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NSG 3039 Keiser Career College Barcode Medication Administration System Paper

NSG 3039 Keiser Career College Barcode Medication Administration System Paper.

Change ProposalIn a Microsoft Word document of 4-5 pages formatted in APA style, develop a change proposal for a new technology that will contribute to a safer patient environment.In your paper address each of the following criteria:Describe how the change proposal for the new technology will:impact patient safety.be measured to assess the impact of your change.be communicated to staff and implemented.Examine human factors related to change and resistance to change.On a separate references page, cite all sources using APA format. Helpful APA guides and resources are available in the login?qurl=https://southuniversity.libguides.com/home” target=”_blank”>South University Online Library. Below are guides that are located in the library and can be accessed and downloaded via the South University Online Citation Resources: APA Style page. The American Psychological Association website also provides detailed guidance on formatting, citations, and references at APA Style.• APA Citation Helper• APA Citations Quick Sheet• APA-Style Formatting Guidelines for a Written Essay• Basic Essay TemplatePlease note that the title and reference pages should not be included in the total page count of your paper.
NSG 3039 Keiser Career College Barcode Medication Administration System Paper

A point to consider before bringing the individual character interpretations into play is how to contextualise the performances within the text as a whole. In other words, the characters are not mutually exclusive entities, rather, they are interactive and woven into the landscape of the play. Therefore, I would like to propose a general outline for the overall performance. There are many ways to perform ‘A Midsummer Night’s Dream,’ and the way I choose will affect elements of the characters. There have been many performances of Shakespearean drama, where the play is brought into the modern day. I however, would like to perform the play in its classic setting. I would like the play to retain its archaic time setting. It is a very self-reflexive play – it is a play about staging a play. This highlights the idea of drama at its root – the reheasrsal and work that goes into a play. I would like to leave the play in an olden day setting because it consolidates the idea of drama being detached from life through its artifice, and the play being set in a by-gone era further consolidates the idea of detaching drama from everyday life. (a) The first character I would like to look at is Lysander. He refuses to yield to Demetrius’s demand for Hermia’s hand, and risks the wrath of Theseus by eloping with Hermia. This demonstrates not only the depth of his feeling for Hermia, but also his conviction in his own beliefs, and the courage to carry out these beliefs. The comic arc of Lysander’s performance hits its climax after Puck has sprinkled the love potion into his eyes and he falls in love with Helena. I would perform the character with some hyperbole at this point, in order to convey the comic element of the text to the audience. The idea of Lysander challenging Demetrius to a duel in order to win Helena’s hand is an example of the excessive behaviour and heightened action that brings much of the comedy into the play. It is a humour that comes from the reversal of the natural order – Helena has gone from being desperately in love with Demetrius and being scorned by him to being the object of both men’s affection, for example. This reversal in the behaviour of Lysander is something I’d like to highlight in performance. I think a change in demeanor, and in vocal qualities could highlight this. At the beginning of the play, Lysander is portrayed as a romantic hero. I would convey this to the audience through his appearance; ideally, the role would be filled by a tall, handsome man. I would like him to wear a costume of light material – symbolising the innocence of the ‘true lovers’ (Hermia’s description of themselves). As I would like to keep the play true to its chromatic origins, I would like Lysander to wear a type of Athenean costume, which he could change when he enters the wood. I would like all the characters to change their costumes when they enter the forest, to represent the immense change in their environment. I would like him to don a more earthy, swarthy coloured robe, such as green, to convey the pastoral environment to the audience. I would like to focus on how the character of Lysander should be performed during the sequence in which he challenges Demetrius to a duel. The interpretation that I would like to convey to the audience is one of escalating absurdity, which contributes to humour. This would be done through the props, delivery, vocal quality, paralinguistic features and a demonstration of how Lysander relates to Demetrius in this section: Lysander Helen, I love thee. By my life I do. I swear by that which I will lose for thee To prove him false that says I love thee not. Demetrius I say I love thee more than he can do. Lysander If thou say so, withdraw, and prove it too. (Scene III, Act II, lines 251-256) There is a strong sense of rhythm in these lines, and also rhyme, which contribute to the tension and sense of heightened action. I would like the actor to highlight the rhythm in his delivery. I would like Lysander to adopt a masculine stance, and to circle Dimitrius, expanding his movement around the stage, owning the stage, as it were, using the entire stage to convey to the audience that he feels he owns the space, as he prowls around it. Demetrius A character trait that emerges from the text is the point where he tells