Carl Rogers

Vivre l'instant présentLe psychologue humaniste Carl Rogers a développé l'Approche Centrée sur la Personne dès les années 1940. Cette pratique se focalise sur les ressources internes du "client" et sa relation privilégiée avec le thérapeute, dans laquelle écoute et présence tiennent une place majeure. En démontrant la puissance de concepts comme la compréhension empathique, le regard positif inconditionnel ou la congruence, Carl Rogers a définitivement marqué l'histoire de la psychologie.Geneviève Odier associe avec pertinence théorie et pratique de l'Approche Centrée sur la Personne. Son ouvrage s'adresse aux professionnels de la psychothérapie et de la relation d'aide…

Since her 2016 breakthrough single "Alaska," Maggie Rogers has continued to hone her craft as both a singer and a relater of the hazards of love. On her sparkling third full-length, Don't Forget Me—recorded with engineers John Rooney, Carl Bespolka and Konrad Snyder at New York City's storied Electric Lady Studios—Rogers keeps the production values real, resisting efforts to glam up her sound or develop into a bigger pop presence. She and her talented collaborator Ian Fitchuk are a group of two here: Rogers on vocals and Fitchuk playing most of the instruments; it's a situation that lends itself to restraint. Nothing in this collection gets too big or overproduced to the point where her heady lyrics and strong melodies disappear in layers of blinding fluff. The sonic decisions are all exactly right in "All The Same," her voice close-miked and the strings on an acoustic guitar clear and detailed.

Since her 2016 breakthrough single "Alaska," Maggie Rogers has continued to hone her craft as both a singer and a relater of the hazards of love. On her sparkling third full-length, Don't Forget Me—recorded with engineers John Rooney, Carl Bespolka and Konrad Snyder at New York City's storied Electric Lady Studios—Rogers keeps the production values real, resisting efforts to glam up her sound or develop into a bigger pop presence. She and her talented collaborator Ian Fitchuk are a group of two here: Rogers on vocals and Fitchuk playing most of the instruments; it's a situation that lends itself to restraint. Nothing in this collection gets too big or overproduced to the point where her heady lyrics and strong melodies disappear in layers of blinding fluff. The sonic decisions are all exactly right in "All The Same," her voice close-miked and the strings on an acoustic guitar clear and detailed.