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An Avian Flu’s Emergency Scenario in the State of Illinois Term Paper

An Avian Flu’s Emergency Scenario in the State of Illinois Term Paper. Pandemics are a source of concern to any society in the contemporary world. They can either be man-made or natural. Regardless of their type, disasters pose a risk to human life and property. Avian flu is one such form of natural disaster that can wreck havoc in the society. Also known as the avian influenza, the condition is brought about by naturally occurring viruses. The micro-organisms (Type A virus), are usually found in wild aquatic birds, domestic poultry, and other animal and bird species (Centers for Disease Control and Prevention [CDC], 2014). In this paper, the author reviews two emergency scenarios involving avian flu outbreaks. In the first case, an occurrence of the pandemic in Chicago is analyzed. The parties in command of the response to the outbreak, as well as the coordination of activities of the various state and local agencies are some of the issues addressed in this scenario. In the second case, an outbreak in the larger state of Illinois is outlined. The author of this paper recommends several epidemic control steps to deal with the issue. The legal authorities involved in the response plan, as well as various factors that determine the success of the proposed plan, are some of the other areas analyzed in this section. An Emergency Scenario in Chicago, Illinois The Pandemic Under normal circumstances, avian flu does not affect humans. However, the virus can cause a serious pandemic if it finds its way into the human population. Such a case was reported in the 1918 ‘Spanish flu’ epidemic. Healthcare providers in Chicago have noted a growing number of individuals seeking health services as a result of symptoms associated with avian flu. After a careful follow-up, the authorities have determined that an influenza pandemic is developing. Taking Charge of the Incident The Illinois Department of Public Health would command the avian flu response initiative. The agency is tasked with the responsibility of addressing health issues in the state. The Department of Homeland Security (DHS) would be responsible for the coordination and the overall federal response to the avian flu (Homeland Security Council [HSC], 2007). The commanding status of DHS is strengthened through the appointment of pre-designated Principal Federal Officials (PFO), as well as regional PFOs, responsible for the coordination of influenza responses. Coordinating Resources and Working Together The management of the federal, state, and local resources determines the effectiveness of the response mechanism. The U.S. Government provides state and local authorities with guidance on the best pharmaceutical and non-pharmaceutical interventions to mitigate the impacts of the pandemic. The federal and state authorities are expected come up with the best interventional measures to deal with the emergency. On their part, the local authorities play the role of implementing these proposals at the community level. The major role of the federal authorities is to fund the program (HSC, 2007). The state and local agencies ensure that the hospitals and the emergency departments have the capacity to handle the large number of patients affected by the condition. There are other issues that the two authorities need to deal with. For example, they need to provide healthcare workers with the necessary protective gear. They should also provide them with the information needed to handle the situation, together with the necessary materials and infrastructure (HSC, 2007). Given this scenario, the state and local authorities would be liable if anything happens to the personnel implementing the relief programs. Laws, Rules, and Regulations Important for the Response The Emergency Federal Law Enforcement Assistance would be essential in handling the pandemic. The regulation falls under the Justice Assistance Act of 1984 (HSC, 2007). It calls for maximum assistance from the U.S. Government. Other rules and regulations would be specific to the non-pharmaceutical measures of dealing with the pandemic. Addressing a Localized Cluster of Phase 5 Pandemic Recommended Epidemic Control Steps There are several control measures that can be put in place to deal with an outbreak that is restricted to a Chicago cluster. The primary control strategies for addressing the avian flu pandemic include prophylaxis among the individuals exposed to the virus. The strategy can be achieved through the use of antiviral medications, vaccinations, and the adoption of infection control and social distancing measures (Tyshenko, 2007). It is not possible to develop a matching vaccine within a short duration to respond to the scenario. As such, social distancing and infection control measures are more appropriate. Voluntary home quarantines, dismissal of students from schools, isolated treatment for the infected, and other non-pharmaceutical interventions are recommended (Department of Health and Human ServicesAn Avian Flu’s Emergency Scenario in the State of Illinois Term Paper
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How Relevant Are the Early Theories of Le Bon and Freud?. How relevant are the early theories of Le Bon and Freud in comparison to more contemporary theories of crowds? One of the earliest theories of crowd behaviour was presented by Gustav Le Bon in 1895, which he referred to as group mind theory (Le Bon, 1895). He viewed crowd behaviour as acting according to primitive impulses which are lacking in reasoning and rationality. Le Bon proposed that individuals in a crowd behave in accordance with a ‘law of mental unity of crowds’ and no longer identify themselves as individuals, instead becoming anonymous members of a group who lose their sense of self and responsibilities (Bendersky, 2007). They become easily aroused or agitated, and descend into barbarism whereby individual conscience is overtaken by the ‘law of mental unity’ (Le Bon, 1908). Due to their large numbers and anonymity, the crowd gains a sense of strength and power, leading to a ‘special state, which much resembles the state of fascination in which the hypnotised individual finds himslf in the hands of the hypnotiser’ (Le Bon, 1908; Ginneken, 1992: 131), rendering the individual no longer conscious of his actions. Despite its lack of evidence, Le Bon’s ‘mob psychology’ became a popular theory and continues to be a powerful social influence, including by those in authority (Banyard, 1989). Similarly to Le Bon, Freud (1922) proposed that the collective mind is led almost exclusively by the unconscious. According to Freud (1922), the crowd ‘unlocks’ the individual unconscious mind; the super ego, or conscience, which he maintained controls civilised behaviours, is exceeded by the uncivilised id impulses, or instinctual drive part of the psyche, as provoked by the leader of the crowd. Likened to the hypnosis state identified by Le Bon, identification with and desire for approval from the leader suspends the super ego (Freud, 1922) and associated normal judgement subdues the internalised values of right and wrong and impulse control. Interestingly, Freud identifies that crowd members accept the influence of the group due to a need to feel in harmony with the power the group and its leader exerts, observed in later studies of conformity (HoggHow Relevant Are the Early Theories of Le Bon and Freud?

