Health Care And Public Health Settings - 938 Words

Healthcare-Associated Infections in the Acute Care and Public Health Settings Healthcare-associated infections (HAIs), also known as nosocomial infections, are any type of infection a patient develops while receiving treatment for another diagnosis. HAIs are considered the most frequent type of infections in healthcare. Healthcare-associated infections do not only appear in the healthcare setting, but can appear after discharge and while the patient is receiving treatment at home. Many of the HAIs occur when a patient needs an invasive procedure (catheter, central line, and surgery.) The risk of these infections can be decreased if the healthcare providers follow strict aseptic technique when needed, washes hands before and after any contact with a patient, and by monitoring the patient for the slightest sign of an infection. In hospitals, HAIs lead to extended hospital stays, contribute to increased medical costs, and are a significant cause of morbidity and mortality (Healthcare-As sociated Infections, 2011). According to the Center for Disease Control and Prevention (CDC), about 722,000 patients in the United States had at least one type of HAI in 2011 (Healthcare-Associated Infections, 2014). Of these 722,000, the CDC estimated that 75,000 of the hospitalized patients died while in the hospital. While one may think that the intensive care unit (ICU) is the most common place for HAIs, the CDC explains that over half of the HAIs reported were outside of the ICU.Show MoreRelatedRole Of A Public Health Nurse963 Words   |  4 PagesContributions Role of Public Health Nurses The role of a public health nurse encompasses a vast amount of responsibilities. As a basis for practice, public health nurses must adhere to the code of ethics. 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Gun Control And The United States - 886 Words

Gun Control in the United States On December 14, 2012, a gunman walked into Sandy Hook Elementary in Newtown, Connecticut, and killed 20 children and six adults. This tragedy shook the nation and made Americans wonder, how could this have been prevented? Recently published research suggests mass shootings are becoming more common in the United States. Harvard University researchers said in October 2014 that a mass shooting has occurred every 64 days, on average, since 2011, compared with every 200 days from 1982 to 2011 (McLeod). With the recent spike in mass shootings, the United States should regulate gun control by revising the process for gun purchases, ban certain gun accessories, and ban automatic assault rifles. First and foremost, the United States needs to revise and enforce the process for gun purchases in all states in order to filter out mentally ill and unstable people. America’s current federal and state gun laws are weak and have many loopholes. These weak laws and loopholes have allowed thousands of prohibited buyers to legally purchase firearms over the past decade. For example, many gun purchases from private sellers are not subject to checking identification, there’s no background check, and no records are kept (Cooper). Secondly, the United States should ban accessories that transform guns into high powered killing machines. High capacity magazines have been the accessory of choice for most mass killers. Magazine drums allow popular weapons suchShow MoreRelatedGun Control Of The United States1698 Words   |  7 Pagesshootings that has happened throughout the Unites States has created a great divide among Americans on what should our nation do to prevent further shootings from happening. Many people believe that forcing new laws on how people purchase weapons should require background checks. Gun Control in the United States of America is a topic that has had lots of criticism and support by many citizens. 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The Life and Literature of F Scott Fitzgerald Free Essays

string(171) " after the stock market crash, those that had enjoyed the rapid succession from penniless to millionaire as a bootlegger, quickly lost everything as the economy crumbled\." ABOUT THE AUTHOR The Life and Literature of F. Scott Fitzgerald By Jillian Thompson May 16, 2012. English newspaper, The Guardian, once asked Jonathan Franzen, the Pulitzer Prize nominated author of The Corrections, to contribute what he believed were the greatest rules to abide by for aspiring fiction writers. We will write a custom essay sample on The Life and Literature of F Scott Fitzgerald or any similar topic only for you Order Now His response was â€Å"Fiction that isn’t an author’s personal adventure into the frightening or the unknown isn’t worth writing for anything but money† (Franzen). The novels of Francis Scott Fitzgerald suggest that he would agree wholeheartedly with Franzen. In his Notebooks, Fitzgerald wrote, â€Å"There never was a good biography of a good novelist. There