Explain how group work contributed to the final performance Essays

Explain how group work contributed to the final performance Essays Explain how group work contributed to the final performance Essay Explain how group work contributed to the final performance Essay When we first began working as a collective none of us were very sure about how to proceed; we knew that for this to work, everyone would need to take their role within the group, but the problem was in finding what those roles should be. As we were in a very small group, everyones full input was needed throughout the process as we realised early on that if this did not happen then there would be a large proportion of the group not taking part. In larger groups, having someone not taking part would not necessarily be that important, however, with ours, we would be at a serious disadvantage. Luckily every one of group was very committed to producing the best piece that we could, and this involved not letting each other down. This work ethic allowed us to have many in-depth discussions into the possible interpretations and meanings of our work, and so we developed a very complex understanding of what we were actually trying to communicate, and, to us, gave the work much greater meaning. In the beginning stages, we all took on very similar working roles. This was not very productive as often the same task was performed three times over. For example, all doing research on the same subject meant that a lot of information was being regurgitated, and so time was being wasted on unnecessary work. Although it seems like an obvious course of action, we began giving people dedicated tasks at the end of each rehearsal. This allowed us to know exactly what other members of the group would be bringing to the next meet, and so we were able to structure our own work around this knowledge. One of the most difficult parts of coming to the devising process was learning how to constructively working in a group over a long period of time. While we were used to being part of a cast, we had always had the influence of a director to keep things fresh and to solve conflicts. This time we would have to figure it all out for ourselves.  Before we tried to begin doing any work we first sat down and discussed and agreed upon a number of ground rules that we would be working to during our devising. These rules were not there to keep members of the group constrained, but were there so that we knew what was expected of us during this process. Much of what was decided came from common sense, but it was very useful to have everyones contribution as this created an open atmosphere where we could voice hopes and concerns about working in the group. These rules were written down, but they were never referred to afterwards as we all respected them throughout the process. In this early stage we had not had the chance to develop the group skills that would be so important to the completion of the project. In order to gain these skills we began working on simple tasks such as constructing short scenes and improvising around the stimulus material. These exercises did not contribute to the final performance, however, the processes of constructing them allowed us to work in the same group situations that we would be working in throughout the devising process, and gave us an idea of the kinds of concessions and cooperation needed for the success of group work. This way of working, was very intense, and although it did produce results, the group was not its without conflicts. Because of the open nature of the group we never had disagreements over the actual work; if there was a problem with what was being produced, we sat down and tried to work out alternatives, and it was this way of working that probably stopped a number of arguments. However, this was a very stressful atmosphere, especially as we came closer to the night of performance. On one occasion we found ourselves arguing over petty problems, and this began interfering with the work. At the time we decided to abandon the rehearsal and spend the evening relaxing, not thinking about the play! Thankfully this was the only occasion that we actually argued over the work and so the only time that our work was interrupted in this way. Although I have said that the amount of time spent together was the cause of disputes, this also created a very tight bond between the members of the group, and it was this bond that was crucial to the success of the final performance. This closeness that we had developed worked to our advantage on a number of levels. When developing ideas we were able to understand the thought track of other members very quickly, and so very little explaining was needed when presenting new concepts. But also, when we came to the final performance, we knew that we were able to rely on the abilities of other group members. In the performance, not only did we know what we were meant to be doing, we also knew exactly what other members of the cast were supposed to be doing. This allowed us to precisely plan our reactions and meant that (epically with the more physical elements) we were able to rely on other cast members to doing exactly what they supposed to be doing. This level of trust that had been developing for a number of weeks meant that we did not have to worry about the performance of other members of the group. Without the development of group work in the early stages we would not have been able to work effectively within the group, and possibly the very simple devising tasks would not have been achieved.

