Project 2 ANALYSISRESPONSEThis Assignment Measures the Followi.docx

Project 2: ANALYSIS/RESPONSE
This Assignment Measures the Following Course Objectives
1. Formulate restricted, unified, and precise thesis statements
for thesis-driven essays
2. Organize essay content into introduction, body, and
conclusion paragraphs.
3. Construct unified, coherent, and well-developed paragraphs
with precise topic sentences.
4. Apply grammar and usage rules correctly.
6. Synthesize multiple sources into an essay to support its
thesis.
7. Accurately integrate sources through summary, paraphrase,
and direct quotation.
8. Properly document sources through in-text parenthetical and
end-of-text bibliographic documentation according to MLA or
APA in order to avoid plagiarism.
PURPOSE: Introduces students to the basics of source use and
integration using selected resources from library databases.
Introduces synthesis of multiple sources into a single argument.
Introduces paraphrase and quotation, as well as source-use
requirements for in-text and bibliography citation, especially in
relation to plagiarism. Introduces argumentative thesis
statements. Reinforces skills in summary, signal phrase use,
essay organization, and paragraphing. Reinforces knowledge of
rhetorical situation (audience, context, purpose)
GOALS: Students will craft a thesis-driven essay that builds on
the summary and synthesizes three (student selected)
argumentative texts. Essays will use a combination of properly
integrated summary, paraphrase, and quotation.
Genre Options
Thesis-driven argument that synthesizes multiple

texts. Viewpoint Analysis and Response
Subject/Topic
Same subject used in Project 1
Intended Audience
Academic audience (professors and peers)
Minimum Requirements:
Source Requirements
3+ argumentative articles from
Opposing Viewpoints,
Academic OneFile, and / or
CQ Researcher.
Length Requirements
3-4 pages
Specifications
· Addresses a specific audience
· Includes unified paragraphs with clear topic sentences
· Includes summary, paraphrases, and quotations
· Differentiates between the cited source and the analysis
· Differentiates between summary/paraphrase and analysis
· Uses correct citation style
· Synthesis: each claim is supported by multiple sources
· Includes an argumentative thesis
· Includes a properly formatted bibliography (Works Cited)
Format/Style
MLA
This assignment builds from Project 1. Students will use the
same topic from Project 1’s article, but they will need to find at
least three articles. The article used in Project 1
cannot be used. Students are limited to using articles
from
Academic OneFile, CQ Researcher and / or
Opposing Viewpoints. You will need to summarize,
analyze, and then respond to each of the articles in relation to

the topic. For response, consider the following: do you agree
or disagree with the overall argument of this piece? Why?
Be sure to explain why you agree or disagree.
THE ASSIGNMENT
Develop a focused SOAP note, including your differential
diagnosis and critical-thinking process to formulate a primary
diagnosis. Incorporate the following into your responses in the
template:
Subjective: What details did the patient provide regarding their
chief complaint and symptomology to derive your differential
diagnosis? What is the duration and severity of their symptoms?
How are their symptoms impacting their functioning in life?
Objective: What observations did you make during the
psychiatric assessment?
Assessment: Discuss the patient’s mental status examination
results. What were your differential diagnoses? Provide a
minimum of three possible diagnoses with supporting evidence,
and list them in order from highest priority to lowest priority.
Compare the DSM-5-TR diagnostic criteria for each differential
diagnosis and explain what DSM-5-TR criteria rules out the
differential diagnosis to find an accurate diagnosis. Explain the
critical-thinking process that led you to the primary diagnosis
you selected. Include pertinent positives and pertinent negatives
for the specific patient case.
Plan: What is your plan for psychotherapy? What is your plan
for treatment and management, including alternative therapies?
Include pharmacologic and nonpharmacologic treatments,
alternative therapies, and follow-up parameters, as well as a
rationale for this treatment and management plan. Also
incorporate one health promotion activity and one patient
education strategy.
Reflection notes: What would you do differently with this
patient if you could conduct the session again? Discuss what
your next intervention would be if you were able to follow up