couldn’t be. He’s too many people if he’s any good† (Fitzgerald 61). Fictionalizing emotions and backgrounds are an unparalleled resource to writers, and some of the greatest stories in literature have grown from the personal lives of novelists. Dickens’ David Copperfield, Hemingway’s A Farewell To Arms, and Kerouac’s On the Road are famed illustrations of autofiction techniques, featuring a protagonist that has been modeled after the author, and a central plotline that mirrors the events of their lives. A close examination of the known facts of Scott Fitzgerald’s life is enough to establish that there is a profound relationship between his personal dispositions and the subject matter of his novels. It is also fair to conclude that he was deeply concerned with class, wealth, and their effect on the corruption of â€Å"The American Dream. † The novels and short stories of Scott Fitzgerald are documents that illustrate the hazy and glamorous Jazz Age, and had Fitzgerald’s own life been any less hazy and glamorous, some of America’s greatest literature may not have come to pass. THE LIFE OF SCOTT FITZGERALD Francis Scott Key Fitzgerald was born September 24th, 1896 in St Paul, Minnesota, the only son to middle class parents, Edward and Mary Fitzgerald. His parents instilled him with a fear of failure, and an obsession with wealth that would haunt his life’s ambitions. At an early age, he proved himself an imaginative and talented writer, and despite some academic struggles, he was accepted to Princeton in 1913. Intent on following his family’s advice, Fitzgerald dedicated himself to the pursuit of social and intellectual attainments, the path he believed would lead him to fame and fortune. He joined any extracurricular activity that he believed would increase his social standing on campus, but the beginning of WWI put an end to any possible fruition of his efforts. He left Princeton for the army in 1917, and was stationed at Camp Sheridan in Montgomery, Alabama, where he began work on a novella called The Romantic Egotist. It was also there that he met the woman who would change the course of his life forever. Her name was Zelda Sayre, the â€Å"golden girl†, and in her, Fitzgerald met his match in both ambition and extravagance. They had a whirlwind romance, but in the summer of 1919, Zelda grew tired of waiting for his success, and ended their relationship. Devastated by her rejection, he moved back to St. Paul, more determined than ever to become rich enough to win Zelda back. He rewrote The Romantic Egotist and in a letter to his publisher wrote, â€Å"I have so many things dependent on its success—including of course a girl† (Bryer and Barks 149). In 1920 This Side of Paradise was published. The novel was an overnight sensation with postwar youth, and two weeks later Fitzgerald and Zelda were married. They became the icons of success and youth, the first â€Å"it† couple if there ever was one, but the tumultuous beginning of their relationship never quite faded away. He and Zelda lived far outside their means, and Fitzgerald continually sunk into debt. Zelda’s impulsiveness, once interpreted as charming, had become erratic, and emotionally draining for Fitzgerald and his writing suffered. While living in Europe, Zelda overdosed on sleeping pills, and flung herself down a flight of stairs in a jealous fit. Fitzgerald had Zelda institutionalized, and she was diagnosed with schizophrenia. Fitzgerald’s dream of his muse had become a nightmare, and he worked through his emotions the way he always had, through writing, and Tender is the Night was the result. Fitzgerald died of a heart attack in 1940, while writing his final novel, The Last Tycoon. Zelda died not long after, locked in a room awaiting treatment as the sanitarium set fire. They are buried together, with a shared headstone that quotes the final words of Fitzgerald’s masterpiece, The Great Gatsby. â€Å"So we beat on, boats against the current, borne back ceaselessly into the past† (172). FITZGERALD AND THE JAZZ AGE Perhaps the most vivid and poetic character of any Fitzgerald novel is â€Å"The Jazz Age† itself. The historical backdrop of the glamorous world of Flappers and speakeasies that’s envisioned when one thinks of the â€Å"Roaring Twenties†, make the perfect canvas for Fitzgerald to place his characters, who share Fitzgerald’s own conflicted feelings on Jazz Age morals. The Great Gatsby and This Side of Paradise both center on the theme of love warped by status seeking. They can be read as harsh criticisms of 1920s America, and its disintegration during an era defined by material excess. With the end of WWI the American economy soared and brought about an era, from 1920-1931, which was marked by unprecedented national wealth and prosperity. The rise of the stock market and the shock of the war left America with a generation that compensated for the chaos by creating a society centered on materialism. People