NURSING CARE PLAN Research Paper Example | Topics and Well Written Essays - 500 words

NURSING CARE PLAN - Research Paper Example Dorothea Orem considered all human beings as basically biopsychosocial beings with capabilities and willingness to take care of themselves and also be dependent on others. It is through these capabilities that human beings live and maintain health (Clark, 1986). The ultimate aim of these capabilities is to meet 3 groups of needs, which are known as 'self-care requisites' and they are universal, developmental and health deviation (Orem, 1985; cited in Comley, 1994 ). The requisite for Mr. C at this current juncture is health deviation. Mr. C is in congestive heart failure, has anemia and also deep vein thrombosis. He also has hypothyroidism. He is on lasix and metoprolol for heart failure and coumadin for deeep vein thrombosis. He is very pale because of low hemoglobin and also congestive heart failure. His laboratory tests are suggestive of renal impairment. In view of congestive heart failure, he is dyspneic and his saturations are low. Mr. C needs to feel comfortable at breathing. He is dysneic and his saturations are low.

Through the Tunnel Essay Example for Free

Through the Tunnel Essay Doris Lessing is a British writer who has a background of upbringing in various Afro-Asian countries like Persia and Rhodesia. But she is living in Britain since 1949. She has written extensively about the racial and also has taken into account the feminist themes like male-female relationship and female identity and freedom in contemporary Western society. There an autobiographical element in â€Å"Through the Tunnel† and she describes her own experiences in it. Symbolism is an important literary element that she utilizes in a subtle way to covey her themes. Through the Tunnel symbolizes her own adolescent experience at recognizing her difference with the world where she resides and the world she belongs to and the passage through the channel of identity crisis. The two areas of coast safe beach and dangerous beach Jerry looks at when he arrives at the coastline symbolize the two different worlds. Like Lessing he resides at a place where he has no solace. He connects his mother to that crowded beach due to the fact she has no identity of her own and is lost among the crowd. Lessing reflects her own image in the form of Jerry as her own parents especially her mother lost her true identity and remained a part of the world where they resided i.e. Persia and Rhodesia. They neither became a part of that society nor their own. â€Å"Jerry’s struggle is that of an individual trying to find his place in the world† (Sobeloff, 1997) Her mother helps him in this regard although she is concerned about him but she thinks that â€Å"Of course hes old enough to be safe without me.† (Lessing)   So she decides to let him go by saying; â€Å"Are you tired of the usual beach, Jerry? Would you like to go somewhere else?†Ã¢â‚¬  (Lessing) The Safe beach is a place that Lessing belongs too. Jerry feels a sense of independence and security while playing on that safe beach. That somewhere else is the place where he craves to go for. For Lessing that place is England i.e. her maternal ancestral home. Although she resided among the native African and felt their pathos and miseries but like Jerry, she â€Å"kept his distance at a stones throw.† (Lessing) Because she was different racially, linguistically and culturally. As â€Å"all of them burned smooth dark brown, and speaking a language he did not understand.† (Lessing) Lessing and Jerry were different from them. The difference was not deep and based on hatred as â€Å"They shouted cheerful greetings at him†. (Lessing) Sobeloff says that â€Å"while there is no overt â€Å"color bar† guiding the interactions between Jerry and the older boys† (Sobeloff, 1997) but it was psychological. So Lessing felts the pains of Africans but psychologically she was an English being. The passage through the tunnel is an effort for one’s own identity and freedom. Lessing has to go through the suffering of this identity but she took it as challenge like jerry. Passage through this identity tunnel was marked with pathos and miseries but she never gave up. Whenever a child hankers after such an adventurous journey, there are friends, relative and parents who counsel and help in these issues but for Jerry there is no one to provide answer to his questions and to relieve him. Same was the case with Lessing. She struggled all alone for her identity and there was no help of any sort available to her. Hanford has beautifully summed up this challenge in her life; â€Å"Lessings life has been a challenge to her belief that people cannot resist the currents of their time, as she fought against the biological and cultural imperatives that fated her to sink without a murmur into marriage and motherhood.† (Hanford, 1995) Jerry toiled day ad night to pass that tunnel; â€Å"That day and the next, Jerry exercised his lungs as if everything, the whole of his life, all that he would become, depended upon it. And again his nose bled at night, and his mother insisted on his coming with her the next day.† (Lessing) Lessing went through the same toil and effort to remove the chasm between herself and her true identity. Because the beach where she was residing â€Å"It was not [her] beach.† (Lessing) Finally she won her fight and But unlike Jerry she â€Å"gave in at once.† (Lessing) Helleron clearly depicts the inner satisfaction of Lessing by saying that â€Å"When Jerry finally achieves his goal, there is no fanfare, no applause, just a quiet celebration within himself knowing that he succeeded.† (Helleron, 1997) References Hanford, Jan. Biography. A Readers Guide to The Golden Notebook Under My Skin, Harper Perennial, 1995. Holleran, Karen.† Through the Tunnel: The Search for Identity and Acceptance†.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Short Stories for Students, Gale Research, 1997. Lessing, Doris. The Habit of Loving. London:   MacGibbon Kee, 1957   Sobeloff, Judy. Short Stories for Students, Gale Research, 1997.

Stocks Essay -- Business, Investment, Portfolio Information

In this study, we would measure an investor’s experience as closely as possible. Therefore, in a portfolio formation, we assume an investor who follows reported insiders trading information and at the end of each month, he forms his portfolio by including all stocks that have been traded by insiders in the same month. After that he gives equal weights to each stock in his portfolio. He keeps each stock in his portfolio for X months following insiders’ trades. Furthermore, he rebalances his portfolio every month to drop all stocks that have completed X months in the portfolio and add all stocks that have been just executed. For example, if X equals to three, the portfolio of January 2008 includes all stocks with insiders’ trades in November 2007, December 2007 or January 2008. There is higher change for multiple observations on the same firm in the portfolio that occur within X months of the initial observation, for example, an insider buys stocks of firm B in January 1, 2007 and another insider buys stock of firm B in March 1, 2007. Hence, in the March 2007 portfolio, firm B will have double weight in the portfolio compared to other firms. To overcome this problem, we would consider a number of firms in a portfolio not a number of trades. By following a number of firms in the portfolio, we would provide equal weights to each company, not each trade. The measurement of performance of the portfolio A central empirical issue to measure the performance of any portfolio condition on any event is to control all other factors that may produce excess returns except a particular event. Therefore, we require a model that seems to capture much of the cross-sectional variance in average stock returns. (Fama and French, 1998). We... ...ion model would be ã€â€"IAbã€â€"_bt-ã€â€"TAã€â€"_bt=ÃŽ ±_ +ÃŽ ²(R_(m,t)-R_(f,t) )+ÃŽ ¨Ã£â‚¬â€"SMBã€â€"_t+ã€â€"ÃŽ ³HMLã€â€"_t+ÃŽ »Ã£â‚¬â€"MOMã€â€"_t+ ÃŽ µ_t (7) In similar way, to test the extent to which insiders’ sell of intangible assets companies earn less profit than those in tangible assets, we would follow equation (8). In the equation (8), the dependent variable is the difference between the calendar –time portfolio return of tangible assets and intangible assets(ã€â€"TAã€â€"_s-ã€â€"IAã€â€"_s). For example, for Jun 2007 month portfolio, ã€â€"IAã€â€"_s, is equal weighted average return for all intangible assets companies whose insiders were net buyers between January 2007 and Jun 2007 , over ã€â€"TAã€â€"_s is equal weighted average return for all tangible assets companies whose insiders were net sellers between January 2007 and Jun 2007. The regression model would be ã€â€"IAã€â€"_st-ã€â€"TAã€â€"_st=ÃŽ ±_ +ÃŽ ²(R_(m,t)-R_ft )+ÃŽ ¨Ã£â‚¬â€"SMBã€â€"_t+ã€â€"ÃŽ ³HMLã€â€"_t+ÃŽ »Ã£â‚¬â€"MOMã€â€"_t+ ÃŽ µ_t (8)