with this patient. Also include in your reflection a discussion
related to legal/ethical considerations (demonstrate critical
thinking beyond confidentiality and consent for treatment!),
health promotion, and disease prevention, taking into
consideration patient factors (such as age, ethnic group, etc.),
PMH, and other risk factors (e.g., socioeconomic, cultural
background, etc.).
Provide at least three evidence-based, peer-reviewed journal
articles or evidenced-based guidelines that relate to this case to
support your diagnostics and differential diagnoses. Be sure
they are current (no more than 5 years old).
Consider what history would be necessary to collect from this
patient.
Consider what interview questions you would need to ask this
patient.
FOCUSED SOAP NOTE FOR SCHIZOPHRENIA SPECTRUM,
OTHER PSYCHOTIC, AND MEDICATION-INDUCED
MOVEMENT DISORDERS
Case study
DR. MOORE: Good afternoon.
I'm Dr. Moore.
Want to thank you for coming in for your appointment today.
I'm going to be asking you some questions about your history
and some symptoms.
And to get started, I just want to ensure
I have the right patient and chart.
So can you tell me your name and your date of birth?
SHERMAN TREMAINE: I'm Sherman Tremaine,
and Tremaine is my game game.
My birthday is November 3, 1968.
DR. MOORE: Great.
And can you tell me today's date?
Like the day of the week, and where we are today?
SHERMAN TREMAINE: Use any recent date, and any location
is OK.

DR. MOORE: OK, Sherman.
What about do you know what month this is?
SHERMAN TREMAINE: It's March 18.
DR. MOORE: And the day of the week?
SHERMAN TREMAINE: Oh, it's a Wednesday or maybe a
Thursday.
DR. MOORE: OK.
And where are we today?
SHERMAN TREMAINE: I believe we're
in your office, Dr. Moore.
DR. MOORE: OK, great.
So tell me a little bit about what brings you in today.
What brings you here?
SHERMAN TREMAINE: Well, my sister made me come in.
I was living with my mom, and she died.
I was living, and not bothering anyone, and those people--
those people, they just won't leave me alone.
DR. MOORE: What people?
SHERMAN TREMAINE: The ones outside my window
watching.
They watch me.
I can hear them, and I see their shadows.
They think I don't see them, but I do.
The government sent them to watch me,
so my taxes are high, so high in the sky.
Do you see that bird?
DR. MOORE: Sherman, how long have
you saw or heard these people?
SHERMAN TREMAINE: Oh, for weeks, weeks and weeks and
weeks.
Hear that-- hear that heavy metal music?
They want you to think it's weak, but it's heavy.
DR. MOORE: No, Sherman.
I don't see any birds or hear any music.
Do you sleep well, Sherman?
SHERMAN TREMAINE: I try to but the voices are loud.

They keep me up for days and days.
I try to watch TV, but they watch me through the screen,
and they come in and poison my food.
I tricked them though.
I tricked them.
I locked everything up in the fridge.
They aren't getting in there.
Can I smoke?
DR. MOORE: No, Sherman.
There is no smoking here.
How much do you usually smoke?
SHERMAN TREMAINE: Well, I smoke all day, all day.
Three packs a day.
DR. MOORE: Three packs a day.
OK.
What about alcohol?
When was your last drink?
SHERMAN TREMAINE: Oh, yesterday.
My sister buys me a 12-pack, and tells me to make it last
until next week's grocery run.
I don't go to the grocery store.
They play too loud of the heavy metal music.
They also follow me there.
DR. MOORE: What about marijuana?
SHERMAN TREMAINE: Yes, but not since my mom
died three years ago.
DR. MOORE: Use any cocaine?
SHERMAN TREMAINE: No, no, no, no, no, no, no.
No drugs ever, clever, ever.
DR. MOORE: What about any blackouts or seizures
or see or hear things from drugs or alcohol?
SHERMAN TREMAINE: No, no, never a clever [INAUDIBLE]
ever.
DR. MOORE: What about any DUIs or legal issues
from drugs or alcohol?
SHERMAN TREMAINE: Never clever's ever.

DR. MOORE: OK.
What about any medication for your mental health?
Have you tried those before, and what was your reaction to
them?
SHERMAN TREMAINE: I hate Haldol and Thorazine.
No, no, I'm not going to take it.
Risperidone gave me boobs.
No, I'm not going to take it.
Seroquel, that is OK.
But they're all poison, nope, not going to take it.
DR. MOORE: OK.
So tell me, any blood relatives have
any mental health or substance abuse issues?
SHERMAN TREMAINE: They say that my dad
was crazy with paranoid schizophrenia.
He did in the old state hospital.
They gave him his beer there.
Can you believe that?
Not like them today.
My mom had anxiety.
DR. MOORE: Did any blood relatives commit suicide?
SHERMAN TREMAINE: Oh, no demons there.
No, no.
DR. MOORE: What about you?
Have you ever done anything like cut yourself, or had
any thoughts about killing yourself or anyone else?
SHERMAN TREMAINE: I already told you.
No demons there.
Have been in the hospital three times though when I was 20.
DR. MOORE: OK.
What about any medical issues?
Do you have any medical problems?
SHERMAN TREMAINE: Ooh, I take metformin for diabetes.
Had or I have a fatty liver, they say,
but they never saw it.
So I don't know unless the aliens told them.

