Nuclear Iran Essay -- Foreign Policy

Nuclear Iran Should United States confront Iran for its behaviors for enriching uranium? For decades the extremist Islamic regime of Iran has been the number one enemy of U.S and its allies particularly, Israel. Also, Iran has been supporting the terrorist groups such as Taliban and Al Qaeda in Iraq and Afghanistan to kill American troops. Moreover, during the past ten years Iran has been working to become nuclear which can allow them to make nuclear bombs and weapons to wipe Israel off the map which they have claimed before they would without any hesitation. While, Iranian government insists that it has no intentions of expanding its nuclear program to make weapons and it is only for peaceful purposes, ayatollah Mohammad Baqer Kharrazi, secretary general of Iranian Hezbollah, stated, â€Å"We are able to produce atomic bombs, and we will do that(1).† So, there is a great conflict between Middle Eastern countries and Arab countries that are U.S’s allies such as Israel and Saudi Ara bia to let Iran become a nuclear power, and a greater conflict inside U.S because of the two invasion wars that have cost trillions and thousands of lives. Therefore, there are two sides to this important issue that whether U.S should let Iran to become nuclear or shall we air strike them and maybe cause a war that we will not be able to afford? Even though Iran persists that there are no harmful intentions and they are only enriching uranium to help their technology and hospitals, I believe U.S and its allies should stand up united to Iran and stop giving them any freebies and confront them militarily because of Iran’s behavior in the past and present; also, proving themselves as not trustworthy to U.S. At first, beginning with the opposition side of this... ...eneral of Iranian Hezbollah, February 14, 2005, written for CQ Researcher, cqpress.com, the Iranian leadership is far more dangerous than most Westerners realize, argues a longtime Iran hawk. 2. Senator Byrd, Robert, chairman, senate appropriations committee. Written for CQ Researcher, November 2007, arguing with President Bush’s administration over attacking Iran. 3. Bakhtiari, Farshid, a young computer salesman, February. Quoted in Kim Murphy, â€Å" Iran reformist want U.S. to tone down†, Los Angeles Times, Feb. 11,2007, p.A1 4. Rubin, Michael, Resident Scholar, American Enterprise Institute. Rubin argues that the sanctions won’t be effective due to Iran’s history of untrustworthiness, cqpress.com, pro/con part, pp3, November 11, 2007. 5. Ahmadinejad, Mahmoud, the 62nd U.N. assembly, unmistakably referring to the United States, sep. 26,2007, www.president.it/en/.

King Corn

The Documentary ‘King Corn’ is an intersting and entertaining account that examines the impact of the corn industry on food production in America. The film follows Curtis Ellis and Ian Cheney, two recent university graduates who set out to study the overwhelming influence that industrial corn has on the varieties of foods that America consumes each year. The concept of the film is introduced when Curt and Ian have samples of their hair examined, and are surprised to find out that the large amounts of carbon found in the samples originates from ingesting corn products. Many people including myself, would likely be shocked upon hearing this fact, based on the traditional concept of corn; being the small yellow vegatable enjoyed on occasion at most. Sharing this viewpoint, the boys become interested in finding out for themselves why it appears that they are eating so much corn; and hence the topic of the documentary. They decide the best plan of action is to travel to Greene, Iowa, and grow 1 achre of corn to establish how this plant is transformed into so many of the foods that we each. This critique aims to examine some of their findings and discuss the influence and credibility of their arguments. In short, the issue the film addresses is the overwhelming reliance that the American food industry has on the growth and production of corn and its various bi-products. From first glance, many may inturpret this issue as not being a huge problem; after all, when I think of corn, I think of a vegetable. There are certainly other ingredients that would appear to be much more detremental to the health of consuming citizens. But as the film progresses, the viewer learns that the type of corn and it’s bi-products being considered, is far from the conventional concept. While in Iowa, Curt and Ian learn from local farmers, professors and other stakeholders within the industry that the corn they are producing will be used for a variety of purposes, two of the main ones being feed for cattle, and high-fructose corn syrup. As their tiny achre grows, they set out to research the implications of using the corn based products for these purposes. Generally, the documentary took the position that current usage of these products in the food industry promotes a variety of health issues, which will be discussed further in this paper. The corn industry has evolved significantly over the past several decades, not only due to technological advancement, but also the types of corn grown, and purposes that it will serve. The latter cause being fuelled exclusively by the changes in consumer demand, specifically referencing the food industry. This type of industry is largely driven by