began to spend and consume like never before. The conservatism and modest values of Victorian society that marked the previous generation were too suffocating for the youth who grew up fast during the â€Å"Great Crusade. A person from any background now had the opportunity to earn a fortune, especially if they were helping to supply the demand for bootleg liquor, such as Jay Gatsby was. But this giddiness was short lived, and after the stock market crash, those that had enjoyed the rapid succession from penniless to millionaire as a bootlegger, quickly lost everything as the economy crumbled. You read "The Life and Literature of F Scott Fitzgerald" in category " Life" Even before the stock market crash, Fitzgerald portrayed the decay of the Jazz Age as the self-consuming society of excess that couldn’t possibly be sustained through its greed and cynicism. Fitzgerald always idolized the luxurious lifestyle of the rich. As the Fitzgerald’s fame rose in the early 1920s, he found himself slowly being seduced by the opulence of his newfound life. But despite the excitement of his new life, Fitzgerald struggled with the mixed feelings of hypocrisy associated with falling in love with a girl who was everything he’d ever dreamed of, but who led him toward the materialism he had once despised. Fitzgerald developed his characters as representations of these inner conflicts. Arthur Mizener, Fitzgerald’s most noted biographer, wrote that Fitzgerald’s work so perfectly defined the Jazz Age because Fitzgerald nfused both sides of himself into what Mizener called â€Å"the middle-western Trimalchio and the spoiled priest† (297). The symbol of the green light on Daisy Buchanan’s dock in The Great Gatsby represents Fitzgerald’s hope for the future, but also the awareness that it may never be realized. Writing The Great Gatsby allowed Fitzgerald to confront his feeli ngs on the superficiality of his world and its inhabitants. Even the title The Great Gatsby is a reflection on the Jazz Age as a masterful illusion. THE AUTHOR AND THE HERO The heart of any study on Scott Fitzgerald is of course his work. However, Fitzgerald wrote only about himself and the people and places with which he was familiar, therefore his life and his work are inextricably bound together. â€Å"There were four or five Zeldas and at least eight Scotts,† as James Thurber once put it in his book Credos and Curios, â€Å"so that their living room was forever tense with the presence of a dozen desperate personalities, even when they were alone in it. Some of these Fitzgeralds’ were characters out of a play or a novel, which made the lives of the multiple pair always theatrical, sometimes unreal, and often badly overacted† (63). In fact, reading This Side of Paradise is like reading a biography of Fitzgerald. A young man from the Midwest serves in the army, falls in love with a rich socialite, and they break up, leading him to search for success by any means available. Jay Gatsby and Amory Blaine, the young dandy protagonists of The Great Gatsby and This Side of Paradise, pursue and glorify wealth to win the affections of the woman they love, much like Fitzgerald himself did to win Zelda Sayre. Gatsby and Blaine are perpetually romantic adolescents whose lives are based on the mistaken idea that enough money and fame can keep the love and beauty of the past crystallized forever. The romanticism of Gatsby and Blaine, which at first rises above the frivolity Fitzgerald associated with Jazz Age society, eventually disintegrates to unveil the corruption wealth causes. The Great Gatsby’s narrator, Nick Carraway, is a young man from the Midwest with an Ivy League education, exactly like Fitzgerald. Nick’s background makes him an ideal narrator because he is able to see past Gatsby’s superficialities to the man underneath. Fitzgerald uses Nick to express his opinion that an ideal based on a materialistic foundation is a self-defeating and ultimately destructive goal. Then lastly, there’s the girl. The object of all-consuming affection. Fitzgerald’s muse for his female protagonist was of course his wife, Zelda. In fact, she was more than just a muse. After sharing her personal diaries with Fitzgerald, he used verbatim quotes to write the character of Rosalind Connage in This Side of Paradise. He wrote, â€Å"all criticism of Rosalind ends in her beauty† (Bryer and Barks 201) and told Zelda â€Å"the heroine does resemble you in more ways than four† (230). Like Daisy Buchanan in The Great Gatsby, Zelda never took to motherhood and was never particularly domestic. According to Fitzgerald’s Notebooks, the famous line from The Great Gatsby, â€Å"I hope she’ll be a fool–that’s the best thing a girl can be in this world, a beautiful little fool† (Fitzgerald 22), is based on what Zelda said after her daughter, Scottie, was born. The most accurate portrayal of Zelda is most likely in Tender is the Night, Fitzgerald’s last completed novel. This