Physical Education and Human Biology Research Paper Example

Physical Education and Human Biology Paper While contemplating Physical Education and Human Biology at A level, my energy in game and its connection with the human body has kept on developing and create. As a sharp athlete I need to build up a vocation in the games business, utilizing the information increased through examination to improve my chances in this energizing territory. I have likewise become increasingly more keen on the different components impacting the exhibition of an individual occupied with sport, from an incidental member, through to club level and onto first class level competitors. These are factors that we have been examining in detail through A level Physical Education. Considering Chemistry and Human Biology at A Level has built up my reasonable abilities further, because of the numerous and shifted tests led in the research facility. Also, I have increased important investigation and assessment aptitudes through this down to earth work, because of the need to break down and assess the information recovered from analyses, and deciphering this information into a significant end. Human Biology has permitted me to grow my insight into the human body from various perspectives, including how the human body works, the components which can impact it, and the manner in which it reacts to work out. We will compose a custom article test on Physical Education and Human Biology explicitly for you for just $16.38 $13.9/page Request now We will compose a custom exposition test on Physical Education and Human Biology explicitly for you FOR ONLY $16.38 $13.9/page Recruit Writer We will compose a custom paper test on Physical Education and Human Biology explicitly for you FOR ONLY $16.38 $13.9/page Recruit Writer Specifically compelling to me are the various parts of game science, for instance, how execution is impacted by outer factors, for example, nourishment and preparing, how brain research, biomechanics, and physiology add to a people achievement, and the job of sports and physical wellbeing with regards to personal satisfaction. The proceeded with investigation of these subjects will empower me to more readily comprehend achievement factors, which can mean the distinction in execution between two comparative competitors. Moreover, mastery in these territories will assist me with understanding how to use these various impacts to accomplish improved execution. As a functioning individual from my neighborhood Squash Club, I am engaged with the board of trustees, sorting out group matches, competitions and outside match rivalries with different clubs. This has end up being important involvement with terms of figuring out how to arrange, convey and run various kinds of occasions, while being a dedicated player myself. Different games I am keen on incorporate swimming, tennis and mountain-biking. My general enthusiasm for different games has given me a knowledge into their discrete requests, their origination, and their physical and mental necessities. I have come to see, in any case, that there are major logical standards which are the equivalent for all games. As of late I went through about fourteen days with French companions in France, and found that my enthusiasm for sport has been a helpful method of meeting new individuals and improving my language aptitudes. Subsequently my French has altogether improved. I have created different abilities that will profit me at college through low maintenance work at my neighborhood grocery store. These include serving and connecting with clients, money taking care of, working with others as a component of group and the requirement for productive and viable work. I have gotten a few sparkling stars from my managers in acknowledgment of my part in the achievement of their activity. Proceeded with concentrate in the field of Sports and Exercise Science will be a test that I anticipate as I am resolved to additionally build up my comprehension with a view to seeking after a fruitful vocation in the Sports Industry. Learning at college will help manufacture and build up the aptitudes I have picked up to date and will empower me to settle on an educated choice about which explicit vocation way I wish to seek after.

Cultural Differences Essay

Dear Vice President of Production, Imprint Jones, a Production Manager, has been moved from the assembling plant in his old neighborhood of Chicago to his company’s abroad assembling plant in Osaka, Japan and I am writing to tell you the distinctions that Mark will involvement with overseeing cutting edge plant laborers in Japan rather than in the United States and furthermore address how social contrasts may assume a job in singular contrasts Mark will understanding. Three contrasts that Mark may encounter are: * Language Barriers * Technology * Politics In the United States people will in general talk uproariously and are progressively self-assured or forceful while tending to laborers or provide guidance. People in Japan talk delicately and are commonly progressively uninvolved. With language hindrances putting forth a cognizant attempt to be accommodating of others can help in powerful correspondence in the business setting. The expansion of direct business with one another is because of globalization. Innovation helps individuals to interface each other a lot simpler, anyway it might be simple for most however there are people that are totally lost with regards to innovation. Something else to consider is the time zone contrasts. Truly you might have the option to video talk with somebody in Japan they are not in a similar time zone as you may be, so guaranteeing to direct whatever type of correspondence you pick is accommodating of the time contrast. The manner in which an organization conducts business can be influenced by political impacts. A few societies represent a solid feeling of government pride, and patriotism. Different societies will in general haggle with organizations that have least clash with their way of life. I accept with our assist Mark with canning move abroad with least change issues. I recommend these three things that could remain to help Mark make the progress as smooth as could reasonably be expected. It is significant that Mark examines the Japanese social. I prescribed this since realizing what's in store can give him a head start so he can address any potential questions or worries that may emerge with the text style line laborers. Imprint ought to be clear and cautious in speaking with the laborers. Because of the language boundary that as of now exists Mark must be amazingly cautious when imparting to guarantee the laborers comprehend what he is asking or instructing them to do. At last Mark ought to normally check with his representatives to guarantee they have what is required for them to carry out their responsibility just as how things are going for them. Imprint would likewise need to help his representatives in the change too. Not just doe’s change issues influence Mark they influence the fills in also.

