Psychotherapy across languages: beliefs, attitudes and practices of monolingual and multilingual therapists with their multilingual patients

The present study investigates beliefs, attitudes and practices of 101 monolingual and multilingual therapists in their interactions with multilingual patients. We adopted a mixed-method approach, using an on-line questionnaire with 27 closed questions which were analysed quantitatively and informed questions in interviews with one monolingual and two multilingual therapists. A principal component analysis yielded a four-factor solution accounting for 41% of the variance. The first dimension, which explained 17% of variance, reflects therapists’ attunement towards their bilingual patients (i.e., attunement versus collusion). Further analysis showed that the 18 monolingual therapists differed significantly from their 83 bi- or multilingual peers on this dimension. The follow up interviews confirmed this result. Recommendations based on these findings are made for psychotherapy training and supervision to attend to a range of issues including: the psychological and therapeutic functions of multi/bilingualism; practice in making formulations in different languages; the creative therapeutic potential of the language gap

Spartan Daily, May 19, 1953

Volume 41, Issue 147https://scholarworks.sjsu.edu/spartandaily/11893/thumbnail.jp

Spartan Daily, May 21, 1965

Volume 52, Issue 127https://scholarworks.sjsu.edu/spartandaily/4728/thumbnail.jp

The Crescent Student Newspaper, March 21, 1997

Student Newspaper of George Fox University.https://digitalcommons.georgefox.edu/the_crescent/2174/thumbnail.jp

'Your heart goes out to the Australian Tourist Board': critical uncertainty and the management of censure in Chris Lilley's TV comedies

Chris Lilley’s domestic reputation as a writer and creator of nationally award-winning material has largely not suffered, in contrast to other shows featuring provocative themes. What is distinctive about Lilley’s work that allows him to forestall accusations of ‘racism’ that other shows would face? In order to address these questions, this article investigates key components of Lilley’s comedies in three major contexts. First, I consider the work in the framework of post-2000 Australia. How might the depicted themes of aspiration and disenfranchisement dispose at least ‘middle’ Australian viewers to find favour with Lilley? Second, I look at the material in the context of ‘cringe’ comedy. A key theme that emerges throughout critical appraisals is the uncertainty about the ethical value of the humour. How do Lilley’s shows create a sense of critical ambiguity that plays out in Lilley’s favour? Finally, I examine the framing of Lilley’s non-white characters, contrasting critical responses to them with the reception of another well-known performance of blackface on Hey Hey It’s Saturday. How might the more contained criticism of performance and scripting flaws (that Lilley’s work received) displace more serious charges

Spartan Daily, March 31, 1987

Volume 88, Issue 44https://scholarworks.sjsu.edu/spartandaily/7570/thumbnail.jp

From Scholarship Girls to Scholarship Women: Surviving the Contradictions of Class and Race in Academe

This article explores the dilemmas graduate education poses for women of working-class origin who come from different ethnic and racial backgrounds. It proceeds in a chronological narrative using examples from the authors\u27 personal experiences to make general points about how the intricate web of class, race, and gender relations shaped their experiences in higher education. Both women -- Cucidraz, a Chicana, and Pierce, a white woman -- struggle with the feelings of alienation and marginality as outsiders within the academy as well as their material needs for financial support. Their personal narratives reveal, as well, how race shapes their experiences in the academy. Racism renders Cuadraz\u27 class status visible, whereas whiteness masks Pierce\u27s background. Finally, the authors shift their focus from an examination of the structures which shaped their lives to an exploration of their attempts to find their own voices in academic work, and to resist the very structures which excluded their experiences as women from working-class backgrounds

Multimodal signs in (non)heteronormative discourse of transnational Hindi cinema: the case study of Hindi film Dostana

This article conducts a detailed analysis of multimodal signifiers in a popular Hindi film Dostana (meaning friendship) with particular focus on film’s (non) heteronormative and sexist system of signification. The signifiers that construct gender and sexual stereotypical worldview of the film are analyzed following Lazar’s (2007) conception of feminist critical discourse analysis and Wodak’s (2001) framework of Discourse Historical Approach which proposes three simultaneously functioning aspects of discourse, i.e. immanent, diagnostic and prognostic. The multimodal signifiers in the film are analyzed within Indo-Pakistani discursive context where patriarchal discourse does not seem to allow any cognitive pattern and mental model other than heteronormativity and heterosexual love and romance. In such discursive set-up, so-called deviant sexualities and gender roles struggle for voice, signifiers and representation. The prognostic critique of this article can be thought of as Positive Discourse Analysis (Martin, 2004), because eventually film’s text offers some examples of how certain multimodal signs can be used to resist hegemonic patriarchal and heteronormative discourses which are considered common sense and natural by mainstream Hindi film audience