How to Style Titles of Print and Online Publications

How to Style Titles of Print and Online Publications How to Style Titles of Print and Online Publications How to Style Titles of Print and Online Publications By Mark Nichol The rules for formatting titles of compositions and their constituent parts may seem complicated, but they follow a fairly straightforward set of guidelines, outlined below. Capitalization Titles of compositions are generally formatted in headline, or title style. In this system, the first letters of the following words are capitalized: The first and last word of the title, regardless of part of speech Nouns, pronouns, verbs, adjectives, adverbs, and subordinating conjunctions (such as although, because, and than) In titles, the following words are lowercased: Prepositions (except when they are used adjectivally or adverbially (in such phrases as â€Å"off day† and â€Å"come down†) To when it is part of an infinitive (for example, â€Å"to exercise†) All articles, prepositions, and coordinating conjunctions (such as and, but, and or) Emphasis Italics are used for titles of books, periodicals, films, television specials and series, and both series titles and episode titles for anthology programs like Masterpiece Theatre, though episodes of regular series, as well as titles of book chapters and magazine, newspaper, and online articles, are enclosed in quotation marks. Some publications, including most newspapers and some magazines, use quotation marks for titles of all compositions as well as parts of compositions, but italics are almost always employed for this purpose in books, and I highly recommend maintaining this distinction in periodicals and online. Titles of many nonfiction books include a subtitle following a colon, and except in informal usage, the full title should be used on first reference; the title alone the part preceding the colon can be used thereafter. Note that magazine and similar descriptive words should be capitalized and italicized only if they are part of a publication title: refer to â€Å"the New York Times Magazine,† for example, but â€Å"Time magazine†; in the former case, magazine is officially part of the publication’s name. (In a context in which it is obvious that Time, for example, refers to the publication with that title, the word magazine can be omitted.) Also, as shown in this example, do not capitalize or italicize the before a publication name, whether or not it is part of the title. Various publications differ in self-identification, even when their titles share a word for example, the New York Times bills itself as â€Å"The New York Times,† while the Los Angeles Times omits the article and this rule is designed to save writers the trouble of having to check individual publications for specific usage. Titles of plays and of poems long enough to be published in book form are italicized; titles of poems short enough to be included in a collection in a book are formatted, like chapter titles, in quotation marks. To determine how to treat titles of websites and their components, compare them to print equivalents: A website that sells products and/or services, even if it features content related to those offerings, is an online store, and the site name should not be formatted as a composition title. But titles of sites that emulate books and periodicals, and their articles and essays, should be treated like them; the same standard applies to blogs and blog posts. What about titles of videos posted online? Many such videos, especially those posted to video-sharing sites such as YouTube, don’t have titles or lack well-thought-out titles so they can just be referred to generically (â€Å"See Smith’s video about wombats†), with a link. For those with traditionally composed titles, however, use either italics or, especially for short videos, quotation marks. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Style category, check our popular posts, or choose a related post below:Using "a" and "an" Before WordsTaser or Tazer? Tazing or Tasering?Comment, Suggestion, and Feedback

Marxism Leninism and National Democratic Revolution in South Africa Article

Marxism Leninism and National Democratic Revolution in South Africa - Article Example But such examples are few and far in between. On the other hand, most of the democratic nations have been known to follow the rule of law, and if at any point of time, variations are noticed, the system provides enough rights to the citizens to take up the matter and bring the matter into the notice of appropriate authority. Youth is supposed to play a crucial role in the nation building. There are plenty of opportunities for the youth to grow in a democracy. While taking up professional positions in companies and organization, the young worker prepares a ground for the economic development. Similarly, when the youth takes up leadership skills in right perspective, the society is bound to benefit. The ideology propagated by Karl Marx (1818-1883) and Friedrich Engels (1820-1895) is known as Marxism or Scientific Socialism. Marxism calls for the equal opportunity to all young hands and the ideology firmly believes that the working class should never be oppressed for the well being of the state. Leninism, developed by the Bolshevik leader Vladimir Lenin, is a dominant branch of Marxism. Lenin made the fullest use of the Marxism/ Leninism policies during the Bolshevik revolution. Handing over power back to the people, remained the mainstay of this Russian revolution. In South Africa the trail of struggle for democracy can be traced back to May 1910, when the two republics and the British colonies of the Cape and Natal formed the Union of South Africa, a self-governing dominion of the British Empire. But the country saw a long-troubled period. During these troubled times, the non-white majority of South Africans were denied basic rights of citizenship (Funke 2007). It was in 1997 when President Mandela signed the newly negotiated constitution that South Africa began to experience the real democracy.  

