Integrative paper on The Virgin Suicides. if you choose a film about a person on the autism spectrum disorder (such as “Rainman”), you might provide details on the accuracy of the depiction, the risk and protective factors related to the disorder
if you choose a film about a person on the autism spectrum disorder (such as “Rainman”), you might provide details on the accuracy of the depiction, the risk and protective factors related to the disorder, and the expected outcome for the character. You should not merely regurgitate the information from the memoir or film, but rather, use that person’s or character’s experience to integrate your knowledge of the relevant research literature.
If relevant, you might want to consider addressing the following types of questions in your paper: What psychopathology (if any) was evident? Give specific examples (if relevant) of the symptoms of psychopathology (whether in the child or his/her parents).
What risk factors were part of the person’s experience? What protective factors came into play? What therapeutic orientation was used, if therapy was conducted?
The paper should be detailed enough to show a thorough grasp of the subject at hand. In most cases, the paper should be approximately 10-12 pages, including a Reference section (i.e., bibliography) with at least five (5) journal or book references.
Information from legitimate, official websites is allowed, but will not be counted toward the minimum number of references.
Keep the focus on childhood
https://123moviesgo.ga/high-speed-hd-streaming.html?title=undefined movie/book
will be about the girl′s disorders and what leads them to depression & suicide; depression, protective and risk factors; manipulation
“On the morning the last Lisbon daughter took her turn at suicide—it was Mary this time, and sleeping pills, like Therese—the two paramedics arrived at the house knowing exactly where the knife drawer was, and the gas oven, and the beam in the basement from which it was possible to tie a rope.”
From the very first line, the reader understands the Lisbon girls—“daughters”—will all die. The paramedics can easily navigate this last attempt because what should be shocking—a young girl’s suicide—has become, in the strange logic of the Lisbon family, routine.
Even the narration is measured, calm, relaying the suicide method with a simple aside. There is no crime for the reader to try to solve, no whodunnit. We know what happens. We know who dies, and how, and by what methods.
By giving us this information immediately, with such cool distance, Eugenides directs our attention to different questions, to a different scale of novelistic inquiry. Even when all the unknowns become known, every detail accounted for, every witness interrogated, how much can we ever truly understand our own lives?