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Here is the crisis of faith, the breaking of the myths, the shaking of the foundations in a pretty unvarnished form. The same sort of new seriousness is beginning to appear, here and there, in liturgical contexts as well. In a number of the temple ceremonies-particularly those at which, as is increasingly the case, a Brahmana priest officiates directly rather than, as has been customary, merely providing holy water for the use of the low-caste temple priest -there is appearing an almost pietistic fervor on the part of some of the young male (and a few of the young female) members of the congregation. Rather than permitting but one member of their family to participate for all in the genuftexion to the gods, they all join in, crowding toward the priest so as to have more holy water sprinkled on them. Rather than the context of screaming children and idly chatting adults within which this sacrament usually takes place, they demand, and get, a hushed and reverent atmosphere. Of all this, the older and the more traditional can make little; they look on it, as they themselves say, like a cow looking at a gamelan orchestra-with an uncomprehending, bemused (but in no way hostile) astonishment. Such rationalizing developments on the more personal level demand, however, a comparable sort of rationalization at the level of dogma and creed if they are to be sustained. And this is in fact occurring, to a lim ited extent, through the agency of several recently established publish ing firms which are attempting to put scholarly order into the classical palm-leaf literature upon which the Brahmana priesthoods' claim to learning rests, to translate it into modern Balinese or I ndonesian, to in terpret it i n moral-symbolic terms, and to issue it in cheap editions for the i ncreasingly literate masses. These firms are also publishing transla tions of Indian works, both Hindu and Buddhist, are importing theo sophical books from J ava, and have even issued several original works by Balinese writers on the history and significance of their religion. 5 It is, again, the young educated men who for the most part buy these books, but they often read them aloud at home to their families. The in terest in them, especially i n the old Balinese manuscripts, is very great, even on the part of quite traditional people. When I bought some book s of this sort and left them around our house in the village, our front porch became a literary center where groups of villagers would come and sit for hours on end and read them to one another, commenting now and then on their meaning, and almost invariably remarki ng that it was only since the Revolution that they had been permitted to see such writings, that in the colonial period the upper castes prevented their dis semination altogether. This whole process represents, thus, a spreading of religious literacy beyond the traditional priestly castes-for whom the writings were in any case more magical e wterica than canonical scriptures-to the masses, a vulgarization, in the root sense, of religious knowledge and theory. As I have noted, much of the nobility's traditional status rested on ceremonial grounds; a great part of the traditional ceremonial activity was designed so as to produce an almost reflexive acceptance of their eminence and right to rule. But today this simple assumption of eminence is becoming increasingly difficult. It is being undermined by the economic and political changes of Republican Indonesia and by the radically populist ideology which has accompanied these changes. Though a good deal of large-scale ceremonialism still persists on Bali, and though the ruling class continues to express its claim to superiority, in terms of ritual extravagance, the day of the colossal cremation and the titanic tooth-filing seems to be drawing to a close. To the more perceptive of the aristocracy the handwriting on the wall is thus quite clear: if they persist in basing their right to rule on wholly traditional grounds they will soon lose it. And it is doctrine that they are attempting to provide through reinterpreting classical Balinese literature and re-establishing intellectual contact with India. What used to rest on ritual habit is now to rest on rationalized dogmatic belief.

