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Copyright of Aula (0214-3402) is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Clínica Contemporánea: Revista de Diagnóstico Psicológico, Psicoterapia y Salud is the property of Colegio Oficial de Psicologos de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Psicoterapia is the property of Revista de Psiquiatria y Psicologia Humanista, S.L. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The pretend play, one that involves the creation of an imaginary situation, has been a privileged object of study in developmental psychology framed in the linguistic turn. Its important role in the development of complex psychological functions, such as language, theory of mind or narrative capacity, has been pointed out. In recent years, there has been a change in focus in the human sciences that has been dubbed the corporal turn: a re-focus on the analysis and conceptualization of bodily aspects that are at the base of various cognitive capacities. Thanks to the use of analysis tools typical of the temporal arts -such as music and dance- to the field of cognitive psychology, a new form of play has been documented in early childhood: the forms of vitality play. It recovers the idea of forms of vitality from Stern (2010), which refers to affects that cannot be reflected in the lexicon of Darwinian emotions. The forms of vitality are a Gestalt, an emergent property where movement, time, force, space and directionality/intentionality are integrated; they are a fundamental property of multimodal exchanges in the adult-baby dyad as well as of the experience, as spectator or performer, of non-figurative temporal arts such as dance and music. The forms of vitality play arise as a reconceptualization of the notion of musical play and is considered a reissue of early social play with a symmetrical participation of the child in the composition of play. It is defined as any pleasant or self-remunerative activity, in which motifs of movements and/or sounds are elaborated according to the repetition-variation form, at the expense of any figurative content. The forms of vitality play have been observed in the third year of the child's life and it has been pointed out that it can manifest in a simple way or in combination with the pretend play. Likewise, it was suggested that when the pretend play is presented in combination with the forms of vitality play, the latter could be scaffolding the pretend play, although how this happens has not been clearly specified. The objective of the present study is to carry out a microanalysis of the sounds and movements of a pretend play scene combined with forms of vitality play of a girl of 1 year and 11 months of age and an adult, in order to know how such scaffolding is produced. The sound envelope was analyzed in order to identify and describe the timing of the sounds. Regarding movement, specialized software was used to graph its trajectory and for the analysis of the expression of movements, the basic categories "Shape and Effort" of the Laban-Bartenieff system of movement analysis were used (Laban, 1971). The results indicate the presence of interactive synchrony based on an underlying pulse that sustains mutuality between the players and provides a temporal structure on which the synchrony of the self can be anchored. Furthermore, it allows the sharing of continuity and contrast in the quality of sounds and movements and thus provides the dyad with a primary level of understanding with non-mediated meanings; promotes the exploration of the play space and the expansion of the potential of the fictional scene; it favors the maintenance of joint attention and mutual understanding through ontogenetically pre-fiction semiotic mechanisms, which favor the interactive fluidity of play. [ABSTRACT FROM AUTHOR]

Copyright of Aposta is the property of Aposta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article presents some of the results of the research "Appreciation of the bodily experience in hip-hop dance from the concepts of Gestalt therapy: a pragmatic and contextualist approach" to obtain the degree of Psychologist at the Universidad Santo Tomás. The reflections proposed by this work aim to highlight the importance of a holistic view of the human being as a whole body-mind, and the integrated work that psychotherapy and health sciences should seek. For this, urban dance is highlighted as a bodily experience through the participants of our research and other studies carried out, which enables the integration of the bodily dimension of human existence to the psychological view of human phenomena, in order to recognize urban dance as a potential tool for a bodily psychotherapy work such as Gestalt therapy. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Psicoterapia is the property of Revista de Psiquiatria y Psicologia Humanista, S.L. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Psicoterapia is the property of Revista de Psiquiatria y Psicologia Humanista, S.L. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research is based on phenomenological observation both as a nurse caring for patients at the end of life and as a nursing teacher of the subject "Coping with death: an interdisciplinary intervention". The considerable deficiencies in training nurses for care at the end of life, death and grief led me to propose a teaching intervention "Coping with death: an interdisciplinary intervention", the general aim of which was to evaluate the impact of this subject on nursing students. Methodology: this research is framed by the interpretive or hermeneutical paradigm, with a qualitative approach. From a phenomenological point of view, a descriptive study was proposed, and the reflective journals written by students enrolled on the course were used as the research tool. Results: of the 36 journals gathered at the end of the course, 14 were selected randomly. Qualitative analysis enabled the students' discourse to be structured in 5 categories for analysis: reason for choosing the subject; personal development; what I have achieved in the learning process; how to apply the techniques learnt on the course to my professional activity; the students' assessment of the subject. Conclusions: The impact of the educational intervention was high, according to the students, who acknowledged the positive effect on two important dimensions of their lives. On the one hand, it enhanced their academic skills as future nursing professionals, and, they acquired skills and positive attitudes towards coping with death, and how to live and love life. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Psicoterapia is the property of Revista de Psiquiatria y Psicologia Humanista, S.L. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This work is part of a qualitative research on the process of grieving mother of a hitman in the context of the Gestalt therapy. Was used for analysis of the perspective of the stages of grief from Kübler-Ross, (2006:59-119). The exacerbation of violence generated for conflicts between groups of organized crime in Cd. Juárez, Chihuahua (Martínez, 2008), has resulted in a lot of deaths; one of which is the present case. Although one of the initial objectives of this research is to document and analyze the stages of development of a mother grieving starting with the dead of her son; it was explain during the course of it, since one of the characteristics of grief of this mother, is that it just started when she knew the kind of job her son was doing. [ABSTRACT FROM AUTHOR]

As exceptional witness and participant in the origin and development of the Gestalt therapy, Claudio Naranjo considers in this interview the characteristics of this form of therapy, doing so from his work and his personal encounter with the man and the therapeutic figure of Fritz Perls. In the interview the experiential base and the therapeutic change elements are established, along with the therapeutic attitude, and the holistic conception of the person; also, the contrasts among academic psychology, the spiritual dimension of human beings, and the therapist's intuition in the help relationship are highlighted. [ABSTRACT FROM AUTHOR]