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NRS 451VN Grand Canyon University Nursing and Leadership Management PPT

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NRS 451VN Grand Canyon University Nursing and Leadership Management PPT.

Prepare a 10-15 slide PowerPoint presentation, with speaker notes, that examines the significance of an organization’s culture and values. For the presentation of your PowerPoint, use Loom to create a voice-over or a video. Refer to the Topic Materials for additional guidance on recording your presentation with Loom. Include an additional slide for the Loom link at the beginning, and an additional slide for References at the end.Outline the purpose of an organization’s mission, vision, and values.Explain why an organization’s mission, vision, and values are significant to nurse engagement and patient outcomes.Explain what factors lead to conflict in a professional practice. Describe how organizational values and culture can influence the way conflict is addressed.Discuss effective strategies for resolving workplace conflict and encouraging interprofessional collaboration.Discuss how organizational needs and the culture of health care influence organizational outcomes. Describe how these relate to health promotion and disease prevention from a community health perspective.While APA style format is not required for the body of this assignment, solid academic writing is expected, and in-text citations and references should be presented using APA documentation guidelines, which can be found in the APA Style Guide, located in the Student Success Center.This assignment uses a rubric. Please review the rubric prior to beginning the assignment to become familiar with the expectations for successful completion. You are required to submit this assignment to LopesWrite. Refer to the LopesWrite Technical Support articles for assistance.
NRS 451VN Grand Canyon University Nursing and Leadership Management PPT

