University of Phoenix MaterialAppendix AFinal Project Overvi.docx

University of Phoenix Material
Appendix A
Final Project Overview and Timeline
Final Project Overview
The final project for PSY 240 is called Analyzing Psychological
Disorders. You are interviewing for a position as a psychologist
and have two parts left in the interview process. In Part A, you
must analyze the psychiatric disease schizophrenia, discussing
parts of the brain affected, the neural basis, symptoms, causes,
and drug therapies. In Part B, you need to review four case
studies on different disorders, which are provided at the end of
Appendix A. You must choose two of the four case studies to
analyze. For each case study, you must examine the problem
from the perspective of a biopsychologist and include each
case’s relation to the nature-nurture issue and any relevant
portions of the Biopsychology text. You will also provide your
recommendations for any helpful drug interventions or solutions
and their side effects. You will be introduced to these concepts
throughout the course; your readings and activities will help
prepare you to design your paper.
For your final project, you will write a 1,750- to 2,100-word
paper that covers the following elements:
1. Introduction
2. Part A: Apply your understanding of the causes and
treatments of schizophrenia. Include the following:
· Areas of the brain affected
· Causal factors
· Associated symptoms

· The neural basis
· Appropriate drug therapies
3. Part B: From a biopsychologist’s perspective, interpret the
two case studies you chose. Include the following in your
discussion:
· Your understanding of the problem presented in each case
study from the perspective of a biopsychologist
· Each problem’s relation to the nature-nurture issue and any
relevant portions of the Biopsychology text
· Any helpful drug interventions or solutions
· Any positive or negative aspects of the drug interventions or
solutions
4. Conclusion
Your paper must be written in APA format and posted as an
attachment. You must also use at least five outside sources for
your paper, including three peer-reviewed articles.
Final Project Timeline
You should budget your time wisely and work on your project
throughout the course. As outlined below, some activities and
assignments in the course are designed to assist you in creating
your final project. If you complete your course activities and
use the feedback provided by the instructor, you will be on the
right track to complete your project successfully.
· Suggested in Week One: Read the Final Project Overview,
Case Studies, and Timeline in Appendix A. Complete the
assignment on the nature-nurture issue. Review the concepts
behind nature and nurture.
· Suggested in Week Four: Complete the assignment on eating
disorders. Review the symptoms and theories behind anorexia.
· Due Week Six: Complete the assignment on sleeping

disorders, diseases, and drugs. Review the sleeping disorders
and possible drug interventions.
· Due Week Seven: Complete the discussion on drug addiction.
Review the concepts of drug addiction, withdrawal, and
tolerance. Review possible drug interventions and solutions.
· Due Week Eight: Complete the assignment on psychiatric
disorders, diseases, and drugs. Review the concepts relating to
schizophrenia and anxiety and the possible drug interventions.
Choose the two case studies you will examine for your final
project. Begin organizing information on the topics of your
choice.
· Due in Week Nine: Submit your final project.
Case Studies
Anorexia
Beth is a normal child raised in a well-balanced home by caring
parents. As a teenager, she began to experience an
overwhelming fear of gaining weight and becoming fat. Her fear
was unfounded because Beth’s weight was normal for her height
and age. Beth began to diet and lose weight, but regardless of
how much she weighed, she had a very poor self-image. Beth
has become dangerously thin, but she denies the seriousness of
her condition. Regardless of how much weight she loses, she
feels like she needs to lose more. Beth has missed several
menstrual cycles and continues to severely restrict her food
intake. Her weight continues to drop. Beth's mother and father
are deeply concerned, but they do not know how to help their
daughter (PsychCentral®, 2006).
Drug Abuse
Ron is a 33-year-old man who has been in and out of the
court/jail system for the last several years. He started drinking
as a teenager but his alcohol abuse began to be a serious
problem in his late 20s. Ron has several DUI’s (driving under
the influence) and has been arrested several times, but he seems

