A Research Study On Interprofessional Collaboration Plays...

Interprofessional collaboration plays a major role in the health care system, especially when the patient’s recovery requires the attention of a variety of health professionals. The ability for professionals of different medical disciplines to work together is essential for the patient to receive the highest quality of care. S. Nelson, the patient involved in Case Study C, is the victim of a terrible car accident that leads to her being transported by helicopter to the nearest trauma center for immediate surgery. At the hospital, she is treated for multiple fractures, primarily on the left side of her body, and severe head trauma. As S. Nelson’s condition becomes stable, doctors of different health professions meet and discuss the plan of care that S. Nelson will need on her road to recovery. My job within S. 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All rights reserved. The Future of Nursing: Leading Change, Advancing Health http://www.nap.edu/catalog/12956.html THE NATIONAL ACADEMIES PRESS 500 Fifth Street, N.W. 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The Human Brain, By Rita Levi Montalcini - 1118 Words

According Italian Scientist, Rita Levi-Montalcini, â€Å"It is imperfection - not perfection - that is the end result of the program written into that formidably complex engine that is the human brain, and of the influences exerted upon us by the environment and whoever takes care of us during the long years of our physical, psychological and intellectual development† (Montalcini). The human brain is an enigmatic marvel that is constantly being researched and explored to new depths. I have chosen Chapter Seven: Cognition, Language, and Intelligence because I was quite intrigued about the different mental processes and cognitive functions such as perception, attention, memory, and reasoning. Our everyday lives revolves around cognition, mental actions or process of acquiring knowledge and understanding through thought, experience, and the senses (259). Jill Bolte Taylor, an accomplished neuroanatomist, experienced a traumatic stroke which caused certain function errors in her b rain such as the ability to process sensory information, tap into memories, and use language. The most tragic part was that she was unable to recognize who or what â€Å"G.G†, her mother was. She temporarily did not understand the major significance or what the concept of what a mother was. Dr. Taylor had to be retaught the different formal, natural concepts and mental, auditory imagery all over again. If I was to lose my ability to recognize my mother, I would be completely devastated because I heavily rely on

Eating Christmas in the Kalahari Example For Students

Eating Christmas in the Kalahari Eating Christmas in the Kalahari Abstraction Richard Borshay Lee was a societal anthropologist that had lived with and studied the southern Tswana folk. In â€Å"Eating Christmas in the Kalahari† Richard Borshay Lee introduces us to some really utile techniques in societal scientific discipline. What he decided to make was take portion in an ox Christmas celebration. Mr. Lee felt he had to give a gift because the tribal community thought he was a miser, this was due to the fact the Mr. Lee had been at that place for rather some clip and neer shared his nutrient. Being Christmas and both sides believing in this religious vacation, he felt obligated to portion. Ultimately, his beliefs does non co-occur with the! Kung people and we witness the power of socialising agents. Even though Mr. Lee had lived with and was engaged in every portion of the! Kung people’s lives, he was still an foreigner and foreigner to the society. It seems after Mr. Lee decided to go to the ox Christmas festival, he felt it would be a nice gesture to purchase an ox to eat at the jubilation. Among the! Kungs, the slaughtering of an ox is a usage. After taking the ox to convey to the festival, the Bushmen started kicking and naming the ox old and scraggy. To Mr. Lee, the ox looked large, fat and perfect for the Christmas jubilation and the reaction of the! Kung Bushmen people leave him really insulted. His feelings and how he perceived the Bushmen’s reaction was probably founded on his ain civilization, where people are supposed to appreciate other people’s generousness no affair the result. But to the Bushmen, giving an ox was no more than what they normally do every twenty-four hours, and was nil particular. After confer withing with cultural experts, Mr. Lee discovers the native’s point of view. In the! kung’s civilization, things such as gifts and generousness are appreciated. However, it is non easy shown and ever behind closed doors. Their cultural belief is that it will do more injury to praise any single even for a occupation good done. They believe by hiking someone’s self-importance it will finally swell his pride to the point where he may kill person. The! Kung’s