Observation Of Professional Social Work Practice

Observation Of Professional Social Work Practice Multidisciplinary working is work undertaken jointly by workers and professionals from different disciplines or occupations Pearson Thomas 2010:342 and it has evolved at varying speeds over the past 30 years or so in response to imperatives of central government. Mental health was among the first professions to adopt teams of workers from different professions. The community mental health team is widely regarded as the model for multi-disciplinary working. (Community Care, 2010). Relating this to social work the distinctive quality is demonstrating a holistic approach, by working with a range of situations, people and having an attribute for developing multi-disciplinary and partnerships,(Higham,2006:) c The crisis centre is run by a Local Council and NHS Trust based in a local community. Which corresponds with the 1975 White Paper Better Services for Mentally Ill, professions working together to provide a community based service. (Scie, 2010) The crisis centre provides beds for four adults suffering a mental health, social crisis, who have been referred to them by the Crisis Resolution Home Treatment Team, the service users for instance can be referred from in their home or accident and emergency. Next they complete an assessment inline with local authority guidelines and procedures, then produce a care plan and risk assessment. If they decide the service user is in crisis and cant return home, then they contact the crisis centre for a place with the goal of leaving the centre after the crisis, normally within two weeks. Once the service user is placed, there are numerous methods of contacts from the Crisis Resolution Home Treatment Team and social workers through emails, phone call s and visits. During this observation multidisciplinary working was witnessed between the crisis centre staff and the Crisis Resolution Home Treatment Team about a service user already in the centre through a phone call. The crisis resolution home treatment team seemed to be following the National Occupational Standards key roles section three, by supporting the individual, representing their needs, views and circumstances by acting as an advocate (Higham 2006: 98) as they were informing the crisis centre of what was happening. The crisis centre staff were asking questions in a way that was treating the service user as an individual by listening to their individual case, respecting and maintaining dignity by only asking questions relevant to the crisis centres needs and criteria. They also spoke clearly and discussed the dynamics of other service users (respecting confidentiality) already in the centre declaring any conflict or positive interactions that had arisen since their last visit (GSCC,201 0).These skills are fundamental to social work practice as they are valuing the individual and having a holistic approach. Furthermore, in the 1990s new labour recognised that problems cannot be addresses by people and organisations working in isolation. So the Department of Health 1998 introduced the white paper Modernising Social Services, which had multi-disciplinary working as a key objective. (Wilson, et, al, 2008:388). In 2000 No secrets actively promoted that multidisciplinary teams, empower and promote well-being of vulnerable adults, through the services they provide and the need to act in a way, which supports the rights of the individual to lead to independence. (Department of Health 2000) This was observed, by the service user, crisis centre and Crisis Resolution Home Treatment Team via staff communicating frequently throughout the day and providing an environment where service users can come and go freely, yet still have support, during their crisis, they were also encouraged to cook and clean for themselves .This was seen during the observation also in Tony Ryans (2010) evaluation of crisis centre and Crisis Resolution Home Treatment Team, asked service users what they valued best about their stay, their responses I was on the lowest rung of the ladder in terms of depression and self esteem. Now I can cook and iron. It has restored my get up and go. and It is given me a sense of life back and helped me to find myself. I couldnt have gone on any longer. Staff have taught me to cope better and manage my panic attacks. This demonstrates partnership working with the service user and multidisciplinary working. The White Paper Our health, our care, our say also emphasises the importance of people having more control over their lives and access to responsive, preventative services by working together in multidisciplinary teams. (Department of Health 2006). The crisis centre fulfils this. Throughout the day through discussions and observation it appeared that the crisis centre staff and Crisis Resolution Home Treatment Team encouraged emancipatory practice by involving the service user in their support which shows good practice also staff were not routinized as each day was different, they discussed how each individual was unique with a unique situation. If social workers become oppressed by working in routines this does not always benefit the service user, it is not good practice and is not fundamental to social work values. An example of this was observed when a member