Sleep Observations Related to Potential Errors at Work Report :: essays research papers

Sleep Observations Related to Potential Errors at Work Report   Ã‚  Ã‚  Ã‚  Ã‚  Ladies and Gentlemen better known as board members. This study was conducted to find if there is any correlation between sleep and errors made throughout the day. I took the privilege of making this report because we are in the business of saving lives. Everyone in this medical center wants to help all of our patients to the best of our ability. Over time we have overlooked the responsibility we have to the patients that enter our doors for care. We focus on having our best staff on duty whenever we can, the question I have is†¦ Are we asking our staff to do too much? I know how we all love our job and we feel we can take care of our clients, but the data I have collected and will discuss in this report will show what can happen if we do not get enough sleep.   Ã‚  Ã‚  Ã‚  Ã‚  This is a sample of the data collected from willing participants for this experiment. The participants are college students from a night class at Eastern Michigan University. The students were told to record their sleeping habits on at least five different occasions. The students recorded; the time they got in bed, the amount of time it took them to get to sleep, and how long they slept. The second type of data collected was reactions the next day. When I say reactions, I am talking about their emotional and physical feelings. The students were asked to try to observe their mental errors the next day. The emotional and physical feelings were rated on the scale being –1 as feeling below normal, 0 being normal, and 1 being above normal. Below are some charts to show the distribution of the ratings for the entire class. The graphs show the frequency in which each emotional and physical feeling ratings were observed. The test also recorded days the students observed, their class level, and their gender. The data above is just to get you familiar with exactly what was done in the experiment and the type of data that was collected. The next chart is a comparison of the males versus the females in regards to their average sleep time per night. The chart above shows that on average females get about one more hour of sleep than males do. Who knows why this set of data shows this difference, males might do more partying than the females.

The Language of Slavery in Jane Eyre Essays -- Jane Eyre Bronte Papers

While Bronte’s novel is a story of one woman’s rise from dependant, patriarchal oppression to financial stability and emotional liberation, the narration of that story is often turns to the figurative representation of slavery. Bronte applies the metaphor of slavery to the domestic trials facing British women at the time. Time and again her narrative language turns to this device in order to draw parallels between slavery and other vehicles of oppression, namely gender and class. Just as the majority of issues in the novel are two-sided, the implications of these parallels are two-sided as well. Carl Plasa, Lecturer in English at the University of Wales College of Cardiff, clearly explains the dichotomy in his essay "Silent Revolt": The deployment of a metaphorics of slavery as a way of representing forms of domestic oppression is, from one perspective, both rhetorically powerful and a politically radical maneuver. Yet from another perspective--that precisely of those who are or have been enslaved, experienced the metaphor, as it were--such a strategy can only be viewed as deeply problematic. (67-8) If Bronte had turned to these metaphors solely "as a way of representing forms of domestic oppression" the effect would have been positive. Her references to slavery would have come across as "rhetorically powerful" and "politically radical". Unfortunately, Bronte goes too far. She creates a narrator, Jane, who exploits images of slavery, using them to obtain personal gain and dismissing them when convenient. It is obvious that Bronte makes use of the experiences of the British colonies throughout the text of Jane Eyre. In an effort to make her readers more comfortable Bronte chooses not to address the issue of British dom... ...hough her troping of the language of slavery is problematic, she creates through her novel, as Meyers says in her essay, "a fascinating example of the associations-- and dissociations-- between a resistance to the ideology of male domination and a resistance to the ideology of colonial domination" (162). Â   Â   Works Cited Bronte, Charlotte. Jane Eyre. 1848. Ed. Beth Newman. Boston: Bedford/St. Martin’s, 1996. Burns, Sir Alan. History of the British West Indies. London: Allen & Unwin, 1965. Meyer, Susan. "From ‘Colonialism and the Figurative Strategy of Jane Eyre.’" Post-Colonial Theory and English Literature: A Reader. Ed. Peter Childs. Edinburgh: Edinburgh UP, 1999. 149-163. Plasa, Carl. "Silent Revolt: Slavery and the Politics of Metaphor in Jane Eyre." The Discourse of Slavery. Ed. Carl Plasa and Betty J. Ring. London: Routledge, 1994. 64-93.

