History on Thomas Jefferson essays

History on Thomas Jefferson essays In the excerpts from Thomas Jeffersons Notes on the State of Virginia I get the idea that Jefferson was kind of two sided on his views of slavery in many ways. But in Jeffersons case he actually fought on the side of the slaves in the handout. He talks about how the slaves are much more hard workers then the whites. Also he talks about how they can do some of the little things in life better then the whites that they served and worked for. But toward the end of the handout it is possible to argue that Jefferson was proslavery and yet on the other hand antislavery in his views. You can argue that Jefferson was proslavery also for hinting that after the slaves were freed that they are not to be allowed to mix with the society and yet be cast far away from the reach of mixtures in the community. There needs to be a resolution in that was Thomas Jefferson actually fighting for the slaves and saying that slavery was wrong or was he just saying that to make the people of the congress happy and in secret showing that he personally didnt like them and didnt want them in the culture. In the Notes on the State of Virginia Jefferson goes on the record as saying that in his view the slaves work harder then the whites do for several reasons. One of the things he says is that They secrete more from the glands then from the kidneys, which gives them a very strong and disagreeable odor. This great degree of transpiration renders them more tolerant of heat and less so of cold, than the whites. From him saying this he is trying to say that the blacks can work harder under warmer and colder conditions since their bodies have the ability to sweat more keeps them going longer. From this we get the understanding that in the case of work that blacks are much better then the whites and in a sense that whites are inferior to the work that the blacks do. Jefferson also hints to the fact th...

More Than Just One Weird Trick Alex Mayor, Publicist

More Than Just One Weird Trick Alex Mayor, Publicist More Than Just 'One Weird Trick' - Alex Mayor, Publicist â€Å"When I raise the issue of marketing a book with a lot of authors, you sort of see the three lemons come up for them - â€Å"Why aren’t I doing that? Why didn’t I think of doing this?† - and for others they look moderately terrified!†Traditional publishers have tried to embrace the new media tech menagerie plenty of times over the last decade, at least. And yet every effort has faded away with time, lost like tears in the rain. Whether it’s book trailers or staid, conservatively hashtagged tweets from a corporate account, it feels a little like watching a toddler trying to walk: graceless, but at least sort of fascinating to watch them fall down as they learn from their mistakes.Or, if we can reach for another simile, traditional publishers trying to innovate are like 20th century passenger liners trying to slalom around icebergs - innovation requires a manoeuvrability that, in 99% of cases, is at odds with the size of the company trying to inn ovate.This is, however, another coup for indie authors. As Ben Galley explained in his interview with us, indies aren’t shackled the way traditionally published authors are. The room for experimentation is there.This is where people like Alex Mayor come in. Alex is the founder / inventor of Papercasting, a Hackney-based agency helping authors find interesting and unheard of ways to bring their books to an audience, whether that’s through audio, video, or even real-world theatrical productions. The best way to explain it is to let Alex himself talk you through it in our interview below, but you can listen to a Papercast for ‘London Bridge in America’ right here!REEDSYHow long have you guys existed for?   How did you get started? How many of you are there?ALEX MAYORAt the moment it’s me and two part-time creative guys that I work with. Because of the friends I have, I’ve ended up knowing quite a few authors. They would come to me saying †Å"The book’s finally done, it’s coming out, but I’m not sure how it’s going to do. I know what the publisher is going to do: they’re going to spring for drinks for a launch party; they might put some promotional postcards together but they probably won’t; and then, after they’ve sent out the review copies, if nothing happens in that first month that’s kind of it.†So what I’ve been doing so far is basically helping out friends. Now I’m trying to move beyond the friendship circles. The idea has been to find authors who are prepared to do something a bit more interesting in terms of how they promote themselves.I’ve also had some support from the Arts Council, who were very interested in the idea. They see that creatives within what we might call ‘the literary world’ writ large suffer to a large degree from being not necessarily the most internet-savvy, the most marketing-savvy - writing by i ts nature is a solipsistic undertaking. Also, traditional publishing, assailed as it is by modernity, is spending less on promo simply because of the sheer number of places they’re trying to reach.Last year we did a few examples of work. Now we’re trying to ramp it up, to find authors with some sort of social footprint, and create pieces of digital work that will help promote them. An author phoned me up last week: â€Å"I’ve suddenly thought this is perfect radio material. This story is quite Carver-esque, it would work really well. Can we make a ten-minute version of this as a radio play?