Entrepreneur Management in Canada Reflective Essay

Ethical Dilemma During Community Nursing

This reflective account will discuss an ethical dilemma which arose during a placement within a community setting. To assist the reflection process, the Gibbs (1988) Reflective Cycle which encompasses 6 stages; description, thoughts and feelings, evaluation, analysis, conclusion and action plan will be used which will improve and strengthen my nursing skills by continuously learning from both good and bad experiences, and develop my self confidence in relation to caring for others (Siviter 2008). To comply with the Nursing and Midwifery Code of Conduct (NMC) (2008) and maintain confidentiality all names have been changed and therefore for the purpose of this reflection the patient will be referred to as Bob. Bob is a forty four year old man who has been receiving aggressive and invasive treatment for several months in the form of chemotherapy in an attempt to cure his Hodgkinson’s lymphoma cancer. Throughout the treatment Bob remained positive that he would be able to put the worries behind him and live a ‘normal’ life with his partner and teenage daughter. However, Bob was unable to control his body temperature, which was a possible sign the chemotherapy had not been successful and was offered further investigations to establish his prognosis. Whilst my mentor who is a Community Matron, was talking to Bob, his partner Sue took me to one side and asked me if the investigations revealed bad news would it be possible to withhold this information from Bob because she felt he would not be able to deal with a poor prognosis and would give up hope. Prior to Bob’s original admission the possibility of f the chemotherapy failing was discussed but he refused to consider this was an option and was convinced the condition could be treated successfully. I explained to Sue that this situation was outside of my area of expertise but with her permission would discuss it with my mentor and ask her to contact Sue at a mutually convenient time to discuss further. My mentor contacted Sue and advised her that she would discuss the situation with Bob’s Consultant once they had received the results of his tests. However, my mentor diplomatically informed Sue that she has no legal right to insist that information be kept from Robert (Dimond 2005). As expected Bob’s test results concluded the chemotherapy treatment was unsuccessful. Considering what he knew of Bob, the consultant agreed it would be advantageous to withhold the diagnosis from him. Therefore it was agreed to discuss Bob’s test results with his partner. Thoughts and feelings In the first instance I felt that the Consultant was ethically wrong to withhold the results of the investigations from Bob and not necessarily acting in his best interests. I felt that in order to ensure Bob’s rights were protected and to give him the opportunity to be involved in his own plan of care he should be informed of the outcome of the tests. Bob had the capacity to consent and as during my placement would be acting as an advocate for him. I felt that if I was in Bob’s position, I would want to know what the outcome of any investigations were and it did not seen right that the diagnosis would be documented in his records and his family and possibly friends around him would be aware of his diagnosis whilst he was kept in the dark. I felt that if we were to visit on a regular basis that I would feel very uncomfortable knowing something that had been kept from him and possibly have to lie to him or avoid answering directly when asked difficult questions. I also felt that his family were taking away his freedom to make an informed choice about his forthcoming care. Analysis Evaluation Barbosa da Silva (2002) defines an ethical dilemma as: ‘A situation where a person experiences a conflict where he or she is obliged to perform two or more duties, but realizes that whoever action he or she chooses will be an ethically wrong one’. Kuupelomaki and Lauri (1998) and Roy and MacDonald (1998) agree that health professionals are faced with many ethical dilemmas when caring for terminally ill cancer patients and communicating the diagnosis and subsequently prognosis is one of the most common dilemmas experienced. Alexander et al (2001) state that it is not unusual for relatives to ask a Consultant to withhold information. Kenworthy et al (2002) say that these requests are made out of compassion and love. However, Rumbold (2002) disagrees and suggests it is often the relatives who are unable to cope and have difficulty in coming to terms with the impending prognosis. Dimond (2005) agrees and adds that withholding the truth can be harmful or lead to a conspiracy of silence but may be justifiable if it is in the patient’s best interest not to know. Buckman (1988) also appears to agree pointing out receiving ‘bad news’ can have a negative and drastic effect on a patient’s view of their future. The mentor acted in the correct manner speaking to Bob’s consultant and agreeing with him to withhold the diagnosis from the patient. Dimond (2005) states that Nurses have a duty to adhere to the Consultants decision even when they are in disagreement. The Consultant made a professional decision to discuss the diagnosis and prognosis with Bob’s partner. Rumbold (2002) identifies it is the correct decision to give information to family members when it is deemed that it is not medically advisable to inform the patient. Although patients may insist on being told of their diagnosis Consultants have the power to withhold information, there is no clear right in law even if the patient is exercising their right under the Data Protection Act 1998 (Dimond 2005). However, Harris (1994) argues that for Consultants to act in such a way is paternalistic. Paternalism is when others believe they are acting in the individuals own best interests, whilst not affording them individual control over their own life, although concern for the individuals welfare is paramount, it omits respect for the individuals autonomy (Harris, 1994). However, Tingle and Cribb (2005), argue that there are two types of paternalism. Hard paternalism is acting on an individual’s behalf because they feel qualified to do so, whereas soft paternalism is about making decisions on behalf of the individual whilst they are unable to exercise their own autonomy and feel they are doing so in the best interests of the patient. My feelings were that Robert had a right to know the truth about his diagnosis, this is identified by Tingle and Cribb (2005) as a deontological position, whereby obligations and duties to tell the truth overrides the justification of behavior, even when that action can be justified to be in the best interests of the patient’s. The principles of beneficence (promote goodness) and non-malifience (cause no harm) are fundamental ethical principles surrounding the decision to tell or not to tell a patient the truth regarding their diagnosis (Alexander, Fawcett,