The Hunters: Phantom Chapter 23

The next morning, Elena felt light and joyful, as if she was hugging an enormous, wonderful secret to herself. Damon was stil alive. He had been in her room last night. Right? She'd been through so much, she could hardly trust it. She climbed out of bed, noting that the clouds outside were stil pink and gold from the sunrise, so it must be very early. She careful y moved toward the window. She wasn't sure what she was looking for, but she went down on her hands and knees and scanned the floor careful y. There. A tiny piece of dirt on the squeaky board, fal en from someone's shoe. And there, on the windowsil , the long scratches of a bird's claws. That was proof enough for Elena. She stood up and gave a funny little hop of joy, clapping her hands together sharply once, an unstoppable grin spreading across her face. Damon was alive! Then she took a deep breath and stood stil , wil ing her face into blankness. If she was real y going to keep this secret – and she supposed she would have to; she'd promised, after al – she was going to have to act like nothing had changed. And real y, things were pretty bad stil , she told herself. If she thought about the facts, she shouldn't be celebrating just yet. Damon's return hadn't altered the fact that something dark was after Elena and her friends, or that Stefan was acting irrational y and violently. Her heart sank a little as she thought of Stefan, but stil a bubble of happiness went through her. Damon was alive! And, what was more, he had an idea of what might be going on. It was exactly like Damon at his most infuriating to play this idea close to his chest and not let her know what he was thinking, but stil , his glimmer was more hope than anyone else had been able to offer yet. Perhaps there was light at the end of the tunnel after al . A pebble pinged against Elena's window. When she looked out, she saw Stefan, shoulders hunched, hands in his pockets, watching her from the lawn. Elena waved to him to stay where he was, threw on jeans, a lacy white tank top, and shoes, and went downstairs to meet him. There was dew on the grass, and Elena's steps left footprints. The cool of dawn was already being replaced by dazzling hot sunshine: It was going to be another sticky Virginia summer day. As she approached Stefan, Elena slowed down. She didn't quite know what to say to him. Since last night, every time she had thought of Stefan, she had involuntarily pictured Caleb's body flying through the air, the sickening crunch as he hit the marble monument. And she couldn't stop seeing Stefan's savage anger as he had attacked him, although Damon had been sure there must have been a reason. Damon. How would she ever keep Stefan from guessing the truth about his brother? From the pained look on Stefan's face, it was clear he sensed her apprehension. He held out his hand. â€Å"I know you don't understand why I did what I did yesterday,† he said, â€Å"but there's something you have to see.† Elena stopped, but she didn't take his outstretched hand. His face fel a little further. â€Å"Tel me where we're going,† she said. â€Å"I need to show you something that I found,† Stefan said patiently. â€Å"You'l understand when we get there. Please, Elena. I would never hurt you.† Elena stared at him. She knew without a doubt that it was true that Stefan would never hurt her. â€Å"Okay,† she said, making up her mind. â€Å"Wait here for a minute. I'l be right back.† She left Stefan on the lawn in the early morning sunshine as she retreated into the quiet dimness of the house. Everyone else was stil asleep: A quick glance at the clock in the kitchen told her it was barely six o'clock. She scribbled a note to Aunt Judith, saying she was going to grab breakfast with Stefan and would be back later. Reaching for her purse, she paused and made sure that a dried sprig of vervain was stil tucked inside it. Not that she thought Stefan would ever do anything to her†¦ but it never hurt to be prepared. When she came out of the house, Stefan ushered her into his car parked at the curb, opening the passenger-side door for her and hovering over her as she fastened her seat belt. â€Å"How far away is it?