Partnership Care Nursing: A review of two Peer-reviewed Journals on Care Nursing

Introduction The concept of teamwork in health and social care has a vast literature. For instance, a policy developed by the Department of Health in 2007 mainly focused on eradicating inequalities in health service provision through partnership working between primary care providers and other social care agencies. Today’s healthcare service status demands teamwork, which is particularly true for nurses who have to deal with multiple of factors during their professional service provision. On the same breadth is the increased call for more patients’ involvement in their health, including on the right to make decision and seek legal support on the basis of their health. In other words, every patient receiving healthcare services, including nursing service is entitled to be actively involved in their own care. The philosophy behind partnership working in nursing is based on several concepts and principles: empowerment, autonomy & rights, power-sharing, information sharing, respect, mak ing informed choices, and paternalism. The aim of this paper is to analyse ideas from two different articles by different authors on the topic of nursing, particularly on the partnership working in nursing. Discussions Article I: Patient participation in nursing care: towards a concept clarification from a nurse perspective In their study, â€Å"Patient participation in nursing care: towards a concept clarification from a nurse perspective† Sahlsten et al. (2007) explored the evolution of patient participation, a concept that has not only gained significant transformation overtime, but also brought with it more challenges on definitions and dimensions of patient participation. The authors used focus group interviews to collect data, conducting open interviews on the selected seven groups. While the data gathering took five months to accomplish, the researchers were able to uncover the respondent’s perspectives in depth. While the focus group interviews may have mainly focused on the meaning and implementation of patient participation in line with the study’s aim, the results can clearly reveal what nurses value most in terms of patient participation. Respondents rated equal partners’ participation, co-operation, and shared responsibility as the most significant factors in rel ational nursing (Sahlsten et al., 2007, pp. 635-636). While the aim of the study was to explore â€Å"the meaning of patient participation in the nursing care from a nurse perspective† (Sahlsten et al., 2007, p.632), the review of other authors’ works reveals a plethora of issues in the nursing care and partnership working. The nurse-patient relationship is considered successful when both parties view each other as partners, with the nurse required to use professionalism, knowledge and positive ideas in the implementation of nursing care plan. Patient, on the other hand, is expected to have the intellectual ability to understand and make the right choices with regard to their own nursing care. The authors, however, faults the incongruence relationship between studies conducted in relation to patient participation on one side and definitions, elements and processes in literature and practice on the other side. Although there are a lot of empirical literature on nursing theories and patient participation, the authors claim t hat no empirically grounded theory has ever been established, calling for significant insight into more studies related to the concept of patient participation in their own nursing care. The authors claim that the traditional approach where patients were mere recipient of nursing care has changed, and subsequently replaced by the more active patients who are directly involved in their own care. More importantly, patients’ participation simply means the opportunity for them to participate in their own care, with regular adjustment as the situation may demand. Article II: The relational core of nursing practice as partnership Jonsdottir, Litchfield and Pharris (2004), while exploring â€Å"the relational core of nursing practice as partnership†, focused their analysis on the evolving relational core of nursing care in the backdrop of increased technology use and outcome-oriented approaches. The three authors, unlike their previously outlined counterparts, only focused on critical review of the available literature, espousing the role of evolving dialogue between nurse and patient in terms of partnership nursing and care. While technology is considered in the positive side in terms of medical breakthroughs, experts and general observers alike have associated it with distraction in health care services that need personalised attention including nursing (Jonsdottir, Litchfield and Pharris, 2004, p.241). In retrospect, the authors claim that the distracted modern nurse sees patient as a problem rather than partner to be attended to, consequently obscuring the humanness of nursing experience. To emphasise on the need to correct the deteriorating relational nursing concept in the perspective of partnership, Jonsdottir, Litchfield and Pharris (2004) outline and analyse various research studies that backs the need for nurses to be real partners through presence, care, and attentiveness in every stage of care nursing. The authors categorically state that the patients need medical treatment as priority, but emphasis should also be given to proven holistic approaches to care nursing, which studies have revealed to be equally significant in the overall healthcare. The focus on holistic care nursing should thus be based on dialogue between nurses and patients, for example, where the former should be in a position to explain to the latter why a certain procedure or activity is necessary in the process of care nursing. Conclusion While the two set of authors had different approaches to their respective work, both articles exemplifies harmony in terms of the need for partnership care nursing. One may, however, notice that the former article largely referred to partnership in the perspective of increased patient participation in own care nursing. The latter article mainly focused on partnership as a dialogue between nurse and patient. It is prudent to state that the former authors’ focus on patient elevation is largely due to historical background of healthcare service provision that pushed patients to the periphery of their own health. Nonetheless, the difference in semantics and approach notwithstanding, the two sets of authors agree that both patients and nurses need to collaborate, and view each other as partners rather than either one party feeling superior to one another. After all, it is common knowledge in the health care cycle that post-modern health and social care services requires more than t he post-war’s â€Å"one-size-fits-all† approach that dominated the universal health care service provision more than fifty decades ago. References Jonsdottir, H., Litchfield, M. and Pharris, M.D. 2004. The relational core of nursing practice as partnership. Journal of Advanced Nursing, 47(3), 241-250. Sahlsten M.J., Larson I.E., Sjostrom B., Lindencrona, C.S. and Ploskae. 2007. Patients participation in nursing care: towards a concept clarification from a nurse perspective. Journal of Clinical Nursing, 16, 630-637.

Medea Aristotelian Analysis

This would add to the tension, and provide an exaggerated contrast between the men, speaking in their natural voices, and the women in their falsetto. This also influences the musical nature of the play. As compared to other Greek tragedies where the chorus would have been intentionally all male, Medea would have a very different sound, a much more feminine sound, as would be fitting for one of the few Greek plays with a female protagonist. The language Eurypides uses helps the audience understand her and her actions, as well as be able to empathize with her. Words of destruction, such as â€Å"kill,† â€Å"broken,† â€Å"refugee,† â€Å"sick,† â€Å"hate,† â€Å"enraged,† and â€Å"starves† all set the stage in the first 20 lines of the play. The audience instantly knows that Medea has suffered horribly, and now has every right and reason to take revenge for the wrongs that have been done to her. These same words are used often throughout the play, especially â€Å"hate† and â€Å"betrayed† and give us great insight into the total fury and single mindedness of Medeas later actions. Jason’s words, on the other hand, help us realize just how disconnected he is. He is, as the Chorus says â€Å"ignorant beyond pity. †Ã‚   Jason thinks he is being â€Å"generous,† and he somehow thinks leaving his wife for a younger woman makes him her â€Å"advocate. Eurypides carefully emphasizes the scene where the children are slaughtered by having it be the only time we hear them speak. They are on stage for many scenes, but they never do anything but watch, silent and obedient while their family falls apart around them. When they finally speak, it is because it is their only hope of saving themselves; it is too late for their family. They cry out, with young innocent voices, pleading for help in what is perhaps the most tense moment of the play. This tension is further heightened by the fact that the audience cannot see what is happening, they can only hear it. They are forced to rely on sound alone, and that sound for those few lines becomes the only thing that matters. One almost wants to watch Medea kill her children just to know what is actually happening behind that door instead of being denied perhaps our most important sense: sight. The audience becomes blind to the action of the play, as Medea has embraced her blind rage. Social Implications: In the last lines of Medea, Euripides uses the verbal interaction between Jason and Medea to show a reversal in the stereotypical gender roles of the time. Although Medea is a goddess, she represents a strong, unyielding female role that has power over her male counterpart in their relationship. Moments before the final grand spectacle, a distraught, weakened Jason is powerless to the will of Medea. He raises his voice (indicative of his losing all authority and pathetically lashing out for some form control) and demands that he be allowed to have his children back. Yet Madea is unwavering and persistent. Unlike Jason, she â€Å"wastes† no words and provides a simple, rational-sounding message that reflects her supremacy. This kind of social commentary is interesting because women, who were rarely awarded the liberties of men at the time, were allowed to attend the plays at the Dionysus festival. It is possible that Euripides was sending a subtle message of hope and pride to all of the oppressed female members of his audience. Dialect: Euripides was celebrated for his simplistic use of language which reflects a more realistic dialogue in the character’s expressions. Although he did not win as many first place awards as Sophocles or Aeschylus at the Dionysus festivals, his work was popular to an audience which was able to recognize their own dialects and accents on stage. Unlike other tragedies of his time, Euripides’s work was not diluted by unrealistic, grandiose phraseology which often had a deleterious effect on the listener’s comprehension and ability to interprate the plays. Physical Realities of Sound in Ancient Greek Theater: Ancient Greek theaters were specially constructed to perfectly suit the art which they housed (although without roofs). The multi-thousand-seat theaters were built into hilsides to allow for minimal construction and also excellent accoustics. In today’s theater, sound is almost always electronically amplified to permit better hearing by the audience, but not having this as an option, these grecian temples had to be constructed perfectly. By encircling the orchestra   with a mathematically perfected design of wooden or stone benches, sloping upwards away from the performance, the ancient architects nearly mimiced the way that sound travels as it spreads. This near-perfect acoustical environment allowed the actors’ voices to travel all the way to the last row of seats. Also, the Skene buidling which stood behind the orchestra may have assisted in the amplification by reflecting voices and sound towards the thousands of audience members. This arrangement meant that the words which were spoken and sounds of music and dancing were clear such that their importance could be heard accurately. The theaters of Ancient Greece enormous, when, for example, the nearest seat was almost 10 meters away from the performer, large movements and loud voices were critical to conveying the full story. As such, it is widely accepted that the performers would wear very simple, plain masks which made their facial features more clear and obvious for the audience to see. Some theater historians assert that these masks also had a type of megaphone built in for amplification, although this point is disputed. In conjunction with their enlarged faces, the performers were often on stilts and wearing heavy robes of fabric to accurately convey their character. These amendments to their body meant that every move they made and every sound they created needed to be worth it. There was no â€Å"stage whispering† in this theater which limited but also inspired Euripides to write plays with more dynamic and complex plotlines, ones filled with action and confrontation to futher add to the experience. In addition, the chorus of some twelve men (playing women in Medea) would constantly dance around the orchestra (derived from the Greek term for dancing) during their scenes. The dancing was entertaining but also allowed the group to spread around the wealth so to speak of their odes, so that all might be privy to hearing their sound and seeing their dance. VI. Spectacle The Greatest Spectacle: After the extraordinary hardships which Medea faces throughout the play, we come across the ending when she â€Å"appears in a winged chariot, rising above the house. The bodies of the two children are visible in the chariot. Interestingly, over the past 1570 lines of the play, the stage directions are almost never this specific or elaborate. Showing that Euripides has literally saved the best for last, perhaps to shamelessly present a big ending, the rising chariot is the epitome of spectacle in this play. Although there would be no such chariot in the ancient theaters, it is likely that Med ea herself would be lifted from the stage level by the deus ex machina (literally, god machine) and the childen’s bodies would be thrust forth on a rolling wagon from the skene in the rear of the orchestra. By creating such a spectacle, Euripides also highlights the importance of this event: Medea has killed her own childen in order to free them from the terror of the world which has been created for them. Her actions display her insanity, and her relentless pursuit of revenge against Jason. Setting and Costumes: The unique Greek theaters which seated many thousands called for very simplistic yet very clear design choices. Instead of elaborate costumes, the performers would wear large bold costumes which allowed even the farthest spectator to be clear on who is who. Due to the widely acknowledged â€Å"three-actor rule† (whereby three actors played the roles of all the characters in a play) the costume and mask changes would need to immediately reflect differing characters. It is also widely accepted that the performers would wear a type of stilts to make them â€Å"larger than life† leading to two interpretations: the actors could be better seen and heard when higher, but also became almost godlike or unrealistically large- adding to the spectacle of this world. Entrances and Exits: In the rear of the orchestra section was the Skene, a large building which served as a universal setting for Greek Theater. The sometimes elaborate building would generally have a major door in the center (for palace settings) as well as machines which hoisted actors above the orchestra section. Some characters may have entered this way, but most, including the chorus, would enter on ramps adjacent to the orchestra area. These eisodoi or parodoi would be used for entrances by characters such as a messenger or soldier. How did the actors move: Simply, the actors moved in large, overstated motions. In order to make the play as clear as possible for the large audiences, subtlety was not an option for the ancient Greeks. But what this also meant   for the performance was that the plot had to be appropriately planned for this style of acting. Performers carried out sometimes-long speeches with highly clear emotional intent. This style is a crucial part of Medea. As the plot continues and Medea’s situation worsens, emotions become increasingly polar and disjointed, making clear the protagonist and antagonist’s intentions. Medea Aristotelian Analysis This would add to the tension, and provide an exaggerated contrast between the men, speaking in their natural voices, and the women in their falsetto. This also influences the musical nature of the play. As compared to other Greek tragedies where the chorus would have been intentionally all male, Medea would have a very different sound, a much more feminine sound, as would be fitting for one of the few Greek plays with a female protagonist. The language Eurypides uses helps the audience understand her and her actions, as well as be able to empathize with her. Words of destruction, such as â€Å"kill,† â€Å"broken,† â€Å"refugee,† â€Å"sick,† â€Å"hate,† â€Å"enraged,† and â€Å"starves† all set the stage in the first 20 lines of the play. The audience instantly knows that Medea has suffered horribly, and now has every right and reason to take revenge for the wrongs that have been done to her. These same words are used often throughout the play, especially â€Å"hate† and â€Å"betrayed† and give us great insight into the total fury and single mindedness of Medeas later actions. Jason’s words, on the other hand, help us realize just how disconnected he is. He is, as the Chorus says â€Å"ignorant beyond pity. †Ã‚   Jason thinks he is being â€Å"generous,† and he somehow thinks leaving his wife for a younger woman makes him her â€Å"advocate. Eurypides carefully emphasizes the scene where the children are slaughtered by having it be the only time we hear them speak. They are on stage for many scenes, but they never do anything but watch, silent and obedient while their family falls apart around them. When they finally speak, it is because it is their only hope of saving themselves; it is too late for their family. They cry out, with young innocent voices, pleading for help in what is perhaps the most tense moment of the play. This tension is further heightened by the fact that the audience cannot see what is happening, they can only hear it. They are forced to rely on sound alone, and that sound for those few lines becomes the only thing that matters. One almost wants to watch Medea kill her children just to know what is actually happening behind that door instead of being denied perhaps our most important sense: sight. The audience becomes blind to the action of the play, as Medea has embraced her blind rage. Social Implications: In the last lines of Medea, Euripides uses the verbal interaction between Jason and Medea to show a reversal in the stereotypical gender roles of the time. Although Medea is a goddess, she represents a strong, unyielding female role that has power over her male counterpart in their relationship. Moments before the final grand spectacle, a distraught, weakened Jason is powerless to the will of Medea. He raises his voice (indicative of his losing all authority and pathetically lashing out for some form control) and demands that he be allowed to have his children back. Yet Madea is unwavering and persistent. Unlike Jason, she â€Å"wastes† no words and provides a simple, rational-sounding message that reflects her supremacy. This kind of social commentary is interesting because women, who were rarely awarded the liberties of men at the time, were allowed to attend the plays at the Dionysus festival. It is possible that Euripides was sending a subtle message of hope and pride to all of the oppressed female members of his audience. Dialect: Euripides was celebrated for his simplistic use of language which reflects a more realistic dialogue in the character’s expressions. Although he did not win as many first place awards as Sophocles or Aeschylus at the Dionysus festivals, his work was popular to an audience which was able to recognize their own dialects and accents on stage. Unlike other tragedies of his time, Euripides’s work was not diluted by unrealistic, grandiose phraseology which often had a deleterious effect on the listener’s comprehension and ability to interprate the plays. Physical Realities of Sound in Ancient Greek Theater: Ancient Greek theaters were specially constructed to perfectly suit the art which they housed (although without roofs). The multi-thousand-seat theaters were built into hilsides to allow for minimal construction and also excellent accoustics. In today’s theater, sound is almost always electronically amplified to permit better hearing by the audience, but not having this as an option, these grecian temples had to be constructed perfectly. By encircling the orchestra   with a mathematically perfected design of wooden or stone benches, sloping upwards away from the performance, the ancient architects nearly mimiced the way that sound travels as it spreads. This near-perfect acoustical environment allowed the actors’ voices to travel all the way to the last row of seats. Also, the Skene buidling which stood behind the orchestra may have assisted in the amplification by reflecting voices and sound towards the thousands of audience members. This arrangement meant that the words which were spoken and sounds of music and dancing were clear such that their importance could be heard accurately. The theaters of Ancient Greece enormous, when, for example, the nearest seat was almost 10 meters away from the performer, large movements and loud voices were critical to conveying the full story. As such, it is widely accepted that the performers would wear very simple, plain masks which made their facial features more clear and obvious for the audience to see. Some theater historians assert that these masks also had a type of megaphone built in for amplification, although this point is disputed. In conjunction with their enlarged faces, the performers were often on stilts and wearing heavy robes of fabric to accurately convey their character. These amendments to their body meant that every move they made and every sound they created needed to be worth it. There was no â€Å"stage whispering† in this theater which limited but also inspired Euripides to write plays with more dynamic and complex plotlines, ones filled with action and confrontation to futher add to the experience. In addition, the chorus of some twelve men (playing women in Medea) would constantly dance around the orchestra (derived from the Greek term for dancing) during their scenes. The dancing was entertaining but also allowed the group to spread around the wealth so to speak of their odes, so that all might be privy to hearing their sound and seeing their dance. VI. Spectacle The Greatest Spectacle: After the extraordinary hardships which Medea faces throughout the play, we come across the ending when she â€Å"appears in a winged chariot, rising above the house. The bodies of the two children are visible in the chariot. Interestingly, over the past 1570 lines of the play, the stage directions are almost never this specific or elaborate. Showing that Euripides has literally saved the best for last, perhaps to shamelessly present a big ending, the rising chariot is the epitome of spectacle in this play. Although there would be no such chariot in the ancient theaters, it is likely that Med ea herself would be lifted from the stage level by the deus ex machina (literally, god machine) and the childen’s bodies would be thrust forth on a rolling wagon from the skene in the rear of the orchestra. By creating such a spectacle, Euripides also highlights the importance of this event: Medea has killed her own childen in order to free them from the terror of the world which has been created for them. Her actions display her insanity, and her relentless pursuit of revenge against Jason. Setting and Costumes: The unique Greek theaters which seated many thousands called for very simplistic yet very clear design choices. Instead of elaborate costumes, the performers would wear large bold costumes which allowed even the farthest spectator to be clear on who is who. Due to the widely acknowledged â€Å"three-actor rule† (whereby three actors played the roles of all the characters in a play) the costume and mask changes would need to immediately reflect differing characters. It is also widely accepted that the performers would wear a type of stilts to make them â€Å"larger than life† leading to two interpretations: the actors could be better seen and heard when higher, but also became almost godlike or unrealistically large- adding to the spectacle of this world. Entrances and Exits: In the rear of the orchestra section was the Skene, a large building which served as a universal setting for Greek Theater. The sometimes elaborate building would generally have a major door in the center (for palace settings) as well as machines which hoisted actors above the orchestra section. Some characters may have entered this way, but most, including the chorus, would enter on ramps adjacent to the orchestra area. These eisodoi or parodoi would be used for entrances by characters such as a messenger or soldier. How did the actors move: Simply, the actors moved in large, overstated motions. In order to make the play as clear as possible for the large audiences, subtlety was not an option for the ancient Greeks. But what this also meant   for the performance was that the plot had to be appropriately planned for this style of acting. Performers carried out sometimes-long speeches with highly clear emotional intent. This style is a crucial part of Medea. As the plot continues and Medea’s situation worsens, emotions become increasingly polar and disjointed, making clear the protagonist and antagonist’s intentions.

Financial resources and decisions management Essay

Financial resources and decisions management - Essay Example equity and debt, comes with their advantages and disadvantages. Several factors, such as statutory rules and requirements, terms and conditions imposed by the counter party and general economic conditions are analyzed before selecting one of the options. The downside of acquiring financing through issuance of equity is that the procedure is quite complicated as compared to acquiring funds by approaching any bank. In most cases, a loan is acquired from any bank or financial institution by filing an application for the sanctioning of the loan. The bank or any other financial institution, after evaluating the necessary details such as credit history, financial outlook for assessing the ability of the entity to repay the loans in future, and the purpose of the project for which the loan application was filed, sanctions the loan. Whereas in the case of raising finances through issuance of equity shares, the company has to fulfill several requirements such as issuing a predefined number of shares, issuing shares to the existing shareholder in proportion to their existing shares and appointing a financial advisor for conducting a due diligence of the entity’s operations. ... In contrast, in equity financing, the company has to wait for a considerable longer period of time for the funds to become available for their utilization. 1.2 The two modes of finance available to the company would be raising funds through issuance of equity or acquiring loan in the form of a mixture of a long term and short term debt. Let us assume that the total requirement of funding for Quality windows Ltd is for ? 100,000. As provided in the scenario, 40% of the funding requirement can be met through internally generated funds, whereas for the remaining 60% the company has to decide about the mode of funding. Thus the amount of fund required to issue is ? 60,000. Option 1: Raising the fund through the issuance of shares The company decides to issue 6,000 shares at ? 12 (par value is ? 10 and premium is ? 2). As per the current market knowledge, the issuance cost per share is ? 1. Other administrative cost pertaining to the issuance of share is ? 5,000 in total which relates to publishing prospectus and appointing an under-writing agent. Thus the total cash inflows to the company for the first financial year would be as under: Particulars Amount in ? Shares issued 72,000 Issuance cost (6,000) Other costs (5,000) Total inflow 61,000 Option 1: Acquiring loan from a financial institution The company decides to acquire loan from a financial institution amounting to ? 70,000. The principal repayment will start two years from the end of the current financial year. In return, the financial institution will charge interest rate at the rate of 12%. Thus, following is the net cash inflow at the end of the financial year: Particulars Amount in ? Loan acquired 70,000 Interest cost (8,400) Total inflow 61,600 Thus it is apparent from the above analysis, that acquiring

Can literature tell the truth better than other arts (Theory of Essay

Can literature tell the truth better than other arts (Theory of knowledge) - Essay Example Some novels are good, some are terrible. The same can be said of other art forms as well. Many paintings are really boring to look at, others you can't stop looking at them. Perhaps it is best to compare the best of novels with the best of other arts. That way the comparison will be more fair and people can see what really happens. Literature are made up of novels and non-fiction works. A novel is very good at getting the reader inside the head of the people who are involved. For example, in the Harry Potter books, the author lets the readers know what Harry is thinking. If you compare this to the films of the books, in the films you don't know what people are thinking. But in the films you see the action better. So when you see Harry on his broomstick attacking a dragon that is better when you see it then when you read it in the book. Films show action better than novels but also are more simple. Novels are much longer and can include more details than a film. A film tends to make things simple for the audience. A novel also takes longer to read than a film takes to watch. A person can read two days today but thirty pages tomorrow. They can then leave the book for a month without reading it at all. So a book is the kind of art that you can take at your own pace. Other arts need to be seen all at once. This is especially the case with a film. You can't really watc five minutes one day, thirty the next and then leave it for a month before watching the rest. It would not seem to make sense. A painting, like a film, shows things rather than tells us about them. It is a picture rather than words. A painting just shows one thing, or set of things, while a novel can tell a whole story of a person or many different generations. The fact that the picture is simple makes it easier for the person who is looking at it to understand what is happening. A sculpture is like a picture in that it shows a particular scene, and only one. The sculpture is different than either novels or films because it is very physical in nature. Some sculptures, as long as they are not too famous, can actually be touched by a person looking at them. You cannot touch a novel or a film. A sculpture can be looked at from different angles, while a novel can only really be read in one way. If you look at a sculpture from behind it will look different from in front. But it will be the same sculpture. Is this a better view of the truth than can be found in novels In one way, yes, because it is like reale life. For example, if you meet someone for the first time you can look at them from the front or from the behind. There are different angles. This is the same with sculpture. Theatre is a bit like sculpture, except it uses real people. You actually see real people in theatre, unlike in film where they are just light on a screen. That makes it different. Different because you can tell that they are real people on the stage. Every performance will be different. A novel is always the same, as is a film. Poetry is an art that is like literature more than the other artes. This is because it uses words, like the novel. The only way a person can understand poetry is to read it. The poem is different from a novel in the fact that it is rather much shorter. You can read most poems in a few minutes. In one way this is like looking at a painting, or, to less extent, a film. Some poetry can be very difficult to read, even

Triaxial method Lab Report Example | Topics and Well Written Essays - 250 words

Triaxial method - Lab Report Example Insitu soil material is tested in during subsurface phase. This phase is an investigation stage that will help prepare design a waste containment facility or structures. The tests done will be used for structural fill, recompacted soil layers, and any other engineering components. These forms of tests are called conformance tests and are performed before any construction starts. Appropriate ASTM test methods must be followed when performing tests of materials. The common tests applied in geotechnical investigation are; Standard Test Method for Direct Shear Test of Soils Under Consolidated Drained Conditions ASTM 3080, Standard Test Method for Unconsolidated-Undrained Triaxial Compression Test on Cohesive Soils ASTM 2850, Standard Test Method for Unconfined Compressive Strength of Cohesive Soil ASTM 2166, Standard Test Method for Consolidated-Undrained Triaxial Compression Test for Cohesive Soils ASTM 4767 and Standard Test Method for One-Dimensional Consolidation Properties of Soils ASTM D 2435.1.0Â  Theoretical BackgroundThe purpose of this test is to establish the undrained shear strength of soil and applied to scenarios where fine-grained soils will be saturated and loading expected at a rate that overwhelms the ability of soil materials to dissipate excess pore water pressure. The author states that the shear strength parameters of fine and course grained soils in undisturbed or remolded state is quickly established. In a situation where the rate of construction is slow and allows the soil.