‘Indian fashion’ is rich in tradition, vibrant in colour and beautiful. Bold colour and metallic’s created by the inventive drapes of these textile catches the imagination like no other contemporary clothing. Some Indian dress designers combine western trends with an Indian touch, creating garments which are outstanding. (www.wordiq.com) The Indian traditional fashion is vast and influential throughout the world. It is one of the richest cultures. The culture of India is an amalgamation of diverse sub-cultures like languages, textiles, crafts, dance, architects, food and customs. In Textile Surface Decoration, Margo Singer argues that, India has its own ancient tradition of silk weaving and can boast many indigenous silk moths. The country produces several types of silk. India became a major exporter of silk and is still the largest producer of silk after China. It also has a vibrant tradition of block printing (often using indigo), which dates back many centuries. Traditional techniques are still used today. Indian textiles have been exported since the 15th century; today the main textiles centres are Gujarat, Rajasthan and Andhra Pradesh, where block printing workshops still produce fabrics dyed with vegetable and chemical dyes for clothing, furnishing and fashion exports. British India 15th-16th century As written by Beverly Lemire and Giorgio Riello, the trade of textiles from India to European countries was seen in 12th and 13th century (Ottoman period) where silk was imported from Asian countries like India and China. Emergence of fashion in Europe was visible in the revolutionary commodities painted and printed Indian cotton textiles which came in seen towards the end of the 15th century. These textiles represented the Asian imports into Europe, showed the widespread consumption of Indian textiles and also worked as a source of inspiration for European manufacturers. By the early sixteenth century, imports increased which in turn attracted generations of Europeans due to the unmatched brilliance and fastness of colour and the striking designs of printed Indian cottons. European fashion in this century was not just created through the adoption and use of Indian goods but it was shaped by the Indian culture, motifs and techniques used. Ritu Kumara a famous Indian designer in her book Costumes and Textiles of Royal India stated that in 1601 that British East India company had established centres for trade in India in cities like Madras, Surat, Calcutta and Bombay. In this century British began to develop textiles for their own markets. They expanded and established factories in India and started exporting to other countries. They exported silk ikats, cotton pieces goods, indigo and fine embroideries from cities like Gujarat in western India and Bengal in eastern. According to her, England was not the only European country where Indian textiles were popular ,places like France were also charmed by the widespread heritage of India. (Costumes and Textiles of Royal India by Ritu Kumar,1999 pg.52,53 and 54) 17th-18th century Indian cotton textiles first started to appear in the first decade of the 17th century in the form of Chintz which refers to, any floral printed furnishing fabric, made of cotton or linen, and often glazed. It is often defined as Indian cloth on which a pattern has been produce by hand drawing with a bamboo pen’ (kalam) and dyeing with mordant’s and resists. They are originated from the south -east India, in the area that came to be known by European as the Coromandel Coast. Influence of chintz has been in the form of coverlet, quilt, hanging, plates, dress, overdress, petticoat and other form of garments which are present in the Victoria and Albert Museum. (Rosemary Crill,) As Ritu Kumar refers to the history and writes that the demand for Indian textiles had reached such heights in 17th century in the British and French culture which resulted in prohibition of anyone wearing or using any Indian textiles so as to promote their own silk and textiles. But these prohibitions were difficult to impose and failed and the trade continued. She also writes that, by the 18th century dresses made of Indian muslins and the woven shawls which were draped over them became fashionable. The Kashmir shawl was one of the most sought after luxuries in Europe by the end of the 18th century which was very expensive and was exported from northern India. Ritu Kumar stated that Forbes Watson acknowledged, that the intrinsic aesthetic refinement of India’s clothing required an understanding of oriental tastes which according to him would ensure a market in India for the same. His study advocated the sophistication of colour and form of India’s textiles in order that English manufacturers might achieve the sense of rhythm and harmony inherent in them. He explained that British manufacturers followed a rule of exporting or making things with an essence of British culture rather than taking its true Indian form which in turn failed as Indian manufacturers could do it best originally and the products value decreased when it lost its true essence. And thus realising the fact how a charm of an Indian product was with its true colour and not modified. In her book evidences of trade from the east to the west can be seen till the early 20th century in wardrobes of the royal British. (Costumes and Textiles of Royal India by Ritu Kumar,1999 pg.55,62 and 63) 1900-2000 Just like a painting, or a song, fashion also plays a main role in the fusion of different cultures and influences. Eastern and Western cultures engage in an important part in the Fashion trends of today. These two are fused in the fashion industry in many ways, the British borrowing from the Russians, India from the French, Japan and Germany, and the list continues. According to Priyanka Arora, Since 1890 till the present world fashion has seen tremendous influences from the Indian culture in the British fashion resulting from the artists and designers renowned interest in Art Nouveau. She believes that Indian textiles and work can be seen in any store or designer line. Eastern inspired clothing like embroidered tunics, beaded necklines on dresses and shirts, jewelled handbags in Sari fabrics, reminiscing different characteristics from the East have been influencing British designers . Pashminas, for example, are now an everyday basic item for most British women. Around the 1940’s the Nehru jacket became a big trend and thanks to The Beatles and it is still an acclaimed collar style in shirts, coats and jackets. Even pagoda sleeves was an eastern trend which was incorporated in western fashion. The most noted designers according to her bidding on exotic eastern style in their creations are: Max Mara, exploring sexy necklines and strong fabrics ,Armani, Jean Paul Gautier and Versace are only some of the top names reaching out to their masculine lines by including eastern elements to their creations, like pants made with fabrics, necklines, printed belts and sandals with the use of heavy silk. She also argues that the Boho Chic look, on the other hand is a representation of western influence on eastern culture. Thus concluding by saying that its a unique style where one can appreciate the fusion of both worlds with the modern and contemporary side of the western fashion and just a hint of eastern flair in the jewels and beading. Season to season, we see fashion face some radical changes, but the east and west mixture is inescapable, resulting always in a beautiful, artistic and also commercial masterpiece representing a multicultural society of designers and consumers. http://www.fibre2fashion.com/industry-article/11/1032/fashion-fusion-from-east-to-west-and-back-again1.asp Laura Jacob writes and depicts about work of renowned designers from all around the world in the book ‘The Art of Haute Couture(SKREBNESKI)’ in which Christian Lacroix collection of 1990 shows a gown which has high end Indian embroidery with hand accessories influenced from India. (The Art of Haute Couture(SKREBNESKI)by Laura Jacob) Salvatore Ferragamo’s famous customers in the late 1930’s was Indira Devi, the maharani of Cooch Behar. Ferragamo had designed about 100 shoes for her which were adorned with pearls, rubies, emeralds and diamonds which were sent from India by the maharani. These were reproduced for his collection in the year 2003 for an opening of a new store. As Laura McLean -Ferris has written about KENZO a world famous designer who evolved in 1970’s that his designs are a combination of details which have been taken from all around the globe, creating a fusion of folklore styles that vibrate with a blend of fantasy and reality. Which brings out the importance of fusion of a cultures in her view of the designers work. It also talks about how KENZO used both east and west traditions together to create an aesthetic that is globally appealing. (fashioning fabric) 2000 and beyond As Elyssa da Cruz quoted for the Indian based designer Manish Arora who emerged on the London runway in late 2005.His work embodies western modishness and native Indian symbolism, all manifest in a lavish array of textiles. The opulence of his label derives from the textiles revived back in India and crafted into a contemporary western silhouettes’. Ashish considered as a lead figure in the new generation of British fashion, his work is a blend of contrast of eastern and western cultures .His use of traditional and contemporary design with high quality textiles and Indian handcrafting techniques has marked its importance in the global fashion.(IC) Jennifer Trak has talked about designers’ Abujani
Microprocessor Nerdkit Project 2, engineering homework help.