Everyone Judges a Book By Its Cover How to Design Yours

Everyone Judges a Book By Its Cover How to Design Yours Now that you have completed writing your book, you must capture the attention of the reader. One way to accomplish this is to design the perfect cover. The best book covers tell a story all their own. This story should complement and promote the actual storyline in the text. The book cover should draw the person in and give them a window to the story youre trying to tell with your book.Ultimately, your cover should balance the familiar with the new and surprising. The best book covers communicate to the reader whether or not your book is worth their time. After all, there are often hundreds of books to choose from in the bookstore and thousands on the e-book market. Your title needs to stand out in the crowd. This guide will provide you with five steps to design a cover that will help you to do just that.1. Answer important questions about your bookBefore you even begin the design process, you should try to brainstorm how you want to promote yourself as an author, the format that you will use, and the budget that you are working with.How does the book promote the brand the author is trying to sell?Many established authors have a genre in mind. If you are a first-time author, you will want to make sure that your cover design goes along with the chosen genre. Again, the goal is to combine the familiar with something new and different.Will it be sold as an e-book, real book or both?The format you use and the planning process will be different. For example, a book sold on Amazon should have large print and look good as a thumbnail. A book sold in an actual store must look good from front to back because the consumer is actually going to pick it up and look through it.How will you address format and budget?The different formats include hardbacks, paperbacks, and casebound. There are different requirements for each. A size should be selected that makes sense. If a book has hundreds of pages, you will want to make sure that the book size is large enough. Consider the copy or written material in your layout that you want to include. This includes the copy on the front and back covers, author bios, etc. Also consider the placement of graphics such as barcodes and publishing logos. Plan your budget for any stock images, your ISBN identifier, barcodes and font licenses.Photo by Tamarcus Brown on Unsplash2. Do some research to properly market the bookConsider whether to make the book a hardback, paperback or e-book. The genre will help you to determine this. Specific genres work better in paperback. More literary titles tend to sell better as hardbacks. If the book is going to be released as an e-book only, those considerations will not be necessary. E-books will have their own specific requirements. You should do some research in order to be familiar with them.Look to see what works best for your genreIf you are writing a romance, horror, sci-fi or other specific genre, paperbacks tend to sell best. If you are writing something more literary that ma y span several genres, hardbacks work best.Consider designs by other authors in your genreGo to the bookstore and see what stands out the most to you. Pay attention to both fonts and graphics that really capture your attention. Get a feel for the sizes/thicknesses of the books and keep an ongoing list of your likes and dislikes. You might also consider making a vision board where you place appealing images and fonts for future reference.Make sure that the design you pick makes sense for the selling price of a bookFor example, you would not want to have an expensive hardback design for a genre book that will only sell for eighteen dollars at the most. You want to balance the price with a design that makes sense for your particular genre.If you are going to publish as an e-book, know the specific requirementsFor example, for Amazon, they recommend a file format thats a JPEG or TIFF. For the cover size, they recommend 2,560 x 1,600 pixels, an ideal ratio of 1:6:1. The requirements will be different depending on the platform.3. Decide what story the cover should tellThe cover design is an extension of your overall promotional plan as an author. Keep this in mind as you focus in on the most important aspects of the story that you want to promote. If the book is part of a series, you will want to create a design that will have at least some of its elements repeated with the next book in the series. Once you know what the cover will depict, carefully select the medium you want to use.The cover should focus in on the most important element of the story that you want to promote. If you arent the author, make sure to get their input on what elements they want to emphasize. Figure out if the setting, the main character or the theme itself is what you want to feature. Once you have narrowed this down, it will help you to focus the content of your cover. Also consider if you want your book to resemble a popular title without copying elements of it directly.Make certain des ign considerations if it is going to be a series. Series often share certain design elements such as font or color combinations. Look at other series in your genre to see how the different books in the series are similar and how they are different. If your book is not going to be a series, it must stand out on the bookshelf.Consider the aesthetics and medium that you want to use. Most popular book covers only use a combination of two or three complementary colors. Stock photos can be obtained at little or no cost on sites such as Tumbler as long as proper credit is given to the artist. If you are hiring a visual artist to do a drawing or painting, try to communicate as clearly and specifically about what you want the picture to communicate. A rough sketch that shows the placement of the figures and background will be helpful for the artist.Photo by Matthew Hamilton on Unsplash4. Get some feedback about your design.The more opinions you get on your design, the more you will get a fee l for its effectiveness. Although you may feel that you have a great design, you want to make sure its the right one for this particular book. You want to communicate the right feeling for the genre and theme being expressed. If alterations need to be made to the initial design, allow time for them. Set aside some of the budget for these changes if they are necessary.If you arent the author of the book, communicate with them in order to make sure the design goes along with the authors vision that you discussed with them earlier in the process.Allow a group of outsiders view your cover, but dont give them any background about the story. You want to see what responses they give you in order to gauge its effectiveness. Have them tell you what assumptions they have about your story. Ask them if there is an emotional response that they have to the cover. You want the emotion that youre trying to get across to come through. This emotion or feeling should come across without the respondent having any knowledge about the plot of the book.If there are changes in the design to be made, allow time for this. If the image you used is a stock photo, it may only be a case of choosing another one that evokes the right response. A painting or drawing that must be modified or redone will take more time. Budget for these modifications when you first start to plan your book cover.5. Make sure the final file is print readyIf you are printing covers for actual books, you will want one file with all of the important text and graphic information. This includes information about the front and back covers, book spine and flaps. This one file will be used to either fold or cut the design to fit the actual book.The majority of printers will require a final file that is a PDF. The colors should be CMYK, which refers to four colors: cyan magenta, yellow, and key. These colors are used in a subtractive process to produce the colors you need in your design.The file for the cover should be fu ll bleed. This means all the pictures will leave no white margin and can extend beyond the edge of where the sheets will be trimmed.Be sure that your file is set up for the particular printer you are using. If a company is handling this part for you, communicate with them directly about print requirements. The industry standard is .125-.25 inch per side. Calculations should be exact to avoid text being printed in the wrong place or off center.With a little bit of planning, you will end up with the perfect cover for your book that will stand out in the crowd. Begin by answering some questions about the brand youre promoting, the format, and budget considerations. Take the time to do some research. The cover you create will be a marketing tool for your book, and it will vary according to genre and format. Decide carefully what story or emotion you want the cover to tell or convey. Choose a medium that will do the most justice to the story and take into account what similarities you wo uld want this book to share with the next one if the book is part of a series.Finally, and perhaps most important, get some feedback about your design and make any needed modifications. Make sure that you take into account the specific printer requirements. If you follow these guidelines, your book will be judged as a success by its cover.