endurance is based on their consciousness of the environment around them and how people act and think in the society. This I think would be a good thing every bit long as people were non taken for granted. Why did the! kung people’s abuse bother Mr. Lee so extensively? I feel the anthropologist thought he had gone through so much to take, and purchase the ox for the! Kungs merely to be ridiculed for his attempts. Lee eventually received the message of what the! Kungs were seeking to set out, and this was the construct that there is some motor behind every gift and somehow, somehow the gift will be repaid. However, I must differ with this construct and disagree with the! Kungs. This is supported by the fact, every twenty-four hours I see many charitable Acts of the Apostless, and the people that are giving, have no purpose of having congratulations or anything in return. There are many cultural regulations about gift giving in our society. Gifts in our society are given in jubilations and particular occasions. Normally in our society, the sum spent on the gift is based on the rarity or the size of the event taking topographic point. Mr. Lee’s views brought on by his ain cultural beliefs, left him experiencing inadequate and insulted. But to the! Kungs, it was an mundane happening and reaction. .ube4357e204a38f768443d696c61335ed , .ube4357e204a38f768443d696c61335ed .postImageUrl , .ube4357e204a38f768443d696c61335ed .centered-text-area { min-height: 80px; position: relative; } .ube4357e204a38f768443d696c61335ed , .ube4357e204a38f768443d696c61335ed:hover , .ube4357e204a38f768443d696c61335ed:visited , .ube4357e204a38f768443d696c61335ed:active { border:0!important; } .ube4357e204a38f768443d696c61335ed .clearfix:after { content: ""; display: table; clear: both; } .ube4357e204a38f768443d696c61335ed { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ube4357e204a38f768443d696c61335ed:active , .ube4357e204a38f768443d696c61335ed:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ube4357e204a38f768443d696c61335ed .centered-text-area { width: 100%; position: relative ; } .ube4357e204a38f768443d696c61335ed .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ube4357e204a38f768443d696c61335ed .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ube4357e204a38f768443d696c61335ed .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ube4357e204a38f768443d696c61335ed:hover .ctaButton { background-color: #34495E!important; } .ube4357e204a38f768443d696c61335ed .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ube4357e204a38f768443d696c61335ed .ube4357e204a38f768443d696c61335ed-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ube4357e204a38f768443d696c61335ed:after { content: ""; display: block; clear: both; } READ: How My Parents Raised Me Sample EssayTo understand the! kungs is to understand and accept people of different civilizations. This is dually noted in the above paragraphs. The! Kungs who live in the Kalahari were raised rather otherwise than person who grew up in the society we live in today. In accepting gifts in our state, we ever say thank you and how much we appreciate it. This congratulations gives us a feeling of haughtiness knowing that the receiving system truly likes our gift. In different civilizations there are different guidelines. The people of the! kung folk think severely of persons that show arrogance. To extinguish these features in the kids, they were rais ed to mock and do merriment of others while making things such as hunting and feasible activities. And by stating Mr. Lee that his ox was scraggy and old, they were finally making him a enormous favour harmonizing to their cultural beliefs. As in contrast to our beliefs that features such as bulling and mocking is really incorrect. However sometimes in our society we see arrogance as a negative quality but it is non ever discouraged in the same mode. Agents of Socialization was a strong influence in the article that Mr. Lee wrote. The feeling of being insulted merely came from his ain insufficiencies and the manner he was taught in his society. His position while being among the folk was less than in his ain society and besides contributed to his feelings. His cultural values were really different than that of the! Kung people, and in clip he came to understand and accept their attitudes learned as a societal group. He realized that even though it was a jubilation known to people of his civilization, it could besides prolong a portion of the! Kung folk. This is a certification of another case of how different societies of people distinguish themselves from one another with certain imposts and differences, and how they conduct themselves socially. Mentions Scavetta, Charlene ( February 22, 2009 ) . Eating Christmas in the Kalahari , Richard Borshay Lee. . retrieved 9/23/2014, from Athropology 1001 Web Site: hypertext transfer protocol: //scavettacharlene.blogspot.com/2009/02/eating-christmas-in-kalahari-richard.html ThatPresence ( December 2005 ) . Eating Christmas in the Kalahari. retrieved 9/23/2014, from StudyMode.com Web Site: hypertext transfer protocol: //www.studymode.com/essays/Eating-Christmas-In-The-Kalahari-74594.html Ontaneda, Ana ( February 22, 2009 ) . Eating Christmas in the Kalahari. retrieved 9/23/2014, from anthropology Web Site: hypertext transfer protocol: //unam0ur.blogspot.com/2009/02/ana-ontaneda-february-22-2009-ant-1001.html