† And I said â€Å"Of course we can, I can find the actors, we can do it all fairly cheaply,† and the author can then use that as a calling card to media organisations, put it online for streaming, and use it to build interest in the books.I’m getting a lot of interest from a certain kind of author - authors who think â€Å"I’ve made something, and I want people to pay interest in it and engage with what I’m doing,† rather than just seeing it as â€Å"A book has been printed with my words in it, my work here is done.† When I raise the issue with a lot of authors, you sort of see the three lemons come up for them - â€Å"Why aren’t I doing that? Why didn’t I think of doing this?† - and for others they look moderately terrified!My background is in media, in publishing; I’ve written music for television, I’ve produced records†¦ I view everything as just ‘stuff.’ It’s stuff that has an audience, somehow, and I’m fairly open-minded about how you reach the audience. In book-publishing, traditionally you have the agent, the publisher who’s kept at one remove†¦ everyone is in their own box. There isn’t a lot of moving around, and publishers don’t tend to want to upset that situation too much. But authors may well know thei r audience *better* than a big corporate publisher. It’s just a fact that if an author is good at writing books about Norwegian circus acts of the 18th century, it may be that they know the most important people who will help sell that book.REEDSYSo what is paper casting? Is it a verb, a noun†¦?ALEX MAYORIt’s both! I wanted a word that would help authors understand the idea that they could be broadcasting. What is being on Twitter but a form of broadcasting? Making a radio play, putting a video together, they’re all kinds of broadcasting. I believe when you’ve got a book you’ve created something that can be expressed in a multitude of ways. You’ve already done the hard bit in finding a way to bring that idea off the page in a way that gets people excited. But because authors are traditionally left out of the equation by publishers, they haven’t been too entrepreneurial in that regard.It’s a business and an experiment. Iâ⠂¬â„¢m trying to find out if there are enough authors who want to do this. I think it’s going to be younger authors probably, or authors who are very good on social media, but within five to ten years there will be an entire generation of writers who have always had a Facebook account, who have always shared their top-of-the-mind thoughts on some network tool or another. This model is waiting to happen, even if it hasn’t yet happened.REEDSYI remember a few years ago this craze for book trailers†¦ALEX MAYORYes! And they were all awful! They were all mind-bogglingly bad. I’ve trawled through loads of these. I noticed that, once YouTube was a fairly embedded prospect in people’s minds, you’d hear people asking â€Å"Do we do video?† This idea that ‘doing some video’ would add value to something, that if you didn’t have an active YouTube account you weren’t really a player.That thinking was evident in pretty much every book trailer I’ve ever seen, particularly ones paid for by publishing companies - where they’ve done a Ken Burns slow-pan over the front cover, they’ve brought a rent-a-quote up, there’s a piece of out-of-copyright classical music playing in the background, it’s two minutes long, and nobody will ever look at it. They’ve not been terribly interesting by and large. That, or - fair enough - a film of the author reading a bit of it, which is at least a step in the right direction.I think it’s been something publishers did badly, and to some degree consider an experiment they don’t really want to repeat. The question is still outstanding because the way we consume literature is changing under our feet all the time. It’s not changing totally, and there’ll be an element of the market, like vinyl, that will always buy the physical book. But how we consume what we call books is changing all the time. Technology compa nies are the ones charging forward and providing those experiences, not publishers.REEDSYIt feels like that even amongst the best of those efforts, there’s rarely much of a tie to the book being promoted. Even my favourite example of a book trailer, while a great little clip, doesn’t connect directly to the book in question.ALEX MAYORI think when you mentioned that 2011/2012 moment, the concomitant line of thinking in marketing departments across the land was â€Å"Can we do something viral?† as if they’d discovered the idea of disease for the first time and were embracing it wholeheartedly. I think the danger of some of those things is that they can be cool, but you see so much cool stuff every day I think there’s a burnout you get to.My feeling is there is, particularly in non-fiction publishing, an enormous number of perfectly good books where it will always be a tricky prospect for a publishing house to find a lot of marketing muscle and budget to push it. Unless your name is Malcolm Gladwell, how many of these are you going to shift? There are all these books that are perfectly interesting, but they’re not as immediate. They’re not things that it would be so easy to make a viral or funny trailer for, but they’ve got something in them that will make you stop in your tracks. And I think the process is find the core of the book - the elevator pitch, the one surprising thing that you’d hear from the author at a cocktail party and repeat to your friends.Say you had an Oliver Sacks neuro-psychological ramble with interesting case-studies. OK, so you get two actors in, find some dialogue that’s interesting, maybe make a two minute radio play out of it, and at the end you’ve got your buy-link - you’ve tee’d up the experience of the book. Where those trailers went wrong is that there were a) uninteresting, and b) they weren’t thinking about the content of the book. Th ey were thinking about the object: â€Å"Here is a book.