Psy240 Appendix C free essay sample

Axia College Material Appendix C Petra Koenig PSY240 March 26, 2011 The Sleep Matrix Why do we sleep? What governs when or how long we sleep? This activity will assist you in understanding two common sleep theories, recuperation and circadian, which provide different answers to these questions. Depending on which one you support, it may change your outlook on sleep and your current sleeping habits. Categorize each characteristic under the correct theory—recuperation or circadian—by placing an â€Å"X† in the appropriate column. Then, answer the questions that follow. |Recuperation |Circadian | |Sleep restores the body to a state of | | | |homeostasis. |X | | |Sleep plays no role in physiological | |X | |functioning. | | | |We become tired when it is dark out. |X | |Function of sleep is to restore energy |X | | |levels | | | |Function of sleep is to conserve energy | |X | |We become tired from wakefulness. X | | |We sleep until the body is physiologically |X | | | sound. | | | |We sleep based on an internal timing | |X | |mechanism. We will write a custom essay sample on Psy240 Appendix C or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page | | |Sleep depends on vulnerability from | |X | |predators. | | | |Sleep deprivation may cause behavioral |X | | |disturbances. | | |We have a sleep-wake cycle. | |X | |When we sleep is based on some evolutionary| |X | |aspects. | | | . What are the main differences between the recuperation and circadian theories? Recuperation- in common usage, refers to a period of recovery. A circadian- rhythm is a roughly-24-hour cycle in the biochemical, physiological or behavioural processes of living beings. 2. Which theory do you most agree with? Explain. I agree with Recuperation theories because it seem more reliable and make sense to me.

Modern Day Witch Trials Essays

Modern Day Witch Trials Essays Modern Day Witch Trials Essay Modern Day Witch Trials Essay Trial The Animation Preschool Abuse Trial was anything but quick and simple. The case lasted a total of seven years, and cost the government $1 5 million dollars (Source F). Peggy Animation Buckeye and her son Raymond along with a few other teachers were accused of a crime that would change their lives forever. The charges consisted of everything from animal sacrifice to pornography and satanic rituals. (Source D). It first began with Judy Johnson, mother of one of the preschools young children who claimed the teachers had molested her son; however, her mental illness schizophrenia) was withheld from the defense in court for three years. She caused a chain reaction that eventually led to 321 counts of child abuse involving 48 children (Source F). Children are susceptible to peer pressure. They are impelled to say things that are not true Just to please certain people, or to stop brutal interrogations. In both cases people were urged to believe in the children. They were heedless of the fact that there was no strong evidence to back up any of the stories, which also varied (Source C). Parents in the Animation Trial were encouraged to sit their kids down and eave them questioned for two hours. These types of allegations destroy careers and change (innocent) lives forever. A member of the Jury told reporters: The interview tapes were too biased; too leading. (Source E) In both cases people were c reating their own accusations with their own twisted thoughts. They turned what could have been innocent interpretations into the most horrid ideas. The phrase cold as a witchs teat, originated from the Salem Witch Trial. It was said that if a mole was pricked with a needle, and the person failed to bleed then they were a witch. Likewise, one kid in the Animation Trial did not like tuna; people rapidly shot to the conclusion that this was because he had been exposed to vaginal smells (Source C). Did it ever occur to these people that maybe the child simply disliked tuna? During the trial one particular prosecutor emphasized that Buckley did not always wear underwear, which was something they stumbled across during the investigation. It was nonetheless irrelevant to the serious charges he was facing (Source E). Investigators are largely at fault as well. They pressured the victims to give the response they were looking for. One child involved in the case later came back as an adult and said, Never did anyone do anything to me, and I never saw them doing anything. I said a lot of things that didnt happen. I lied Anytime I would give them an answer they didnt like, they would ask again and encourage me to give them the answer they were looking for Later analysis showed evidence of extremely suggestive methods of questioning that were used on the children, which wouldve lead to false allegations while others believe it may have led them to false memory syndrome. (Source F) The main point of learning about history is so that it doesnt peat itself; moreover, there are lessons to be learned from the Salem Witch Trials and the Animation Trial. In both situations everything was blown way out of proportion. Therefore, trials should have unbiased Judges, reliable sources, and we need to make sure that the people confessing dont have something to gain by their dishonesty (Source C). In 1990, Peggy Buckeye was acquitted, and not long before she D) Let that be a lesson. We cannot control the fact that hysteria is going to happen, but we can learn from previous events to take the right preventative measures (Source C).

APA Guidelines for Correct Form

APA Guidelines for Correct Form APA guidelines have made the documentation process much easier. Using parenthetical citations, you can quickly and easily cite the works of others, avoiding plagiarism and keeping your paper clean. These guidelines have changed since the old days of schooling, and now have been adapted to encompass all sorts of analytical papers and publications. APA Guidelines for Correct Form Perhaps you know how to create a bibliography. But times have changed, and now the correct format for citations is a bit different than you might remember. The days of footnotes and endnotes are long gone, along with pages of citations, for each instance of quotations. What the APA guidelines have done is accomplish documentation with the least amount of hassle. Without unduly interrupting your text, you can quote extensively and give proper credit to the author. In fact, if you quote a single book 56 times, you only need a simple parenthetical citation after each quotation. Then, in your list of works cited, you only need name the publication once. What Are Parenthetical Citations? Parenthetical citations are simply citations enclosed in parentheses at the close of the relevant sentence. Usually these consist of the author or editors last name, along with a page number. These make for easily inserted documentation, and are usually followed by an alphabetized list of sources at the papers end.