Joliet Junior College Future Career Choice Essay

Joliet Junior College Future Career Choice Essay.

Here is the outline I would like you to follow:I. Introduction (Provide an overview of your career and what it entails. Include a thesis statement that explains “I would like to become a ____________ because _____________________.” Make sure you provide your topic (the career) and main idea (why?).II. Body Paragraph 1 (Explain what first sparked your interest in this career field. Have you wanted to pursue this career since childhood? Do you have a relative in the field?)III. Body Paragraph 2 (Explain the steps you have already taken (school, for one) to achieve your career goals. Have you had a job in the field? Internship?)IV. Body Paragraph 3 (Explain your future steps to achieve your career goal. Certainly, completing JJC coursework will be one, followed by perhaps transferring to another school, etc. Maybe you plan to apply for an internship or gain more experience somehow.)V. Conclusion (Describe your ideal position. Be as specific as possible. For example, if you are pursuing a career in nursing, do you want to work in the ER? An office? A school? Furthermore, would you like to remain in the Chicagoland area? Move out of state?) it should be in MLA format and 750 words.The things below are to help you out with the paper:I want to be a surgical nurse (my career choice) because I like being in the medical field, it’s exciting and you learn something new everyday. and I plan on going to either Rasmussen College or College of DuPage after I finish JJC to get my BSN and then later on I would like to get my masters in nursing. I want to work in the operating room alongside the doctor. I’m already a cna (3yrs now) so I know the health care field well.
Joliet Junior College Future Career Choice Essay

Rasmussen College Peer and Family Influence on Self Esteem Presentation

best essay writers Rasmussen College Peer and Family Influence on Self Esteem Presentation.

Eating DisordersIn a 3-page paper, written in APA format using proper spelling/grammar, research the topic of eating disorders and address the following:Compare and contrast anorexia nervosa and bulimia nervosa.Who is more likely to suffer from anorexia nervosa and bulimia nervosa? Why?What are the causes contributing to anorexia nervosa?What are the consequences of eating disorders?How can one diagnose eating disorders?What are the treatment and support options for a person who has eating disorders?Be sure to include APA citations for any resources you used as references.PART TWO Assignment – Peer and Family Influence on Self-esteemCriteriaPointsCreated a visually appealing PowerPoint presentation to use when speaking to a group of parents about promoting self-esteem in school-age children. The presentation contained a title slide, 5-10 content slides, and a references slide.4PowerPoint presentation included Speaker Notes that provided supporting details elaborating on slide contents.8Submission addressed the question: a. How does level of self-esteem typically change during middle childhood? What factors contribute to this change?10Submission addressed the question: b. What are some influences on school-age children’s self-esteem?6Submission addressed the question: c. Does very high self-esteem always have positive effects on children’s adjustment? Why or why not?6Submission addressed the question: d. What are the typical consequences of low self-esteem?6Submission addressed the question: e. What are some other strategies that parents and teachers can use to promote children’s self-esteem? What behaviors should adults avoid, and why?6Submission reflected proper spelling/grammar and APA format for any references used.4Total
Rasmussen College Peer and Family Influence on Self Esteem Presentation

El Centro College Autobiographical Narrative & Literary Elements Essay

El Centro College Autobiographical Narrative & Literary Elements Essay.

