After reading this chapter you will have a historical overview for CBT and begin to appreciate how elements of this therapy developed over time.

You will be able explain CBT to clients in a more enriched way as you appreciate the fundamental principles of this approach.

You will be better able to appreciate the uniqueness of CBT as a psychotherapy and differentiate it from other structured evidence-based therapies.

You will have a better knowledge about how behavioural and cognitive elements of CBT interact to enhance treatment.

Who in 1890s Britain could have failed to notice a surge of interest in learning and playing the instruments of the violin family, and especially the violin? Rife in metropolitan areas, the phenomenon drew considerable public attention, and notions of a “violin craze” circulated. In 1894, a journalist for the Literary World (1894) observed the large number of “coffin-shaped boxes one is privileged to knock one’s knees against now-a-days when travelling up and down on suburban [railway] lines.”1 In another magazine a writer claimed that not only had clothing fashions changed the look of London streets since 1880 but pedestrians were now carrying different articles of portable property, and highlighted the “enormous increase in the number of music portfolios and fiddle-cases carried.”2 He also noted that while the ranks of professional string players were growing, the center of the activity was “en amateur.”3

(1) Neither the poet nor the historian, nor any craftsman using the rules of literary composition, is able completely to please every reader, for human nature, even if reaching the highest level of accomplishment, is never beyond reproach and accepted by everyone.1 Thus Pheidias2 was greatly admired for his production of ivory images, Praxiteles3 combined the emotions of the soul with works in stone, and Apelles4 and Parrhasios5 brought the art of painting to its peak through their experience in mixing colors. Yet none of them was so successful in his work that he could display the result of his ability and be completely free of reproach.

This chapter, which pairs with Chapter 7, examines the nature, spread, and function of small-scale recreational string playing in private spaces, the values that people attributed to it, and the meanings it held in individuals’ lives. Emphasis is on instrumental chamber music in the conventional sense of the term, which locates much of the discussion in middle- and upper-class homes, but the chapter also addresses other types of small-ensemble music-making, including activities in working-class culture. The chapter foregrounds the challenges of writing about a private-sphere activity that at first blush seems largely invisible in the historical record, while presenting evidence and arguments for a rich subculture of recreational string playing that contributed to and perpetuated violin culture’s vitality. The ensuing discussion establishes, among other things, that while domestic string playing was valued as a mechanism for reinforcing family ties, it helped many people strengthen relationships with friends and develop networks of personal and professional acquaintances. The chapter also finds beneficial interconnections between public concert life and recreational chamber music.

The chapter will help you to be able to describe NICE recommendations for responding immediately after trauma, utilise guidelines in your clinical practice and developing service policy, offer pragmatic and compassionate responses to individuals presenting with very recent trauma exposure

This chapter places the Cuban experience in a broader, Afro-Latin American context. It highlights some similarities and differences with other Latin American countries, with a special emphasis on Brazil, where scholarship about artists of African descent is considerably more advanced. As we begin the difficult task of reconstructing the lives and contributions of artists of African descent across the region, new cartographies in the art history of Latin America emerge. For example, the historiographic project linked to San Alejandro appears to have been uniquely successful, as it is possible to identify larger numbers of artists of African descent in other countries during the nineteenth century. At the same time, the presence of Afro-Cuban artists in early twentieth-century Europe was not unique, although the Cubans were there in larger numbers. Many of these artists, like their Cuban peers, were excluded from the new “modern art” that emerged under European influences in the interwar period and were relegated to the corners of academic, “pre-modern,” art. The chapter highlights intriguing parallelisms between Cuba and Brazil, which persist even after the triumph of the Revolution in 1959.

Question 1: How would you counsel a patient on the safety of electroconvulsive therapy (ECT)?

Nearly thirty years after the end of the civil war, campesina women continue to remember their revolutionary past. The Survivors’ Historical Memory Committee of Arcatao, Chalatenango, has worked on four major projects: the exhumation of victims killed in military-led massacres, the construction of a sanctuary to house the remains of loved ones, commemorative events, and a community museum led by survivors themselves. These popular historians facilitate intergenerational continuity across decades of struggle. The committee’s work to mourn, exhume, bury, and remember the dead charts a path toward healing, a tenuous process given the ongoing violence in postwar El Salvador. Additionally, I draw insights from two workshops I facilitated in 2015 to trace how committee women understand their revolutionary past. They have a specifically feminist understanding of their insurgent past and highlight the central role of civilian organizing within the guerrilla territories. Campesina women insisted on remembering how their revolutionary organizing created more equitable gender relations and resisted state violence against women, and they critiqued male leftists who ignored their contributions.

Chapter 32 covers the topic of antisocial personality disorder. Through a case vignette with topical MCQs for consolidation of learning, readers go through the management of a patient with antisocial personality disorder from from first presentation to subsequent complications of the condition and its treatment. Topics covered include diagnosis of antisocial personality disorder and conduct disorder, risk factors, co-morbidities, management and advice to allied health members managing the patient.

Question 1: What is the most common cause of death in neuroleptic malignant syndrome (NMS)?

Question 1: Which of the following antidepressants should be avoided in patients who are in their first trimester of pregnancy?

Chapter 2 covers the topic of delusional disorder. Through a case vignette with topical MCQs for consolidation of learning, readers are brought through the management of a patient with delusional disorder from first presentation to subsequent complications of the conditions and its treatment. Things covered include the different forms of delusions, psychopathology, differences with schizophrenia, co-morbid conditions, the use of pharmacological treatment including depot antipsychotics, adverse effects of commonly used medications, the use of antipsychotics in pregnancy and post-partum psychosis.