Should Abusive Parents Be Punished or Treated Research Paper

Should Abusive Parents Be Punished or Treated - Research Paper Example Parenting has usually been treated as a private issue in the United States, and the government has been hesitant to meddle with the rights of parents to care for or raise their children in their own way. Even though a number of laws have been implemented since the 1960s forbidding extreme parental cruelty against children, there is still, in reality, tremendous lenience for violence against children (Westman, 2007). These aggressive actions may not be viewed as abusive by some but are regarded as abuse by many professionals. Many states do not forbid parents from hitting their children. Yet, most states have laws that identify child abuse. The federal government has ratified the Child Abuse Prevention and Treatment Act (CAPTA) which establishes rules that the states should integrate into their child abuse laws (Wallace & Roberson, 2010). CAPTA mandates the designation of child abuse to add (Hirschy, Thompson, & Wilkinson, 2010, 2): â€Å"Any recent act or failure to act on the part of a parent or caretaker, which results in death, serious physical or emotional harm, sexual abuse, or exploitation, or an act or failure to act which presents an imminent risk of serious harm†. In a research on cases of absence of supervision, many involved parents who entrusted their children to an incompetent guardian or caregiver or parents who totally abandoned their children. In 40% of the cases examined, dependable parents admitted: â€Å"they believed there was nothing wrong with what had happened† (Collins, 2006, 808). Moreover, the caseworkers who were instructed to evaluate the case documents thoroughly reported â€Å"that in more than half the cases†¦ the supervision problem was due to a lack of knowledge or poor judgment about the abilities or needs of children of a given age†.  Ã‚  

Effects of domestic violence on children Essay Example | Topics and Well Written Essays - 750 words

Effects of domestic violence on children - Essay Example Domestic violence creates a sense of deprivation in children because they need attention and care. When parents are busy fighting in the house, children cannot get the appropriate attention they need. The long term effects of domestic violence can be severe and may include drug abuse, alcohol addiction, and subservient behavior. In this essay we will focus on the perilous effects of domestic violence on children. Drug Abuse Children are immature when it comes to their understanding of the world around them. They have no idea about the dynamics of marital life therefore they do not understand the physical or verbal abuse they witness in their homes. The worst moment is when a child is attempting to understand why his or her parents are fighting. While connecting the dots in order to find the reason behind the chaos in home, the child ends up either believing that he or she is causing the problem or becomes frustrated and tries to look a doorway out form the situation. Parents expect t hat a teenager should understand the stress they face in their office life? A 13 year old is not equipped to handle such problems because his mind is still immature. Parents should understand this before fighting in front of children. A child has no option but to go outside, and stay outside for a long time when the environment of home is not friendly. In an attempt to escape from the troubles of home children start to hang outside and this is when they engage into bad activities like drug abuse. Children are also susceptible to peer pressure therefore are easy targets of drug abuse. Domestic violence also creates a need to grow inside children so that they can escape the situation in which they are in. And because they want to become adults quickly, they pretend to do what elders do. This is how children who experience domestic violence indulge in drug abuse. Alcohol Addiction Alcohol addiction is way through which teenagers try to forget the miseries of their life. The family life gives them so much trouble that they want to forget everything about the home. Alcohol seems to be the only alternative that is easily available and it also helps teenagers. Domestic abuse is known to affect the stability and well being of the children (Rossman, 36). Alcohol addiction is a way in which the well being of children is affected. Alcohol addiction is not a sudden outcome of domestic violence. Children are slowly and gradually detached from their family, and then they become addicted to alcohol. It can therefore be said that alcohol addiction is a long term consequence of domestic abuse. There comes a time in a child’s life when he or she hangs out with his or her friends outside of home. This is after 14 or 15 years of age, and this is the time when teenagers are most susceptible to alcohol addiction. Children who face domestic violence crave for attention and my want to fit in. This is why they are more susceptible to alcohol addiction. Subservient Behavior Chil dren who see or experience domestic violence become subservient. They are usually too weak to make a difference and this breeds helplessness. This helplessness is not unlearned throughout their life because a childhood is the time when personality is molding. Any significant incident in the childhood is therefore impacts the whole future life of a person. Submissive behavior is witnessed in children who face domestic violence (Goodman & Rosenberg). Domestic abuse also makes children dependent on others. Because they have never been control of

The Physiology of the Nervous System Research Paper

The Physiology of the Nervous System - Research Paper Example The central nervous system is divided into two sections: the central nervous system and the peripheral nervous system. The central nervous system is composed of the Brain and the spinal cord. This system controls behavior of a person. All body sensations are transmitted to the central nervous system in order to be interpreted and acted upon (Chiras 34). All nerve impulses that stimulate muscles to contract and the glands to secret substances get all their instructions or messages from the central nervous system. The peripheral nervous system on the other hand is composed of a network of nerves. This is the systems pathway to the brain for all the five senses and helps human beings I adjusting to the world around them (Givens and Reiss 55). The brain is the central organ of the nervous system in all vertebrates. It is a complex organ whose functioning is essential to the survival of any animal. It consists of four main parts: the cerebrum, the cerebellum, the brain stem and the diencephalon or the forebrain stem. The brain is composed of two matters, the gray matter which the active part of the brain that receives and stores impulses and the white matter