Principles and strategies that apply to the limousine business and Assignment

Principles and strategies that apply to the limousine business and that can apply to each members business - Assignment Example The Landslide Limousine Company will have to recruit knowledgeable and innovative employees and provide incentives to them. Hence, it will be significant to utilize the performance incentives to stimulate growth and remain competitive in the competitive limousine service. Limousine service entails offering the customer the best service. The employees are important in service delivery, and the employers should accord them the privileges such as rest as contained in the Federal Motor Carriers Safety. In order to avoid the high employee turnover, the Landslide Limousine Company will have to utilize merit pay to motivate employees. The company can utilize the number of referrals, as well as, customers surveys as a basis for offering the workers pay on merit package. It is noteworthy that the critical goal of merit pay entails linking the pay to the performance in a way, which is reliable with the operations of the business (2011). The compensation of the workforce will encourage the individual employee to work to attain greater performance. In essence, the pay on merit will stimulate the engagement levels of the employees, as well as, keep them satisfied with the

Shakespeares Othello

Shakespeares Othello Language plays a very important role in all of Shakespeares plays. When Shakespeare performed his plays, no scenery and very few props were used. This meant that the language had to set an atmosphere, whether it is high in tension or a light hearted conversation. Use of language was also very important, as the vast majority of the audience was made up of common people. This meant that he had to make the language compelling and accessible. He does this by including jokes and curses, even in his tragedies. This comic relief is also used to create contrast and highlight the tragic sections, for example the Clown in Othello directly after act 3 scene 3, a very serious emotional part of the play. Language is also used to distinguish between the important characters and the lesser roles. The main characters like Othello tend to speak mostly in verse; this gives them a sense of superiority and elegance, while the less important speak in short, un-poetic sentences highlighting the difference . In this essay, I will look at how power and control influences the play and how the different characters use it, in particularly Iago. I will also look at how power and control shifts between the characters.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Power plays a very important role in the plot and overall outcome of this play. Power is used to create control and vice versa. This is very important as it allows Iago, who is lower ranking than Othello, to generate power through controlling Cassio and ultimately Othello. The fact that the play is set within the higher ranks of the Venetian army allows clear divisions in power to be highlighted immediately, and Othello being the General automatically puts him at the top of the triangle of power. However, as the play unfolds, the power seems to shift to Iago, the villain of the play. Right at the very beginning, Iagos manipulative nature is revealed when he convinces Roderigo to give Iago all of his money in return for helping Roderigo win Desdemonas hand, which is obviously a false promise. This allows Shakespeare to show that although Iago lacks power socially and within the army, he is adept at controlling others.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Controlling others is something which Iago repeatedly does throughout the play. In act 2 scene 3, he displays his control over Cassio, when he tries to make him drink. Like the beginning, even though Cassio is a higher rank that Iago, he still lets Iago bully him into drinking. At first, Iago suggests that he should drink for Othello and Desdemona and when Cassio refuses he implies that he is therefore a bad friend O, they are our friends. When Cassio still refuses Iago becomes more aggressive in his speech What, man! Tis a night of revels; the gallants desire it. When Cassio leaves to fetch the men at the door Iago has his first soliloquy, in which he reveals his intentions. If I fasten but one cup upon him, with that which he hath drunk tonight already, Hell be as full of quarrel and offence (II, iii, 41-43). In this soliloquy, Iago moves into verse, this could be to show the real Iago to the audience, not just the manipulative acting which h e puts on. Another reason for Iago going into verse is to make him appear more important in the play. Othello also controls others of a higher rank, albeit not in the manipulative nature of Iago, in Act 1 Scene 3 when Brabantio accuses him of stealing Desdemona and corrupting her using spells and medicines. Othello stays calm, also demonstrating his self control and talks his way out of it using long speeches in blank verse. In this speech, Othello repeatedly refers to the fact that he has a common tongue, Rude am I in my speech and little blessd with the soft phrase of peace, little grace I shall cause by speaking for myself. The reason for this self-criticism may be to emphasise that that what he is saying comes from the heart not the brain, demonstrating his love for Desdemona. This also reduces the sense of power and it makes Othello appear as just a man in love. Othello states that he is rude in speech, but he actually speaks very well, this could also be Othello showing his false modesty and trying to show off to Brabantio, questioning Othellos honesty. In stark contrast, Othel lo ends his speech with a contrasting last line, I won his daughter. This powerful last line restores his authority in the eyes of the Duke and the Senators.