† Well, yeah, we get it, here’s a book. There are lots of books. Why do we want to read it?I’m still trying to find more authors who have a little bit more of a social footprint who are prepared to be more Gonzo with me. As a premise, I think it’s not expensive to make this kind of media - it’s just about having the willpower to do it.REEDSYIt seems like what you’re doing requires more than just money thrown at it - it also needs creativity, an idea.ALEX MAYORMy ambition for 2015 is to find more of these authors and ramp it up to the point where what we have is a form of entertainment in its own right. If you could image a channel of this stuff, and you were flipping through it, these would be interesting ways of hearing about interesting new books. Maybe some people would listen to them and get whatever they get out of it, but there would be people who click through and buy the book. I t’s a case of taking what’s already a very well considered piece of media, a book manuscript, and creating something slightly smaller in a different format out of the book for not a lot of money. It’s not difficult stuff to do. For me it’s about editorial and production, and finding that killer idea that’s at the heart of the thing. There will be something - you can’t write a book and have no point.REEDSYHow do you produce one of these things? How does your agency work?ALEX MAYORWe have a little studio in Hackney - BBC quality microphones and all of that jazz. Mostly what will happen is I’ll sit down with the author and get them to pitch the book back to me. I’ll obviously go read the manuscript. I’ll come back with suggestions of ways we could bring it off the page. The author has to feel comfortable with what we’re envisioning. It may be that they’re going to be reading, or that they’re not going t o be reading and someone else will be found†¦ It’s very tailored to the person. At its core it’s about understanding the central strengths of the book.People have been asking â€Å"Oh, so we’d be making a video?† I always say â€Å"We might be, but we might not be.† Video is hard to do without a degree of cost because to do justice to the written word in film is notoriously hard. It’s very hard to do without immediately becoming boring, in my opinion. I think audio is a better choice, by and large, because you can maintain the reader’s own interactivity - that way they’re assembling the words in their head and seeing whatever world you’re bringing them into.In terms of capturing what it is that’s interesting you have to be media-neutral at the outset, and also be somewhat sensitive to the person’s own personality and what they’ll feel comfortable with, and also budget - radio’s the cheape st, video is hard to make†¦REEDSYHow do you get the material in front of people?ALEX MAYORAt the moment I’m just using Soundcloud. It’s more about the social footprint of the author, their agent, and any publicity people they have on side. This is simultaneously the massive potential upside and the massive potential downside. Good use of social media is thin on the ground - most people struggle with it. Authors are either total oversharers, or haven’t done much of it before. The model definitely requires that you have a fairly active social media following. It all lives and dies at that point.One author has just engaged me to do this for him. Initially I said â€Å"It will only work if you’re calm about it.† So I’ve been trying to build a voice for him on Twitter. I’ve set writing challenges like â€Å"How about sharing all the titles of things you’ve never written?† Trying to get the author to think of it as a writ ing challenge, not a self-promotion challenge.There was a famous observation by Momus the electronic singer - â€Å"In the internet age everyone is famous for fifteen people.† I’ve always thought that hangs over lots of technology. You could potentially do billions of things and reach zillions of people, but the core of it is still the slogging, and it kind of always was. You’ve just got to keep beavering away at getting a footprint with people and building a personality with people.REEDSYThanks for your time Alex.

Art of Benin Essay Example | Topics and Well Written Essays - 1250 words

