Current Open Visitation Practices Within The Critical Care...

Introduction. The introduction will provide a contextual overview of the current open visitation practices within the critical care setting. The introduction will begin by highlighting the American Association of Critical-Care Nurses’ and Canadian Association of Critical Care Nurses’ support for open visitation practices and include the argument that unrestrictive family presences is indicative of patient- and family-centered care. Next, the barriers that prevent open visitation and the implications for practice will be acknowledged. The main barriers preventing open visitation that will be briefly introduced (a detailed discussion will occur in the later portion of the text), and include skewed nursing perceptions, gaps in knowledge about the beneficial effects of unrestrictive family presence, and lack of formal visitation policies. It will be argued that the main implication for practice is decreased patient and family satisfaction resulting from incongruent visita tion practices. Finally, the solution of educating nurses about the benefits of an open visitation policy on patients and families will be proposed. Rationale for the solution will be provided. Purpose statement and aims. The introduction will provide context for the following purpose statement: the purpose of this review article is to gain a better understanding of how critical care patients and families can benefit from open visitation policies. The review article aims to answer the following threeShow MoreRelatedAn Elective Abdominal Aortic Aneurysm Repair1187 Words   |  5 PagesCase Study Mrs. K, 72, was admitted to the critical care unit following an elective abdominal aortic aneurysm repair. Before the surgery, Mrs. K, a retired elementary teacher, worked part-time at the local library running a children’s reading program. She was completely independent in her activities of daily living and lives alone in a one-bedroom apartment. Mrs. K has regular contact with her only child, a daughter, whom she sees every night for a visit. Two days following surgery, Mrs. K developedRead MoreManuscript Text Or Running Head1672 Words   |  7 Pagespoints within various sections of the review article (APA, 2010). Introduction. The introduction will provide a contextual overview of the current open visitation practices within the critical care setting. The introduction will begin by highlighting the American Association of Critical-Care Nurses’ and Canadian Association of Critical Care Nurses’ support for open visitation practices and include the argument that unrestrictive family presence is indicative of patient- and family-centered care. Read MoreEvaluation Of An Intensive Care Unit ( Icu )3111 Words   |  13 PagesIntroduction Admission to an Intensive Care Unit (ICU) is recognized as an extremely stressful experience for both patients and their families (Williams, 2005). 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Food Choices Chicken And Apples Essay - 827 Words

Food Choices: Chicken and Apples In this paper, I will give my findings about non-organic and organic chicken production and also the production of non-organic and organic apples and if chemical fertilizers or pesticides are use in the production of these foods, and how they affect human nutrition, health, and the environment, and lastly some changes I would when buying foods the store after researching. The protein and produce I chose was Chicken and Spinach. Commercial chicken (Non-organic) goes through a process which contains a feed mill, hatchery, processing plant/chicken farm. Chicks go from the hatchery to climate controlled chicken houses (holds around 20,000 chickens) until and when old enough to be slaughtered, they are loaded up and taken to the processing plant. (Advameg, Inc.) When the chicks are ready to lay their eggs, they are collected and taken to an incubator. The eggs are placed in a warm incubator and wait to hatch. Once hatched, they go live in chicken houses and are feed different types of hormones, steroids, or chemicals. If the birds are sick, they treat them with antibiotics. They are then collected and taken to the processing plant. In the processing plant, they slaughter the chicken, remove the feathers and then the internal organs are removed. Lastly, the chicken is cleaned, chilled and then cut. Non-organic meat is similar to organic meat but contains a ntibiotics or hormones. Now with organic chicken, they must follow certain standards andShow MoreRelatedWhat Are The Menus Choices Offered At Mcdonalds Case Study1477 Words   |  6 Pages Stage 2: Food and Hospitality Investigation Task Introduction Healthy eating is eating from a rage of foods that give of the nutrients required to maintain your health, feel good, and have energy. These nutrients include proteins, Carbohydrates, fats, water, vitamins, and minerals. Nutrition is essential for everyone. 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Opening Paragraphs for a “Heroes” Essay Free Essays

