Time management for nurses

Not only do nurses work to gain patients’ trust, but also patients expect nurses to give clinical care (physical, technical, and procedural) and personalized care. According to Dr. Groopman (2005) explains that finding time for patients by health care providers is a therapeutic process, as well as an outcome which requires time and effort.Advertising We will write a custom essay sample on Time management for nurses specifically for you for only $16.05 $11/page Learn More This involvement involves a process of knowing patients and a dialectic synthesis, through which they can integrate subjective and objective data (Groopman, 2005). They process information subjectively from direct observations of patients and from patients’ representations of their situations. Time management strategies that work best for nurses include analyzing the workday and prioritizing the workload. Depending on the individual situation, available resources, and safet y concerns, different strategies may be selected and implemented. Time may be managed successfully through the use of checklists, delegation, planning ahead, and by dividing large projects or tasks into smaller, more manageable undertakings. However, creating time for patients by health care providers may differ depending on the practice setting. For example, in home health care, Groopman (2005) identified six time management strategies: take control of your calendar, minimize time spent in office, tame the telephone, simplify documentation, plan ahead, and save time for others. Knowing patients has been described as a complex, interpersonal process requiring a number of nursing actions. The process of perceiving /envisioning patients help nurses actively transform observations of patients’ behavior into a direct â€Å"perception of what was significant in it† (Groopman, 2005). It is important for healthcare professionals to find time for patients because of identifyin g their needs and to know what can be done to improve the situation (Groopman, 2005). It allows health care practitioner develop skill in understanding patients’ subjective perceptions and objective clinical status. It allows practitioners expand and revise their knowledge about patients by obtaining direct data about patients’ bodies. Furthermore, spending time with patients helps nurses to understand their concerns about fears and anxieties, their personal preferences, their styles of coping, their stressors, and how to gain their trust (Groopman, 2005). It also builds on the partnership and relationship principles of trust, respect, support, communication, and commitment. The principles of spending time with patients can be used to build all types of partnerships, not only partnership with the patients.Advertising Looking for essay on health medicine? Let's see if we can help you! Get your first paper with 15% OFF Learn More In the health care sector, creation of time for the patients is a model that creates structures, tools, standards, and paths to accomplish the goal of healing and promoting wholeness. The impact of finding time for patients is that when patients get the responses they want, they feel good about their encounter with healthcare providers, and their need for positive interaction is satisfied. When patients feel good about their experiences, they are more willing to cooperate and are more likely to repeat their contacts with the practitioner. If their experience is negative, however, they are likely to avoid and limit further treatment. Depending on what is required to complete their care, patients’ avoidance may have very serious consequences. It may cause them to avoid getting needed help, or it may cause them to ignore the healthcare instructions they have been given. Finding time for patients is to establish a therapeutic relationship, which is directed at gaining an effective outcome from care that i s centered on the person person’s needs and life perspectives. Reference Groopman, J. (2005). Finding Time for Patients. Web. This essay on Time management for nurses was written and submitted by user Jav0n to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Free Essays on Student

Free Essays on Student A crust of bread and a corner to sleep in A minute to smile and a hour to weep in A pint of joy to a peck of trouble And never a laugh, but the moans come double A crust and a corner that love makes precious With smiles to warm, and tears to refesh us And Thats Life!...

Interview Essay Example | Topics and Well Written Essays - 750 words

Interview - Essay Example So many times, the unit has to work with families as a whole† in order to decrease the safety and risk factors that brought the children into states care in the first place†. Johnson’s job seems extremely difficult because they deal with families that have drug and violence problems, mental health issues and societal dysfunctions.  He is exposed daily to violence and other strenuous situations which could really take its toll in a period of time. Still, he performs his duties and responsibilities to reunite the children back with their parents or legal guardians. However, his department’s goals are seldom achieved. Nevertheless, he still continues to work and do his best to make a better place for Texans to live. With the strain employees can get from the situations described above, Johnson does not say he loves or even enjoys it. He claims though that â€Å"it takes a certain mentality to work at my job†. He tries to explain this by further saying, â€Å"There is a high degree of employee turnover and burn-out. My co-workers are all operating under the same level of stress and workload as I do, so there is an inherent bond we all share related to the understanding of what each co-worker has to deal with on a day to day basis†. ... consciously or unconsciously formed an action that benefits them emotionally and psychologically, assuring each other that they understand how they feel because they are going through similar situations. Probably, the knowledge that one is not alone in his struggles is already a great help for the employees especially for them who are dealing with difficult situations. This seems to be a different story told compared to other companies and departments. Nevertheless, perhaps the bond between the co-workers is more of a necessity that is called for by their circumstances and not an unusual occurrence that happen in their office. One negative impact of Johnson’s job is not having enough time with family. He claims that he loves his family, composed of a great wife and two children and mentions their cat and dog with a smile. He says he would really love to stay with them as much as he can. However, his job places restraints on this desire. He says, â€Å"I am on call 24 hours a day, and could have to go into work at anytime†. He further adds, â€Å"I often work more than an 8 hour day†. Asked how he handles situation between work and family, Johnson says he and his wife handle difficult situations the best way they can. He also informs that they learn from past mistakes and move on into better directions. When inquired if he ever tried some solutions to reduce pressure, he expressed his gratefulness for the counseling support given in their department. He also claims that with the nature of their work, it is not uncommon for the employees to seek counseling with therapists because they deal with really horrific situations. Speaking with therapists largely helps employees cope with stress however Johnson claims that whether or not employees are willing to deal with it is