Stefan’s Diaries: The Craving Chapter 7

Every muscle in my body tensed. Time seemed to stop as we stared into each other's eyes, both of us silently challenging the other to give himself away. My chest felt tight as anger coiled through my body. The last time I'd seen Damon, he'd been standing over me with a stake, just after he'd killed Callie. His cheeks had been sunken, his body gaunt from his time in captivity. Now he looked like his human self, the young man who charmed everyone from barmaids to grandmothers. Clean-shaven, dressed smartly, and playing the part of an Italian count flawlessly. Acting human. He had everyone in the room fooled. Damon raised one eyebrow at me and the twitch of a smile appeared at the corner of his mouth. To any onlooker, it would have seemed just like he was pleased to meet a new acquaintance. I knew better. Damon was enjoying his charade and waiting to see how I reacted. â€Å"Stefan Salvatore, may I introduce Count Damon DeSangue,† Lydia said. Damon gave a perfect bow, just barely bending at the waist. â€Å"DeSangue . . .† I repeated. â€Å"Count DeSangue,† Damon corrected in good humor, affecting an Italian accent. He smiled, revealing a straight set of gleaming white teeth. No, not here, I thought furiously. Not here in New York, not here among these innocent, well-meaning Sutherlands. Had Damon followed me here, or had he arrived first? He had been here long enough to attach himself to poor Lydia. And long enough to trick all of New York society. Is it possible that, in this teeming city, we both managed to become involved with the Sutherland family completely by coincidence? Damon was regarding me now, although the icy twinkle of sardonic humor was never far from his eyes, as if he guessed at what I was thinking. â€Å"Stefan, Damon – I just know you two are going to be like brothers,† Bridget gushed to me. â€Å"Well then,† Damon said, a smirk pulling the corner of his mouth. â€Å"Hello, brother! And where are you from, Stefan?† â€Å"Virginia,† I answered shortly. â€Å"Oh really? Because I was recently in New Orleans and could have sworn I met a gentleman who looked just like you. Have you been there?† Lydia leaned in closer, her eyes bright with pride. Bridget nodded eagerly at every word Damon said. Even Bram and Hilda looked entranced. I gripped my champagne glass so tightly I was surprised it didn't shatter. â€Å"No. I can't say I've ever been.† The happy tinkle of silverware from the refreshment table suddenly rose to the foreground. Hundreds of people, hundreds of blades, and one very angry, unpredictable brother before me. â€Å"Interesting,† he said. â€Å"Well, perhaps we will go back there, together. I hear they have a magnificent circus.† The orchestra began to play again, another fast-paced dance. But that was noise in the background. The ball and its participants faded away. Right now, Damon and I had our eyes locked on each other. â€Å"If you even try something,† I said low enough that only he could hear, squaring my shoulders and unconsciously tensing for a fight. â€Å"Don't think you can best me,† Damon said, rolling to the balls of his feet. The group of people we were with looked back and forth at us, clearly aware that something was going on, but unsure what exactly. â€Å"I'm feeling a bit thirsty,† I finally said aloud, not moving my eyes from his, trying to think of how to get Damon away from my new friends. â€Å"Care to join me for a drink?† â€Å"Smashing, I'd love one,† said Bram eagerly, hoping to break the tension. â€Å"Love to,† Damon said, mocking Bram's tone. â€Å"But duty – and the mazurka – calls.† He turned to Hilda and bowed. â€Å"May I?† â€Å"Oh, I'd love to, but Bram . . .† She started to hold up the dance card that hung around her wrist from a pink ribbon. Then her eyes widened, dilating, and she was staring – but no longer at the card. I looked at Damon. He was also staring, compelling her. Showing off, in front of everyone – in front of me – just how powerful he was. He was sending me a message. â€Å"Oh, he won't mind,† Hilda decided and took Damon's arm. He led her off, smiling back at me. The tips of his fangs glittered. â€Å"I wish I had his charm,† Bram said a little wistfully. â€Å"He's got all you ladies wrapped around his finger.† Lydia blushed prettily. She did not look after Hilda with a worried expression. She had the calm confidence of someone who knew exactly where her lover stood in his relation to her. Damon had no doubt compelled her to act as such. He had amassed a considerable amount of Power, very quickly. â€Å"Where exactly did you two meet?† I asked, trying to sound casual. â€Å"Oh, it was so romantic,† Bridget answered quickly. â€Å"Almost as romantic as you finding me, helpless, in the park. . . .† â€Å"Let your sister speak, Bridgey,† Bram interrupted. Lydia smiled, all of her studied politeness and mannered behavior melting away. â€Å"It really was a bit like a fairy tale. It was raining, a sudden downpour. I remember very particularly that the sun had been shining just moments earlier. Unprepared for the change of weather, Mother and I became soaked. My new hat was ruined, and all my packages were dripping wet. I swear a dozen carriages must have passed us by without stopping. And then – one of them paused, and the door opened, and there he was, extending his hand to me.† Her eyes grew soft. â€Å"He offered to give up his seat, but we got in with him. . . .† Bram made tsk-tsking noises; Lydia smiled, shrugging prettily. â€Å"I know, I know . . . ‘taking a ride with a strange man.' Very bad of us. But he was so polite, and charming . . . and we had such a lovely ride . . . and then the sun came out and we hardly noticed. . . .† My mind raced. Had Damon compelled every carriage driver in Manhattan to avoid Lydia and her mother? Was it even possible to compel that many people at once? And what about the rain? Had that been luck . . . or something else entirely? Damon wasn't capable of compelling the weather. If that were a power available to vampires, I would have heard of it from Lexi or even Katherine. Right? I studied Lydia. She wore a simple, narrow ribbon around her neck with a single pearl dangling from the front. The skin there was smooth, unblemished – and unbitten. If Damon wasn't feeding on Lydia, then what did he want from her? â€Å"Someone said something about being thirsty . . . ?† Bram said hopefully, rubbing his hands together. â€Å"I have a terrible desire for more champagne.† â€Å"Yes, thirst is a terrible thing,† I said, â€Å"but you'll have to excuse me.† Then I turned and cut my way through the merrily dancing crowd, determined to search out my brother before he had the chance to slit anyone's throat.