French Bread Research Paper Example | Topics and Well Written Essays - 750 words

French Bread - Research Paper Example It consists of water, yeast salt and wheat flour. These are the ingredients that people in France, and indeed all over the world, have been suing to make bread for millennia. These are the same ingredients that Arabs use to make flat bread, Chinese use to make boiled dumplings and Italians use to make raised pie dough. So it is clearly not the ingredients that make a loaf that is recognizable as French bread. So when did these simple ingredients become identifiable as making a loaf that is distinguished as â€Å"French†. One of the things that makes French bread â€Å"French† is the distinctive shape. The baguette is a long thin loaf. It is usually is five inches in diameter and is approximately three feet long. Size does vary, but in general, but French bread loaves are in the long, thin baguette shape. This shape has been around since at least the mid-18th century in Paris. Personal diaries and published works detailing travels through Europe make mention of seeing servants walking through the streets of Paris in the early morning carrying long loaves of bread that resembled crowbars (Elson, 1896). So the baguette shape was popular long before the invention of modern machines that were used to knead, cut and shape dough. One theory that points to today’s popularity of the baguette shape points to a law that was passed in the early 20th century (Asaff, 2006). Since the revolution, France has tried to ensure that workers are treated fairly and that the state or their employers do not exploit their labor. As a result, France has some of the most labor friendly laws in the world. They enjoy a short workweek as mandated by law and overtime beyond a certain point is prohibited. One of these laws that was passed prohibited workers in the bread making industry from working between the hours of 10:00 PM and 4:00 AM. This made the baking of normal loaves of bread very difficult. The dough would not have enough time for the processes of

Sustainable Events Management Course work Essay

Sustainable Events Management Course work - Essay Example Also, MCI delivered satisfactory results in social, economic, and environmental aspects as they conform to the ISO 20121 (event sustainability management system). The reality shows that more and more businesses have perceived sustainability principles and practices as important success factors in today’s business landscape; hence, they have incorporated these into their systems and activities. Sustainability among these companies are being provided in various societal and corporate initiatives, but most of them are centered on environmental or natural, economic, and social dimensions (Haugh & Talwar, 2010). These dimensions of responsibility are known as the triple bottom line (TBL) approach, which was coined by John Elkington in 1990s (Elkington, 2004). In this regard, various industries are encouraged to give importance on environmental and societal issues in their decision-making and sustainability reporting; this approach can be seen in the MCI group. The main thrust of this paper is to critically assess the sustainability policy of MCI in relation to the TBL theory. Also, recommendations will be given after the critical appraisal of the company’s sustainability plan. MCI is a privately held company whose expertise is in the field of event management. It was founded in 1987 by Roger Tondeur and Ursula Wiger, which is currently headquartered in Geneva, Switzerland (MCI, n.d.a.). Furthermore, MCI is one of the leading companies in the event industry with 48 offices in 22 countries worldwide including the U.S, EU, Asia, Middle East, and many more (MCI, 2011). Also, the company expressed that their continuing growth for almost 25 years is attributed to their commitment to sustainable development and corporate social responsibility (CSR) through the application of the TBL theory. This theory has been embedded in all of MCI’s policies, practices, decisions, programs, and reporting. In fact, they are