the infatuated Helena that when he says, Tempt not too much the hatred of my spirit;/For I am sick when I do look on thee. (Scene II Act I, lines 211-212). This utterance evokes a sense of his cruel nature, a pejorative view of Demetrius which is further consolidated when we examine the first first scene of the first act. When Lysander and Hermia are told that they cannot marry, Demetruis tells them they should let him have his certain right. (Scene I Act I line 92). There is subsequently a huge change in Demetruis when he falls back in love with Helena at the end of the play. This is indicative of a softening of his character – a change which I feel should be represented visually in performance. In order to convey Demetruis’s somewhat cruel, righteous nature to the audience, I think the actor should appropriate a certain demeanor. Body language could be used to demonstrate his confident, cocky side. For example, he could strut, use large gestures and also make use of all of the stage space – exercising his self imposed ‘right’ to the stage space in the same way that he wants to exercise his ‘right’ to Hermia’s hand. I would like his costume to be dark colours – such as a rich red – and flamboyant design, to contrast with Lysanders’. The vocal qualities should also demonstrate these traits. He only has two lines in scene I, act one, so it is very important how these are represented, as they will be the first impression the audience have of him. Demetrius’s lines are: Relent, sweet Hermia; and, Lysander, yield Thy crazed title to my certain right. (Scene I, Act I, lines 91-92) The way in which this line is performed is very important. As the tormented lovers, the audience feels very strongly for Hermia and Lysander, to whom the presence of Demetrius is an invasive one. I would therefore also like to convey to the audience this sense of invasion. When Demetrius says, Relent, sweet Hermia I would like him to walk up to Hermia, and put his arm around her, caressing her with his other hand, turning them both away from Lysander. When he speaks to Lysander, Demetrius should keep his back to Lysander, but turn his head to face him, so that his line is like an aside, as if he does not respect him. The words ‘crazed title’ should be accompanied by paralinguistic features, such as an outstretching arm to convey to the audience how much Demetrius does not want Lysander and Hermia to marry. Finally, the word ‘my’ should be over emphasized to convey that Demetrius strongly feels that Hermia should be his, whether she loves him or not, because of the wishes of her father. His character, and especially his behaviour towards Helana changes at the end of the play. Whilst in the earlier stages of the play, he is confident, using large gestures and a lot of stage space, at the end of the play, I would like him to express a more tender side to the audience, to convey the development of his character: That we are awake? It seems to me That yet we sleep, we dream. Do not you think The duke was here, and bid us follow him? (Scene IV, Act I, lines 192-194) This line should be used to convey character development to the audience as it contrasts so strongly with his opening line – the use of ‘you’ in contrast to ‘my’ for example. There is also a confusion in this utterance, which contrast with the confidence in the first lines. Helena At the beginning of the play, Helena is portrayed as hapless; the scorned lover who has been wooed by Demetrius and then ignored in favour of Hermia. However, like Demetrius, Helena demonstrates a massive character development and transformation. Like Lysander, the arc of her character trajectory reaches its crescendo after Puck has sprinkled the love potion in Lysander and Demetrius’s eyes. When they both try to woo her, she feels they are mocking her, and gets angry. To best convey the transformation in her character between before and after the love potion has been dispensed, I’d like to consider how vocal quality and demeanor can be used in two of her utterances: Call you me fair? That ‘fair’ again unsay. Demetrius loves your fair. O happy fair! Sickness is catching. O, were favour so, Yours would I catch, fair Hermia, ere I go. O, teach me how you look, and with what art You sway the motion of Demetrius’ heart. (Scene I, Act I, lines 181-194) This except is from a long speech in which Helena proceeds to extol the virtues of Hermia, with whom Demetrius is infatuated. The key message I would like to convey to the audience from this speech is the idea that Helena is confused, upset and slightly jealous of Hermia. She is asking Hermia how she won the heart of Demetrius. In order to convey this dejection to the audience, I think the delivery of this speech should involve some rhetoric – while Helena is asking Hermia how she wooed him, and saying how fair Hermia is, my interpretation of this speech is that it is a melancholy meditation on the loss of her love. She is not looking for external answers, rather internal answers, and so it is questions she is asking herself. This could be expressed to the audience by the character of Helena distancing her self physically from the group – this would be a visual symbol of her isolation. Her demeanor and body language would be hunched and dejected, and her voice subdued and hushed The other speech that is a seminal moment in the performance of Helen is when she feels she is being mocked by the two men, and gets angry. Clearly her relationship with Demetrius is changed when he falls in love with her. While she may be unaware of it, the hierarchy of the relationship has been overturned, and she has now adopted a position of power. In her speech, she says: O spite! O hell! I see you are all bent To set against me for your merriment. If you were civil and knew courtesy