Ethical Case Study

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A Minor (?) Client

 

Tommy, age 17, is brought by his parents to see Ben, a counselor in private practice. During the intake session with the parents and Tommy, the parents tell Ben that they are concerned about Tommy’s performance in high school as well as his overall social adjustment. Tommy had been an athlete throughout middle and high school, but about 6 months ago he was dismissed from the baseball team by the coach and school administrators. The situation that led to the dismissal involved an incident during a practice in which Tommy had an argument with a teammate. After practice, he got into a fight with the same teammate and another player in the locker room. Tommy was viewed by the coaching staff as the instigator of the argument, and observers supported this view. Tommy believed the coach did not like him and was singling him out, as other players had argued and scuffled without serious consequences. Within a few days of the fight, Tommy got into a verbal altercation with a teacher over a grade. These combined events led to him being dismissed from the team and suspended from school for a week.

 

Tommy’s school performance has declined from grades of A and B to failing or barely passing most classes. He also has changed his group of friends, spending his time with individuals his parents view as troublemakers and drug users. In fact, his parents have caught Tommy drinking and smoking marijuana several times, and they suspect additional drug use. He has become increasingly defiant with his parents by withdrawing from his family, staying out far beyond his curfew, and hanging out in dangerous areas of town.

 

Ben meets with Tommy individually after completing the intake with the parents present. Tommy denies that he is using any drugs except marijuana and states that he believes his parents are overreacting. He describes his drug use as “normal high school stuff.” He says that he plans to return to school, pull up his grades, and graduate on time and that he hopes to play baseball at a college or university. When Ben asks Tommy if he wants to continue in counseling, Tommy says that he does. When Ben gently questions whether Tommy’s response is motivated more by a desire to avoid further dissention with his parents than by a sincere desire to receive counseling, Tommy denies this.

 

During the next six weekly sessions, Tommy remains marginally engaged in the counseling process: He answers questions and carries on a conversation but will not actively explore his internal struggles, feelings, or actions that led to his current situation. Ben structures some sessions as family sessions and sometimes sees Tommy individually. In both situations, Tommy maintains the same stance: “I’m fine, my parents are simply overreacting.” By contrast, Tommy’s parents believe his substance abuse is more serious than he admits. They have removed all alcohol from the house to prevent him from drinking it and report that they discovered he has used Xanax recreationally. Also, they state that Tommy was once involved in a situation in which someone pulled a gun on him and friends when (the parents assumed) they were at a house to purchase drugs. Taking into account the parents’ report, Ben diagnoses Tommy with a substance use disorder and submits paperwork for reimbursement to the family insurance company. Ben also includes a diagnosis of an adjustment disorder with conduct disturbance.

When the family receives notification from their insurance company about the claim, they are upset to learn that a diagnosis of a substance use disorder was given. They are concerned that such a label will follow Tommy and negatively affect his future. Tommy, also, is very concerned, fearing that such a diagnosis might prevent him from being able to play baseball at a college or university. Tommy is particularly upset because he disagrees with the diagnosis, maintaining that his substance use is “normal” and that he isn’t “stupid enough to get into trouble with drugs.”

A complicating factor in the case is that Tommy turned 18 during the 6 weeks he was in counseling, making him legally responsible for remaining in counseling and confounding the question of who gives consent for treatment. Initially, Tommy’s parents had reviewed and signed the consent for treatment documents, and Tommy had given his assent. The parents had paid for counseling services. Ben was unaware of the birthday, although the information was in the client file.

2-1 Worksheet: Cultures And Artifacts Worksheet

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HUM 100 Cultures and Artifacts Worksheet

 

Complete this template by replacing the bracketed text with the relevant information.

 

Part 1

In the first column, list three cultures you are a part of or that you identify strongly with, and rank them from most to least significant in your life. These can be national, ethnic, religious, regional, or local, and they can include subcultures or groups related to your personal interests.

In the second column, identify one representative object for each of the cultures you identify with on your list.

In a few words, explain how the cultural object reflects the culture in which it exists. Consider which aspects of culture have relevance for each object: politics, history, religion, social perceptions, technology, media, education, and so on.

 

Culture/Subculture Object Influence of Culture on the Object
[Insert text.] [Insert text.] [Insert text.]
[Insert text.] [Insert text.] [Insert text.]
[Insert text.] [Insert text.] [Insert text.]