High and Low Chronologies of Bronze Age Mediterranean

One very long-lasting debate in Bronze Age Mediterranean archaeology has to do with attempting to match calendar dates to those associated with Egyptian regnal lists. To some scholars, the debate hinges on a single olive branch.   Egyptian Dynastic History is traditionally split into three Kingdoms (during which much of the Nile valley was consistently unified), separated by two intermediate periods (when non-Egyptians ruled Egypt). (The late Egyptian Ptolemaic dynasty, established by Alexander the Greats generals and including the famous Cleopatra, has no such problem). The two most-used chronologies today are called High and Low — the Low being the younger — and with some variations, these chronologies are used by scholars studying all of the Mediterranean Bronze Age. As a rule these days, historians generally use the High chronology. These dates were compiled using historical records produced during the lives of the pharaohs, and some radiocarbon dates of archaeological sites, and have been tweaked over the past century and a half. But, the controversy continues, as illustrated by a series of articles in Antiquity as recently as 2014. A Tighter Chronology Beginning in the 21st century, a team of scholars led by Christopher Bronk-Ramsay at the Oxford Radiocarbon Accelerator Unit contacted museums and obtained non-mummified plant material (basketry, plant-based textiles, and plant seeds, stems, and fruits) tied to specific pharaohs. Those samples, like the Lahun papyrus in the image, were carefully selected to be short-lived samples from impeccable contexts, as Thomas Higham has described them. The samples were radiocarbon-dated using AMS strategies, providing the last column of dates in the table below. Event High Low Bronk-Ramsey et al Old Kingdom Start 2667 BC 2592 BC 2591-2625 cal BC Old Kingdom End 2345 BC 2305 BC 2423-2335 cal BC Middle Kingdom Start 2055 BC 2009 BC 2064-2019 cal BC Middle Kingdom End 1773 BC 1759 BC 1797-1739 cal BC New Kingdom Start 1550 BC 1539 BC 1570-1544 cal BC New Kingdom End 1099 BC 1106 BC 1116-1090 cal BC High and Low Bronze Age Chronologies In general, the radiocarbon  dating supports the conventionally used High chronology, except perhaps that the dates for Old and New Kingdoms are slightly older than that of the traditional chronologies. But the issue has yet to be resolved, in part because of the problems associated with dating the Santorini eruption. The Santorini Eruption Santorini is a volcano located on the island of Thera in the Mediterranean Sea. During the Late Bronze Age of the 16th-17th centuries BC, Santorini erupted, violently, pretty much putting an end to the Minoan civilization and disturbing, as you might imagine, all the civilizations within the Mediterranean region. Archaeological evidence sought for the date of the eruption has included local evidence of a tsunami and interrupted groundwater supplies, as well as acidity levels in ice cores as far away as Greenland. Dates for when this massive eruption occurred are startlingly controversial. The most precise radiocarbon date for the occurrence is 1627-1600 BC, based on the branch of an olive tree that was buried by ashfall from the eruption; and on animal bones on the Minoan occupation of Palaikastro. But, according to archaeo-historical records, the eruption took place during the founding of the New Kingdom, ca. 1550 BC. None of the chronologies, not High, not Low, not the Bronk-Ramsay radiocarbon study, suggest that the New Kingdom was founded any earlier than ca. 1550. In 2013, a paper by Paolo Cherubini and colleagues was published in PLOS One, which provided dendrochronological analyses of olive wood tree rings taken from living trees growing on the island of Santorini. They argued that olive wood annual growth increments are problematic, and so the olive branch data should be discarded. A fairly heated argument erupted in the journal Antiquity, ​ Manning et al (2014) (among others) argued that while it is true that olive wood does grow at different rates responding to local environments, there are several telling pieces of data that support the olive tree date, derived from events once attributed to supporting the low chronology: A geochemical analysis of a speleothem from the Sofular Cave in northern Turkey which includes a peak in bromine, molybdenum, and sulfur between 1621 and 1589 BCThe chronology newly established at Tel el-Daba, particularly the timing of the Hyksos (intermediate period) pharaoh Khayan in the early fifteenth dynastyThe timing of the New Kingdom, including some adjustments of reign lengths, to start between 1585–1563 BC, based on new radiocarbon dates Insect Exoskeletons An innovative study using AMS radiocarbon dating on the charred exoskeletons (chitin) of insects (Panagiotakopulu et al. 2015) included the Akrotiri eruption. Pulses stored in the West House at Akrotiri had been infested with seed beetles (Bruchus rufipes L) when they burned with the rest of the household. AMS dates on the beetle chitin returned dates of approximately 2268/- 20 BP, or 1744-1538 cal BC, fitting closely with c14 dates on the legumes themselves, but not resolving the chronological issues. Sources Baillie MGL. 2010.  Volcanoes, ice-cores and tree-rings: one story or two?  Antiquity  84(323):202-215.Bronk Ramsey C, Dee MW, Rowland JM, Higham TFG, Harris SA, Brock F, Quiles A, Wild EM, Marcus ES, and Shortland AJ. 2010.  Radiocarbon-Based Chronology for Dynastic Egypt.  Science  328:1554-1557. doi: 10.1126/science.1189395Bronk Ramsey C, Dee MW, Rowland JM, Higham TFG, Harris SA, Brock F, Quiles A, Wild EM, Marcus ES, and Shortland AJ. 2010.  Radiocarbon-Based Chronology for Dynastic Egypt.  Science  328:1554-1557.Bruins HJ. 2010.  Dating Pharaonic Egypt.  Science  328:1489-1490.Bruins HJ, MacGillivray JA, Synolakis CE, Benjamini C, Keller J, Kisch HJ, Klugel A, and van der Plicht J. 2008. Geoarchaeological tsunami deposits at Palaikastro (Crete) and the Late Minoan IA eruption of Santorini.  Journal of Archaeological Science  35(1):191-212. doi: 10.1016/j.jas.2007.08.017Bruins HJ, and van der Plicht J. 2014.  The Thera olive branch, Akrotiri (Thera) and Palaikastro (Crete): comparing radiocarbon results of the Santorini eruption.  Antiquity  88(339):282-287.Cherubini P, Humbel T, Beeckman H, Gà ¤rtner H, Mannes D, Pearson C, Schoch W, Tognetti R, and Lev-Yadun S. 2013.  Olive Tree-Ring Problematic Dating: A Comparative Analysis on Santorini (Greece).  PLoS ONE  8(1):e54730. doi: 10.1371/journal.pone.0054730Cherubini P, Humbel T, Beeckman H, Gà ¤rtner H, Mannes D, Pearson C, Schoch W, Tognetti R, and Lev-Yadun S. 2014.  The olive-branch dating of the Santorini eruption.  Antiquity  88(39):267-273.Cherubini P, and Lev-Yadun S. 2014.  The olive tree-ring problematic dating.  Antiquity  88(339):290-291.Friedrich WL, Kromer B, Friedrich M, Heinemeier J, Pfeiffer T, and Talamo S. 2006.  Santorini Eruption Radiocarbon Dated to 1627-1600 B.C.  Science  312(5773):548. doi: 10.1126/science.1125087Friedrich WL, Kromer B, Friedrich M, Heinemeier J, Pfeiffer T, and Talamo S. 2014. The olive branch chronology s tands irrespective of tree-ring counting. Antiquity 88(339):274-277.Gertisser R, Preece K, and Keller J. 2009. The Plinian Lower Pumice 2 eruption, Santorini, Greece: Magma evolution and volatile behaviour. Journal of Volcanology and Geothermal Research 186(3-4):387-406. doi: 10.1016/j.jvolgeores.2009.07.015Knappett C, Rivers R, and Evans T. 2011. The Theran eruption and Minoan palatial collapse: new interpretations gained from modelling the maritime network. Antiquity 85(329):1008-1023.Kuniholm PI. 2014. The difficulties of dating olive wood. Antiquity 88(339):287-288.MacGillivray JA. 2014. A disastrous date. Antiquity 88(339):288-289.Manning SW, Bronk Ramsey C, Kutschera W, Higham T, Kromer B, Steier P, and Wild EM. 2006. Chronology for the Aegean Late Bronze Age 1700–1400 B.C. Science 312(5773):565-569. doi: 10.1126/science.1125682Manning SW, Hà ¶flmayer F, Moeller N, Dee MW, Bronk Ramsey C, Fleitmann D, Higham T, Kutschera W, and Wild EM. 2014. Dating the Thera (Santorin i) eruption: archaeological and scientific evidence supporting a high chronology. Antiquity 88(342):1164-1179.Panagiotakopulu E, Higham TFG, Buckland PC, Tripp JA, and Hedges REM. 2015. AMS dating of insect chitin – A discussion of new dates, problems and potential. Quaternary Geochronology 27(0):22-32. doi: 10.1016/j.quageo.2014.12.001Ritner RK, and Moeller N. 2014. The Ahmose ‘Tempest Stela’, Thera and Comparative Chronology. Journal of Near Eastern Studies 73(1):1-19. dio: 10.1086/675069