The Nexus between agency theory and corporate governance Essay

The Nexus between agency theory and corporate governance - Essay Example This essay tries to explain the agency theory and corporate governance in the present day environment. Economists recently are more diverted to the phenomenon of organisation. The recently formulated organisation theory agency theory is different from the ones which existed in the past. Fama (1980) focused at the possible managerial labour market to restrain and guide individual decision-making expedience. In essence all these various statements are construed based on a few simple assumptions. These assumptions according to Donaldson (1990) are construed as a 'theory of interest, motivation and compliance'."Specifically, agency theory is directed at the ubiquitous relationship, in which one party (the principal) delegates work to another (the agent), who performs that work. Agency theory attempts to describe this relationship using the metaphor of a contract" (Eisenhardt, 1989: p58).The neoclassical school analyses the individual who tries to maximise or in the least to satisfy their utility between work and time off. This combination of assumed independence and selfish enthusiasm that is problematic within the relationship of agent and principal. In terms of corporate governance the shareholder is the principal. The problem arises due to the separation of ownership and control.According to Jill Solomon (2007) the failure to corporate governance and corporate crumple can take place in the firmest company. It is possible to seduce the Investors, creditors and employees through a company's repute and achievement. This can even throw caution to the wind. If the agents of economic accountability were intellectuals, as it is a must based on the economic and finance theory, this form of sightlessness could never occur. But the problem is that it does happen, investors behave rationally not always, and the factors of human behaviour and psychology are tricky to fit in a finance framework or an economic hypothesis. Cases of irrational behaviour in the UK during the 198 0s were that of Polly Peck and Coloroll. This was a case when the capitalist found very important information relating to contingent liabilities were missing from the accounts of these companies (Smith et all, 1992). Differences between managers and shareowners Agency theory brings up a basic problem in organizations and that is self-interested conduct. The managers of a corporation normally have their own goals which often cross roads with the proprietor's goal of maximising shareholder wealth. As it is the shareholders who give power to the managers to manage the firm's wealth, a prospective difference of opinion arises between the two groups. Agency Cost How does the agent that is the company directors serve the principal that is the shareholders is the question. The solution lies in accepting certain agency costs. These costs involve either in producing incentives or approve which adjust executive egoism with the concerns of shareholders. Or else they may be involved in supervising executive behaviour in order to restrain their self-interest. This led to the development of the number of non-executives on the company boards. Also it resulted in augmented arrangement of their function and considerations of freedom, leading to reforms all over the world. The separation of the part played by the chief executive and that played by the non-executive has been made a part of this reform. The establishment of audit, compensation, and recommendations committees is actually independent non-executives appointed to assure the proper use of the incentives and also to check the performance of the executives. These internal controls

Operation Strategy w3 Essay Example | Topics and Well Written Essays - 250 words

Operation Strategy w3 - Essay Example The difficulty is the services marketing arises because there is an absence of any physical product in the business. The customer’s needs vary from one individual to another and because of this reason; services have to be modified in order to serve each client. There are four basic process strategies that are described as follows: - The strategy focuses on the product as the name suggests and it works towards the betterment of product and service quality (van de ven, 1992). The low level of standardization is used while; the product designed is generic in nature. This strategy requires the division of a process into various steps and these steps are taken separately in order to minimize the possibility of an error (van de ven, 1992). The assembly line manufacturing is a common instance. The strategy focuses on designing a specific product for a client so that his or her needs can be fulfilled optimally (van de ven, 1992). The customer satisfaction is the ultimate concern of this approach. The example includes the garment shop that is vending professional suiting for both males and females. The concept is to take a specific order in the light of purchaser’s buying power and other aspects. The idea is to maximize customer satisfaction. Reimann, M., Schilke, O., & Thomas, J. (2010). Customer relationship management and firm performance: the mediating role of business strategy. Journal of the Academy of Marketing Science 38 (3) ,