situations where there is high buyer power; that is, food companies produce the types of food that the consumer wants to eat, rather than what the company wants to produce. As commonly known, several businesses especially in the fast food industry, do not operate on the basis of providing healthy options for consumers to enjoy. Rather, they aim to offer cheap food that consumers want to have. In my opinion, this concept outlines a large point being made by the film; the fact that consumer demand has driven the corn industry (and thus the food industry) to evolve over the past several years into its current state. The bottom line of this argument is that corn is being used in the massive quantities we know of for the very simple reason that is it cheap. To illustrate this point, I will focus on the two main bi-prodcuts of corn that were examined during the film. First, high-fructose corn syrup is used as a sweetner for products ranging anywhere from soft drinks to pasta sauce. In reality, ingesting too much of this sweetner can be very hazourdous to someone’s health, and too much of the product can cause certains conditions such as obeisity and diabetes. This corn syrup has stolen a huge market share from conventional sugar over the last few decades, for no other reason aside from the fact that it is a cheaper alternative, and thus more appealing for businesses to use. As Curt and Ian prove in the film, almost anything processed food imaginable contains at least some quantity of this high fructose syrup, a direct bi-product of corn. The other main product analyzed is the use of corn as animal feed, which is a large source of food for specifically chicken and cattle. These corn-fed animals are themselves processed and used to make the all-American favorite meals. It was starting to become clear to the boys, and the viewer of the film where all this corn was coming from, and offered a justification for the massive size of this industry. During one the interviews, Curt and Ian spoke with a cattle rancher who owned a feed lot. He explained that the cows diet consisted of mainly corn because it was cheap to buy, and was successful in quickly supporting the cow into mature weight, available for slaughter. The farmer had one particularly interesting statement which captured a lot of the concept of the film, suggesting that if people wanted grass fed cows, he would raise grass fed cows. The reality is, grass fed cows are more expensive, a cost ulitmately borne by the consumer. Although much leaner and healthier meat, grass fed cows are not raised as often as corn fed cows because it wouldn’t allow consumers to purchase their favorite fast food burgers at the same price. Even the corn farmers interviewed during the film suggested that they knew their corn was used to create unhealthy foods, but that had become the reality of the food industry. Being producers of a raw material, their livelihood relies on growing corn that the American economy demands. Throughout the film, there are several points of interest made to support the argument that corn products were used to process several health threatening products. The filmakers chose to interview a variety of professionals, mostly university professors, which added to the credibility of of the argument being proposed. The opinion was fairly unanimous that the corn products in the United States are fuelling unhealthy diet choices, and resulting in some of the problems with obesity and other conditions that the country is dealing with. The film was successful in proving its point that the American food industry has evolved to become highly reliant on corn and it’s bi-products. Furthermore, it was able to reliably convey the idea that the exessive consumption of these products had potentially serious health effects. Given these facts, the film is not designed to attack the corn industry, as if they are the reason for these harmful additives in the food being eaten. The onus is really on the consumer; as mentioned, the reason these unhealthy bi-products are being made is in response to the demands from American consumers, who want cheap and tasty meals. The unfortunate reality is that a large number of people fail to devote the right attention to what they are putting in their bodies. The most surprising point in the film was definitely the scale at which the corn industry operates. It was interesting to use the boys â€Å"tiny† achre of corn as a reference point, whereas it was stated that it is not uncommon for one farmer in Iowa to manage one thousand achres of corn each harvest. The shere size of the industry reflects the huge amount of demand placed on the food industry in America every year. Personally, the lack of comparison to other countries was probably where the film lacked in reference. It is fairly well known that the American population consumes more fast food then any other nation in the world, so it really comes as no surprise that the corn industry is as large as it is. I felt as though it would be interesting to compare the American reliance to corn and it’s bi-prodcuts to a country in Europe for example, where typically people eat healthier and less cheaply made, processed foods. Comparing another nation with the United States would suggest that American reliance on corn is not a necessity, but rather a consumer driven evolution in food choices.