that carries impulses from and to the gray matter. The cerebrum is divided into two hemispheres each with four lobes namely frontal lobe, temporal lobe, parietal lobe and occipital lobe (Glees 42). These are responsible for various functions such as hearing vision, speech, judgment etc. The cerebellum is responsible for maintaining equilibrium, receipt of relayed tactile, auditory and visual input and fine motor coordination. The mid brain provides conduction pathways and provides a center for righting, postural and audio visual reflexes. The brain stem also called Medu lla oblongata is the center for regulation of vital centers that include respiration, heartbeat and basomotor activators. The diencephalon consists of the thalamus responsible for arousal and conscious recognition of crude sensations such as temperature and pain and the hypothalamus responsible for many functions such as monitoring chemical composition of blood, control of hormone secretion, control of sleep and appetite (Glees 45). The spinal cord is a cylindrical structure that extends from the foramen magnum through the spinal foramina of the vertebral column to the upper portion of the lumber region. It houses both the motor and the sensory nerves. Basically the spinal cord is an extension of the brain that runs down the back protected by the vertebral column. It is surrounded by a fluid called the cerebrospinal fluid to protect the nerve tissues against injury.it is also protected by the meninges, a layer of three membranes, that guard it and the brain from bacteria. It is comp osed of millions of nerve fibers that transmit information to all body parts (Swan 55). The peripheral nervous system is composed of the nerves that connect the central nervous system to other remote parts of the body. It is divided into the cerebrospinal nervous system: which consists of cranial nerves that perform different functions ranging from sensing to controlling movements. The autonomic nervous system which regulates actions of secretory activity of glands and the involuntary contraction of smooth muscles in blood vessels, skin heart etc. it operates without conscious control. It is composed of the sympathetic system and the parasympathetic system. The spinal nerves carry impulses between the spinal cord, skin muscles and other structures. They are 31 in total (Givens and

Folk Traditions of Trinidad and Tobago Essay Example for Free

Folk Traditions of Trinidad and Tobago Essay This research paper compiles primary and secondary data from interviews with violinists who work or have worked specifically in folk music in the Trinidad and Tobago. It seeks to investigate and document the reasons for and the importance of the violin in Caribbean music culture. The paper will also seek to notarise some elements of folk violin pedagogy. The report will form the basis of an electronic blog and will consist of a proposal, typed interviews, and a general list of interview questions, pictures, audio recordings and music scores. Project Rationale: 1. Cultural information transmitted through written word and musical scores can lose much of their meaning and intent when read, because of the nuisances of both language and melody. For instance, when most ethnic musical styles are notated using the standard begun outside of their context, they are usually played without their correct ‘swing’ or ‘feel’. 2. In November 2011, St. Lucian folk violinist Joseph Ives Simeon died at 87, taking a rich violin pedagogy with him. The player has many recordings, but much of his style died with him. This project is the beginning of this researcher’s (and classical string player from the Caribbean) attempt to preserve the pedagogical information inherent only in the different styles of Caribbean string folk playing, for use by Caribbean players. Objectives: 1. To audio record the sounds and actions of violin playing in the Caribbean folk context. 2. To document the musical views and ideas of current exponents of Caribbean folk violin playing. 3. To define the role of the violin in varying Trinbagonian folk traditions 4. To chart the evolution of the roles of the instrument in Trinbagonian culture General Interview Questionnaire: * How did you learn to play the violin? (How did you learn to play the violin in folk music?) * What types of events do you play for? And what is the significance of your instrument in that setting? * Do you have any stories about your experience of folk violin playing as a spectator? (now and in the past)? * What were the most important lessons your teacher taught you? * Can you describe your holds for the violin and bow? * Can you describe your bowing style? * Please describe your fingering style. * Do you admire any other players (now and in the past)? * Have you ever played classically? How do you feel this style differs in the way it feels OR Is it comfortable to play in this way for long periods of time, or was it ever more difficult to play for longer periods of time? * What are the different types of music that you play? Can you play an example of each? What are the differences among them? The Violin and the Musical Folk Traditions of Trinidad and Tobago. Introduction 2012 marks the Centennial Anniversary of the first ever recording of Calypso music. Engrained in wax (a new technology in 1912), this first recording was ‘Mango Vert’, an instrumental composition by George R.L. ‘Lovey’ Baille (a melody known today as the folk tune Mangoes, with added lyrics by Olive Walke). The stylish, well structured, yet heavily improvised piece was recorded by Lovey’s String Band, a group lead by violins. This paper hopes to explore the violin’s role in Trinbagonian culture in a holistic sense. Apart from the String Bands of yesteryear, we will look at the instrument’s role in Tobago’s Tamb’rin music and the Christmas season staple of Parang. At present, in all three areas, it must be said, the use of the instrument is almost non-existent. My interviews with modern violinists who have worked in and experienced our folk traditions for at least 50 years, highlighted similarities; between very different folk traditions; and to earlier scenarios that were previously thought to have been lost. The violin is an unfretted bowed string instrument with four metal strings tuned in fifths. It is â€Å"capable of great flexibility in range, tone, and dynamics†. The Violin in Calypso The instrumentation used in Calypso is usually the last thing to be discussed, if at all. This tends to be because calypso music is usually seen to be about the lyrics, the story within the song. This is the case with much of Trinidad and Tobago’s music. However, the story of the instrumentation used in Calypso, is a story of a search for a collective identity in our music. The 1912 recordings of Lovey’s String band are the first time that the violin’s importance to our music