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  This scene shows the power that accompanies self control, Iago also utilises this by showing a great deal of restraint when trying to convince Othello that Desdemona is unfaithful in act 3 scene 3. Did Michael Cassio, when you wood my lady, know of your Love? (III, iii 95-96) this question does not have any real meaning. However it gets Othello impatient and curious. He did from first to last. Why dost thou ask? to which Iago replies But for the satisfaction of m thought; No further harm. Iagos could have easily told Othello about Desdemona, but instead he resisted, this meant that Othello wanted to know even more. By putting Othello in this situation Iago used Othellos persistence to gain control and power over the situation. In unwillingly giving the information, Iago is laying down a false sense of trust. Throughout the scene Iago repeatedly reminds him of this, with constant remarks about how much he loves the moor. To show the love and dut y that I bear you, I humbly do beseech you of your pardon for too much loving you. During this scene, Othellos language is always changing. Sometimes he speaks in short broken up sentences, but then he composes himself and speaks in verse again. This shows the way that Othello is fighting jealousy. However when he finally gets proof that Desdemona is cheating in him, he loses all control and allows jealousy to take control of him, O monstrous! Monstrous!, Ill tear her all to pieces. Look here, Iago, all my fond love thus do I blow in heaven: Tis gone. Arise, black vengeance, from the hollow hell! Yield up, O love, thy crown and hearted throne to tyrannous hate!. (III, iii, 447-450) In this speech, Shakespeare shows that Othello has lost his self control by using punctuation to break up his once flowing sentences. The punctuation however would have only been visible to the actors. This means that they are more like stage directions than literary devices. Shakespeare used other stage directions to create a sense of power and superiority in this scene, like when Othello kneels at the end of his speech, (443-451). This shows visually Othello breaking down, and the fact that Iago is still standing symbolizes that Iago is the most powerful in this scene. In kneeling down, Othello also loses his stature and authority, as he is now below Iago. Do not rise yet. Here Iago shows his influence over Othello, Iago did not want Othello to rise by himself, it would make Othello feel more in control and powerful. Instead Iago joined him; this meant that Iago would conform to his position of sharing Othellos pain.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  One very prominent statement made by Iago, in which he compares jealousy to a green eyed monster (III,iii, L. 166) can be seen as an attempt to further his control over Othello by warning him of Jealousy. He goes on to say that the monster Mocks the meat it feeds on, in this he is suggesting that if Othello gives in to jealousy it will mock him. The word mock in this context may mean destroy and the meat could symbolize Othellos love for Desdemona. Friendship and trust is what holds the story together, and Iago knows this. By constantly reminding the characters of this and by showing his devotion to them, he gets into a position of having more influence over what they do and how they behave to a certain situation that they do. When Iago is trying to force Cassio to drink, he reminds him that O, they are our friends (II, iii, 32). They fact that he refers to them as our friends gives the impression that they share something in common, bringing them closer and also increasing the amount of trust that Cassio has for Iago. Trust is a major fact of that scene, as well as trying to gain trust with Cassio, he is also trying to break up the trust between him and Othello. At the beginning of the scene, you get a strong sense of friendship between Othello and Cassio. Good Michael, look you to the guard tonight. (II, iii, 1) by using Cassios first name it shows that they are close friends.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  In this play, Iago is a bit of an outsider, and has no relationships other than with his wife Emilia. When Iago is with Emilia, it shows his real persona attitude. Unlike with all the other characters, he shows no effort to show his devotion and love for her even though he is her wife. This is prominent in act 3 scene 3 when Emilia gives Iago Desdemonas handkerchief. When asked what will you do witht, Iago snatches it defensively and says Why, whats that to you? In this part of the scene, it shows Iagos lack of control and patience, something which is not evident in the rest of the play. This is very important, as this section of the play is very high paced and full of big events and big powerful scenes. This part of the scene also shows the real nasty side of Iago which you only previously saw in his quite frequent soliloquies outlining his plans.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  In this play, power and control is a very important and ever changing factor, ultimately influencing the outcome of the play. Iago stays quite constantly emotionless showing his self control and Othello is the complete opposite, staying emotionally attached to almost every aspect. This in due course led to his death. This plays shows the power of the rumour, love and jealousy, not only in the play but in Elizabethan and modern day society. This is why; much like a lot of Shakespeares plays it shall always stay relevant.

