Cnl 605 Topic 1 Short Answer Worksheetdirectionschoose Any Two Quest ✓ Solved

CNL-605 Topic 1: Short Answer Worksheet Directions: Choose any two questions from Chapter 1 “Questions for Further Thought†on p. 20 of the textbook DSM-5 in Action, and choose an additional two questions from Chapter 2 “Questions for Further Thought†on p. 67 of the textbook. In total, you will respond to four questions (two from Ch. 1, and two from Ch.

2). Provide short answers of words for each questions/statements. Do not exceed 200 words for your response. Use the textbook, and any other scholarly resources to support your responses. Include at least two to three peer-reviewed journal articles beyond the textbook and course readings.

Chapter One Questions Response Chapter Two Questions Response References: © 2020. Grand Canyon University. All Rights Reserved. © 2015. Grand Canyon University. All Rights Reserved.

Daniel Vigletti, “A Desalambrar†[Let’s tear down the fences] From the album Canciones para mi America [Songs for My America], Uruguay, 1960s. Yo pregunto a los presentes Si no se han puesto a pensar Que esta tierra es de nosotros Y no del que tenga mas Yo pregunto si en la tierra Nunca habra pensado usted Que si las manos son nuestras Es nuestro lo que nos den A desalambrar, a desalambrar Que la tierra es nuestra Es tuya y de aquel De Pedro y Maria De Juan y Jose Si molesto con mi canto A alguno que ande por alli Le aseguro que es un gringo O un dueno del Uruguay A desalambrar, a desalambrar Que la tierra es nuestra Es tuya y de aqul De Pedro y Maria De Juan y Jose A desalambrar, a desalambrar Que la tierra es nuestra Es tuya y de aquel De Pedro y Maria De Juan y Jose I ask those present if they haven't begun to think that this land belongs to us and not to the man who has most.

I ask if you never would have thought of the land, that if these hands are ours, what they give us is ours. Let’s tear down the fences, The land is ours, yours, his, Pedro and Maria's, Juan and Jose's. If I annoy anyone with my song someone that walks through here, I assure you that he is a gringo or an Uruguayan landlord. Let’s tear down the fences The land is ours, yours, his Pedro and Maria's, Juan and Jose's Let’s tear down the fences The land is ours, yours, his Pedro and Maria's, Juan and Jose's Carlos Puebla, “En Eso Llegà³ Fidel†(And then Fidel Arrived), Cuba (circa 1960) Aquà pensaban seguir ganando el ciento por cierto con casas de apartamentos y echar al pueblo a sufrir y seguir de modo cruel contra el pueblo conspirando para seguirlo explotando y en esto llegà³ Fidel.

Y se acabà³ la diversià³n, llegà³ el comandante y mandà³ a parar. Aquà pensaban seguir tragando y tragando tierra sin sospechar que en la sierra se alumbraba el porvenir y seguir de modo cruel la costumbre del delito hacer de Cuba un garito y en eso llegà³ Fidel Aquà pensaban seguir diciendo que los cuatreros, forajidos, bandoleros asolaban al paàs Y seguir de modo cruel con la infamia por escudo difamando a los barbudos, y en eso llegà³ Fidel. Aquà pensaban seguir jugando a la democracia y el pueblo que en su desgracia se acabara de morir Y seguir de modo cruel sin cuidarse ni la forma, con el robo como norma, y en eso llegà³ Fidel. They were planning to stay on here earning 100% (on their investments) with apartment houses and the like while the people suffered and to continue in a cruel manner conspiring against the people to stay on exploiting it and then Fidel arrived And that was the end of the party the commander arrived and ordered (all that) to stop They were planning to stay on here, taking in more and more land without suspecting that in the mountains the future was lightning up and to continue in a cruel manner the custom of crime to turn Cuba into a gambling den and then Fidel arrived.

They were planning to stay on here saying that cattle thieves, outlaws, highwaymen, were destroying the country, and to continue in a cruel way with infamy as their shield defaming the bearded ones, and that's when Fidel arrived. They were planning to stay on here playing democracy and the people in their misery were to end up their days and to continue in a cruel way without even bothering with appearances with theft as their norm, and that's when Fidel arrived. Inti Illimani, “Simà³n Bolàvar†(Chile, 1973) Simà³n Bolàvar, Simà³n, caraqueà±o americano, el suelo venezolano le dio la fuerza a tu voz. Simà³n Bolàvar, Simà³n, nacià³ de tu Venezuela y por todo el tiempo vuela como candela tu voz. Como candela que va seà±alando un rumbo cierto en este suelo cubierto de muertos con dignidad.

Simà³n Bolàvar, Simà³n, revivido en las memorias que abrià³ otro tiempo la historia, te espera el tiempo Simà³n. Simà³n Bolàvar, razà³n, razà³n del pueblo profunda, antes que todo se hunda vamos de nuevo Simà³n. Simà³n Bolàvar, Simà³n, en el sur la voz amiga, es la voz de José Artigas que también tenàa razà³n. Simon Bolivar, Simon, American of Caracas, the Venezuelan soil gave strength to your voice Simon Bolivar, Simon, born in your Venezuela and may your voice fly like a candle for all times Simon Bolivar, Simon, revived in our memories history has opened a new era, the time is waiting for you, Simon Simon Bolivar, the truth, the truth of our profound people before everything collapses let’s start anew, Simon Simon Bolivar, Simon there is a friendly voice in the south it is the voice of Jose Artigas [an Independence leader from Uruguay] who also held the truth.