Alfred Hitchcock’s The 39 Steps (1935) Essay Example for Free

Alfred Hitchcock’s The 39 Steps (1935) Essay Alfred Hitchcock’s 1935 film The 39 Steps, is today regarded as among the best of his career, and possibly his best film before he left Britain for Hollywood in 1939. Its history was somewhat tortuous and unconventional, reflecting Hitchcock’s own unconventional working style and eccentric personality, and it became an archetype of how Hitchcock worked with actors and screenwriting collaborators alike. Based on an adventure novel by British-born lawyer and government official John Buchan, the story of an innocent man wrongly accused of murder and embroiled in an espionage plot (which he ultimately foils) bore little resemblance to its source. As was Hitchcock’s practice, he selected a literary source and adapted it freely, adding elements of what he considered a good film – in particular, romantic, frequently sexual subplots and devices intended to keep both the audience and characters within the film off-balance. After completing The Man Who Knew Too Much, Hitchcock discovered his gift for making mystery thrillers and selected as his next project Buchan’s novel, which he had read in his youth along with the author’s other adventure tales. First, Hitchcock had to transform the book into a screenplay, though this involved not merely translating the story – which was really a male-oriented thriller without a heroine or any hint of romance – into a more complex and interesting vehicle, complete with the romantic interest that the era’s audiences expected. Using the novel only loosely, Hitchcock’s main method for creating screenplays was to act as a sort of informal story editor, collaborating with others who would contribute a wide range of ideas and keeping those he found suitable to the story. He also used Plotto, a compendium of interchangeable master plots, into which he freely inserted elements he liked. Film historian Patrick McGilligan comments, â€Å"Never mind that sometimes the inserts were implausible. ‘I’m not concerned with plausibility,’ Hitchcock liked to boast. . . . ‘Must a picture be logical, when life is not? ’† (McGilligan, 2003, p. 158) For this film, Hitchcock chose an informal group of collaborators whom he dubbed the â€Å"Cromwell Road Group;† Buchan was not among them, as Hitchcock preferred. Finding fidelity to literary sources confining, Hitchcock had previously adapted both novels and plays but resented authors’ intrusions into his work, particularly in the case of the latter. Says McGilligan, â€Å"Novelists never claimed the same control over film adaptations as playwrights – and Hitchcock was through with plays, for the time being. . . . Hitchcock had more power now, and he preferred the freedom of working with novels† (McGilligan, 2003, p. 170). His group included writers Alma and Charles Bennett, as well as humorist Ian Hay – the only collaborators credited for the screenplay, though only for â€Å"continuity† in Alma Bennett’s case (McGilligan, 2003, p. 172). From them he fielded ideas about how to flesh out the thin plot and develop its themes. In this early phase, Hitchcock began developing the film’s themes and motifs. Most importantly, he chose to sexualize what film historian Thomas Leitch calls â€Å"Buchan’s adventure yarn for grownup boys† (Leitch, 2002, p. 333) by adding two romantic subplots, neither of which appeared in the novel. The first involves Pamela (Madeleine Carroll), who at first tells the police about protagonist Richard Hannay (Robert Donat) but ultimately falls in love with him, after he convinces her of his innocence. The second concerns the loveless marriage between the Scottish farm couple who hide Hannay during his pursuit; this part, borrowed from a contemporary novel called The Shulamite (McGilligan, 2003, p. 171), offered a counterpoint between the love developing between Hannay and Pamela. Hitchcock often offered contrasts as part of his motifs; for example, in this film he contrasts brunette actress Lucie Mannheim’s mysterious spy character (whose stabbing death is wrongly blamed on Hannay) against blonde Madeleine Carroll, the film’s virtuous heroine. Here, these characters obviously symbolize darkness and light, evil and good. Another contrast he explores is the disparity between appearance and reality, which persists throughout the entire film. Hannay is pursued by the British police and must assume false identities throughout his travels, while also encountering members of the spy ring who pursue him while keeping their own identities secret. Another key Hitchcock motif involved the use of handcuffs, since Hannay and Pamela are handcuffed together for a portion of the film. Reappearing in subsequent films, the handcuffs are thought to have a strong sexual connotation. Film scholar Slavoj Zizek writes that the handcuffs motif is sexual but also used â€Å"to put the love couple to the test . . . [by] maturing [them] through a series of ordeals† (Zizek, 1992, p. 4). Indeed, Hannay and Pamela move from mistrust and betrayal to trust and eventually love. Also, he uses the â€Å"double chase† motif, in which the protagonist is pursued (often under the assumption of guilt) but also pursues the agent of his misfortune, who can also release him from his predicament. (This appeared in Buchan’s novel but also recurs in numerous Hitchcock films, such as Saboteur and North by Northwest. ) Hannay flees from the authorities but is also pursuing the spies responsible for the murder for which he is wrongly accused. Incorporated with this is what film historians dub â€Å"the MacGuffin,† an unseen or little-seen object that matters vastly more to the film’s characters than to the audience. This device serves primarily as a catalyst for the film’s action (in this case, a set of plans for fighter planes). To a lesser extent, Hitchcock shows a prescient warning about the dangers of fascism. The spy ring hails from an unnamed nation, but, given Hitchcock’s own liberal sentiments (and the more leftist leanings of co-producer Ivan Montagu), the film functions as a warning against Hitler. Scholar Ina Rae Hark cites the conclusion, where Mr. Memory’s audience rises to its feet and helps apprehend the spy who shoots the vaudeville performer. Hark claims that â€Å"only after the citizens’ liberation from the social codes of spectatorship that the . . . guardians of democracy can eliminate the external threat† (Boyd, 1995, p. 100). Even before shooting began in January 1935, Hitchcock faced issues with even getting the film made. When Gaumont-British studio chief Michael Balcon took an extended leave of absence to visit the United States, he left control to board member, C. M. Woolf, who had a clear personal and artistic antipathy toward Hitchcock. A financier and film distributor with decidedly conservative tastes (he favored light comedies and lowbrow adventures, which were safe and profitable), Woolf disdained anything â€Å"artistic† and tried to block the film’s production, trying to assign Hitchcock (who relished his creative freedom) to another, less adventurous project. However, co-producer Ivan Montagu managed to stall this until Balcon returned and overruled Woolf’s decision, allowing work on The 39 Steps to proceed and rescuing the film from oblivion (Chandler, 2005, pp.96-97). Another issue involved Hitchcock’s famously brusque treatment of actors, which he considered merely a method for preparing them to assume their roles. According to McGilligan, â€Å"Adopting an attitude toward his actors that the story took toward their characters: it was a Hitchcock strategy rarely expounded upon; perhaps it was subconscious, but it was effective. . . . The iron fist was always there, lurking in reserve† (McGilligan, 2003, p. 174). This film provides a fairly illustrative example of how Hitchcock achieved this. As his second choice for the female lead, Hitchcock hired Madeleine Carroll, whose looks and onscreen charm matched those of start Robert Donat, though he was initially uncertain about her acting ability, which he had previously considered lacking. On the first day of filming, Hitchcock handcuffed Donat and Carroll together, as was required in the script, but claimed to have misplaced the key, leaving his lead performers shacked together for an uncomfortable length of time. Donat apparently accepted it, though Carroll grew annoyed and eventually let down his cool, dignified exterior in order to convey her character’s discomfort and initial disdain for Hannay. Hitchcock began shooting the film in January 1935, making certain to hire the right personnel to realize his vision and, more importantly, follow his specifications (as past crew members had sometimes failed to do). In particular, he chose longtime acquaintance Bernard Knowles as cinematographer, because Knowles specialized in creating the kind of atmospheric lighting The 39 Steps would need as a mystery thriller, and because he would comply with Hitchcock’s precise instructions, as other cinematographers had failed to do in the past (McGilligan, 2003, p. 172). Due to a relatively slim budget of less than sixty thousand pounds, a figure that would pale in comparison to the large budgets he received in Hollywood, Hitchcock shot the film mainly at Gaumont’s Lime Grove studios in London, with two brief forays into Scotland to shot location scenes. He finished in less than four months, and the film was released in Britain in June 1935 and in the United States on 1 August (Leitch, 2002, p. 331). The film’s trailers left much to the imagination, not hinting at the story to come. The original focuses only on the initial performance of â€Å"Mr. Memory,† the vaudeville performer who, in the end, reveals that the Thirty-nine Steps are actually a spy ring (in the presence of numerous witnesses and the authorities), resulting in his on-stage murder; it shows nothing of the plot or subsequent action. A later one is shorter and more sensationalistic, showing Pamela’s betrayal of Hannay to the police, a bit of his chase, and Hannay asking Mr. Memory â€Å"What are the Thirty-nine Steps? † This one promises â€Å"MURDER! MYSTERY!! TREACHERY!!! ROMANCE!!!! † (Alfred Hitchcock’s Trailers) Hitchcock himself promoted the film by suggesting that filmgoers see it â€Å"at least three times, in order to pick out all the details and the intention behind them, and in order to get deeper into things† (Spoto, 1992, p. 46). The 39 Steps was instantly successful on both sides of the Atlantic and considered by some contemporary critics to be Hitchcock’s best work to date (McGilligan, 2002, p. 175). It certainly furthered Hollywood studios’ interest in the director; apparently, American studios had courted Hitchcock prior to the film’s release, but offers appeared in greater numbers after mid-1935. Gaumont-British director Michael Balcon fended off most of them, aiming to keep Hitchcock within his fold as long as possibly. However, lured by larger budgets and promises of the creative freedom he prized, Hitchcock left for the United States in 1939. Today, the film is still highly-regarded, though perhaps less so in light of Hitchcock’s Hollywood films, made between 1940 and 1976. Critics maintain that it is the best of his career’s British years. Film scholar Donald Spoto comments: â€Å"Some critics have dismissed the film as little more than a pleasant diversion . . . but a merely pleasant diversion does not continually generate fresh interest and disclose new richness after multiple viewings and the passage of decades. The 39 Steps . . . improves with age and familiarity† (Spoto, 1992, p. 42). The 39 Steps remains in various ways an example of how Alfred Hitchcock’s creative process. Beginning with a literary work as his inspiration, he transformed it significantly by working loosely with a group of collaborators who supplied ideas that helped him reshape the story into a film that reflected his own favorite themes and sensibilities. He inserted his own themes into the story, particularly the romantic/sexual subplots, and used his somewhat harsh style of shaping actors’ performances. Audiences’ and critics’ opinions of the film have remained high for the last seven decades, giving it even greater stature within the body of the master filmmaker’s work. REFERENCES Anonymous (2006).Alfred Hitchcock’s Trailers. Retrieved 16 May 2006 at http://www. sensesofcinema. com/contents/05/35/hitchcocks_trailers. html. Boyd. D. (1995). Perspectives on Alfred Hitchcock. New York: G. K. Hall. Chandler, C. (2005). It’s Only a Movie. New York: Simon and Schuster. Leitch, T. (2002). The Encyclopedia of Alfred Hitchcock. New York: Facts on File. McGilligan, P. (2003). Alfred Hitchcock: A Life in Darkness and Light. New York: ReganBooks. Spoto, D. (1992). The Art of Alfred Hitchcock. New York: Anchor. Zizek, S. , ed. (1992). Everything You Always Wanted to Know about Lacan (But Were Afraid to Ask Hitchcock). London: Verso.