The Psychoanalytic Effects

What is the potential outcome for the patient and therapists when physical touch is introduced into a therapy plan? And possible negative impacts to using this form of therapy will be discussed. It is known that physical contact does occur and that is why the discussion is one that must be brought to light. In the article â€Å"The Human Touch: An exploration of the role and meaning of physical touch in psychoanalysis† Toronto (2001), Ellen Toronto brings to light a very controversial and uneasy topic among psychologists.Because psychoanalysts see no logic for throwing out human touch as a means of â€Å"extra-analytic technique†, the Job f the human analysts becomes more defined and humane in regard to one on one therapy. Later in the article Toronto provides information on three case studies done where human touch was and was not beneficial for the outcome of therapy and explains the various reasoning behind why or why not the decision to touch was made. She also shar es her personal convictions and conflicts when faced with this decision.Toronto says that psychologists who study psychoanalytical techniques are against it and that many connect human touch and therapy with sexual intimacy or inappropriate interferences during treatment. Based off of the well balanced information given in this article, Ellen Toronto goes on to say that psychologists must become more cognizant of what it is that they are doing and hold into account that all forms of communication should be considered during phases of therapy.The viewpoint of most psychologists regarding hugs or even handshakes between the therapist and patient has been very negative and confusing. Toronto claims that human touch and the fact that it is happening, regardless of how people feel about it has been overlooked and ignored in some respects by practitioners and should be acknowledged. There have been reports of physical activity between therapists and patient. Toronto mentions that others s uch as Preference, Wainscot, Casement, Mclaughlin and Marrow view touching as an important and necessary form of communication in regard to analytical work.They believe that extra-analytic techniques such as self-discloser and holding are now viewed as very beneficial when performed cautiously and with regard to the situation. After further discussion between Toronto and her colleagues, she discovered that it does occur, usually with patients that are regressed, but the discussion was never formally admitted. Even though reasons for physical touch in the treatment form seem to be necessary, these acknowledgments from her peers seemed to be viewed as negative and guilt filled.This is the very reason why Ellen Toronto deems it necessary to expose the interactions that occur among the analyst and the analyzed. It provides valuable information on situations involving touching as part of treatment and sheds light on the types of circumstances where physical contact might be necessary for patients missing certain developmental stages in their human development. Human nines begin; in that we start off as infants, without being able to communicate verbally and only through touch and bodily fluids, as do mother and child.In the article, it is said that it is the mothering figure that sets the stage for early development. In the same sense the therapists possesses a comparable capability to provide a secure setting for the patient while also striving to understand what the patient is feeling or has felt. If a patient did not receive adequate time in this phase of life or if something traumatic happened directly after this stage then the patient is men as trapped in the â€Å"early mode†, which then allows for the touching portion of the therapy to take effect where verbal communication cannot.Early manifestation of maternal erotic transference is briefly discussed in Torso's article as being a transferred association of one's feelings of maternal love and creatin g to one that allows the same unconditional positive regard. Mostly all of this is nonverbal and is difficult to create with only verbal communication. Toronto asks how a therapist is supposed to work with patients that are remaining at a nonverbal level in some significant phases of their experiences. And how does a therapist define safety, regulation, engagement and acceptance verses rejection issues, a lot of which are learned nonverbally.Nonverbal communication has been viewed as a very existent part of therapy and so with regressed patients human touch can sometimes be the only link bridging the gap. Ellen Toronto approaches this topic with three case studies all involving the decision of physical touch as an analytical technique. The first two cases involved were both situations were Ellen believes physical touch of any kind would have had a negative impact on the outcome of treatment. The first case involved a man, mid ass's, who had an affair that almost destroyed his marria ge and in fear of it happening again, pursued mental health treatment.He expressed to Toronto that he thought of almost all women in a sexual way and that the only reason for him not having another affair was lack of opportunity. After a while the patient, who Toronto calls Nick began to express his sexual attraction toward her. He also began to move his chair close to hers at the beginning of each session