Quiz – Fundamentals

Please answer the following questions. The material is taken from:

H.G. Wells’ Floor Games,

Dora M. Kalff’s Sandplay: A Psychotherapeutic Approach to the Psyche,

Estelle L. Weinrib’s Images of the Self: The Sandplay Therapy Process, and

Barbara A. Turner’s The Handbook of Sandplay Therapy

Enjoy this review of the classics. When completed be sure to click the “Submit” button at the bottom

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1) When and where was H.G. Wells' book Floor Games originally written?
2) Which of the following is/are true about H.G. Wells?
3) Wells posited that imaginative games played on the floor would have which of the following benefits:
4) The materials the Wells children used were simple people, wooden blocks and boards, train tracks and other found objects, because:
5) Which of the following best describes the availability of purchased toys during Wells' era?
6) Wells mourned, “…our little world suffers from an exaggerated curse of militarism,” largely because:
7) In the Game of Wonderful Islands, Gip adorned the entrance to his island temple with: (choose one)
8) The Wells boys crafted items for their worlds from waste paper, cartons and things they found in the garden.
9) In Of the Building of Cities, the boys found it advantageous to agree upon the free flow of traffic on a mutually-owned railway system.
10) The artifacts located in the boys’ museums were:
11) In the growth of the play railway, the boys devised a way for the passengers to carry their own tickets by:Taping them to the passenger.
12) The funiculars built by the Wells boys were:
13) The marble tower was so named because...
14) To whom is Wells speaking when he talked about the play of his children?
15) Wells’ suggestions for invoking the playfulness of children includes:
16) Wells regarded play as a necessary element of creativity and growth.
17) Wells thought that simple, undefined materials engage and challenge the imagination.
18) Wells was concerned that toy makers focused too much on soldier figures, because:
19) Wells appeared to interfere frequently in the boys’ games because:
20) By observing the evolution of their play, Wells was able to watch the development of each of his son’s personality and talents.
21) H.G Wells, author of Floor Games, was a prominent British writer, social theorist and philosopher.
22) H. G. Wells was commonly known to have a playful, creative nature.
23) In his early play, Bertie Wells made imaginary worlds and scenes with the ashes and eggshells he found in the incinerator.
24) Wells was motivated by the deeper questions of life and death.
25) Wells was a happy-go-lucky boy who could not be troubled by the deeper questions of life and death.
26) As a young man, Wells found his place as a teacher.
27) While Wells loved to play, he could not bear drawing.
28) Picshuas are the cartoon-like drawings Wells used as a form of communication with his wife, Jane.
29) Wells’ wife, Amy Catherine, long held resentments about the amount of time he spent with Jane.
30) Dr. Margaret Lowenfeld was an early 20th century European pediatrician.
31) It was important to Lowenfeld to find a tool that would minimize adult interference in the child’s experience.
32) Lowenfeld wanted her clinical tool to allow the therapist to record the child’s inner experience as directly as possible.
33) The wonder box, later called the world, was the name given to the collection of miniature figures Lowenfeld assembled in her clinic.
34) Lowenfeld had envisioned the child playing with the figures on the floor. It was the children that elected to assemble their miniature worlds in the clinic sand box.
35) Lowenfeld’s instructions to the children were to, “…make a picture of how you feel about ____.”
36) The first sand tray was documented in 1929.
37) As with Lowenfeld, it was the effects of war that motivated Dora Kalff to study psychology.
38) With careful study of the World Technique, Kalff saw that the process Jung described as individuation was occurring through the changes in the sand tray images.
39) The sandplay therapist gives minimal instructions, generally inviting the client to do whatever he or she wishes in the tray. The process follows its own course.
40) Weinrib observed that the verbal analysis of dreams, personality issues and life problems progressed in the direction of consciousness, whereas sandplay encourages a creative regression that enables healing.
41) The sandplay method requires just two essential components: the client and the sand tray equipment.
42) In sandplay therapy, there are no recommendations for the particular size or shape of the sand tray.
43) Psychological healing occurs through the symbolic images created in the sandplay.
44) The safety of the relationship between client and therapist is a critical aspect of sandplay therapy
45) The quality of the therapist’s containment, or holding, the sandplay material influences the client’s ability to integrate the emerging material.
46) Analyzing the sandplay involves all four of the functions Jung described as qualities of human conscious perception: thinking, feeling, intuition and sensation.
47) The Self, the central archetype, directs the process of psychic development from birth.
48) In the earliest phase of psychic development, the mother-child unity, the mother must meet all of the child’s needs in order for the child to establish a sense of unconditional security.
49) The therapist’s role, in Kalff’s perception, is to guide the client through a series of exercises designed to illicit catharsis.
50) Kalff quoted Jung for the purpose of underscoring the point that the restoration of the healthy centering in the Self can only occur through symbol. It cannot be done intellectually or practically.
51) The size of the sand tray regulates and protects the client in the sandplay process by confining the symbolic work to a prescribed area with clear boundaries.
52) Kalff said that she would sometimes make simple interpretations to her child clients, based on what was happening in the sand tray.
53) Symbols in sandplay direct the psyche to its eternal and foundational nature
54) In the sandplay, inner problems that are not yet conscious, become visible to the conscious mind, stimulating further growth and healing.
55) The phases of ego development, animal-vegetative and battle and integration to the collective, follow the successful progression through the three pre-conscious phases of the psyche’s development.
56) The three phases of ego development describe the phases of development undergone in bringing new psychic material into consciousness.