Italian and German Opera Essay

he Italian opera and the German opera are two different fields that both share characteristics, some of which are paralleled, and some of which contrast. Specifically, Giuseppe Verdi and Richard Wagner use motifs such as: redemption through love, patriotism, and sacrifice which run throughout both of their operas. The theme of betrayal also seems to be echoed throughout both operas; yet they are each used to project a different response. The significance of this comparison demonstrates that Verdi and Wagner may allude to the same references, such as Victor Hugo, Shakespeare, and Byron, but the operas The Flying Dutchman (German opera) and that of Nabucco (Italian opera) are completely different in context, and musical style; perhaps even The Flying Dutchman is a musical imitation of Italian opera while still trying to originate his own musical ideas as well. The Italian opera has three main genres: the Baroque, the Romantic, and the Modern. Italian opera first started to materialize in the seventeenth century, and approximately two hundred years later, the Romantic genre was introduced. Throughout the seventeenth century there were many developments in Italian opera due to Claudio Monteverdi (1567-1643), who wrote his first opera in 1607 (La Favola d’Orfeo) which to this day, is still performed. He introduced ideas such as the bel canto and buffa styles. Having a strong connection between the instrumental music and words was of major importance to Monteverdi, and this became a major theme for other opera composers to follow. The Romantic operas started to appear in the early 19th century. Romantic operas stress the world of imagination and emotions and through its music and aria’s was this theme magnified. Giuseppe Verdi (1813-1901) was one the composers of this era who changed the way composers would forever more look at operatic writing. His first successful opera Nabucco was immediately well received by the public for its amazing choruses, and vigorous music. One of the chorus interpretations Nabucodonosor, or in English, Nebuchadnezzar. This opera has four acts, and to the libretto by Temistocle Solera based on the biblical story of Nebuchadnezzar. In part one the Priest Zaccaria tells the Jews that there still may be peace due to the presence of a hostage, Fenena,(the younger daughter of Nabucco). Zaccaria gives Fenena to Ismaele,  (the nephew of the King of Jerusalem). Ismaele tells her to escape even though they love one another. The King (Nabucco) enters and Zaccaria disobeys him, and th reatens to kill Fenena with a dagger. Ismaele intervenes to save her. Nabucco responds by ordering the destruction of the temple, and the Jews curse Ismaele as a traitor. In part two Nabucco is away at war and has appointed Fenena as ruler. Abigaille (Fenena’s older sister) has discovered a document that proves she is not actually Nabucco’s real daughter, but in fact, a slave. The Priest of Baal tries to put Abigaille on the throne by spreading a rumour that Nabucco died in battle. Then Fenena is converted to the Jewish religion. Suddenly Nabucco himself enters which is unexpected because everyone thinks he is dead. He then declares himself God. Zaccaria objects, so then Nabucco orders that the Jews be put to death. Fenena says that she will die as one of them. When Nabucco says he is god again he is hit by a thunderbolt and goes insane. The crown falls and is picked up by Abigaille. The Priest presents Abigaille the Jews and Fenena’s death sentence. Nabucco walks in looking like a mad man, and claims his throne. Abigaille persuades him to carry out the sentence, but in the end he asks that his daughter, Fenena be spared. Here, Nabucco tells Abigaille that she is not his actual daughter but really a slave. Abigaille then destroys the document with the evidence of her being a slave. He is now a prisoner, and pleads for Fenena’s life. Then we hear the famous chorus Va persiero, chanted by the Jews as they long for their Homeland. In the final act Nabucco’s health and mentality are fully recovered. He sees Fenena in chains being taken to her death. He then asks God for forgiveness and promises to rebuild the temple in Jerusalem, and to follow the â€Å"true faith.† He and his loyal soldiers decide to punish the traitors and rescue Fenena. The Jews and Fenena are prepared for death on the sacrificial altar of Baal. Nabucco rushes in with his sword and the Idol of Baal shatters into pieces. Nabucco tells the Jews they are free. Abigaille enters. She poisoned herself. She asks for forgiveness of Fenena, says she’s sorry and dies. Zaccaria (the priest) hails Nabucco as the ‘servant of God and the King of  Kings.’ After Nabucco, Verdi based his operas on more standard romantic sources by Victor Hugo, Shakespeare, and Lord Byron. Orchestrally, it is scored for strings, timpani, bass drum, cymbals, two flutes, one piccolo, two oboes, one English horn, two clarinets, two bassoons, four French horns, two trumpets, three trombones, two harps, and one cimbasso. Musically, this opera is very directly vigorous. It sticks to the widely used concepts of arias, duets, finales, and choruses. His fine music often excused the glaring faults in character and plot lines. Contextually, there are themes of love, betrayal, and patriotism represented. We see love through Kind Nabucco’s love for his daughter Fenena, and his constant want to help and protect her. It is almost through this love that he is redeemed, and made whole again. We also see the love between Ismaele and Fenena as pure and genuine. Although this opera is not directly patriotic to Italy itself, it shows a certain sympathy and connection with the people of Jerusalem and their hardships. Abigaille betrays her ‘family’ and her people. The betrayal of close loved ones seems to be a popular theme for many Italian and German operas. The German opera can be seen in four main genres: the Baroque, the Classical, the Romantic, and the Modern. German opera first started to materialize in the seventeenth century approximately three decades after the Italians had