Task 2: (Demonstration- 14 marks, Report – 6 marks)
Extend the system in Task 1 to include a ‘user defined’ option as described below.
1. User calls up the user defined option by selecting ‘0’.
2. User is able to select a pump to turn on (red, yellow or green).
3. User enters how long the pump should be on in minutes and seconds (up to 60 minutes).
4. User starts program by pressing ‘#’. The appropriate pump is turned on and a ‘countdown
timer’ is displayed on LCD showing how long is left before pump turns off, as well as the
original time set.
5. If the user presses ‘#’ before countdown reaches zero, the program is ‘paused’. The pump is
turned off, and the countdown timer stops. Pressing ‘#’ again causes program to resume –
pump is turned on and countdown continues.
6. When countdown reaches zero (0 mins and 0 secs), the pump will stop and system comes
out of user program mode.
Note: The system still has to comply with all safety constraints as in Task 1.
Note: You can use your solution to Assignment 1 Task 2 as the basis (design) for this task.
MARKING SCHEME
Task 1 Demo Total 20 (marks)
Fulfils requirements 13
Circuit well laid out and follows good interfacing principles 3
User-friendly interface 2
Innovative features & Robustness of program 2
Task 1 Report Total 10 (marks)
Well-structured and modular code – good use of functions and
procedures, meaningful identifiers, indentation
1
Clear and meaningful comments in code 2
Circuit diagram 2
Description of principles of operation, algorithms, assumptions and
special features
5
Task 2 Demo Total 14 (marks)
Fulfils requirements 10
User-friendly interface 2
Innovative features & Robustness of program 2
Task 2 Report Total 6 (marks)
Well-structured and modular code – good use of functions and
procedures, meaningful identifiers, indentation
1
Clear and meaningful comments in code 2
Description of principles of operation, algorithms, assumptions and
special features
3
~ End
Microprocessor Nerdkit Project 2, engineering homework help

Week 6 Leadership Innovation and Organization Transformation Discussion

Week 6 Leadership Innovation and Organization Transformation Discussion.

Week6 Discussion Question：I would like you to explore your learning from the course. Answer the following questions for the final week’s Discussion Board:What has been your most meaningful learnings?What makes them so important to you?How will you use them?What will you now do differently because of them?Leadership development only occurs when we practice what we learn. As you think about answering these questions, consider your professional context and how this course will help you improve personally and how it will enable you to improve the broader organization.Note: Responses to students’ initial posts are still required per the course syllabus. However for this week, put yourself in the role of leadership coach. Respond to your student peers from a guiding and supportive context.Be sure your answer is supported by concepts and references from relevant materials.
Week 6 Leadership Innovation and Organization Transformation Discussion

George Washington University Ethical Issues Article Summary and Analysis

best essay writers George Washington University Ethical Issues Article Summary and Analysis.