is a story of a man of almost limitless potential who makes the fatal decision to marry a beautiful but mentally ill woman, and who ultimately sinks into despair and alcoholism when their doomed marriage fails. He wrote it about their time in Europe, and the Lost Generation community of writers, a term coined by Fitzgerald’s close friend Ernest Hemmingway to describe those who came of age during World War 1, including Gertrude Stein, T. S Eliot and Waldo Peirce. In the novel, he chronicled the decline of Zelda’s mental health, and his discovery that she would never return to the way she was. The Zelda in this novel not was the glorified beauty of This Side of Paradise or The Great Gatsby, and she a wrote a semi-autobiographical account of her own as a form of revenge against Fitzgerald after their marriage dissolved. After she was committed, Fitzgerald wrote in his Notebook, â€Å"In an odd way, perhaps incredible to you, she was always my child (it was not reciprocal as it often is in marriages) †¦ I was her great reality, often the only liaison agent who could make the world tangible to her† (478). â€Å"SO WE BEAT ON†¦Ã¢â‚¬  (Fitzgerald, 172) The beginning of The Great Gatsby is prefaced by a poem written by a fictional character from This Side of Paradise. It reads, Then wear the gold hat, if that will move her; If you can bounce high, bounce for her too, Till she cry ‘Lover, gold-hatted, high-bouncing lover, I must have you! (6) If the words of Jonathan Franzen are true, then it can be assumed that Fitzgerald’s greatest adventure into the unknown was his relationship with Zelda. Their relationship became the basis of his life’s work, which made him one of the greatest storytellers American literature has known to date. How to cite The Life and Literature of F Scott Fitzgerald, Essays

Romeo and Juliet coursework, production notes Essay Example For Students

Romeo and Juliet coursework, production notes Essay The aims of this essay are firstly to illustrate my own ideas and concepts as to how a selection of extracts from scenes in Romeo and Juliet should be produced, as well as proceeding to critically compare my own vision of the scenes production against that of Baz Luhrmann, the director of a modern take on Shakespeares classic love story. Before I can do that effectively however, a brief overview of Romeo and Juliet must be given. The prologue of the play is essentially an introduction, and that will therefore be my source: Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star crossd lovers take their life; Whole misadventured piteous overthrows Do with their death bury their parents strife. The fearful passage of their death markd love, And the continuance of their parents rage, Which, but their childrens end, nought could remove The first of the extracts I will discuss is to be found in Scene I.i, line 46-47: Sampson: No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir. This extract is taken from the first act of the first scene, which is set in a public place, the middle of Verona, the city in which the story is based. This particular scene finds servants from the houses of Capulet and Montague quarrelling in the street, not a rare occurrence, as hinted in the prologue. I perceive an immediate sense of irony through Shakespeares choice of name for this man, a servant from the house of Montague, Sampson. Biblically Sampson was one of the strongest men ever to have lived, yet in this scene, the attitude and personality of the man sharing his great name comes across as terribly weak and incredibly irresolute. We know this from lines 43-44, where Sampson asks his kinsman, Gregory for advice as to how the law perceives a situation such as his (the biting of his thumb, and any consequences this may have) when it is his responsibility alone. He goes on to then fabricate the pitiable excuse above in a desperate attempt to save himself from a fight that he, by all accounts, started I see no need for any special backdrop for this scene, for I do not believe the location, other than the fact it is in a public place, is particularly relevant. Any backdrop available, whether it be white, black or illustrated with houses will be suitable. However, as this is the opening scene, and it is designed to introduce the audience to the state of ill affairs between the two houses of Montague and Capulet, I believe that it was Shakespeares intention to accentuate as much as possible the fact that they are in a public place and to give the audience an immediate insight into the attitudes shared by the two houses indifference to any adverse effects on the public caused by their feuding. I shall therefore attempt to replicate this in my production of the scene and to gain more of a feel for a public place in the 1500s, I believe that various stalls should be set up, with bales of hay and other props (carts full of goods etc) giving it a vibrant feel full of happy people. In