started composing operas. German composers continuously tried to challenge the Italian dominance for the most part of the seventeenth and eighteenth century, but none were successful until Wolfgang Amadeus Mozart established the tradition of serious German opera in 1781 with the release of Idomeneo. Mozart took the genre of Singspiel and evolved it into something far more sophisticated. The Classical era emerged in the late 18th century, and at this time, a lot of German composers were still avoiding writing in their own language. This was because the courts of German states favoured Italian operas. In 1730, the Italian librettist and chief of opera seria, Metastasio, took up residence as the imperial poet in Vienna. Opera in German was forced to look  to the general public to survive because it had no aristocratic funding. This meant theatrical companies had to tour from town to town. The Singspiel became the most popular form of German opera, especially by the composer Johann Adam Hiller. The Singspiel’s were comedies intertwining spoken language with singing. They often had very simple music; Singspiele were no match for the opera serias in artistic eloquence and sophistication. Yet at the end of the 18th century Mozart changed all this, as mentioned before. Richard Wagner is one of the most controversial composers throughout history. He changed the way everyone looked at opera not only in Germany and Austria, but all throughout Europe. Wagner gradually evolved a new concept of opera: Gesamtkunstwerk (meaning â€Å"complete work of art†), binding music, poetry and painting all together. Wagner believed his career truly began with The Flying Dutchman (Der fliegende Hollander) (1843). Together with the two works which followed, Tannhauser and Lohengrin, this has been described as the â€Å"zenith of German Romantic opera† (Parker 220). The Flying Dutchman was preformed in Dresden at the Semper Oper in 1843. Both the music and libretto is by Wagner himself. This opera has three acts and is based on the legend of the Flying Dutchman who is captain of a ship condemned to sail until Judgement Day. In the first act captain Daland is on his journey home when he is forced to take refuge due to the stormy weather. He leaves the helmsman on watch and he and the sailors stop working. The helmsman falls asleep. A ghostly vessel appears and invisible hands furl the sails. A man dressed in black steps ashore. Having broken his promise, he is cursed to roam the sea forever without rest. An angel says that at the end of every seven years he will be cast upon the shore and if he can find a wife who will be true to him he will be redeemed. Daland meets him. The ghost offers him treasure, and when he hears that Daland has an unmarried daughter, he asks for her as his wife. Tempted by gold Daland consents, and both vessels set sail. In the second act Senta dreamily gazes upon the picture of the Flying Dutchman, whom she desires to save. Against the will of her nurse she sings the story of the Dutchman, and she says she will save him. Erik (who loves  her) arrives and hears her and warns her, telling her of his dream, where Daland returned with a mysterious stranger, who takes her off to sea. Daland finally arrives with the stranger, and he and Senta stand gazing at each other. Senta then swears to be truthful till death. In the last act the crew of Daland invites the men on the strange vessel to join in the festivities. The girls retire in wonder, and Daland’s men retreat in fear. Senta arrives, followed by Erik, who scolds her for her desertion, as she had loved him before and had vowed her faithfulness to him. When the stranger hears these words, he is overwhelmed with sadness, as now he is forever lost. He tells Senta of the curse and to the dismay of Daland and his crew declares that he is the ‘Flying Dutchman.’ As he begins to leave shore Senta plunges into the sea, proving her loyalty unto death. This is his salvation. The ship then disappears and Senta and the Dutchman are seen going up into heaven. One can suggest that these ideas of live and redemption, betrayal, and sacrifice can be alluded to the works of Victor Hugo, Shakespeare, and Lord Byron; specifically, Ernani (1844), Macbeth (1847), and Il Duo Foscari (1844) respectively. Orchestrally, it is scored forContextually, there are themes of redemption through love, betrayal, and sacrifice represented. There is not an overwhelming presence of family love between Senta and her father. However, we see the undying love Erik has for Senta, and the intense love Senta has for the Flying Dutchman. This love is what ultimately redeems the Flying Dutchman, and only because of this is he free. Senta ends up betraying Erik and his love for her, as she had previously already confirmed her faithfulness to him. Daland sacrifices his daughter, although he gets treasure in return, but we see how Erik has the sacrifice of letting Senta go to the Dutchman willingly. Musically, The Flying Dutchman is very different than the opera Nabucco. Wagner did not entirely abandon the traditional forms of the Italian singing-opera. For there are solos, duets, choruses, etc. just as in other operas of the time. However, he made the characters move, act, and sing in a way that suited the situation, according to the laws of ordinary  common-sense. Not yet was he entirely possessed by the leitmotiv system which later became the characteristic feature of his works, although the characteristics of the system are certainly embedded in the score. A leitmotiv is a â€Å"short theme or passage in a composition, repeated throughout the work and associated with a certain person, situation, or idea.