 

 

Part 2

To complete the second table, select three reasons for creating an artifact from the resources provided, or provide your own reasons.

 

1. In the first column, state the reason for creating an artifact.

In the second column, provide an example of an artifact that could have been created for the reason presented.

In the third column, state whether the artifact was created by an individual or a group, and provide the name(s) of the creator(s).

 

Reason

 Example of Artifact Creator
[Insert text.] [Insert text.] [Insert text.]
[Insert text.] [Insert text.] [Insert text.]
[Insert text.] [Insert text.] [Insert text.]

 

 

Select one of the artifacts and answer one of the following questions in one to two paragraphs:

 

Do you believe the creator was successful in achieving their purpose? Why or why not?

 

 

How do think the artifacts and the culture in which they were created influenced each other? Explain.

 

[Insert your one- to two-paragraph response.]

 

 

HUM 100

 

Cultures and Artifacts

Worksheet

 

 

Complete this template by replacing the bracketed text with the relevant information.

 

 

Part

1

 

1.

 

In the first column, list three cultures you are a part of or that you identify strongly with, and

rank them from most to least significant in your life. These can be national, ethnic, religious,

regional, or local, and they can

include

 

subcultures or grou

ps related to your personal interests.

 

2.

 

In the second column, identify one representative object for each of the cultures you identify

with on your list.

 

3.

 

In a few words, explain how the cultural object reflects the culture in which it exists. Consider

which

 

aspects of culture have relevance for each object: politics, history, religion, social

perceptions, technology, media, education, and so on.

 

 

Culture/Subculture

 

Object

 

Influence of Culture on the Object

 

[Insert text.]

 

[Insert text.]

 

[Insert text.]

 

[Insert text.]

 

[Insert text.]

 

[Insert text.]

 

[Insert text.]

 

[Insert text.]

 

[Insert text.]

 

 

Part

2

 

 

To complete the second table, select three reasons for creating an artifact from the resources provided,

or provide your own reasons.

 

 

1.

 

In the first column,

 

state the reason for creating an artifact.

 

2.

 

In the second column, provide an example of an artifact that could have been created for the

reason presented.

 

3.

 

In the third column, state whether the artifact was created by an individual or a group, and

provide

the name(s) of the creator(s).

 

 

Reason

 

Example of Artifact

 

Creator

 

[Insert text.]

 

[Insert text.]

 

[Insert text.]

 

[Insert text.]

 

[Insert text.]

 

[Insert text.]

 

[Insert text.]

 

[Insert text.]

 

[Insert text.]

 

 

Select one of the artifacts and answer

one

of the following questions in

one to two paragraphs

:

 

 

·

 

Do you believe the creator was successful in

achieving

 

their purpose? Why or why not?

 

 

 

·

 

How do think the artifacts and the culture in which they were created influenced each other?

Explain.

 

 

[Insert

your one

–

 

to two

–

paragraph response.]

 

 

 

 

HUM 100 Cultures and Artifacts Worksheet

 

Complete this template by replacing the bracketed text with the relevant information.

 

Part 1

1. In the first column, list three cultures you are a part of or that you identify strongly with, and

rank them from most to least significant in your life. These can be national, ethnic, religious,

regional, or local, and they can include subcultures or groups related to your personal interests.

2. In the second column, identify one representative object for each of the cultures you identify

with on your list.

3. In a few words, explain how the cultural object reflects the culture in which it exists. Consider

which aspects of culture have relevance for each object: politics, history, religion, social

perceptions, technology, media, education, and so on.

 

Culture/Subculture Object Influence of Culture on the Object

[Insert text.] [Insert text.] [Insert text.]

[Insert text.] [Insert text.] [Insert text.]

[Insert text.] [Insert text.] [Insert text.]

 

Part 2

To complete the second table, select three reasons for creating an artifact from the resources provided,

or provide your own reasons.

 

1. In the first column, state the reason for creating an artifact.

2. In the second column, provide an example of an artifact that could have been created for the

reason presented.

3. In the third column, state whether the artifact was created by an individual or a group, and

provide the name(s) of the creator(s).

 

Reason Example of Artifact Creator

[Insert text.] [Insert text.] [Insert text.]

[Insert text.] [Insert text.] [Insert text.]

[Insert text.] [Insert text.] [Insert text.]