The Different Scopic Orders Of The Modern Era Film Essay

The Different Scopic Orders Of The Modern Era Film Essay The modern era has allegedly been dominated by the sense of sight, in a way that has seen it set apart from the premodern era and the postmodern era. In his text Scopic Regimes of Modernity Martin Jay draws our attention to scopic order in the modern era, which is an area with many conflicting views that are not often in alignment with each other. Jay argues the point that there may not be one unified scopic regime, a term used by french film theorist Christian Metz, and that there is room for argument with the idea that there are a number of competing regimes associated with the modern era. Jay looks at the mirror of nature, a metaphor in philosophy by Richard Forty, the emphasis of surveillance that was put forward by Michel Foucault, and the society of the spectacle argued by Guy Debord. Jay also goes on to look at the arguably dominant scopic regime known as Cartesian Perspectivalism, what is normally claimed to be the dominant, even totally hegemonic, visual model of the modern era. Also discussed are the major competitors to Cartesian Perspectivalism, which includes mapping, which is, a visual culture very different from what we associate with Renaissance perspective, one which Svetlana Alpers has recently called The Art of Describing. and the third model of vision, which is best identified with the baroque. Wà ¶lfflin later called it, the classical style, the baroque was painterly, recessional, soft-focused, multiple, and open in his study, Renaissance and Baroque. Jacqueline Roses quote used by Jay to back up his opinion that there are many views which come into play when discussing the subject of scopic regimes, our previous history is not the petrified block of a single visual space since, looked at obliquely, it can always be seen to contain its moment of unease. (Rose, 1986, p.232-233.) Jays argument continues with him writing about the idea that this subject is not one of solidity. Bringing in the notion that the topic of, scopic regimes of modern ity, is best discussed on what he describes as, contested terrain, rather then harmoniously integrated complex of visual theories and practices. Modernity has often been considered resolutely ocular-centric, which is the act of basing all experience on the perception of the eyes, with sight being very direct and centered. The invention of printing reinforced the advantage of visual aids such as the telescope, which with its con-vexed lens helped expand the apparent angular size of distant objects. Along with the microscope, which aids the eye to see objects that are too small visually for the naked eye. These inventions helped put more emphasis on sight and vision. It is difficult to deny that the visual sense has been dominant in modern western culture in a wide variety of different ways, with Martin Jay calling visionthe master sense of the modern era. Scopic Regime, a term first coined by French film theorist Christian Metz in his book The Imaginary Signifier a study on cinema and psychoanalysis. It was used to distinguish the differences from the cinema to the theatre. What defines the specifically cinematic scopic regime is not so much the distance kept, the keeping itself (first figure of the lack, common to all voyeurism), as the absence of the object seen. (Metz, 1982, p.61.) The cinema is profoundly different from the theatre as also from more intimate voyeuristic activities with a specifically erotic aim. METZ It is the last recess that is attacked by the cinema signifier, it is in its precise emplacement that it installs a new figure of the lack, the physical absence of the object seen. In the theatre, actors and spectators are present at the same time and in the same location, hence present one to another, as the two protagonists of an authentic perverse couple. But in the cinema, the actor was present when the spectator was not (shooting), and the spectator is present when the actor is no longer. (Projection). A failure to meet of the voyeur and the exhibitionist whose approaches no longer coincide. (they have missed one another) The cinemas voyeurism must do without any very clear mark of consent on the part of the object. There is no equivalent here of the theater actors final bow. And then the latter could see their voyeurs, the game was less unilateral, slightly better distributed. In the darkened hall, the voyeur is really left alone.(P.63) In this text, Metz develops an analysis between film spectatorship and voyeurism. According to him, enhancing the essential property of the voyeuristic gaze that of keeping the desired, seen object at a safe distance from the viewing subject cinema locates its own data in the for- ever inaccessible, in a realm which is incessantly desirable but that can never be possessed, in the scene of absence. Cinema, in other words, shows us the world, and at the same time it takes it away from us. As Metz writes,  «what defines the properly cinematographic scopic regime is not the maintained distance, nor the care exerted in maintaining it, but the sheer absence of the seen object. Cinema is therefore a form of absolute voyeurism: it is founded on an unbridgeable distance, on a total inaccessibility. 3) Emphasize the prevalence of surveillance with Michael Foucault Our society is not one of spectacle, but of surveillanceWe are neither in the amphitheater, nor on the stage, but in the panoptic machine, invested by its effects of power, which we bring to ourselves since we are part of its mechanism. (Foucault, 1979, p.127.) Among French intellectuals in the 1960s and 1970s it was Michel Foucault who most explicitly interrogated the gaze of surveillance and Guy Debord and his situationist international collaborators who explored the vision of the spectacle. Together they provided an array of different arguments looking from different perspectives against the hegemony of the eye. With their work, the ocular-centrism of those who praised the nobility of sight was not so much rejected, as reversed in value. Vision was still the privileged sense, but what that privilege produced in the modern world was damned as almost entirely corrupting. Foucault called it the unimpeded empire of the gaze. (Foucault, 1973, p.39.) and Guy Debord called it society of the spectacle. (Debord, 1981, p.25.) Gilles Deleuze characterized Foucaults work as a duel investigation of articulable statements and fields of visibilities. Deleuze stated that Foucault continued to be fascinated by what he saw as much as by what he heard or read, and the archaeology he conceived of is an audiovisual archive Foucault never stopped being a voyant at the same time as he marked philosophy with a new style of statement. (Deleuze, 1988, p.50.) Allan Megill, a philosophical writer, has claimed that in his earlier more structuralist moments, Foucault was himself intent on portraying a lucent Apollonian world (Megill, 1983, p.218) within which ocular-centrism was neutrally accepted. The vision that should be incorporated into psychoanalysis Foucault insisted, had to be understood phenomenologically, taking into account the livid spatial experience that emerged from the bodys intertwining with the world. Authentic versions of that experience were undermined, he claimed if vision was reduced to its traditional Cartesian spectral role based on the dualism of subject and object. Foucault was drawn to Belgian Surrealist painter Renà © Magritte, Magrittes work frequently displays a juxtaposition of ordinary objects in an unusual context, giving new meanings to familiar things. The representational use of objects as other than what they seem is typified in his painting, The Treachery of Images, which depicts a pipe that looks as though it is a model for a tobacco store advert. Magritte painted below the pipe ceci nest pas une pipe translated it means This is not a pipe, Which would appear to be a contradiction, but in reality it is a true statement. The painting is no t a pipe, just an image of a pipe. When Magritte was once asked about his painting, he replied that of course it was not a pipe, just try and fill it with tobacco. Magritte used the same approach in a painting of an apple, he painted the fruit realistically and then used an internal caption to deny that the item was an apple. In these works Magritte points out that no matter how closely through art we come to depicting an item accurately we never actually catch the