The Salem Witch Trial During The Spring Of 1692 - 1533 Words

Austin walls mrs barker salem witch trial the infomous salem witch trials began during the spring of 1692, after a group of young girls in salem village massachusetts claimed to be possessed by the devil and accused several local women of witchcraft. as a wave of hysteria spread throughout colonial massachusetts, a spread court convened in salem to hear the cases; the first convened witch birdget bishop , was hanged that some more men,women and chileren were accused over the next several months. by september 1692 the hysteria had begun to about and public opinion truned against the trials.though the massachusetts general court later annaned guity verdicts aganist witshes and granted indemnities to their families, bitterness lingered ingered in the salem witch trail would endure for centuries. The seeds of the hysteria that afflicted Salem Village, Massachusetts were sown in January 1692 when a group of young girls began to display bizarre behavior. The tight-knit community was at a loss to explain the convulsive seizures, blasphemous screaming, and trance-like states that afflicted the youngsters. The physicians called in to examine the girls could find no natural cause of the disturbing behavior. If the source of the affliction Surely the Devil had come to salem in 1692. Young girls screaming and barking like a dog? Strange dances in the woods? This was behavior hardly becoming of virtuous teenage maidens. The town doctor was called onto the scene. After a thoroughShow MoreRelatedThe Salem Witch Trials Of 16921281 Words   |  6 PagesThe Salem Witch Trials were a sequence of hearings, prosecutions, and hangings of people who were thought to be involved in witchcraft in Massachusetts. These trials occurred between February 1692 and May 1693(The Salem Witch Trials, 1692. ). The Trials resulted in the execution of twenty people, in fact, most of them were women. The first of the trials began in several towns in the Province of Massachusetts Bay, such as Salem Village (currently known as Danvers), Salem Town, Ipswich, and Andover(SalemRead MoreThe Salem Witch Trials Of Colonial Massachusetts1473 Words   |  6 PagesThe infamous Salem witch trials of colonial Massachusetts took place between 1692 and 1693. They involved the execution of fourteen women and five men within the brief time period. What is now the New England region had been established by a homogenous Puritan population, which emigrated from England. Abiding by a strict set of beliefs, the Puritans did not accept people of other backgrounds,therefore it might follow that the Salem Witch Trials of New England were a result of the strict Puritan societyRead MoreThe Causes of the Salem Witch Hunt Essay925 Words   |  4 PagesThe Causes of the Salem Witch Hunt Many American colonists brought with them from Europe a notion in witches and an intrigue with alleged manipulation with the devil. During the seventeenth century, people were executed for witchcraft all over the colonies, chiefly in Massachusetts. Various of the accused were women, inducing some recent historians to recommend that charges of witchcraft were a way of dominating women who endangered the present economic and social orderRead MoreThe Crucible By John Proctor895 Words   |  4 Pagesboth the Salem Witch Trials and The Crucible, was tried and executed for witchcraft in 1692. When the witchcraft hysteria first began in Salem village in the winter of 1692, Proctor became an outspoken opponent of the trials and stated to many that the afflicted girls, who had been accusing many of the villagers of witchcraft, were frauds and liars (Brooks). There were many parallels between John Proctor and his character in The Crucible, including his vocal opposition towards the trials and hisRead MoreThe Trials Of Salem Witch Trials Essay1267 Words   |  6 PagesThe notorious witch trials in Salem began in Spring of 1692. This started after a young group of girls in Salem Village, Massachusetts, professed they were possessed by the devil. These young girls even went as far as accusing some local women of practicing witchcraft. As a frenzy spreaded throughout colonial Massachuse tts, a specific court was summoned to hear cases. Bridget Bishop was the first convicted witch and she was hung in that June following her trial. Eighteen other people followed BishopRead MoreTruth and Reality597 Words   |  3 Pageshistorical period in which it exists.   An example that came to mind is the Salem witch trials. The witch hunt occurred in Massachusetts between the years 1692 and 1693. During this time people believed that the Devil could give give others special powers. The Salem which trials came about shortly after thousands of accused witches in Europe were executed in their own witch hunt. Throughout the entire Salem witch trials over 200 people (mostly women) were accused of being witches influenced byRead MoreThe Salem Witch Trials : Witchcraft And Magic Were Two Ideas1180 Words   |  5 PagesThe Salem Witch Trials transpired from 1692 to 1693 resulting with many imprisonments; yet, only twenty deaths. The witch frenzy materialized from the allegation s of a group of young girls claiming to be possessed by supernatural forces. Yet, the people accused of being witches in Salem, Massachusetts did not practice witchcraft. The Puritans were falsely accused of sorcery which can be proven through many theories and the false credibility of legal evidence. The lifestyle of the Puritans mayRead MoreEssay on Salem Witch Trials1396 Words   |  6 Pagesbrought with them from Europe a belief in witches and the devil. During the seventeenth century, people were executed for being witches and follower of Satan. Most of these executions were performed in Salem, Massachusetts in 1692. Mostly all of the accused were women, which makes some modern historians believe that the charges of witchcraft were a way of controlling the women who threatened the power of the men. During the witchcraft trials, hundreds of arrests were made, and some were even put to deathRead MoreCauses Of The Salem Witch Trials994 Words   |  4 Pagespossible. The Salem Witch Trials are an example of such conflict, as they resulted in many people being falsely accused for crimes, arrested, and killed. But what provoked this mass hysteria? Scholars have attempted to answer this question, but the most common idea is that it was due to a variety of economic, social, and ph ysiological problems within the Salem village. In order to understand the cause of the Salem Witch Trials, some background must be given about the event. In the spring of 1692, madnessRead MoreThe Salem Witch Trials : The Causes Of The Deadly Accusations912 Words   |  4 PagesPeriod 1 11 April 2015 The Salem Witch Trials: The Causes of the Deadly Accusations In Arthur Miller’s The Crucible, he writes, â€Å"We are what we always were in Salem, but now the little crazy children are jangling the keys of the kingdom, and common vengeance writes the law!† (Miller 77). This partially fictionalized tale of the Salem Witch Trials points to one of the causes of the trials, vengeance, but the over dramatized tale s early stages were quiet. The Salem Witch Episode had humble beginnings