† (Oxford Dictionary 660). In The Flying Dutchman Wagner is only evolving his way towards this essential and most principle aspect of his music. Hence the work is based half on old style, half new, overall with the balance in favour of the old. In the Overture one can only briefly note the general musical characteristics of the opera itself. There are some conventionalities in it but the score contains many passages of beauty and of vital dramatic force. The music of the First Act could not be more charmingly sea-like. No one can fail to be struck with the ghostly music which accompanies the various entries of the demon ship. The Spinning Song, one of the most popular tunes, is a lyric composition. Its dozy hum is exactly what is required to put the listener in the mood for sympathizing with Senta and her dreams. The Sailors’ Choruses are all bright and tuneful. Senta’s ballad in the second act is written in plain song form, yet is immensely dramatic in its expression. As mentioned before, The Flying Dutchman contains only small traces of the leitmotiv system. With this evidence provided it is quite clear that both Verdi and Wagner have produced two very different operas both getting inspiration from major traumatic events in history-whether it is fact or legend. Recurring themes seem to be echoed in both operas such as redemption through love, betrayal, and sacrifice. Wagner demonstrates how he is moving into his own musical style through The Flying Dutchman however originally using the more traditional forms that Verdi implements in Nabucco; suggesting that perhaps The Flying Dutchman in a way is a musical imitation of Italian opera whilst in the same way trying to develop German opera as its own independent genre which is what German composers were trying to do throughout the entire seventeenth and eighteenth century. Works Cited: 1. Balthazar, Scott Leslie. Evolving conventions in Italian serious opera: scene structure in the works of Rossini, Bellini, Donizetti and Verdi. University of Pennsylvania, 1985. 2. Gentry, Theodore L. Emblems of love and death in Italian realist opera. 1992. 4. Doerner, Mark Frederick. The influence of the â€Å"Kunstmà ¤rchen† on German romantic opera. 1990. 5. Smart, Mary Ann. Mimomania : music and gesture in nineteenth-century opera. Berkeley : University of California Press, 2004. 6.Brauner, Charles Samuel. â€Å"Vincenzo Bellini and the aesthetics of opera seria in the first third ofthe nineteenth century.† Doctor of Philosophy diss, Music History: Yale U., 1972. 7.Swales, Martin. â€Å"Schiller, Verdi, Wagner: Opera and the tragic mode in the nineteenth century† In: Vermittlungen: German studies at the turn of the century–Festschrift for Nigel B.R. Reeves Munchen: Iudicium, 1999. 8.Hall, Frederick Albert; Chapple, Gerald; Schulte, Hans. â€Å"The Romantic tradition: German literature and music in the nineteenth century† Series: McMaster colloquium on German studies no: 4. 1992. 9.Koury, Daniel. â€Å"The orchestra in the nineteenth century: physical aspects of its performance practice† PhD diss., Musicology: Boston U., 1981.

3D Printing for Educational Purposes

3D Printing for Educational Purposes 3D Printing for Educational Purposes Can’t Imagine Abstract Things? Just Print Them! 3D printing is a hot topic in education these days, and this ever-developing technology is helping students grasp abstract topics and ideas. From fine arts to math, universities everywhere are using 3D printers in the classroom – and here’s why! 3D Printing – It’s an Art! From Sculpture 101 to culinary school, 3D printers are being used more and more within the arts, and with amazing results. Architecture students can use the printers to recreate their designs, allowing them to examine how their structures will look in the real world and make immediate tweaks and changes to improve their designs. At culinary institutes, students can design new and different cupcake and loaf pans, cookie cutters, and decoration molds, ensuring that they are able to stay at the forefront of food aesthetics. Turning the Abstract into Concrete Math is full of abstract and theoretical ideas that can be challenging for students to grasp. Using 3D printers to visualize and create mathematical concepts, shapes, and curves makes it much easier for students to understand how a theorem or shape actually appears in reality. 3D printers also make it easier for professors to effectively teach these ideas, as they ensure that both audial and visual learners have an equal footing in the classroom. Engineering New Ideas Many engineers pride themselves at being at the forefront of technology and innovation, so it only makes sense to have the latest technology – such as 3D printers – in the classroom. Students can learn from this new manufacturing technology itself, as well as utilize it for their own designs and to solve engineering problems. Using a 3D printer to create prototypes can help students to actually test their engineering skills and to physically see where improvements may be needed. Students can also see how existing parts, such as the various components of a car engine, may be modified – they can then print and test these, thereby creating innovation within the engineering industry through printing! Anatomy (Past Present) in 3D The human body is one of the most complex machines on the planet, and students everywhere – be them freshman biology students or final year medical students – are learning about anatomy through the use of 3D printers. By creating 3D images and cross-sections of organs, nerve systems, and the brain, students have one of the most effective study aids on the planet! In addition to the workings of the human body, 3D printing can also help archaeology students to examine artifacts, skeletal remains, and fossils in greater detail. By printing such artifacts, students are able to physically handle what would normally be ‘hands-off’ materials from museums, exhibitions, and archaeological digs. What were once abstract concepts and 2D pictures or diagrams are suddenly brought to life in the classroom using 3D printers, helping students become better learners and critical thinkers. Whatever you’re majoring in, it’s likely that a 3D printer will be coming to your classroom soon! The advantages it gives to both students and professors make this an important tool for learning across the arts and sciences – hopefully you’ll get to try one out for yourself! Additionally, you can get a custom essay on 3D Printing topic from our essay writing company.