of the Crisis Resolution Home Treatment Team came to the crisis centre and completed a visit with a service user. During her visit to the crisis centre she was constantly contacted from her office through phone calls, one of which was a new service user needing to be assessed urgently, she had already one visit booked in after the crisis centre, but had to re -evaluate her cases as the new referral wa s seen to be more of a priority. She did this by speaking to her manager on the phone and re -arranging for another colleague to see her service user and then asked the office to let the service user know about this change. The above paragraph demonstrates multidisciplinary working and partnership working with the service users are fundamental and collaboration is needed for social work and the interpretation from the staff involved demonstrates good practice. To show the importance of partnership working with service users in the crisis centre Tony Ryan (2010) completed a service evaluation of the crisis centre and Crisis Resolution Home Treatment Team, they asked service users how they felt about staff. Service users responses Any questions or anything you are upset over, you can go and ask the staff and Staff are very supportive and help sort problems out. As social work is about working with people to help them to sort their problems out. Also each individual brings unique skills and experience into the working professional relationship. (Thompson. N. Thompson, S. 2008:24) So far this essay has demonstrated positive multidisciplinary working through observation at the crisis centre. However, in reality multidisciplinary working can be negative and can be totally dysfunctional. As when a group of diverse people with varied skills come together into a team, things dont always go smoothly. (Community Care, 2010) Cree, 2003:163 believes that multidisciplinary working can be positive but also frustrating, isolating and difficult. (Dalrymple Burke 2006:139) Wilson et al (2008) also agrees multi disciplinary working does not always work effectively and such failures have been documented in such finding of Victoria Climbie enquiry and baby Peter, lastly Thompson (2005) believes that multidisciplinary can do more harm than good and can make situations worse. During the course of the day it was bought to attention through a staff handover that one of the service users in the crisis centre had at first experienced a positive interaction of multidisciplinary practice, but sadly it turned into a negative experience. Conquesenlty, this seemed due to the breakdown of communication between multidisciplinary teams such as his social worker, Crisis Resolution Home Treatment Team, crisis centre staff and medical staff. According to Thompson (2009) without effective communication the notion of multidisciplinary becomes unobtainable. Staff at the crisis centre believed it was due to lack of budgets and lack of communication. During this handover reflective practice was witnessed, as, as a team they spoke about what, why and how things had gone wrong for the service user and how they could approach the situation to get the best outcome for the service user. The staff at the crisis centre spoke about how they valued supervision meetings as it gave them the chance to voice any concerns they had and also gave the manger chance to deal with any systematic practice that was leading the staff to become unfocused. (Thompson. N. Thompson, S. 2008). As supervision meetings demonstrate good practice and in social work codes of practice, developing ones self through development opportunities to strengthen skills and knowledge. This essay has demonstrated through observation that it is important to work with other professionals as one person cannot solve another persons problems and dilemmas alone (Thompson. N. Thompson, S. 2008:19) and that multidisciplinary working is a fact of live for social workers and many other professionals also, this essay showed a balance outlook on multidisciplinary working as it has positive and negative points.

Epic Conventions Essay

1. The story beings in medias res. In Medias Res is Latin for â€Å"it begins in the middle of things† and then has flashbacks to explain action leading up to that point. In Paradise Lost, for example, the story begins after Satan and his fellow rebellious angels have been cast from heaven, by God, into Hell. The war in heaven has taken place and Satan is making plans for the ruination of the coming realm of men, Earth, particularly Eden and God’s new creatures, Adam and Eve. 2. The story begins with an invocation (prayer) to a god or gods. The poet, Milton, attempts to recapture the Homeric tradition of reciting an epic poem to an audience, say at a feast. To that end he begins by calling for a blessing – for the Christian god whom he refers to in pagan terms as the â€Å"Heav’nly Muse,† Milton invokes the pagan ideology that the called upon god or muse came into the man therefore it was not the poet who recited, but the god in the poet’s body. Poet’s, then, were considered very sacred, for they could call down a god and have the god in them, at least temporarily. We continue to have the remnants of this belief, of course. We often think of poets or of any true artist as being different or touched by a special hand. In