A hero is defined as a man of distinguished courage or ability, admired for his brave deeds and noble qualities. People desire someone to admire at certain times to help lead and guide them. The many paths of life help to shape heroes. We will write a custom essay sample on Opening Paragraphs for a â€Å"Heroes† Essay or any similar topic only for you Order Now They can be found anywhere from a police officer to a football player. Everyday people will look for them for inspiration for themselves. Heroes push us to strive for more out of life while also helping us through tough times. Heroes are very important to our way of life and shape our view of life. People need heroes for three reasons: devastation, tragedy and losses. The devastation of an event can cause a person to need a hero, someone to look to for answers. When a person encounters a tragedy, they also try to look to someone as a solution for their problems. People encounter losses everyday and each day they seek guidance. In each of the above situations, persons yearn for a hero. Certain events in our life can have profound effects on us. A lot of time, it is from devastating events. Devastating events can be extremely disappointing and heart wrenching. Battling our way out of these events can truly show the heart of a person. Heroes shine in times such as these. They battle through the hardest of adversity and win. These adversities can range from the simple to the momentous. When devastation occurs, persons are in a hole, looking for a way out and find their shining hero at the end to help save them. This is where the heroes come in making for a great ending and promising future. Heroes in this situation are made through experience and knowledge of how hard such devastation can be. People then look to them to see how they got through it and can follow their example. When a disappointment occurs, persons need to know that there is hope, hope knowing that someone else overcame the same obstacle. We all encounter devastations but tragedies are encountered less often. How to cite Opening Paragraphs for a â€Å"Heroes† Essay, Essays

Not just a cabaret Essay Example For Students

Not just a cabaret Essay Weimar recreated at Louisville Classics Festival, highlighted by rare visit of the Berliner Ensemble. In the 1920s, Berlin was a city with a case of the jitters. From the abdication of the Kaiser in 1918 to the appointment of Adolf Hitler as chancellor of the Third Reich in 1933, Berlin and Germany experienced, in the words of John Willett, a breathing space between two ambitious, authoritarian and militarist regimes. During this interlude of democracy known as the Weimar Republic, artists of all stripes were troubled and inspired by a disquieting sense of calamity. The Actors Theatre of Louisvilles seventh Classic in Context Festival The Theatre of the Weimar Republic: Germany 1918-1933   demonstrated just how severe and widespread the Weimar angst came to be.  Wimar is, in a way, a subject made to order for a festival which, under the guidance of ATL literary manager Michael Bigelow Dixon, aims each year through performances, lectures, films, colloquia and exhibits to conjure tthe genie Zeitgeist out of the bottle. Bracketed so cleanly by historical events, overshadowed so co mpletely by the fallout of World War I and the approaching storm clouds of National Socialism, the period oozed a paradoxical sense of hopelessness and possibility.  The so-called Golden Twenties were not so golden. Economic hardship and spiritual confusion were rife; the use of narcotics was so widespreadd that you could purchase cocaine at a corner frankfurther stand; prostitution was ubiquitous. Inflation was so severe that devalued currency was sold as waste paper and people stole stamps from mail awaiting pick-up. In the spreading barter economy, a theatre seat cost two eggs, and on the right night you could catch a Berlin cabaret dancer named Anita Berber at the White Mouse performing in the nude. The poet Stefan Zweig called it an epoch of high ecstasy and ugly scheming, a singular mixture of unrest and fanaticism.  