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The client identi ed page 7 as Supergirl She has outlined hair, empty eyes, and a cupid s-bow mouth Her arms are indistinct, and she has no hands Her legs are thin, and she is wearing boots A cape with a large S logo ies out from her left-hand side At her midsection is a shape that looks like pantaloons or a diaper The patient commented, I like superheroes At this point the patient had drawn many superheroes, and I requested that he draw a real person, rather than a cartoon gure, for page 8 The large head (delusional; fantasy life) is rounded, with no hair (lack of virility) and an oversized forehead The patient drew a moustache and beard (phallic substitutes) and stated, I wish I could grow a better beard.

A Movie Clip Object is the same Movie Clip instance we ve seen in previous chapters. Any instance of a Movie Clip is a unique object in ActionScript. However, we haven t treated it like an object in our scripting. Before we can proceed with a discussion of Movie Clips as Flash movie assets, you need to understand what predefined characteristics are available in the Movie Clip Object. See Figure 19-1 for more information.

The rst and primary idea is that change occurs when the therapist joins the ongoing system and changes it by the ways he or she participates within it. When dealing with a governed, homeostatic system that is maintained by repeating sequences of behavior, the therapist changes those sequences by shifting the ways people respond to each other because of the ways they must respond to the therapist. (pp. 125 126)

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The gure has large, prominent eyes (paranoia, watching all the comings and goings), nose, and cupid s-bow lips with a profusion of teeth visible (aggressiveness) His ears are emphasized (sensitive to criticism; auditory hallucinations) His neck is short and thick, and he has broad shoulders, a muscular chest, a belly button (dependency), strong forearms, a cinchedin waist, and a detailed belt (maternal dependency) His legs are drawn together (sexual maladjustment) with toes pointing in the opposite direction (ambivalence) His left arm is waving in the air, while his right is squared and toward his side From a quantitative standpoint, the gures present with two polarities: adult gures with extreme presence (pages 1, 2, 6, and 8), and gures of average height that are regressions to childhood (pages 3, 4, 5, and 7).

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The metal hydride-transition-metal halide combinations predominantly produce cis alkenes; however, significant amounts of trans alkenes are also formed. 34 As a notable exception, cis alkenes are the sole products in the reduction with MgH2 in the presence of Cu(I) ions: 2oo

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This polarity presents us with an adult who exhibits an immature self-concept while re ecting discomfort with his adult role He experiences the environment as demanding and reacts with impulsivity and excessive fantasy Additionally, each gure shows a continuity that is overlapped From a quantitative analysis, this level of detachment is unusual, as most subjects are unable to sustain the emotional distancing and tension that overlapping requires (Caligor, 1957) Due to this detachment, if we were to look at each rendering placed one atop the other, they appear a haphazard lot However, if qualitatively we look at the renderings and take them into account as one would a story or book, the patient appears to be communicating his sexual confusion, dependency issues, fantasy preoccupation, regressive tendencies, and fears that his anger and passion will engulf his identity.

Current field Figure 8-11: With the text ruler displayed, you can set tab stops for the current field.

The Create Button Trigger iconic button to the right of the Event(s) popup menu provides a quick way to make an object into a button to run the current animation. Click the Create Button trigger iconic button to start the process, then click the object you want to be used as a button to make the current animation run. That s it! (The button s appearance changes so it looks as if it is pressed; click it again to clear the button assignment.) n

FIGURE 31-5

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