† Elena asked. â€Å"Not far,† Stefan said simply. Watching him drive, Elena noticed the worry lines at the corners of his eyes, the unhappy droop of his mouth, the tension in his shoulders, and wished she could put her arms around him and comfort him, raise her hand and wipe those lines by his eyes away. But her memories of the rage on his face the day before held her back. She just couldn't make herself reach out to him. They hadn't driven for long when Stefan turned onto a culde-sac of expensive houses. Elena leaned forward. They were pul ing up to a large white house fronted by a spacious pil ared porch. She knew that porch. After junior prom, she and Matt had sat on its steps and watched the sun rise, stil wearing their clothes from the dance. She had kicked off her satin sandals and laid her head against Matt's tuxedoed shoulder, listening dreamily to the music and voices coming from the afterprom party in the house behind them. It had been a good night from a different lifetime. She stared at Stefan accusingly. â€Å"This was Tyler Smal wood's house, Stefan. I don't know what you're planning, but Caleb's not here. He's in the hospital.† Stefan sighed. â€Å"I know he's not here, Elena. His aunt and uncle haven't been here either, not for several days, at least.† â€Å"They're out of town,† Elena said automatical y. â€Å"Aunt Judith talked to them yesterday.† â€Å"That's good,† Stefan said grimly. â€Å"Then they're safe.† He cast a worried glance up and down the street. â€Å"You're sure Caleb won't be out of the hospital today?† â€Å"Yes,† said Elena acidly. â€Å"He was too injured. They're keeping him for observation.† Elena got out of the car, slammed the door, and marched toward the Smal woods' house, not looking back to see whether Stefan was fol owing. He caught up to her instantly. She cursed his vampiric speed in her head and walked faster. â€Å"Elena,† he said, circling in front of her and forcing her to a stop. â€Å"Are you angry that I want to keep you safe?† â€Å"No,† she said scathingly. â€Å"I'm angry that you almost kil ed Caleb Smal wood.† Stefan's face sagged with exhaustion and sorrow, and Elena instantly felt guilty. Whatever was going on with Stefan, he stil needed her. But she didn't know how to deal with his violence. She'd fal en in love with Stefan for his poetic soul, for his gentleness. Damon was the dangerous one. Dangerous looks much better on Damon than it does on Stefan, a dry observing voice at the back of her mind said, and Elena couldn't deny the truth of it. â€Å"Just show me what you wanted me to see,† she final y said. Stefan sighed, then turned and led her up the drive of the Smal woods' house. She had expected him to go to the Smal woods' front door, but he cut around the side of the house and toward a smal shed in the backyard. â€Å"The toolshed?† asked Elena quizzical y. â€Å"Do we have a lawn mowing emergency we need to address before breakfast?† Stefan ignored her joke and went to the shed door. Elena noticed that a padlock that had held the double door shut had been wrenched apart, pul ed to pieces. A half loop of metal hung uselessly from the shackle. Stefan had clearly broken in earlier. Elena fol owed him in. At first, after the dew-bright morning outside, she couldn't see anything in the dimness of the shed. Gradual y, she realized that the wal s of the shed were lined with loose papers. Stefan reached out and shoved the doors wider, letting the sunshine stream into the space. Elena peered at the papers on the wal s and then stepped back with a sharp gasp: The first thing she had been able to make out was a picture of her own face. She yanked the paper off the wal and looked at it more closely. It was a clipping from the local paper, showing her dressed in a silver gown, dancing in Stefan's arms. The caption under the picture read: â€Å"Robert E. Lee High School prom queen Elena Gilbert and prom king Stefan Salvatore.