item itself. Foucault explored a more visibly explicit version of interaction within Magrittes work, he described Magrittes canvases as the opposite of trompe loeil which is an art technique involving extremely realistic imagery in order to create the optical illusion that the depicted objects appear in three dimensions because of their understanding of the mimetic conventions of realistic painting. Foucault also referred to them as unraveled calligrams as they refused to close the gap between the image and the world. Resemblance serves representation which rules over it; similitude serves repetition, which ranges across it. Resemblance predicates itself upon a model it must return to and reveal; similitude circulates the simulacrum as an indefinite and reversible relation of the similar to the similar. (Levy, 1990, p.44) The Panopticon (all-seeing) functioned as a round-the-clock surveillance machine. Its design ensured that no prisoner could ever see the inspector who conducted surveillance from the privileged central location within the radial configuration. The prisoner could never know when he was being surveilled mental uncertainty that in itself would prove to be a crucial instrument of discipline. French philosopher Michel Foucault described the implications of Panopticism in his 1975 work Discipline Punish: The Birth of the Prison Hence the major effect of the Panopticon: to induce in the inmate a state of conscious and permanent visibility that assures the automatic functioning of power. So to arrange things that the surveillance is permanent in its effects, even if it is discontinuous in its action; that the perfection of power should tend to render its actual exercise unnecessary; that this architectural apparatus should be a machine for creating and sustaining a power relation independent of the person who exercises it; in short, that the inmates should be caught up in a power situation of which they are themselves the bearers. To achieve this, it is at once too much and too little that the prisoner should be constantly observed by an inspector: too little, for what matters is that he knows himself to be observed; too much, because he has no need in fact of being so. In view of this, Bentham laid down the principle that power should be visible and unverifiable. Visible: the inmate will constantly have befo re his eyes the tall outline of the central tower from which he is spied upon. Unverifiable: the inmate must never know whether he is being looked at at any one moment; but he must be sure that he may always be so. In order to make the presence or absence of the inspector unverifiable, so that the prisoners, in their cells, cannot even see a shadow, Bentham envisaged not only venetian blinds on the windows of the central observation hall, but, on the inside, partitions that intersected the hall at right angles and, in order to pass from one quarter to the other, not doors but zig-zag openings; for the slightest noise, a gleam of light, a brightness in a half-opened door would betray the presence of the guardian. The Panopticon is a machine for dissociating the see/being seen dyad: in the peripheric ring, one is totally seen, without ever seeing; in the central tower, one sees everything without ever being seen. Foucault also compares modern society with Jeremy Benthams Panopticon design for prisons (which was unrealized in its original form, but nonetheless influential): in the Panopticon, a single guard can watch over many prisoners while the guard remains unseen. Ancient prisons have been replaced by clear and visible ones, but Foucault cautions that visibility is a trap. It is through this visibility, Foucault writes, that modern society exercises its controlling systems of power and knowledge (terms Foucault believed to be so fundamentally connected that he often combined them in a single hyphenated concept, power-knowledge). Increasing visibility leads to power located on an increasingly individualized level, shown by the possibility for institutions to track individuals throughout their lives. Foucault suggests that a carceral continuum runs through modern society, from the maximum security prison, through secure accommodation, probation, social workers, police, and teachers, to our e veryday working and domestic lives. All are connected by the (witting or unwitting) supervision (surveillance, application of norms of acceptable behaviour) of some humans by others. Or look into the society of the spectacle with Guy Debord The entire life of societies in which modern conditions of production reign announces itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into representation. (Debord, 1977, par.1.) With the term spectacle, Debord defines the system that is a confluence of advanced capitalism, the mass media, and the types of governments who favor those phenomena. The spectacle is the inverted image of society in which relations between commodities have supplanted relations between people in which passive identification with the spectacle supplants genuine activity. The spectacle is not a collection of images, writes Debord rather, it is a social relationship between people that is meditated by images. In his analysis of the spectacular society, Debord notes that quality of life is impoverished, with such lack of authenticity human perceptions are affected, and theres also a degradation of knowledge with the hindering of critical thought. 4) Cartesian Perspectivalism, is normally considered the dominant hegemonic scopic regime of the modern era. It is a way of seeing both then and now, a method of perception that represents space and the subjects and objects in that space according to the rules of Euclidean geometry. Renaissance painters, such as Brunelleschi, and Alberti, who was known as a draftsman rather than a painter, developed a geometric space complimentary to the mathematical space of Descartess philosophy. Perspective in painting projects a plane onto its object of study and creates a one-to-one correspondence between points on the plane and points on the canvas. Brunelleschi, who is traditionally accorded to the honor of being the practical inventor of perspective, he begun by using architectural figures such as buildings, ceilings, and tiled floors which easily match the grid structure of the projective plane.   Later, other objects were fitted and shaped within the geometrical patterning of linear perspect ive. Alberti is acknowledged, almost universally, as being the first theoretical interpreter of perspective. He regarded mathematics as the common ground for art and sciences. I will take first from the mathematicians those things which my subject is concerned. (Alberti DELLA PITTURA) The scopic regime that was interpreted Descartes philosophy is usually identified with Renaissance notions of perspective in the visual arts and the Cartesian ideas of subjective rationality in philosophy. Art historian William Ivins, Jr., in his Art and Geometry of 1946 said that the history of art during the five hundred years that have elapsed since Alberti wrote has been little more than the story of slow diffusion of his ideas through the artists and peoples of Europe. Richard Rorty discussed Descartes ideas in his writing Philosophy and the Mirror of Nature, published in 1979. He claimed, in the cartesian model the intellect inspects entities modeled on retinal images In Descartes conception the one that become the basis for modern epistemology it is representations which are in the mind. These two prominent social commentators, have illustrated their view which is considered to be be equivalent to our view of the modern scopic regime. The aforementioned quotes assume that Ca rtesian perspectivalism is the main visual model of modernity, these authors believe it best expresses a natural experience of sight validated by the scientific world view. (maybe say it in a simplified form too.) In his famous essay Perspective as Symbolic Form, Panofsky, a German art historian, highlights the break made through linear perspective by contrasting Renaissance painting with that of Greek and Medieval works.  Ã‚   Prior to the Renaissance, painting concerned itself with individual objects, but the space which they inhabited failed to embrace or dissolve the opposition between bodies.   Space acted as a simple superposition, a still unsystematic overlapping.  