the case of the beginning of Paradise Lost, the poet says something like â€Å"Sing Heav’nly Muse†¦ say first what cause moved our grand parents in that happy state †¦ to fall off from their creator† 3. The story begins with a statement of theme. Always, because these poems are so long and so complex, although the basic stories would have been familiar to the audiences, the poet would begin with announcing what the recitation was to be about. That way, everyone could focus on and appreciate, not so much WHAT was being said, but the WAY THAT IT WAS PRESENTED. In essence, Milton’s Paradise Lost retells the story of Genesis but presents it as an epic poem. We are no stranger to that concept; we go to concerts where we may already know all of the song. So, we go to hear the presentation of the songs, which add to our concepts of the meaning and significance of those songs. 4. The story has many epithets. These epithets are re-naming of the characters, gods, or things by stock phrases. An example is the renaming of Satan as â€Å"th’ Arch-Enemy†, â€Å"th’ apostate angel†, â€Å"O Prince† or â€Å"O Chief of many throned Powers† and even â€Å"fall’n Cherub. † It is important for us to notice these epithets, first, because they add description, and second, because we get confused about who is doing what if we do not recognize the epithets as well as the names. 5. The story uses catalogues of things and characters; there are many lists, both long and short. Just as the Old Testament has catalogues of genealogies – you remember all those begets – just so do ancient epics keep track of the lists of history. In both Book One and Book Two of Paradise Lost, for example, there is a list of the principal angels who fell from grace as Satan’s compatriots. Also listed are their various names and places where they will be worshipped as gods of pagan faiths. 6. There are long formal speeches by many characters. You will not have any trouble spotting these. Sometimes they happen in the heat of battle and other seemingly inappropriate times, but more often they occur at various kinds of meetings, as in an assembly of chieftains. Book One of Paradise Lost is filled with such formal speeches, key among them Satan’s with his famous line â€Å"better to reign in Hell, than serve in Heav’n. † 7. Gods intervene in the affairs of human beings in these stories. For example, in Book Seven of Paradise Lost, Cherubim, Ithuriel and Zephon, sent by God to Eden, find Satan, â€Å"squat like a toad, close at the ear of Eve. † They confront him before more damage is done in terms of corrupting Eve. 8. Epics frequently have epic digressions. These are passages that do not further the action of the story because they are asides or because they are repetitions. Remember that these recitations did not have TV replay shots. The audience had to remember a vast amount of material, so redundancy or reminding them of background material would have been helpful to them. For example, In Book Seven of paradise Lost, Adam’s conversation with the angel Raphael becomes, in some instances, a recounting of Genesis and even digresses into the topic of angel’s mating habits. Yet another use for the digression is to provide a prologue of sorts, as an introduction seems overlooked due to the epic convention of beginning the poem in medias res. Also this aside more firmly orients the poem’s audience, given its vast setting, the cosmos. 9. The settings of these stories are vast. Paradise Lost is concerned with the mortal geocentric universe, from Hell to Chaos to the Earthly and Heavenly planes. The stories use the epic simile. An epic simile is a long comparison of two things that are in different classes. They make vivid an image and describes or clarifies. An example can be found in the extensive comparison of Satan, a fallen angel formerly the epitome of celestial light and beauty, to one of the Titans Briareos, whom led the revolt of the Titans against Zeus. Like Briareos, Satan is a vast creature covered in darkness. He is likened to Leviathan, a sea-beast, concealed in the ocean’s dark depths, or an illusory island hidden in the dark. But the great Leviathan, possibly the whale in Jonah’s unfortunate encounter, can rise from the imprisoning dark or return to it after becoming beached upon shore. Satan rose from the depths of Hell to enter Eden, though he could not of course remain. 10. The heroes embody the values of their civilization. In Milton’s time the medieval practice of physiognomy was still much employed. After Chaucer’s example in the Canterbury Tales, physical facade’s, particularly the face, are believed expressions of a person’s internal moral state. For example, much is made of Satan’s former beauty, an expression of the former purity of his ethical and moral internal being. His former beauty and grace, expressed in terms of light and luster become dim in his confrontation with Ithuriel and Zephon, Cherubim, formerly of a lesser angelic order than Satan, who still in the service of God retain that luminosity of his grace. Paradoxically, the description of Satan as a monstrous, leviathan-like figure is juxtaposed in the poem with his nearly angelic appearance. Fittingly, since Milton’s time, physiognomy has fallen out of usage, as many accept evil and malicious intent often has a comely facade.