DR. MOORE: OK.
So who raised you?
SHERMAN TREMAINE: My mom and my sister.
DR. MOORE: And who do you live with now?
SHERMAN TREMAINE: Myself, but my sister's
plotting with the government to change that.
They tapped my phone.
DR. MOORE: OK.
Have you ever been married?
Are you single, widowed, or divorced?
SHERMAN TREMAINE: I've never been married.
DR. MOORE: Do you have any children?
SHERMAN TREMAINE: No.
DR. MOORE: OK.
What is your highest level of education?
SHERMAN TREMAINE: I went to the 10th grade.
DR. MOORE: And what do you like to do for fun?
SHERMAN TREMAINE: I don't work, so smoking and drinking
pop.
DR. MOORE: OK.
Have you ever been arrested or convicted for anything legally?
SHERMAN TREMAINE: No, but they have told me they would.
They have told me they would if I didn't stop calling 911
about the people outside.
DR. MOORE: OK.
What about any kind of trauma as a child or an adult?
Like physical, sexual, emotional abuse.
SHERMAN TREMAINE: My dad was rough on us until he died.
DR. MOORE: OK.
[MUSIC PLAYING]
So thank you for answering those questions for me.
Now, let's talk about how I can best help you.
[removed]
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Tips & Tools / Summary: Using it Wisely

Summary: Using it Wisely What this handout is about
Knowing how to summarize something you have read, seen, or
heard is a valuable skill, one you have probably used in many
writing assignments. It is important, though, to recognize when
you must go beyond describing, explaining, and restating texts
and offer a more complex analysis. This handout will help you
distinguish between summary and analysis and avoid
inappropriate summary in your academic writing.Is summary a
bad thing?
Not necessarily. But it’s important that your keep your
assignment and your
audience in mind as you write. If your assignment
requires an argument with a thesis statement and supporting
evidence—as many academic writing assignments do—then you
should limit the amount of summary in your paper. You might
use summary to provide background, set the stage, or illustrate
supporting evidence, but keep it very brief: a few sentences
should do the trick. Most of your paper should focus on your
argument. (Our handout on
argument will help you construct a good one.)
Writing a summary of what you know about your topic before
you start drafting your actual paper can sometimes be helpful. If
you are unfamiliar with the material you’re analyzing, you may
need to summarize what you’ve read in order to understand your
reading and get your thoughts in order. Once you figure out
what you know about a subject, it’s easier to decide what you
want to argue.
You may also want to try some other pre-writing activities that
can help you develop your own analysis. Outlining, freewriting,
and mapping make it easier to get your thoughts on the page.
(Check out our handout on
brainstorming for some suggested techniques.)

Why is it so tempting to stick with summary and skip
analysis?
Many writers rely too heavily on summary because it is what
they can most easily write. If you’re stalled by a difficult
writing prompt, summarizing the plot of The Great Gatsby may
be more appealing than staring at the computer for three hours
and wondering what to say about F. Scott Fitzgerald’s use of
color symbolism. After all, the plot is usually the easiest part of
a work to understand. Something similar can happen even when
what you are writing about has no plot: if you don’t really
understand an author’s argument, it might seem easiest to just
repeat what he or she said.
To write a more analytical paper, you may need to review the
text or film you are writing about, with a focus on the elements
that are relevant to your thesis. If possible, carefully consider
your writing assignment before reading, viewing, or listening to
the material about which you’ll be writing so that your
encounter with the material will be more purposeful. (We offer
a handout on
reading towards writing.)
How do I know if I’m summarizing?
As you read through your essay, ask yourself the following
questions:Am I stating something that would be obvious to a
reader or viewer?Does my essay move through the plot, history,
or author’s argument in chronological order, or in the exact
same order the author used?Am I simply describing what
happens, where it happens, or whom it happens to?
A “yes” to any of these questions may be a sign that you are
summarizing. If you answer yes to the questions below, though,
it is a sign that your paper may have more analysis (which is
usually a good thing):Am I making an original argument about
the text?Have I arranged my evidence around my own points,
rather than just following the author’s or plot’s order?Am I
explaining why or how an aspect of the text is significant?
Certain phrases are warning signs of summary. Keep an eye out
for these:“[This essay] is about…”“[This book] is the story