Ã‚   With linear perspective comes an abstract spatial system capable of ordering objects: As various as antique theories of space were, none of them succeeded in defining space as a system of simple relationships between height, width and depth.   In that case, in the guise of a coordinate system, the difference between front and back, here and there, body and nonbody would have resolved into the higher and more abstract concept of three-dimensional extensions, or even, as Arnold Geulincx puts it, the concept of a corpus generaliter sumptum (body taken in a general sense). (Panofsky, 1991, p.43-44.) Jay says This new concept of space was geometrically isotropic, rectilinear, abstract, and uniform. The three-dimensional, rationalized space of perspectival vision could be rendered on a two-dimensional surface by following all of the transformational rules spelled out in Albertis De Pittura, and later agreements by Viator and Dà ¼rer. A basic painting device occurred from these findings with the use of symmetrical visual pyramids, or cones, with one of their apexes receding towards the vanishing point in the painting, the other into the eye of the painter. Significantly the eye was singular, and not the normal two eyes of binocular vision. The device was made in the manner that just one eye would be looking through a peep-hole (Kemp Science in art pg 13) at a scene in front of it. Brunelleschi used a peep-hole and mirror system for viewing this perspective demonstration of the Florentine Baptistery. Brunelleschi had drilled a small hole in a panel of wood at a point equivalent to that at which his line of sight had struck the Baptistery along a perpendicular axis. The spectator was required to look through this drilled hole from the back of the panel at a mirror held in such a way, so that it would reflect the image. The eye of the viewer would be fixated and unblinking rather than dynamic. In Norman Brysons terms it followed the logic of the Gaze rather than the Glance, which produced one single point of view. Bryson, who is an art theorist, calls this the Founding Perception of the Cartesian perspectivalist tradition. the gaze of the painter arrests the flux of phenomena, contemplates the visual field from a vantage-point outside the mobility of duration, in an eternal moment of disclosed presence; while in the moment of viewing, the viewing subject unites his gaze with the Founding Perception, in a moment of perfect recreation of that first epiphany. With this visual order arose many implications, with the abstract coldness of the perspectival gaze, which meant the painters emotional connection with the objects they depicted in geometricalized space was lost. The gap between spectacle and spectator widened. Cartesian perspectivalism has, in fact, been the target of a widespread philosophical critique, which has denounced its privileging of an ahistorical, disinterested, disembodied subject entirely outside of the world it claims to know only from afar. (Jay Cartesian perspectivalism itself that it suggest it was not quite as uniformly coercive as is sometimes assumed. Although artificial perspective was the dominant model, its competitor was never entirely forgotten. John White, an artist, distinguishes between what he terms artificial perspective, in which the mirror held up to nature is flat, and synthetic perspective, in which that mirror is presumed to be concave, thus producing a curved rather than planar space on the canvas. The Cartesian perspectivalist tradition contained a potential for internal contestation in the possible uncoupling of the painters view of the scene from that of the presumed beholder. Norman Bryson identifies this development with Johannes Vermeer , who represents for him a second state perspectivalism even more discarnated that that of Alberti. The bond with the viewers physique is broken and the viewing subjectis now proposed and assumed as a notional point, a non-empirical Gaze. This observation opens up more consideration, that there is an alternative scopic regime, that may be understood as more than a sub-variant of Cartesian perspectivalism. 5) Mapping, or as Svetlana Alpers called, The Art of Descriping. A visual culture very different from what is associated with the Renaissance perspective. According to Alpers the hegemonic role of Italian painting in art history has occluded an appreciation of a second influential tradition which flourished during the seventeenth-century Dutch art. contrast realist and naturalist fictionthat the Italian Renaissance art, for all its fascination with the techniques of perspective, still held fast to the storytelling function for which they were used. GEORGE LUKACS Summarizing the contrasts between the art of describing and Cartesian perspectivalism, Alpers points out the following oppositions: attention to many small things versus a few large ones; light reflected off objects modeled by light and shadow; the surface of objects, their colours and textures, dealt with rather than their placement in a legible space; an unframed image versus one than is clearly framed; one with no clearly situated viewer compared to one with such a viewer. The distinction follows a hierarchical model of distinguishing between phenomena commonly referred to as primary and secondary: objects and space versus the surfaces, forms versus the textures of the world. (ALPERS) The non-mathematical impulse of this tradition accords well with the indifference to hierarchy, proportion, and analogical resemblances characteristic of Cartesian perspectivalism. Instead it casts its eye on the fragmentary, detailed, and richly articulated surface of a world it is content to describe rather than explain. 6) Baroque Painting The third model of vision, best identified with the baroque. As early as 1888, and Heinrich Wà ¶fflins study, Renaissance and Baroque, art historians have been tempted to find connections between the two styles in both painting and architecture. In opposition to the lucid linear, solid, fixed, planimetric, closed form of the Renaissance, or as Wà ¶lfflin called it, the classical style, the Baroque was painterly, recessional, soft-focused, multiple and open. The Baroque style began as somewhat of a continuation of the Renaissance. Later, however, scholars of the time began to see the drastic differences between the two styles as the Renaissance style gave way to Baroque art. Baroque architecture, sculpture, and painting of a dramatic nature were powerful tools in the hands of religious and secular absolutism, and flourished in the service of the Catholic Church and of Catholic monarchies. The Baroque artists were particularly focused on natural forms, spaces, colors, lights, and the relationship between the observer and the literary or portrait subject in order to produce a strong, if muted, emotional experience. The Council of Trent (1545-63), in which the Roman Catholic Church answered many questions of internal reform raised by both Protestants and by those who had remained inside the Catholic Church, addressed the representational arts by demanding that paintings and sculptures in church contexts should speak to the illiterate rather than to the well-informed. Due to this Baroque art tends to focus on Saints, the Virgin Mary, and other well known Bible stories. Religious painting, history painting, allegories, and portraits were still considered the most noble subjects, but landscapes, still life, and genre scenes rapidly gained notoriety. Nativity by Josefa de Óbidos, 1669, National Museum of Ancient Art, Lisbon Rorty, Richard, Philosophy and the Mirror of Nature (Princeton: Princeton University Press, 1979) Rose, Jacqueline, Sexuality in the Field of Vision (London: Verso, 1986) p.232-233. Metz, Christian, The Imaginary Signifier: Psychoanalysis and the Cinema (Bloomington: Indiana University Press, 1982), p.61. Foucault, Michael, Discipline and Punish: The Birth of the Prison, trans, Alan Sheridan (New York, 1979), p.217. Foucault, The Birth of the Clinic: An Archaeology of Medical Perception, trans. A.M. Sheridan (London, 1973), p.39. Debord, Society of the Spectacle. trans. Ken Knabb (Berkeley, 1981), p.25. Deleuze, Gilles, Foucault, trans. and ed. Sean Hand (Minneapolis, 1988), p.50. Megill, Allan, Prophets of Extremity: Nietzche, Heidegger, Foucault and Derrida (Berkeley, 1985), p.218. Levy, Silvano, Foucault on Magritte and Resemblance, The Modern Language Review, 85,1 (January 1990), p.44. Debord, Guy, Society of the Spectacle (Detroit 1977), par.1. Panofsky, Erwin.   Perspective as Symbolic Form. New York: Zone Books, 1991. 41-43.