QSO 600 SNHU Operations & SC Management in The Rivian Company Presentation

python assignment help QSO 600 SNHU Operations & SC Management in The Rivian Company Presentation.

Overview: This assignment will allow you to evaluate the efficiency and effectiveness of an organization. It will also assist you in using software for a professional presentation. Prompt: Provide a layout of your selected company that fulfills the critical elements below. Justify your reasoning for the important points mentioned. The audience for this document may be a manager, customer, or client related to the service or product provided by the organization. Consider that this document may need to be approved by your audience or by external sources such as government entities. Note: Provide enough detail to give the viewer a good sense of the layout and its important aspects. However, the chart does not have to be so detailed that you are providing electrical and plumbing diagrams, for instance. The following critical elements must be addressed: I. Provide a workflow for a selected company, with justification. II. Describe the efficiency and effectiveness of the provided layout. III. Describe customer or client convenience issues related to the layout. IV. Address safety, environmental, and ergonomics issues related to the layout of the selected company. Guidelines for Submission: Use Microsoft Office products such as Excel and PowerPoint (or similar products, such as OpenOffice) as you create your submission. Create and submit one document in JPG, PDF, PPT, or DOC format.The company that I am using is Rivian.
QSO 600 SNHU Operations & SC Management in The Rivian Company Presentation

Discuss the following questions: 1.What adjustment is made for underapplied overhead on the schedule of cost of goods sold?

Discuss the following questions: 1.What adjustment is made for underapplied overhead on the schedule of cost of goods sold? What is adjustment made for overapplied overhead on the cost of goods sold? 2.. If overhead rates are based on direct labor and automation replaces direct labor will the overhead rates increase or decrease? Why? Apa format and 2 citations Teacher note: FYI – The overhead rate is the total of indirect costs (known as overhead) for a specific reporting period, divided by an allocation measure. The cost of overhead can be comprised of either actual costs or budgeted costs. There are a wide range of possible allocation measures, such as direct labor hours, machine time, and square footage used. A company uses the overhead rate to allocate its indirect costs of production to products