Implementation of SBAR Training Program Essays

Implementation of SBAR Training Program Essays Implementation of SBAR Training Program Paper Implementation of SBAR Training Program Paper The first step in implementing this project will be for the author of this evidence-based practice SBAR (situation, background, assessment, and recommendation) program to approach the Director of Nursing to get approval for the project. The author will discuss the project with Director of Nursing and present this project for approval to the administration. Once approval has been obtained one of the manager will be appointed as project director by the Director of Nursing. The manager will appoint the team that will present the project to the staff (nurses and physicians) that will attend the SBAR educational program. Brampton hospital has the multidisciplinary team consist of managers, nursing educators, and physicians for the completion of project. The appointed team would be required to complete the online educational program containing most up-to-date evidence- based information pertaining to SBAR to ensure that each member possesses current knowledge on the educational topic. The appointed team will provide the educational sessions to teach staff about the importance of SBAR and how it reduces the adverse patient outcomes. The educational sessions include role-play, DVD, demonstrations, and didactic content, and evaluation will complete for each of the session through questionnaire. The Joint Commission has a guide that all attending staff will be given a copy, called Collaborative Structured communication. This practical tool will meet the goals of SBAR educational program, and increase the effectiveness of nurse to nurse, and nurse to physician communication. The staff attending the educational session will receive the guide to take home and brochures on SBAR (Joint Commission, 2006). The author will set up the flyers to sent the information about the educational sessions, including venue, dates, class size, contact phone numbers, and program times to physician’s offices, local bulletin boards, and to all nursing departments. The advertisement will be placed in the local newspaper with the same information listing in the flyers. The SBAR educational program will develop by the author with the assistance of nursing director, and multidisciplinary team and will be presented by the multidisciplinary team appointed by the project director. Nutritious snacks, drinks, and lunch will provide by the Brampton Civic Hospital. 2. Resources Needed for Solution Implementation The multidisciplinary team consists of managers, nursing educators, and physicians are salaried employees and will prepare and provide these educational sessions during non- patient care hours and with no extra pay. The team will not only teach the SBAR tool and also provide educational sessions that provides information on communication styles, and strategies for collaborative communication. To keep the cost down, the author will present the majority of the education sessions and only one day for physicians in the series of classes. Brampton Civic Hospital is a teaching facility, has the auditorium, audio-visual equipment, supplies, educational material, and staff needed to implement SBAR tool in the handoff reporting system tool. The hospital conference room will be used for the staff meetings resulting in slight increased cost in electric bill. The evidence-based program will begin on July 1st, 2013 after the final approval from the administration. The selected multidisciplinary team has a plenty of time to revise and practice the educational presentations for presenting to the staff. 3.  Monitoring Solution Implementation Ongoing monitoring of the implementation of the SBAR educational project will be conducted and completed by the project director to include attendance records and check the availability of educational material ready for distribution to the staff. A computerized template for project participants will be checked and updated by the project director. The project strengths, weaknesses, opportunities, and possible threats (SWOT analysis) as well as the need for possible revision will analyze by the project director with the assistance of Director of Nursing. SWOT analysis will help the organization to understand what it does very well and where its shortcomings are. It will help the organization to get a new insight to overcome the shortcomings, to make good changes and provide new possibilities for future growth. After SWOTs analysis, project director will make a solid plan on the base of ongoing monitoring and will have a new idea of what have to do to continue the project success (Adams, 2005). The author will be followed the staff to make sure that they following through of what they learned, and the managers will continue to assess the effectiveness of the intervention by continuing to monitor the patient incidents reports and staff computerized reports. If the project is successful the project manager will update the program with the newest evidence-based information available. 