while also describing his fantasies of seduction for her. During this time Ellen describes her Houghton and reasoning by saying â€Å"l could have asked him to move his chair but I felt that this measure of control was very important to him†.Ellen was also certain that Nick understood the limits in that he made no move to touch her throughout the entire treatment. She also reveals that inside she was not as calm and collected as she might have appeared on the outside. Nick in turn was able to express and explore the meaning of his behavior without participation or fear of d rawback from his therapists. This technique gave Nick a space to express himself in a limited but useful way and after two years of treatment eventually discovered healthier ways of connecting and communicating with his wife and family.The second case study shared by Toronto was one of a lady, mid ass's, who's failed suicide attempt and affair with her past therapists ultimately landed her in Ellen Torso's care. The woman Ellen calls Cynthia was described by Ellen as very overwhelming with demands and spoke a mile a minute. Toronto describes how she believes Cynthia had lived a life of constant self-exploitation through sexual encounters with previous men. This was a humpty of Cynthia specific social-cognitive learning experienced early in life.Cynthia also had a condition that Toronto explained as being a multiple, chemical sensitivity, which was a manifestation of an inability to cope with feeling overwhelmed and taxed by the world. Cynthia used this to control others, requiring t hem to respond to her illnesses as well as to shield her from being exploited. After a few reinstatement of what was and was not acceptable behavior during therapy sessions, Ellen was faced with a situation that required yet another drawing of the nine. Cynthia approached Ellen at the closing of a therapy session with a hug, but Ellen moved out of the way offering a hand shake instead.Later on Cynthia conveyed her understanding that Ellen could not allow that, given the history of her last relationship with her past therapist. Toronto goes on to explain how later realizing that anything more than a one to two handshakes would have resulted in confusion and overwhelming burden on Cynthia part. Ellen also explained that is was time for Cynthia to experience a relationship where she was able to be safe and have a hence to explore her own feelings without worrying about another's. Cynthia eventually went on to achieve some sovereignty and after two years of therapy eventually broke off her affair.Toronto expresses in her article the personal frustration and dealings with the knowledge of Cynthia affair with a therapists and his continual exploitation of her throughout the years. The Sarah case study involves a young woman, mid- ass, who was addicted to food, cigarettes, and marijuana. She was ending a relationship with a former boyfriend and was in danger of being fired hen she initiated treatment with Ellen Toronto. Throughout the past two cases Ellen attempts to provide a solid and safe interaction with her patients and does the same with Sarah by allowing her to freely speak and be herself.Ellen was able to dig up only fragments of Sarah's view of her own childhood after years of therapy with her. She described Sarah as not really being able to recall anything about her mother or an event where her sister was hospitalized. Although it was not conveyed, many believe Sarah suffered from a traumatic amnesia or repression (Wade C. , & Atavist C. , p. 287). Ellen ex plains that over the years Sarah learned to verbally communicate after Ellen studied the nonverbal data gathered and built patterns of meaning through them.Also Ellen explains that Sarah later became curious about Toronto and eventually desired to become closer to her. She thinks this change was an early manifestation of maternal erotic transference and discovered that Sarah was missing a developmental phase in her development that allowed her to verbalize what she was feeling. After a lot of time Sarah was able to start to verbalize what he was experiencing inside but later came to the realization that she was not able to â€Å"feel†. This began a request for Ellen Toronto to help her feel things. Sarah explained that the only way she could begin to feel is if Ellen held her hand.Ellen believing that this may have been the only way to help her experience some sort of emotion, in which after years had never shed one tear. Sarah reached out for her hand and Ellen decided to ta ke it. This eventually became more and more uncomfortable for the both of them and they eventually agreed to stop holding hands during the sessions. Ellen explains that she was feeling guilty for breaking the â€Å"no-touching† rule but that she was uncertain of a much more presence of fear that seemed to be shared by the both of them. Even though the decision was mutual, Sarah continued to ask to hold Allen's hand, at almost every session.With refusal of Ellen to do so she eventually was able to come to the conclusion that she could help Sarah with some but not all of her needs. Sarah eventually became more and more verbal in her disruption of what she was feeling and later went on to develop a way of expressing her moods by expressing various â€Å"selves†. CONCLUSION Ellen Toronto did a fantastic Job of conveying both sides of the