 

Select one of the artifacts and answer one of the following questions in one to two paragraphs:

 

 Do you believe the creator was successful in achieving their purpose? Why or why not?

 

 

 How do think the artifacts and the culture in which they were created influenced each other?

Explain.

 

[Insert your one- to two-paragraph response.]

Evolution And Mating Practice

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I have attached the case study description at the bottom so that you can read it to write the paper.

Please watch the following YouTube video (https://www.youtube.com/watch?v=OXQwtTOnLvg) which complements the material covered in the evolutionary perspective chapter, the psychosocial perspective chapter(s), and the first article about which you will write a review paper this semester. In the linked video, Dr. Puts describes the evolution of some important gender differences in mating behavior. For example, he describes why men evolved to secure and provide resources and why women evolved to prefer men who can provide consistent resources. He also describes how evolutionary theory helps us understand why women’s mate preferences change over the course of their menstrual cycle and why men (should and do) care for their own children and not other men’s children.

After you have viewed the video (and taken notes), please 1) read the attached Case Study description

(and 2) answer the application questions noted below. You will type your answers in a separate document and upload it in this drop box for credit. Please remember to enumerate your list of answers and to NOT copy and paste the questions into your paper.

  1. According to evolutionary psychology, to what type of women should men be most attracted? Why?
  2. According to evolutionary psychology,  to what type of men should women be most attracted? Why?
  3. How could evolutionary psychology explain what would make Dylan’s first wife, Whitney, stay with him even though she knew about his infidelities?
  4. According to evolutionary psychology, what would a woman married to Dylan have to do in order to make Dylan initiate a divorce?
  5. Why does Dylan not use birth control, according to evolutionary psychology?
  6. Using an evolutionary psychological perspective, make the case for why Dylan’s ‘side pieces’ would use birth control when they are with him. Then, make the case for why Dylan’s ‘side pieces’ would NOT use birth control when they are with him. Be specific and explain your answer clearly.
  7. What are some problems with the evolutionary psychology explanations noted here?
  8. Use Freud’s theory to explain Dylan’s promiscuity. How does the focus of Freud’s theory differ from that of evolutionary psychology?

Plan for and schedule the time and date to do your VIRTUAL chosen experience.

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Materials

Use all of the resources in Course Content as well as your textbook and additional research sources to guide your writing. Follow the prompts in the appropriate worksheet from the Aesthetic Experience Materials area in this module. Apply the skills you’ve developed throughout the course in researching and evaluating works from the humanities.

 

Background

Throughout the course you have applied the practice of critical analysis to a variety of works from the humanities. This assignment is the capstone of the lessons and activities you’ve completed in this course.

 

For this assignment you will VIRTUALLY attend an art museum. [Note: Cinema / film is not an option for this assignment].

 

If, for some reason, you choose to attend a museum or event “in person”, you are assuming all risks and responsibilities associated with attending. You are in no way “required” to go anywhere “in person” for this course for the Aesthetic Experience Research Essay or for any other reason.

 

Instructions

Before the Experience (Do These Steps EARLY in the Semester)

1. View the Aesthetic Experience and Perception video and read the associated transcript in the Aesthetic Experience Materials area of this module.

 

2. Look through the pre-approved list of VIRTUAL art museums in the Aesthetic Experience Materials area of this module and choose your experience.

 

3. Plan for and schedule the time and date to do your VIRTUAL chosen experience.

 

4. After Virtually Viewing the museum, compose a research essay pertaining to this aesthetic experience based on the detailed instructions in the Aesthetic Experience worksheet. Incorporate terms from the list at the end of your worksheet.

 

5. Conduct the appropriate research to support your responses to the worksheet prompts. Be sure to cite all sources carefully. For this assignment, you are required to use and cite a minimum of five quality sources (including the precise link to your work of art). Those five sources should include:

 

(1) the textbook;

 

(2) the website of the museum that houses your piece;

 

(3) the precise link to the work of art itself;

 

(4 and 5) TWO quality research sources pertaining to your piece, its artist, style, and/or historical/cultural contexts. To find these sources, please try using Google Scholar and/or our college library.

 

Be sure to cite all your sources in proper MLA or APA format, including the event or work of art itself. Your complete “Works Cited” should be placed at the end of your third essay prompt; in other words at the bottom of the page on which you write your responses to the third essay prompt (before the Glossary section).”