Analysis of a Cityscape: Blade Runner

‘Analyse the design of a cityscape in one film or television episode. ’ Nightmare visions of futuristic societies, or dystopias, are a major theme of the sci-fi genre and most post-1970s Hollywood films portraying these worlds embody a ‘crisis in US ideology’ at that time. These sci-fi films usually illustrate issues regarding: ‘environmental pollution, over-population, violent crimes, bureaucratic administration and economic exploitation’. They also represent the unrepresentable, showing us things that we can only otherwise imagine.In this essay I will attempt to explore the labyrinthian landscape of Ridley Scott’s 1982 sci-fi blockbuster Blade Runner, and consider the ways in which it mirrors the social, economic, and political context of the time in which it was made, as well as the socio-ecological consequences of contemporary problems such as war and pollution. I will also further explain how the film’s soundscape is essential to the meaning behind its narrative. The design of sci-fi frequently contains alien planets, foreign bodies, and space-age cityscapes, giving these spectacular fictional worlds an overall glossy, futuristic feel.Blade Runner is a scintillating world with a high-rise landscape, but closer examination reveals that structured within this milieu are metaphors of a dystopian society. Across the top of the skyscrapers are immense neon advertisements and television screens that project messages down for the people to see, showing that this is a world of complete industrialisation. These features provide primarily the main source of light throughout the city. The overall mise-en-scene is obscure and brooding, much like a late 40s and 50s film noir, and the contrast between light and dark here depicts repressed social fears of totalitarian control.The divide in society is evident when we look at the difference between the replicants and the humans. The replicants feel safer on the decayed s treets and adopt working-class lifestyles, for example, Leon works in a run-down hotel, while Zhora works as a stripper in Chinatown. Deckard, in contrast, lives high above the crowded streets, protected by high-tech security devices. Police crafts also hover above, beaming down their probing lights and surveilling the people below. The Cold War period consisted mostly of spying and tense international relations between the US and the Soviet Union.It is almost like Orson Welles’ Big Brother, where no one is free and everyone is constantly being watched by a ruling intellectual force. The theme of paranoia therefore comes into play here; the omnipresence of the police force is a visual motif of corporate power. The superstructures that we see dwarf the smaller, decrepit buildings and crumbling architecture; this binary opposition thus creates a high/low spatial allegory for the lower class- the workers who live below in the post-apocalyptic streets, depressed and dehumanized; and the elite- those who live in high-rise apartments above the rest of the city, benefiting from the labourers.Like in Fritz Lang’s Metropolis (1927), the difference between the elite and the masses is virtually dramatised by this spatial opposition and the concept of the upper class is literalised. The vertical architecture serves as metaphor for a hierarchy of evil power and is a symbol of economic inequality and corruption, intrinsic with a society that is out of kilter. Fears revolving around race, space, and social class are therefore structured within these thematic elements.Figure 1 (page 6) shows the pyramid of the capitalist system of the early 20th century. People of America believed that anyone could become wealthy and enjoy good lives by working hard – this was the American Dream. Sadly, capitalism reared its ugly head and citizens soon discovered that this economic system benefits only those at the top of that pyramid- ‘the winners gain at the expen se of the mass of losers’. It reflects the philosophy of Orthodox Marxism, where economic base determines cultural and political structure. Who then controls this vast city?As stated in Antonio Gramsci’s theory of cultural hegemony, a culturally diverse society can be dominated by one social class, by manipulating the social culture (beliefs, perceptions, values) so that its ruling-class worldview is imposed as the societal norm, which is then perceived as a universally valid ideology beneficial to all of society, but in fact benefits