Pakistan has prime 5th ranking county population in the World after China. As a preventive assess COVID-19 pestilence condition, all institutes, industry and public area has been affected by the Corona virus. The colleges and universities libraries are also obligated to close. Professional Libraries should be organizing to revive the libraries along by the COVID-19. We have a vast responsibility to defend the clienteles, the library and its employees and providing access to its resources in such a pandemic condition. While reopening the library after the lock down we need to receive preventive assess to slow down and prevent measures against COVID-19. The Library and Information services started to gain significance by providing researchers the opportunity to investigate medical and scientific research, while anticipation of the virus.

The research aims at showing that even a light romantic comedy film like a 2007 Hong Kong film entitled Hooked on You is found to have broken the damsel in distress convention normally used in romantic comedy films. The disregarding of the convention is depicted through the practice of Confucianism, as implicitly portrayed through the main characters in the film. This research focuses on the female protagonist of the film whose name is Miu. She is said to be a leftover woman or sheng nü because of her being single despite being 30s. Throughout the film, she endeavors trying to the find her prince to complete her Yang element, which is owned by men. Confucianism teaches that women possess Yin elements and they need men to complete her Yang elements so that there will be a balance of Yin-Yang in line with the Confucianism cosmology. The research applies the teachings of Confucianism specifically in relation to men and women and the damsel in distress along with Charles Sanders Pierces division of signs consisting of icons, indexes and symbols to analyse the necessary scenes.The research finds out that Miu chooses not to follow the damsel in distress convention and not complete her Yang elements in accordance with Confucianism. The female protagonist decides to be single and let her Yang element remain incomplete at the end of the film. This is rare in a romantic comedy Hong Kong film and makes the female protagonist and the film Hooked on You worth analysing.

The purpose of this study was to examine the perceptions of teachers about the level of connectedness students with emotional and behavioural disorders (EBD) had to their school environments. An online survey adapted version of the Strengths and Difficulties Questionnaire (Goodman, 1997) was used to measure teacher perceptions. Online surveys were administered to 66 teachers that work with students with EBDs in eastern Australia. Scores on the adapted survey were used to determine if teachers of students with EBD felt their students are connected to their school environments. Comparisons were made between teachers’ perceptions on comprehensive school campuses and teachers’ perceptions on specialized campuses.

This essay attempts to conceptualize the Apoplexy of Democracy by analysing pathological abnormalities in the Democratic Republic of Congos Politics. Using the Relative and Reflexive Lens (R.R.L.), the study introduces and adds Genetic Statenescopy to the ongoing debate on the Afrocentric perspectives of change and continuity in Sub-Saharan Africa’s democracies. Discussing the implications of pathological abnormalities on governments performance, the study argues that the more centripetal forces of pathological abnormalities increase, the less centrifugal logic of democracy operates. As a result, the apoplexy of democracy Democracy becomes severely apoplectic when the degree of centripetal characteristics is extreme. Consequently, the poor government performance is likely leading to rift and failure of the resource abundant states that, thirty years after it first launched its democratization process, still displaying negative performances.

An understanding of poverty and its impact on service-users is essential for social workers to be able to act in an empowering, anti-oppressive way. Our actions are often influenced by our attitudes. This qualitative study aims to identify the attitudes and causal attributions of poverty amongst social work students to provide a baseline indicator that might inform poverty education within SHU’s social work courses. To date, no UK investigations of this nature have been undertaken recently, leaving us with a profound lack of understanding of the knowledge and attitudes of student social workers toward poverty and its impact on people in the UK. The study design is multi-method, incorporating two data sources: an on-line questionnaire (43 responses) and individual telephone interviews (6). Findings revealed that students enrolled on a BA Social Work degree were generally compassionate towards those experiencing poverty. They preferred structural causal explanations rather than individual; students also strongly held the government responsible and saw poverty as something impacted by political choices. However, poverty was understood to be absolute rather than relatively defined and a trend towards dissociating from and ‘othering’ those in poverty was discerned. The study recommends the inclusion of poverty-awareness in the values and ethics element of social work courses, to enable it to be incorporated into students’ anti-oppressive practice.

The emergence of different governance theories as a way of present better services by service providers to service users have led to the concept of decentralization in many countries and Cameroon inclusive. This wakeup call imposed on the Cameroon government by donor agencies led to the promulgation of Laws on decentralization but the practical experience of Cameroon is that this has remain on paper and the reality on the ground presents a completely different scenario. The gulf separating what is and what out to be is what this paper attempts to present. This is largely to be blamed on lack of political will and inertia. The Cameroonian government has been reticent in enforcing the decentralization process despite the numerous legal backing making the implementation process of decentralization a myth. This article tries to look at the weaknesses of the implementation phase and therefore, thinks that if decentralization was fully in place the numerous difficulties Cameroon is facing would have been reduced drastically. However, the practical modalities of this governance strategy are needed to be revisited.

My primary interest is in Abstract Art and exploring how the intersection of different planes and line shapes can create illusions within distorted shapes, letters, and words. My work varies in size, from prints to paintings ranging from very small to huge (12 feet x 15 feet). I also do sculptures. I use many printmaking techniques in my work, including etching, aquatint, drypoint, woodcut, linocut, plexiglass and collagraph. In my mixed media pieces I use oil paints, charcoal, pastels, acrylic paint, watercolor. In my sculptures and most of my work I use recycled materials such as wood, flower petals, leaves, metal, textile, plaster, resin glass and recycled materials. Photography is an important part of my process, I use photos to document my work in progress and to remember new techniques. This allows me to see the evolution of the piece later on and sometimes it also helps me confirm which direction to go with my piece to finish it. My photographs are also a base for other pieces. Another vital part of my creative process is music. I introduce and create lines that follow a particular rhythm. My artistic style has been strongly influenced by Kandinsky, Picasso, Rauschenberg, Rodin, Moore, Dubuffet, DeFeo and many other artists. I prefer to work either on the floor or on flat surfaces. This enables me to view the piece from every angle so that I can create multiple perspectives in my work, giving the audience more than one way to view my work. Layering is an intrinsic element in my work. My work evolves through each new layer of lines and geometric techniques. Each layer represents a time change in someones life the more intricate the layer the more complex the person. These layers depict the events they went through and the resulting change in their life and personality. For example, a works first layer is like a baby that is untouched and pure, but as the layers build it represents this baby becoming an adult and the good or bad events that have shaped their lives. I use these layers to represent aspects of abuse and abuse survivors. Each composition represents a person that survived and how beautiful they are. It is important to show that each composition is a unique one because each person goes through a unique trauma. I explore abstraction through a variety of media to shed light on abuse survivors. Nowadays, it is even more evident when injustices occur and this took me to another decision in my life, which is to also represent people that have been abused but didnot survive. Multiple perspectives, layering and symbols are used to represent the changes in those who experience abuse. The consequences they pay with ADHD, PTSD, dyslexia, fibromyalgia and other disabilities that are normal consequences of physical, sexual and psychological abuse. Symbols such as the destructive act of tearing or scratching my own prints, designs that mimic jail bars, feathers that represented bleeding wounds, and the layering of the different colors. By addressing sexual, physical and psychological abuse and the relative consequences through my art, I strive to make people more aware of this taboo, so that they can better understand and talk about it. This is significant because you cannot identify and stop abuse or overcome this trauma unless you talk about it. For those who didn’t make it my work is there to remember them and to denounce the injustice that they paid with their lives.