unable to control his drinking. To his credit, he admits that he is
an alcoholic. Ron has been through a variety of inpatient
treatment facilities for his alcoholism, but after a brief time of
sobriety, he has always relapsed back into his daily abuse of
alcohol. His wife is concerned about him, but she does not know
what to do for her husband.
Anxiety
Tom is an engineer, he is happily married, and he is the father
of three bright, healthy children. By all appearances, his life is
stable and satisfying. Tom, however, suffers from continual
worry that he has a difficult time turning off. His anxiety may
center on anything from his perceived health problems (he has
recently been to his doctor for a physical, but no health issues
were discovered) to money and job responsibilities. At times his
anxiety peaks to the point that it interferes with his ability to
function on the job. Physical symptoms include muscle tension,
headaches, and hot flashes that often accompany Tom’s anxiety.
Tom often feels nauseated, and he becomes easily fatigued.
When he feels anxious, Tom has difficulty concentrating, he
becomes irritable, and he has difficulty falling asleep at night.
All of these symptoms have been present for the last 6
months. Tom has tried to talk himself out of his anxiety, but
this has not worked for him. Tom's wife is supportive, but she
does not know what to do for her husband (Hauser, 2005).
Insomnia
Mary is a single mother of one child. She has had difficulty
sleeping for the last month. Her lack of sleep has caused her to
be fatigued during the day, which has caused significant
impairment in her professional and social life. Mary has no
history of mental disorders (such as depression) nor is she on
any kind of prescription medication. Mary does not drink
alcohol and does not take any type of street drug. Mary has been
to her doctor about this problem, but he has been reluctant to

give her any kind of sleep medication for her insomnia because
he is concerned about her becoming overly dependant on the
medication. Mary is facing yet another night with little sleep.
References
Hauser, J. (2005, February 2). Anxiety: Generalized anxiety
disorder. Retrieved November 21, 2006, from the
PsychCentral® Web site:
http://psychcentral.com/disorders/anxiety/gad.html
PsychCentral® (2006, November 17). Anorexia nervosa:
Symptoms. Retrieved November 21, 2006, from
http://psychcentral.com/disorders/sx2.htm
PSY 240
The head of the nation’s largest radio station chain apologized
to the House Energy and
Commerce telecommunications subcommittee recently,
admitting he was “ashamed” of the
“Bubba the Love Sponge Show” contained in Howard Stern’s
morning radio program. While
the content, for Stern, was no different nor more extreme than
on any other given day, for anyone
nostalgic for the ‘50’s, McCarthyism in particular, the chord
struck had a familiar tone. The
current hysteria over words is reminiscent of the frenzied panic
exhibited over ideas during the

days of the Hollywood blacklist. The fear that Communists
were subtly infiltrating film and
television with subversive messages brought actors, writers,
directors, network and studio heads
to their knees before the House on Un-American Activities
Committee in 1947, and again
beginning in 1951 (Georgakas, 1). It is difficult to imagine,
when looking back, that the reign of
terror led by Senator McCarthy was able to gain momentum at
all, much less dominate the
national scene for several years. Yet mass hysteria is a
phenomenon that seems identifiable only
in retrospect while implausible in the moment; and once in
control of a nation’s emotional
currents can drag even presidents into its wake.
Such was the case when President Truman found himself
in receipt of a telegram from
Senator Joseph McCarthy demanding he turn over a list of
individuals that had previously been
cleared of Communist subversion by the White House so that
McCarthy’s committee could make
their own assessment. In the telegram McCarthy tells the
president that “failure on your part will
label the Democratic party of being the bed-fellow of inter-

national Communism” (McCarthy
Telegram, 5). Truman, a year later, got his licks in during a
speech made in Detroit when he
said, “This malicious propaganda has gone so far that on the
Fourth of July, over in Madison,
Wisconsin, people were afraid…to sign a petition that contained
nothing except quotations from
the Declaration of Independence and the Bill of Rights…many
of them because they were afraid
2
that it was some kind of subversive document and that they
would lose their jobs or be called
Communists” (New York Times, 1).
Even more astonishing than the duration of McCarthy’s
power before his final humiliation
and disgrace was the Communist Control Act of 1954, co-
authored by liberal senator Hubert H.
Humphrey. The bill proposed fines of up to $10,000 and/or up
to five years imprisonment, or
both, for mere membership in the Communist party. It has been
speculated this was a substitute
bill proposed to derail Maryland Republican John Butler’s