Art of Benin - Essay Example This was also accompanied by increased interest in African people and their cultures. Africans were therefore described as savages and as people who openly practiced witchcraft. For instance, ‘The Golgotha, Benin’ is a portrait produce in the London News paper that describe Benin as a cannibalistic place with brutal practices. Prior to the emergence of the British, they were backward and less civilized. However, things changed once the British brought sanity to the place. The Benin great arts like the bronze sculptures brought forth a debate on the notion of inferiority of the African race. Experts formulated theories and explanations to downplay their doubters. For instance, Justus Brinekmann argued that the beautiful sculptures were as a result of interaction between Benin and ancient civilizations like the Egyptians or the Portuguese (pg.52). Henry Ling Roth who once insinuated that the bronze artifacts had European influence retracted his statements and conceded that the artifacts predated back before the Portuguese arrival. Failure to prove African inferiority, experts in British museums had to come up with reasonable explanations in order to maintain scientific superiority over other Europeans nations especially Germany. Ethnographic experts argued that indeed the artifacts were African; however, they dated them to coincide with the arrival of the Portuguese into their land. The evidence they brought forth was the absence of skilled artisans at the time. Therefore, after the Portuguese had gone, Africans re-evolved back to savages and degenerates. The concept of African inferiority art was further instilled into the global art form by the avant-garde artisans who were very popular in the early 1900s. They affirmed what the Europeans believed/or thought to be true of a simple and timeless art, that was free from ‘civilizing decorum’ (pg. 63). Ironically, these avant-garde artisans derived their inspirations from the same art

Macroeconomy of Poland Research Paper Example | Topics and Well Written Essays - 1000 words

Macroeconomy of Poland - Research Paper Example his country has established stable trade relations with the rest of the world, where it cooperates with other countries such as China, Japan, and Canada who are its major trade partners. This country provides Canada with the second largest market in central and eastern Europe, where in 2005, Canada exported a total of $266.7 million worth of goods to Poland and in turn imported goods worth 532.6 million (Krugman, 34). These countries and other European countries have established many investments in Poland, in the sectors of transportation, technology, and security. However, there are various challenges that face this country, regarding its economy. Among those challenges is the aligning of the countries fiscal and monetary policies, towards adopting the euro. Another challenge facing the country is its labor force, where the country has a high rate of unemployment and low labor participation in the economic growth (Batara, 25). The country also suffers from a poor business environmen t, where the economy is dominated by major public sector investments, whose failure to privatize has hindered the favorable local and foreign investments into the country. Paramount of these challenges is the poor infrastructure for the agricultural sector, which this country possesses. The sector lacks ample investment, has surplus of labor and has a shortage of small firm’s investment (Schwab, 60). The banking system in Poland is large, ranked as the biggest in east and central Europe (Batara, 28). The sector is highly developed, an aspect that has been contributed by the privatization of some banks by the government in the period 1992-1997. During this period, the government also restructured other banks and added more capital and infrastructure to them while at the same time putting...This paper aims to present a comprehensive modern overview of the economy of Poland, in order to determine macroeconomic tendencies in the country and to outline its economic perspectives. Until the 1990s, the economy of this country was centralized. However, from then on, the government has been trying to decentralize this and adopt a free market system of economy, which has served to steer the economic growth of this country to the present state. This notwithstanding, there are many other sectors of the economy which have remained resistant to change, which is desirable for a free market economy The industrial base of this country is centralized around petrochemicals, machinery, fertilizers, electronics, car manufacture, and shipbuilding. This country established stable trade relations with the rest of the world, where it cooperates with other countries such as China, Japan, and Canada who are its major trade partners. The banking system in Poland is large, ranked as the biggest in east and central Europe. The sector is highly developed, an aspect that has been contributed by the privatization of some banks. The government also restructured other banks and added more capital and infrastructure to them while at the same time putting in place policy reforms that greatly supported this sector. The future of the economy of Poland is promising. The county is constantly establishing vital political and economic relations with other countries to enhance its trade and investments, serving to spur the economic growth even further

Distraction Plate Fixation Post-Procedure Essay Example for Free