Formal Analysis

Formal Analysis. Paper details   This assignment asks you to write a formal analysis of an artwork from Pre-Columbian Mesoamerica.Go to the website of a major museum with holdings in Pre-Columbian Art. Select one piece from the museum’s holdings in Pre-Columbian art. Museums include: Metropolitan Museum of Art: https://www.metmuseum.org/art/collection. What is formal analysis? Formal analysis is a process that combines close observation with rigorous argumentation: tell the reader what you see, and how you see it. Use persuasive language, and strong, polished writing. A formal analysis is not merely description of how the work looks, but an explanation of the object’s deeper logic of form. It addresses the visual and compositional particulars of a work, though also the way those elements work together to make a unified statement. Go about your formal analysis as you would analyze a piece of poetry: make your observations pointed, even technical, and be careful not to use terms that are vague. Then make those observations work for you: how do the various elements you see matter? If formal analysis seems new to you, here are some instances of formal analysis in real life: Album reviews (Rolling Stone, etc.); wine reviews (yes!); car/automobile reviews; movie reviews. Some issues you may want to keep in mind as you address your object: size, materials, technique of manufacture, function. Avoid broad generalizations. Think technically, making specific observations of the work’s form and composition; from this sharp seeing, draw more general conclusions about the object. How does the work communicate? What kind of visual/tactile/spatial experience does the object impart to the viewer? It may help you to think pointedly: what aspect of the piece appeals to you? Or, what makes the object visually “successful”? Remember that your paper is not about the broad cultural significance of the object. In writing this paper, don’t worry about cultural context, or any cultural information the museum label may give you: this information is important, but it is not part of this short writing exercise. Your interest is in the object’s visual properties: how do the object’s visual forms work together as a composition? Papers must be typed. They must have a title. They must be at least three pages, double spaced. You must include your sketch with the paper–again, don’t worry about the drawing, since it will not affect your grade.Choosing an Object: When in the gallery, just let yourself browse. Select an object that appeals to you, for whatever reason. You might want to consider what “works,” or “clicks” with you. Then consider what it is that you liked in your analysis: examine your assumptions, zero in on what you enjoy about the piece, and analyze what interests you about the way the object looks. Stick to the Subject: Remember, this is a short paper is about visual form, not a treatise on broad cultural significance. Your essay is an exercise in looking at the object, rather than an encyclopedic summary of the object’s meaning. Always keep in mind how the object communicates with its visual form. Don’t worry about who the Wari were, for instance, or what form of kingship they practiced. That information is important, but it is not the point of this exercise. Instead, discuss what you see. Also, don’t reproduce any text from the object’s label in your essay. Form and Representation: Be mindful of the ways our own artistic tradition has conditioned us to see what is represented, not the actual forms that are doing the representing. When standing in front of a painting, we Westerners tend to “see” what is depicted, not the object that tricks our eye with its paint and color: we have been taught to perceive the lilies in a Monet, for instance, rather than a piece of fabric covered with sticky pigment. Most artistic traditions are much less interested in representation than western art is. When looking at your object, don’t forget that it is a thing (wood, ceramic, hair, jadeite, cloth, or what have you) that may or may not represent something else (a person, or animal), or that may represent something else in ways that never let you forget the “thingness” of the object before you. In your analysis, you might want to concentrate on the ways your object goes about depicting its representational subject matter. Many objects aren’t engaged in visual representation at all: in these cases, think about patterns, symmetry of form (e.g. color, line, positive forms protruding outward, negative forms and hollows, edges and outlines), sense of weight and gravity, interaction with human body, etc. Even when you are working with an object that represents or depicts something or someone, you will want to keep these issues in the front of your mind.Be Specific: Don’t lapse into hazy generalizations. Watch out for statements on the order of “the object is very powerful,” or “this piece portrays the beauty of Maya art,” or “the time it took to make this beautiful work shows how important it was to the Maya.” While you may be right, you still need to be more concrete in your observations. Always use specific terms that point to particular aspects of the work. How is your object “powerful,” or in what ways is it “beautiful” in a manner that western art isn’t? Build your Observations into Arguments: You will quickly find that any visual object is worth a thousand words and more. When you observe some aspect of the piece, ask yourself what effect that visual characteristic has on your perception of the work. Knit separate observations together. Say an object (an Olmec celt) is a hard stone that is translucent blue-green in color: you might argue “The celt both welcomes and rejects the world around it. Though impenetrable to the touch, the object’s smooth surface allows light to pass through the stone.”Analyze, rather than Describe: Don’t list the traits of your work. If you are analyzing a seated figure, for instance, it is not enough to say, “the figure is seated with its legs crossed; the figure’s head is resting in its right hand, and the right elbow is on the right knee.” Instead, take your observations and put them together in a way that says something about the piece. So, you might say, “the female’s crossed legs ground the figure in a stable posture; the vertical form of the arm works to steady her tilted head. The arm acts like a building column, bearing the head’s weight down to the stable platform below.”Write with Style: Use the verb form “to be” as little as possible, and avoid the passive voice. “To be” forms take all the life out of your writing, and the passive voice doesn’t allow you to make strong points. So, don’t write, “the object is green,” or “the colors are vibrant.” Instead, use active verbs that put your thoughts into motion. If you are careful not to use “to be” (“is,” “was,” “are,” etc.), your writing will take on greater verve and definition. Strong verbs enliven any writing you may do, in whatever profession you take up: art history books, office memos, proposals for engineering projects, on and on. I guarantee: avoiding the use of “to be” will improve your grade by at least half a letter.Give Yourself Enough Time: The secret to good writing is re-writing. Don’t put your writing off until the last minute. First drafts and last-minute knock-offs are obvious to the reader. Always give yourself time to revise the paper. Spell-Check. Include a title. Enjoy the Art! You will probably find that your unconscious instincts about a work offer you a very valuable guide, and that you are more discerning seer than you thought.Formal Analysis