† Prom queen? Despite the seriousness of the situation, her lips curled up in a smile. She real y had finished high school in a blaze of glory, hadn't she? She pul ed another clipping from the wal and her face fel . This one showed a coffin carried through the rain by pal bearers, grim-faced mourners standing by. In the crowd, Elena recognized Aunt Judith, Robert, Margaret, Meredith, and Bonnie, lips set, cheeks streaked with tears. The caption here read: â€Å"Town mourns local high school student Elena Gilbert.† Elena's fingers tightened unconsciously, crumpling the clipping. She turned to look at Stefan. â€Å"This shouldn't be here,† she said, a note of hysteria creeping into her voice. â€Å"The Guardians changed the past. There shouldn't be any newspaper articles or anything left.† Stefan stared back at her. â€Å"I know,† he said. â€Å"I've been thinking, and the best guess I can make is that maybe the Guardians just changed people's minds. They wouldn't see any evidence of what we asked the Guardians to erase. They'd just see what supported their new memories, the memories of a normal smal town and of a bunch of ordinary teenagers. Just another school year.† Elena brandished the paper. â€Å"But then why is this here?† Stefan dropped his voice. â€Å"Maybe it doesn't work on everybody. Caleb's got some notes scribbled in a notebook I found, and it seems from them as though he's remembering two different sets of events. Listen to this.† Stefan scrabbled through the papers littering the floor and pul ed out a notebook. â€Å"He writes: ‘There are girls in town now that I know were dead. There were monsters here. The town was destroyed, and we left before they could get us too. But now I'm back and we never left, even though no one but me remembers. Everything's normal: no monsters, no death.'† â€Å"Hmm.† Elena took the notebook from him and scanned through the pages. Caleb had lists there. Vickie Bennett, Caroline, her. Al of them. Everyone who was different in this world than in the other one. There were notes about how he remembered them – how he thought Elena was dead and what was going on now. She turned a few pages, and her eyes widened. â€Å"Stefan, listen. Tyler told him about us: ‘Tyler was afraid of Stefan Salvatore. He thought he kil ed Mr. Tanner and that there was something else strange about him, something unnatural. And he thought Elena Gilbert and her friends were tangled up in whatever was going on.' And there's an asterisk referring back to Mr. Tanner being dead in one set of memories and alive in the other.† Elena quickly scanned a few pages. â€Å"It looks like he focused in on us as the cause of the changes. He figured out we were at the center of everything. Because we're the people the most changed – other than the vampire and kitsune victims – and because he knew Tyler was suspicious of us, he's blaming us for Tyler's disappearance.† â€Å"Two sets of memories,† Stefan repeated, frowning. â€Å"What if Caleb's not the only one remembering both realities? What if supernatural beings, or people aware of the supernatural, weren't affected by the spel ?† Elena froze. â€Å"Margaret – I wondered if she remembered something. She seemed so upset when she first saw me. Remember how she was afraid I was going to go away again? Do you think she's remembering me dying along with the memories the Guardians gave her?† Stefan shook his head. â€Å"I don't know, Elena. Do you have any reason to think Margaret is anything other than a perfectly normal little girl? Little kids can be very dramatic without needing a reason. Margaret's got a lot of imagination.