was archived. Lovey’s String Band was a typical example of Calypso bands of the time. The ensemble, led by him on the violin, consisted of another violin, flute, clarinet, tiple, piano, two guitars, two cuatros, an upright bass (although the Figure 1 picture of the group shows a cello) and a braga. With the exclusion and inclusion of a few instruments (e.g. trumpet, saxophone, oboe), this was the general instrumentation of a String Band. These groups were so called because stringed instruments were in the majority, with acoustic plucked stringed instruments forming the core of the sound (guitars, cuatros, tiples, bragas, bandols etc.). There were many other String Bands around at the time, including Belasco’s Band – founded by the renowned Lionel Belasco; Cyril Monrose String Orchestra; and Gerald Clarke and his night owls. These groups recorded and performed both as standalone instrumental groups and backing accompaniment for Calypsonians. In fact, the sound of early Calypso and what we now call folk music relied heavily on them. Listening to the recordings causes you to realise that these bands had been honing their sound long before they were ever recorded. Lovey’s String Band followed Mango Vert a week later, with recordings of songs like Trinidad Paseo, Mari-Juana, Sarah and Manuelito (See Figure 2), staples of the Trinidadian dance scene at the time. This recording of Manuelito is the only example of foreign-based music archived by the United States National Recording Preservation Board of the Library of Congress, into that country’s National Recording Registry 2002. Figure 1: Loveys Trinidad Calypso String Band Lovey (George R.L. Baille leader, violin), L. Betancourt (2nd violin), P. Branche (flute), W. Edwards (Clarinet), Louis Schnieder (Tiple), E.P. Butcher (Piano), Donald Black, L. Demile (guitars). F.A. Harte, C. Eugen Bernier (cuatros), Patrick Johnson (bass), Cleto Chacha (braga) (http://calypsoforum.wetpaint.com/page/First+Recordings) Figure 2: Loveys Trinidad String Band (Musical group) Colonial-era Calypso? Undeniably, all of the recordings from this instrumental era display a high level of musicianship and excellent tonal quality, which particularly for violins, is a sign of classical training. This initial instrumentation is also obviously similar to classical ensemble styles where violins, clarinets (and oboes) regularly duet. Figure 1 also shows Lovey’s band in military-style or marching band style uniforms solidifying the notion that the string bands were heavily ingrained in the activities of Trinidad’s colonial past. Apart from Calypso, the bands also played a variety of European influenced dance styles of music The style and level of improvisation in the music also highlight the obvious influence of American small band New Orleans style Ragtime and blues. As found in those two American jazz artforms, Calypso String Band instruments have similarly set roles. * Guitars and other plucked string and low frequency bowed string instruments held the background rhythmic elements and chords and provided the foundation for all other instruments. * Violins and reed instruments, depending on the preference of the band leader layered on the melody or improvisational ornamentation and musical interludes (all layers always being present) * When vocalists were also involved, the violins tend to be used more often than reed instruments to support the melody line, with the reeds (and later trumpets) providing the musical interludes. The recordings below (Figures 3,4 5) demonstrate these different uses of the instrumentation with earlier recordings (1912 – 1930) displaying the preferential use of the violin, clarinet or vocal team. Later recordings show tendencies toward more structured instrument interlude lines and trumpet leads and reed instrument leads. They also display the introduction of the saxophone to the lead line-up (See Figures 6). Figure 3: Recording of Lovey’s String Band, ‘Mango Vert’, 1912 (double-click the icon below to hear the recording) Figure 4: Recording of ‘Yaraba Shango’ by (Calypsonian) Tiger and Gerald Clarke and his Orchestra, 1936 (double-click the icon below to hear the recording) This recording is still a few years before WWI. Here, the lead improvising instruments were obviously the clarinet and oboe, with the violin playing a secondary lead role playing mainly the same musical line as the main vocal sings and also supports the guitars. Both of these particular secondary roles are common to all of the recordings where the violin is present. (http://www.youtube.com/watch?v=0qA87Wl3dmAfeature=related) Figure 5: Recording of the Congo Bara performed by the Kiskedee Trio (written by Attila the Hun), 1935 (double-click the icon below to hear the recording) This version of Atilla the Hun’s (Raymond Quevedo) French patois/English tune relies heavily on the vocal trio to carry the melody. So much so, that the violin’s support of the voices, an octave above is almost missed. At this point, the addition of the marac and piano supplement the more sparse core instrumentation (possibly one or two guitars). A muted trumpet is used to provide the main musical interludes, supported again by the violin. Interestingly however, the trumpet is not used throughout the piece like the violin (and in previous recordings the reed instruments). This reveals the need for balance in the overall band sound in these live, one-track recordings and supports the authenticity of these recordings when compared to live performances. It also helps to clarify the use of the violin and the more dynamically-varied reed instruments in early calypso. The violin was prized in this setting for its ability to mimic the flexibility of the voice. The modern Calypso As unmuted brass instruments became more common because of their sharper, louder and more penetrating sounds, the musical lines in calypso became more structured and simpler. * Guitars continued to be used as core instruments, though fewer (possibly one or two) and usually exclusive of other plucked string instruments * Core instruments accompanied the vocals with simpler chord progressions followed by musical interludes in which the brass instruments would play, to the continued guitar accompaniment. * Clarinets and violins ceased to be used, except in Calypsos written in the style of early calypso * Vocal Calypsoes became the standard form, with instrumentals of the calypsonians compositions done by other instrumental groups, particularly steelpan. Figure 6: Recording of ‘Royal Tour’ by Roaring Lion (1978) (double-click the icon below to hear the recording) As such, the music is very different to the â€Å"jazzy† sounds of earlier calypso. It is in this era (1944) that my calypso-based violinist Stanley Roach was born. Roach was the violinist for Kaiso 2: Happy Days, with Phil Dobson’s band and for the recording for which he is