only the ruling class. The biggest and most dominating of structures within this cityscape are in fact two pyramids, home to none other than Eldon Tyrell, head of the Tyrell Corporation.Pyramids are archetypal Egyptian symbols of power and immortality. Rising high up within this city, they denote a future of affluence and progress, and technological triumph. Tyrell’s office is laden with rich items, golden statues and intricately c arved pillars. Yet it is the cinematography techniques here that are key to representing this majestic interior. The warm, golden hues are a stark contrast to the rest of the city that we have been exposed to. The fact that Tyrell’s office is located so high up is an indication that people who live in the highest, most prestigious places are clearly elites.They are at the top of the hierarchical â€Å"pyramids† of economic or political structures- they are the ruling force of society. Since the dropping of the atomic bomb in 1945, science fiction has portrayed dystopias to show the massively destructive capacity of certain scientific developments. These nightmare visions are society’s fears over these developments. Science fiction explores a darker side of science, articulating real fears about advances in areas such as nuclear power or genetic modification.More recently, the Cold War had reached its peak in the 1980s, and the corporate evil seen in Blade Runner echoes a ‘growing weariness of the cold war and anti-communist attitudes that had been festering since the wars in Korea, Vietnam, and later’. The tone of this period of history was incredibly pessimistic, with the continuous danger of nuclear war looming over the world. This cynicism about the future of mankind and of the planet is clearly seen in Blade Runner. ‘The information age was a time where computers and electronics replaced the heavy industry of the modernist period, and political control was applied through mass media.Information became a commodity, and films that portray these spectacles show them as developments that pose challenges to society. They also correspond to contemporary crises developing in the US throughout the 1980s, for example, use of the media to portray political messages’. Anxiety over scientific and technological advancements is central to most science fiction films and is a very apparent theme when examining the cityscape o f Blade Runner; from vast television screens, to vertical strata, to the Voight-Kampff machine.They serve as a warning to society over the compulsion to force science and technology to create what is hoped to be a utopia for all, but in fact ends up dominating everything and everyone to the point where people are no longer free. The final aspect of the design in Blade Runner regards the soundscape of the film. Produced by Greek composer Vangelis, the film’s score owes a lot to the meaning behind its narrative. The film’s genre is part cyber-punk, part film noir, and through orchestral instruments and unique electronic sounds, he creates a sense of eeriness or alienation.Most of the music heard is quite ambient, but rather static with no real drive or pinnacle. However, within this ambient structure is a diverse range of musical styles, for example, Jazz is heard frequently- an old-fashioned film noir effect, stereotypically associated with subjugated urban settings, bu t also more commonly linked to intimate moments, such as the growing love between Deckard and Rachael. However, it is also somewhat melancholic at times and works as a sign of doom, insinuating that things will not end well.A recurring musical symbol is the sound of bells; church bells connote religion, and this is often heard on the top floor of the pyramidal Tyrell building, implying that Tyrell is a powerful, god-like figure. In terms of the film overall, there are very few moments when there is complete silence; even when there is music missing from a scene, sound effects emanating from the environment are usually present, for instance, it constantly rains throughout the film, so rain is heard repeatedly, indicative of the depressed and forlorn atmosphere.The reputable vertical intensity of Los Angeles’ landscape depicts the power relations intrinsic within the cityscape of Blade Runner. It provides us with a picture of decay and abandonment associated with a dystopian wo rld. It is more nightmare than vision, more anxiety than hope, expressing social fears of racial, political, and economic crisis, as