Assess this gap based on what you learned when completing your previous macro-level assignments in Units 3 and 6.
Explain how the problem emerged from your previous macro-level analysis.
Develop a social service program to address the identified problem, using multiple sources of knowledge, including research-based knowledge and practice wisdom. Use the following format:
Vision statement.
Mission statement.
Goals.
Objectives.
Methods and activities.
Implementation plan.
Evaluation metrics.
Identify the method of evaluating the program. Be sure it identifies how you know if the program is helpful or not, and how you measure change in your social service program.
Integrate technology into the program. Identify at least one technology (or way to use technology) in your program and support your chosen method with content from your literature review.
Sample Solution
death, ‘promptly forgotten’ (Cairncross, 1975, p. 195). However, the play was revolutionary in terms of its more unusual metathatrical standpoint and diversion from traditions seen in 17th Century French classical theatre, which had existed out of Aristotle’s theories (Desnain, 2018). Therefore, it is unsurprising descriptions, such as from the Oxford Reference, suggests the piece plays ‘with levels of appearance and reality’ (Patterson, 2005); implying that the play is self-conscious, or in other words, adheres to the metatheatrical form. Moreover, the fact ‘Illusion’ alluding to theatre paints a profession in the theatre in a positive light and henceforth appears to defend theatre. However, the play cannot be seen as just a defence of Corneille’s profession, and possesses elements that perhaps berate drama and the dramatic tradition. Alternatively, the play further reflects the wider social and political sphere of 17th century France as well as experiments with the form and content of theatre – to create something new. However, one could argue overall that the text lends itself more toward the interpretation that the play is predominantly a defence of theatre. Many critics such as Golder (Golder, 2007) and Nelson (Nelson, 1956) believe ‘The Theatrical Illusion’ is an example of metatheatre. As a result, positive allusions to the craft, both literally and through the subtextual metatheatre, provides insight into Corneille’s opinions on the utility and mastery of theatre. As a result, it could be inferred the play has defensive undertones and overtones. This is evident through the character, Pridament, who’s initial shock, ‘My son an actor!’ (Corneille, 1975, p. 279) reflects a portion of 17th century societal thinking; particularly those aligned with the Catholic and Jansenist Church (Desnain, 2018), who viewed theatre as an un-Godly. Yet crucially, the character’s change of opinion, as seen through, ‘I did not know | Its spell, its glamour and its usefulness.’ (Corneille, pp. 280 – 281), highlights a learning curve, which could depict Corneille’s desired reaction from the audience of the play. As a result, it could be argued that Pridament represents, to an extent, an audience. Additionally, thi>
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