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A grounded theory methodology, justified by the logic of methodical hermeneutics, was employed to guide both the collection and analysis of data produced from interviews with 11 psychotherapy clients who reported having unsuccessful experiences. Ultimately, I put forth the Clients Helical Path as a theoretical model grounded in clients' unsuccessful therapy experiences. The theory subsumes four subcategories: three cyclically-related subcategory processes (Embarking, Evaluating, and Ending), and a fourth category (Familiarity) that provides a temporal/experiential dimension. Clients embark upon a course of therapy with certain expectations; they later evaluate their experience on the basis of these expectations, and then end therapy when they adjudicate it as not sufficiently successful. Clients' familiarity with the enterprise of therapy is enhanced with each successive therapy experience, and this familiarity implicates clients' subsequent expectations, evaluations, and endings. The theory contextualizes clients experiences of unsuccessful therapy at the level of the individual, rather at the level of the course of therapy, thereby providing an understanding for how past therapy experiences influence future ones. This feature of the theory represents a significant departure from and contribution to the existing psychotherapy research literature. I discuss the unique nature and utility of the theory, its overlap with existing empirical findings, as well as its limitations. I suggest directions for future research, and I provide multiple credibility checks.

A grounded theory methodology, justified by the logic of methodical hermeneutics, was employed to guide both the collection and analysis of data produced from interviews with 11 psychotherapy clients who reported having unsuccessful experiences. Ultimately, I put forth the Clients Helical Path as a theoretical model grounded in clients' unsuccessful therapy experiences. The theory subsumes four subcategories: three cyclically-related subcategory processes (Embarking, Evaluating, and Ending), and a fourth category (Familiarity) that provides a temporal/experiential dimension. Clients embark upon a course of therapy with certain expectations; they later evaluate their experience on the basis of these expectations, and then end therapy when they adjudicate it as not sufficiently successful. Clients' familiarity with the enterprise of therapy is enhanced with each successive therapy experience, and this familiarity implicates clients' subsequent expectations, evaluations, and endings. The theory contextualizes clients experiences of unsuccessful therapy at the level of the individual, rather at the level of the course of therapy, thereby providing an understanding for how past therapy experiences influence future ones. This feature of the theory represents a significant departure from and contribution to the existing psychotherapy research literature. I discuss the unique nature and utility of the theory, its overlap with existing empirical findings, as well as its limitations. I suggest directions for future research, and I provide multiple credibility checks.

Martin Gleave and the Prostate Centre are focussing on translating prostate cancer research from the lab to directly affect the living.

This study explores the history of a group of London handicraftsmen, the multi-skilled millwrights, who were power-transmission mechanics and rudimentary engineers, from 1775-1825. It reveals an organised group of old-style journeymen, who had developed a powerful grip on all aspects of the trade itself, not just their terms and conditions (which were in the top bracket of London artisans of the time). This amounted to a power-sharing partnership with their masters who accepted this arrangement for decades of the late eighteenth century because of the millwrights' unique skills, quality work and organised power as a trade club. The millwrights as individual handicraftsmen varied from 'rough and ready rule of thumb' mechanics to ingenious mechanical and civil engineers. Many of these latter could design and erect complex buildings and infrastructure for water, wind or horse-driven mills and install the transmission millwork/gear wheels of the time. They were, in effect, a powerful guild to which many of the masters belonged. With the growing demand for larger and more complex power sources of the early industrial revolution, this traditional trade came under tremendous pressure to overcome the restrictions imposed by the journeymen millwrights, especially from the businesses who employed the masters as contractors. The study examines the previously unappreciated role of the London brewers, distillers and other manufacturers in pressurising the master millwrights to resist the power of their combined journeymen. It was this pressure which induced the master millwrights to bring to Parliament a Combination Bill seeking to outlaw the London Society of Journeymen Millwrights' trade club and replace them by wage regulation of the magistrates of the City and neighbouring Home Counties. This wider development is examined in detail. Those City employers were also prominent in the more successful 1812-14 bid to remove the medieval apprenticeship laws which then underpinned all journeymen's control of skilled labour supply. But it was the exigencies of the wars with the French from the 1800s which really drove the technological changes which undermined the millwrights' exclusive control of mechanical work, especially using the new, better quality fabrication of iron and machinery. This development is examined at the Portsmouth naval dockyard in 1805 and the spread of new engineering works in the London area thereafter. A new breed of engineering employer now emerged who were successful in breaking the millwrights' grip on the trade with greater control in larger establishments. They made a practice of employing/training non- or short-apprenticed skilled fitters, turners and a variety of other specialised engineering workers to do aspects of the more expensive and less tractable high-skilled millwrights with what became known as an Engineers' Economy. This little-known episode of early British engineering history was illustrated throughout with contemporary prints and drawings and pen-pictures of the key figures who became involved - John Rennie, James Watt and Henry Maudslay, to name but a few. An update and rewrite has recently been produced entitled, The Old London Artisans: the Millwrights 1775-1825.

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The present dissertation deals with the artistic collaboration of a married couple, Charles Rennie Mackintosh and Margaret Macdonald. Living in Glasgow at the turn of the century, theeå, Swedeny concentrated their work on interior design. However, artistic collaboration has been neglected by traditional art history, with its concentration on individual creativity. For the couple in question, this has meant that the work they created together has been mainly attributed to Mackintosh, thereby relegating Mac­donald to the role of spouse and assistant, rather than co-creator. The present disser­tation presents a different picture of the couple's collaboration, challenging and revi­sing our cultural perceptions about the creative abilities of the respective sexes. A selection of interiors created by the Mackintoshes is studied in order to shed light on their collaborative efforts. The analyses embark from the perspectives of «masculine» and «feminine» in order to show how the Mackintoshes created artistic wholeness in their interiors, while at the same time opening up the spaces for a mixture of actors, i.e. making the rooms accessible to men and women alike through their designs. During this epoch, the concepts of «masculine» and «feminine» were employed as natural points of reference in an attempt to explain social and cultural phenomena scientifically. The Mackintoshes made use of the era's conventions when creating interiors in the accepted division of masculine (hallways, dining rooms, libraries) and feminine (bedrooms, salons) spaces. However, with time they began to combine these accepted gender forms in order to create something new and modern. Just as the Mackintoshes could create more powerful works of art by combining their respective artistic talents, their spaces could accrue greater significance through the combination of masculine and feminine principles. / digitalisering@umu

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No description available.

No description available.