UNDERSTAND PERSON-CENTRED APPROACHES IN ADULT SOCIAL CARE...

UNDERSTAND PERSON-CENTRED APPROACHES IN ADULT SOCIAL CARE SETTINGS 1.1 DESCRIBE PERSON CENTRED APPROACHES Person-centred is about providing care and support that is centred or focused on the individual and their needs. We are all individual and just because two people might have the same medical condition, for example, Dementia, it doesn’t mean that they require the same care and support. You will need to develop a clear understanding about the individuals you are working with. This includes their needs, their culture, their means of communication, their likes and dislikes, their family and other professionals’ involvement so you can promote and provide person centred care and support. There are eight person centred values that support†¦show more content†¦It is important not to stereotype or make guesses about individuals and their needs. Respect: Is showing an individual you will support them in what they believe is important, whatever their age, culture, disability, gender, belief or sexual orientation. When working with other people or professionals, never ignore the individuals you are supporting. Always include them in the conversation, irrespective of the subject? Never use a term of endearment, for example, calling an individual â€Å"love† or â€Å"dear†, without asking them what name they would like to be called. Some people dislike terms of endearment, others will approve as it is part of their everyday language. Either way, we can never assume it is acceptable and it is essential to always check when you first meet. Rights: Individuals you care for and support should continue to have the same rights as when they were living independently. Each individual you support has the right to say no, the right to have a relationship, the right to have a say about how they are supported. They have a right to choose what they eat and when, how they dress and when. They have the right to choose their friends and what they want to do with their time. Partnership: Working in partnership with other professionals, with colleagues, families

You Bet Gambling Is Addictive - 3189 Words

You Bet Gambling Is Addictive By Shanaz Rahim Gambling is common and prevalent in society due to it being a source of revenue for the government and also a pioneering force in tourism and entertainment. This entertainment, however, can lead to prolonged or progressive gambling known as pathological gambling (PG), which the American Psychiatric Association (APA) labels as an impulse disorder in the fourth edition of the Diagnostic and Statistical Manual of Psychiatric Disorder. This edition of the manual, DSM-IV-TR, provides a widely accepted definition of PG as persistent and recurrent maladaptive gambling behavior that â€Å"disrupts personal, family, or vocational pursuits† (APA 2000). The diagnostic criteria established by the APA in the DSM-IV-TR are that a person is a pathological gambler if he or she agrees with five or more of the following behaviors: 1. as gambling progressed, became more and more preoccupied with reliving past gambling experiences, studying a gambling system, planning the next gambling venture, or thinking of ways to get money 2. needed to gamble with more and more money in order to achieve the desired excitement 3. became restless or irritable when attempting to cut down or stop gambling 4. gambled as a way of escaping from problems or intolerable feeling states 5. after losing money gambling, would often return another day in order to get even (chasing one s losses) 6. lied to family, employer, or therapist to protect and conceal theShow MoreRelatedEssay about Gambling599 Words   |  3 Pages Gambling has effected many people I know in a negative way and the problem is getting increasingly more serious due to the large amount of young adults who are starting to gamble. 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Meditative Rose free essay sample