57) The Diagram of the Supreme Ultimate is a graphic representation of cycle of life and death in the body and in each new development of the psyche, corresponding to Neumann’s theory of the phases of psychic development.
58) The majority of Dora Kalff’s child clients suffered from the traumatic effects of violence and sexual abuse.
59) In order to access the psyche’s creative center, it is necessary for the therapist to understand the language of symbols.
60) When Kalff spoke of grace in her closing words, she refers to the attitude of the therapist as a vessel for the truth and clarity of healing in sandplay.
61) The sandplay collection contains a breadth of figures, extensive enough to build a world.
62) Sandplay therapy is contra-indicated for hyperactive children, as it is far too stimulating.
63) To dismantle a sand tray in the client’s presence would be a violation of, and an insult to, the work being undergone at deep levels of the psyche.
64) Because sandplay work occurs at tender and vulnerable areas of the psyche, inaccurate or ill-timed observations by the therapist may be experienced as profound violations of the client’s process.
65) Weinrib attached great importance to the freedom of play in sandplay, because its lack of restrictions creates the conditions necessary for the psyche to creatively move and develop.
66) Weinrib offered eight theoretical concepts to explain the basic nature of how and why sandplay therapy works.
67) The emphasis on rationality and intellect in Western culture has resulted in a psychic imbalance that values the conscious mind over the unconscious.
68) A significant objective of Jungian analysis and sandplay therapy is the development of a healthy conscious relationship to the unconscious feminine components of the psyche.
69) Healing implies the reparation of a wound that impaired or halted psychic development.
70) Growth in consciousness eventually results in the disappearance of unconscious emotional and instinctual urges.
71) The matriarchal level of consciousness: (choose one)
72) When Weinrib said that sandplay is an enactment in sensate reality that stimulates archetypal activity, she meant that: (choose one)
73) The reason a client may not feel like doing a tray every session is that the material sandplay brings up must be allowed the time it needs to develop and move toward consciousness.
74) In dream analysis, symbolic material is interpreted, with the attempt to move it into consciousness.
75) Compensation is the psychic dynamic wherein deficits in consciousness, which are required for wholeness of personality, appear in symbolic form from the unconscious as dream images and strong affect.
76) The free dimension of sandplay includes the tools necessary to do whatever the client wants. This includes the sand, sand tray, figures, water, and so on.
77) When Weinrib described the three dimensional figures as incarnating archetypal images, she was addressing the fact that, in sandplay, the psychic contents actually manifest in the tray, embodied in the figures.
78) Weinrib defined seven developmental stages in the sandplay process, which, among others, includes partial resolution of key complexes, manifestation of the Self and development of a new relationship between the ego and the Self.
79) It is important that the therapist does sandplay him or herself, because there is no other way to genuinely understand the depths of the medium.
80) To interpret a sandplay, as one would dream material, does not facilitate healing at the deepest levels of psychic development, because the verbal and rational reflections on the material prohibit penetration to the pre-verbal, non-rational dimensions of the psyche.
81) As Weinrib defines archetypes in the Glossary, they are innate psychic dynamics, which predispose human beings to typical concerns, as well as to usual emotional and behavioral responses to life experience.
82) The feminine qualities that characterize a man's relationship to his inner life are known as the anima, and the masculine qualities of women are known as the atman.
83) Over-development of masculine qualities hinders human development by undervaluing feeling and results in contempt for the body.
84) To play requires the conscious ego to forego its dominance, by entering into the non-rational realm of feminine possibility.
85) The fact that sandplay is held in shared silence by therapist and client and is not interpreted, functions like a sealed alchemical vessel, wherein psychic transformation occurs.
86) Weinrib likened sandplay to a transitional object, because clients can take pictures of their trays home with them.
87) Sandplay is a secure place for the release of hostile and aggressive energies, because they are contained and unlikely to overwhelm the psyche.
88) For the adult, as well as the child client, sandplay permits a sincere entry into the dimension of feeling.
89) Simply doing sandplay reinforces self-confidence and leads to further creativity, for the reason that the act of creation releases tensions, freeing psychic energy to move.
90) In the concrete manifestation of sandplay the client becomes aware of his or her inner condition, depending upon the quality of the therapist’s interpretation.
91) Growth and development are automatically fostered by the energy-releasing qualities of sandplay because, given proper activating conditions, the ego undergoes continuous and automatic transformation that follows archetypal patterns.
92) If a client adamantly and persistently refuses to do sandplay therapy, it may become necessary to force them to do a tray.
93) The two layers of the unconscious are known as the personal unconscious and the collective unconscious.
94) The shadow is the topmost, most easily accessed layer of the unconscious, consisting of repressed and forgotten contents that are not compatible with the conscious point of view.
95) A complex is a psychic constellation of attitudes, ideas, and feelings that clusters around a nuclear archetypal theme.
96) The first sandplay frequently indicates the client’s problems and the resources they have available for their resolution.
97) The anima/animus emerges in the form of opposite gender figures, or more primitive animal forms that serve as active connections to the creative energies of the unconscious.
98) When Weinrib described the symbol of the cross as universal, she meant that Christian churches were spread all over the world.
99) When Weinrib described sandplay process as penetrating to a transpersonal level of the personality, she meant that: (choose one)
100) The early development of the psyche is an essentially unconscious, archetypally driven process. Sandplay therapy offers immediate access to this region of the psyche.

Loving Kindness, Clarity & Humility in the Practice of Sandplay Therapy