Requirement: Find scholarly (peer reviewed) article on your topic (Public Health)Audience: Academic, so avoid “I,” “you,” and other informal language Purpose: To gain proficiency in working with scholarly literature The first, summary, paragraph should begin with a signal or lead-in phrase mentioning the author(s) of the article and the topic (e.g. “Smith and Jones (2003) investigated. . .” (for APA style—note the year after the authors’ names).The summary paragraph should not contain any of your reaction to the author(s)’s points; instead, it should be a vastly shortened but accurate rendering of the author(s) main point. All details on evidence to support that argument need not be included. Pay attention to the following: What is the topic?Is the article primary or secondary?What is the genre? For scholarly articles these may include the following: original research articles, literature reviews, case studies, theoretical articles, or meta-analyses.What is the author’s research question, hypothesis, or thesis?What are the authors’ research methods (e.g., how was evidence gathered and what did it consist of)? 6.What conclusions were reached? 7.Be sure you have correctly cited page numbers for all quotations, paraphrases, and specific information from your text, such as statistics, but keep quotes to a minimum. In the natural and social sciences paraphrase is preferred. The second analysis, or discussion, paragraph should contain your reflections/discussion on some aspect of the article. You might consider what you found as a particular strength or weakness in the article, and say why; for example, is the evidence strong enough to support the conclusion or thesis? Was the research question answered? Did you find limitations in the author(s)’s argument or research that they did not mention? This will give you a chance to join the conversation! We have been working on rhetorical analyses of various genres so far this semester, but now we are moving on so don’t spend time on analyzing audience and purpose for your selection—it will be the same for all scholarly articles. Work on the information authors present.___________________________________________ The third, synthesis paragraph should examine any similarities or differences found in your sources (at this point, all three SA’s). Think of using a template, e.g., While Smith says…….., Jones would disagree/or considers another aspect of the problem when s/he observes….These may be aspects of your topic, methods used, results, or conflicting approaches to a question or problem. Please remember to correctly cite all three articles on your references page!Try to avoid using the word “article,” for example, “the article says” or “In Smith’s article…” In the first instance use the author(s)’s name—that’s what counts. It is the author speaking, not the article, which is only a vehicle for his/her/their words; in the second instance, it will be clear that you are talking about a specific piece of writing by Smith, so just say “Smith asserted/argued/cautioned, etc.”You may include the article title in the beginning when you introduce the author and the topic, but additional mentions of the title are redundant and distracting.Emphasize content over form in your analysis/discussion. Describing structural aspects of articles is not useful (e.g., the vocabulary was easy to read; the author included tables and or graphs). Critique the authors’ research, findings, or methods instead.Avoid locutions such as “so-and-so did a great job”; that is definitely not academic writing! Also avoid “so-and-so figured out”; here something like “determined,” “found,” or “discovered” sounds much more professional.
George Washington University Ethical Issues Article Summary and Analysis

Nursing Scholarly Article Critique Paper

Nursing Scholarly Article Critique Paper.

GUIDELINES: Each STUDENT will hand in one formal paper. The paper is to be a five (5) pages total (double-spaced, 12 font, 1 inch margins). Follow APA guidelines for a cover sheet, headers, pagination, references, etc. Use APA format and label each section using the evaluation outline below. The criteria guidelines below will be used to evaluate your paper. Components of the Paper and possible point.1) Analysis of basic components/concepts of the selected nursing theory.Discuss in detail the theory’s core concepts and/or componentsUse a secondary source like your textbook or scholarly article that details the selected nursing theory.2) Application to Research and Practice3) Select two peerreviewed/practicebased articles in which the same theory has been applied to clinical patient care issues (i.e. multiple sclerosis, CHF, etc- But you must select others issues ).Describe the key details of each article (purpose, sample size, methodology, interventions, results, future implications, strengths & limitations).Critically analyze and summarize how the research results can be applied to primary care and improve care rendered by the family nurse practitioner.4) Precise APA style, headers and pagination, references, proper use of grammar/spelling, etcThis work will be check by Turnitin. See Rubric
Nursing Scholarly Article Critique Paper