issue of physical contact used as a form of therapy. Reports of what reactions each patient had and more interestingly what reactions she herself had to the possible introduction of physical activity between patient and therapist was eye opening.Even though each case study was unique, Ellen was able to assess the possible dangers of introducing physical contact into each individual therapy session. She was able to possess complete control over the situation when physical contact was initiated by Cynthia, he second case study patient and when physical contact was verbalized by Nick, her first case study patient. However, physical contact was made between herself and Sarah, the other case study patient. The effects deemed to be far more emotionally influential than she had expected.Ellen postured herself as the parental figure in this case more so than in the other case due to the emotional intelligence level of the patient. Her decision to take Sarah's hand that day was a decision that came from a long relationship between the two and slow emotional development of the patient. Ellen conveys that she had done all that she could do and that maybe this would help. Although Toronto felt it may have been a bad choice at first, the article later explains how the developmental process with Sarah continued to change and gradually got better.In each study done, help was ultimately administered. With case study 1, Nick was treated fairly and humanly, despite the inappropriate fertilization he decided to share with Ellen. Cynthia was given boundaries and a safe haven and ultimately was able deal with things in a healthier way. Sarah's case as the only situation where it seemed Ellen Toronto became emotionally invested. Toronto was verbally asked to participate on multiple occasions prior to her decision to hold Sarah's hand.The other two cases involved nonverbal communication regarding physical touching, Nick sitting closer, Cynthia initiating a hug. Sarah insisted that holding her hand would help. Was Ellen manipulated into making the decision to break the â€Å"no-touch† rule? After doing so Ellen expressed regret for this decision. It's not wrong that she used this form of therapy as treatment, but she old have possibly been emotionally invested more so than she realized which is why the decision was made to hold her hand and why it was also increasingly uncomfortable after doing so.Maybe if so much time had not gone by before this decision was made to touch, Torso's decision would have been different. The effect of this decision was confusion on both parts, as described earlier as being increasingly uncomfortable. This attempt at analyzing human beings with all forms of communication as we know it can definitely create unforeseen challenges and difficulties. Patients and therapists alike are human beings that come with individual feelings and perceptions.More case studies should be done on people that do not have serious mental issues or anything major pending in their lives. How would it affect someone who is Just dealing with everyday issues like marriage, bills, or rais ing children? Would the report reflect that a short hand shake or hug during a therapy session could make them feel any more dependent on their therapist or would it help to comfort someone dealing with the pressures of life? What would this type of search do to help cultures that do not touch ever in their everyday interactions with one another?Would touching during family counseling sessions help bridge the gap between conflicted family members or would it cause more uncomfortable feelings between each other? Studies like these could be done on people that have been confined in Jail because they have problems keeping their hands to themselves. Boundaries could be established and maybe victims of child molesters could become rehabilitated instead of Just another statistic. With this said, psychoanalytic psychology has a long way to go in the development of incorporating physical immunization into the therapy session.

Understand Child and Young Person Essay - 1816 Words

Unit 10 Understand the expected pattern of development for children and young people from birth - 19 years. 1.1 Physical Development, Communication and Intellectual development. Social, emotional and behavioural development. All babies, children and young people follow the same pattern when it comes to development but each person is unique. Every day they will grow, develop and learn at there own pace but following a similar basic pattern in their sequence of development. A child’s development can be measured through social, emotional, intellectual, physical and language developmental milestones. This is the Holistic Process when dealing with every aspect of the child and their environment. 1.2 The best way in which to describe†¦show more content†¦Ã¢â‚¬ ¢ Controls feet, legs and arms. †¢ Responds to own name. †¢ Is mobile and may be able to crawl, bum shuffle or even walk (dependent on child) †¢ Hold and Throws objects †¢ Will respond to simple instructions and may follow them. †¢ Is unintentionally aggressive to other children due to their egocentric behaviour. For example, all toys belong to them. †¢ May say first real word †¢ Develops gross motor skills; walking, running, climbing. 