best known, Calypsonian Shadow’s ‘De Hardest Hard’. However, Mr Roach has and always will prefer classical music and so is dedicating the rest of his days to that form, with the hope to produce an album of some challenging works. Roach was classically trained to ABRSM grade 8 (for which he received a Merit) by his father. He continued on to win the televised talent competition Scouting for Talent, in its second year of existence with challenging Romanian dances. His proudest moment however, was being called to play for the prestigious opening concert of the Music Festival many years ago. He has always valued his father’s style of teaching and his opinions. Roach notes that his father â€Å"taught a philosophy behind the music, to do with your mind and spirit†. In building sound technique, his father advised him to â€Å"take it one note at a time (step at a time) and put your mind and your soul and your heart into it†. In this area, he has much in common with the original string band players. With regard to calypso, for Shadow’s â€Å"De hardest hard† he notes that he used a technique of improvising that he calls â€Å"cross-phrasing†, where you improvise from the latter half of the initial phrase to another halfway through the next phrase. This allowed the music to breathe, something that was rare to the New Orleans-style filled sound of early Calypsoes. Roach admits readily that like his father before him, he disliked the way that classical instruments were used in Calypso. However, he was a fan and admirer of the work of Trinidadian parang fiddler Saltero Gomez of the Papa Goon Parang group. Apart from Gomez, his influences are jazz violinist Stephane Grappeli and classical violinist Menuen. Although, like Roach my second interviewee was also taught the violin classically, Lawrence ‘Wax’ Crooks has a genuine love of folk music and always intended to use his skill to play Tamb’rin Music. The Violin and Tamb’rin Music. The violin is the preferred melody line instrument in Tamb’rin music. This traditional folk music from Tobago, also has its roots in our colonial times. The handheld goat skin frame drums, called the cutter, roller and boum, are accompanied typically by the triangle and violin / the mouth organ (See Figure 7). Frame drums were used because they could be easily hidden from colonial masters who had a great fear of the drums. However, similar frame drums can be found in Martinique, the Dominican Republic, Mauritius, Morocco, Brazil and even among the Native Indian population of North America. Additionally, the spiritual dance styles that Tamb’rin music accompanies were derived from a mocking of the dances of the colonial masters during slavery and as such, the types of songs and the dances accompanying them are the reel, jig, pasea etc. Figure 7: Picture of Mt. Saint George Tambrin Band (1995) 56 year old Lawrence ‘Wax’ Crooks, is the violinist and leader of the Royal Sweet Fingers Tamb’rin band. He surprised me by first saying that he was taught to play classically by a classical teacher 7 years ago and joined the band immediately. Wax was a part of a 3-month workshop teaching Tobagonians to play the violin. It was the only formal training he ever received. He notes that it has made him a more precise player than his predecessors, and he has been noted by articles to have a classical bowing technique. However, he relied on his childhood memories to play tamb’rin. With this in mind, he plays with the instrument against his upper arm, so that it is easier to talk while playing in the relaxed settings of the events Tamb’rin music is usually played at. He also noted that it is more comfortable to play in this way and so playing can be done for the many hours of the traditional dances, weddings, christening (now replaced by djs), birth nights, illness (reel dance between 12-12:30 would help, as it would definitely cause a manifestation of the spirit to take place). At more formal events though, he admits to moving the instrument up to the classical position with his chin placed in the chin rest. Wax notes that violin was always the preferred instrument in Tamb’rin music, because: * The long hours of traditional ceremonies would lead to vocalists tiring * Mouth organs were limited in the notes they could play. They could not play the fully correct melody. The more modern push-key mouth organs have greater flexibility and with less need for training, they are starting to become more common than violins. * The violin has flexible notation. Many traditional ceremonies are long because when the spirit manifests itself in the person (Ride), the music must continue until they regain consciousness. â€Å"If you stop playing, you will leave them in another world†. The spirits also dictate the other aspects of of the culture of playing in Tamb’rin. Alcohol is liberally dispensed, as this â€Å"quiets the spirits†. Wax sprinkles rum on the back of his violin for the same reason. Also, tambrin is always played by a group of musicians, as the spirits can overpower one. Wax has seen instances of violin strings bursting and entire drums being lost when conditions are right. Even the music must be appropriate to the situation, or again instruments are scarred or lost. â€Å"When everything is right, the atmosphere is coolsoothing†. Figure 8: Scored Example of a reel â€Å"Call me Mama† Conclusion Interviews and archived material have confirmed that the violin as a solo instrument or in small numbers is a versatile member of a band that was perfectly suited for more traditional, acoustic arrangements. However, owing to changes in culture due to historical experiments with louder instruments (brass and saxophones), they are no longer common in at least two traditional artforms, parang and calypso. With the reinvention of the mouth organ and the lack of another generation interested in traditional forms, the violin is also slowly disappearing from Tamb’rin music. Its use in our music is a result of both classical training and the ingenuity and good ears of of Trinbagonian musicians. For this reason, although there are fewer exponents of each traditional form, there is a wealth of violin students and recordings of the music to spur another generation on. This project has enabled me to find many recordings and has started my interaction with older musicians who have a wealt h of anecdotal information on traditional music forms. It is my hope at this point that I will be able to solidify information on traditional violin pedagogy to pass on to future generations. References What is parang? Nalis Library archives. Last accessed 16 April. http://www2.nalis.gov.tt/Research/SubjectGuide/Music/Parang/tabid/233/Default.aspx?PageContentMode=1 The Stringed Instrument Database. http://stringedinstrumentdatabase.110mb.com/t.htm The National Recording Registry 2002, National Recording Preservation Board of the Library of Congress, http://www.loc.gov/rr/record/nrpb/registry/nrpb-2002reg.html History of Trinidad and Tobago. 