Explore the vast range of titles available.

We explored the role of negative performance beliefs and self-focused attention considered central to psychological models of social anxiety but not studied in autism. Firstly, we compared self- and observer ratings of performance on a social task for 71 young autistic people, 41 high and 30 low in social anxiety, finding a significant main effect of social anxiety but not rater. Subsequently, 76 autistic young people, 46 high and 30 low social anxiety completed measures of interoceptive sensibility and focus of attention following a social task. Only heightened interoceptive sensibility fully mediated the relationship between self-ratings of social performance and social anxiety. These findings suggest awareness of bodily sensations are critical to anxiety in social situations with implications for treatment.

Scorsese and Religion explores and analyzes the religious vision of filmmaker Martin Scorsese’s oeuvre, showing that Scorsese cannot be properly understood without reflecting on the ways that his religious interests are expressed in and through his art.

Scorsese and Religion explores and analyzes the religious vision of filmmaker Martin Scorsese’s oeuvre, showing that Scorsese cannot be properly understood without reflecting on the ways that his religious interests are expressed in and through his art.; Readership: This book will appeal to scholars, students, and non-specialist readers interested in film’s relation to philosophy, theology, and Christian spirituality.

We describe in this report experiments in vivo that demonstrate that antiestrogens promote DNA binding of the estrogen receptor without efficiently inducing transcription. When the receptor is modified to carry a foreign unregulated transactivation domain, transcription can be induced efficiently by both estrogen and antiestrogens. Under apparent saturation conditions, antihormone-receptor complexes binding to responsive enhancer elements elicit only a low level of transcription. In addition, we show that both estrogen and an antiestrogen, nafoxidine, effect very similar alterations in chromatin structure at a responsive promoter. These results indicate that in vivo steroid receptor action can be regulated subsequent to the DNA binding step, by regulating interactions with the target transcriptional machinery. In this regard, antihormones can function by establishing receptor-DNA complexes that are transcriptionally nonproductive.

The numbers of young adults addicted to drugs is on the rise in society. In turn, the numbers of mothers of drug addicted young adults is escalating. Many mothers become more involved in the lives of their children as their children’s drug abuse increases. As they become more involved in the lives of their drug addicted children, the mothers begin to experience confusing thoughts, feelings, and emotions. Currently, heuristic research on the experiences of mothers of drug addicted young adults is lacking in the literature. To help fill the gap in the literature, the present heuristic study focused on the lived experiences of eight mothers of drug addicted young adults. The research question was, “what is the lived experience of being the mother of a drug-addicted young adult?” Data analysis, conducted according to the heuristic methodology of Clark Moustakas, revealed four themes of loss of self, awareness of losses, transitions, and reclaiming the self. The themes represent the qualities inherent in the mothers’ experiences.

Martin Scorsese’s Hugo (2011) both challenges popular expectations of a “Scorsese film” and affirms his noted passion for film history. Hugo contains neither shocking violence nor overt religious imagery—two hallmarks of Scorsese’s work. Indeed, few would easily identify the auteur behind Taxi Driver (1976), Raging Bull (1980), and Cape Fear (2006) as one and the same with the director of Hugo. In turn, Hugo’s disjunction generates reflection on Scorsese himself: what, if anything, does the artistic vision behind Hugo tell viewers about Scorsese’s own understanding of film? This essay argues that Hugo highlights two key aspects of Scorsese’s developing

The relationship between religion and conflict has generated considerable academic and political debate. Although the majority of religions and spiritual traditions are replete with wisdom that propagates a broader unity among human beings, these same examples have been used to legitimize hatred and fear. While some studies claim that religion facilitates peacebuilding, reconciliation, and healing, others argue that religion exacerbates hostility, instigates vengeance-seeking behaviors, and heightens conflict. But religion does not act by itself, human beings are responsible for acts of peace or conflict, of division or reconciliation, in the name of religion. This book addresses these rather complex issues from the perspective of reconciliation, or atonement, to advance both the frontiers of knowledge and the global search for alternative paths to peace. The contributions in the volume focus in three areas: (1) Reconciling Religious Conflicts, (2) Reconciling Conflict through Religion, and (3) Religious Reconciliations. In each of these sections scholars, practitioners, and religious leaders address specific examples that highlight the complex intersections of religious practices with global conflict and reconciliation efforts. This informative and provocative book is relevant for students and faculty in peace and conflict studies, religious studies, humanities, social sciences, and provides insights useful to practitioners and professionals working in peacebuilding and international development seeking to promote effective resolution and reconciliation efforts.

That Martin Scorsese is one of finest directors in the history of cinema is certain. Indeed, one could reach this conclusion in any number of ways. Scorsese has received eight Academy Award nominations for Best Director—top among living directors and tied for second (with Billy Wilder) among all directors since the Academy of Motion Picture Arts and Sciences began presenting the award in 1929. Such accolades situate Scorsese at the head of the cinematic establishment, but he is equally venerated among the avant-garde. In 2007, the British periodical Total Film named Scorsese the second greatest director of all time