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For example, an important process is 'strategic enactment', an idea promoted by the late Professor Nicholas Spanos, a psychologist from Carleton University, Ottawa, and the most prolific figure in academic hypnosis in the latter part of the 20th century. Professor Spanos was tragically killed in 1994 when the plane he was piloting crashed. Spanos adopted a strong, non-state, sociocognitive position on hypnosis (Spanos 1991). He acknowledged the role of compliance in hypnotic responding, but developed the theme of strategic enactment. He considered that, in contrast to special-state formulations of hypnosis, hypnotic responding is goal-directed activity on the subject's part. That is, unlike accounts provided by dissociation theories, the subject is not passively 'letting things happen' but actively 'making things happen'. For example, when attending to the arm levitation suggestion, the responsive subject does not wait for the arm to rise but lifts the arm, attempting to create, through imagination, the feeling that it is being pulled up. When given suggestions of analgesia, the subject adopts a cognitive strategy (e. . self-distraction) instead of simplv waiting for the suggestion to take effect. When tested for suggested posthypnotic amnesia, the subject is not struggling to recall the lost information, but adopting a strategy, such as attention switching, that disrupts recall. Now, what implications does this have for our understanding of individual variations in hypnotic susceptibility and its apparent stability over time. One possibility is that at least some people who respond poorly to hypnotic suggestions may have the wrong attitude. For one reason or another, they do not allow themselves to be actively engaged in utilising their cognitive skills to make the suggested responses happen, as is the case 52 MEDICAL AND DENTAL HYPNOSIS with more 'hypnotisable' people. Is it possible, then, that we could train them to adopt the correct approach and thus increase their hypnotic susceptibility. These questions define a major project that Spanos and his colleagues and students engaged in from the early 1980s onwards.

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It is ironic that within the world of activism also exist haves and have-nots. The battle among activists for financial, social and cultural space can become dirty, liberty becomes selective, jingoistic nationalism becomes an essential tool. But the fascinating aspect is that it is camouflaged behind the basic fact that the activist is working for others. Their logic was simple “I don’t care about the reasons behind this ban or its socio-cultural implications. Here the end has been met for the animal rights activist but at what cost. All of a sudden, caste becomes a distorted social evil of British-Raj origins while in its original fount — Manu — it was the much-needed varna classification. This is something even the celebrated socio-cultural-religious-political activist Mohandas Karamchand Gandhi battled with. I agree with some of the criticism of India’s Daughter, but the fact remains that there was a lot in the movie that came as a powerful revelation. Irrespective of who produced or directed it, it needed to be seen. Culture and heritage activists have similar conflicts of being caught in a spider’s web of religion, class and history. In all this we see an inability to look beyond their limited need and condition. This lack of listening causes an inability to open their own selves to revisiting ideas about the larger world that may even push them to re-imagine their cause. Like all of us, they are protectionist about themselves and stay caged. As an individual it is essential for all of us to realise that being an activist, politician or a CEO is only a mode of functioning. Ultimately, it is who we are that needs addressing. Being in activism is only playing a role, being a self-inquiring human is living.

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University Theater, CSULB campus, Long Beach. (562) 426-7601. Actress Shirley Brener hosts the luncheon that features a fashion show by American-based Israeli designers, boutiques and live entertainment by Maya Haddi, Duende, and DJ Eyal. Titled “Ever Again,” the film examines the resurgence of violent anti-Semitism and terrorism, and is narrated by former baseball movie go-to-guy Kevin Costner. More than 60 make up the Getty’s latest exhibit, “Scene of the Crime: Photo by Weegee,” which runs through Jan. 22. Contributors to the publication included William S. Burroughs, Robert Duncan, Allen Ginsberg, John Alton and Charles Brittin. Its content reflected Berman’s varied interests, including visual and literary art, Jewish mysticism, pop culture and current events. The opening night movie, “A Secret Passage,” by Bosnian director Ademir Kenovic (“The Perfect Circle”) revolves around a 16th-century family of women who secretly practice Judaism after inquisitors force them to convert. In the harrowing opening sequence — which resembles a Nazi raid — soldiers trash Jews’ property and drag prisoners off to be executed. Despite visa restrictions, the elder sister (Katherine Borowitz) hopes to arrange secret passage to Istanbul, where the family will be free to practice Judaism without penalty (Venice’s Jews are confined to a crumbling ghetto). Obstacles arise, however, when the younger sister (Tara Fitzgerald) falls for a seductive Venetian nobleman (John Turturro, playing against type), causing a family rift that could prove fatal. The nostalgic comedy isn’t just an Arabic “American Pie,” however; set just before the Six-Day War, which forced Jews to leave Tunisia, it’s a comedy about tolerance and understanding, Boughedir has said. But on the eve of the 20th anniversary of Israel’s film festival — opening Thursday, April 29 — Fenigstein hasn’t much time to discuss the last two decades of his roller-coaster ride in creating the festival. Two years later, the official festival began in New York, and now, 21 years later (he took a year off), the Israeli Film Festival shows 43 films to more than 45,000 people in four cities.

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