1-2 Years †¢ Will enjoy lights, sounds ,music and colours. Will sing and copy actions to rhymes. †¢ Is very mobile and will walk unaided. Develops their gross motor skills and enjoys to walk, run and climb. Can climb the stairs unaided and come down them with help. †¢ Will try to feed themselves and hold their own cup. †¢ Repeats words and may try to put them together to form a sentence. By 2 years will have a vocabulary of approximately 200 words. †¢ Has emotional outbursts and will want to get their own way. Will not like been told no. †¢ Has longer concentration when playing. Will put together puzzles and start to play with others happily although will still want all toys to be theirs. †¢ Becomes more independent and will want to dress themselves and undress themselves. (this is more towards the 18+ month stage) †¢ May be able to use the potty but have difficulty staying dry. †¢ Will have a full set of teeth 2-3 Years †¢Show MoreRelatedUnderstand Child Young Person Development7660 Words   |  31 PagesOverview Introduction This assignment is intended to provide evidence of a candidate’s knowledge and understanding of children and young people’s development birth to 19 years. By completing all tasks within the assignment, the candidate will provide evidence that meets the Learning Outcomes and assessment criteria for Unit 022, Understand Child and Young Person Development. Tasks There are five tasks to this assignment. A Complete tables; Questions B Complete table; Report C Report D ReportRead MoreUnderstand Child and Young Person Development1799 Words   |  8 PagesUnderstand Child and Young Person Development Sequence and Rate of Each Aspect of Development and the Importance of Them When looking at and discussing a child’s development, you have to remember that all children are different and grow at different rates. Every child will follow the same sequence but they may not necessarily do it at the same time as each other. For example, you could have two, 6 month old babies, 1 could already be able to crawl, and the other 1 may not have mastered it yetRead MoreUnderstand Child and Young Person Development7997 Words   |  32 PagesCYP CORE 3.1 UNDERSTAND CHILD AND YOUNG PERSON DEVELOPMENT 1.1 EXPLAIN THE SEQUENCE AND RATE OF EACH ASPECT OF DEVELOPMENT FROM BIRTH -19 YEARS. 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All activities should be available to everyone, and particular activities are targeted at specific children, you must alsoRead MoreUnderstand Child and Young Person Development Essays3711 Words   |  15 PagesAssignment 023 Understand Child and Young Person Development Task A A1 Table 1: Physical Development Age Range | Explain the sequence and rate of development | 0-3 months | Babies at birth have learntRead More023 Understand Child and Young Person development6353 Words   |  26 PagesAssignment 023 Understand Child and Young Person Development Table 1: Physical development Age range Explain the sequence and rate of development 0-3 months When born, babies show innate reflexes, such as swallowing and sucking, rooting reflex, grasp reflex, startle reflex, walking and standing reflex; in the first month babies become less curled up and the startle reflex is starting to fade; toward the end of the third month babies start lifting and turning their heads. 3-6 months Read MoreUnit 506 Understand Child And Young Person Development1727 Words   |  7 PagesUnit 506 Understand Child and Young Person Development When looking at and discussing a child’s development, you have to remember that all children are different and grow at different rates. Every child will follow the same sequence but they may not necessarily do it at the same time as each other. For example, you could have two, 6 month old babies, 1 could already be able to crawl, and the other 1 may not have mastered it yet and may not until they are a bit older. You must remember that your childRead MoreUnderstand Child Development and Young Person Development - 1.12161 Words   |  9 PagesCACHE Level 3 Diploma for the Children and Young People’s Workforce (QCF) Unit Ref: L/601/1693 CYP Core 3.1: Understand Child Development and Young Person Development Rosanna King Learning Outcome 1: Understand the expected pattern of development for children and young people from birth – 19 years. Assessment Criteria 1.1: Explain the sequence and rate of each aspect of development from birth – 19 years. Answer to 1.1: Below I have explained the sequence and rate of each developmentRead MoreEssay on Assignment 023 Understand Child and Young Person Development1701 Words   |  7 PagesAssignment 023 Understand Child and Young Person Development Task B Complete table, research and report B2 Produce a report to demonstrate your knowledge and understanding of differing theories of development. This report should identify how these theories have influenced current practice and include the following: Cognitive Psychoanalytical Humanist Social learning Operant conditioning Behaviourist Social pedagogy (Ref 2.3) DIFFERING THEORIES OF DEVELOPMENT There areRead MoreUnit Cyp 3.1 Understand Child and Young Person Development2367 Words   |  10 PagesUnit CYP 3.1: Understand Child and Young Person Development LO1: 1.1 |0 –  6 months |  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Expected pattern of child development | |Physical |At birth babies lie on their backs with the head to one side by 6months a baby can roll from lying on their back to their stomach.