Your Team assignment submittal is a paper which is to be 12 â 15 pages, double spaced, – 1980 following APA guidelines for a formal paper (e.g., title page, headings, font, spacing, etc.).
Selected Movie: Ordinary People- 1980
Section I (Background/History; ecological system)
Section II (Diagnosis and Justification, ecological systems, and strengths)
Section III (Causal and maintenance factors, biopsychosocial model)
Section IV(Treatment plan, legal/ethical)
I was assigned to do Section II
Section II(Diagnosis and Justification, ecological systems, and strengths):
- For the client chosen in your particular movie (Ordinary People), provide a complete and accurate diagnosis. Give code, diagnosis, and relevant descriptors and specifier(s). * Please note
that you must come to a consensus within your team as you will be turning in one copy of this exam to the professor with all of the names from the team listed on the title page. (Think about this from the perspective of being a member of an interdisciplinary treatment team.)
- Make sure to justify your diagnosis by linking the specific symptoms to the criteria
they satisfy.
- Identify and describe the characterâs ecological system (e.g., do they have a job, family,
friends, hobbies, religion, spirituality, etc.). Identify/list any client strengths across the
ecological spectrum (micro-macro) that you can utilize to help build a successful
treatment plan. Here are a few examples.
Client Strengths
-high cognitive function (micro) -recognizes problem (micro)
-high initiative for seeking help (micro) -girlfriend is supportive(messo)
-healthy family bonds (messo) -mental health insurance (macro)
Sample Solution
petition across both statements show how standards morph into expectations and misunderstanding, a misunderstanding de Kooning would try to reconcile through his painting. Both generalization and contradiction draw credibility away from Hessâs and Elaine de Kooningâs statements, which leaves the viewer to question and search for a more comprehensive response, similar to that offered by Crehan which goes even further to paint a picture of an artist lost in self-exploration. It is not enough to chalk de Kooningâs Women Series up to a critique of the 1950s woman, de Kooningâs critique of the 1950s can only be understood as a part of de Kooningâs larger soul searching journey, a journey that would force the artist to find a way to express his subconscious on canvas. In an essay titled, âWhat Abstract Art means to meâ de Kooning illuminates the psychological aspect of his art, â I know there is a terrific idea there somewhere, but whenever I want to get into it, I get a feeling of apathy and want to lie down and go to sleep.â4. De Kooning seems to begin the process of self-reflection through painting with excitement, with a vision for the end, one of clarity and transcendence, but somewhere in the realization of this dream is confronted with his own ideas, expectations, and past. Hubert Crehan mentions the such a confrontation with the past in his response to the Woman Series, âThey are psychological rather than iconographic symbolsâ¦De Kooningâ¦has been traumatized by the subjectâ3, Elaine de Kooning adds a statement about the artistâs mother, ââBillâs own mother, who is in her early eighties, is a real doll, but she has a ferocious aspect.ââ3. While there is no explicit trauma mentioned by the artist or his ex-wife, one can surmise that de Kooningâs own mother contributed to his understanding about women and their âplaceâ, but maybe even more important his âplaceâ in relation to a âwomanâs>
petition across both statements show how standards morph into expectations and misunderstanding, a misunderstanding de Kooning would try to reconcile through his painting. Both generalization and contradiction draw credibility away from Hessâs and Elaine de Kooningâs statements, which leaves the viewer to question and search for a more comprehensive response, similar to that offered by Crehan which goes even further to paint a picture of an artist lost in self-exploration. It is not enough to chalk de Kooningâs Women Series up to a critique of the 1950s woman, de Kooningâs critique of the 1950s can only be understood as a part of de Kooningâs larger soul searching journey, a journey that would force the artist to find a way to express his subconscious on canvas. In an essay titled, âWhat Abstract Art means to meâ de Kooning illuminates the psychological aspect of his art, â I know there is a terrific idea there somewhere, but whenever I want to get into it, I get a feeling of apathy and want to lie down and go to sleep.â4. De Kooning seems to begin the process of self-reflection through painting with excitement, with a vision for the end, one of clarity and transcendence, but somewhere in the realization of this dream is confronted with his own ideas, expectations, and past. Hubert Crehan mentions the such a confrontation with the past in his response to the Woman Series, âThey are psychological rather than iconographic symbolsâ¦De Kooningâ¦has been traumatized by the subjectâ3, Elaine de Kooning adds a statement about the artistâs mother, ââBillâs own mother, who is in her early eighties, is a real doll, but she has a ferocious aspect.ââ3. While there is no explicit trauma mentioned by the artist or his ex-wife, one can surmise that de Kooningâs own mother contributed to his understanding about women and their âplaceâ, but maybe even more important his âplaceâ in relation to a âwomanâs>