Distraction Plate Fixation Post-Procedure Essay Type III compression injuries o Require operative treatment if ? Intraarticular damage is significant ? Radial shortening is severe o Fixation with multiple Kirschner wires or plates is often necessary, and cancellous bone grafting is frequently required to fill impacted areas. Often a combination of open and closed techniques is necessary to satisfactorily treat type III fractures. Type IV avulsion fractures o Are usually associated with radiocarpal fracture-dislocations and are therefore unstable o Often the avulsed fracture fragments are so small that they can be repaired only with suture. o Secure reduction of the carpus to the distal radius can frequently be achieved only with Kirschner wires. Type V high-velocity fractures o Always unstable, frequently open, and difficult to treat o A combination of percutaneous pinning and external fixation is often necessary. Many of these fractures are so severely comminuted that open reduction is impossible. †¢ CONTRAINDICATIONS Severe medical comorbidities that prevent surgery EQUIPMENT †¢ †¢ †¢ Hand tray and hand table Small fragment and mini fragment set Technique-specific tray, as required ANATOMY †¢ The distal radius and ulna may be divided into three distinct columns. o The lateral and medial columns correspond to the scaphoid facet and lunate facets, respectively, of the distal radius. o The medial column is further divided into dorsomedial and volar medial parts. The ulnar column consists of the ulnar styloid and triangular fibrocartilage complex. ? ? Tears of the triangular fibrocartilage occur when the medial column of the distal radius, ulnar styloid, or both are intact. Distal radioulnar joint instability is associated with significant displacement of the ulnar styloid. TECHNIQUES †¢ †¢ †¢ Post-Procedure: Distraction Plate Fixation Post-Procedure: Volar Buttress Plate Fixation (Ellis) Post-Procedure: Volar Plating of Intraarticular Compression Injuries (Medoff) Post-Procedure: Distraction Plate Fixation POST-PROCEDURE CARE †¢ †¢ †¢ †¢ †¢ Immediately begin finger and other joint upper extremity exercises. If a splint was applied, it should be removed at 3 weeks. Percutaneous Kirschner wires should be removed at 6 weeks. Activities of daily living are allowed, but lifting should be restricted to 5 lb. Once union is achieved, remove the distraction plate and begin range-of-motion exercises. COMPLICATIONS †¢ †¢ †¢ †¢ †¢ Median nerve injury Reflex sympathetic dystrophy Malunion, nonunion Tendon rupture Infection ANALYSIS OF RESULTS Studies have demonstrated a high percentage of good to excellent outcomes for distraction plate fixation. OUTCOMES AND EVIDENCE Ruch et al reported good to excellent outcomes in 90% of 22 patients using this technique. Procedure: Distraction Plate Fixation Post-Procedure: Volar Buttress Plate Fixation (Ellis) POST-PROCEDURE CARE †¢ Immobilize the wrist and forearm with a plaster sugar tong splint for 2 weeks. †¢ †¢ Next, use a removable ball-peen splint, permitting gentle active exercises two or three times a day for the next 2 weeks. All immobilization is removed at 4 weeks and progressive motion continued until union is solid. COMPLICATIONS †¢ †¢ †¢ †¢ †¢ Median nerve injury Reflex sympathetic dystrophy Malunion, nonunion Tendon rupture Infection ANALYSIS OF RESULTS The use of buttress plating for the treatment of distal radius fractures have proven to yield excellent results when surgical intervention occurs early and care is used to obtain anatomic reduction of the fracture. OUTCOMES AND EVIDENCE †¢ †¢ Smith et al: 100% union rate with 71% excellent, 18% good, and 11% fair results. Odumala et al: No difference in development of median nerve symptoms in patients treated with prophylactic carpal tunnel decompression compared with those without decompression. Procedure: Volar Buttress Plate Fixation (Ellis) Post-Procedure: Volar Plating of Intraarticular Compression Injuries (Medoff) POST-PROCEDURE CARE †¢ †¢ †¢ †¢ Keep the extremity elevated at all times until postoperative swelling subsides. Beginning on the first postoperative day, remove the splint 2 to 3 times a day for rangeof- motion exercises. Allow clerical work at 2 weeks. Resistive loading is allowed when signs of radiographic union appear. COMPLICATIONS †¢ †¢ †¢ †¢ †¢ Median nerve injury Reflex sympathetic dystrophy Malunion, nonunion Tendon rupture Infection ANALYSIS OF RESULTS Studies have demonstrated a high percentage of good to excellent outcomes for the Medoff system. OUTCOMES AND EVIDENCE Medoff reported 20 good to excellent results in 21 patients with intraarticular comminuted distal radial fractures treated with the TriMed Wrist Fixation System (TriMed, Valencia, Calif. ). Procedure: Volar Plating of Intraarticular Compression Injuries (Medoff) PRE-OPERATIVE AND POST OPERATIVE CARE Care of Pre-operative Patient Nursing Diagnosis Knowledge deficit R/T pre-op care. Expected Outcome Patient/parent will verbalize understanding of pre- post-op care. Nursing Intervention 1. Implement pre- post-op teaching program. 2. Document response. 1. Remove nail polish, make-up. 2. Bathe and shampoo the night before surgery. 3. Betadine scrub to surgical area. 4. Dress in hospital clothing after scrub. 1. NPO as ordered. 2. Sign at bedside; NPO sticker on patient. Potential aspiration R/T general No aspiration. anesthesia. 3. Re-emphasize importance of NPO to patient and parent; empty water pitcher and glass from bedside; check crib for bottles. 1. Explain procedures. 2. Provide time for patient/parent to ask questions, express fears or concerns. . Offer reassurance. Potential alteration of vital functions R/T surgery. Normal parameters for patients vital signs established. 