You would not do me thus much injury. (Scene III, Act II, lines 145-148) This speech can be used to great effect to demonstrate the performance possibilities of this role. The demeanor and vocal qualities performing this speech would require differ hugely to the earlier one – with a louder voice, delivery directed at the other characters and inflated body language required. Hermia Hermia is represented in the play as a strong, defiant young woman, prepared to take risks in order to fulfil her own desires. This is exemplified in her refusal to bow down to her father’s wish that she marry Demetrius. In the face of a death sentence, or life in a nunnery, she escapes with Lysander into the forest. Lysander’s love for Hermia, along with Demetrius’s desire, demonstrate that she is an attractive and desirable young woman. These are two important points I’d like to consider when constructing the performance of Hermia. I would like to convey to the audience her inner strength and determination, alongside her physical attractiveness. The notion of physical attractiveness could be conveyed primarily through costume and appearance. As Hermia is clearly a woman of considerable charm (illustrated when Helena asks her what charm she used to capture Demetruis’s heart), her costume should reflect this. As it is believed that she unwittingly won over Demetrius (this is an ambiguity in the text – it is possible that Demetrius loves her because her father is so impressed by him) I would also like to impress upon the audience a sense of naivete and innocence. The obvious symbolic colour of this is white. White would also look striking under the stage lights. I would use floaty fabrics for the costumes, such as organza, to communicate the ethereal quality of not only Hermia herself, but also the forest, and the magic contained within it. When Hermia leaves Athens and escapes to the forest, I would like her to adopt a robe over her dress, of green, to convey to the audience, through her change in costume, that a change is impending in the play. While the charm and beauty of the character of Hermia will be communicated visually, the inner strength and courage that I interpret as being key elements of her character, will be communicated through her demeanor. It is commonly understood in the study of body language that confident people stand up straight, unlike shy people, who hunch up, in a subconscious decision to take up less space. In this way, stage space becomes an important indicator of personality. I have mentioned before that I would, at certain points in the text like characters to use the whole space of the stage to convey a sense of confidence. I would like the performance of Hermia to adopt a comfortable use of the entire stage space. More specifically, I would like to refer to one speech that I feel is very important in the text, in Scene I, Act I, when Hermia is talking to Theseus with regards to her desire to marry Lysander: So will I grow, so live, so die, my lord, Ere I will yield my virgin patent up Unto his lordship whose unwished yoke My soul consents not to give soveregnity. (Scene I, Act I, lines 79-82) This speech is an important point at the text because Hermia makes clear her intentions to avoid marriage to Demetrius. It is a very dramatic, sensitive piece. This speech should be delivered with intensity, to convey to the audience the depth of Hermia’s feelings for Lysander. The performance should include some paralinguistic features such as moving around the stage, facial expressions and hand movements to express her feelings visually. Theseus My understanding of Theseus is that he is a very complex character – there is conflicting evidence in the text as to his true nature. There is one utterance in the text that brings up questions regarding his true nature, when he is talking to Hippolyta and he says that: Hippolyta, I wooed thee with my sword, And won thy love doing thee injuries; But I will wed thee in another key: (Scene I, Act I, lines 16-18) My interpretation of this line is that Theseus raped Hippolyta. The implications of this in terms of how the character should be performed are vast. In much of the text, Theseus is represented as a pensive, thoughtful man. He kindly advises Hermia to Take time to pause (Scene I, Act I, line 83) when discussing the situation with her father Egeus. This scene presents him as rational and kindly. The suggestion of rape in line 16 makes the line highly important, the suggestion I would like to convey to the audience is the idea that Theseus is warning Hippolyta. In bringing the issue of the rape to the forefront, he is reminding her of the power balance in their relationship. There is also possibly some penitence in this admission. This could be communicated to the audience through the use of certain vocal qualities, demeanor and stage space. Back to: Example Essays… I would like Theseus’s sense of power to be conveyed to the audience in a visual way, so he would deliver this speech standing, and walking around, whilst the character of Hippolyta would be sitting down. The discrepancy in their heights would be a visual representation of the hierarchy, which would further consolidate what Theseus was saying. This is such a patriarchal power play that props could be used to represent a sense of phallocentricity – such as a sceptre – a regal and phallic symbol. The use of this prop could convey to the audience my interpretation of Theseus as being the patriarchal and dominant force in the opening of the play. His kingdom is run on a set of rigid rules – for example, Egeus invoking the ancient law of Athens as Hermia wants to marry Lysander. This is in stark contrast to the forest – the mysterious, feminine arena which is the binary opposite of Athens. In terms of demeanor, