Pneumonia and Older Adults

What is pneumonia? Pneumonia is a lung infection that can make you very sick. You may cough, run a fever, and have a hard time breathing. For most people, pneumonia can be treated at home. It often clears up in two to three weeks, but older adults, babies, and people with other diseases can become very ill. They may need to be in the hospital. You can get pneumonia in your daily life, such as at school or work. This is called community-associated pneumonia. You can also get it when you are in a hospital or nursing home. This is called healthcare-associated pneumonia. It may be more severe because you already are ill. This topic focuses on pneumonia you get in your daily life. What causes pneumonia? Germs called bacteria or viruses usually cause pneumonia. Pneumonia usually starts when you breathe the germs into your lungs. You may be more likely to get the disease after having a cold or the flu. These illnesses make it hard for your lungs to fight infection, so it is easier to get pneumonia. Having a long-term, or chronic, disease like asthma, heart disease, cancer, or diabetes also makes you more likely to get pneumonia. What are the symptoms? Symptoms of pneumonia caused by bacteria usually come on quickly. They may include: †¢Cough. You will likely cough up mucus (sputum) from your lungs. Mucus may be rusty or green or tinged with blood. †¢Fever. †¢Fast breathing and feeling short of breath. †¢Shaking and â€Å"teeth-chattering† chills. You may have this only one time or many times. †¢Chest pain that often feels worse when you cough or breathe in. †¢Fast heartbeat. †¢Feeling very tired or feeling very weak. †¢Nausea and vomiting. †¢Diarrhea. When you have mild symptoms, your doctor may call this â€Å"walking pneumonia. â€Å"

Comment on how Baz Luhrmann uses video Essay

â€Å"Romeo and Juliet,† is a play written by William Shakespeare in the late sixteenth century â€Å"in fair Verona. † This is an ultimate love story between the only children of two powerful enemies â€Å", both alike in dignity†¦ † These two households bear an â€Å"ancient grudge. † Within this hate â€Å"Romeo and Juliet’s† love cannot survive, and they are driven by this hate to death. From this 1595 classic play, Baz Luhrmann got the job of wielding it in to a twentieth centaury blockbuster. He did this by using many different techniques, and even though he keeps the original dialogue, he changes many classic features of the play to give this modern feel to it. Such as horses to cars, Swords to guns and villages to cities are several examples. As the film starts, the opening shot is of a modern day television. It is shown speaking as a newsreader, speaking as a chorus would on stage, giving background knowledge to the audience watching. This television reflects Luhrmann’s modern setting, showing how the film will be set, rather than the one in which the written play was set. The TV represents the media, as our main source of information. Just as the chorus would be, stood on stage, addressing the audience, giving them required information. The headline upon the TV reads â€Å", Star-crossed lovers,† and above a picture of a ring split in two, showing both the themes of love and hate. How the pair had love enough to marry, though within their families there was hate enough to drive the couple to take their lives. Their love was doomed to die, the ring shows how they could not be together as reflected in one of the chorus’ lines â€Å", death marked love. † One extremely short though effective camera shot, zooms down the middle of a main street, with many high raised buildings, until focusing upon a large statue of Christ. Showing that religion will play some part within the play/film. Here loud dramatic music kicks in. This music tells us that the play is going to be very powerful and dramatic. The chorus’s first line appears white upon black, â€Å"in fair Verona. † White and black are usually associated with good and bad. Showing two main features of the film. Again the image of Christ’s face appears, a close up camera shot, recoiling to show two large skyscrapers dominating the skyline. Each bearing separate names, Montague and Capulet, showing the large gap between them, they are different. The sheer size of the buildings tells us they are wealthy families, but separate. The statue of Christ is stood in the middle, showing again the religious society in which the film is set. Still with the dramatic music playing building up aura, images of police vehicles- cars and helicopters burn across the screen. Quick images. Images of conflict, linking the families with violence and ultimately the law. The music quietens, though still strong and menacing, as a voice over man speaks the same lines as already spoken by the ‘chorus. ‘ Now the images are shown slower, â€Å"two households both alike in dignity†¦ † showing the two families, again separated by Jesus, sour looks upon the head’s faces; hate and malcontent, though smiles upon the children’s; happy, contented faces, with no worries. Leading on to images of flames, representing hell, hatred and death. Headlines of newspapers flash upon the screen, linking again with the theme of the media and the modern setting. Showing there must be public interest in the growing feud between the two families, and again highlighting the conflict between the two families. Extremely short images are shown of police helping civilians escape the troubles caused by this abhorrence between the Montague’s and the Capulet’s. The music had died down up until the point of â€Å"take their life,† where it picks up again adding atmosphere and letting the audience know there is great tragedy within the film. Another modern technique is then used. Just as characters on television programs are introduced or how western wanted posters are displayed, some of the main characters are initiated. These images build great suspense though shows a building power within the play/film. Two important images from later on in the film flash upon the screen, though they are very insignificant at this point, just adding suspense and wonder at this early stage. The music reaches a peek as the now familiar words of the prologue flash upon the screen. The words white on black, suspense, power, the words showing love, lust, hatred and tragedy. Followed by random images shooting across the screen, fireworks, choir boys singing in a loud wild fashion. Guns, characters, light and dark images showing good and evil. Loud bangs of gunshots, police helicopters, blood, raging images demonstrating excitement and apprehension to the audience. Now with the music at a climax, the words in bold print of â€Å"Romeo + Juliet† linger upon the screen. The â€Å"+† in blood red symbolising bloodshed and conflict, it is also shaped like a cross, to continue the religious theme of the film. The words are white upon black, illustrating good and evil. Here the music changes and a bouncier, more funky, modern tune kicks in as â€Å"the boys† come on to the screen. These three wear brightly coloured shirts- reds and lime greens, indicating good and ‘to me’ fun. Though with the first line spoken you realise the Montague boys hate the Capulet’s. â€Å"The boys† are presented whizzing down a highway in an expensive looking yellow convertible, again suggesting warmth and fun. They are cool, with open shirts, brightly coloured hair, shades on heads and tattoos over their bodies. They are excitable, casual and looking at them they would not pose any threat. The car has a personalised number plate, â€Å"Mon-005, Verona beach† again showing wealth. The camera shot is at the front of the car as it comes in to the gas station, here there is a sound of screeching tyres, the piping of horns and basically excitable boyish behaviour. â€Å"Benvolio- Romeos cousin† does not come across as uncompromising, he tries to detach himself from the quarrel between the two families â€Å"masters. † Where as the other two â€Å"Montague boys† are very eager and want to be involved this is sown in their faces as a face close up is shown. Here Benvolio turns and another facial close up is shown, his face twisted almost looking in disgust as he turns and walks away. Here the camera turns moving across to another pump as an expensive looking blue car pulls calmly in to the station. Blue suggesting coldness and the slow speed suggests that the driver is not excitable like the Montague boys but serious. The music suddenly changes from hip to a western style tune as another personalised number plate is shown † Cap-005, Verona beach. † The camera is swung around with a whooping sound and rests upon a close up of the bottom of the car door opening and a pair of western style cowboy boots stepping from the car. Here the frame freezes on the boot touching the ground, Cooley and calmly and in this freeze frame he displays the words â€Å"The Capulet boys† with western style music playing to continue the western style theme. The boots walk away through a door the sound of spurs following, tension building as the camera shot moves again from the western boots to shoes and tights and the giggling of little girls over the western music. Leading back to more dark cowboy boots with spurs. The shoes belong to a Nun with a class of children and each side of their people carries resides a car of each of the two families. The two families torment the nun and her party in a very cocky sort of manor, exceptionally intimidating. So as the nun and her party speeds away to escape further torment, the two families are revealed to each other for the first time. The fun and idiocy of the Montague’s turns to fear, as â€Å"Abra-Capulet† is revealed. Here another facial close-up is shown. Abra wears dark menacing colours (oranges, blacks and reds- colours associated with hell. ) He has a goatee beard an earring and a silver chain with cross hanging around his neck. He has the look of a typical gunslinger, someone who could be extremely dangerous. The music is now changed, as a more electric tune plays more menacing and threatening than before, highlighting the danger of this man. Fear is shown in the Montague’s faces, shocked by the appearance of a known enemy. This man alarms them and with this abrupt entrance one of the boys makes a quick movement to reveal the butt of his pistol. A fast frightened movement, followed by the facial shot of a frightened face and the sound of a reluctant gasp, signifying the fear and tension between the two families. Here there is a shot of the face of Abra moving down his body and showing the slow movements of his hands to reveal the butt of his own pistol, engraved with the word Capulet, just as the Montague’s gun was engraved with the word Montague, reflecting wealth yet again. The movements are menacingly slow, so calm and cool. Then suddenly a loud hissing sound like a serpent as Abra snarls revealing the word sin engraved on a silver plaque on his teeth. The camera is at a straight close up angle. The shot is both threatening and frightening. Here all the sounds stop as the Montague’s sink back in to the car relieved that no harm has come to them. Though the Capulet’s are amused by the impression they have made upon the Montague’s and laugh profusely showing they do not feel threatened at all by their presence but take them more as a joke than any thing else. The Montague’s took this wind up a little too lightly and decide to make a second move. Here one of the Montague’s bites their thumb at the Capulet’s. This is shown as a close up with a silly sound coming from the mouth of the offending Montague. Now there is anger and hate starting to show as the montages reverse the car, with the noise of screeching tyres, and the sound of a quick furious sounding, loud blast of music showing anger. The caplets sling loud though slow angry words at the Montages who return fast frightened words trying to calm the situation. Though as the camera shot goes to the toilet door, the quick shocking music picks up again and Benvolio appears-an image of a peace maker leading to a close up of Benvolio’s gun with a change back to western music. Here with gun drawn, a close up of Benvolio’s apprehensive face fills the screen and silence falls. Here only the sound of an old creaky sign is heard blowing in the wind, un-nerving Benvolio further and continuing the western theme. The camera swizzles around to an image of a close up cigar being lit and a match being dropped to the ground by â€Å"Tybalt-the prince of cats. Juliet’s cousin† Landing close to his feet, though still burning. The music playing slowly and quietly, adding tension and atmosphere. Now there is a major close up of tybalts face. He has the look of the devil, slick black hair with tiny matching beard. He has pointed teeth that only a close up would enable us to see properly. He wears the colours of the devil, Reds and blacks showing hate, fire, torment and death. Also his face shows no fear, no feelings but pure untamed hate. He is just so slick and calm and as he speaks, there is a close up on his eyes. These ooze confidence and hold great hate and rage towards the Montague’s. The camera then focuses on Benvolio’s eyes, which are the complete opposite to Tybalt’s. His eyes show a great fear of the other man, apprehension. All adding tension to the opening scene. On a half of body shot, Benvolio is seen putting away his sword (which in this 1997 film s actually a gun,) and in an effort tries to avoid conflict by stating â€Å"I do only to keep the peace put up my sword. † His voice shaky in the eerie silence. Then another facial close up on Tybalt, as he says, â€Å"Peace, peace, I hate the word. As I hate hell. All Montague’s. And thee. † With no quivers only confidence and raw hate. The burning match is finally stamped out with the sound of the metal healed boots grinding at the concrete ground. This long gap between lighting the match and putting it out shows a great danger. This man means something; he alone stands for power and danger. Now a small boy, symbolising innocent bystanders at the market place, interrupts the silence. The boy just playing, shouting â€Å"bang, bang† triggering the attack. Tybalt draws, the music screeching. The shot looking up the barrel of tybalt’s gun as the word â€Å"bang† is said again. Showing he is willing to harm fellow citizens if need be. Now there is a range of many different camera shots, with electric music playing in the background. Tybalt does a lot of flamenco style movements, flowing, professional movements, as though he was fluent and skilled in the art. Very dramatic and serious movements, with no fear of being harmed. The Montague’s begin to try to fight back, though not really succeeding. They are frightened; you can see it in their eyes. Tybalt moves almost fashionably, where as the Montague’s don’t really know what to do. They shoot, showing no passion or drive. Unlike Tybalt who shows both. Tybalt is calling the shots, and in a swift movement he throws down his coat and fits an aiming device. Kissing his gun with a loving passion. People are running, frightened. The Montague’s flee, leaving Benvolio and Tybalt in the petrol station. Music still flaring giving added depth to the scene, petrol covering the ground. Tybalt zooms on to one of the fleeing Montague’s, taking the shot, and injuring him. The camera looking down the guns barrel as the shot is fired, pointing into Tybalts eyes. With a flickering smile he drops the cigar from his mouth, landing in a pool of petrol and igniting it immediately, which during the whole scene showed how contented he was with conflict. Here Benvolio flees with Tybalt in pursuit. The flames escalate, symbolising the devastation to come. The flames show hate and anger. Every body around is affected by the fighting as symbolised by the flames. Affecting people’s livelihoods, every body is effected by these civil brawls. There is very dramatic music playing now, escalating the feeling of hate and friction between the two families. A poster is shown burning, once stating â€Å"Montague’s and Capulet’s 2nd civil brawl. † This shows that it is over; hate has ended that, and born a third brawl, more powerful than the previous ones. A sign is also shown burning, â€Å"Add more fuel to your fire. † Showing that the public are affected, and that hate is the road to all evil’s, symbolising the devil and hell. The camera follows the flames upwards showing things will get worse, still with the music blasting. It moves up and through the smoke screen, the two houses can be seen dominating the skyline, with the image of Jesus between them. Still looking extravagant and wealthy after the brawl. Nothings really changed. The fire is burning as strong as their hate, causing public panic and confusion. Now short images are shown of police helicopters and vehicles flying between and around the towers and statue. The music still blearing. Shots are shown from alternate angles showing news reporters reporting the third civil brawl, again linking with the media. Ted Montague (the father-head of the house) rushes to the scene in his limo with registration plate being â€Å"Montague, Verona beach. † Again representing wealth and power. Once more fast flickering shots are shown of the fleeing public, panic stricken, confused. Police swarming to the scene in different kinds of vehicles now, and here with the music breaching a climax the shots slow down and return to facial close-ups. Tybalt and Benvolio are screaming at each other hate in their eyes, with no more fear left in Benvolio’s body only hate. Cars spread upon the road, utter havoc breached by the two feuding enemies. Guns are pointed at the couple from air and ground. They have no choice but to both walk forward and admit defeat, dropping their weapons to the ground. There is no music now just a loud ‘boom’ as the weapons fall. Adrenalin at an ultimate climax for anybody watching. The range of shots along with the series of different sounds and music create an unforgettable opening, showing many of the different themes and aspects of the play/film to anybody watching.

Marcus Cocceius Nerva, First of Romes Good Emperors

Marcus Cocceius Nerva, First of Rome's Good Emperors Marcus Cocceius Nerva (November 8, 30 CE–January 27, 98 CE) ruled Rome as emperor from 96–98 CE following the assassination of the much-hated Emperor Domitian. Nerva was the first of the five good emperors and was the first to adopt an heir who wasnt part of his biological family. Nerva had been a friend of the Flavians without children of his own. He built aqueducts, worked on the transport system, and built granaries to improve the food supply. Fast Facts: Marcus Cocceius Nerva Known For: Well-regarded and respected Roman emperorAlso Known As: Nerva, Nerva Caesar AugustusBorn: November 8, 30 CE in Narnia, Umbria part of the Roman EmpireParents: Marcus Cocceius Nerva and Sergia PlautillaDied: January 27, 98 CE at the Gardens of Sallust, RomePublished Works: Lyric poetryAwards and Honors:  Ornamenta Triumphalia for military serviceSpouse: NoneChildren: Marcus Ulpius Traianus, Trajan, the governor of Upper Germany (adopted)Notable Quote: â€Å"I have done nothing that would prevent me laying down the imperial office and returning to private life in safety.† Early Life Nerva was born November 8, 30 CE, in Narnia, Umbria, north of Rome. He came from a long line of Roman aristocrats: his great-grandfather M. Cocceius Nerva was consul in 36 CE, his grandfather was a well-known consul and friend of Emperor Tiberius, his mothers aunt was the great-granddaughter of Tiberius, and his great uncle was a negotiator for the emperor Octavian. While little is known of Nervas education or childhood, he did not become a military professional. He was, however, well known for his poetic writings. Early Career Nerva, following in his familys footsteps, pursued a political career. He became praetor-elect in 65 CE and became an advisor to Emperor Nero. He discovered and exposed a plot against Nero (the Pisonian conspiracy); his work on this issue was so significant that he received military triumphal honors (though not a member of the military). In addition, statues of his likeness were placed in the palace. Neros suicide in 68 led to a year of chaos sometimes called the Year of Four Emperors. In 69, as a result of unknown services rendered, Nerva became a consul under Emperor Vespasian. Though there are no records to support the assumption, it seems likely that Nerva continued as consul under Vespasians sons Titus and Domitian until the year 89 CE. Nerva as Emperor Domitian, as a result of conspiracies against him, had become a harsh and vengeful leader. On September 18, 96, he was assassinated in a palace conspiracy. Some historians speculate that Nerva may have been involved in the conspiracy. At the very least, it seems likely that he was aware of it. On the same day, the Senate proclaimed Nerva emperor. When appointed, Nerva was already well into his sixties and had health issues, so it was unlikely he would rule for long. In addition, he had no children, which raised questions about his successor; it may be that he was selected specifically because he would be able to handpick the next Roman emperor. The initial months of Nervas leadership focused on redressing Domitians wrongs. Statues of the former emperor were destroyed, and Nerva granted amnesty to many whom Domitian had exiled. Following tradition, he executed no senators but did, according to Cassius Dio, â€Å"put to death all the slaves and freedmen who conspired against their masters.† While many were satisfied with Nervas approach, the military remained loyal to Domitian, in part because of his generous pay. Members of the Praetorian Guard rebelled against Nerva, imprisoning him in the palace and demanding the release of Petronius and Parthenius, two of Domitians assassins. Nerva actually offered his own neck in exchange for those of the prisoners, but the military refused. Finally, the assassins were captured and executed, while Nerva was released. While Nerva retained power, his confidence was shaken. He spent much of the remainder of his 16-month reign attempting to stabilize the empire and ensure his own succession. Among his achievements were the dedication of a new forum, repairing roads, aqueducts, and the Colosseum, allotting land to the poor, reducing taxes imposed on Jews, instituting new laws limiting public games, and exercising greater oversight over the budget. Succession There is no record that Nerva married, and he had no biological children. His solution was to adopt a son, and he selected Marcus Ulpius Traianus, Trajan, the governor of Upper Germany. The adoption, which took place in October of 97, allowed Nerva to placate the army by selecting a military commander as his heir; at the same time, it allowed him to consolidate his leadership and take control of the provinces in the north. Trajan was the first of many adopted heirs, many of whom served Rome extremely well. In fact, Trajans own leadership is sometimes described as a golden age. Death Nerva had a stroke in January 98, and three weeks later he died. Trajan, his successor, had Nervas ashes put in the mausoleum of Augustus and asked the Senate to deify him. Legacy Nerva was the first of five emperors who oversaw the best days of the Roman Empire, as his leadership set the stage for this period of Roman glory. The other four good emperors were Trajan (98–117), Hadrian (117–138), Antoninus Pius (138–161), and Marcus Aurelius (161–180). Each of these emperors hand-selected his successor through adoption. During this period, the Roman Empire expanded to include the north of Britain as well as portions of Arabia and Mesopotamia. Roman civilization was at its height and a consistent form of government and culture expanded across the entire empire. At the same time, however, the government became increasingly centralized; while there were benefits to this approach, it also made Rome more vulnerable in the long run. Sources Dio, Cassius. Roman History by Cassius Dio published in Vol.  VIII of the Loeb Classical Library edition, 1925.The Editors of Encyclopaedia Britannica. â€Å"Nerva.† Encyclopà ¦dia Britannica.ï » ¿Wend, David. Nerva. An Online Encyclopedia of Roman Emperors.

Apple - Still Leading the Way essays

Apple - Still Leading the Way essays Apple Inc. is a multinational corporation that prides itself on innovation. Apple is a constantly adapting to what consumers wants and its brand's loyalty is considered unusual for any products. Apple was incorporated in the state of California on January 3, 1977. It is one of the most established IT companies in the world. The company has a great reputation for providing good quality products and services, and for designing the most attractive and innovative products in the world today. Their products are strong and reliable, as well as simple and easy to use. It is best known for its products Macintosh computers, iPhones, iPods and The innovation Steve Jobs offered to the company fueled Apple's large excess returns. After the passing of Steve Jobs, the company's stock price took a small dip. Tim Cook now manages Apple as CEO, and whether he can continue to perpetuate the company's innovative culture will be tested in the coming years. The company's current financials are very strong. Apple has a market cap of $585 billion. A quick peek at their latest quarterly balance sheet reveals they have approximately $10.7 billion of just cash. Their gross profit margin is 46% showing they're making 46 cents on every dollar they take in. Their current and quick ratios register at 1.5 and 1.2, respectively. This illustrates that their current assets trumps their liabilities. In other words, they have very strong liquidity. Their return on equity is 35.3%; their return on assets is 23.7%. Apple's Price-to- Earnings ratio is 13.3; investors are basically paying 13 times the earnings of the company. Apple's sales listed as 156.5 billion with 44.6% Porter's Five Force's Analysis Applied to Apple Inc. Michael Porter's five forces strategic frameworks is a commonly used model that most of the industries may use to analyze their external environment. Observed through Porter's strategic framework, App...

Definition and Examples of Humorous Essays

Definition and Examples of Humorous Essays A humorous essay is a type of personal  or familiar essay that has the primary aim of amusing readers rather than informing or persuading them. Also called a comic essay or light essay. Humorous essays often rely on narration and description as  dominant rhetorical and  organizational strategies. Notable writers of humorous essays in English include Dave Barry, Max Beerbohm, Robert Benchley, Ian Frazier, Garrison Keillor, Stephen Leacock,  Fran Lebowitz,  Dorothy Parker, David Sedaris, James Thurber, Mark Twain, and  E.B. White- among countless others. (Many of these comic writers are represented in our collection of  Classic British and American Essays and Speeches.) Observations What makes the humorous essay different from other forms of essay writing is . . . well . . . its the humor. There must be something in it that prompts the readers to smile, chuckle, guffaw, or choke on their own laughter. In addition to organizing your material, you must search out the fun in your topic.(Gene Perret, Damn! Thats Funny!: Writing Humor You Can Sell. Quill Driver Books, 2005)On the basis of a long view of the history of the humorous essay, one could, if reducing the form to its essentials, say that while it can be aphoristic, quick, and witty, it more often harks back to the 17th-century characters slower, fuller descriptions of eccentricities and foibles- sometimes anothers, sometimes the essayists, but usually both.(Ned Stuckey-French, Humorous Essay. Encyclopedia of the Essay, ed. by Tracy Chevalier. Fitzroy Dearborn Publishers, 1997)Because of fewer constraints, humorous essays allow for genuine feelings of joy, anger, sorrow and delight to be expressed. In short, in Western literature the humorous essay is by and large the most ingenious type of literary essay. Every person who writes humorous essays, in addition to having a lively writing style, must first possess a unique understanding that comes from observing life.(Lin Yutang, On Humour, 1932. Joseph C. Sample, Contextualizing Lin Yutangs Essay On Humour: Introduction and Translation. Humour in Chinese Life and Letters, ed. by J.M. Davis and J. Chey. Hong Kong University Press, 2011) Three Quick Tips for Composing a Humorous Essay1. You need a story, not just jokes. If your goal is to write compelling nonfiction, the story must always come first- what is it you are meaning to show us, and why should the reader care? It is when the humor takes a backseat to the story being told that the humorous essay is most effective and the finest writing is done.2. The humorous essay is no place to be mean or spiteful. You can probably skewer a politician or personal injury lawyer with abandon, but you should be gentle when mocking the common man. If you seem mean-spirited, if you take cheap shots, we arent so willing to laugh.3. The funniest people dont guffaw at their own jokes or wave big look at how funny I am banners over their heads. Nothing kills a joke more than the joke teller slamming a bony elbow into your ribs, winking, and shouting, Was that funny, or what? Subtlety is your most effective tool.(Dinty W. Moore, Crafting the Personal Essay: A Guide for Writing and P ublishing Creative Nonfiction. Writers Digest Books, 2010) Finding a Title for a Humorous EssayWhenever Ive written, say, a humorous essay (or what I think passes as a humorous essay), and I cant come up with any title at all that seems to fit the piece, it usually means the piece hasnt really congealed as it should have. The more I unsuccessfully cast about for a title that speaks to the point of the piece, the more I realize that maybe, just maybe, the piece doesnt have a single, clear point. Maybe its grown too diffuse, or it rambles around over too much ground. What did I think was so funny in the first place?(Robert Masello, Roberts Rules of Writing. Writers Digest Books, 2005)