1. Obtain baseline assessment of all systems ; N/V status within 8 hours pre-op. Potential infection R/T surgical procedure. Infection free post-op. Potential anxiety R/T surgery. Decreased anxiety. 2. Assess V. S. within 2 hours pre-op. Care of Post-operative Patient Nu rsing Diagnosis Knowledge deficit R/T post-operative care. Expected Outcome Patient and family will verbalize and demonstrate understanding of postoperative care. Patient and family will cope effectively with surgical postoperative process. Nursing Intervention 1. Implement post-operative teaching program. 2. Document response. 1. Explain procedures. 2. Provide time for questions, expression of concerns and fears. 3. Offer reassurance. Potential anxiety R/T surgery, post-operative care. Potential respiratory Patient will not experience compromise R/T general respiratory compromise. anesthesia. 1. Assess breath sounds-HR/RR at least q shift. 2. Turn, cough and deep breathe q2 hrs. 3. Record vital signs. Patient will Alteration in comfort R/T verbalize/demonstrate relief surgery. rom pain. Potential neurovascular Patient will not experience compromise R/T surgical neurovascular compromise procedure. . 1. Assess for pain and medicate per protocol. 2. Reposition for comfort as ordered/prn. 1. Assess surgical site or affected extremity for color, capillary refill, sensation, temperature, pulses and active/passive ROM as ordered. 2. Document neurova scular status as ordered. 3. Report any neurovascular compromise to M. D. 4. Position extremity with elevation if ordered. 5. Apply ice or heat as ordered. Potential alteration in level of consciousness R/T anesthesia. Patient will exhibit appropriate LOC. 1. Assess LOC q shift. 1. Monitor I/O q hour with IV or foley. 2. Begin ice chips or clear liquids slowly as ordered. 3. Maintain IV fluids as ordered. 4. Call M. D. for catheter order if unable to void after surgery. 5. Assess GU status q shift. Potential alteration in bowel elimination R/T Patient will have BM by postanesthesia and postoperative day #4. operative immobilization Potential alteration in skin integrity R/T immobility. Patient will not experience skin breakdown. 1. Mobilize as ordered. 2. Administer laxative of choice or suppository for no BM after 3 days. . Assess GI status q shift. 1. Assess skin q shift. 2. Provide daily nursing care. Potential alteration in fluid balance R/T surgery. Patient will have adequate fluid intake and urine output. Medical Diagnoses: Impaired Physical Mobility, Acute pain, secondary to fractured left femur, ORIF surgery, Musculosketeal impairment Assessme Nursing Client Nursing *I Evaluation nt DX/Clin ical Goals/Desired Interventions/Actions/ Goals Interventio Problem Outcomes/Object Orders and Rationale ns ives Subjectiv Problem: Long Term: * Apply any ordered X Goal met. Continue e brace before Pt was intervention Impaired Pt will be able to mobilizing the client. able to s as listed. Pt Physical ambulate around ambulate Encourage screams Mobility the nurses’ Rationale: around pt to when station 2X by â€Å"Brace support and the continue the staff discharge. stablilize a body part, nurses’ use of attempts allowing increased station by braces and to move mobility. † (Ackley ; discharge. assistive the left Ladwig, 2008, p 552). Pt was devices lower able to after extremity *Increase complete discharge Pt demonstr ates difficulty with any movemen t of the left lower extremity . independence in ADLs Rationale: â€Å"Providing unnecessary assistance with transfers and activities may promote dependence and a loss of mobility. † (Ackley ; Ladwig, 2008, p 552). *Obtain any assistive devices needed for activity. Rationale: â€Å"Assistive devices can help increase mobility. † (Ackley ; Ladwig, 2008, p 552). R/T: Short Term: O bjective Pt states that his pain level is a 9 on a 10 point pain rating scale. is activity until he more than feels twice. Pt comfortable did not c/o. complain Encourage of any the pt to pain or continue his discomfort independen upon ce in ADLs ambulatio and c/o n. unnecessary assistance. Pt states â€Å"I feel like I’m finally getting back to my old self. † X Goal met. Pt able to fully complete passive range of motion exercises with assistance from the staff by the end of this shift. Pt did not complain of any pain associated with exercise session. Continue intervention s as listed. Continue to assess pain using the 10 point pain scale q4 hrs or PRN. Continue to provide pain control and treat as needed. *Assess the pt’s pain Acute Pt will perform by using the 10 point pain, passive range of pain rating scale q4 hrs secondary motion exercises or PRN. to by the end of this fractured shift. Rationale: left femur â€Å"Single- item ratings of Pt pain intensity are valid grimaces ORIF and reliable as during surgery measures of pain any kind intensity. of motion Anxiety or â€Å"The client’s report of movemen Musculosk pain is the single most t of his eteal reliable indicator of left lower impairmen pain. † extremity t (Ackley ; Ladwig, 2008, p. 604-605). AEB Pt’s ORIF *Before activity, treat Grimacing surgery pain. during movement Rationale: or activity â€Å"Pain limits mobility and is often Pt complaints about pain and discomfort Pt pain rating of 9 out of 10. Surgery that is 2 days postop exacerbated by movement. † (Ackley ; Ladwig, 2008, p 552).