Thorn Queen Chapter Twenty-Two Free Essays

string(64) " Why was I thinking so slowly\? A great warrior and magic user\." I woke up with a headache even worse than the one I’d gotten shooting tequila on the night of Luisa’s birth. Pain thudded to a steady drumbeat in my head, though at the same time, my senses felt foggy as a boring plaster ceiling slowly came into focus above me. Nausea welled up in my stomach, and I worried I was going to get sick. We will write a custom essay sample on Thorn Queen Chapter Twenty-Two or any similar topic only for you Order Now It had happened the last time I’d come crashing through the worlds. And speaking of the worlds†¦where was I? Easy enough to figure out, my groggy brain quickly realized. I’d been pulled out from the Otherworld, which meant I could either have been sent to the Underworld or the human world. The fact that I was still alive indicated I’d gone onto the latter. Why on earth would Abigail summon me to-fuck. There it was: the nausea again. I bit my lip and tried to sit up, not wanting to choke on my own vomit. Only, when I tried to rise, I didn’t get very far. My hands were stretched above my head, tied to the headboard of the bed I lay on. No, not tied-cuffed. Cuffed with heavy steel, industrial-strength handcuffs. Bound or no, I did manage some semblance of sitting, just as my stomach betrayed me. A bowl got shoved under my face right at that moment, and I was grateful to spare the bedding and my clothes. I threw up twice before my benefactor gently asked, â€Å"Any more?† â€Å"I don’t think so.† I squinted up and found myself looking into the face of a young girl, heavily freckled and brown-haired, with a nose a bit too small for the rest of her facial features. She was still cute enough, though, and-she was a gentry. For a moment, I wondered if I’d gotten confused about the banishment. Was I still in the Otherworld? No. This was definitely the human world. I could sense it. There was a way that magic hung in the air-or, rather, didn’t hang in the air around here. The girl took the bowl away and returned with a damp cloth. She wiped my face with it and then my mouth. A moment later, she returned with a glass of water, which I drank gratefully. All of her movements were gentle and graceful. â€Å"What’s your name?† I asked. â€Å"Cariena.† â€Å"That’s really pretty. Where am I, Cariena?† I asked, tugging at the handcuffs. Those things weren’t going to budge. The girl sat down on a chair in the corner. â€Å"In the world of the humans.† â€Å"I know that.† I tried hard not to let my tone get harsh. My leather from the fight was gone; I wore a T-shirt and underwear. â€Å"But where? What is this place?† She glanced around, as though the room might offer some secret insight. The walls were painted pale gray and matched the bedspread, a pattern of purple and grayish blue flowers. There was a small dresser in the corner, along with her chair, as well as the narrow twin bed I lay in. There wasn’t a lot of space here-and no windows at all. â€Å"The Red Snake Man’s house.† â€Å"The Red Snake-son of a bitch. Art.† My mind was still fuzzy, and I had a hard time grasping all the details of what had happened. I remembered bits and pieces of the fight. I remembered chasing the soldier and then Abigail banishing me†¦ But it was all still disjointed, and I had no recollection of how I’d gotten here. It was possible that was simply from the trauma of tearing through the worlds. Someone could have smacked me upside the head too, but the pain throbbing in my skull wasn’t that type. As I’d noted earlier, it was more like the hangover type. Only worse. â€Å"Where is he now?† I asked. Cariena shook her head. â€Å"I don’t know. He doesn’t explain his activities to us.† â€Å"Us? Are there†¦Ã¢â‚¬  Again, my addled brain tried to remember what I already knew. Why couldn’t I line up my thoughts? It was like I had both the buzz and the hangover from drinking, all wrapped up into one. Us. Art. Red Snake Man. â€Å"Are there†¦others like you here? Other girls?† She nodded. â€Å"How many?† â€Å"Five-no, four. They took Fara yesterday. Isanna’s next.† â€Å"They who?† â€Å"One of the men. They come sometimes. They look at us. Sometimes they just†¦Ã¢â‚¬  She looked away, unwilling to meet my eyes. â€Å"Sometimes they just†¦visit. But sometimes they make a deal with the Red Snake Man to take one of us.† â€Å"Art,† I murmured. â€Å"His name is Art. Red Snake Man seems to give him some semblance of respect.† I started to rub my eyes and then realized I couldn’t with the cuffs. â€Å"Are the other girls chained up too?† â€Å"Only the ones who resist.† â€Å"Well, yeah, I guess that would include me. I take it you’re not one?† â€Å"Not anymore.† â€Å"Why don’t you leave? You must have some magic†¦even a little.† Cariena held up her hands. She didn’t have handcuffs like me, but snug iron bracelets hugged each wrist, each with a tiny lock. The skin was red and swollen where the iron touched. â€Å"Jesus†¦so you’re blocked from your magic. But, I mean, can’t you just walk out the door?† â€Å"There’s iron†¦iron everywhere. The windows, the doors. They’re all bound with iron and spells. And locks. Besides†¦Ã¢â‚¬  Her blue eyes widened slightly. â€Å"I don’t know where I would go†¦not in this world†¦Ã¢â‚¬  â€Å"Home,† I said fiercely. â€Å"You’ll go home. I’ll take you there.† She shook her head, face sad. â€Å"There’s no escape from here. Not even for you.† I eyed her curiously. â€Å"Do you know who I am?† â€Å"You are the Thorn Queen. Storm King’s daughter. You are my sovereign.† She gave a deferential nod of respect. â€Å"And I know you are a great warrior and magic user. But if the Red Snake Man caught even you, then there’s no hope for any of us. Moria tried to escape, and she died out there.† â€Å"Moria did escape. She didn’t die, and-† I stopped. Why was my brain such mush? Why was I thinking so slowly? A great warrior and magic user. You read "Thorn Queen Chapter Twenty-Two" in category "Essay examples" I didn’t need my hands to get out of here. I had my magic. The iron and steel that stunted Cariena’s magic had hardly any effect on me, and I would have had enough time by now to rebuild my stores of power. I reached into myself and then to the world around, seeking water and air, though not certain what I’d do with them. Blow the headboard apart? Oxidize the handcuffs? The decision turned out not to matter. Nothing happened. I felt nothing. I felt†¦well, human. I felt as I had for years, long before I’d had any clue I could touch any sort of Otherworldly magic. I was cut off. My mind touched only empty space. â€Å"What’s wrong with me?† I asked, true panic starting to unravel in me. â€Å"My magic’s gone. The steel shouldn’t affect me†¦Ã¢â‚¬  â€Å"It’s not the steel,† a voice suddenly said. â€Å"It’s the nightshade. And I think you’re overdue.