The Significance of Chapter 5 to Mary Shelleys Frankenstein :: Papers

The Significance of Chapter 5 to Mary Shelley's Frankenstein Chapter 5 has a significant part in the novel Frankenstein as a whole because it links to what happens later in the story. This is shown by the language, setting, character's behaviour, the relationship to gothic tradition and contemporary issues. Mary Shelley's Frankenstein, which is a very well know gothic horror story was first published in 1818, where traditional gothic conventions are used. Mary Shelley was born on the 30th, August, 1797 and she first met Percy Bysshe Shelley and immediately fell in love with him and later on got married. However society didn't approve with their marriage because he was already a married man and she was only 16 and they weren't married to each other. Victor Frankenstein was born in Genevese, which is mentioned in the opening paragraph, "I am by birth a Genevese, and my family is one of the most distinguished of that republic." The basic story of Frankenstein is about a monster that was created by Victor and when he discovered this he was shocked. Since this day close family has been murdered and the monster has been following Victor. A lot of suspicious things have happened and until the end of the story Victor is fighting against the Monster. The monster finally dies and Victor's ambition is complete in destroying the monster. The past of the novel gives a contemporary significance as it brings forward the subject of cloning and stem cell research, which is a controversial subject matter today. Frankenstein's monster is created by Victor, this brings the matter forward of cloning and stem cell research, as Victor would have needed to do a lot of research before completing his creation. The novel shows that by creating clones, it doesn't always turn out to plan, as Frankenstein's monster turns out to be evil and commits several murders. In the novel it has many modern gothic conventions. In Frankenstein there are boundaries between life and death and emphasise on real horror. Mary Shelley explores the darker side of the human psyche and

How to Conduct a Theatre Audition

How to Conduct a Theatre Audition When conducting auditions for a play, it is of utmost importance to establish an attitude of professionalism from the get-go. One must pay attention to detail and manage human resources well in order to make accurate casting decisions. Like any employer, directors must be careful to cast each role with the right candidate. Therefore, it is crucial that producers and directors preemptively take care of logistical issues so that they may focus on each actor's audition. 1. Step 1Secure a place and a time for your auditions. Studio spaces, vacant theaters, and conference rooms provide a professional atmosphere and ample space. You should book this space at least a month in advance. If you are auditioning for a musical, ensure that the room has good acoustics and make arrangements to hire an accompanist and a choreographer. 2. Step 2 Inform Stage Management of the time and place of auditions. If you do not have a Stage Manager or ASM yet, then ask your fr iends if they would be willing to help you conduct auditions.It is vitally important that you have at least two other people help you with the audition process. 3. Step 3 Write a breakdown of the roles that you need to cast. You should include the approximate age, gender, and race of each character, if applicable. Include contact information so that the actors can make an appointment and send headshots and resumes. 4. Step 4 Go through the play and select scenes that will give the actors the ability to show their stuff. These are called sides. Make sure you have someone in the room to read with the actors. 5.Step 5 Get the word out. Place ads in theatre magazines, send audition notices to agents, send out blast e-mails, etc. You need to make sure everyone knows about your auditions. 6. Step 6 On the day of the audition, arrive at the theater an hour before auditions are scheduled to begin. Bring copies of the play, a production schedule, a pen, paper, and a folder. Ask your Assistan t Stage Manager to serve as a receptionist. Your Stage Manager should be in the audition room with you. 7. Step 7 When an actor walks into the audition room, greet them kindly.Auditions make many actors nervous. Ask them to begin their audition when they are ready. When they are finished, simply thank them and then make detailed notes about their audition. 8. Step 8 When you have finished with auditions, go home and organize the headshots by character. Narrow down your choices. If you are having callbacks, then notify your Stage Manager which actors have secured a callback. If not, then make your casting decisions and notify your Stage Manager, who will in turn notify the actors.