of…”“[This author] writes about…”“[This movie] is set in…”
Here’s an example of an introductory paragraph containing
unnecessary summary. Sentences that summarize are in italics:
The Great Gatsby is the story of a mysterious millionaire, Jay
Gatsby, who lives alone on an island in New York. F. Scott
Fitzgerald wrote the book, but the narrator is Nick Carraway.
Nick is Gatsby’s neighbor, and he chronicles the story of
Gatsby and his circle of friends, beginning with his introduction
to the strange man and ending with Gatsby’s tragic death. In the
story, Nick describes his environment through various colors,
including green, white, and grey. Whereas white and grey
symbolize false purity and decay respectively, the color green
offers a symbol of hope.
Here’s how you might change the paragraph to make it a more
effective introduction:
In The Great Gatsby, F. Scott Fitzgerald provides readers with
detailed descriptions of the area surrounding East Egg, New
York. In fact, Nick Carraway’s narration describes the setting
with as much detail as the characters in the book. Nick’s
description of the colors in his environment presents the book’s
themes, symbolizing significant aspects of the post-World War I
era. Whereas white and grey symbolize the false purity and
decay of the 1920s, the color green offers a symbol of hope.
This version of the paragraph mentions the book’s title, author,
setting, and narrator so that the reader is reminded of the text.
And that sounds a lot like summary—but the paragraph quickly
moves on to the writer’s own main topic: the setting and its
relationship to the main themes of the book. The paragraph then
closes with the writer’s specific thesis about the symbolism of
white, grey, and green.How do I write more analytically?
Analysis requires breaking something—like a story, poem, play,
theory, or argument—into parts so you can understand how
those parts work together to make the whole. Ideally, you
should begin to analyze a work as you read or view it instead of
waiting until after you’re done—it may help you to jot down
some notes as you read. Your notes can be about major themes

or ideas you notice, as well as anything that intrigues, puzzles,
excites, or irritates you. Remember, analytic writing goes
beyond the obvious to discuss questions of how and why—so
ask yourself those questions as you read.
The St. Martin’s Handbook (the bulleted material below is
quoted from p. 38 of the fifth edition) encourages readers to
take the following steps in order to analyze a text:Identify
evidence that supports or illustrates the main point or theme as
well as anything that seems to contradict it.Consider the
relationship between the words and the visuals in the work. Are
they well integrated, or are they sometimes at odds with one
another? What functions do the visuals serve? To capture
attention? To provide more detailed information or illustration?
To appeal to readers’ emotions?Decide whether the sources used
are trustworthy.Identify the work’s underlying assumptions
about the subject, as well as any biases it reveals.
Once you have written a draft, some questions you might want
to ask yourself about your writing are “What’s my point?” or
“What am I arguing in this paper?” If you can’t answer these
questions, then you haven’t gone beyond summarizing. You may
also want to think about how much of your writing comes from
your own ideas or arguments. If you’re only reporting someone
else’s ideas, you probably aren’t offering an analysis.What
strategies can help me avoid excessive summary?Read the
assignment (the prompt) as soon as you get it. Make sure to
reread it before you start writing. Go back to your assignment
often while you write. (Check out our handout on
reading assignments).
Formulate an argument (including a good thesis) and be
sure that your final draft is structured around it, including
aspects of the plot, story, history, background, etc. only as
evidence for your argument. (You can refer to our handout on
constructing thesis statements).
Read critically—imagine having a dialogue with the
work you are discussing. What parts do you agree with? What
parts do you disagree with? What questions do you have about