† â€Å"I don't know,† Elena said in frustration. â€Å"But if the Guardians just covered over the old memories with new ones, that would explain why my old journal was stil hidden in my bedroom just where I left it, and everything that had happened up until I left home written in it. So you think that Caleb suspects something is going on because he is a werewolf after al ?† â€Å"Look,† Stefan said, gesturing around the shed. For the first time, Elena took in the whole scene and its implications. Pictures of her. Pictures of Bonnie and Meredith. Even pictures of poor Caroline, ranging from the haughty green-eyed debutante to a feral half monster, heavily pregnant with Tyler's†¦ baby? Pup? Elena realized with a shock that she hadn't thought of Caroline in days. Was Caroline stil pregnant? Was she stil transforming into a werewolf because she was carrying Tyler's baby? There were, Elena remembered, an awful lot of werewolves in Fel ‘s Church. Powerful, important werewolves, and if that hadn't changed, and if the pack remembered everything, or enough of everything, then they were probably just biding their time. There were not only clippings but original photographs around the room. She saw a picture taken through the boardinghouse window of herself leaning forward excitedly to talk to Meredith, who was caressing her deadly hunting stave. Based on her outfit, it had been taken right after they picked up Alaric and Celia. Caleb had been not only researching the two sets of memories over the last few months but also spying on Elena and her friends. Then she noticed something else. In the far corner on the floor was a huge bunch of roses. â€Å"What†¦ ?† Elena said, reaching for them. And then she saw. A pentagram was drawn around the roses. And encircling the pentagram was a bunch of photographs: herself, Bonnie, Meredith, Matt, Stefan, Damon. â€Å"Those are the same kinds of roses as the one Caleb gave you, aren't they?† Stefan asked softly. Elena nodded. They were perfect, delicate blooms in a dark luscious red that made her want to touch them. â€Å"The rose that started it al ,† she whispered. â€Å"It pricked Bonnie's finger, and her blood spel ed Celia's name. It must have come from here.† â€Å"Caleb isn't just a werewolf,† Stefan said. â€Å"I don't know exactly what he did here, but it looks like pretty dark magic to me.† He looked at her pleadingly. â€Å"I discovered it al yesterday,† he continued. â€Å"I had to fight him, Elena. I know I scared you, but I had to protect you – and everyone else – from him.† Elena nodded, too stunned to speak. Now she understood why Stefan had acted the way he had. He thought she was in danger. But stil†¦ she couldn't help feeling sick when she remembered the arc of Caleb's body as he was thrown. Caleb might have attacked them with dangerous magic, but his notes sounded confused and frightened. Elena and her friends had changed his world, and now he couldn't tel what was reality. â€Å"We'd better pack up al of this and bring it back to the boardinghouse,† she said briskly. â€Å"Are there more notebooks?† Stefan nodded. â€Å"Then we'd better look through them careful y. If he cast a spel on us – some kind of curse – it could stil be active, even though he's confined to the hospital for now. The spel he used might be in one of the notebooks, or at least we might find some kind of clue as to what it is and exactly what it's doing. And, hopeful y, how to reverse it.† Stefan was looking a little lost, his green eyes questioning. His arms were held out very slightly, as if he had been expecting her to embrace him and hadn't remembered to put them down when she hadn't. But for some reason she couldn't quite put her finger on, Elena couldn't bring herself to hug him. Instead, she looked away and said, â€Å"Do you have any plastic bags or anything in the car we can use to move it al ?†