He was born in Figueres, Spain in the year 1904 and died in 1982. He can be considered to be one of the truly great all-rounders in the arena of Arts as he excelled in an expansive artistic repertoire included film, sculpture and photography (â€Å"Meditative Rose†). Considered to be highly imaginative, he had an eternal urge draw the attention of others to himself. His painting skills are often attributed to the Renaissance Masters. Dali was best known for his striking and bizarre images. Dali employed extensive symbolism in his works, the most often employed being elephants, eggs and watches. His painting, ‘Rose meditative’, done during 1958, is a rare deviation from his favorite theme of surrealism. This is an oil-on-canvas painting, measuring 36 cm * 28 cm. The single rose without stem, suspended in air, is suggestive of contemplative meditation. Description A single rose, in brilliant red color, without its stem, is seen suspended in mid-air. The sky, in typical blue with silver clouds, occupies most of the space in the display with the rose situated in the center. We will write a custom essay sample on Meditative Rose or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The landscape is at the lower end of the painting; it is presented in a dwarfing and dreary manner. With the rose painted on a massive scale, two tiny figures, standing close together, are visible on the ground. The shadows of the tiny figures are seen stretching across. Analysis The rose’s presence is deliberately ambiguous; one wonders whether the rose is real! Does it really exist or is it an imagination? The title, Rose Meditative’, raises a question on the observer’s relation to the nose. Probably, the rose may meditate or contemplate us. As we look and study it, we may be seen contemplating it. Thus, a strange mutual thinking relationship can be seen. Streaks of the Hindu philosophy come into play as we can see the rose as suspended ‘Om’. Also, the brilliant red color of the rose can be interpreted as auspicious, again, a Hindu-based strong belief (â€Å"Aaron art prints: Meditative Rose†). This brilliant red color comes as a stunning contrast against the blue sky dotted with silver clouds. When we go down lower to the landscape, one notes the dull warm earth tones. Seen in the background is the yellow-colored horizon rising above the landscape. Interpretation While interpreting the painting, it would be worthwhile to understand the experience of Dali when he did the painting. He had broken away from the surrealists and had become even more intensely individualistic person (â€Å"Rose Meditative†). All the art work done during this period tends to reflect this aspect by being unique in their category. Dali’s main theme on ‘rose meditative’ can be interpreted as an effort to bring an order to a state of delirium and hallucination. In other words, describing a dream in a vivid style, while being fully awake! Dali himself called this method a simulated madness. The images can be considered to be visual paradoxes: in this painting, the rose is of an abnormally large size, the construction of the skyline, the rose and the landscape are incongruous. Through these ambiguous facets, Dali is successful in bringing out mystical and chaotic aesthetic elements as the most striking features in his paintings. Conclusion Salvador Dali, the surrealist painter, stands unique in the methods he adopted to combine mystical and chaotic elements with some real situations. Rose Meditative’ is one of his masterpieces, is extraordinary in its vivid style of portraying the three different elements of nature, namely, the sky, the land and the plants in three different colors. The clear blue sky may represent the joys of one’s life and the gloomy landscape, the sorrows of one’s life.

