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place, and the acting out must be contained to protect them from themselves. It is essential that the containment be experienced as supportive to the integrity of their personalities and in their best interests. Finally, the mood/temperament of persons with personality disorder interacts with seeking help from a healer. The affect of persons with personality disorder is often volatile, and anger may be ascendant. Indeed, the patient may be very angry about being in the position of seeking help in the first place. Clinicians working with these patients must be prepared to weather the affective storms calmly and compassionately, especially in the initial phases. It is essential, in the early contacts with the helper, that patients come to know their powerful affect will not destroy the therapist or cause the therapist to withdraw. We turn next to telling the story to an interested and compassionate therapist. On the surface, this is an expressive act that promises to be a reinforcing event, for example, lessening of pain and personal growth. It also represents a new form of interpersonal conduct, expressing very personal information with a socially sanctioned healer. There is an implicit assumption that in emitting words, the patient is actually telling the story, linking affect with cognition in reasonably full communication with the listener. However, clinicians working with the personality disorders must pay special attention to this aspect of the therapy. Personality-disordered patients often communicate metaphorically. The words uttered on the surface may be unconnected with their inner meaning. It is probably safe to say that the use of language by persons with personality disorder often differs from that of other kinds of patients. Consider the semantic aphasia of the antisocial person. Words are a convenient means of keeping other people at bay, but they are devoid of deeper meaning. Consider also the discrepancy of the borderline person s utterances, which on one occasion describe a significant other in glowing, positive terms, yet on another find only hateful, negative words to describe the same person. Although all good therapists are taught to listen for material deeper than the words being shared in the session, because persons with personality disorder are poorly integrated, their language is poorly integrated. The split psychic structure sabotages their efforts to articulate what is really going on within themselves. The interested and compassionate listener must learn to move beyond the story of the patient and listen to the rest of the story, which may be communicated in very subtle and hidden ways. The object relations of persons with personality disorder are either inchoate and/or inaccurate. Telling of the story to the listener offers an important way for the patient to develop stronger and more accurate object relations. If the therapist is experienced as understanding, compassionate, and accepting, the patient has an opportunity to revise internal representations of other people, finding a place for the development or reinforcing of a strong and benevolent internal symbol or figure. This is why it is especially important for the therapist to look beyond the surface story and to hear at a deeper level. Because of their difficulty in linking deeper aspects of themselves with their speech, they are isolated and alienated. If the therapist can hear what is really going on and reflect this awareness back to the patients, the latter has an opportunity to better experience the presence of the therapist, which strengthens the object representation. Likewise, there is an opportunity in the storytelling for a modification of the self-image. Specifically, the patient may learn that I am worthy of being healed, and my story is important. This will likely serve to enhance the self-concept of worthiness and personal value. Telling the story is a form of regulatory mechanism. Because acting out is one of the major defense mechanisms of the person with personality disorder, the telling of the story provides an essential vehicle for expression. Even if the patient s efforts toward verbal
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and the second heat treatment is the cooking of the nal product (Figure 7.1b). Sensu stricto, an emulsion consists of two immiscible liquids with one of the liquids dispersed as small droplets in the other, called the continuous phase (McClements 1999). The term meat emulsion has been used as a general term to describe nely chopped meat mixture. Yet this term is questionable. In cold emulsions, the mixture is not a true emulsion but a multiphase media. The dispersed phase is itself a multiphase media containing solid fat particles with a size ranging from 1 to 50 m, liquid fat droplets, and air bubbles. The continuous phase is a mixture of water, proteins, salt, carbohydrates, and many brous particles (Girad 1990). This media is structured but neither homogeneous nor an isotrope. Still, some controversy exists regarding the mechanism involved in meat emulsion s stabilization (Ruiz-Carrascal 2002). Traditionally, the most widely accepted theory viewed meat batters as behaving like a classic oil-inwater emulsion, where fat particles were dispersed in a continuous aqueous solution, and meat proteins formed an interfacial protein lm around fat particles. On the other hand, some studies have indicated that the gelforming ability of meat proteins is the main stabilizing factor (Regenstein 1988; Gordon and Barbut 1992). Micrographs taken in poultry meat batters showed that an organized matrix arrangement already exists prior to cooking (Barbut et al. 1996). Results from
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To determine the maxscroll value of a block of text, select the frame where the text box is displayed in your movie. Make sure it is a keyframe. Open the Actions panel and click Actions Miscellaneous Actions and then double-click trace. In the Message field, type the name of the dynamic text box variable, followed by a dot (.) and the word maxscroll. Click the Expression check box and choose Control Test Movie. The maxscroll value of the text box is displayed in the Output window. After you determine the maxscroll value, you can delete the trace action.
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[1] J. Abrahams. Code and parse trees for lossless source encoding. Proc. Compression and Complexity of Sequences 1997, pages 145 171, 1998. [2] N. Abramson. The ALOHA system another alternative for computer communications. AFIPS Conf. Proc., pages 281 285, 1970. [3] N. M. Abramson. Information Theory and Coding. McGraw-Hill, New York, 1963. [4] Y. S. Abu-Mostafa. Information theory. Complexity, pages 25 28, Nov. 1989. [5] R. L. Adler, D. Coppersmith, and M. Hassner. Algorithms for sliding block codes: an application of symbolic dynamics to information theory. IEEE Trans. Inf. Theory, IT-29(1):5 22, 1983. [6] R. Ahlswede. The capacity of a channel with arbitrary varying Gaussian channel probability functions. Trans. 6th Prague Conf. Inf. Theory, pages 13 21, Sept. 1971. [7] R. Ahlswede. Multi-way communication channels. In Proc. 2nd Int. Symp. Inf. Theory (Tsahkadsor, Armenian S.S.R.), pages 23 52. Hungarian Academy of Sciences, Budapest, 1971. [8] R. Ahlswede. The capacity region of a channel with two senders and two receivers. Ann. Prob., 2:805 814, 1974. [9] R. Ahlswede. Elimination of correlation in random codes for arbitrarily varying channels. Z. Wahrscheinlichkeitstheorie und verwandte Gebiete, 33:159 175, 1978. [10] R. Ahlswede. Coloring hypergraphs: A new approach to multiuser source coding. J. Comb. Inf. Syst. Sci., pages 220 268, 1979. [11] R. Ahlswede. A method of coding and an application to arbitrarily varying channels. J. Comb. Inf. Syst. Sci., pages 10 35, 1980. [12] R. Ahlswede and T. S. Han. On source coding with side information via a multiple access channel and related problems in multi-user information theory. IEEE Trans. Inf. Theory, IT-29:396 412, 1983.
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