The Diversity of Characters, Attitudes, and Messages through Different

The different translations of The Oedipus Cycle emphasize and suggest different aspects of the presented scene. There are multiple examples of this in the comparison of The Fitts and Fitzgerald’s Translation and the Luci Berkowitz and Theodore F. Brunner’s Translation. Such as the differences in format, sentence structure, and diction imply different characteristics. Also, similarities in the two translations reinforce the importance of the concepts.   Ã‚  Ã‚  Ã‚  Ã‚  The most noticeable difference in the two translations is the format of writing. The Fitts and Fitzgerald’s Translation was in a formal poem format whereas the Luci Berkowitz and Theodore F. Brunner’s Translation was in a more informal paragraph. The diction of the two paragraphs reflects the formal versus informal aspect as well. For example, in comparing the first lines of both translations, it was noticed that the Fitts and Fitzgerald’s Translation referred to the public as, â€Å"generations of the living in the line of Kadmos, nursed at his ancient hearth† (F & F,) while the translators of Luci Berkowitz and Theodore F. Brunner’s Translation referred to the public as simply, â€Å"the sons of the ancient house of Cadmus† (LB & TB.) The first translation offered much more information and description of the population of Thebes. Also, the phrase â€Å"nursed at his†¦ hearth† requires the reader to be of a hi gher education because â€Å"hearth† is not in the everyday vocabulary of just anyone.   Ã‚  Ã‚  Ã‚  Ã‚  On of the most dominant similarities between the two translations is the Oedipus’s arrogance. The first part of the sentence, if it were viewed separately, sounded like Oedipus genuinely cared for the people when he said, â€Å"I choose not to hear it from my messengers, but came myself† (LB & TB.) This quote showed how Oedipus was putting out the effort of coming out to the general public to see how bad things were. He did not wish to just sit back and find out the news through hearsay. He wished to see it for himself. All of his sensitivity was then void with the rest of the sentence when he said, â€Å"I have come myself to hear you – I, Oedipus, who bear the famous name† (F & F.) The rest of the sentence gave off the impression that Oedipus was telling his own people that they were lucky that he even came out to see them. A man as important and famous as he should not n... ...tz and Theodore F. Brunner’s Translation, Oedipus addressed the citizens as, â€Å"children, sons of the ancient house of Cadmus† (LB & TB,) and in the Fitts and Fitzgerald’s Translation, Oedipus addressed the populace as, â€Å"my children, generations of the living in the line of Kadmos† (F & F.) Although they may not seem to be very different at all, they are in fact extremely different. By addressing the people as â€Å"children† versus â€Å"my children,† Oedipus switched the relationship from a ruler and the ruled to a father and his children.   Ã‚  Ã‚  Ã‚  Ã‚  To an unaided eye, it may appear as if there is no significant difference between one translation and another, but in reality there are several differences. The same core message is there, but in this case, Oedipus came out to be a much better leader in the Fitts and Fitzgerald’s Translation due to his ability to stay calm in calamitous situations and his strong connection with the people. It must be kept in mind, though, that the similarities are just as important as the differences. With the presence of similarities, the message is amplified greatly, as in the instances of Oedipus’s arrogance and his goal to help.