the work? Does it remind you of other works you’ve seen?Make
sure you have clear topic sentences that make arguments in
support of your thesis statement. (Read our handout on
paragraph development if you want to work on
writing strong paragraphs).
Use two different highlighters to mark your paper. With
one color, highlight areas of summary or description. With the
other, highlight areas of analysis. For many college papers, it’s
a good idea to have lots of analysis and minimal
summary/description.Ask yourself: What part of the essay
would be obvious to a reader/viewer of the work being
discussed? What parts (words, sentences, paragraphs) of the
essay could be deleted without loss? In most cases, your paper
should focus on points that are essential and that will be
interesting to people who have already read or seen the work
you are writing about.But I’m writing a review! Don’t I have to
summarize?
That depends. If you’re writing a critique of a piece of
literature, a film, or a dramatic performance, you don’t
necessarily need to give away much of the plot. The point is to
let readers decide whether they want to enjoy it for themselves.
If you do summarize, keep your summary brief and to the point.
Instead of telling your readers that the play, book, or film was
“boring,” “interesting,” or “really good,” tell them specifically
what parts of the work you’re talking about. It’s also important
that you go beyond adjectives and explain how the work
achieved its effect (how was it interesting?) and why you think
the author/director wanted the audience to react a certain way.
(We have a special handout on
writing reviews that offers more tips.)
If you’re writing a review of an academic book or article, it may
be important for you to summarize the main ideas and give an
overview of the organization so your readers can decide whether
it is relevant to their specific research interests.
If you are unsure how much (if any) summary a particular

assignment requires, ask your instructor for guidance.Works
consulted
We consulted these works while writing this handout. This is
not a comprehensive list of resources on the handout’s topic,
and we encourage you to do your own research to find
additional publications. Please do not use this list as a model
for the format of your own reference list, as it may not match
the citation style you are using. For guidance on formatting
citations, please see the
UNC Libraries citation tutorial. We revise these tips
periodically and welcome feedback.
Barnet, Sylvan. 2015. A Short Guide to Writing about Art, 11th
ed. Upper Saddle River, NJ: Prentice Hall.
Corrigan, Timothy. 2014. A Short Guide to Writing About Film,
9th ed. New York: Pearson.
Lunsford, Andrea A. 2015. The St. Martin’s Handbook, 8th ed.
Boston: Bedford/St Martin’s.
Zinsser, William. 2001. On Writing Well: The Classic Guide to
Writing Nonfiction, 6th ed. New York: Quill.
This work is licensed under a
Creative Commons Attribution-NonCommercial-
NoDerivs 4.0 License.
You may reproduce it for non-commercial use if you use the
entire handout and attribute the source: The Writing Center,
University of North Carolina at Chapel Hill
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Workers in the gig economy feel lonely and powerless
Authors: Paul Glavin, Alex Bierman and Scott Schieman

Date: 2020
From: Gale Opposing Viewpoints Online Collection
Publisher: Gale, a Cengage Company
Document Type: Viewpoint essay
Length: 1,104 words
Content Level: (Level 4)
Lexile Measure: 1230L
Full Text:
Article Commentary
"In the gig economy, your boss may be an algorithm, and you
are subject to the whims of fluctuating demand and a star
system that
rates every interaction."
Paul Glavin is an associate professor of sociology at McMaster
University in Hamilton, Ontario. Alex Bierman is an associate
professor of sociology at the University of Calgary in Calgary,
Alberta. Scott Schieman is the chair of the department of
sociology at
the University of Toronto in Toronto, Canada. In the following
viewpoint, the authors examine the mental and emotional
wellbeing of
gig workers in Canada. After conducting a study that analyzed
data on thousands of Canadians, Glavin, Bierman, and Schieman
assert that gig workers are lonelier than employees who work in
conventional positions and are more prone to feelings of anxiety
and depression. Disputing a commonly held belief that gig work
makes people feel empowered, the authors instead report that
gig
employees feel out of control and helpless to solve their
problems. In conclusion, Glavin, Bierman, and Schieman argue
that gig
work takes a psychological toll on people. They urge Canadians
that the benefits of a flexible workforce may not justify the
costs.

As you read, consider the following questions:
According to the authors, what is Uber Works, and what does it
foretell about the future of work?1.
What evidence do Glavin, Bierman, and Schieman provide to
support their findings that gig jobs are increasingly isolating2.
employees from social and emotional connections?
In your opinion, does the flexible economy provide workers
with more control over their professional life than traditional3.
employment? Explain your answer.
The gig economy is quickly becoming a central part of Canadian
life. The jobs aren't just limited to Uber and Skip the Dishes.
Grocery
stores, laundries and more are banking on a new workforce that
will accept jobs on a per-task basis.
Even a hallmark of Canadian life—snow-shovelling—is being
absorbed into the gig economy. A recent startup in Calgary lets
homeowners hire shovellers using their smartphones.
As sociologists, we envision a decentralized workforce, bereft
of regular human contact or continuous employment. Yet this
outlook
stands in stark contrast to optimistic portrayals of a flexible
economy that empowers workers to control their own fates.
Which
narrative—decentralized and isolated or connected and
empowered—best reflects the reality of Canada's gig workers?
It turns out that separating the hype from reality about the
Canadian gig economy is no easy task, given the dearth of
available data
on gig workers.