“Solo le pido a Dios,†written by Leà³n Gieco 1978, performed by Mercedes Sosa Solo le pido a Dios Que el dolor no me sea indiferente Que la reseca Muerta no me encuentre Vacio y solo sin haber hecho lo suficiente Solo le pido a Dios Que lo injusto no me sea indiferente Que no me abofeteen la otra mejilla Despues que una garra me araà±o esta suerte Solo le pido a Dios Que la guerra no me sea indiferente Es un monstruo grande y pisa fuerte Toda la pobre inocencia de la gente solo de Armonica Solo le pido a Dios Que el engaà±o no me sea indiferente Si un traidor puede mas que unos cuantos Que esos cantos no lo olviden facilmente Solo le pido a Dios Que el futuro no me sea indiferente Desahuciado esta el que tiene que marchar A vivir una cultura diferente I only ask of God That I not be indifferent to pain, That death won’t find me Empty and alone without having done enough I only ask of God That I not be indifferent to injustice That they will not slap my other cheek After a claw has scratched this destiny of mine I only ask of God That I not be indifferent to struggle, It is a big monster stomp and walks on All the poor innocence of people.

I only ask of God That I not be indifferent to deception If a traitor can do more than a few (?), That those few do not forget easily. I only ask of God That I not be indifferent to the future, Hopeless is he who has to go To live in a different culture. INSTRUCTIONS: The purpose of this essay is to allow you to further engage with our assigned readings about historical developments in 20the century Latin America. Choose and answer ONE of the prompts below. If you would like to write about a topic of your choosing, please email me to get my approval.

FORMAT: The essay should be 4-6 pages long, in Times New Roman 12-point font, double-spaced, and in Word. SOURCES: For this essay you should use the textbook, the primary source, and any audiovisual materials assigned in our class. Do not use any outside sources without consulting me. CITATION: Your essays must use proper in-text citation that demonstrates where your information is drawn from. Remember that you need to use citation even if you are not using a direct quote.

For example, if you are paraphrasing a section of the textbook, you should still include an in-text citation. When in doubt, provide citation. You may use any style of citation you are most familiar with – such as MLA, APA or Chicago style – as long as you use it consistently throughout the paper. PLAGIARISM: Plagiarism is defined as “[t]he adoption or reproduction of ideas or words or statements of another person as one’s own without acknowledgment.†This would include, for example, copying or substantially restating the published, unpublished, or on-line work of another person without appropriate attribution. Plagiarism can include insufficient paraphrasing, even if the source is attributed.

For the purpose of this class, I will use an “eight word rule,†meaning that if eight consecutive verbatim words are taken from a text without direct quotes, I will consider that to be insufficient paraphrase. Prompt Option #2: New Song and the Revolutionary 1960s in Latin American The 1960s were considered a “revolutionary decade†in Latin America and around the world. One reflection of the cultural sensibility of the 1960s can be found in a genre called New Song (Nueva Cancion) or sometimes Protest Song, which was popular in Latin America in that decade. For this option, you should write an essay that analyzes this musical genre and shows how it reflects the politics of the 1960s in Chile. For this option, you should analyze the lyrics of at least three songs from the period.

You may choose from the ones that I suggest, or you can identify your own. Using the English translation of the lyrics, identify and analyze one or more underlying themes (for example, poverty, US imperialism, Latin American unity, or the inevitability of revolution). Be sure to connect those themes to the readings we have done about what was happening in Latin America in the 1960s – i.e. the historical context in which this music was made. To do so you must use our textbook and include in-text citation when appropriate. Remember that the purpose of this option is to use music as a window onto the politics of the 1960s and ‘70s.

You can use the song lyrics available on our Classes page in the Primary Documents folder: Carlos Puebla “En eso llegà³ Fidel†Inti Illimani, “Simà³n Bolivar Daniel Vigletti, “A Desalambrar†Mercedes Sosa, “Solo le pido a Dios†You can also use the list of songs below, with links to the lyrics in English. You can find many recordings of these songs on YouTube. Victor Jara (Chile), “El Aparecido/The Apparition†( Atahualpa Yupanqui (Argentina), “Basta ya/Enough!†(lyrics available in English Mercedes Sosa (Argentina), “Si se calla el cantor/If the singer is silenced†(lyrics available in English Secondary sources: Thomas C. Wright, Latin America since Independence, especially chapters The documentary film Mercedes Sosa: The Voice of Latin America available on Kanopy Primary sources: Song lyrics (available on our Classes page and in links above)