amendment to the Internal Security
Act of 1950, which was to give the Subversive Activities
Control Board the power to determine
whether an organization was “Communist infiltrated.” If that
determination was so made the
organization could then be disbanded. This was viewed as an
anti-labor bill that could
effectively, with no real evidence, do away with unions one by
one. Humphrey’s proposal made
Communist party membership a criminal act and thereby under
purview of court jurisdiction and
protections and, if accusations proved unfounded, subject to
libel and slander suits, thus
decreasing the potential for aggressive unwarranted attack.
What was perplexing however, was
Humphrey’s willingness to quickly agree to simply attach his
bill to the Butler bill thereby
negating the power of the Butler bill not at all. The new more
ambiguous language however, not
only watered down the bills’ impact, but it afforded certain
democrats an opportunity to vote for
a bill that would improve their chances of re-election. Further,
Eisenhower was against making
the Communist party outright illegal and would now be put in

the embarrassing position of
possibly having to veto what was, at its core, a Republican bill.
Whatever Humphrey’s true
intentions one thing is apparent: even after the fall of
McCarthy, appearing strong on anti-
Communist measures was vital to political survival (McAuliffe,
3-11).
3
For a firsthand insight into this daunting era, blacklisted
Broadway, television and film
actor and humorist, Orson Bean, has lent his reflections in the
following interview.
Jim Keily: Orson, you were a stand-up comedian, performed in
Broadway revue shows, but it
was television that got you noticed by large audiences as well as
by the House on Un-American
Activities Committee. How did you first find out you had been
blacklisted?
Orson: I became a regular on the Ed Sullivan Show. And he
would say, “And now my young
crew-cut headed friend”…and some years later when I got
blacklisted it was Ed Sullivan who

called me up and said “You’re blacklisted, I’m canceling next
Sunday's engagement, I’ll help
you when I can.” I got blacklisted as a result of two things: I
became politically active in the
union, AFTRA, American Federation of Television and Radio
Artists, which actually in those
days was the American Federation of Radio Artists and TVA,
Television Authority, they were
joined together. And the blacklist was being abetted by a lot of
extreme right wing people in the
business. The extreme left people in the business, many of
whom were members of the
communist party, were doing things like getting AFTRA to go
on record as supporting the
Trenton Six. The Trenton Six was a group of six black
teenagers in Trenton, New Jersey, who
had been apparently unjustly convicted of some crime and put in
jail. Well what did a
performance union have to do with getting involved in things
like that? The Scottsboro Boys,
the Trenton Six, stuff like that. So you had the communists on
the one side pushing the union
into becoming extreme left-wing. You had the rightists on the
other side bitter about these

Communists and publishing lists of people that they felt were
members of the Communist party
and those people were unable to find work. And then you had
people like us who were in the
middle and were in despair about what was happening to our
union. So a group of us got
together and we formed a slate to run, and we called ourselves
the Middle of the Road Slate.
4
Charles Collingwood, the newscaster, and a guy named John
Henry Faulk and I and Jack Parr
and Tony Randall and a whole bunch of people like that. And
we opposed the black list but we
also were against what was being done by the extreme left wing
of the party, too. We won a
fabulous victory and Charles Collingwood was elected
President, I was elected First Vice-
President, and a guy named John Henry Faulk was elected
Second Vice-President and we were
elated, and the New York Times wrote a great story about it. It
was the beginning of the end of
the blacklist. It was a good thing. However, the black list was
not completely over and two

weeks later I got this call from Ed Sullivan and he said, “Have
you seen the latest issue of
Counter Attack?” Counter Attack was a newsletter put out by
the Red Channels people, and the
Red Channels was the bible of the blacklist, channels meaning
television channels, red meaning
Communist. And they would put out a newsletter every couple
of weeks adding names and my
name was on there. And what they had on me was I’d gone to a
meeting of something called the
Emergency Civil Liberties Committee which was, it turned out
to be, a front for a Communist
organization. I went because I was horny for a hot-looking
Communist girl. And then Charles
Collingwood was on the list, the newscaster, because he’d
written a letter to the House on Un-
American Activities Committee critical of their attempts to root
out communists on Broadway.
And John Henry Faulk had a list of something like a hundred
things that he had gone to that were
Communist fronts. And when we were putting the slate of
people together we asked everybody
“Do you have anything in your background, because we don’t
want people that could cause