Six Ways to Make Your Editor Happy and Get More Story Assignments

Six Ways to Make Your Editor Happy and Get More Story Assignments Frequently writing coaches teach how to break into the magazine market, but not how to build a relationship with an editor well enough to become a regular contributor. After freelancing for eight years (including regular columns for several publications), I accepted the position of editor for a regional lifestyle magazine. Since joining the magazine staff, Ive come to wish every freelancer could spend enough time in an editors shoes to learn both sides of the business. Editors generally give new writers a chance with a short, front-of-the-book piece to see what they can do. Some never get a second chance. Others lose their foothold after several stories. If you struggle to develop a long-term relationship with the publications you wish to work with on a regular basis, see if any of these tips apply to you. Be punctual - Think this is self-explanatory? You wouldnt believe how many times Ive had to email a writer to ask for a late assignment. Late assignments clog the flow of everything, from copyediting to layout to printing. If your stories frequently hold up progress, expect your future queries to fall on deaf ears. Know your reader - Magazines generally have a demographic that encompasses education level, economic means and geographic location. As highly as we like to think of our own writing, remember the average American reads on a seventh grade level. If you are writing for the typical consumer magazine, nix the words nefarious and ubiquitous and speak the language of the people. If you see ads in the magazine for Rolex watches and Saks Fifth Avenue, dont assume the reader will want to read how to score big at Goodwill. Also, dont pitch articles to regional publications highlighting attractions outside of their geographic area. Be a servant - Freelance writers provide a service for the publication. That makes them servants, not celebrities, divas or gods. My first week on the job as editor, I had an irate writer demand a retraction for the edits I made to her story. She never respectfully questioned my changes. She demanded and threatened because, as a self-proclaimed prominent member of the community, she was embarrassed that the end product wasnt her work. Unfortunately, her work read like a list of facts, lacking life and quotes from real people. That said Provide life - Never turn in a story for which you havent interviewed a real person, in person. Dont tell me about those five places to go canoeing, let the man in the canoe tell m - in his words. Avoid emailing interview questions. You miss the opportunity to get random comments and the tone of voice, posture and facial expressions that prompt you to dig deeper. At least use the telephone. Make technology your friend Editors do not have the time, nor the desire, to teach you how to download a contract and sign and return it - electronically. If you cannot handle the technology required to become a regular contributor to the publication, the editor will not invite you to become one. Keep your emails organized When submitting a query, create a fresh email with your topic in the subject line. Then, when you follow up with questions, your editor wont have to search for 15 minutes to find the original query. I could go on. But if you can master just these few tips, and your writing is clean and your ideas are fresh, I guarantee any editor would love to have you on board.

How to pronounce Li Keqiang, Chinas premier

How to pronounce Li Keqiang, Chinas premier In this article, we will look at how to pronounce Li Keqiang (æ Å½Ã¥â€¦â€¹Ã¥ ¼ º), the   Premier of the State Council of the Peoples Republic of China. First, I will give you a quick and dirty way if you just want to have a rough idea how to pronounce the name. Then I’ll go through a more detailed description, including analysis of common learner errors. Pronouncing names in Chinese Pronouncing names in Chinese can be very hard if you havent studied the language; sometimes its hard even if you have. Many letters used to write the sounds in Mandarin (called Hanyu Pinyin) dont match the sounds they describe in English, so simply trying to read a Chinese name and guess the pronunciation will lead to many mistakes. Ignoring or mispronouncing tones will just add to the confusion. These mistakes add up and often become so serious that a native speaker would fail to understand. Read more about how to pronounce Chinese names. The quick and dirty way of pronouncing Li Keqiang Chinese names usually consist of three syllables, with the first being the family name and the last two the personal name. There are exceptions to this rule, but it holds true in a vast majority of cases. Thus, there are three syllables we need to deal with. Listen to the pronunciation here while reading the explanation. Repeat yourself! Li - Pronounce as lee.Ke - Pronounce as cu- in curve.Qiang - Pronounce as chi- in chin plus ang- in angry. If you want want to have a go at the tones, they are low, falling and rising respectively. Note: This pronunciation is not correct pronunciation in Mandarin. It represents my best effort to write the pronunciation using English words. To really get it right, you need to learn some new sounds (see below). How to actually pronounce Li Keqiang If you study Mandarin, you should never ever rely on English approximations like those above. Those are meant for people who dont intend to learn the language! You have to understand the orthography, i.e. how the letters relate to the sounds. There are many traps and pitfalls in Pinyin you have to be familiar with. Now, lets look at the three syllables in more detail, including common learner errors: LÇ  (third tone) - The l is a normal l as in English. Note that English has two variants of this sound, one light and one dark. Compare the l in light and full. The latter has a darker character and is pronounced farther back (its velarised). You want the light version here. The i in Mandarin is further forward and upward compared to i in English. Your tongue tip should be as far up and forward as possible while still pronouncing a vowel! Ke (fourth tone) - The second syllable is not that hard to pronounced okay, but is hard to get completely right. The k should be aspirated. The e is similar to the e in the English word the, but farther back. To get it completely right, you should have about the same position as when you say the [o] in Pinyin po, but your lips shouldnt be rounded. However, it will still be perfectly understandable if you dont go that far. Qiang (second tone) - The initial here is the only tricky part. q is an aspirated affricate, which means that it is the same a s Pinyin x, but with a short stop t in front and with aspiration. The tongue tip should be down, lightly touching the teeth ridge behind the lower teeth. The are some variations for these sounds, but Li Keqiang (æ Å½Ã¥â€¦â€¹Ã¥ ¼ º) can be written like this in IPA: [liÌ€ kÊ °Ã‰ ¤ tÉ•Ê °jaÅ‹] Conclusion Now you know how to pronounce Li Keqiang (æ Å½Ã¥â€¦â€¹Ã¥ ¼ º). Did you find it hard? If you’re learning Mandarin, dont worry; there arent that many sounds. Once you’ve learnt the most common ones, learning to pronounce words (and names) will become much easier!