Cone Health Organizational Chart and Structure Essay

The classical theory consists of organizational design that subdivides work and specifies tasks. The classical theory allows the different departments to run with efficiency by giving staff members different task to perform. The classical theory is composed of four elements: division and specialization of labor, chain of command, organizational structure, and span of command. Division and specialization of labor reduces the workload of the employee that will increase proficiency throughout the organization. The chain of command is authority, power, and responsibility delegated from high levels of authority to the lower levels. Organizational structures are how the departments are arranged and how command is maintained and how communication is achieved through a formal system. The span of control is how many employees a manager can effectively manage. (Sullivan, 2012).†¨ The structure of this organization provides for an environment for client centered care by offering services of acute care with different levels of care such as emergency services, med-surgical units, intermediate care unit, intensive care and labor and delivery. Each division is managed by a specific leader, such as the manager, who reports to the chief of nursing. The managers are more in contact with staff and have direct communication with staff members as well as patients in the hospital. This personal level of communication allows for managers effectively to communicate the importance of the mission of the hospital, which is to exceed expectations and provide quality health care to all at all times. With this mission in mind, it can lead to a close relationship with client care. The use of information systems is the way to communicate throughout the hospital to staff members. There are two charting systems used in the organization and an assignment board system in each department. The first one is Emergency Data Management, which is used in the emergency department, and the second is the Meditech, used in the other departments in the hospital. All information systems are visible to all nursing staff but cannot be edited interdepartmentally. Verbal communication method can be in the form of informing peers concerning the level of care already delivered to a patient and expecting others to follow through. We are expected to formally inform each other of what need to be done concerning our patient via the Emergency Data Management and Meditech. The GroupWise E-mail system is used by staff for internal communication and exchange purposes, and it can be accessed both in the hospital and at home via the internal intranet. Information from different departments comes to staff via e-mail, and all are encouraged to check their email daily. Staff members are also provided with a physical mailbox, with their names on it where everyone is provided with departmental information. Decision-making regarding policy change may be done by departmental basis, but must be approved by the chief nursing executive. For example, the standard of work was change in the triage process, but before management implemented the change, it had to be approved by the chief nurse executive, and he or she will decide based on the Nurse Practice Act. Restructuring of nurse leadership is currently in progress to allow nurses to have more input on leadership and its decision making pattern in organizations. The chief nurse executive reports to the regional vice-president of nursing, whereas all directors of each nursing department reports to the chief nurse executive. The organizational structure has its strength and weakness. One weakness that exists in this structure is the lack of communication between departments. Strength in this structure is that the chief-nursing executive is not left to make all decisions on his or her own because they have the help of managers and directors of the different departments. These informal structures of the organization is constantly at test as staff do frequently communicate with each other about what is expected in the plan of care to achieve an efficient client centered care. The charge nurse writing on the assignment board the activity of plan of care into the system as per each department to allocate patients to nurses and the staff nurse reports uses formal communication in the day-to-day operations of the organization the activity of plan of care into the system as per each department. For example there are formal meetings daily with the house supervisor, the managers, and leaders of the department to discuss bed availability in the hospital. Issues of power and control exist between the different floors and the emergency department. There is always competition for staffing resources, and if there is a float pool nurse on call, the charge nurses have to show who has a greater need for the float pool nurse leading to charge nurses to compete for the nurse.†¨ St. Luke’s Hospital is located in a lower middle-class neighborhood and caters to all ages. The hospital caters socially to the infants and pediatric patients. It has recently expanded the acute-stroke and short-stay unit also known as an observation unit. There are patients of different ethnicities while there are many patients who do not speak English; the use of the language phone has come into use quite often. The language phone removes language barriers between the patient and the health care provider and allows the patient to receive proper care. A lot of patients in the community have stated they come to our hospital because they have read in magazines that we are a great hospital.†¨ Generational differences that influence organizational culture are on the rise in the work environment. There are a great number of new younger nurses coming out of nursing schools, which means new ideas. The older nurses sometimes have problems accepting new nurses because they seem to want to change things. Some of the older nurses feel they are being pushed out of the nursing field by the new nurses and feel they are being forced to retire.†¨ In this paper there has been a discussion of organizational structure and functions, creation of client-centered care, information systems, power issues within the organization as well as decision making abilities. There have been discussions about social and cultural influences and how they integrate into delivery of care in the organization, and finally how generational differences influence organizational culture of the workplace as it shapes the future. It will be appropriate to expect more input into decision making culture via a developed formal and informal system to increase the input from the first responder group-the staff nurses and certified nursing assistants. References Sullivan, E. J. (2012). Effective leadership and management in nursing (8th ed.). Boston, MA: Pearson.