2012. Wikipedia. 16 April 2012. http://en.wikipedia.org/wiki/History_of_Trinidad_and_Tobago ANDREAS MEYER. â€Å"THE OLDER FOLKS USED TO FIDDLE AROUND THE NOTES.† PLAYING THE VIOLIN FOR TAMBRIN BANDS IN TOBAGO (WEST INDIES), 2006, http://www.llti.lt/failai/05%20MEYERIO.pdf Frame Drums and Tambourines in Continuum Encyclopedia of Popular Music of the World, Volume 2: Performance and Production. Edited by John Shepherd, David Horn, Dave Laing, Paul Oliver, and Peter Wicke. New York: Continuum, 2003, 349-350, 362-372]. http://www.nscottrobinson.com/framedrums.php Discography Calypso Best of Trinidad 1912-1952. http://www.rhyners.com/proddetail.php?prod=0508 Calypso Pioneers 1912 – 1937. http://www.amazon.com/Calypso-Pioneers-1912-1937-Various/dp/B0000002QV/ref=sr_1_1?s=musicie=UTF8qid=1334700896sr=1-1 Calypso Carnival 1936 – 1941 http://www.amazon.com/dp/B0000002SC?tag=ubriacowinerevielink_code=as3creativeASIN=B0000002SCcreative=373489camp=211189 Victor Discography: Lionel Belasco Orchestra, http://victor.library.ucsb.edu/index.php/talent/detail/16409/Lionel_Belasco_Orchestra_Musical_group; Victor Discography: Lovey’s String Band, http://victor.library.ucsb.edu/index.php/talent/detail/44453/

The Moviegoer By Walker Percy Essay -- essays research papers

In Walker Percy’s story The Moviegoer, Binx Bolling, a Stockbroker on the verge of turning thirty is on a quest. Set in 1960 New Orleans during Mardi Gras Binx, an upper class southern gentleman sets out to find out about himself. Answer questions that have tugged at his soul. Questions about despair, everydayness, religion and romance. Binx is stuck in a quagmire. He must break out from this cloak of ennui and find the essence of being. But how? How can people, a person with a soul and a world at their fingertips be so inept at finding what makes them alive. Can it be found in religion or on the arm of a southern beauty? Maybe it can be found in the surrealism of a movie, or the excitement of making money. What if an answer is found? Will it frighten a person back to their everydayness? Some of these question are sound, others may be just thoughts in the authors mind, but they are questions that Binx must find out about. The following will talk about the idea of despair & everydayness and if others think about searching the way Binx Bol ling does. Binx is deathly afraid of being pulled into everydayness. That is to say that he does not want to fall into the trap of a daily, weekly of life long rut. He does not want to settle for just living just an existence. He wants to be noticed, to have the ability of excitement on a daily routine. To work hard and start a family and fight for what he thinks is a grand life. Only to realize years later that such a routine was estab...

Sybil

Video Case Report PSY 281 – Abnormal Psychology Guilford Technical Community College For Dr. Stephen Ash Student Name(s): Kallie Roberts, Porsha, and Jarvis Date: 15, April 2013 1. Name of Video: Sybil 2. Assigned Case Character: a. Character Name: Sybil Dorsett b. Played by Actor/Actress: Sally Field 3. DSM-IV-TR Diagnoses: Axis I: Dissociative Identity Disorder (300. 14) Axis II: N/A Axis III:Axis IV (External Stressors): Screeching sounds, like the one from the swing that triggered her flashback, and also any woman with the same hairstyle as her mother like the woman pushing the swing that caused her to flashback and lose her substitute teaching position, Sounds of piano music, the sight of any hook like objects, feeling backed into a corner like when her father told her she didn’t have a problem when she knew something wasn’t right. Any combative behavior toward her causes her to convert into Peggy, her younger extremely fearful self. Also if someone touched her hands she would feel extremely threatened.And the color purple would cause alternate personalities to surface. Axis V – Current/Worst GAF: _24_ Highest GAF in previous year: _75_ 4. Diagnostic Documentation for Axis I or II Diagnosis: Dissociative Identity Disorder (300. 14) I. Primary Diagnostic Criteria for Dissociative Identity Disorder A. The presence of two or more distinct identities or personality states (each with its own relatively enduring pattern of perceiving, relating to, and thinking about the environment and self) : Sybil including her regular personality had about thirteen more.Vanessa, Holds Sybil's musical abilities, plays the piano and helps Sybil pursue a romantic relationship with Richard. She's a young girl, possibly 12 years old. Vicky is a 13 year old who speaks French, a very strong, sophisticated and mature personality who knows about and has insight into all the other personalities, though Sybil does not. Peggy is a 9 year old who talks like a little child. She holds Sybil's artistic abilities, and appears while crying hysterically because Sybil's fears. She is confused; like, she doesn’t know that she’s in New York and instead, thinks she is in the small town that Sybil grew up.Peggy feels the greatest trauma from her mom's abuse, often feeling sad/depressed and unable to find happiness. Her biggest fears include the green kitchen, purple, Christmas, and explosions. Marcia, dresses in funeral attire and constantly has suicidal thoughts and attempts suicide. It’s presumed she tried to kill Sybil in the Harlem hotel but was stopped by Vicky. She thinks the end of the world is coming, but what she really fears in the end is Sybil. Mary, is Sybil's memory of her grandmother; she speaks, walks and acts like a grandmother, and is anxious to meet Sybil's grandmother.Nancy, kept waiting for the end of the world and was afraid of Armageddon. She's a memory of Sybil's dad's religious fanaticism. Ruthie is one of Sybil's less developed selves, a baby in fact. When Sybil thinks she hears her mom's voice, she is so terrified that she regresses into Ruthie, an alter that parallels Sybil as a helpless, regressive, pre-verbal baby. Clara, Ellen, Margie, Sybil Ann is around 5–6 years old and is supposedly very shy. Sybil also had male identities such as Mike who built the shelf in the top of Sybil's closet to hide Vickie's paintings, which she does at night.He and Sid want to know if they can still give a baby to a girl like daddy did even though they are in Sybil's (a female's) body. He's around 9–10 years old. Sid who wants to be just like his father, loves football. He's around 7–8 years old B. At least two of these identities or personality states recurrently take control of the person’s behavior: Vanessa, Holds Sybil's musical abilities, plays the piano and helps Sybil pursue a romantic relationship with Richard. Vicky has insight into all the other personalitie s, though Sybil does not, once Sybil lost control Vicky would step in and sometimes even attend therapy sessions with