Utilizing Evidence-Based Psychology Practice in the University of Denver's Professional Psychology Center: A Proposal

As acceptance of the Evidence-based Psychology Practice (EBPP) model continues to grow (Pagoto, Spring, Coups, Mulvaney, Coutu, & Ozakinci, 2007), it seems pertinent to explore how this model can be applied in different settings. This topic is timely as practitioners in the field are being held ever more accountable for the efficacy of the treatments they employ (Pagoto et al., 2007). Increased scrutiny has resulted in a need to integrate research into practice in order to ensure continued relevance in the ever-changing realm of American health care (Luebbe, Radcliffe, Callands, Green & Thorn, 2007; Collins, Leffingwell & Belar, 2007; Chwalisz, 2003). This paper explores how the requirements set forth by the American Psychological Association Presidential Task Force on Evidence-Based Practice (2006) can be implemented at the University of Denver's (DU) Professional Psychology Center (PPC), a training clinic for students enrolled in the Psy.D. program at DU's Graduate School of Professional Psychology (GSPP). In doing so, the methods employed by Collins et al. (2007) at Oklahoma State University (OSU) are used as a template and modified to accommodate differences between these two institutions.

Discovering a history : the school of art at the University of Denver

Discovering a History: The School of Art at the University of Denver explores the early history of art education in Denver, and the significance of visual art education at the University of Denver within that history beginning in 1865, when the first classes in art were offered, and ending in 1929 when the University acquired the Chappell School of Art—an independent art school—and appointed Vance Kirkland as director. This paper also explores competing art institutions, which at times posed great hindrances to the University. Further, it illustrates how the artists who taught at the University of Denver School of Art, such as Ida De Steiguer, Preston Powers, Emma Richardson Cherry, and Henry Read, were amongst the great contributors to Denver’s burgeoning artistic culture.