One in five workers in gig economy
We therefore set out to conduct surveys with a representative
slice of the Canadian employed population—gig and non-gig
workers—as part of the 2019 Canadian Quality of Work and
Economic Life Study. Our preliminary findings, as yet
unpublished, are
the result of interviews with 2,524 working Canadians from this
study.
Our survey was conducted online, using a nationally
representative panel maintained by the firm Angus Reid Global.
We asked about
paid activities on a per-fee basis—from food delivery and
freelancing to ride-share driving and completing tasks online. If
a
respondent said they had performed any of these activities in
the last month, they worked in the gig economy.
Our results showed that participation in the gig economy is
quite common, at almost one out of every five workers—a
participation
rate similar to other Canadian and American estimates.
Gig economy workers appeared to be suffering compared to
more conventional workers. For example, we asked our
respondents
three questions that are commonly used by social scientists to
indicate loneliness.
People could report if they lacked companionship, felt left out
and felt isolated from other people. Gig workers were almost
twice as

likely to report frequently experiencing a sign of loneliness. Gig
workers also scored higher on a mental health measure
capturing
experiences of anxiety and depression.
Even if gig economy workers are more lonely and distressed,
are they at least more empowered?
This doesn't appear to be the case, either. We presented our
respondents with a set of questions social scientists often use to
measure powerlessness. These are questions about whether
people feel helpless in dealing with their problems, or have
little control
over their lives.
Gig economy workers were 50 per cent more likely to report
feelings of helplessness, and almost 40 per cent more likely to
report
feelings of little control. If anything, then, gig economy
workers were more likely to report powerlessness than other
working
respondents.
Lonelier and less happy
Gig economy workers were therefore lonelier, less happy and
felt less in control of their lives than other workers.
But gig economy workers are also demographically very
different than more conventional workers. Our results showed
that gig
economy workers are younger and less likely to be married. Gig
economy workers also tend to work longer hours and are less
likely
to have higher education.

So could we be seeing these results because the gig economy
pulls from a different population base than the more
conventional
work force? No. In fact, none of these factors ruled out the
differences we observed.
It is not difficult to see these patterns reflected in the everyday
stories and experiences of current participants in the gig
economy.
Uber passengers can now select a "quiet preferred" option,
effectively turning drivers into silent chauffeurs. In-store
shoppers wander
the aisles of grocery stores filling orders for delivery,
surrounded by, but often invisible to, the actual employees of
the store.
In the gig economy, your boss may be an algorithm, and you are
subject to the whims of fluctuating demand and a star system
that
rates every interaction. The result is a precarious workforce that
is often isolated and powerless.
A grim future of work
If this is the future of work, it may be a lonely and uncertain
future for many workers. But the future of the gig economy is
itself
uncertain.
A new California law that will force many employers in the
Golden State to reclassify "app-based" contract workers as
employees
may stunt the growth of the gig work model, or radically
restructure it. It goes into effect on Jan. 1, 2020.
At the same time, Uber—a pioneer of the on-demand labour

model—seems intent on extending its role as an intermediary
for gig
labour via a new shift-work finder app, Uber Works, that
matches workers to services beyond the ride-sharing industry.
Our survey shows how the gig economy is already a central part
of many working Canadians' lives. It is also an increasingly
important way for many consumers to obtain goods and
services.
But there's a considerable psychological cost for workers in this
new economy. Canadians will soon need to grapple with the
question
of whether the ease and flexibility provided by the gig economy
is worth these costs.
https://theconversation.com/workers-in-the-gig-economy-feel-
lonely-and-powerless-127188
Full Text: COPYRIGHT 2021 Gale, a Cengage Company
Source Citation (MLA 9th Edition)
Glavin, Paul, et al. "Workers in the gig economy feel lonely and
powerless." Gale Opposing Viewpoints Online Collection, Gale,
2021.
Gale In Context: Opposing Viewpoints,
link.gale.com/apps/doc/MCLWWU498039080/OVIC?u=pgcc_m
ain&sid=bookmark-
OVIC&xid=6d80e74e. Accessed 9 Dec. 2021. Originally
published as "Workers in the gig economy feel lonely and
powerless,"
The Conversation, 20 Nov. 2019.
Gale Document Number: GALE|MCLWWU498039080

https://theconversation.com/workers-in-the-gig-economy-feel-
lonely-and-powerless-127188

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