Dr.Wilbur. Peggy, who talks like a little child, holds Sybil's artistic abilities, and appears because Sybil's fears. She is confused and doesn’t even know that she’s in New York. Marcia constantly has suicidal thoughts and attempts. It’s presumed she tried to kill Sybil in the Harlem hotel but was stopped by Vicky. C. Inability to recall important personal information that is too extensive to be explained by ordinary forgetfulness. Sybil told Dr. Wilbur that when she was a little girl she woke up one day and was two years older. When she was admitted to the hospital for cutting her hand she didn’t know she gave Dr.Wilbur to do neurological tests on her. She didn’t even know when she got to the hospital or even how long she had been there, and when she felt smelt the fragrances Dr. Wilbur gave her she regressed into another personal ity, and woke up with another time lapse. D. The disturbance is not due to the direct physiological effects of a substance (e. g. , blackouts or chaotic behavior during Alcohol Intoxication) or a general medical condition (e. g. , complex partial seizures). Note: In children, the symptoms are not attributable to imaginary playmates or other fantasy play.Back to Overall Video Case Report Format: 5. Etiology: According to Nevid et al. Abnormal Psychology in a Changing World, 8th ed. (2011, hereafter:   text), Dissociative Personality Disorder (DID) formerly known as multiple personality, is a type of dissociative disorder that’s characterized by â€Å"changes or disturbances in the functions of self, identity, memory, or consciousness, that make the personality whole†(p209), or â€Å"A dissociative disorder in which a person has two or more distinct, or alter, personalities†(p555). It is the emergence of two or more personalities.In dissociative disorders, the m assive use of repression â€Å"resulting in the ‘splitting off’ from consciousness of unacceptable impulses and painful memories†(p. 221). Those with DID express the impulses through the development of alternate personalities. In some with dissociative identity disorder their main or â€Å"host† personality does not know about the alternates, but the alternates do know about the main personality. Also the alternates sometimes won’t know what other alternate personality-part has done, or even that they exist.There can be at least two controllers of the of the person, and even the different personalities can have different ages and sexual preferences. The rate of DID is higher in women than men and females also tend to have more â€Å"splits† than males, averaging about 15 or more, than do men, who average about 8 alter personalities†(p213). The psychodynamic approach to the causes of DID, according to Nevid et al. , â€Å"Dissociative d isorders include ‘massive repression’, resulting in the ‘splitting off’ from consciousness of unacceptable impulses and painful memories†(p221).They may portray these painful memories and impulses through the development of alternate personalities. From the social-cognitive theory standpoint, the habit of mentally separating yourself from painful memories and unacceptable impulses, by â€Å"splitting off†, is reinforced negatively by â€Å"relief from anxiety or removal of feelings of guilt or shame. The late social- cognitive theorist Nicholas Spanos, â€Å"believe that dissociative identity disorder is a form of role-playing acquired through observational learning and reinforcement†(p222).They are so engulfed in the so called role-playing that they forget they’re enacting a role. From a biological perspective, research is still in its early stages to determine whether brain function has anything to do with Dissociative identity disorder. But recent studies have shown â€Å"structural differences in brain areas involved in memory and emotion between patients with dissociative identity disorder and healthy controls†(p222). But the relevance of the differences haven’t been determined as of yet.Despite the massive amounts of evidence involving traumatic severe sexual and physical abuse during childhood in DID cases, those who experience severe trauma rarely develop dissociative identity disorder. In relation to the diathesis-stress model, â€Å"certain personality traits, such as proneness to fantasize, high ability to be hypnotized, and openness to altered states of consciousness, may predispose individuals to develop dissociative experiences in the face of traumatic abuse†(p222).Not particularly that those with these types of personality traits will absolutely develop dissociative experiences, but can help trigger a dissociative phenomena when paired with a traumatic event, just as a de fense mechanism. â€Å"The most widely held view of dissociative identity disorder is that it represents a means of coping with and surviving severe, repetitive childhood abuse, generally beginning before the age of 5†(Burton ; Lane, 2001; Foote, 2005). They will split into an alter personalities as a mental defense to unbearable abuse.When abuse of such severity and persistence continues, the alters become stabilized and hard for the child to maintain a unified personality. â€Å"The great majority of people with Dissociative identity disorder report being physically or sexually abused as children†( lewis et al. , 1997; Scroppo et al. , 1998). In some tests 75-90% of all subjects tested were abused sexually or physically. Also according to figure 7. 1 on p224 in the Abnormal Psychology in A Changing World, social reinforcement can also lead to stabilization or even the creation of new personalities. Enactment of alter personalities is strengthened by positive reinforc ement in the form of attention from therapists†(p224). According to R. P. Kluft, Temple University, â€Å"in the 1990s there were highly polarized debates about whether multiple personality was iatrogenic, instigated and sustained by clinicians' interest in motivating patients to demonstrate the condition's phenomena, and whether the abuses alleged by patients, often recalled after years of apparent amnesia, were false, suggested by leading questions or subtle expressions of interest.It still is unclear whether multiple personality can be created by iatrogenic factors alone†(Kluft). 