Language is the only homeland Essay Example | Topics and Well Written Essays - 1000 words

Language is the only homeland - Essay Example These women were searching for independence and Kingston describes independence in speaking up rather writing. It became her identity and made her look at herself and her family from a new perspective that is in a more mature manner. Similarly Marshall finds independence in spoken word and in writing with emotions. Marshall and Kingston see their stories as inspiration to black women writers and those Chinese emigrants who are afraid to speak up about their values and culture. Marshall connects himself to the African American ancestors. Both writers believe their writing can be linked to unsaid words of Chinese and African American women. It states what the women were always longing to say but they did not had the independence to do so. Their writings are related to the cultures they were exposed to throughout their lives. Paule Marshall talks about her experience in growing up a family that immigrated to America from Barbados in West Indies.In her essay "Poets in the Kitchen she not only talks about what experiences shaped her personality but also the inspiration behind her writing.History of Barbados explains a lot about the background of thi8s essay.The inhibition of island by ArawakIndians and then Carib Indians greatly describe about the traditions told by Paule at her house.For instance Indians would tie their children's forehead to slope them up.This tradition is quite similar to one discussed by Paule in her essay: â€Å"the bellyband that is tied around the stomach of a newborn baby to keep the navel pressed in† (Marshall1). .Therefore indicating where the traditions discussed by Paule actually originated from. Marshall’s relation to African-American ancestors directly involves her mother and friends of mother. In that era when black women were just viewed as labors, Marshall viewed them as a piece of art. Therefore Marshall uses the kitchen and home setting she was exposed to in her childhood, to describe the African American tradition. All day labor, hard work gave these women no time for any other activity. They resided to their language and freedom of expression as the only way to self express themselves. (Marshall1).While relating to her mother, Marshall talks about how her mother resorted to oral communication and she on the other hand adapted written form of communication to express her creative desires and emotions. She talks about how the language transformed daily wit the evolution of new words such as tumbling big for a pregnant woman, free bee for one with freedom for sexual favors (Marshall1).Marshall identifies with her mother’s personal experiences, stories and writes a record of it all. Identity can be defined in several different ways.It is way more diverse and complex than one's identification card simply.Orientalism defines identity in quite a new perspective.It talks about how West perceives East.The West is always seen as the dominating superior power while East are considered weak, suppr essed and uncivilized nations.This point of view has been rooted in our traditions since centuries and it has shaped the people's way of thinking.As a result East has adapted the mindset of being powerless in front of West.In the chapter a Song for Barbarian Reed Pipe in the Book "The Woman Warrior" by Kingston, the issue of

Annotated Bibliography Assignment Example | Topics and Well Written Essays - 1250 words - 1

Annotated Bibliography - Assignment Example - This was another research work that looked at the epidemiology of West Vile virus in Louisiana. In the paper, a quantitative method that made use of an environmental predictive model was used. in this model, a geographic information system and remote sensing were developed to find the relationship between human cases and case in dead birds. The study concluded that there was 74% of relation. In terms of methods, there will be some level of similarity with the intended study to be carried out. However, there will be difference with the population because in the intended study, there will be an exclusive use of human populations. This study addressed the issue of predictors of hyperendemicity of West Nile virus in Texas. With the focus of the researcher to undertake a spatial analysis of the virus and its predictors in Texas, Poisson was modeled as the exclusive method to aid the researcher achieve the said goals of the study. The outcome of the study showed that Hockley, Lubbock and Lynn, which were used as primary clusters were all hotspots for the disease. Leon and Robertson were also hotspots thought used as secondary clusters. It was concluded that there is a geographic relation with contracting the disease. The method is different from the intended methodology even though the variables of the population would be slightly same. The research was addressed to the issue of the role that birds play in the spread of the West Vile virus. A quasi experiment was used as method for data collection by the researcher, where the outcome of the study showed that indeed American Tree Sparrows have a role to play in the distribution of the disease in man. Between resident species and migrating species, it was concluded that there was increased incidence of West Vile virus as compared to migrating species. In line with the proposed study, the