 

6. Finally, submit your completed Aesthetic Experience Research Essay Worksheet to this dropbox folder. (Note: Be sure that the completed worksheet REMAINS in a WORD FORMAT and that your responses reflect in-depth critical evaluation and analysis based on research with careful editing/proofreading and research citations before submitting.)

 

 

 

 

 

 

 

 

 

Aesthetic Experience Lecture Transcript (with additional insights)

Perception

Now that we are getting towards the end of the course, you might be wondering how philosophy connects with Introduction to Humanities.  As we have seen, we have been discussing this somewhat mystical thing “the aesthetic experience”. We have established that the aesthetic experience is a special “inner’ experience. By this “inner” experience I mean a “mind internal” experience which is evoked as a result of some “mind external” thing happening to us (like viewing art). Thus, examining “perception” is one way that philosophy connects to humanities.

For example, we view a piece of art, and the art evokes a mental image to us. That mental image can affect us both rationally and emotionally. The artists intend to create an emotional response in some cases. In other cases, they are trying to do so (i.e. create an image) through rational means. An example would be through a rational presentation of geometry or even mathematics via art. Of course that is not the case with every type of visual art.

Common Threads

One important question is: What do viewing and experiencing different types of art have in common?

We have looked at literature, visual art (including sculptures and paintings), listened to music, and studied theater (including different types of theatrical productions). We have also looked at opera that combines music, stage, and theater to tell a story. We have seen the musical stage and/or Broadway Musicals. We have seen dance as performance art and realized that even things like poetry reading can be a performance art.

Now we start to see some common threads starting to emerge. All of these things (i.e. viewing the varying art forms) are giving us what we call in philosophy: “Veridical Perceptions.” These are perceptions of something outside of our minds that are causing a personal perception in our own minds–just like you are hearing my voice, seeing my image, etc. that is causing a mental image in your personal mind.

The Experience

However, in these “humanities” experiences (in the “aesthetic experience”), we see that these outside veridical perceptions (like viewing art) are forcing us into some sort of rational or emotional analysis (since we are human beings who respond this way). These are the types of commonalities that we have seen by taking an interdisciplinary approach to the humanities. The commonality is: All art, by giving us veridical perceptions, causes us to have a personal, inner mental perception (called a phenomenological perception) that we experience, contemplate, and react to.

Key Terms

· Aesthetic Experience: having an experience in the arts (broadly) such as viewing art, stage productions (like theater, dance, etc.), or viewing and listening to music (like concerts, opera, singing, etc.), or reading literature and philosophy, that we value intrinsically. Also see key terms at the end of Chapter 1, page 15

· Phenomenological Perception: A perception that exists in your mind as a result of (1) mind internally produced, mind internal causation (like hearing your favorite song while no music is playing), or (2) the mental image (in your mind) that is produced as a result of a veridical perception as it is happening (like seeing color while viewing a painting).

· Veridical Perception: A perception caused by something outside of your mind (e.g. light waves striking your eyes causing an image in your brain). This is a perception caused by a sensory experience (like viewing a painting).

How Are the Arts Similar?

Now we start to ask NOT how the arts are different, but rather: How are the arts similar?

Even though we have actually tried quite consciously to make a dichotomy between Western and Non-Western humanities (indeed that is one of the learning objectives for the course), I submit to you now that we’ve nearly completed the course, that the artistic approaches are really quite similar. Whether one is trying to evoke theater though Hollywood or Bollywood, ultimately the same thing is trying to be achieved. One is trying to engage the viewer and trying to share some sort of aesthetic experience, whether it is reading a novel East or West, studying a philosophical analysis (East or West), or studying a religion which shows us a way of viewing the universe (which is a particular worldview). A world view shapes our perceptions and this shapes our very notions of reality. This world view affects how you perceive the world and what sort of things you think are valuable, important, and real (or unreal). This ends up shaping your interaction with each other–and really (at some level) with yourself.

Thus, the arts contribute to your notions of reality and this affects your world view.

We have learned that “the arts”, in the broad sense of word, are actually teaching us different ways to experience a vast array of creations by us and our fellow humans. So, I hope as you start to think about going to your second (or perhaps first) cultural experience (and by that I mean getting ready to do an evaluative report on either a musical performance, theatrical performance, dance concert performance, or museum visit) that you think about kicking it up a notch and approaching this project at a deeper level than you would have at the very beginning of the course. So, what I want you to think about is:

How are these perceptions (what is happening while you are watching the performance or viewing the art) affecting you?