the middle of the stage the Montague servants will be sat, casually on a wall or some other form of prop raucously mocking the house of Capulet. Their tone, whilst harsh, should come across as very exaggerated, making it seem to the audience that there is no doubt they are merely picking fun. The spotlights should be bright and the general atmosphere one of day to day activity. Once the servants from the house of Capulet arrive however, that mood will change very severely and very quickly, with the spotlights dimming and the crowd generally dispersing, but with some remaining in hiding positions behind carts etc. This will give an atmosphere of expectancy, as if the public know what is to happen next, installing the idea in the audiences minds that this is not a unique occurrence. The servants from the house of Montague will already be present from the beginning of the scene, so no entrance is required, however the way they behave on stage is crucial to my scene. They will sit right in the middle of the market, in everybodys way, but refuse to move when prompted and casually push away those who try to shift them. They should take items from the stalls, but not pay, and threaten the vendor when he prompts them to pay up. The way in which the servants from the house of Capulet enter will be also very significant, particularly in this early stage of the play, to introduce to the audience what they are about. Whilst at first they should remain ignorant to what is being said about their house as they walk by, their walk should still be strong and powerful. They should walk in a line, barging past members of the public until they reach the Montagues, where they should stand over them menacingly, hands on swords, ready to draw. I believe that the costume for both sets of servants should be extravagant to the last degree, thus making it impossible for the audience to recognize that these are mere servants without paying attention to the script; for this will sum up the attitudes of the two houses entirely, each trying desperately to impress, each trying to be one up on the other. It should be evident that this is so much the case that the two houses will even go to the lengths of dressing up their servants, who would at this time in history normally wear rags, to impress and moreover to show up the other house. I believe that both sets of servants should wear near identical sets of clothing, for this will further increase the sense of irony in the situation, both sets of servants are dressed the same, both have the same arrogance (Montagues shown by the way they are not moving for the stall holders, thinking they are above them then stealing and refusing to acknowledge the vendor, and the Capulets through their entrance, knocking people over) and both are adamant that their houses are better than the other (Montagues attitude apparent through constant mockery of the house of Capulet, and the opinion of the Capulet servants through their reaction to that mockery). The irony will lay with the fact these houses are fighting at all, so similar are their ways. I believe that this was Shakespeares intention, and also that this is the sub plot around which the whole tale is based; it takes the death of the two members of the opposing houses who realise how similar they are for this stupidity to ce ase, tragically however it is too late. Drama Evaluation EssayEven the extract chosen for my analysis has been turned into a show of Romeos masculinity in Lurhmanns adaptation of the scene: rather than portraying Romeos words as reassuring and comforting to a troubled Juliet, Luhrmann has Romeo yell the words, daring twenty guards to challenge him, only to be silenced by a giggling Juliet, warning him flirtatiously that it was not prudent. Through doing this he removes any meaning from Romeos words, and they therefore splash meaninglessly over the audience, instead of being taken in accompanied by adoring sighs and tears. Whilst this lustful approach takes so much away from the scene, it does also serve to highlight the ridiculousness of the whole relationship, and the speed at which it is materialising out of seemingly nothing. The fact that Luhrmann accelerates the process, goes straight past romance and into desire does highlight this, but it makes the scene a huge disappointment to watch nonetheless. It also serves to highlight the age at which the protagonists are which is of course early teens. For a modern adaptation it maybe makes sense to have a teenage relationship portrayed as nothing more than a typical teenage relationship, for example when he chose to set the scene predominantly in a pool, with the timeless characters of Romeo and Juliet rarely detached from one another, the setting may have been thought to have more modern contextual (particularly socially) significance with twenty first century American teenagers, but then of course we must remember that this is not a