6. Treatment: The most common form of therapy in treating those with Dissociative identity disorder are psychodynamic paired with eclectic therapies, with psychodynamic being the base of therapy to get to the true root of the problems, with efforts to unify the several different personalities into one cohesive unified personality. â€Å"However, integration of personalities is not always po ssible.In these situations, the goal is to achieve a harmonious interaction among the personalities that allows more normal functioning†(Gluck). Drug therapy can be used to subdue the coexisting issues like depression or anxiety, but doesn’t affect the DID. Psychotherapy is the primary treatment for dissociative disorders. This form of therapy, also known as talk therapy, counseling or psychosocial therapy, which involves talking about your disorder and related issues with a psychodynamic therapists.Psychotherapy for dissociative disorders often involves techniques, such as hypnosis, that help you remember and work through the trauma that triggered your dissociative symptoms. The course of the psychotherapy may be long and painful, but this treatment approach is very effective in treating dissociative disorders. According to the Mayo Clinic another form of therapy is creative art therapy. This type of therapy uses the creative process to help people who might have diffi culty expressing their thoughts and feelings. Creative arts can increase elf-awareness, help cope with symptoms and traumatic experiences, and also produce positive changes. Creative art therapy includes art, dance and movement, drama, music and poetry. Cognitive therapy is a type of talk therapy that helps you identify unhealthy, negative behaviors and beliefs then replaces them with healthy, positive ones. It's based on the idea that your own thoughts, not other people or situations, determine how you behave. Even if an unwanted situation has not changed, they can change the way they think and behave in a positive more unified way.There aren’t medications that specifically treat dissociative disorders; a psychiatrist can prescribe SSRI’s, anti-anxiety medications or tranquilizers to help control the mental health symptoms associated with dissociative disorders. â€Å"A case study is presented illustrating how traditional long-term therapy can be defined in renewable short-term stages. At various therapeutic intervals therapy may be discontinued or deferred based on the client's definition of personal wellness. Such a conceptualization can facilitate client health while demonstrating accountability for the use of ongoing psychotherapy services† (Applegate).The most common approach to thinking/feeling about the process of recovery from trauma or abuse is to conceptualize it as working through a series of stages. Herman summaries several such models in a table. In the three-stage model of modern trauma therapy outlined by Herman, a phase of safety, in which the patient receives sanctuary and support and is strengthened, is followed by a phase of remembrance and mourning, in which the mind's representation of its traumatic experiences is explored, processed, and mastered and in which the losses and consequences associated with traumatization are grieved.The mind is reintegrated, and roles and functions are resumed in a phase of reconnection. In the nine-stage treatment of multiple personality (Kluft, 1999a and Kluft, 1999b) with multiple personality (1) the psychotherapy is established and (2) preliminary interventions are made to establish safety, develop a therapeutic alliance that includes the alters, and enhance the patient's coping capacities. Then follows (3) history gathering and mapping to learn more about the alters, their concerns, and how the system of alters functions.Then is it possible to begin (4) the metabolism of trauma within and across the alters. As the alters share more, work through more, communicate more effectively with one another, and achieve more mutual awareness, identification, and empathy, their conflicts are reduced, as is contemporary amnesia. They increasingly cooperate and experience some reduction of their differences and senses of separateness. This is called (5) moving toward integration/resolution. More solidified stances toward one's self and the world are reached in (6) integrati on/resolution.Smooth and functional collaboration among the alters, usually including the blending of several personalities, is called a resolution. Blending all alters into a subjective sense of smooth unity is an integration. Then the patient focuses on (7) learning new coping skills, working out alternatives to dissociative functioning, and resolving other previously unaddressed concerns. Issues continue to be processed, and mastery without resort to dysfunctional dissociation is pursued in (8) solidification of gains and working through.Finally, treatment tapers, and the patient is seen at increasingly infrequent intervals in a stage of (9) follow-up. Treatment may be challenging to patient and therapist alike. Work with traumatic material can be upsetting and destabilizing. Worse than that is the pain of tying into what patients learn to their own perceptions of their relationships, with significant others who may appear to have been guilty of mistreatment that wasn’t re membered before.. Patients should be informed about the possibility that material that emerges and may be useful for treatment may not prove to be accurate. Processing traumatic memories has been controversial because the accuracy of initially unavailable memories has been challenged†(Kluft), and the affects experienced with this process can cause upset and trigger self-destructive actions. Sometimes decompensating occurs or an inability to maintain defense mechanisms in response to stress, resulting in personality disturbance or a psychological imbalance. Some multiple personalities can’t handle this kind of work. But so far â€Å"reported successful recoveries to the point of integration have involved processing traumatic memories†(Kluft).Studies also have demonstrated that many recovered memories of DID patients have been confirmed, and some have not even been proven accurate. Opinion imply that deliberate processing of traumatic memories should not be perform ed unless patients have demonstrated the proper strength and stability for the work. All others should be treated supportively, addressing traumatic memories only when they are intrusive, are disruptive, and can’t be put aside. Patients sometimes have periods of anting say everything said in therapy was a joke as Sybil did when confronted more about the green room, trying to banish painful memories of trauma, betrayal, and loss associated with important people in their lives to maintain relationships and a sense of safety within those valued relationships. â€Å"Tact, containment, and circumspection are required from therapist and patient alike†(Kluft). The patient should be protected from becoming overwhelmed by and lost in the traumatic situation, and treatment should be paced to protect the patient's safety and stability. There should be no forcing or rushing. The alter system is designed to facilitate escape from pain and difficulty or, failing that, to reframe or disguise it. Alters often reenact scenarios that (in their perceptions) are tried and true methods of keeping pain at bay, even if they disrupt the patient's treatment, life, and relationships†(Kluft). Sybil displayed this when she was confronted by her father and another time when she was in