The Role of Nature Essay -- Nature Poetry Poet natural Essays

The Role of Nature Introduction Considering the history of literature, the conception of Nature seems to be a quite complex question. 'Nature' is not a concept that can be grasped easily and it often requires discussing some great philosophical conceptions like 'Pantheism' or 'Deism'. However, my paper will not deal in detail with such vast enquiries. I rather want to focus more accurately on how 'Nature' is used by Pope and Coleridge, respectively. With other words, I would like to analyse the function of the concept of 'Nature'. The fact is, that even if these poets do not exhaustively characterise ‘Nature’ itself, they employ it in a lot of different analogies and metaphors to articulate and embody for example ideas about 'morality' (Pope) or the intimate 'self' (Coleridge). My argument would be to show that in both cases, nature has a sort of epistemological function. The apprehension of nature, its perception or its examination leads to knowledge of something that is not directly obvious; one can name it God or the divine. Thus, to mention of nature is a kind of disclosure that guides us to be aware of some reality that is meta-physical. As a matter of fact, the ways Nature is described by Pope and by Coleridge are very different: Pope uses a sort of analogical technique, whereas Coleridge exploits the more suggestive power of metaphors. That point shows that, even though Nature has the same overall function, that is reveal something that is beyond the mere material world, the way it can and should be perceived is not the same. I would like to argue that Coleridge considers a sort of intuitive faculty, whereas Pope thinks that a reasonable examination of Nature unveils the divine order of the universe. The present analysis will spotlight Pope’s Essay On Man and Coleridge’s Rime of an Ancient Mariner. First, I want to show that Coleridge and Pope advocate a pantheistic and a deistic conception of Nature, respectively. This should be the general framework through which I will try to show some other differences. Then, in a second time, the use of a concept like â€Å"reason† will be analysed in regard to Pope’s Essay on Man. This step shows that even if Pope is a writer of the Enlightenment, the Age of Reason, he deeply condemns the arrogance that results of a pretentious use of reason. In fact, reason should therefore be seen as an important but... ...enis. S.T. Coleridge. Poà ¨me de l’expà ©rience vive. Grenoble: Ellug, 1992. Boulger, James D. ed. Twentieth Century Interpretations of The Rime of the Ancient Mariner. Englewood Cliffs: Prenctice-Hall, 1969. Crawford, Walter B. ed. Reading Coleridge. Approaches And Applications. Ithaca: Cornell University Press, 1979. Cutting-Gray, Joanne, SwearigenN, James E., â€Å"System, the Divided Mind, and the Essay on Man.† Studies in English Literature, 1500-1900, Vol. 32, No. 3, Restoration and Eighteenth Century. (Summer, 1992), p. 481. Fairer, David. The Poetry of Alexander Pope. London: Penguin Books, 1989. Fraser, George S. Alexander Pope. London: Routledge, 1978. Hill, John S. ed. A Coleridge Companion, London: Macmillan Press, 1983. Laird, John, â€Å"Pope’s Essay on Man.† The Review of English Studies, Vol. 20, No. 80. (Oct., 1944), p. 290. McFarland, Thomas. Coleridge and The Pantheist Tradition. Oxford: Clarendon Press, 1969. Nuttall, A. D. Pope’s ‘Essay on Man’. London: George Allen & Unwin, 1984. Tillotson, Geoffrey. Pope And Human Nature. Oxford: Clarendon Press. Woodring, Carl. "Nature and Art in the Nineteenth Century." PMLA 92, no. 2 (1977): p. 193.

Need for speed Essay

The desire to innovate and to improve is one of the most precious human feelings because it is this very same desire that has paved the road to progress in society. At the outset, the first trains were useful but not efficient enough that people could ride on them: only goods and commodities could be transported. One of the reasons why is because safety and comfort weren’t a top priority for the railroad owner; he or she just wanted to maximize his or her profit. Then, James Watt and his steam engine came about and rocked the world into the Industrial Revolution, a time when railroads were constantly being built all over Europe. Cities grew, economies boomed and busted, and economies and cultures became intertwined so that a small business man who lives in Lille, France or Barcelona, Spain had to travel to Ukraine or Italy for a business deal as quickly as possible (as quickly as possible since now, as opposed to the relaxed and laid back past, time is money). So engineers were needed to devise a train that could travel at very fast speeds while keeping energy consumption as low as possible. The Japanese started the race for faster high speed trains with their â€Å"bullet trains†, the French countered with the TGV, and many other companies came out with their own high speed trains: Acela, Eurostar, and the Shinkansen, among others [3]. The increase in competition benefitted the consumer, the individual needing to get across the continent because now he or she had a choice between different trains, each known for a specific accommodation. For example, TGV was an electric train so the energy consumption of the trains is very low. However, it is little noisier than other lines so the trade off is subjective to the person’s taste. Eventually, all the train lines would try to balance energy consumption, safety, speed, and comfort in order to provide the smoothest trip they could possibly offer. [4] In essence, aerodynamics is the interaction of air on an object [7]. In the case of high