Two Opposing Perspectives on Egoism of Nietsche and Kierkegaard Essay

Two Opposing Perspectives on Egoism of Nietsche and Kierkegaard - Essay Example Nietzsche, on the other hand, might not have explicitly mentioned the atheistic foundation of his argument in his statement in Gay Science No. 304 but it is clear that he insisted that man should not be controlled by any rule or principle that restrains him from doing what he wants. Apparently, Nietzsche and Kierkegaard also differed in their views when it comes to their treatment of the ego or the individual. For Nietzsche, the individual is supreme and it is only by being so that he frees himself from the clutches of any entity that could hinder his struggle to achieve happiness. Rules that are imposed on him that tend to impede his freedom of movements must, therefore, be removed or repudiated. Kierkegaard, on the other hand, insisted that man should always consider the existence of a higher entity, God. Kierkegaard argued that man is governed by the rules of the Supreme Being and because of this there are limits to his freedom. However, it is necessary to discuss each of the key statements made by both modern philosophers in a more profound manner. The result of such discussion should clarify the opposing perspectives regarding egoism. No. 304 of Nietzsche’s Gay Science is a very explicit statement that describes the author’s personal conviction regarding the primacy of the individual. The last part of the section actually sums up in the most profound manner what he believed in. Nietzsche wrote: â€Å"I do not mean to strive with open eyes for my impoverishment; I do not like any of the negative virtues whose very essence is negation and self-renunciation.† (244) The previous sentences that led to this conclusion are highly critical of the set-up wherein man is ruled by laws that mostly pertain to activities or actions that should not be done. This results into an environment or a society in which people are restrained from undertaking efforts that they may deem as beneficial to them individually. Consequently, individuals are also depr ived of the chance to live happily according to their respective definitions of it. In the statement, Nietzsche asserts that he does not wish to live under such conditions and that he opposes all rules that results in these. Apparently, Nietzsche does not see the necessity of discussing the bases of the laws or rules which he points out as restrictive and violating of individual freedom. It is also clear that it does not matter whether such rules are secular or borne out of religious beliefs. As long as these explicitly tell man what not to do, then these deserve to be opposed. For Nietzsche, the argument against such restrictions should not be anchored on the cost-benefits analysis for society. It is in the actual effects that these produce on the individual. If such laws impede or hinder the individual, then these are not justified. It does not matter whether these are supposedly important for social order or whether these are for the common good. For Nietzsche, if it is restricti ve in essence then it is deplorable. It is quite obvious that he has made the individual as the center for all his arguments, which runs contrary to the perspectives adhered by governments and other power structures in society, whether religious or secular. If his statements are analyzed further, it would definitely appear

Research psychology Essay Example | Topics and Well Written Essays - 750 words

Research psychology - Essay Example The feared situations can vary from interpersonal social interactions in small groups to talking to strangers. Performance fears, such as speaking in public, also are common. People with social anxiety disorder either avoid feared situations or experience them with extreme anxiety. Most individuals with the disorder have the more severe, "generalized" type, in which the person has other social fears in addition to the common fear of public speaking. Many researchers have conducted research in the area with varying recommendations. Much has been researched on social anxiety and how it affects peoples’ lives. Usually many researches have looked at the causes of social anxiety and how it could be treated. SARA W.holds that one–fifth of patients with social anxiety disorder also suffers from an alcohol use disorder (AUDs). They have argued that one of the theories that can be attributed to this is the tension reduction theory, which proposes that people with social anxiety use alcohol to alleviate their fears. This expectation that alcohol reduces anxiety may motivate alcohol consumption even if pharmacological studies do not support that assumption. She holds that social anxiety disorder is treatable with both pharmacotherapy and psychotherapy. Some researchers have also attributed social anxiety disorders to environmental risk factors such as parenting (Ollendick & Hirshfeld-Becker, 2002). Although the role of parenting has emerged as a small but significant risk factor, less research has focused on parent psychopathology. This lack of attention may be due, in part, to the difficulty in separating out genetic contributions from environmental impact. Despite this, there is some evidence that parents with specific disorders contribute significantly to an increased rate of many childhood and adolescence disorders, potentially even within a particular developmental pathway (Stranger 1999; Burstein