The Greatest Economic Challenges of Today’s Arts Essay (Critical Writing)

The Greatest Economic Challenges of Today’s Arts Essay (Critical Writing). Artists encounter numerous challenges whenever there is an economic meltdown. Many societies have become commercial and technological. Such developments continue to affect the future of art. The “excesses associated with art markets arise from these economic challenges” (Corris 9). Corporations, markets, and states have also hijacked the world of art. This malpractice has resulted in a major economic challenge. Many artists are no longer making money from their works. Our markets dictate the practices and goals of many arts. Artists should analyze every economic pattern affecting their works. This situation has resulted in many artistic practices and ideas. Commentators and media analysts are using new strategies to dictate the future of art. Many artists continue to suffer whenever there is an economic downturn. New “technological changes promote reproduction and marketing of different works of art” (Alexenberg 32). The practice affects many artists and their works. Governments are closing their galleries and museums because of such unstable economic patterns. Art critics have become influential within the past 50 years (Alexenberg 48). Artists are no longer benefiting from their works. Artists are unable to produce new works due to such economic conditions. According to Alexenberg (78), “art and economic performance have become inseparable”. The continued commercialization of art will produce unfavorable conditions in the future. Technology is making it easier for people to reproduce different works of art. Such malpractices will affect the welfare of many artists. This economic challenge will also affect many artists. According to Corris (12), “the status of art in every society should not be based on economic aspects such as monetary value”. The best solution to this challenge is normalizing our art economy. Experts should “consider this practice without salvaging the knowledge, ideals, and values embodied in many markets” (Corris 11). This approach will ensure our artists produce quality works. The practice will also create new spaces for better practices. The strategy might also devalue the social status of every artist. Artists can “produce new works without looking for social statuses” (Corris 10). The practice will ensure every work of art is successful. The above concept will make it easier for artists to produce and market their works. Artists should also produce admirable works to their audiences. This knowledge will encourage more artists to embrace the concept of freedom. The concept of freedom is critical towards producing the best works of art. Such works of art will attract more viewers than ever before. Every nation can support its artists using the above strategy. Artists should “discourage the above malpractices because they threaten the future of their creative works” (Alexenberg 87). These approaches will protect our artists from every economic challenge. The above solution will work after a long time. The current wave of technological change does not seem to support this change. The internet is making it easier for people to share different works of art. The decision to normalize the market might not succeed within the next few years. This sector will always lose whenever there is a recession. Every society should be ready to appreciate the power and importance of art (Alexenberg 65). Art has an important role to play in every community or country. Art has also become a professional field. The “economics associated with this field explains why many artists are unable to survive today” (Corris 11). The number of artists in the world might reduce in the coming years. Our society is full of celebrity-ridden and expensive products. Cultural managers “are constantly supporting inappropriate initiatives that can affect our world of art” (Corris 12). This strategy might not succeed within the next few months. Art should remain a social practice in every society. Our “institutions such as universities should support every upcoming artist” (Alexenberg 82). The art market should also stop focusing on profits, economics, and prices. The market should focus on the best ideas and infrastructures in order to support our artists. Societies can embrace the best ideas in order to deal with the above challenge. Works Cited Alexenberg, Melvin. Educating Artists for the Future. New York, NY: Intellect Books, 2008. Print. Corris, Michael. “The Economy of Art.” Art Monthly 327.1 (2009): 9-12. Print. The Greatest Economic Challenges of Today’s Arts Essay (Critical Writing)