† Art strolled into the room, looking as dashing as ever with his tanned skin and movie-star smile. I had nothing but contempt for him and instinctually tried to break the cuffs. Nightshade†¦nightshade. Where had I heard that before? Rurik, I realized. He’d advised something called a tincture of nightshade to completely cut off Jasmine from her magic. Was that what I’d been given? He’d said it was the most effective†¦but that it made those with human blood feel dazed and sick. All of a sudden, I knew this fuzzy hangover feeling didn’t have anything to do with me being banished. There was no real purpose in discussing nightshade with Art, so I got right to the point. â€Å"I’m going to kill you.† Art laughed that hearty, deep laugh I’d once found endearing. â€Å"Forgive me if I’m not scared.† He turned to Cariena. â€Å"Go get some more nightshade for Eugenie. And make sure Isanna is dressed and ready to go when Abigail returns.† Cariena was practically out of the room before he finished speaking. â€Å"I can’t believe it,† I said. â€Å"It’s really true. When I first started putting together this fairy sex-trade theory, I thought it was as crazy as Roland thought it was. But it’s really true. Where’s this Isanna going? Is Abigail taking her to her new owner?† He leaned back and crossed his legs. â€Å"I suppose you could say that. I like to think of it as her new loving home. The man who bought her is very eager to welcome her.† â€Å"You’re a fucking bastard,† I growled. â€Å"Selling them like they’re property.† â€Å"Might as well be. And if it makes you feel better, I don’t sell all of them. Cariena there†¦hmm, well, she’s not pretty enough to get a good price. Easier to keep her around for house calls.† â€Å"House calls.† I started to feel sick again, and it had nothing to do with the nightshade. â€Å"Basically, you’re whoring her out. You sell sex slaves and run a brothel-and yet, all the while, you play hero shaman like you’re doing the world a good deed. Roland couldn’t say enough nice things about you.† Art straightened up, feet hitting the floor as a flash of anger shone in his eyes. â€Å"I am doing the world a good deed-this world. Those girls? They’re nothing. They aren’t human. And you†¦Ã¢â‚¬  He shook his head. â€Å"You’re one to talk about image. You play hero shaman too, when in reality you’re off commanding gentry armies. Does Roland know? Does he know what you really are? I’m sure he has to know you’re a half-breed mongrel, but does he really know the extent of it?† White-hot rage burned within the drug-induced haze of my mind. â€Å"I think you forgot the part where I’m going to kill you.† â€Å"And you forgot the part where I said I’m not worried.† Cariena returned holding a coffee mug. I eyed it warily. â€Å"What are you going to do with me?† I demanded. â€Å"You would have killed me already if you could, yet you probably aren’t going to let me go now that I know your dirty secret. Are you going to sell me off too? Keep me for yourself since you don’t like gentry?† Art shook his head and approached my bed. â€Å"Eugenie, you couldn’t pay me enough to keep you around. I’d take one of these idiot girls any day. Turn on the microwave, and they’re so scared that they’ll stay docile for weeks.† He gestured Cariena to his side and reached down to hold my head in place. I realized what he was going to do and began thrashing. With one hand he tried to keep me still, and with the other he partially held my mouth open. â€Å"Do it,† he said. Obediently, Cariena poured the liquid from the mug into my half-open mouth. As she did, she mouthed, I’m sorry. The stuff tasted horrible, and I gagged on it. I tried to spit it out, but Art promptly covered my mouth until I had to swallow. That bitterness flowed down my throat, and I could feel a new wave of numbness start to sweep over me. â€Å"Yes,† said Art, almost cheerfully. â€Å"You’re trouble. I don’t want you. I don’t know any human who would. But fortunately, we got an offer from someone who isn’t.† I think he was smiling that stupid smile again, but I could never say for sure. The force of the nightshade flooded through me, pulling me into fuzziness, then darkness, and then sleep. I immediately noticed two things when I came to later. One was that Art was still in the room, though I think he’d just returned and hadn’t been watching me sleep. The other thing I noticed was that I was uncuffed. I didn’t waste any time. I promptly leapt out of the bed and charged him. Unfortunately, I didn’t really make it off the bed so well. The nightshade was chugging along in my system, and my limbs barely had the energy to stay upright. I fell off the bed and collapsed into an ungraceful pile on the floor. Cariena was there too, holding a bundle of clothing, and started to come help me. Art shook his head, and she froze. â€Å"Looks like you won’t be killing me today,† he said. â€Å"You fucking bastard,† I said, tossing one arm on the bed and attempting to pull myself up. â€Å"How long was I out?† â€Å"Oh, an hour or so. That’s usually the worst part of it for humans. Now that you’re bright-eyed and bushy-tailed, Cariena’s going to help you look respectable.† I glared at him. I didn’t know who’d stripped me down to this T-shirt and underwear, but if it had been him, he’d die extra slow. The scathing look he gave me suggested, however, that he found as little pleasure in me as I did in him. â€Å"You can’t keep me here,† I warned, managing at last to sit back on the bed. â€Å"Someone’s going to come looking for me.† â€Å"Who?† he asked. â€Å"You were the idiot who wandered off from your people. None of them saw you taken. None of them saw me or any of my companions-well, except for your two meager guards, and they won’t say anything to anyone ever again.† With a sinking feeling, I knew he was right. Nobody knew what had happened to me. I’d mentioned the Yellow River theory off and on to a few of my friends, but none of them had any reason to suspect that was connected to my post-battle disappearance. If anything, they’d probably think there’d been another demon on the loose. â€Å"Who the hell were your companions anyway?† I demanded, recalling the trained fighters. â€Å"Did you hire a mercenary army or something?† Art only smiled. â€Å"Cariena, get her dressed.† To me, he said, â€Å"Cooperate, or she’ll be the one who suffers for your disobedience.† He left, shutting the door behind him. I heard the snick of a lock. Across the room, Cariena watched me with big, terrified eyes. She feared both me and Art. I sighed. â€Å"It’s okay. I’ll get dressed. I don’t want to run around in my underwear anyway.† Visibly relieved, she stepped forward and unfurled what she held: a dress. A gentry-style dress. â€Å"You have got to be kidding me,† I said. â€Å"Isn’t there something else?† Cariena cringed. â€Å"It’s all he gave me.