normal relationsh ip, this is Romeo and Juliet, the ultimate story of compassion and love. Or at least it was. My own scene would be produced far, far from that which Baz Luhrmann created. I would keep the setting elegantly simple, with the only prop being a balcony (or at least a raised plinth if the former was unavailable). This would serve to help the audience forget that these two came from families traditionally regarded as mortal enemies, and allow them to concentrate upon what was actually important in this scene: Romeo, Juliet and their love. My stage lighting would be dim all around, save a brighter patch on Juliets face, to symbolically tie in with what Romeo says at the beginning of the scene on lines 3-4 about Juliet being the Sun. I would have both wearing very simple garments, so as to remove any focus away from what is being said between the two; Juliet would don a plain white gown/nightshirt, and Romeo, having removed his costume from the fancy dress party, would be wearing plain under clothes, like long johns and a traditional white shirt. In addition to keeping focus on the two lovers, the costumes will also serve to symbolically show how the two reject their families normal customs: whilst even the servants were draped in hugely elaborate clothes in the earlier scene, here are these two, members of the families themselves wearing nothing but the plainest of attire. I would position the balcony in the rear corner of the stage, facing the audience slightly at around a thirty degree angle, so as to ensure that both protagonists faces are visible, so the audience can see the changes in expression as the words are received and the genuine nature of that which is said through the gestures used by both. This will add another dimension to the scene, so the audience can see and hear their reactions and responses. So far as facial expressions are concerned with the extract in question, I would have Romeo almost grimace at the start of the speech Alackeye, as if he is trying his utmost to convince Juliet that no harm will come to him, as a result of their relationship and that all that matters is their love. I would have him gradually relax his face, and change to a more imploring expression, with a hand outstretched toward the last words, begging her to accept how he perceives things to be true. I would have Juliets facial expression far more resolute, as if she knows what she wants, and she is more doubtful of what Romeo is saying. This resolution will suffer a momentary lapse however, when a wistful look comes across Juliets face momentarily, giving the audience an idea that, though she is making a good attempt at reasoning with the love struck Romeo, she does not really believe what she is saying. The way in which Romeo speaks these words can alter their meaning quite dramatically, as illustrated through Luhrmanns production. For my own adaptation of this famous scene I would have Romeo speak the words in an almost desperate voice to start with, as if he is beseeching Juliet to accept his words. I would have some words accentuated, for example the word proof should be spoken with more resolve, as should the word twenty. The reason that these words should be uttered with more conviction is that these are the words that make up the reassurance in this sentence. Exaggerating the words such as peril and swords would not make sense as Romeo is trying to encourage Juliet, not dissuade her by installing dire images in her head. Juliet will be positioned on the balcony for much of the scene, and an element of distracted pacing will be the only form of real movement. This will serve to show how restless she is, how much she loves Romeo, but also that she is being prudent and trying to slow things down by distracting her mind she will look up to the heavens, both at times when Romeo says something particularly strong or romantic look thouenmity, and also when she has to try particularly hard to resist, and think of more questions to counter his resounding argument for love. Romeo on the other hand will stay rooted to the spot from the moment he reveals himself to Juliet, staring into her eyes as if transfixed, not even breaking gaze to speak. This will show his compassion towards her, and also that he wants to spend the rest of his days with Juliet. I believe the skills Shakespeare possessed in stagecraft come to the light very strongly through this scene in particular. The fact that Juliet is up high, and Romeo at her feet begging her to admit she loves him is symbolic of the scene as a whole; with Juliet refusing to give too much away she is in control, up high, and with Romeo blindly wishing and desperately stringing together reasons they should love in the lower position. This is another aspect of the play which I believe is lost when, like Baz Luhrmann you adapt such key scenes into your own visions; you lose the vision of the greatest playwright there ever was.