trouble?”, and Johnny never raised his hand. I raised my hand
and confessed the one meeting I
had attended of the Emergency Civil Liberties Union, and
Collingwood told about the letter, and
Johnny never raised his hand. So with all of the stuff against
John, the three of us became
blacklisted. And suddenly overnight I saw actors cross the
street to avoid having to talk to me.
5
That’s how scary it was in those days. CBS had made a pilot of
“The Orson Bean Show” and
was planning to put the show on the air and they replaced me
with, uh, what’s-his-name from
“Murder She Wrote”, uh, who’s now my good friend, comedian
actor from, uh, from – I’m old
and I forget. Oh, Dick Van Dyke. Dick’s the guy who replaced
me. At the time I was annoyed
but now we’re friends. Anyway, they kicked me off – I was
even snubbed by the doorman at
CBS. Meanwhile, I got a part, one of the leads in a Broadway
show called “Will Success Spoil
Rock Hunter”, with Jayne Mansfield and Walter Matthau and I,

and that ran the whole year so I
was working, and God looked after me. And at the end of a
year Sullivan called up and said
“The pressure is off, now I think I can book you again”, and he
booked me one more time, bless
his heart. But that was the end of my career as a stand-up. The
air siphoned out of it. But then I
was an actor on Broadway.
Jim: You always hear of people ruined by the Hollywood
blacklisting and were never the same.
Orson: And there were some like that. There were guys who
committed suicide. Guys that
moved to England and remained bitter the rest of their lives.
Jim: People you knew?
Orson: Yeah. People that I knew of. But the ones that were,
there were a number of them, I
mean, I had the good fortune to get a show on Broadway. And
the reason that the blacklist never
touched Broadway, and they tried – they came, they came. And
they subpoenaed Broadway
actors up the gazoo – the House Un-American Activities
Committee – here’s why it didn’t work:
the public didn’t give a damn what Paul Robeson’s politics are.

They want to hear how beautiful
he sings. But sponsors do. And on television you could get to
the sponsors. You could get to
Campbell’s Soup company and say “Do you really want to
sponsor a show that has these people
on it? That are trying to take over the country? That are
communists?” And so Campbell’s
6
Soup would bring pressure on CBS and CBS in turn would pay
blackmail to Red Channels a fee
for every name that they had to clear. Every name of every
actor that appeared on every show on
CBS had to be cleared at fifty dollars a head by Red Channels.
And in the vast majority of the
cases they’d say “they’re fine, this one’s questionable, this one
– you can’t use this one, you
can’t use – that’s fifteen hundred dollars. For every show.
Every week. And they’d have to re-
clear each person, all the same actors each week. Because they
never knew if they’d become
communists since Saturday. It was a protection racket among
other things. But on Broadway

there was no middle man to bring pressure. The producer didn’t
care. CBS didn’t care. CBS
didn’t have the spine to stand up to Campbell’s Soup. And
Campbell’s Soup happened to be a
very reactionary guy…People would write letters to Campbell’s
Soup and say “do you want your
soup advertising the Jack Parr show? They had a communist
named Jack Gilford on there last
week.” Oh my God. And so The Tonight Show began paying
blackmail, and Jack Gilford who
was a decorated war hero, was not able to work anymore…Then
Jack Gilford, as did many of
the directors, began working in commercials. There was no cast
list at the end of a commercial.
So unless they recognized these people by their face, which
usually they didn’t, nobody knew
what Jack Gilford looked like – they saw his name – so Jack
Gilford became the Cracker Jack
Man and made a fortune. Jack Gilford made a fortune and
became famous as the Cracker Jack
Man because he was blacklisted off of television. Many, many
directors made fortunes in
commercials where they were forced to go and work because
there were no credits at the end.