Love Song Of Prufrock Essay Research Paper free essay sample

Love Song Of Prufrock Essay, Research Paper The dry character of The Love Song of J. Alfred Prufrock, an early verse form by T.S. Eliot ( 1888-1965 ) in the signifier of a dramatic soliloquy, is introduced in its rubric. Eliot is speaking, through his talker, about the absence of love, and the verse form, so far from being a vocal, is a speculation on the failure of love affair. The opening image of flushing ( traditionally the clip of love devising ) is perturbing, instead than comforting or seductive, and the eventide becomes a patient ( Spender 160 ) : When the eventide is spread out against the sky / Like a patient etherized upon a tabular array ( 2-3 ) . Harmonizing to Berryman, with this line begins modern poesy ( 197 ) . The urban location of the verse form is confrontational alternatively of being tempting. Eliot, as a Modernist, sets his verse form in a rotten cityscape, a dreary vicinity of inexpensive hotels and eating houses, where Prufrock lives in lone somberness ( Harlan 265 ) . We will write a custom essay sample on Love Song Of Prufrock Essay Research Paper or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The experience of Prufrock is set against that of nameless adult females ( 13 ) , jointly stand foring womankind. Their unachievable position is represented by their changeless movement- they semen and travel and their polite chitchat about Michelangelo, who was a adult male of great originative energy, unlike Prufrock ( Harlan 265 ) . We can non conceive of that they would listen to any love vocal by Prufrock, any more than they would happen his name or his individual attractive. A adult male named J. Alfred Prufrock could barely be expected to sing a love vocal ; he sounds excessively good dressed ( Berryman 197 ) . J. Alfred Prufrock indicates his formality, and his family name, in peculiar, indicates primness. The powerful metaphor, a ocular image of the xanthous fog ( 15 ) in the 4th stanza, represents the icteric environment of the modern metropolis, or Eliot # 8217 ; s infernal version of the wood of Arden ( Cervo 227 ) . The image is equivocal, nevertheless, because Eliot besides makes it oddly attractive in the preciseness he uses in comparing the fog # 8217 ; s gestures to that of a cat who [ cubic decimeter ] icked its lingua into the corners of the eventide ( 17 ) . We besides hear the fog, disquietingly, in that image, in the onomatopoeia of licked. Repeat of clip , in the undermentioned stanza, shows how the universe of Prufrock # 8217 ; s being is bound to temporalty. Prufrock speaks to his hearers as if they had come to see him in some circle of unchanging snake pit where clip has stopped and all action has become theoretical ( Miller 183 ) . Time is repeated, several times, but it is non merely its ineluctable presence that Eliot is stressing, but besides the pettiness of the ways in which we use it ; the pickings of a toast and tea ( 34 ) . The melancholy of Prufrock # 8217 ; s state of affairs begins to emerge when he speaks of his experience of failures in love and life. The initial verve of his invitation to travel out into the eventide is now replaced by images of the many eventides he has known, with their same dissatisfactory decisions. This speculation expands to include forenoons, afternoons ( 50 ) # 8211 ; all of his life, in other words # 8211 ; which, in a celebrated image, he has measured out with java spoons ( 51 ) . The accent on I in the verse form, which we would anticipate in a dramatic soliloquy, is besides typical of Romanticism, with its jubilation of the self-importance. Again, in this verse form, Eliot is pointedly unromantic, as the I that is revealed is fit non for jubilation but for ridicule, particularly when Prufrock shows that he has been repeatedly diminished, even reduced to a research lab specimen, by others # 8217 ; rating of him. It is small admiration that his assurance, the indispensable quality of a successful lover, has been shattered. It is adult females, of class, who have delivered this opinion on Prufrock. He finds them strongly attractive, with [ a ] rms that are braceleted and white and bare ( 63 ) , but we notice that this image # 8211 ; like the eyes, earlier, that repair you in a formulated phrase ( 56 ) # 8211 ; does non bespeak a whole individual, but instead a fragment of a human being, about lifeless, like [ a ] rms that prevarication along the tabular array ( 67 ) . We may be critical of