De Jong, P., & Berg, I. K. (2007). Learner’s workbook for Interviewing for solutions 3rd (Reference for assignment).
Assessment aim The aim of this assessment is to assess your ability to interview in the style of either/both a post-modernist approach or Motivational Interviewing approach. It will also assess your ability to critically self-reflect on your performance. A vital competency in counselling is an ability to recognise areas of competence – Assessment details and tasks 6 areas that need further development against a solid theoretical understanding of the model and the skills.

Tasks Task 1: Recording Record a counselling session (with interviewee consent) demonstrating your usage of one or a combination/integration of both approaches learnt in this course. Write out the transcript of your responses and the times they occur.
Task 2: Analysis Provide your analysis of the following areas (using the same format as below). Note that the transcript sections and start and stop times are essential. It is required that when commenting on a skill or section, that you put the start stop time and transcript section as a footnote in the place you are discussing it. If start and finish times relative to the skills in discussion are not included with skill discussions, these sections will not be marked.
1. Introduction to the assignment, including indicating the model/s you are using (1 paragraph)
2. Summarise the client’s story (1 paragraph)
3. Identify and critique interventions (including intervention sets) that you used which are congruent with the approach/es.
4. Identify and discuss interventions (including intervention sets) in the interview that are not congruent with the selected model/s, including analysis on any other areas that may need attention.
5. Summarise the process of the entire interview commenting on where it was congruent or not congruent with the selected model/s.
6. Summarise key learning highlighting what you did that was helpful, what was less helpful, and provide constructive suggestions for what you might have done instead of the less helpful interactions.
7. Conclusion.
Terminology Intervention: A single intentional skill used by the counsellor. Example: The scaling question. Intervention set: A set of skills used by the counsellor. For example, the scaling question with its accompanying follow up questions. Process: How the interview happens. Process may involve identifying whether the interview appeared congruent with the model process or not, or perhaps if there was a process issue such as the client dominating the conversation
Assessment details and tasks 7 the counsellor remains generally silent or passive. It is not focussed on interventions or skill sets, but on the broader process.
Example of segments from part 3 and 4 of an analysis including example times: My use of the scaling question were generally congruent with the model. At 9:15 I used a scaling of confidence question, and utilised scaling follow up questions about how come the client is so high, what helped, and what might help the client go higher (9:20-12:23). This scaling question and the follow up questions were congruent with those recommended by Berg (1996, p.23). My use of the miracle question was a congruent intervention but delivered in a problematic manner. The miracle question is recommended to have a number of features including a reduction of verbal pace, an introduction to the question as being different or unusual, have pauses to help prepare the client for a transition from problem to solution thinking. It also has a structure of when the miracle will occur, what happens (i.e. solved problem), and the discovery of signs a miracle has occurred (De Jong & Berg, 2008). In my miracle question (15:45-16:43) I defined the miracle as life being perfect and did not take into account many of the recommended guidelines mentioned above. The client responded with confusion. Rather than addressing it or amplifying the miracle with further miracle amplifying questions, I returned questioning the client about their problems (16:43- 22:03). This part attempted to utilise a classic SFT intervention however delivered it poorly and failed to follow up appropriately.

Sample Solution

Sample solution

Dante Alighieri played a critical role in the literature world through his poem Divine Comedy that was written in the 14th century. The poem contains Inferno, Purgatorio, and Paradiso. The Inferno is a description of the nine circles of torment that are found on the earth. It depicts the realms of the people that have gone against the spiritual values and who, instead, have chosen bestial appetite, violence, or fraud and malice. The nine circles of hell are limbo, lust, gluttony, greed and wrath. Others are heresy, violence, fraud, and treachery. The purpose of this paper is to examine the Dante’s Inferno in the perspective of its portrayal of God’s image and the justification of hell. 

In this epic poem, God is portrayed as a super being guilty of multiple weaknesses including being egotistic, unjust, and hypocritical. Dante, in this poem, depicts God as being more human than divine by challenging God’s omnipotence. Additionally, the manner in which Dante describes Hell is in full contradiction to the morals of God as written in the Bible. When god arranges Hell to flatter Himself, He commits egotism, a sin that is common among human beings (Cheney, 2016). The weakness is depicted in Limbo and on the Gate of Hell where, for instance, God sends those who do not worship Him to Hell. This implies that failure to worship Him is a sin.

God is also depicted as lacking justice in His actions thus removing the godly image. The injustice is portrayed by the manner in which the sodomites and opportunists are treated. The opportunists are subjected to banner chasing in their lives after death followed by being stung by insects and maggots. They are known to having done neither good nor bad during their lifetimes and, therefore, justice could have demanded that they be granted a neutral punishment having lived a neutral life. The sodomites are also punished unfairly by God when Brunetto Lattini is condemned to hell despite being a good leader (Babor, T. F., McGovern, T., & Robaina, K. (2017). While he commited sodomy, God chooses to ignore all the other good deeds that Brunetto did.

Finally, God is also portrayed as being hypocritical in His actions, a sin that further diminishes His godliness and makes Him more human. A case in point is when God condemns the sin of egotism and goes ahead to commit it repeatedly. Proverbs 29:23 states that “arrogance will bring your downfall, but if you are humble, you will be respected.” When Slattery condemns Dante’s human state as being weak, doubtful, and limited, he is proving God’s hypocrisy because He is also human (Verdicchio, 2015). The actions of God in Hell as portrayed by Dante are inconsistent with the Biblical literature. Both Dante and God are prone to making mistakes, something common among human beings thus making God more human.

To wrap it up, Dante portrays God is more human since He commits the same sins that humans commit: egotism, hypocrisy, and injustice. Hell is justified as being a destination for victims of the mistakes committed by God. The Hell is presented as being a totally different place as compared to what is written about it in the Bible. As a result, reading through the text gives an image of God who is prone to the very mistakes common to humans thus ripping Him off His lofty status of divine and, instead, making Him a mere human. Whether or not Dante did it intentionally is subject to debate but one thing is clear in the poem: the misconstrued notion of God is revealed to future generations.



Babor, T. F., McGovern, T., & Robaina, K. (2017). Dante’s inferno: Seven deadly sins in scientific publishing and how to avoid them. Addiction Science: A Guide for the Perplexed, 267.

Cheney, L. D. G. (2016). Illustrations for Dante’s Inferno: A Comparative Study of Sandro Botticelli, Giovanni Stradano, and Federico Zuccaro. Cultural and Religious Studies4(8), 487.

Verdicchio, M. (2015). Irony and Desire in Dante’s” Inferno” 27. Italica, 285-297.