† I eyed the bedspread, almost wondering if I could go all Scarlett O’Hara and make something for myself. Then, seeing Cariena’s pale face, I yielded again. I wouldn’t let Art beat her or give her to some guy because of me. I took the dress from her but discovered I couldn’t put it on without help, not with my weak muscles and groggy motor control. Being in that state infuriated me. I hated being helpless. More upsetting still was that I was essentially free, unbound and able to move about†¦but I had no means to fight or defend myself. I could barely even stand. I was a prisoner in my own body. The dress was a mix of lavender and pale blue. I guess you’d call it periwinkle, which I’d always thought was a dorky name. It was made of smooth, clingy velvet that hugged my body and laced up the back corset-style. The sleeves were long and form-fitting, and the scoop neckline was much lower than my usual style. I’d only wear something that showed that much cleavage if I was going on a date with Kiyo-or trying to coax a favor from Dorian. Kiyo and Dorian. It sounded pathetic and all damsel-in-distress, but I would have given anything to have them here right now. Cariena clasped her hands and studied me almost adoringly. â€Å"You look beautiful, your majesty. I see now why you have so many suitors back in our world.† Our world. â€Å"Well, I don’t think my beauty plays quite as much a role as you think.† She produced a brush and undid the knotted ponytail in my hair. â€Å"I don’t know if I want to be beautiful or not. I used to think I did. But since I’m not, no one will take me from here.† She sounded grateful. â€Å"You are beautiful,† I said sharply, angry at what Art had said. â€Å"And someone is going to take you from here-me.† Cariena gave me a small, sad smile, but for the first time, I thought there might be something like hope in her eyes. A knock at the door startled her back into timid mode as she leapt up from where she’d sat beside me. â€Å"Oh! He’s here.† â€Å"Who?† I asked. Surely Art wouldn’t have knocked. The lock clicked, and the door opened. Leith walked in. â€Å"Leith!† I exclaimed. He looked as I’d seen him before, clad in a red and white silk shirt, dark hair glossy and swept from his face in a ponytail. I wanted to jump up but knew I’d fall to the floor again. â€Å"Thank God.† Someone did know I was here. I wasn’t lost forever. I wanted to tell Cariena we were on the verge of freedom, but she was already scurrying out of the room and hastily shutting the door. â€Å"Eugenie,† breathed Leith, striding toward me. He knelt on the ground and caught hold of my hands where I sat. â€Å"You are stunning†¦as beautiful as I remember. No, more so. You can’t imagine how I’ve missed you.† A chill crept along my spine. Something was very, very wrong here. â€Å"Leith†¦we have to get out of here. You have to help me-and these girls. There are horrible things going on here.† â€Å"We can leave,† he said. â€Å"But not quite yet. Not until everything’s settled.† I tested his hand to see if I could free mine. I couldn’t. â€Å"Until what’s settled?† â€Å"Until then,† he continued, as though I hadn’t spoken, â€Å"you’ll have to stay here where no one can find you. But I promise I’ll visit you every day.† â€Å"I can’t stay here! I have to get back to†¦anywhere that’s not here. Tucson. The Thorn Land. Anywhere! Leith, what the hell is going on? Why are you here?† â€Å"Because you are. Because Art got you for me.† That chill down my spine spread to the rest of my body until I felt cold all over. I tried jerking my hand away again but didn’t possess the strength. â€Å"How do you know Art? Oh God. Please tell me you aren’t working with him.† He shrugged. â€Å"It’s a mutually beneficial relationship. I help him collect girls in our-in the Otherworld.† â€Å"Girls from my kingdom,† I said, the realization coming suddenly. â€Å"That’s why none of yours were ever taken.† Leith had the grace to look sheepish. â€Å"I don’t take important ones, Eugenie. Just peasants. No one notices they’re missing.† â€Å"Their parents do.† â€Å"Look, it doesn’t matter. My soldiers help round them up, and I bring them to Art and Abigail to do what it is they do.† My soldiers. The soldiers who always wore red, just like Leith did now. Normally, red shirts made me think of Star Trek extras, but in this case, it was in tribute to the Rowan Land’s flag and emblem. The soldiers Jasmine and others had seen weren’t Aeson’s deserters. They’d been sent by Leith to help Art and Abigail with their abductions. â€Å"They sell them, Leith! How can you stand by and enable that? They sell those girls to horny guys against their will. What can you possibly get out of it to justify having that on your conscience?† â€Å"This.† He gestured around. â€Å"Art and Abigail share things with me†¦their knowledge from this world. I take it back to mine.† I stared in disbelief. â€Å"And then you pass it off as your own. That’s why everyone thinks you’re such a technological genius. Did you really devise those irrigation plans for me yourself?† â€Å"No,† he admitted. â€Å"I had help. But does it really matter? Look, you don’t know what it’s like. You’re strong. Your magic grows more powerful every day. But me? I’m a joke. I can’t inherit. Proving myself with my ‘genius’ was the only way to get any respect†¦and even that wouldn’t be good enough to let me inherit. Until I met you.† â€Å"Leith-â€Å" â€Å"I know what you said, but my feelings haven’t changed. I love you. And I know if you just spend a little more time with me, you’ll love me too. We connect. There’s something between us. It’s more than just about power.† I leaned back. It was the only way I could put distance between us. â€Å"I’m not so sure about that. You think I’m your meal ticket to holding on to the Rowan Land.† â€Å"Not just that land, but all the lands! This world too. Eugenie, when you bear my son, you’ll see that I’m right.† There was a zealous glow in his eyes, and I couldn’t decide if he was crazy or just really, really believed these things would be true if he said them. Maybe there wasn’t a difference. â€Å"I can make you happy-and I know you can make me happy. You’re so beautiful†¦.† He moved up to sit beside me on the bed and ran one hand along my velvet-covered leg. â€Å"Leith†¦don’t†¦Ã¢â‚¬  â€Å"I just need to get you pregnant,† he said earnestly. â€Å"Don’t you understand? If I bring you back to our world carrying my child, everything will be solved. Art told me†¦he told me how you stop yourself from conceiving. How you take some potion every day.† His hand moved up to my hip while his other touched my face and stroked my hair. I tried to back away, but his grip was too strong in my addled state. â€Å"He said if you’re away from it long enough that you’ll be able to have a baby†¦.† I swallowed. My heart was threatening to pound out of my chest. â€Å"No†¦it won’t work. You can’t get me pregnant-because I already am.† His caresses froze. â€Å"What?† â€Å"You were right before about me being involved with Dorian. Kiyo was a cover. He’s not worthy-he’s no one I’d want to father my child. Dorian and I have been lovers for a long time now in secret. We were afraid of what his enemies would do if they found out. I’ve been pregnant for†¦Ã¢â‚¬  What wouldn’t show? â€Å"†¦two months. It’s too late for you, Leith.† He had gone perfectly still, save for his eyes, which were searching my face thoroughly. â€Å"I don’t believe you. You’re lying. Everyone knows how you bicker with the Oak King. You aren’t lovers.† â€Å"We are. He’ll kill you when he finds out.† Leith shook his head and slid his hand from my hip to my stomach. â€Å"There’s nothing here. Not yet.† Panic flooded me, and for a moment I couldn’t breathe. Every other time I’d come close to being raped flashed through my mind-and there had been far more of those times than I would have liked. And every time, I had escaped the situation. Yet that never made the next time any less terrifying. This was no exception. â€Å"Leith, please don’t do this.† His hand moved fumblingly to my breast, and then he pushed me back against the bed. â€Å"It’s okay,† he said, speaking as one would to a child. â€Å"It’ll be okay. You’ll like it. I promise.† â€Å"Don’t do this!† His mouth was on my neck, and lovesick boy or no, there was definitely a man’s sexual need there. I struggled against him, trying desperately to free myself, but I might as well have truly been a child. With that fucking drug in me, both my body and brain were a mess. My body had none of its ability to fight him or stop him from pushing up my skirt. My brain had no clever ways to talk him out of this. And as he took off his own clothes and laid his body on top of mine, pressing me down, I realized he needed no handcuffs to keep me subdued. The strength of his hands pinning my wrists was more than enough. How to cite Thorn Queen Chapter Twenty-Two, Essay examples