Bunker Gear Fabric

Bunker gear or turnout gear is the protective clothing used by a firefighter in fighting fires and during rescue operations. This gear is called turnouts because when not being used, they are kept standing by to be put on swiftly by ‘turning out' the pants over the boots. It is a requirement for firefighters to be able to put on all of the gear in no time, and in this set up, all they have to do is to step into the boots and pull the pants up. This solidly insulated gear is worn to shield the firefighter's body from the extreme heat of a fire.Approximately, structural turnouts will break down at 650 °C (1200 °F). A full turnout gear may weigh more or less 30kg aside from other extra tools to be carried. It is consisted of â€Å"a coat, pants and suspenders, leather or rubber waterproof boots, a hood, a strong helmet with eye protection, gloves, a belt, and SCBA (Self Contained Breathing Apparatus)† (www. sccfd. org). Turnout pants protects the lower part of the firef ighter's body. It is made of fire-resistant materials and they are easy to put on with Velcro and snaps.Turnout pants have side pockets for tools, gloves, and other necessary equipment. In order for the firefighters to be seen at nigh, these pants also have reflective stripes on the bottom. Turnout coat's outside liner is made of exclusive fire resistant fabrics. The coat has various liners for extra protection. One of these liners acts as a moisture barrier, it prevents outside moisture to reach the firefighter. Another part of the liner protects firefighters from the exposure to thermal heat. Pockets are also available for extra equipment such as gloves, radio, wrenches and other tools.Around its neck is a Nomex hood. Except for the face, it covers practically the entire head of the firefighter. The turnout boots are made of rubber. Aside from steel to covering, these have a steel shank in sole to protect firefighters from sharp or pointed objects. In order to be put on quickly, t hese boots have handles at the top. Wearing of this protective gear is a requirement for all firefighters approaching a seat of the fire or entering a hazardous area as stated in the NFPA 1971 Code or the Protective Clothing for Structural Fire Fighting.Looking back in history, firefighters' garment was consisted of a cotton or wool shirt, heavy wool trousers, and a heavy wool tunic, which was sometimes worn over with rubber slickers. Wool was used because of its ability to protect a firefighter from heat and cold, and also because of its resistance to mild flame and water. Their gloves were the traditional leather gloves for laborers. It was only after the World War II when the standards for firefighter protective gears were issued by a number of organizations like the National Fire Protection Association or the NFPA.According to the NFPA 1971 Standard on Protective Clothing for Structural Firefighting, turnout gears must be composed of three layers: the outer layer must be made fr om flame-resistant fabric â€Å"that would not be destroyed through charring, separating, or melting when exposed to 500 °F for a five-minute period;† the second layer must â€Å"prevent moisture from penetrating through to the wearer;† and the third layer must â€Å"provide thermal insulation from radiant, conducted, and convective heat† (http://www. pbs. org). Firefighters' gloves should also be resistant to heat, flame, liquids, vapor, and sharp objects.The boots should also withstand flame, puncture, heat, electrical current, and abrasion. Further advancements in firefighters' turnout materials came up during the 80s. The 500 °F temperature resistance limit of the outer shell was raised to around 1,200 °F. The other layer also allowed the firefighters to â€Å"release moisture from inside the gear,† and the material used was a fire-resistant fabric. Being self-extinguishing, this material will not continue to burn once it is out of contact with a fire. Bunker gears are made out of synthetic fibers such as Aramid and Polybenzimidazoles (PBI).These synthetic fibers are polymers. A polymer is a substance with high molecular weight made up of a large number of smaller molecules. These molecules, called monomers, react together in hundreds, or even millions of times. The properties of the polymers are determined by the molecular shape variations that resulted from the reactions. These could be in the form of long, straight chains or branched. It is through their average molecular weight that their sizes are expressed. Polymers with higher molecular weights have the higher strength. They also usually have high melting or boiling points.Filaments made of synthetic polymer fibers have excellent strength because these fibers can be prepared with regular structures that allow the chains to pack together tightly. Another advantage of synthetic polymers is that they are stronger and much lighter than steel, making them the choice for bunker gears and bullet proof vests. Aramids are synthetic polyamides, a class of polymer for textile fibers. It has a carbon-based backbone which contains aromatic rings. Fabrics made of aramids are strong and flame resistant even at extreme temperatures because of the stability of the fiber's aromatic structures and their conjugated amide linkages.Polyamides are manufactured through step-growth polymerization. In this process, â€Å"monomers with two reactive ends join to form dimers (two â€Å"parts† joined together), then â€Å"trimers† (three â€Å"parts†), and so on. However, since each of the newly formed oligomers (short chains containing only a few parts) also has two reactive ends, they can join together; so a dimer and a trimer would form a pentamer (five repeating â€Å"parts†)† (www. fibersource. com). The aramid fibers, on the other hand, are produced through Wet Spinning process.The fiber-forming materials are dissolved in a solvent, which is usually hydrogen sulfate (H2SO4), and spun using a spinneret. Aside from firefighting gears, aramid fabrics are also useful for friction products such as brake pads, clutch pads or seals and gaskets, because synthetic materials made from this fabric does not ignite or melt. Aramid fibers are also flexible, lightweight, resistant to organic solvents and fuels, and good insulators of electricity. Aramids are more popularly known with the names Kevlar and Nomex. The blend of these two aramids is used in manufacturing turnout gears.