Paper for above instructions

CNL 605 Topic 1 Short Answer Worksheet

Chapter One Questions Response

Question 1: What are the implications of using a categorical vs. dimensional approach in the classification of mental disorders?
The implications of using a categorical versus a dimensional approach in the classification of mental disorders are substantial and deeply impact clinical practice, research, and patients' lives. Categorical systems, such as the DSM-5, provide clear criteria for diagnosing disorders that can streamline communication among clinicians and create standardized treatment protocols (American Psychiatric Association, 2013). However, they may oversimplify the complexity of mental health issues by forcing individuals into discrete categories, which may overlook the nuances of their experiences (First & Tasman, 2004). In contrast, dimensional approaches allow for a spectrum of symptoms and experiences, capturing the severity and variations of disorders. This can lead to more personalized treatment plans but may complicate diagnosis due to the broader criteria (Krueger & Markon, 2006). Ultimately, understanding the benefits and limitations of both approaches can enhance clinical decision-making and improve patient outcomes.
Question 2: How do cultural considerations influence the diagnosis of mental disorders?
Cultural considerations significantly influence the diagnosis of mental disorders, as mental health symptomatology may vary widely between cultural contexts. Clinicians must be aware of cultural differences in how emotions are expressed, as well as the social stigma surrounding mental illness (Sue, Cheng, Saad, & Cheng, 2012). For instance, certain behaviors considered symptomatic of a disorder in one culture may be viewed as socially acceptable or even normative in another (Shih, 2006). Moreover, cultural factors can affect individuals' willingness to seek help and adhere to treatment, further complicating diagnosis and outcomes (Bhugra, 2004). Misdiagnoses can occur when mental health practitioners apply Western diagnostic criteria indiscriminately and without consideration of cultural context. Therefore, culturally competent practices, including the integration of cultural awareness into diagnostic processes, are crucial for accurate assessment and effective intervention (Vasquez, 2011).

Chapter Two Questions Response

Question 1: How has the DSM evolved from its original edition to the current edition?
The Diagnostic and Statistical Manual of Mental Disorders (DSM) has undergone significant evolution since its first edition. Initially launched in 1952, the first edition was primarily descriptive and aimed at standardizing diagnostic practices across various psychiatric facilities (American Psychiatric Association, 2013). Over the years, subsequent editions have incorporated increasing levels of scientific research and clinical consensus to refine the understanding of mental disorders. For instance, the DSM-III introduced a multi-axial system that assessed not just the disorder but also situational factors, paving the way for a more comprehensive understanding of mental illness (Frances, 2013). The DSM-5 has further evolved by integrating advances in neuroscience and a greater understanding of the role of social and environmental factors in mental health (Regier et al., 2013). This trajectory reflects a growing recognition of mental disorders as dynamic processes influenced by biological, psychological, and social systems.
Question 2: What is the significance of the idea of a "paradigm shift" in the field of psychology?
The significance of a "paradigm shift" in psychology, particularly in the context of the DSM-5, refers to the profound transformation in understanding mental disorders. Such shifts indicate a movement away from traditional models that may no longer adequately account for emerging data and conceptual frameworks (Kendler, 2005). For instance, the recognition of mental illnesses as complex interactions between genetic, biological, and environmental factors represents a significant paradigm shift from earlier, more reductionist approaches that focused solely on biological or psychological causes (Meyer-Lindenberg & Tost, 2012). These shifts not only affect research and diagnosis but also have crucial implications for treatment strategies, moving towards integrative and biopsychosocial approaches that consider the individual as a whole (Meyer, 2015). Importantly, understanding these shifts allows for the evolution of clinical practice to better serve the diverse needs of patients, promoting more effective and holistic treatment modalities.

References

American Psychiatric Association. (2013). Diagnostic and statistical manual of mental disorders (5th ed.). Arlington, VA: American Psychiatric Publishing.
Bhugra, D. (2004). Culture and psychiatric diagnosis. International Journal of Social Psychiatry, 50(4), 317-324.
First, M. B., & Tasman, A. (2004). Clinical Guide to the DSM-IV-TR. Washington, DC: American Psychiatric Publishing.
Frances, A. (2013). American Psychiatry after DSM-5. New York, NY: American Psychiatric Association Publishing.
Kendler, K. S. (2005). "The structure of psychiatric disorders: a research agenda." Psychological Medicine, 35(6), 823-832.
Krueger, R. F., & Markon, K. E. (2006). Reinterpreting comorbidity: A model-based approach to understanding and classifying psychopathology. Annual Review of Clinical Psychology, 2, 111-133.
Meyer-Lindenberg, A., & Tost, H. (2012). Neural resources for social decision-making. Nature Neuroscience, 15(5), 749-756.
Meyer, B. (2015). The role of stress in the development of mental disorders. The American Journal of Psychiatry, 172(8), 700-706.
Regier, D. A., Narrow, W. E., Kuhl, E. A., & Kupfer, D. J. (2013). The DSM-5: Classification and criteria changes. Psychiatric Clinics, 36(1), 1-24.
Sue, S., Cheng, J. K. Y., Saad, C. S., & Cheng, J. (2012). Asian American mental health: A cultural community perspective. American Psychologist, 67(7), 532-540.
Vasquez, M. J. T. (2011). Cultural Competency in Mental Health Biopsychosocial Assessment: A Systematic Review. Journal of Clinical Psychology, 67(1), 35-51.