Finding Your Way with Your Baby vs The Taming of the Shrew

Finding Your Way with Your Baby

Dilys Daws, Alexandra De Rementeria

2015

Finding Your Way with Your Baby explores the emotional experience of the baby in the first year, and that of the mother, father and other significant adults. It does so in a way that is deeply informed by psychoanalytic understandings, infant observation, developmental science and decades of clinical experience. Combining the wisdom of many years' work with the freshness of up-to-date knowledge, Dilys Daws and Alexandra de Rementeria engage with the most difficult emotional experiences that are often glossed over in parenting books – such as pregnancy, through birth into bonding, ambivalence about the baby, depression, and the emotional turmoil so often brought to the surface by being a new parent. Acknowledgement and understanding about this darker side of family life offers a sense of relief that can allow parents to harness the power of knowing, owning and sharing feelings to transform situations and break negative cycles and old ways of relating. With real-life examples, references to current thinking and a calm and simple writing style they also provide new insights into the more commonly covered issues such as weaning, sleeping and crying. Finding Your Way with Your Baby is primarily aimed at parents but it will be a helpful resource for all those working with parents and babies including health visitors, midwives, social workers, GPs, paediatricians and childcare workers. It will appeal to parents and professionals who are interested in ideas from psychoanalytic clinical practice and the latest research in developmental psychology and neuroscience.

The Taming of the Shrew

William Shakespeare

1631

The Wonder of Shakespeare One who reads a few of Shakespeare's great plays and then the meager story of his life is generally filled with a vague wonder. Here is an unknown country boy, poor and poorly educated according to the standards of his age, who arrives at the great city of London and goes to work at odd jobs in a theater. In a year or two he is associated with scholars and dramatists, the masters of their age, writing plays of kings and clowns, of gentlemen and heroes and noble women, all of whose lives he seems to know by intimate association. In a few years more he leads all that brilliant group of poets and dramatists who have given undying glory to the Age of Elizabeth. Play after play runs from his pen, mighty dramas of human life and character following one another so rapidly that good work seems impossible; yet they stand the test of time, and their poetry is still unrivaled in any language. For all this great work the author apparently cares little, since he makes no attempt to collect or preserve his writings. A thousand scholars have ever since been busy collecting, identifying, classifying the works which this magnificent workman tossed aside so carelessly when he abandoned the drama and retired to his native village. He has a marvelously imaginative and creative mind; but he invents few, if any, new plots or stories. He simply takes an old play or an old poem, makes it over quickly, and lo! this old familiar material glows with the deepest thoughts and the tenderest feelings that ennoble our humanity; and each new generation of men finds it more wonderful than the last. How did he do it? That is still an unanswered question and the source of our wonder.