speed trains, the aerodynamics of the train depends on many factors: â€Å"aerodynamic drag, pressure variations inside train, train-induced i ¬ow, cross-wind effects, ground effects, pressure waves inside tunnel, impulse waves at the exit of tunnel, noise and vibration†. [8] Ultimately, finding solutions to these problems will result in a faster and smoother train ride, so it becomes imperative to identify the factors that affect each of these so one can manipulate them, if possible, to one’s needs. However, having so many factors that affect the aerodynamics of a train, one can truly begin to see how complex this problem is for engineers since every change made to the train or the tracks could cost the companies owning them a huge amount of money for even the smallest of changes. Specifically, the invention of the high speed train has revolutionized long distance ground transportation since it has provided people with a much faster way to travel, sometimes cutting a seven hour long trip to three hours! However, to reduce such a trip so significantly, the path from city to city (in this place Boston to Washington D. C. ) must be as direct as possible [2]. This means that in some cases a tunnel must be built through a mountain to allow for a high speed train to pass through the mountain and get to its destination as quickly as possible. In terms of high speed trains, there are many different types, each with its advantages and disadvantages. For example, the world renown TGV It has huge advantage in that it can use the same railroad lines as local trains so the cost of making railroad tracks is reduced. However, one of the disadvantages is that using these same train tracks, just the mere fact that the TGV uses the same tracks as local trains means that the TGV limits the size and specifications of local trains because the wake of the TGV causes a wind tunnel that affects the trains behind it. [1] [2] In terms of what the future has in store, trains haven’t even started to reach their limit. From regular train to the high speed train, the speed was increased. The TGV is an obvious example of this transition given that it broke the record for the fasted train, maxing out at 357 mph. The next step is along the lines of the Japanese Maglev; taking friction out of the equation, the Maglev has the ability to greatly reduce the drag and the vibration in the train, thus making the train that much faster. In the foreseeable future, there is a concept that would take the Maglev above and beyond its achievements so far: an â€Å"evacuated tube† is a massive vacuum in a tube stretching for miles and miles. Interestingly, if this method is designed and works, it may potentially reap the benefits since the beginning. This occurs because air drag takes such a significant amount of energy out of the system (the system being defined as the train) that minimizing it to a negligible level could immediately save millions upon millions of dollars [8] [9]. On the other hand, there are changes that have been made to the train itself rather than to the environment surrounding it. The Japanese Hayabusa’s nose is angled and sleek so it can eliminate tunnel boom, the sound of a train leaving a tunnel. Tunnel boom is caused by a fast train pressurizing the air in front of it as it goes through a tunnel until it comes out of the tunnel with the pressurized air and makes a very loud sound. Trains in the past had a smaller tunnel boom that occurred right before the train left the tunnel (the sound of a train coming from inside a tunnel); however, now that the trains are that much faster, they catch up to the pressurized air and come out together, creating constructive interference, to make a bigger sound [5]. Furthermore, the French Alstrom developed an upgraded TGV called the AGV. What was interesting about how the French upgraded the TGV is that they took the power system of the TGV and completely transformed it; now it has the capacity of generating higher speeds at a fraction of the original TGV energy consumption. Don’t forget that the TGV was designed as an electric train, so to have a power system that can do more with less energy is a huge advancement! [5] In conclusion, the fact remains that the fast paced society of today has geared people to want to do everything more quickly. Following this train of thought, it makes sense that high speed trains are the future in transportation. Throughout history, people have shown a want, a need for speed. Works Cited [1] Fox News. Associated Press. http://www. foxnews. com/story/0,2933,263542,00.html (accessed July 15th, 2012) [2] Plumer, Brad. The Washington Post. http://www. washingtonpost. com/blogs/ezra-klein/wp/2012/07/16/amtraks-151-billion-high-speed-rail-plan-are-there-cheaper-options/ (accessed July 15th, 2012) [3] European Railway Server. TGVweb. http://www. trainweb. org/tgvpages/history. html(accessed July 17th, 2012) [4] http://www. buzzle. com/articles/advantages-and-disadvantages-of-maglev-trains. html [5] Railway-Technology. com. On Track. http://www. railway-technology. com/features/feature117829/(accessed July 15th, 2012). [6] James, Randy. Time U. S. http://www. time. com/time/nation/article/0,8599,1892463,00. html (accessed July 16th, 2012) [7] Bopp, Rudolf; Hagenah, Bernd. Gruner. http://www. gruner-gmbh. at/aktuelles_gmbh_at/pdf_pool/D_HAB_Porto. pdf [8] Raghunathan, Raghu S. ; Setoguchi, T. Progress in Aerospace Sciences. Aerodynamics of high-speed railway train http://ompldr. org/vMXlsOA/Aerodynamics_HSR02. pdf [9] Hoffman, Carl. Popsci: Trans-Atlantic Maglev. http://www. popsci. com/scitech/article/2004-04/trans-atlantic-maglev.