At this years festival (which, due partly to funding cutbacks, was short on Classics and long on Context), lectures by Weimar scholar John Willett and emigre director Heinz-Uwe Haus and a lobby display by Laurence Senelick of Tufts University chronicled the efflorescence of activity across the arts during the Weimar years: the collective Schrei of expressionism, Gropius and the Bauhaus, the neo-classicism of Reinhardt and Jessner, Schonberg and Hindemith and Eisler, the eukinetics of Laban and Wigman, George Grosz and Berlin Dada. Piscator and epic theatre, to name a few. Louisvilles J.B. Speed Art Museum simultaneously examined the Weimar aesthetic in two ambitious exhibits   Faces of the German People, the stoically elegant portraits by photographer August Sander, and abstract color studies by Bauhaus pioneer Josef Albers. All these developments manifested the same almost desparate zeal for experiment and the revolutionary effort to dissolve the barriers between high and low art. The crossroads of Weimar culture was Berlin, a city feverishly at work and play, judging by Walter Ruttmanns 1927 film Berlin: Symphony of a Great City. Inspired by the principles of photomontage and a futurist fascination with speed, Ruttman depicted a cinematic day-in-the-life of the teeming metropolis filled with dizzying images of men, motion and machines. As part of the festival, Louisville jazz pianist Steven F. Crews arranged and performed the original score, along with the film, lending it an immediacy that made it a touchstone for the frantic Weimar energy.  The festival focused its theatre offerings on the two most enduring playwright of the day: Bertolt Brecht and Odon von Horvath. Bypassing the quintessential Weimar play, Brechts Threepenny Opera, ATL artistic director Jon Jory selected Horvaths Tales from the the Vienna Woods as the festivals major production and tapped Mladen Kiselov, former resident directors of the National Theatre of Bulgaria, to direct it. As a co unterbalance, three veterans of the famed Berliner Ensemble actors Carmen-Maja Antoni and Hans-Peter Reinecke, and composer pianist Hans-Karl Nehring   were imported to perform Love and Revolution: A Brecht Cabaret.  This might have been the occasion for the U.S. premiere of the full Berliner Ensemble, but the rapid changes in reunified Germany ruled that out; the Ministry of Culture is in the process of shuffling two very differen state-subsidized theatre systems into one. .u4da84dd35bafea43d29dc8e08c7523dd , .u4da84dd35bafea43d29dc8e08c7523dd .postImageUrl , .u4da84dd35bafea43d29dc8e08c7523dd .centered-text-area { min-height: 80px; position: relative; } .u4da84dd35bafea43d29dc8e08c7523dd , .u4da84dd35bafea43d29dc8e08c7523dd:hover , .u4da84dd35bafea43d29dc8e08c7523dd:visited , .u4da84dd35bafea43d29dc8e08c7523dd:active { border:0!important; } .u4da84dd35bafea43d29dc8e08c7523dd .clearfix:after { content: ""; display: table; clear: both; } .u4da84dd35bafea43d29dc8e08c7523dd { 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; } .u4da84dd35bafea43d29dc8e08c7523dd:active , .u4da84dd35bafea43d29dc8e08c7523dd:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u4da84dd35bafea43d29dc8e08c7523dd .centered-text-area { width: 100%; position: relative ; } .u4da84dd35bafea43d29dc8e08c7523dd .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u4da84dd35bafea43d29dc8e08c7523dd .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u4da84dd35bafea43d29dc8e08c7523dd .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; } .u4da84dd35bafea43d29dc8e08c7523dd:hover .ctaButton { background-color: #34495E!important; } .u4da84dd35bafea43d29dc8e08c7523dd .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u4da84dd35bafea43d29dc8e08c7523dd .u4da84dd35bafea43d29dc8e08c7523dd-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u4da84dd35bafea43d29dc8e08c7523dd:after { content: ""; display: block; clear: both; } READ: The opening Scenes of Dracula EssayManfred Wekwerth, a student of Brechts and artistic director of the Berliner Ensemble since 1977, was dismissed this past spring because of his role in the Communist Party Central Committee, casting the future of the company (and the hegemony of the Brecht family) very much in doubt. News circulated in Louisville that a five-man artistic directorate   playwright Heiner Muller, directors Peter Zadek and Mattheais Langhoff, former Ensemble dramaturg Peter Palitzsch and company member Fritz Marquart   had just been appointed to redefine the Ensembel, which, it seems, will hold onto the Theatre am Schiffbauerdamm but lose much of its stat e subsidy.  Under these circumstances, the Ensembles mere presence eclipsed its own performance. Love and Revolution, more concert than cabaret, offered an off-the-rack miscellany of 33 Brecht songs which probe private and public affairs with the masters familiar irony. Performance in German, Antonis and Reineckes gestical singing made the moments of moral outrage, melancholy and mockery perfectly clear, but the air of uncertainty at home gave the event even more wrenching irony than Brecht intended. During a Sunday morning colloquiu, Antoni solicited American compassion when she lamented, with a mixture of pride and bitterness, We may be the last three to come to the USA under the red circle, referring to Brechts logo for the Berliner Ensemble. Now that change is afoot, the red circle may disappear.  