Leading clinicians discuss the latest evidence-based approaches to working with families that have an addicted or substance abusing member Family Intervention in Substance Abuse: Current Best Practices gathers together in one easy-to-read volume the most effective family-based clinical approaches to work with families and the difficult issues of substance abuse. The field's most respected and best known clinicians discuss the latest interventions that prove most effective and how to easily integrate them into clinical practice. This unique text is ideal for clinical trainers and professors working with students in the addictions and family therapy fields. Family Intervention in Substance Abuse: Current Best Practices provides students, practicing professionals, and educators with a range of clinical strategies from engaging resistant substance abusers into treatment, to therapy from a systemic viewpoint, to relapse prevention. This essential text comprehensively discusses nine of the most current and evidence-based approaches to working with families that have an addicted or substance abusing member. Each chapter contains basic theoretical descriptions, case applications, practical points for implementation, reviews of the outcome studies, and extensive bibliographies. Topics discussed in Family Intervention in Substance Abuse: Current Best Practices include: Family systems interventions Motivational Interviewing stages of family recovery from addiction integration of clinical work with Twelve Step programs strategies for engaging reluctant alcohol and other drug abusers working with adolescent alcohol and other drug abusers behavioral couples work for alcoholism and drug abuse and more! Family Intervention in Substance Abuse: Current Best Practices is an invaluable resource for students, counselors, social workers, addiction specialists, marriage and family therapists, psychologists, psychiatrists, and professors and trainers in the fields of addiction and family therapy.

Leading clinicians discuss the latest evidence-based approaches to working with families that have an addicted or substance abusing member Family Intervention in Substance Abuse: Current Best Practices gathers together in one easy-to-read volume the most effective family-based clinical approaches to work with families and the difficult issues of substance abuse. The field's most respected and best known clinicians discuss the latest interventions that prove most effective and how to easily integrate them into clinical practice. This unique text is ideal for clinical trainers and professors working with students in the addictions and family therapy fields. Family Intervention in Substance Abuse: Current Best Practices provides students, practicing professionals, and educators with a range of clinical strategies from engaging resistant substance abusers into treatment, to therapy from a systemic viewpoint, to relapse prevention. This essential text comprehensively discusses nine of the most current and evidence-based approaches to working with families that have an addicted or substance abusing member. Each chapter contains basic theoretical descriptions, case applications, practical points for implementation, reviews of the outcome studies, and extensive bibliographies. Topics discussed in Family Intervention in Substance Abuse: Current Best Practices include: Family systems interventions Motivational Interviewing stages of family recovery from addiction integration of clinical work with Twelve Step programs strategies for engaging reluctant alcohol and other drug abusers working with adolescent alcohol and other drug abusers behavioral couples work for alcoholism and drug abuse and more! Family Intervention in Substance Abuse: Current Best Practices is an invaluable resource for students, counselors, social workers, addiction specialists, marriage and family therapists, psychologists, psychiatrists, and professors and trainers in the fields of addiction and family therapy.

Oxford Textual Perspectives is a series of informative and provocative studies focused upon literary texts (conceived of in the broadest sense of that term) and the technologies, cultures, and communities that produce, inform, and receive them. It provides fresh interpretations of fundamental works and of the vital and challenging issues emerging in English literary studies. By engaging with the materiality of the literary text, its production, and reception history, and frequently testing and exploring the boundaries of the notion of text itself, the volumes in the series question familiar frameworks and provide innovative interpretations of both canonical and less well-known works. Whenever people talk to one another there are at least two things going on at once. First, and most obviously, there is an exchange of speech. Second, and slightly less obviously, there is a negotiation about how that exchange is organised-about whose turn it is to talk at any given moment. Linguists call this second, organisational level of activity 'turn-taking' and since the late 1970s it has been central to the way in which spoken interaction is understood. In spite of its obvious relevance to the study of drama, however, turn-taking has received little attention from critics and editors of Shakespeare. Turn-taking in Shakespeare offers a fresh perspective on the dramatic text by reversing the priorities of traditional literary analysis. Rather than focussing on what characters say, it focuses on when they speak. Rather than focussing on how they talk, it focuses on how they gain access to the floor. Its central argument is that the turn-taking patterns of Shakespeare's plays are a part of what Emrys Jones has called their 'basic structural shaping'-as fundamental to dialogue as rhythm is to verse. The book investigates what it means for a character to speak in or out of turn, to interrupt or overlap with a previous speaker, to pause before speaking, or to fail to speak at all. It explores how these moments are-and are not-signalled by the Shakespearean text, how best to describe and understand them, and the implications of such questions for contemporary debates about editing, rhetoric, prosody, and early modern performance practices.

Oxford Textual Perspectives is a series of informative and provocative studies focused upon literary texts (conceived of in the broadest sense of that term) and the technologies, cultures, and communities that produce, inform, and receive them. It provides fresh interpretations of fundamental works and of the vital and challenging issues emerging in English literary studies. By engaging with the materiality of the literary text, its production, and reception history, and frequently testing and exploring the boundaries of the notion of text itself, the volumes in the series question familiar frameworks and provide innovative interpretations of both canonical and less well-known works. Whenever people talk to one another there are at least two things going on at once. First, and most obviously, there is an exchange of speech. Second, and slightly less obviously, there is a negotiation about how that exchange is organised-about whose turn it is to talk at any given moment. Linguists call this second, organisational level of activity 'turn-taking' and since the late 1970s it has been central to the way in which spoken interaction is understood. In spite of its obvious relevance to the study of drama, however, turn-taking has received little attention from critics and editors of Shakespeare. Turn-taking in Shakespeare offers a fresh perspective on the dramatic text by reversing the priorities of traditional literary analysis. Rather than focussing on what characters say, it focuses on when they speak. Rather than focussing on how they talk, it focuses on how they gain access to the floor. Its central argument is that the turn-taking patterns of Shakespeare's plays are a part of what Emrys Jones has called their 'basic structural shaping'-as fundamental to dialogue as rhythm is to verse. The book investigates what it means for a character to speak in or out of turn, to interrupt or overlap with a previous speaker, to pause before speaking, or to fail to speak at all. It explores how these moments are-and are not-signalled by the Shakespearean text, how best to describe and understand them, and the implications of such questions for contemporary debates about editing, rhetoric, prosody, and early modern performance practices.