4. Planned Change Theory Used The planned change theory used to develop the implementation of this project is the Social Cognitive Theory previously named as Social Learning Theory. The Social Cognitive Theory states â€Å"Individuals can learn by direct experiences, human dialogue and interaction, and observation† (Kritsonis, 2004-2005, p. 4). According to this theory â€Å"when implementing employee-training program, there are four phases that should be exercised and that can significantly increase the likelihood of success. They include: attentional processes, motor reproduction processes, and reinforcement processes† (Kritsonis, 2004-2005, p. 4). The change that is targeted will be given greater attention, positive incentives, rewards, and performed more often. The implementation of the proposed evidence-based practice SBAR educational program for staff will follow these four processes. The program educators will be presenting EBP new information to the staff getting their attention; Repetition of information such as role plays, demonstrations, and DVD presentation will be provided. Providing the staff the opportunity to observe and demonstrate SBAR communication tool provides the reproduction process, and seeing how changing their reporting skills with new information on SBAR communication tool through role plays, demonstrations, and DVD. This will motivate the staff to follow the new bed-side reporting communication tool changes that will be presented to them. 5. Feasibility of Implementation Plan The feasibility in implementing this plan will not be difficult to establish. Brampton Civic Hospital already provides SBAR education to newly hired staff in their units. Much of the written educational materials, DVD, and equipments are already present in the auditorium. The hardest effort will be in developing a role plays and demonstration of presenting the information to a group of participants instead of individual staff. The auditorium has the space to provide the educational class and will open the class to the public; it will provide the opportunity to staff from other hospitals to learn as well. This would be a positive public service to the staff from other hospitals, and help the Brampton Civic Hospital to help the staff as well as a good marketing tool for the facility. References Adams, J. (2005). Analyze you company using SWOTs. Supply House Times, 48(7), 26. Beckett, C. Kipnis, G. (2009). Collaborative communication integrating SBAR to improve quality/patient safety outcomes. Journal of Healthcare Quality, 31(5), 19-28. Joint Commission (2006). National patient safety goals. Retrieved from www. jointcommisssion. org/ Kritsonis, A. (2004-2005). Comparison of change theories. International Journal of Scholarly Academic Intellectual Diversity 8(1), 1-7. Polit, D. F. , Tatano Beck, C. (2012). Nursing research: Generating and assessing evidence for nursing practice (9th ed). Philadelphia, PA: Wolters Kluwer Health/Lippincott Williams Wilkins. Raica, D. A. (2009). Effect of action-oriented communication training on nurses’ communication self-efficacy. Medsurg Nursing 18(6), 343-360.

Roman Lares, Larvae, Lemures, and Manes

Roman Lares, Larvae, Lemures, and Manes The ancient Romans believed that after death their souls became spirits or shades of the dead. There is some debate about the nature of Roman shades or spirits (aka ghosts). The theologian Augustine Bishop of Hippo (A.D. 354 - 430), who died when Vandals attacked Roman Africa, wrote about the Roman shades a few centuries after most of the literary, pagan Latin references to such spirits. Horace (65-8 B.C.) Epistles 2.2.209:​nocturnos lemures portentaque Thessala rides?)Do you laugh at dreams, miracles, magical terrors,Witches, ghosts in the night, and Thessalian portents?Kline translationOvid (43 B.C.-A.D. 17/18) Fasti 5.421ff:ritus erit veteris, nocturna Lemuria, sacri:inferias tacitis manibus illa dabunt.It will be the ancient sacred rites of the Lemuria,When we make offerings to the voiceless spirits. (Note that Constantine, the first Christian emperor of Rome died in 337.) St. Augustine on the Spirits of the Dead: Lemures and Demon: [Plotinus (3rd century A.D.)] says, indeed, that the souls of men are demons, and that men become Lares if they are good, Lemures or Larvae if they are bad, and Manes if it is uncertain whether they deserve well or ill. Who does not see at a glance that this is a mere whirlpool sucking men to moral destruction? For, however wicked men have been, if they suppose they shall become Larvae or divine Manes, they will become the worse the more love they have for inflicting injury; for, as the Larvae are hurtful demons made out of wicked men, these men must suppose that after death they will be invoked with sacrifices and divine honors that they may inflict injuries. But this question we must not pursue. He also states that the blessed are called in Greek eudaimones, because they are good souls, that is to say, good demons, confirming his opinion that the souls of men are demons. From Chapter 11. City of God, by St. Augustine, Augustine says there were the following different types of spirits of the dead: Lares if good,Lemures (larvae) if evil, andManes if indeterminate. Another Interpretation of the Lemures - Haunting Spirits: Instead of being evil spirits, the lemures (larvae) may have been souls that could find no rest because, having met with a violent or premature death, they were unhappy. They wandered among the living, haunting people and driving them to madness. This corresponds with modern tales about the ghosts in haunted houses. Lemuria - Festivals to Placate the Lemures: No