I’m working on a psychology report and need a sample draft to help me study.

Writing an Autobiographical Narrative-APA FORMATAutobiographical writing can help us explore, deepen, and complicate our perceptions of the world. In addition to telling stories to convey the complexity and significance of an event, we use stories to reveal something about ourselves. This writing project involves autobiographical writing on any significant moment in your life. In effective narration, the problem usually takes the form of a contrary, two or more things in opposition—ideas, characters, expectations, forces, worldviews, or whatever. Three kinds of contraries that frequently form the plots of autobiographical narratives are the following. 1.Old self versus new self. The writer perceives changes in himself or herself as a result of some transforming or breakthrough moment or event.2.Old view of person X versus new view of person X. The writer’s perception of a person (favorite uncle, childhood hero, scary teacher) changes as a result of some revealing moment; the change in the narrator’s perception of person X also indicates growth in the narrator’s self-perception.undefined3.Old values versus new values that threaten, challenge, or otherwise disrupt the old values. The writer confronts an outsider (or a new, unfamiliar situation such as a class or a learning task) that challenges his or her worldview, or the writer undergoes a crisis that creates a conflict in values.Another way to look at contraries is to imagine a scene that has a “moment of revelation.” In considering a significant experience for a narrative, think of significant not as ” unusual” or ” exciting” but as “revealing” or “conveying new and unexpected meaning or insight.” Thought of in this way, a “moment of revelation” in a story might be a gesture, a remark, a smile, a way of walking or tying a shoe, the wearing of a certain piece of clothing, or the carrying of a certain object in a purse or pocket. Try inventing a short scene in which a gesture, smile, or brief action reverses one character’s feelings about, or understanding of, another character.1. You thought that Maria had led a sheltered life until _ _ _ _ _ _ _ _2.You thought Mr. Watson was a racist until _ _ _ _ _ _ _ _ _ _ _ _3.Marco seemed the perfect date until _ _ _ _ _ _ _ _ _ _ _ _Here is an example:My dad seemed unforgivingly angry at me until he suddenly smiled, turned my baseball cap backward on my head, and held up his open palm for a high five. “Girl, if you don’t change your ways, you’ re going to be as big a high school screw-up as your old man was.”undefinedUnderstanding Autobiographical WritingAutobiographical writing includes telling descriptions of places and people and events that happen through time. However, the spine of good autobiographical writing is a key moment or event, or a series of key moments or events, that shape or reveal the author’s emerging character or growth in understanding.Autobiographical Tension: The Opposition of ContrariesKey events in autobiography are characterized by a clash of opposing values or points of view. These oppositions are typically embodied in conflicts between characters or in divided feelings within the narrator. The contraries in a story can often be summed up in statements such as these:My teacher thought I had a low IQ, but she didn’t know that I was afraid to read or why.The job that bored me and made all my muscles ache rescued me from a hopeless summer.Although I broke all Miller King’s football records after he lost his arm in a car accident, I realized that he was a better person than I was (“Phantom Limb Pain”).The school that I had dreamed of attending turned into a nightmarish prison.An autobiographical piece without tension is like an academic piece without a surprising thesis. No writing is more tedious than a pointless “and then” narrative that rambles on without tension. You can read such a narrative in Chapter 18 in our discussion of “The Stolen Watch” to illustrate the difference between a “story” and an “and then chronology.” It is a good example of what not to do for this assignment.Like the risky thesis statement in closed-form writing, the opposition of contraries creates purpose and focus for open-form writing. It functions as an organizing principle, helping the writer determine what to include or omit. It also sets a direction for the writer. When a story is tightly wound and all the details contribute to the story line, the tension moves the plot forward as a mainspring moves the hands of a watch. The tension is typically resolved when the narrator experiences a moment of recognition or insight, vanquishes or is vanquished by a foe, or changes status.How Literary Elements Work in Autobiographical NarrativesThe basic elements of a literary narrative that work together to create a story are plot, character, setting, and theme.The Importance of Plot By plot we mean the basic action of the story, including the selection and sequencing of scenes and events. Often stories don’t open with the earliest chronological moment; they may start in medias res (“in the middle of things”) at a moment of crisis and then flash backward to fill in earlier details that explain the origins of the crisis. What you choose to include in your story and where you place it are concerns of plot. The amount of detail you choose to devote to each scene is also a function of plot. How a writer varies the amount of detail in each scene is referred to as a plot’s pacing.Plots typically unfold in the following stages: (a) an arresting opening scene;(b) the introduction of characters and the filling in of background; (c) the build­ ing of tension or conflict through oppositions embedded in a series of events or scenes; (d) the climax or pivotal moment when the tension or conflict comes to a head; and (e) reflection on the events of the plot and their meaning. To help you recognize story-worthy events in your own life, consider the following list of pivotal moments that have figured in numerous autobiographical narratives:Moments of enlightenment or coming to knowledgePassages from one realm to the next: from innocence to experience, from outsider to insider or vice versa, from novice to expert, from what you once were to what you now areConfrontation with the unknownMoments of crisis or critical choice in struggle against nature or against societal pressureProblems maintaining relationships without compromising your own growth or denying your own needsProblems accepting limitations and necessitiesContrasts between common wisdom and your own unique knowledge or experienceThe Importance of Character Who might be the characters in your auto­ biographical story? The answer depends on the nature of the tension that moves your story forward. Characters who contribute significantly to that tension or who represent some aspect of that tension with special clarity belong in your story. Whatever the source of tension in a story, a writer typically chooses characters who exemplify the narrator’s fears and desires or who forward or frustrate the narrator’s growth in a significant way.Sometimes writers develop characters not through description and sensory detail but through dialogue. Particularly if a story involves conflict between people, dialogue is a powerful means of letting the reader experience that conflict directly. The following piece of dialogue, taken from African-American writer Richard Wright’s classic autobiography Black Boy, demonstrates how a skilled writer can let dialogue tell the story, without resorting to analysis and abstraction. In the following scene, young Wright approaches a librarian in an attempt to get a book by Baltimore author and journalist H. L. Mencken from a whites-only public library. He has forged a note and borrowed a library card from a sympathetic white coworker and is pretending to borrow the book in his coworker’s name.”What do you want, boy?”As though I did not possess the power of speech, I stepped forward and simply handed her the forged note, not parting my lips.”What books by Mencken does he want?” she asked. “I don’t know ma’am,” I said avoiding her eyes. “Who gave you this card?”Mr. Falk,” I said. “Where is he?””He’s at work, at the M- Optical Company,” I said. “I’ve been in here for him before.””I remember,” the woman said. “But he never wrote notes like this.”Oh, God, she’s suspicious. Perhaps she would not let me have the books? If she had turned her back at that moment, I would have ducked out the door and never gone back. Then I thought of a bold idea.”You can call him up, ma’am,” I said, my heart pounding.”You’re not using these books are you?” she asked pointedly. “Oh no ma’am. I can’t read.””I don’t know what he wants by Mencken,” she said under her breath.I knew I had won; she was thinking of other things and the race question had gone out of her mind.