And then gradually after the blacklist faded, partly because of
our victory in AFTRA with the
Middle of the Road Slate, they began working in mainstream.
And so those who had kept their
head above water and not become bitter, and either killed
themselves or left the country, they did
okay. Not all of them. Some of them just left the business.
And it was a terrible thing to do.
7
Jim: How long did it last?
Orson: The blacklist lasted, I think, about five years. I didn’t
get blacklisted until the last year-
and-a-half of it, when it was already starting to ebb. And then I
started working again in those
programs like the game shows that didn’t have one sponsor.
Those game shows were sponsored
by four or five sponsors…so there was never that much pressure
on those. But if it was just
Lucky Strikes that sponsored the Horace Heidt musical show
then they could bring pressure on
Lucky Strike cigarettes and they in turn would bring pressure on
the network. So little by little

the blacklist faded into the past and was forgotten about.
Jim: But at its height did you feel former friends avoided you
because of an alleged ideology or
because of a fear of association?
Orson: Fear of association. They didn’t want – in those days
Senator McCarthy was – you
know, there was guilt by association and that was a phrase that
was used. And you didn’t want
to be seen with what was perceived as a possible communist. It
might raise questions about you
if somebody spotted you. You never knew. It was like the
Hitler Youth Movement. You never
knew who was gonna turn you in. It was that bad.
Jim: So it had nothing to do with political views.
Orson: It was fear. Nobody – by and large there was only a
handful of people that cared
whether you were a – because “Communist” didn’t really mean
that you were planting bombs to
bring down the country. It meant that you were a fuckin’ do-
gooder, usually horny for a
communist girl, went to some meetings, you handed out some
pamphlets and walked in a picket
line. Who gave a shit?

Jim: Looking back, would you have done anything differently?
8
Orson: I don’t regret any of it. I don’t. I can’t speak for
anyone else whether the country was
better or not for it. There was a long period of time prior to the
blacklist where there was a de
facto blacklist in Hollywood – by the Communists. The
Communists were very important in the
movie industry. And there were many of the biggest directors,
were actually members of the
party. And you didn’t get cast in their picture unless you were
a member of the party or a young
actor being wooed to be a member of the party. You can see
movies today, famous Film Noir B
pictures like “They Drive By Night” where the director was one
of the Hollywood Ten, and five
or six members of the cast were either members of the
Hollywood Ten or subsequently
blacklisted. And you know that that was a commie picture.
And the right wing actors, like
Adolphe Menjou was a notorious right winger, he would never
get cast in those pictures. And he

was furious. And for a number of years there was a lot of rage
and hurt on the part of either non-
political or conservative right wingers, that there was this cabal
in Hollywood. And when they
got their chance, when the Cold War set in, and the Rosenbergs
were convicted of passing
atomic secrets to the Russians, then they got their chance and
they had their revenge. And that’s
what the blacklist came out of. Frequently politics is combined
with that kind of personal
animosity, on both sides. And it’s never a good thing, of
course. But, it’s interesting. I mean, I
think it’s true in life that you grow from the painful things.
I’ve made a lot of stupid mistakes in
my life and I, (laughs) I keep waiting to grow from them. But I
have grown from a lot of them.
9

Bibliography
Hollywood Blacklist
Georgakas, Dan
Urbana and Chicago: University of Illinois Press, 1992
Liberals and the Communist Control Act of 1954
McAuliffe, Mary S.
The Journal of American History, Vol. 63, No. 2. (Sep., 1976),
pp. 351-367
President Harry Truman, in a speech at Detroit’s 250
th
anniversary celebration
New York Times, July 29, 1951
Telegram from Joseph McCarthy to President Harry Truman
February 11, 1950
oral history
by Ryan Carrillo
WORD COUNT 1982
CHARACTER COUNT 9224

TIME SUBMITTED 13-DEC-2013 11:44PM
PAPER ID 383858367
FINAL GRADE
/100
oral history
GRADEMARK REPORT
GENERAL COMMENTS
Instructor
PAGE 1
PAGE 2

PAGE 4
PAGE 5
PAGE 6
PAGE 7
oral historyby Ryan Carrillooral historyGRADEMARK
REPORTFINAL GRADEGENERAL COMMENTSInstructor

University of Phoenix MaterialAppendix AFinal Project Overvi.docx

Recommended

Recommended

More Related Content

Similar to University of Phoenix MaterialAppendix AFinal Project Overvi.docx

Similar to University of Phoenix MaterialAppendix AFinal Project Overvi.docx (14)

More from dickonsondorris

More from dickonsondorris (20)

Recently uploaded

Recently uploaded (20)

University of Phoenix MaterialAppendix AFinal Project Overvi.docx