If Brecht was Weimars Ibsen, creating dialectical dramas which challenge society and the human spirit to remake themselves, Horvarth was its Chekhov, proceeding by indirection to portray a petit bourgeois world so bent on diversions that it does not perceive its own depravity. Tales from the Vienna Woods offers a gallery of Weimar types the loutish butcher who bits when he kisses, the superior young Nazi who loves opera and disdains operetta, the leechy gigolo who knocks a girl up and then sends the baby off to live with his mother, the idealistic heroine whose interest in eurythmics leads her to a humiliating role in a cabaret floor show   all of whom suffer from the same cult ural disease: stupidity.  As translator Christopher Hampton put it during a panel discussion, Horvarths myopic characters are people who talk to each other with great authority about subjecs they know little about. There is something unbecoming, even surly, about the way they treat each other, and despite a few strident performances, the ATL cast captured the almost innocent naivete with which they go about it. Kiselov brought a cool and troubling air of alienation to the play by staging it on a bare black revolve designed by Paul Owen to absorb so much light that the characters often seemed to float in space, rootless and unconnected. Even when the moon is full in this production, it sheds only a faint, narrow beam on the isolated figures below.  In 1931, Tales from the Vienna Woods offered a cauttionary prophesy about how susceptible simple people are to simple solutions when they face conditionas too confusing or complex for them to comprehend. Horvarths play and the entire look back at Weimar culture took on a fresh urgency during the weekends final session, a colloquium entitled The Distant Mirror: Weimar and Reunified Germany. Two German foreign correspondents. Edda Baumann of Avanti TV and Thomas P.W. Schardt of Springer Foreign News Service, discussed the current climate in ways that made drawing parallels to the Weimar Republic tempting.  The many disparities, economic, political, social and cultural, between life in the GRD and the FRG have generated a reminiscent atmosphere of chaos. Schardt called reunification a wonderful catastrophe that no one was prepared for and many never wanted in the first p lace. East Germany never had a Vaclav Havel, he said. Maybe if it did, reunification would have had a different schedule. Baumann cited the revival of racism, particularly among East German youth, against Turks, Vietnamese, Arabs and Africans, as evidence of a disturbing drift to the right. .u7826336a7785ac85ff32ed2a6af97a5a , .u7826336a7785ac85ff32ed2a6af97a5a .postImageUrl , .u7826336a7785ac85ff32ed2a6af97a5a .centered-text-area { min-height: 80px; position: relative; } .u7826336a7785ac85ff32ed2a6af97a5a , .u7826336a7785ac85ff32ed2a6af97a5a:hover , .u7826336a7785ac85ff32ed2a6af97a5a:visited , .u7826336a7785ac85ff32ed2a6af97a5a:active { border:0!important; } .u7826336a7785ac85ff32ed2a6af97a5a .clearfix:after { content: ""; display: table; clear: both; } .u7826336a7785ac85ff32ed2a6af97a5a { 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; } .u7826336a7785ac85ff32ed2a6af97a5a:active , .u7826336a7785ac85ff32ed2a6af97a5a:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7826336a7785ac85ff32ed2a6af97a5a .centered-text-area { width: 100%; position: relative ; } .u7826336a7785ac85ff32ed2a6af97a5a .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7826336a7785ac85ff32ed2a6af97a5a .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7826336a7785ac85ff32ed2a6af97a5a .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; } .u7826336a7785ac85ff32ed2a6af97a5a:hover .ctaButton { background-color: #34495E!important; } .u7826336a7785ac85ff32ed2a6af97a5a .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7826336a7785ac85ff32ed2a6af97a5a .u7826336a7785ac85ff32ed2a6af97a5a-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7826336a7785ac85ff32ed2a6af97a5a:after { content: ""; display: block; clear: both; } READ: Theatre Royal Drury Lane EssayRacism against foreigners is a buffer against open conflict between East Germans and West Germans, she suggested. Schardt indicated the psychological complexity of that conflict when he mentioned how West Germans, who have had 40 years of prosperity to expiate the sins of Nazism and the Holocaust, suddenly and condescendingly expect East Germans to accept their share of responsibility.  This final sessin raised serious questions that seemed to be buzzing beneath the surface all weekend, questions that it couldnt possibly answer: Is reunified Germany entering another interlude of demoncracy between authoritarian regimes? Have the lessons of h istory been learned? If the 1991 Classics in Context Festival offered a glimpse at contemporary Germany through the distant mirror of Weimar, it was through a glass darkly.