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An example of a programme of follow-up sessions would be 1 month after conclusion of the main treatment, then a 2-month follow-up period, and thereafter 3-month follow-ups for as long as is deemed necessary. These follow-ups could even be in the form of telephone contact if progress has been maintained. Indicators for successful treatment It is not easy to predict who will respond significantly to treatment. Generally, the best responders are predictably the younger patients and those whose condition is less chronic (and of later onset), who have no serious psychopathology or secondary gain, and who have some capacity for experiencing hypnosis. OVERVIEW OF TECHNIQUES The information in this section may be used to plan a session of hypnosis for a psychosomatic complaint using a behavioural or symptom-oriented approach. You would not, however, use all procedures on all occasions, and some are only appropriate for the first session of hypnosis. Some of the procedures (e. . sensory focusing and age progression) may elicit material that requires a psychodynamic way of working. Whatever the case, the emphasis of therapy is ultimately to make permanent the changes that are 330 MEDICAL AND DENTAL HYPNOSIS achieved by the use of heterohypnosis; hence, the extensive use of posthypnotic suggestion, practice, self-hypnosis and future rehearsal. Education concerning a working model of psychosomatic illness and treatment If you are seeing patients who are referred by their doctor or specialist, then many of them not uncommonly arrive at their first session with some anxiety and misgivings. (It is different if patients come on their own initiative. For some patients, a referral by their specialist means 'He thinks it's all in my head' or 'She has washed her hands of me'. Other patients say, 'My doctor thinks my problems are all due to stress, but I don't really feel stressed and in any case I have my symptoms when I'm feeling relaxed'. They may be quite accurate when they make this observation, although some patients do deny real psychological difficulties. Undue stress may not be a factor, but the normal 'slings and arrows' of everyday life may nevertheless still be contributing. Accordingly, the first task that the therapist may have is to correct misconceptions of this sort. For these purposes, for patients attending our psychosomatic medicine clinic, we devised a leaflet that we gave out at, or prior to, the first session. The text of the leaflet is given in Box 25. and explains the theoretical rationale or 'working model' adopted by the authors.

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worked together with the scriptwriter Emma Brostr? . We did a lot of research in different cases both in Sweden and in other countries. Then during the preproduction, I usually change a lot of things in the script, both after doing location scouting if I get inspired and after casting process, which I often attend a lot and try different things in some scenes. All the exteriors were shot in night time to create a special feeling because it was still lighter during night time of the year and all the indoor scenes we would close the curtains, as they often do in northern Sweden in the summer to create a stuffy feeling. We had 35 shooting days but, in Sweden, you only have permission for 8 working hours every day so it? a little tough. HOLLYWOODFLIP: Can you talk about the casting process, especially the lead actress. Did everyone go by the script and not inject any improvisation? ? one of the young actors have been filming nor have done any theatre before. I spend a lot of time with the casting process because I think that is the most important process for the film. I always spend a lot of time in preproduction with the actors to try to find their characters. In this film, I also worked with dialect on all the actors so it sounds like they come from the same village. I don? work so much with improvisation in dialogue but more in action. I think good art creates different questions for different people in the audience. HOLLYWOODFLIP: What was the most difficult challenge creating this film. Can you talk about the funding as well? ?

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That's probably the reason why the next books are taking so long to come out. Even with the Dornish subplot, while it added a layer of depth, in the end, the plot threads amount to almost nothing, with one Dornish main character getting foiled by her Targaryen-loving father and another getting burned to a crisp by one of Dany's Dragons when he tried to tame it. What does that contribute to a story already awash with characters and subplots galore. I'm sure a lot could be said about ASOIAF (and now Star Wars, unfortunately) as products of the social media age, and the psychology of toxic fandom. And why it is that fans have a hard time approaching ASOIAF as a literary work. As a longtime LOTR fan (i. . since I read the books in 1991), I have never encountered anything like the same level of toxicity. This could be because LOTR existed long before the Internet and fans did not have the opportunity to band together online and go nuts. Or because LOTR's obvious archetypes, Tolkien's own extensive commentary on what his work meant, its writing during WW2 and its influence on the counterculture invite examination of the work on a thematic level. Perhaps the same is true for Star Trek, which was clearly meant to reflect the social changes of the late 1960s and provide an alternative to the doom-and-gloom Cold War scenarios of the time. And again, Gene Rodenberry was vocal about his intentions. Of course there are still plenty of crazy fans of both series, but the foaming-at-the-mouth hatred is not there, and proportionately the insane fandom is much lower afaik. It could be that ASOIAF is more interesting as a cultural product of the social media age than as a literary work. A study of the fandom would be a good project for an enterprising academic or (more likely) a savvy fan. Aj haley 3 ? ? Susan Havens exactly. ctors should play characters not characters play actors. And when I got to Crowe's eye in the books I shit myself.

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