Nutrition and Junk Food Essay

Tired, crabby, or unfocused in class? It could be the food you are eating. The lack of Introduction hooks the reader with a question. Thesis presented as last sentence of introductory paragraph. healthy and tasty school lunch selections has recently become a problem in almost every elementary, middle and high school across the nation. Most schools sell junk food to students and I think this is wrong. There are many good reasons to remove junk food from school lunch menus, and creating a healthier student body is number one. Junk foods should be taken out of school lunch menus because they affect your body and mind in negative ways. Junk food is a major cause of childhood obesity. 32% of youth are overweight and nearly 74% are unfit. The bad food offered in public schools contributes to this unacceptable Writer takes a clear position Authoritative position supported by citing research and using statistics. Details and facts support position. problem. A single 12-ounce can of soda has as Many of these sodas much as 13 teaspoons of sugar in the form of high-fructose corn syrup. are available to kids in school at low prices as well as many other completely unhealthy foods like chips and cookies. School lunches have a very high fat content and the USDA supplies schools with the same commodity foods as prisons. Due to the lack of fresh and flavorful food, many students will choose to buy the cheap junk food offered instead. If we could stock vending machines and cafeterias Language is precise and lively. Sentence structures are varied. with healthier foods, it would definitely make a dent in the childhood obesity rate. Another reason cafeterias should start serving healthier food is that junk food does Second body paragraph present another fully developed reason for position. ot give kids the energy needed to stay focused in school or the power to participate in sports. Lunch is right in the middle of the day; if you eat fatty or sugary foods, it could cause you to get tired and not pay attention in your afternoon classes. In addition, junk food zaps your energy, which affects your physical activity. You cannot perform your best if you don’t have any energy. practice. Many people on my swim team used to snack on chips and soda before When some of us complained about Appropriate anecdote used to support argument. etting tired and not being able to make it through practice, our coach asked us what we were eating beforehand. When he heard about our diet, he told us that we shouldn’t be consuming fried, fatty foods before we exercise. We should be eating healthy, natural foods because these give us energy and are good for our bodies. Many people may argue that banning junk food in schools is not a good idea. Concession and thorough response to counterargument. Students Sentence styles and structures are varied. say that junk food just tastes better than healthy food and they prefer it. There is no rule that says healthy food can’t taste good! Many junk foods can be replaced by similar tasting, healthier substitutes. Instead of fried chips, provide baked. Instead of soda, offer carbonated fruit juice. If substituting all of the unhealthy foods does not work, what about reducing the amount that we serve? Have a healthy main portion for lunch and a small dessert; sweets are not bad as long as they are consumed in moderation. There are multiple ways to solve the problem of people’s taste buds craving tasty foods. We just have to enforce this change. Providing junk food in school cafeterias is just an all-around bad idea. academic and physical potential. We need to eat The food we Call to action concludes essay. healthy food so we can reach our fullest eat affects our body and mind and we need to take advantage of that! Now that we understand the problem, it’s time to fix it by banning the sale of junk food in schools. Writing demonstrates proficient use of standard and academic English. Commentary This essay is an example of 7th grade advanced persuasive essay writing. The essay presents a clear position and does so in an original and engaging fashion. Support for the position is developed well with facts and anecdotes. Though insufficient research is cited to support some assertions, overall, this 7th grader has presented a compelling and convincing argument and used an authoritative tone and strategic language to convince readers of her position. The writer uses lively and specific language, which also helps to persuade readers. There is significant sentence variety in the essay along with clear control of writing conventions and spelling.