The mistress and harp of burma

In Japanese Literature, stories have often depicted what greatly influenced the prevalent period of common life and social sentiment. In the two books written by Japanese authors in two separate periods of Japan’s history, a transition is clearly seen through literature often expressed in superb storytelling. In Ogai Mori’s â€Å"The Wild Geese†, human struggle is greatly influenced by tales of love in the midst of Japan’s industrialization boom. Writers depict and assimilate the concepts of free-thinking which brought romance and human emotion to the limelight. The familiarity of the reforms established during the period for which Ogai’s novel was actually written apparently brought forward the chance to openly discuss Japan’s so-called evil customs and traditions in a bid to strengthen the imperial rule. Okada, as one of the main characters clearly narrated how he felt that a woman should be only a beautiful object, something loveable, a being who keeps her beauty and loneliness no matter what the situation she is in (Ogai, 20). In the same page, Okada added that this sentiment is brought about under the influence of habitual reading of old Chinese love stories. There is therefore a clear view in principle that establishes a need to disregard culture and ideas that wrongly adapted the old Oriental ways which often restricted free-thinkers to intellectually prosper. In Toyoda’s movie, â€Å"The Mistress†, adapted from Mori Ogai’s The Wild Geese, oriental values was the main discussion with aims to expose the ancient cultural standards that stand in the way of personal freedom. In Otama we see the oppressed and marginalized people driven and deceived without any hope of being uplifted from the moral and restrictive bounds that society places upon them. The simplistic adventure of romance in a plot heightens into limelight the realities of life and the prevailing social views of the middle class which somehow voices out a need for reform in the Meiji Restoration period. Several decades later after Japan was able to stand on its own two feet, Japan experienced a wartime defeat that brought home sad stories of soldiers taken as prisoners of war. Takayama’s â€Å"Harp of Burma† showed pacifism as the main aim of both novel and on film. â€Å"We have to be ready for hardship, for all we know, we may die here in Burma. If that time comes, let us die together†¦Ã¢â‚¬ , (Takeyama, 33). Such poignant words relay veiled patriotism whose desire for peace in an armistice agreement with their British captors aims to relay the evils of war. Written during a period where wartime horrors still stayed afresh in the minds of the Japanese people, there was not an ounce of blame or an aim to proclaim the evils of their captors. Its sincere inward idea was just to dwell on the problems the war brought to everyone involved. In retrospect, The Harp of Burma establishes a deeper humanistic connection to modern day events where peace is the common desire of mankind. The movie through cinematic effect exceeds sensory reflection that somehow created a link to present day situations around the world where wars and battles are fought. Although Ogai’s novel discussed social issues on a road to recovery, the pressing need for peace exceeds in meaning and connection through the Harp of Burma that was successfully portrayed in film. Seeing the ravages of war makes a good reflection how one favors such madness that resulted in tragedy and death. As an anti-war film, it even exceeded the points portrayed in its novel where suffering is presented as a result of too much desire. As a challenge to survival, the movie â€Å"Fires on the Plain† declares a clearly made manifestation of human woes compared to the movie of the same title, â€Å"The Burmese Harp†. Both movies however adapted Takeyama’s novel The Harp of Burma that depicted a deep sense of longing for the fatherland while emphasizing compassion in the midst of survival and atrocities. As a human interest film, â€Å"Fires on the Plain† arouses a relative connection through artistic performance of reality in full color for young viewers to understand how wars wreak and break even the strongest heart. Works Cited Mori, Ogai trans. Ociai, Kingo and Goldstein, Sanford (1959). The Wild Geese. Boston: Tuttle Publishing Takeyama, Michio trans., Howard Hibbett ( 1966). Harp of Burma. Boston: Tuttle Publishing.