The Nurses Role in Promoting Patient Rights Article

The Nurses Role in Promoting Patient Rights - Article Example Besides, NDNQI helps nurses to deliver quality services and improve patient safety. Therefore, nurses have the ethical obligation to be an advocate of patient vulnerability in the context of the hierarchical system of healthcare. Nurses role involve providing information that helps a patient to make significant decisions. Besides, they speak up in support for patients where necessary. The role of nurses in patient engagement boosts the health outcome by improving care delivery. Patients have the right to receive treatment with honor and respect, therefore, nurses help navigate the unfamiliar healthcare system and promote communication among caregivers. They interpret tests, instructions, and procedures in terms the patient can follow and understand (Wood, 2010). Besides, they integrate all aspects of patient’s care and ensure that concerns, standards, and positive outcome of the patient are met. In a scenario at my workplace, a patient failed to know his right for an active care and proper diagnosis. There was a case of a physician undertaking medical malpractice and negligence on a patient (wrong diagnosis). Therefore, I brought up the concern of the organization. The physician was charged, and the p atient received the care that he deserved. Besides, NDNQI is significant in enhancing the quality of service of patients. NDNQI prevalence rates for various diseases creates the formation of action plans to eradicate the disease. For instance, NDNQI data on CAUTIs has enhanced its mitigation and reduction levels (Simon, Klaus & Dunton, 2009). Therefore, nurses in conjunction with NDNQI increase patient’s welfare. Guglielmi, C.L., Stratton, M., Healy, G.B., Shapiro, D., Duffy, W.J., Dean B.L. & Groah, L. K. (2014). The growing role of patient engagement: relationship-based care in a changing health care system. AORN, 99(4), 517-528. doi:

Linguistics and the Media Term Paper Example | Topics and Well Written Essays - 1500 words

Linguistics and the Media - Term Paper Example Daniel Dennette defines it as a unit of information in a mind whose existence influences events such that more copies of it get created in others’ minds. Here, the stress lies on the idea that a meme is an inherent form of knowledge in the human brain; it is the basic unit of cultural transmission or imitation. According to this definition, everything we call â€Å"culture† is composed of atom like memes, which compete with one another. These memes spread by being passed from mind to mind in the same way genes spread by being passed down through sperm and egg. The memes that win the competition are those that are successful at penetrating the most minds; they are the ones responsible for those activities and creations that constitute present-day culture (Brodie, 1996). CMC’s have made it possible for memes to germinate in the social gene pool. The linguistic implications of meme are highly significant since information travels over websites, blogs and social netw orking sites, and hence languages vary. Therefore, with every language, the conceptual framing and blending of linguistics and pragmatics also vary. Hence, language changes on the internet (Crystal, 2001). According to Bell, there is a close relationship between linguistics and media. â€Å"It makes a specific use of language and media texts illustrate language use and language attitudes for a variety of speech communities†. Syntactics and semiotics of meme in the following examples help to understand why people have a shared interest for memes. Since we have already established that memes grow in the mind of person to person, it is important to know how medium achieves that. There is a simultaneous use of text and visual. This particular series is called Successful Black Man, also known as â€Å"Successful Negro†. The media’s denotation of a black man in a business suit and a witty one-liner, firstly involves a fabricated framework experienced by conceptual ble nding employed in the first statement, â€Å"I got 99 problems† The connotation with the stereotype of an African man is that they are hustlers and gangster in the street. However secondly, there is an intentional line break after which a line is cited having primary framework relating to a professional who took a CA exam. There is an immediate exploitative fabricated framework. The intention behind the fabrication is to create hilarity because of the pragmatics of the two lines’ frameworks. The top line mimics what a black male stereotype would say while the bottom line results in breaking the character of the first line. The creator divulges that the inspiration behind the meme was based on reverse-discrimination issues at the workplace. In this case the humor and wit, and reversing the stereotype in the meme made it popular. There should be some genuine quirkiness contained within the idea. â€Å"The meme could coincide with some kind of zeitgeist or spirit of the age. Humor is a powerful component. Often it will contain an aspect that challenges conventional wisdom. There is also a critical mass factor at play. The spread of an idea of concept will accelerate at some point probably due to the multiplier effect of people being exposed to it