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PEP-Easy Tip: To save PEP-Easy to the home screen

PEP-Web Tip of the Day

To start PEP-Easy without first opening your browser–just as you would start a mobile app, you can save a shortcut to your home screen.

First, in Chrome or Safari, depending on your platform, open PEP-Easy from pepeasy.pep-web.org.  You want to be on the default start screen, so you have a clean workspace.

Then, depending on your mobile device…follow the instructions below:

On IOS:

  1. Tap on the share icon  Action navigation bar and tab bar icon
  2. In the bottom list, tap on ‘Add to home screen’
  3. In the “Add to Home” confirmation “bubble”, tap “Add”

On Android:

  1. Tap on the Chrome menu (Vertical Ellipses)
  2. Select “Add to Home Screen” from the menu

 

For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

Richards, V. (2014). Marion Milner, the Life by Emma Letley. Published by Routledge, London, 2013; 224 pp; £26 99 paperback. Brit. J. Psychother., 30(4):554-556.

(2014). British Journal of Psychotherapy, 30(4):554-556

Marion Milner, the Life by Emma Letley. Published by Routledge, London, 2013; 224 pp; £26 99 paperback

Review by:
Val Richards

An unacknowledged visionary

(Nina Farhi)

In a carefully researched and fascinating study, Emma Letley brings to light the many interlinked facets of Marion Milner's interests and personality. This biography will appeal to a variety of readers, especially in its exploration of the overlap for Milner between psychoanalysis and painting. She emerges as a figure of great talent, versatility and depth, with exceptional tenacity in her quest for truth, especially in her own inner life, although her close personal relationships were marked by an element of seeming detachment. Also, in public situations, Milner suffered from shyness and a lack of confidence.

Milner's preoccupations reflect the psychoanalytic climate of her times and its affinities with the world of art. Her psychoanalytic ideas and beliefs, meticulously charted by Letley, were influenced perhaps as strongly by such contemporary art theorists as Herbert Read and Adrian Stokes as by psychoanalytic thought. Although - and maybe partly because - she was a respected analyst, Milner saw herself as primarily a visual person, and from her ideas on painting, especially in On Not Being Able to Paint, she earned the gratitude of many frustrated would-be artists.

Letley points to Milner's core inspiration as the vision of William Blake, primarily his concept of the contraries within the soul: ‘without contraries there is no progression’ (p. 139). Light and dark, good and evil, God and Satan, all are inseparable opposites.

[This is a summary excerpt from the full text of the journal article. The full text of the document is available to journal subscribers on the publisher's website here.]

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