You know you are getting some kind of visual and auditory aesthetic experience (i.e. veridical perceptions). But try to think about these questions:

· What exactly is happening during the aesthetic experience?

· How are these images and veridical perceptions (i.e. mind external perceptions) affecting you?

· What type of “inner” aesthetic experiences are they causing?

· Are they causing something similar to the other audience members?

· Is this what the artist or composer intended?

· And, as we learned earlier:  Is this aesthetic experience creating some sort of “catharsis” within you? Recall that a catharsis is a healthy release of pent up emotion.

· Are you emotionally engaging with the material? It is, ironically, through emotional engagement with the material that we can have some sort of rational and “critical analysis” response to the aesthetic experience.

Lastly, Have Fun!

With that said, I hope you enjoy your cultural experience (i.e. aesthetic experience) and that you really “get into it”. Remember, this is supposed to be fun at some level and I hope that you do have fun. I look forward to reading about your experience.

References

Janaro, R., & Altshuler, T. (2012). Art of Being Human: The Humanities as a Technique for Living (10th ed.). Upper Saddle River, New Jersey: Pearson.

 

LINK FOR MUSUEM

Visit the collections at the National Gallery of Art

https://www.nga.gov/collection.html

 

 

Materials

 

Use all of the resources in Course Content as well as your textbook and additional research s

ources to

guide your writing. Follow the prompts in the appropriate worksheet from the Aesthetic Experience

Materials area in this module. Apply the skills you’ve developed throughout the course in researching

and evaluating works from the humanities.

 

 

Bac

kground

 

Throughout the course you have applied the practice of critical analysis to a variety of works from the

humanities. This assignment is the capstone of the lessons and activities you’ve completed in this

course.

 

 

For this assignment you will VIRTU

ALLY attend an art museum. [Note: Cinema / film is not an option for

this assignment].

 

 

If, for some reason, you choose to attend a museum or event “in person”, you are assuming all risks and

responsibilities associated with attending. You are in no way “r

equired” to go anywhere “in person” for

this course for the Aesthetic Experience Research Essay or for any other reason.

 

 

Instructions

 

Before the Experience (Do These Steps EARLY in the Semester)

 

1. View the Aesthetic Experience and Perception video and re

ad the associated transcript in the

Aesthetic Experience Materials area of this module.

 

 

2. Look through the pre

–

approved list of VIRTUAL art museums in the Aesthetic Experience Materials

area of this module and choose your experience.

 

 

3. Plan for and sc

hedule the time and date to do your VIRTUAL chosen experience.

 

 

4. After Virtually Viewing the museum, compose a research essay pertaining to this aesthetic experience

based on the detailed instructions in the Aesthetic Experience worksheet. Incorporate te

rms from the

list at the end of your worksheet.

 

 

Materials

Use all of the resources in Course Content as well as your textbook and additional research sources to

guide your writing. Follow the prompts in the appropriate worksheet from the Aesthetic Experience

Materials area in this module. Apply the skills you’ve developed throughout the course in researching

and evaluating works from the humanities.

 

Background

Throughout the course you have applied the practice of critical analysis to a variety of works from the

humanities. This assignment is the capstone of the lessons and activities you’ve completed in this

course.

 

For this assignment you will VIRTUALLY attend an art museum. [Note: Cinema / film is not an option for

this assignment].

 

If, for some reason, you choose to attend a museum or event “in person”, you are assuming all risks and

responsibilities associated with attending. You are in no way “required” to go anywhere “in person” for

this course for the Aesthetic Experience Research Essay or for any other reason.

 

Instructions

Before the Experience (Do These Steps EARLY in the Semester)

1. View the Aesthetic Experience and Perception video and read the associated transcript in the

Aesthetic Experience Materials area of this module.

 

2. Look through the pre-approved list of VIRTUAL art museums in the Aesthetic Experience Materials

area of this module and choose your experience.

 

3. Plan for and schedule the time and date to do your VIRTUAL chosen experience.

 

4. After Virtually Viewing the museum, compose a research essay pertaining to this aesthetic experience

based on the detailed instructions in the Aesthetic Experience worksheet. Incorporate terms from the

list at the end of your worksheet.