- Richard Wright, Black Boy It’s one thing to hear about racial prejudice and discrimination; it’s another thing to hear it directly through dialogue such as this. In just one hundred or so words of conversation, Wright communicates the anguish and humiliation of being a “black boy” in the United States in the 1920s.Another way to develop a character is to present a sequence of moments or scenes that reveal a variety of behaviors and moods. Imagine taking ten photo­ graphs of your character to represent his or her complexity and variety and then arranging them in a collage.The importance of Setting: Your choice of settings also depends on how much a description of place helps readers understand the conflict or tension that drives the story. When you write about yourself, what you notice in the external world often reflects your inner world. In some moods you are apt to notice the expansive lawn, beautiful flowers, and swimming ducks in the city park; in other moods you might note the litter of paper cups, the blight on the roses, and the scum on the duck pond. The setting typically relates thematically to the other elements of a story. In “No Cats in America?” for example, the author contrasts his parents’ parties in the Philippines, replete with music and dancing, firecrackers, a mahjong gambling room, and exotic food and drink such as homemade mango juice and coconut milk, with the American school lunch­ room where he opened his Tupperware lunchbox filled with fish and bagoong. The contrast of these settings, especially when the author’s American classmates laugh at his lunch, embodies the story’s tension.The Importance of Theme: The word theme is difficult to define. Themes, like thesis statements, organize the other elements of the essay. But a theme is seldom stated explicitly and is never proved with reasons and factual evidence. Readers ponder-even argue about-themes, and often different readers are affected very differently by the same theme. Some literary critics view theme as simply a different way of thinking about plot. To use a phrase from critic Northrop Frye, a plot is “what happened” in a story, whereas the theme is “what happens” over and over again in this story and others like it. To illustrate this distinction, we summarize student writer Patrick Jose’s autobiographical narrative “No Cats in America?”, one of the essays in the Readings section of this chapter, from a plot perspective and from a theme perspective:Plot perspective: It’s the story of a Filipino boy who emigrates with his family from the Philippines to the United States when he is in the eighth grade. On the first day of school, he is humiliated when classmates snicker at the lunch his mother packed for him. Feeling more and more alienated each day, he eventually proclaims, “I hate being Filipino!”Theme Perspective: It’s the story of how personal Identity is threatened when people are suddenly removed from their own cultures and immersed into new ones that don’t understand or respect difference. The story reveals the psychic damage of cultural dislocation.As you can see, the thematic summary goes beyond the events of the story to point toward the larger significance of those events. Although you may choose not to state your theme directly for your readers, you need to understand that theme to organize your story. This understanding usually precedes and guides your decisions about what events and characters to include, what details and dialogue to use, and what elements of setting to describe. But sometimes you need to reverse the process and start out with events and characters that, for whatever rea­ son, force themselves on you, and then figure out your theme after you’ve written for a while. In other words, the me may be something you discover as you write.undefinedGenerating and Exploring IdeasAs you generate and explore ideas, your goal is to develop a plot-a significant moment or insight arising out of contrariety-that you can develop with the storytelling strategies of open -form prose. If you are still searching for ideas, the following questions might help:Questions for an Autobiographical NarrativeQuestions arising from your achievement of a new status (winning/ losing a competition, passing/failing an important test, making/not making the team). If you failed, what did you learn from it or how did it shape you? If you succeeded, did the new status turn out to be as important as you had expected it to be?Questions arising from challenges to your normal assumptions about life or from your failure to fit or fulfill others’ expectations of you (encounter with persons from a different culture or social class; your discovery that you have stereotyped someone or have been stereotyped; your difficulty in living up to someone’s expectations of you)Questions arising from conflicts of values or failure to live up to values (a time when a person who mattered to you rejected you or let you down, or a time when you rejected or let down someone who cared for you; a time when you were irresponsible or violated a principle or law and thereby caused others pain-for example, shoplifting, leaving work early, or being drunk; a time when you were criticized unjustly or given a punishment you didn’t deserve)undefinedShaping and Drafting Your NarrativeOnce you’ve identified an event about which you’d like to write, you need to develop ways to show readers what makes that event particularly story-worthy. In thinking about the event, consider the following questions:Elements of the Narrative Questions to AskHow to Start • What are the major contraries or tensions in this story?What events and scenes portraying these contraries might you include in your narrative?What insights or meaning do you think your story suggests? How would you articulate for yourself the theme of your narrative?How might you begin your narrative?undefinedHow to Think about and Develop Characters and SettingHow to Think about and Develop the PlotHow to Conclude Your NarrativeundefinedWhat characters are important in this story?How will you portray them-through description, action, dialogue?What settings or scenes can you re-create for readers?What particulars or physical details will make the setting, characters, and conflicts vivid and memorable?How might you arrange the scenes in your story?What would be the climax, the pivotal moment of decision or insight?What resolution can you bring to the tensions and conflicts in your story?How can you convey the significance of your story? What willmake it something readers can relate to?How can the ending of your narrative leave readers thinking about larger human issues and concerns?
El Centro College Autobiographical Narrative & Literary Elements Essay