well as the perils of advanced technology, whether it be through genetic engineering or a Voight-Kampff invasion of humanity. In the end, it is the verticality of the cityscape which ultimately defines the purpose of Ridley Scott’s arbitrary dystopia. Bibliography Bullock, A. , and Trombley, S. (eds), The New Fontana Dictionary of Modern Thought (Third Edition), Harper Collins, Canada, 1999 Carper, S. , â€Å"Subverting the Disaffected City: Cityscape in Blade Runner† in Retrofitting Blade Runner: Issues in Ridley Scott’s Blade Runner and Philip K. Dick’s Do Androids Dream of Electric Sheep? Judith B. Kerman (ed) Bowling Green, Ohio: Bowling Green University Popular Press, 1991 David Desser, ‘Race, Space, and Class: The Politics of Cityscapes’, in Alien Zone II, p. 82 Heldreth, L. G. and Kerman, J. B. (ed), â₠¬ËœThe Cutting Edges of Blade Runner’ in Retrofitting Blade Runner: Issues in Ridley Scott’s Blade Runner and Philip K.Dick’s Do Androids Dream of Electric Sheep? Bowling Green University Popular Press, Bowling Green, Ohio, 1991 40-52 Kellner, D. , Leibowitz, F. , and Ryan, M. , ‘Blade Runner: A diagnostic critique’, in Jump Cut: A Review of Contemporary Media, no. 29, February 1984 King, G. , and Krzywinska, T. ,Science Fiction Cinema, London: Wallflower Press, 2000 Prince, S. ,Visions of Empire: Political Imagery in Contemporary American Film, Greenwood Publishing Group, New York, 1992 Sammon, Paul M. â€Å"The Making of Blade Runner. † Cinefantastique 12 (1982): 20-47 Stiller, A. and Kerman, J. B. ed) â€Å"The Music in Blade Runner† in Retrofitting Blade Runner: Issues in Ridley Scott’s Blade Runner and Philip K. Dick’s Do Androids Dream of Electric Sheep? University of Wisconsin Press, Wisconsin, 1997. Pages 196-200 Websites Kurt Bullock, Vertical Apocalypse: Altered Noir Cityscape within Blade Runner’s Dystopia: http://soma. sbcc. edu/users/DaVega/FILMST_101/FILMST_101_FILMS/Bladerunner/Vertical%20Apocalypse_Bullock. pdf Fig. 1 taken from http://www. aaronblake. co. uk/blog/2010/03/08/the-pyramid-of-the-capitalist-system/) ‘Paranoia and cynicism in Blade Runner’ in American Cinema: 1960-Present: http://amcinema1960present. ordpress. com/category/second-student-post/page/11/ (Fig. 1) ——————————————– [ 1 ]. Douglas Kellner, Flo Leibowitz, and Michael Ryan, ‘Blade Runner: A diagnostic critique’ from Jump Cut, pp. 6-8 [ 2 ]. Geoff King and Tanya Krzywinska, Science Fiction Cinema, p. 64 [ 3 ]. Ibid, p. 73 [ 4 ]. Sammon, Paul M. â€Å"The Making of Blade Runner†, Cinefantastique: 20-47 [ 5 ]. Kurt Bullock, Vertical Apocalypse: Altered Noir Cityscape within Blade Runner’s Dystopia, p. 1 [ 6 ]. ibid [ 7 ]. David Desser, ‘Race, Space, and Class: The Politics of Cityscapes’, in Alien Zone II, p. 82 [ 8 ].The Pyramid of the Capitalist System- http://www. aaronblake. co. uk/blog/2010/03/08/the-pyramid-of-the-capitalist-system [ 9 ]. Alan Bullock and Stephen Trombley (eds), The New Fontana Dictionary of Modern Thought, pp. 387–88. [ 10 ]. Geoff King and Tanya Krzywinska, Science Fiction Cinema, p. 17 [ 11 ]. ‘Paranoia and cynicism in Blade Runner’ in American Cinema: 1960-Present-http://amcinema1960present. wordpress. com/category/second-student-post/page/11/ [ 12 ]. Stephen Prince, Visions of Empire: Political Imagery in Contemporary American Film, p. 167 [ 13 ]. Leonard Heldreth, ‘The Cutting Edges of Blade Runner’, pp. 40-52

Human Resource Activities and Strategies - 1599 Words

Abstract: Nowadays, human resource management strategies became an essential part in an organization. Just like other strategies as marketing strategies or manufacturing strategies, human resource management strategies is functional strategies and they guide the actions to be taken within a specific function. For example, some HR activities like recruitment, selection training and development are guided by an organization’s HRM strategies. In any organization, functional strategies aim to support the organization’s business strategies. As a result, HRM strategies have to focus on what lines management sees as the major business issues. Strategic Human Resource Management can effectively organize the workforce by the specific strategy,†¦show more content†¦An example from Woolworths Limited is Woolworths Limited is one of the largest employers in Australasia, with more than 191,000 team members working in stores, support offices and distribution centre across Australia and New Zealand. 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