Bob Dylan and Intertextuality Essay Example

Bob Dylan and Intertextuality Essay Example Bob Dylan and Intertextuality Essay Bob Dylan and Intertextuality Essay Tangled Up in New Bob Dylan and Intertextuality Appropriation has always played a key role in Bob Dylans music. Critics and fans alike have found striking similarities between Dylan’s lyrics and the words of other writers. On his album â€Å"Love and Theft,† a fan spotted many passages similar to lines from â€Å"Confessions of a Yakuza,† a gangster novel written by Junichi Saga. Other fans have pointed out the numerous references to lines of dialogue from movies and dramas that appear throughout Dylan’s works. He has stolen words from Shakespeare, F. Scott Fitzgerald and more recently, Henry Timrod in his latest album, Modern Times (Rich 1). Culturally, we have reached a point in time where revisiting past movements and styles have become the norm in music, literature and other media. The challenge for all creative works in this era has become more of an exercise in borrowing from ones influences rather than drawing from ones invention or original thought. And you know what? Its okay. We cannot help but be influenced by what we see; thats just being human. Tracing influence is a very hard task, one that can never be complete because of the countless stimuli encountered every time anyone opens his or her eyes and ears, something true for both author/artist and reader. Dylan could not possibly be aware of all of the ideas that influenced him over his lifetime. But from the influences he is aware of, why should he be expected to report every single line he has appropriated into his lyrics? According to Motoko Richs article, Scott Warmuth, a disc jockey in Albuquerque and a former music director for WUSB, a public radio station in Stony Brook, Long Island, discovered the similarities between Dylan’s lyrics and Henry Timrod’s poetry.. Mr. Warmuth said he wasn’t surprised to find that Mr. Dylan had leaned on a strong influence when writing his lyrics. â€Å"I think that’s the way Bob Dylan has always written songs,† he said. â€Å"It’s part of the folk process, even if you look from his first album until now† (Rich 1). More frailer than the flowers, these precious hours,† the 65-year-old Dylan sings in â€Å"When the Deal Goes Down,† one of the songs on â€Å"Modern Times. † Compare that to these lines from Timrod’s â€Å"Rhapsody of a Southern Winter Night†: A round of precious hours Oh! here, where in that summer noon I basked And strove, with logic frailer than the flowers. (Timrod, qtd. in Rich 1) To Warmuth, who found ten phrases echoing Timrod’s poetry on â€Å"Modern Times,† Dylan’s work is still original. â€Å"You could give the collected works of Henry Timrod to a bunch of people, but none of them are going to come up with Bob Dylan songs† (Rich 1). The Bible has been another important resource for Dylans writing (Gilmour 8), but it is still only one of many influences for his music. The interaction of these influences with one another is extremely significant, for this is essentially how Dylans ideas came to flourish in the music industry. This is brought about in the subject of intertextuality. At its simplest form, the term intertextuality has been used to mean source identification. The word is credited to Julia Kristeva, who recognized the influence of different texts on writing, reading and interpretation of literature (ODay 259). It developed out of concern about the relationship of the classical literary tradition with contemporary works of literature. It was also concerned with the role that culture and society played in the construction of literary meaning and expression. Although the term is important to consider when identifying an authors influences, it has often been viewed as an oversimplification. Julia Kristeva once referred to the word as the banal sense of study of sources' (qtd. in Gilmour 14) and Harold Bloom described it as the wearisome industry of source-hunting, of allusion-counting (qtd. n Gilmour 14). What is at issue here is interpretation. Does the reconstruction of all the sources for an essay make up the meaning of the text? Most certainly not. We may be able to offer particular ways to interpret and understand the lyrics of a song or the words of a poem, but we still cannot claim to have discovered the true meaning of the influences to create that text. This is something not even the author/artist can do. How can an author fully explain the meaning of a text when so many influences have been fed into it? This is a reality that Dylan is fully aware of: You have to have seen something or have heard something for you to dream it. It becomes your dream then. Whereas fantasy is just your imagination wandering around. I dont really look at my stuff like that. Its happened, its been said, Ive heard it; I have proof of it. Im a messenger. I get it. It comes to me so I give it back in my particular style. (Dylan, qtd. in Williams 267-68) Artists cannot escape the continuous barrage of new influences brought to them by each new life experience they encounter. An ongoing conversation with these influences occurs as a result, and writers inevitably draw inward from that growing experience for inspiration. The text produced by a writer is a processing of other texts and also a reply to other texts, with which the writer is maintaining a living dialogue (Wolde, qtd. in Gilmour 16). T. S. Eliot is acknowledged as the originating influence on later intertextual studies. In his 1919 essay, Tradition and the Individual Talent, Eliot challenged the assumption that poetic inspiration was solely the fruit of the poets genius and inspiration. Poetic meaning, he argued, was not only personal, but also communal: We shall often find that not only the best, but the most individual parts of [the poets] work may be those in which the dead poets, [the] ancestors, assert their immortality most vigorously. (Eliot 4) Eliots point is that the meaning of a poem is influenced by the writers predecessors, and that the meaning of a text is not confined to the time of its creation. Its meaning develops even beyond the death of its writer. Texts do not stand alone or in isolation; they are interrelated to other texts. It is a living whole, and is dependent on what preceded. Literature is the fruit of interrelated texts (ODay 546). Dylan is a master at intertexuality, rewriting earlier songs, both his own and borrowed traditional blues and folk material, but always with a new twist, sometimes by incorporating Biblical and classical mythology or by transforming current idioms. Dylan’s ancestry stretches back to Old Testament Prophets and to political progressives, but also musically to African-American gospel and blues singers and to the old English and Appalachian troubadours. Dylan has shown respect for the sources of the transcendence as he refines from the old blues and folk traditions by singing a vast array of classic songs, from Copper Kettle and Alberta to Delia and Froggy Went A-Courtin, with such a depth of feeling that a casual listener would not suspect they were not his own writings (Heine 8). Perry Glasser believes that intertextuality as a form of homage, done without acknowledgement, permission or credit, is stealing. Intertextuality, like permanently borrowing, is a rhetorical dodge to avoid the word theft. When your neighbor mows his lawn with your mower that he borrowed 3 years before, you are not receiving an homage. No one in the neighborhood recalls the good old days when you mowed your own lawnnow overrun with weeds (Glasser 5). Because Timrod is long dead and his work has fallen out of copyright - you can find his collected poems on the Internet - there is no legal claim that could be made against Dylans use of his works. And thatà ¢â‚¬â„¢s exactly what bothers Chris Dineen, a middle school Spanish teacher and casual fan of Dylan. â€Å"It seems kind of duplicitous,† he said of Dylans borrowing from poet Henry Timrod. Even casual fans know that Dylan has a history of doing this and it’s part of what makes him great, but this is different. This is one poet who’s used over and over and over again† (Rich 2). Mr. Dineen said he would have been happy if Mr. Dylan had just given Timrod credit for the lines. â€Å"Maybe it’s the teacher in me. If I found out that he had done this in a research paper, he’d be in big trouble† (Rich 2). But James Kibler, a professor of English at the University of Georgia who teaches the poetry of Timrod in his Southern literature classes, was delighted to hear of Dylan’s use of the verse. If I were Timrod, I would love it. I would say he’s doing a great honor to Timrod and let’s celebrate that (Rich 2). If youre an av id reader who also writes, you will often find yourself using lines floating around in your head only to later realize that you did indeed read them somewhere else. I know Ive repurposed a line from Cormac McCarthy taking his idea and putting the sentiment into my own words and voice. This is my most conscious example of thievery, but even then, nobody but me would know the truth (Krozser 35). In many ways, the line between using anothers work as a jumping-off point and plagiarism comes in the execution. Art has always borrowed from previous works. Thank goodness for the cavemen. Where would we be today if someone hadnt taken the initiative to draw and sing and tell stories? All writers, to an extent, borrow or repurpose pieces of others works. In some cases, its taking a well-known story and modernizing it or retelling the tale in a fresh way (see each and every version of Pride Prejudice). In others, its borrowing a phrase or notion, creating a homage to someone you admire (see just about every Martin Luther King speech). The acceptability of the text lies in its execution. Martin Luther King borrowed from texts he assumed people already knew, such as quotes from the Bible and the Declaration of Independence. Pride Prejudice has been recreated many times, but the title and themes are still accredited to the original text. Current copyright laws do not protect artists in the way the original copyright laws were envisioned. The original goal was that the laws would protect the works of an artist for a limited period of time. In return, the artist would give back to the world in the form of allowing their work to enter the public domain. This changed with the imminent entry of Mickey Mouse in the public domain, with the irony lost only on Disney (Lethem 65). This change is causing us not only to re-evaluate our concepts of copyright, but also our notions of fair use and even borrowing. All literature is being brought down by the individuals rights of ownership, whatever they may be. We all want to be recognized for our talent, for the greatness we all envy in others, waiting for the perfect sentence or stanza to leap out. We want to own our words, but we have forgotten that they already own us. Literature is organic by nature, and attempts to make it anything but organic are, perverse, in the truest sense of the word. Long ago, literature was, to the body of society, the lifeblood; today, it is the mustache, the fake fingernails, and the Versaci belt. It was the meat; it has become the garnish. Lafferty 27) Literature has been transformed from a means of survival into a means of pure expression. When literature conveyed information, lessons, morals, etc. , that were essential to survival, no one cared if the ideas were original. Now, when literature is simply a way of exploring the intricacies of existence, and especially now that our every word can be recorded for posterity, every person who picks up a pen or sits at a keyboard feels inherently entitled to unil ateral ownership of anything original (Lafferty 27). Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different (Eliot 5). Homer stole, but he made it beautiful, useful and original. The good poet welds his theft into a whole of feeling which is unique, utterly different than that from which it is torn; the bad poet throws it into something which has no cohesion (Eliot 5). Shakespeare stole, but he perfected borrowed material to such an extent that the result was his own. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest (Eliot 5). Bob Dylan stole from the ancient times to create the Modern Times. The world is shrinking, yes, but the amount of information available to us continues to expand at an exponential rate. Literature must be community-based, freely exchanged, and, effectively, open-source. We all want to decide which version of our own words are greatest, but that should not be our concern. History decides, posterity decides, the community decides; we merely contribute our part. Eliot, Thomas Stearns. Selected Essays: 1917-1932. London: Faber, 1951. 4. Eliot, Thomas Stearns. The Sacred Wood. London: Methune, 1920. ;www. bartleby. com/200/;. 4-5. Gilmour, Michael J. Tangled Up in the Bible. New York: Continuum International, 2004. Glasser, Perry. Interview: Intertextuality. Emerging Writers Network. 27 Dec. 2005. 22 Apr. 2008 http://emergingwriters. typepad. com/emerging_writers_network/2005/12/intertextuality. html. Heine, Stephen, and Taigen D. Leighton. Dylan and Dogen Masters of Spirit and Words. Kyoto Journal 1999. 24 Apr. 2008 mtsource. org/articles/dogen_dylan. html. Krozser, Kassia. Interview: Intertextuality. Emerging Writers Network. 27 Dec. 2005. 22 Apr. 2008 ;http://emergingwriters. typepad. com/emerging_writers_network/2005/12/intertextuality. html;. Lafferty, Matt. Interview: Intertextuality. Emerging Writers Network. 27 Dec. 2005. 22 Apr. 2008 http://emergingwriters. typepad. com/emerging_writers_network/2005/12/intertextuality. html. Leth em, Jonathan. The Ecstasy of Influence. Harpers Magazine Feb. 2007. ; harpers. org/archive/2007/02/0081387;. ODay, G. R. Intertextuality. Dictionary of Biblical Interpretation. Vol. A-J. Nashville, TN: Abingdon P, 1999. 546-548. Rich, Motoko. Who’s This Guy Dylan Who’s Borrowing Lines From Henry Timrod? New York Times 14 Sept. 2006. 20 Apr. 2008 nytimes. com/2006/09/14/arts/music/14dyla. html? _r=1ref=booksoref=slogin. Williams, Paul. Performing Artist: The Music of Bob Dylan, the Middle Years: 1974-1986. Novato, CA: Underwood-Miller, 1992. 267-68.