comparative literature-bhao

comparative literature-bhao.

need to choose one prompts from the lists questions, the writing instruction is post in the attached file. There is one grading rubric attached in file. No outside resources needed !!!!!, Total word count for this order: 1450.We have plenty of critical/theoretical sources that we are reading in class; please do not use
outside source materials unless you discuss it with me in advance. Refer to the APA definitions
of gender and sexuality provided on Canvas, our secondary articles posted on Canvas, and/or our
lecture slides to define key terms, e.g., the absurd, Surrealism, gender, sexuality, homosociality.
Essay grades will reflect your understanding of the material, the level of critical analysis, logical
reasoning, supportive evidence using appropriate citations and relevant details, clarity of the
thesis statement, the logical construction of paragraphs, your use of transitions, and the
effectiveness of your conclusions. Essays should be relatively free of errors in grammar,
punctuation, and spelling. The best essays will consider the literary qualities of a text, and will
resist reducing literary texts to the ideas they contain.What is a close reading of two texts? A close reading of two texts is an interpretation of the observations you make as you read, view, or experience two texts in light of each other. It involves three main components: A thesis that compares and contrasts the meaning and function of two texts. It must be something you can argue for and prove in your essay. The thesis should be both precise and controversial.Evidence from the texts. What specific words or phrases or what specific scenes or images led you to have the ideas you express? Quote/describe them. Analysis of that evidence. Explain how you arrived at your thesis.The future detailed information is post in the attached file, please check!
comparative literature-bhao

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