Ego, faith and Yuri Lubimov Essay Example For Students

Ego, faith and Yuri Lubimov Essay Some 10 years or so ago, a friend, returning from Russia to England where I live, told me he had seen a great production of The Three Sisters directed by Yuri Lubimov at the Taganka Theatre in Moscow. The action was split among three platforms, and sometimes the actors spoke simultaneously on all three. At the end of the play, the side wall of the stage rose to reveal, outside, Moscow lit up at night, the dream city the sisters long for but will never get to. I thought that such tampering with Chekhov could only be done by a director with such an ego it couldnt possibly be transcended by the production. Shortly after, Lubimov came to London to mount his own adaptation of Dostoevskys Crime and Punishment. In a newspaper interview, he said he was finding it difficult to direct outside his own group of actors at the Taganka, not only because he couldnt speak English and the English actors couldnt understand Russian, but because he knew nothing about the beliefs of the actorsfor instance, were they, actors in a profoundly Christian play, themselves practicing Christians? That he should require his actors to be in their lives what they played on the stage struck me as dangerously manipulative. But, finally, curiosity about how Lubimov realized his religious beliefs on the stage compelled me to go. And the production roused in me, a non-believer, something that I cannot imagine any contemporaneous religious rite rousinga sense of overwhelming compassion for the suffering world. This was 1983. The year before, Lubimovs production of Pushkins verse drama Boris Godunov had been banned in Moscow as subversive. In London, he announced he would not return to the U.S.S.R., and a year later his Soviet citizenship was lifted, in retaliation, by the Communist authorities. He went on working in the West. In London, he directed his own adaptation of Dostoevskys The Possessed. The production seemed hysterical, and I found myself resisting, until, tears suddenly welling into my eyes, I couldnt but give in. In 1985, when I went to Moscow, the great theatre historian Constantine Rudnitsky told me all Russian theatregoers were grieving the absence of Lubimovas great a director, he believed, as Meyerhold or Stanislavsky. The Taganka was not worth going to. But Lubimovs supporters kept his office there just as he had left it, his jacket still over his chair, waiting for his return, as impossible as it seemed. It had to be admitted: He was a very difficult man. In 1987, when I returned to Moscow, friends asked if I had any news of Lubimov. He had, I said, been invited by Covent Garden to direct Wagners The Ring, but his production of the first of the operas, Das Rheingold, had been so badly received by the critics, hed left. He lived in Israel now. The possibility of his returning to Moscow seemed more remote than ever, as he had signed a letter which denounced Gorbachevs reforms as mere window-dressing. I was told, sadly, that his jacket was still hanging on the back of his office chair at the Taganka. One day in Moscow I met Lubimovs ex-assistant, who told me enthusiastically that Lubimovs Boris Godunov was going to be revived at the Taganka in defiance of the official ban. She got me a ticket. In the Metro station nearest the theatre I was accosted by ticket-seekers, and felt guilty about not simply giving mine to a Russian. The night was cold with deep snow, and there was a dark, intense crowd pressing in on the modern brick theatre. The bare auditorium was packed in a way that fire regulations would never allow in the Westpeople sitting on aisle steps, on a ledge along a wall so high I saw them hiking one another up to get up to it. Squabbles erupted over seating. The empty stage appeared vast in the darkness. .ua747699ead117bfc6b39e79ed00b60ae , .ua747699ead117bfc6b39e79ed00b60ae .postImageUrl , .ua747699ead117bfc6b39e79ed00b60ae .centered-text-area { min-height: 80px; position: relative; } .ua747699ead117bfc6b39e79ed00b60ae , .ua747699ead117bfc6b39e79ed00b60ae:hover , .ua747699ead117bfc6b39e79ed00b60ae:visited , .ua747699ead117bfc6b39e79ed00b60ae:active { border:0!important; } .ua747699ead117bfc6b39e79ed00b60ae .clearfix:after { content: ""; display: table; clear: both; } .ua747699ead117bfc6b39e79ed00b60ae { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ua747699ead117bfc6b39e79ed00b60ae:active , .ua747699ead117bfc6b39e79ed00b60ae:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ua747699ead117bfc6b39e79ed00b60ae .centered-text-area { width: 100%; position: relative ; } .ua747699ead117bfc6b39e79ed00b60ae .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ua747699ead117bfc6b39e79ed00b60ae .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ua747699ead117bfc6b39e79ed00b60ae .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ua747699ead117bfc6b39e79ed00b60ae:hover .ctaButton { background-color: #34495E!important; } .ua747699ead117bfc6b39e79ed00b60ae .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ua747699ead117bfc6b39e79ed00b60ae .ua747699ead117bfc6b39e79ed00b60ae-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ua747699ead117bfc6b39e79ed00b60ae:after { content: ""; display: block; clear: both; } READ: Examine the role of the Inspector Goole EssayPushkins play, notoriously difficult to perform, seemed to occur in that darkness. In the back wall were rows of windows at which the actors appeared and disappeared, opening and slamming shutters. There were few props, the most used being an old bucket an actor from time to time held up to his mouth to give a haunting echo to his voice. Boris died and was borne in procession on a plank. It was not an opera, but I, hardly understanding, listened to the voices as if they were music. The most telling image was that of little barefoot boys in white smocks whose innocence in the midst of darkness called out for help beyond our helpl essness. Wasnt the official image of Soviet Russia that of men and women who were in no way helplessmen and women who, with hammers and sickles, worked to create their new world, with the confidence of believing there was no power greater than their power? No wonder that this production, in which people were utterly helpless, had been banned. But the ban was lifted on the play, and a year later Lubimov was back in Moscow, presumably wearing the jacket he had left on the chair. He reconstructed his production of Boris Godunov, then, in 1989, put on Mozhayevs Still Alive, which had been banned since 1969 and was for Lubimov a statement of his freedom to put on plays of his choice. And with such freedom as he now has, I am told by friends in Moscow that his theatre has lost its impact. It did have its impact, however, and no doubt his ego was a necessary component of that force. Ironically, though, the greatest impact Lubimov was capable of came from his ability to transcend his ego in directing plays as an expression of his religious faith. That an artist should bring his religious faith to bear on a work of art in such a powerful way is a revelation; it is, I think, the stuff of revolution. This is dangerousvery dangerousand could utterly destroy the work by imposing upon it, as was imposed on all of Russia, a doctrine of belief. But the productions I saw could not have risen to the heights they did without Lubimov risking the danger. No one has demonstrated to me more clearly the difference between mere commercial entertainment and spiritual enlightenment in the world of the arts, and made me more aware of our need, in our darkness, for such enlightenment.