Student Essay

Student Essay Student Essay Student Essay: Useful Tips They say that student essay is just an awful task, which is hated by all the students, especially, student essay about education, as this is the task each student has to come through. Well, maybe this saying is right in some way, however, nowadays with the appearance of the Internet and different custom essay writing services student essay is not an executioner any more. If you have an access to the Internet you have an access to all the kinds of student essay writing tips, and student essay about education is not a problem as well. Here are several tips for you at the subject how to write student essay written by the professionals of our custom writing service who have completed hundreds of different student essays and won the highest grades to their customers. While you are writing your student essay, you have to remember one of the main principles of the successful student essay writing: do not tell what you want to tell, show it. Use the words in order to draw the pictures and to show the reader the text you are writing. Keep your reader hooked, instead of making him or her bored with your monotonous presenting the sequence of circumstances. Make a whole story from your student essay ( Choose the topic you are interested in and have a passion for. It is possible to write good student essay only on the topic, which is really interesting to the writer. If you like the subject, you are writing about in your student essay that means that you know a lot about it, that is why it will not take much time from you to search the necessary information. Do not write either too short or too long sentences in your student essay. You see if the sentences are too short all your student essay seems to be chopped and cut short. If you write too long sentences, your essay may seem to be too complicated and confusing. Write the sentences of average length, in order to show that you are able to express your ideas in a logical and clear way. Proofread the student essay after you think that it is completed. Different grammar mistakes, or wrong usage of words, or incorrect sentence structure, all this badly influence upon your grade for the student essay and show your indifference to the reputation and grade you are going to get. Read also: Term Paper on Personal Success Creative Writing Thesis Writers of Term Papers Dissertation Writers Dissertation Service

Analysis of Apple Incorporateds Performance Research Paper

Analysis of Apple Incorporateds Performance - Research Paper Example Apple’s controversial mission statement that captures the format of a presentation that mentions the product portfolio has met criticism due to its unconventional design. The company’s mission is to â€Å"design Macs, the best personal computers in the world, along with OS X, iLife, iWork and professional software† (Arthur, 2010, p5). However, the emphasis of the clear areas of focus by the corporation in its business seems logical when the sharp performance on the various production lines generates the kind of results witnessed. In the items highlighted in the mission statement, production and concentration in the core business of the corporation stand out conspicuously as its guiding principles. Performance in terms of hitting production numbers as well as distribution to meet the ever-growing demand leaving an understandable gap of supply enough to generate a rare form of suspense for its products. Apple has built a market presence with a very strong brand name over the years, breaking several records including the most successful and most valuable company of all time. A decade ago, nobody would have imagined that a company would dislodge Microsoft from the top brand in the world, with a unique product attraction among the consumers but Apple is doing that every day (Jiang et al., 2009). Production of the most recognized electronic device backed by its own software system including operating system and other applications defied the odds of the market such as experienced by Microsoft on a strong software front. Through a commitment on bringing the best computing package to specific consumer groups, the company takes care of its vision statement in several ways. The company captures the needs of scholars, professionals, ordinary consumers with innovative solutions to different needs. Perhaps one of the most complete and trendy products in the market that Apple specializes in, computer hardware capable of interacting with internet usage present the company as a pacesetter. Strategic Goals vs Mission and Vision Statements Apparently, Apples mission and vision statements collapse into the presentation of quality technology in the product portfolio dealt in the current operations and into the future. The two strategic statements complement each other in the sense that the highlight of the actual product scope in the mission statement obtains assurances of unquestionable quality in the vision statement. For instance, the mission state