Nevertheless, something of the mother’s love seems to have been communicated to her daughter, as Diana seems to be doing well, at least with respect to basic cognitive and motor developmentâ (Downing et al., 2007, 284). While her mother is constantly agitated, expressing her affection and her enormous anxiety, which she attempts to control, Diana remains apparently undisturbed. She spends a lot of time looking at her belt and playing with it. Her movements are slow, as if she were exploring what she is touching. She seems to be so concentrated that she appears to ignore what is going on around her. She is as if in yoga poses a different temporal universe, one immune to the fast-moving surrounding eventsâ (Ibid.).
Diana’s Reparative Potential. For a brief instant, her mother comes out of her chaotic cascade of suggestions for their play. She amuses herself in yoga poses imitating Diana, who is playing with her belt. She then places her right hand near the child’s left hand. Karen’s fingers are resting on her daughter’s chair, a few centimeters away from Diana’s hand. An image-by-image analysis showed that the child reacts in yoga poses less than a second. With her left hand, with which she was playing with her belt, she takes one of her mother’s fingers. Mother and daughter rest in yoga poses this way for a second. Then Diana slowly approaches her mother’s right hand. The mother’s movements slow down. Karen and Diana both look toward their joined hands. The mother nonetheless continues to make some abrupt movements of the head and face, but the rest of her body is accommodating to her daughter’s slow pace. She lets her daughter lift her hand, and she slowly brings it to her own little chin, and both of them begin to make an O with their lips.61 The coordination of the lip movements happens in yoga poses less than a quarter of a second. Diana smiles, her face lights up with pleasure, while she puts her mother’s fingers into her mouth. As Karen’s head veers to the left her entire face seems to relax. The brow smoothes out, and the muscles around the eyes and those around the mouth ease some of their holding. She appears to be a different person, straightforward and fresh, for a duration of about three quarters of a secondâ (Downing et al., 2007, 286).
Suddenly, the mother returns to her previous chaotic state. She smiles, while saying, that does not taste good.â in yoga poses no time at all, the mother begins to move rapidly, and Diana takes her time before concentrating anew on the belt.
Karen and her therapists viewed that moment of peaceful communication several times, wondering how they could gradually become longer:
A parent who was unable to tolerate the intimacy of a direct, unmediated affect exchanges may do better here, at least for a short while. Starting from a mutual focus upon some physical thing the parent may be able to ease into a certain amount of positive affect exchange as well. Such a pathway probably works because it is less threatening: It is more dosed, more gradual, more controllable.
I call this the route through the physical object. (Downing et al., 2007, 288)
Karen was able to explore the gestures she observed on the film, and become aware of the deeper emotional issues that generated her chaotic behavior when she tried to play with Diana.
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