Prufrock, but the objects of his desire are barely more desirable. The unfavorable judgment broadens to embrace a society, even civilisation, and Prufrock becomes a type of human being # 8211 ; modern urban adult male, possibly # 8211 ; non simply himself. The verse form is haunted by the chorus referri nanogram to the adult females. Prufrock is taking himself and us on a pursuit in chase of them, Let us travel so, you and I ( 1 ) . It is a Romantic image, but Prufrock # 8217 ; s pursuit is frustrated by the modern scene and by his unheroic qualities. Prufrock # 8217 ; s defects as a possible lover and the vocalist of a love vocal by which to court his beloved are evident in his physical characteristics, his apparels and his behaviour. From an history of his apparels, we realize that Prufrock is non, as he at foremost seemed, a Rebel to his milieus ( Spender 160 ) . Unlike the typical Romantic, he is middle-aged [ tungsten ] ith a bald topographic point in the center of my hair ( 40 ) , and his apparels indicate a personality that is inhibited instead than passionate ; his necktie is rich , but modest ( 43 ) . He is discerning, excessively, about what others # 8211 ; the adult female in peculiar # 8211 ; will do of him. They will state: # 8216 ; But how his weaponries and legs are thin # 8217 ; ( 44 ) . After this description, there is the profound sarcasm of his inquiry: Do I make bold / Disturb the Universe ( 45-46 ) . The existence he is mentioning to is his little societal circle of middle-class familiarities ( Harlan 265 ) . We would non conceive of that he was capable of upseting anything. He rehearses assorted colloquial schemes in the hope that, at last, he will happen the agencies to deviate the adult females from their [ t ] alking of Michelangelo ( 14 ) . These include images from the earlier portion of the verse form, such as alone work forces in shirt-sleeves, tilting out of Windowss ( 72 ) . However, even as he does so, Prufrock is cognizant of the insufficiency of his process and would go a crab, [ s ] cuttling across the floors of soundless seas ( 74 ) . This is another image in the verse form that is both upseting and queerly appealing. It is an image of flight. In the concluding stanzas of the verse form, Eliot brings to bear a Prufrock # 8217 ; s dilemma four figures out of the religious history of adult male ; Michelangelo, John de Baptist, Lazarus and Hamlet, as images of the disparity between what Prufrock is and what he would be # 8211 ; a Lazarus, or a Hamlet, for illustration, figures with penetrations into the ultimate inquiry of immortality and the epic calamity of being ( Berryman 198 ) . At the bosom of this is Prufrock # 8217 ; s self-acknowledge: No! I am non Prince Hamlet, nor was meant to be ( 111 ) . Rather, Prufrock sees himself as more like Polonius, the old sap from the same drama ( Harlan 266 ) . In Shakespeare, the Fool, although covering in bunk and absurdness, customarily sees the truth of a affair. The verse form has been a journey into Prufrock # 8217 ; s psychological science. The shutting image of the verse form includes the chief subject of Prufrock # 8217 ; s relationship # 8211 ; or non-relationship # 8211 ; with adult females which, in itself, represents the modernist disillusion with Romanticism. Prufrock would get away to a fantasy fulfilment with the mermaids. However, even they are dissatisfactory: I do non believe that they will sing to me ( 125 ) . Furthermore, commonplace and destructive world must be resumed as the dream subsides: Till human voices wake us, and we drown ( 131 ) . The Love Song of J. Alfred Prufrock is typical in its presentation of modern disenchantment , a figure who has been thwarted by life, both in footings of his ain psychological science and the environment of the 20th century barren universe, which Eliot was to handle in item in the celebrated verse form of that name ( Harlan 266 ) . Berryman, John. Prufrock # 8217 ; s Dilemma The Freedom of the Poet. Farrar: Strauss, 1976: 270-78. Rpt. in Contemporary Literary Criticism. Ed. Dedria Bryfonski and Laurie Harris. Vol. 13. Detroit: Gale, 1982. 197-98. Cervo, Nathan A. Eliot # 8217 ; s # 8216 ; The Love Song of J. Alfred Prufrock # 8217 ; . Explicator. Vol. 57, Issue 4, Summer 1999: 227. Eliot, T.S. The Love Song of J. Alfred Prufrock. Literature and the Writing Process. Elisabeth Mc Mahan, Susan X Day, and Robert Funk. 5th erectile dysfunction. Upper Saddle River, NJ: Prentice, 1999. 577-80. Harlan, Judith, and Kathleen McCoy. English Literature from 1785. New York: Harper, 1992: 265-66. Miller, Vincent. Eliot # 8217 ; s Submission to Time. Sewance Review ( Summer 1976 ) : 448-64. Rpt. in Contemporary Literary Criticism. Ed. Dedria Bryfonski and Laurie Harris. Vol. 9. Detroit: Gale, 1978. 183-86. Spender, Stephan. T.S. Eliot in His Poetry. The Destructive Element. Cape, 1935. 132-52. Rpt. in Poetry Criticism. Ed. Robyn V. Young, Vol. 5. Detroit: Gale 1992. 159-62.