sane Roman wanted to be haunted, so they held ceremonies to satisfy the spirits. The lemures (larvae) were propitiated during the 9-day festival in May named Lemuria after them. At the Parentalia or Feralia on the 18th and 21st of February, living descendants shared a meal with the benevolent spirits of their ancestral (manes or di parentes). Ovid (43 B.C. – A.D. 17) on the Lemures and Manes: Almost four centuries before the Christian St. Augustine wrote about pagan beliefs in shades, the Romans were honoring their ancestors and writing about the ceremonies. At the time, there was already uncertainty about the origins of placating festivals. In Ovids Fasti 5.422, the Manes and Lemures are synonymous and both hostile, in need of exorcism via the Lemuria. Ovid incorrectly derives the Lemuria from Remuria, saying it was to placate Remus, the brother of Romulus. Larvae and Lemures: Usually considered the same, not all ancient authors considered the Larvae and Lemures identical. In the Apocolocyntosis 9.3 (about the deification of  Emperor Claudius, attributed to Seneca) and Plinys Natural History, Larvae are tormentors of the dead. Manes: The Manes (in the plural) were originally good spirits. Their name was usually placed with the word for gods, di, as in Di manes. Manes came to be used for the ghosts of individuals. The first writer to do so is Julius and Augustus Caesars contemporary Cicero (106 - 43 B.C.). Reference: Aeneas and the Demands of the Dead, by Kristina P. Nielson. The Classical Journal, Vol. 79, No. 3. (Feb. - Mar. 1984). Also see Aeneid in the Realm of Hades Odysseus in the Underworld - Nekuia Ovid Fasti 5.421ff Judgment of the Dead in the Egyptian Afterlife Lemures and Larvae, by George Thaniel The American Journal of Philology. Vol. 94, No. 2 (Summer, 1973), pp. 182-187

Critical Review Assignment Example | Topics and Well Written Essays - 1250 words

Critical Review - Assignment Example In many cases, the performance or social situation is not used though sometimes it is considered with horror. For individuals who have not attained 18 years of age, there is persistence of the disorder for six or more months before its diagnosis. This disorder must trigger clinical distress that is vital in the occupational, social, or other significant functioning areas. Social phobia is not due to abuse of substance, medication, or medical condition. The disorder also involves excessive worry, or self-consciousness on what others think of the victim (Turner et al., 2002). The victim of the disorder is always afraid of being judged, shamed, or ridiculed by others, hence absence of oneself in social situations, incidence or prevalence, nature or course of social phobia, as well as the related social and economic burden from a local and global perspective. Studies based on communities have made it clear in their reports that social phobia can be a lifetime issue. The prevalence ranges from 3% to 13%. Many individuals who suffer from the disorder fear speaking in public. A few of those suffering from the ailment also fear relating to strangers and meeting new people (Rutz, 2006). In outpatient hospitals, social phobia ranges from 10% to 20% of patients suffering from anxiety disorders. This disorder does not arise in situations of inpatient admissions. Social phobia starts in teenagers, which sometimes emerges from the history of childhood shyness, or social inhibition. Nevertheless, children experience its start in early stages of their childhood. Onset may at times follow a humiliating and stressful experience. Although other people do recover or improve from this disorder, it is always prolonged, and the course fluctuates with stressors of life. For instance, social phobia may decrease when a person with the disorder marries. Individuals suffering from social phobia may arise with issues, negative evaluation, and rejection or anti-criticism. Victims find it di fficult to be assertive, and feel inferior or lowly placed in the society. These victims possess inadequate social skills that are always anxious. The victims may also underperform at school because of participation in class or avoiding classes. People suffering from the disorder do not perform at work because of being anxious. They also fear speaking in public to colleagues and authorities. These people have few relations; hence, they do not marry (Long, 2005). In the worst instances, the victims leave school, work, hang with unfulfilling friends and totally stay away from dating or refrain from their original family. B) Psychosocial and contextual factors that increase the likelihood of admission to an acute mental health setting (Hint: Consider case examples from your clinical placements and what the research literature informs about precipitating, and maintaining factors for any given individual with the mental health issue chosen). Although psychosocial and particularly behavio ural interventions appear to be effective in the reduction of mental disorders, they do have negative effects. These include the following: they may be insufficient because their effects vary in different children, the cost is high in terms of time and resources, and there is minimal evidence on generalization, maintenance, implementing across domain and settings simultaneously to arrive at optimal effects (Fabiano & Pelham, 2002). As behavioural strategies need persistent and