Teaching Social Workers Empathy Essay Example

Teaching Social Workers Empathy Essay â€Å"Teaching Social Workers Empathy† Jamie Raabe Northern Kentucky University Holly Riffe- 594 Aim/ Purpose â€Å"Our society is externally oriented; we do not normally or easily see things from another person’s point of view. We are too preoccupied with our own frame of reference. † (Patterson, 1985 pg. 53) Being empathetic should be a cherished characteristic of a person. In the profession of social work, empathy is a skill that can assist the worker understanding client’s situation. Atticus Finch, a character in Harper Lee’s novel To Kill a Mockingbird, tried to explain empathy to his daughter- â€Å"You never really understand a person until you consider things from his point of view- until you climb into his skin and walk around in it. † (Lee, 1960 pg. 30) Teaching empathy to social workers may be an easy task, but social workers face many obstacles that work against them in their career. Burnout is a major issue facing social workers. Social workers who have burned out, get tired of situation, and heartache of clients they see day in and day out. DESIGN â€Å"Good communication is at the heart of best practice in social work. † (Forrester 2008 pg. 42) Empathy is a form of communication whereas the listener becomes the person experiencing an emotion. To Be Empathetic: â€Å"Empathy involves at least three aspects or stages. Assuming that the client is willing to allow the counselor to enter his or her private world and attempts to communicate perceptions and feelings to the counselor, the counselor must be receptive to the communication. Second, counselors must understand the communication of the client. To do this they must be able to put themselves in the place of the client, to take the role of the client. Third, the counselor must be able to communicate his or her understanding to the client. † (Patterson 1985 pg. 53) 1. â€Å"Social workers, therefore, must engage with service users as individuals, in order to understand their problems and needs. † In particular, social workers should also demonstrate active listening (nodding, smiling, positive remarks etc. ). (Forrester, 2008 pg. 42) a. We will write a custom essay sample on Teaching Social Workers Empathy specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Teaching Social Workers Empathy specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Teaching Social Workers Empathy specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Motivational Interviewing= â€Å"an empirically supported, client- centered, directive counseling approach designed to promote client motivation and reduce motivational conflicts and barriers to change†¦ focuses on issues such as: clients’ sense of the importance potential changes, their confidence that change can be successful, and their readiness to make changes. † ( Wagner, 2004 pg. 152) By practicing this type of interviewing, a client will feel the counselor/ social worker is more empathetic to his or her needs. 2. To understand communication of the client, it is important to utilize open- ended questions in the initial interview. Trevithick (2000) suggests that ‘open-ended questions should form a major part of an initial interview or encounter’. The initial interview is of great importance, using open- ended questions let clients speak and elaborate on their needs. 3. Reflecting is an important part interviewing, and communicating with clients. â€Å"A reflection is a hypothesis about what the client means or feels expressed as a statement. They are central to the expression of accurate empathy; they encourage deeper exploration of emotional content; and they allow the worker or counselor sensitively to manage the interview. It has also been suggested that reflections are important in reducing resistance and increasing engagement in interviews. Miller and Rollnick summarize counseling research that suggested that reflections should outnumber questions by a proportion of three to 1† (Forrester, 2008 pg. 44) Evaluation Plan 1. Pre- test: Social workers interview clients, before empathy education. 2. Social worker/ counselors are educated on empathetic techniques (motivational interviewing, active listening, open- ended questions vs. closed- ended questioning, and reflecting). 3. Post- test: Clients are to be interviewed and then rated using Carkhuff’s five levels of empathy. a. Level 1= Obstructing= â€Å"the social worker communicates little or no awareness or understanding of even the most conspicuous of the client’s feelings; responses are irrelevant. Operating from a personal frame of reference, the social worker changes the subject, argues, gives advice prematurely etc. † (Hepworth 2010, pg. 95-96) b. Level 2= Not listening= â€Å"the social worker responds to the surface message of the client but erroneously omits feeling or factual aspects of the messages. (Inaccurately interpret feelings, or inappropriately qualify feelings)† (Hepworth 2010 pg. 97) c. Level 3= Minimal Listening= â€Å"The social worker’s verbal and nonverbal responses convey understanding and are essentially interchangeable with the client’s obvious expressions†. Hepworth 2010 pg. 97) d. Level 4= Empathetic Listening= â€Å"Responses are somewhat additive, accurately identifying the client’s implicit underlying feelings and/ or aspects of the problem†¦ enables the clients to get in touch with somewhat deeper feelings. † (Hepworth 2010 pg. 98) e. Level 5= Fully Empathic and Skilled Listening= â€Å"Reflecti ng each emotional nuance, and using voice and intensity of expressions finely attuned to the client’s moment- by- moment experiencing†. (Hepworth 2010 pg. 8) â€Å"There is a sense in which communication skills are often taken for granted within social work: like the air we breathe, they provide an invisible but essential context for everything that we do. † (Forrester 2008 p. 50) References 1. Forrester, D. , Kershaw, S. , Moss, H. , amp; Hughes, L. (2008). Communication skills in child protection: how do social workers talk to parents?. Child amp; Family Social Work, 13(1), 41-51. Retrieved from EBSCOhost. 2. Harper, L. (1960). To Kill a Mockingbird. New York. J. B Lippincott. 3. Hepworth, D. H. (2010). Direct Social Work Practice- Theory and Skills (eighth ed. . Belmont, Calif. : Brooks/ Cole. 4. Patterson, C. H. (1985). Empathetic Understanding. In The Therapeutic Relationship (pp. 52-59). Monterey, Calif. : Brooks/ Cole. 5. Richards, Sally, Rush, G. , Trevithick, P. Communication Skills Training for Practice: the Ethical Dilemma for Social Work Education. (2005). Social Work Education, 24(4), 409-422. Retrieved from EBSCOhost. 6. Wagner, Christopher, C. McMahon, B. , Motivational Interviewing and Rehabilitation Counseling Practice. (2004). Rehabilitation Counseling Bulletin, 47(3), 152-161. Retrieved from EBSCOhost.