrolle - namlich: Verbindung mit Instanzen der Hilfe und Forderung individueller Selbstkontrolle - beitragt."

Dieses Buch ist entstanden in Erinnerung an Heinrieh Jordt - Psychoanalytiker, ausgebildet am Berliner Karl-Abraham-Institut und zuletzt niedergelassen in Bremen. Er starb an einem Sommertag im Spatherbst 1984. Zur organisierten 6ffentlichkeit der Psychoanalyse hatte er Distanz, und in der veroffentliehten Psychoanalyse ist er kaum in Erscheinung getreten. Er wollte das so. Es entsprach, wie er meinte, nicht seiner "Art", Arbeiten zu verfassen, urn zitiert zu werden. 0 hne offentliche Spuren zu hinterlassen, hat er gleiehwohl vielen, die mit ihm Umgang hatten, ein klares Bild von dem vermittelt, was fUr ihn Psychoanalyse war. Was fUr Freud galt, galt auch fUr ihn: Fur Heinrich Jordt war die Psychoanalyse keine Brille, die man nach Belieben an-und ablegen konnte. Die Psychoanalyse, so Freud (1933, S. 164), hat einen entweder ganz oder gar nicht, und ihn hatte sie ganz. Obwohl professionell mit ihr arbeitend, war die Psychoanalyse fUr ihn doch nicht bloBe Ausubung einer Profession, d. h. sie war nieht Mittel fUr andere Zwecke. Auch war ihm die Psychoanalyse nieht nur ein psychotherapeutisches Instrument, welches die Verwirkliehung bestimmter Lebensentwiirfe eines Sub- jekts normativ erzwingt. Weil er die gesellschaftlichen Mechanismen der VerfUh- rung und wohl auch die VerfUhrbarkeit von Psychoanalytikern, die heute unter dem Stiehwort "Medikozentrismus" der Psychoanalyse erortert werden, wachsam und voller Argwohn beobachtete, verkam ihm die Couch nicht zu einer Agentur der Gesellschaft. Mit seiner Person half er die in der Kindheit aufgebauten und dort zugleieh auch verschutteten Lebensformen als mogliche Lebensentwiirfe neu zu entfalten.

When Roger and Anita marry and their dogs Pongo and Perdita produce a litter of 15 dalmation puppies, they find themselves receiving unwelcome advances from the evil Cruella de Ville. She has plans to turn the pups into a fur coat and when Roger and Anita refuse, she hires two comedy crooks to steal them for her. Once the theft is revealed, Pongo rallies together a gang of canine friends and sets out on a mission to retrieve his young, discovering them in a lonely mansion, imprisoned along with a further 84 dalmation puppies.

Double bill featuring two popular Disney movies. In 'The Jungle Book' (1967), after being abandoned as a child, young Mowgli (voiced by Bruce Reitherman) is brought up in the jungle by wolves. However, when the news arrives that murderous, man-hating tiger Shere Khan (George Sanders) has returned, Mowgli's friends Bagheera (Sebastian Cabot) and Baloo (Phil Harris) set out to return the reluctant mancub to the humans' village. Their task is not made any easier when Mowgli is kidnapped at the behest of monkey ruler King Louie (Louis Prima), who wishes to learn the secret of man's power - fire! Disney Studios' nineteenth animated feature was the last to be overseen by founder Walt before his death, and won an Academy Award nomination for the song 'Bare Necessities'. 'The Jungle Book 2' (2003) follows Mowgli (voiced by Haley Joel Osment) as he adapts to life with humans, having followed the girl, Shanti, he saw collecting water at the end of the first film. Finding it hard to live among humans all the time he decides to visit his old friend Baloo (John Goodman) but Shere Khan gets wind of this and he still has an old score to settle.

Due to the very old age and scarcity of this book, many of the pages may be hard to read due to the blurring of the original text.

Due to the very old age and scarcity of this book, many of the pages may be hard to read due to the blurring of the original text.

The Disney version of the early life of King Arthur. Brought up as a scullery boy with the nickname of Wart, Arthur goes through important magical training at the hands of the wise wizard Merlin. It transpires that the sorceror has the boy earmarked for greater things, but Arthur must undergo a number of tests before he can fulfil his destiny.

Fun-packed adaptation of Rudyard Kipling's Mowgli stories. After being abandoned as a child, young Mowgli (voiced by Bruce Reitherman) is brought up in the jungle by wolves. However, when the news arrives that murderous, man-hating tiger Shere Khan (George Sanders) has returned, Mowgli's friends Bagheera (Sebastian Cabot) and Baloo (Phil Harris) set out to return the reluctant mancub to the humans' village. Their task is not made any easier when Mowgli is kidnapped at the behest of monkey ruler King Louie (Louis Prima), who wishes to learn the secret of man's power - fire! Disney Studios' nineteenth animated feature was the last to be overseen by founder Walt before his death, and won an Academy Award nomination for the song 'Bare Necessities'.

The classic Walt Disney version of the Brothers Grimm fairytale. Thanks to a curse visited upon her by the evil fairy Maleficent, Princess Aurora falls into a deep and endless sleep on her 16th birthday. Only a kiss from Prince Phillip can wake her, and three good fairies set out to engineer that event.