therapy. In therapy, working directly with alters often may make them more prominent, but the more they’re worked, empathized, and helped to communicate with other alters, their separateness is worn down, making the personality more cohesive.The therapist should treat all of the personalities with respect, and also appreciate the immediacy, and defensive aspects of their separateness, and that they all express parts of a single personality, whose personality structure is to have multiple personalities. â€Å"Interventions to contain alters' dysfunctional behaviors, aggressiveness toward other personalities, self-destructiveness, and irresponsible autonomy (e. g. , failing to care for children, who may be seen as belonging to another personality) may prove necessary†(Kluft).The therapist may call on personalities to work on their particular issues in the treatment and to facilitate their cooperation with the treatment and one another. Treatment must respect the entirety of the patient's concerns. Certain DID’s treatment may be put off repeatedly to address other rising concerns and other mental health issues. For example, a woman with dissociative identity disorder whose child develops cancer is not in a position to pursue trauma work. 7. Personal Application: N/A 8. References: * Nevid, J. S. , Rathus, S. A. & Greene, B. (2011). Abnormal psychology in a changing world. (8th ed ed. ). Upper Saddle River: Prentice Hall. * Gluck, Samantha; Treatment of Dissociative Identity Disorder, 2008; Hhttp://www. healthyplace. com/abuse/dissociative-identity-disorder/treatment-of-dissociative-identity-disorder-did/ealthy Place, Americas Mental health Channel, web, 01/2013; 13, April 2013. * Treatment and Drugs, The Mayo Clinic; http://www. mayoclinic. com/health/dissociative-disorders/DS00574/DSECTION=treatments-and-drugs; 3, March 2011;web, 13 April 2013 * Judith L.Herman, Trauma and Recovery, BasicBooks, 1991, p 156 * Applegate, Maureen; Multiphasic Short-term Therapy for Dissociative Identity Disorder; Journal of the American Psychiatric Nurses Association February 1997 vol. 3 no. 1 1-9 * Kluft, R. P. , Encyclopedia of Stress(2nd Edition),2007,p783-790; * Kluft, R. P. ,Current issues in dissociative identity disorder;Journal of Practical Psychiatry and Behavioral Health, 5 (1999), pp. 3–19 Sybil’s â€Å"Friends† * Peggy- an aggressive nine-year old * Vicky- a sophisticated young lady * Mary- grandmother * Mike- * Sid- * Martha-

Essay on the May 4th Movement

Geoffrey Lee 6. 16 Macedonia History Essay To what extent do you agree with the assertion that May 4th 1919 was one of the most significant dates in Chinese history. The May 4th movement in 1919 was a significant date in Chinese history to a very large extent. This essay will attempt to justify this claim by explaining the short-term effects of the M4M and more importantly the long-term effects. The year 1919 is a significant year as it was the year right after World War 1 (WW1) had ended; hence many war-settlement treaties were signed. One of these would be the Treaty of Versailles (TOV) which involved China.The M4M was a movement that had begun from the rise of sentiments of democracy and nationalism. Previously, China had been ruled by a single ruler where traditional culture and Confucianism dominated the nation. However after WW1 and the influx of western ideas and ideologies, thus many youth in China begin to call for a demolition of the previous culture and Confucianism, and t o replace it with a new culture and direction. This movement was headed by large forms of mass advertising through the use of the New Youth and many other magazines.This increase of national sentiments led to the Chinese demanding that their government to oppose the Japanese 21 demands on Yuan Shikai’s government and it also saw the emergence of the new merchants and labour class. With all these demonstrations and national sentiments, China was in a period of disorder and lawlessness, which was similar to that during the warlord era in the 1800s. In the short-term, the M4M was a significant date in Chinese history to a small extent as it resulted in many strikes and demonstrations throughout China to occur.Students demonstrated in the capital of Beijing while many other occupants such as shopkeepers, industrial workers and other urban employees joined in the strikes and demonstrated in other key cities in China such as in Shanghai. The demonstration also saw a nationwide boyc ott of Japanese goods in an attempt to show Yuan Shikai to reject the Japanese demands to make China a Japanese protectorate. Also, the government of China was forced into rejecting the terms of the TOV which angered the West. This resulted in massive violence throughout the nation which did theChinese no good and it aggravated ties between China and the West. In the long-term, the M4M was a significant date in Chinese history to a very large extent as it resulted not only in many cultural changes, but most importantly; it changed the political scene in China. The M4M gave birth to political activism where the people called for the end of a single ruler, but instead to have a democratic government. This surge of political activism was propelled by the education of the youths who believed that they would transform China.The youths emphasized heavily on the destruction of China’s traditional culture which was based on Confucianism, and they assumed that Western thought and civi lisation was the way forward. This led to the reorganisation of the Guomindang (GMD) which saw Sun Yatsen calling on the Soviet Union. This also led to the founding of the Chinese Communist Party (CCP). The CCP was founded as a result of the increased appeal of Marxism-Leninism, which proved to be very successful in the Soviet Union.These 2 political groups would later take over the whole of the Chinese political scene and would later oppose one another in their attempt to dominate the Chinese government, which would result in massive killings of one another. However these 2 parties would combine forces during the World War 2 (WW2) period to fight off the Japanese imperialism which ensured that China would not fall into the hands of the Japanese. Hence this proved that the M4M was indeed a significant date in the history of China to the largest extent.In conclusion, it can be agreed that the M4M was one of the most significant dates in the history of China simply due to the fact tha t it was through the M4M that both the GMD underwent a massive reform, and at the same time, the birth of the CCP was witnessed. The combination of these 2 factors proved to be significant as without the formation of either party, China would have suffered much more detrimentally in WW2 as it was only through the surge of nationalism of the Chinese, and the combined forces of the GMD and the CCO that China managed to fight off the Japanese.