Diagnosis and the Treatment Planning Case Study Example | Topics and Well Written Essays - 500 words

Diagnosis and the Treatment Planning - Case Study Example The full range of approaches would be based on establishment of a secure therapeutic relationship which may move gradually into formal psychoanalytic therapy. The motivation and life situations are important to understand since they extensively contribute to the development of psychosis, which in this case is manifested by delusions. Family interventions are not possible in this case. The need-adapted approach should be based on idiographic assessment of his needs and the type of treatment suited to these needs. Need-adapted approaches, although difficult to design, are more suitable since the overall therapy would depend on several interventions over time rather than a single approach. The therapy would thus not only aim towards reduction of psychotic symptomatology, but also would address a number of developmental trajectories, the deviations from which are responsible for the current symptomatology. For his alcohol dependency, counseling and psychotherapy again are important compo nents of effective treatment. Although psychosocial interventions are recommended, it would take time to arrange a supportive network for this patient. In this case given his dual diagnosis, apart from psychotherapy improved drug therapy may also be employed.

SWK2010 How Can Social Work Practice Address The Resettlement Needs of Research Proposal

SWK2010 How Can Social Work Practice Address The Resettlement Needs of Black and Ethnic Minority Mothers Leaving Prison - Research Proposal Example ences compared to white offenders for similar offences, for example, in 1998 47% of white adult prisoners had a sentence of 4 years and over, whereas, 58% of Asian adult prisoners and 63% of black adult prisoners had received such a sentence Moreover, research has shown an alarming rise in the number of women sent to prison, up to 145% in the last 5 years(Sharp et al, 2006, p.4-5). There are approximately 2.3 million Black and Minority Ethnic women in the UK, making up just fewer than 4% of the total population of the UK, and around 8% of women (Brittain et al, 2005, p.5). Many researchers have shown that black and minority ethnic women are more vulnerable to the criminal activities compared to the white because of lack of education, poverty and cultural factors. Some of these women may enter the prison as single, but return with babies. The resettlement of black and ethnic minority mothers is a big social problem in UK at present. If the resettlement of these minority groups is not done properly, they can cause even bigger social problems than the one they already received punishment. Re-offending costs for the society in UK is around  £11 billion per year according to Sharp et al, (2006). They also mentioned that in April 2001, the Prison Service and DFES (then the DfEE) established a new partnership and forged links with the Youth Justice Board and Probat ion Service to promote coherence in the various strategies adopted to reduce re-offending and support the resettlement of offenders by giving them education and training in prison itself to develop skills needed to find a job after their release (Sharp et al, 2006, p.1). â€Å"The ballooning prison population is making it more difficult for ex-offenders to find settled accommodation when they are released, according to the initial findings of a radical new resettlement project† (Inside Housing, 2008). North (n. d) has mentioned that by 2009, it is predicted that there will be 9000 women in custody in UK prisons

Coucelling for Divorce in Marriage Essay Example | Topics and Well Written Essays - 2000 words

Coucelling for Divorce in Marriage - Essay Example e affords scripture, (b) the authority he or she affords religious leaders, and (c) the identification of the counsellor with the religious group of reference. All clients can tolerate only limited differences from their own important values. If value differences are too great, clients may terminate counselling intervention. Probably, the clients evaluation of the counsellor on these three religious value dimensions has more effect on choice of counsellor or continuation after an initial interview than it has on the long-term satisfaction of the client after the client has made a considerable investment of time and money in counselling intervention. The Christian approach to marriage counselling intervention that advocated by the counsellors is not merely hearing confession --nor is it preaching or studying the Bible. It is not spiritual direction, which involves guided reflection about Christian living--nor is it spiritual guidance, which involves advice and direct suggestion. It is marriage counselling intervention, as is secular marriage counselling intervention. As such, like any marriage counselling intervention, it involves the assumption that basic counselling skills will be employed consonant with the personality style of the counsellor and the needs of the client. Approach to marriage counselling assumes that counsellors may employ techniques that originated in the Christian traditions when they are consonant with the personality and beliefs of the counsellor and the needs of the client and when they are deemed to contribute to the goals of marital therapy. Generally, the counsellor will not initiate a challenge to the clients Christian beliefs unless such a challenge is otherwise clinically advisable (e.g., obsessive or intrusive thoughts, compulsive religious behaviour, psychotic thinking of religious content, and the like). In all cases, good clinical judgment is presumed--as in any theory. It is to be believed that people are created in the image of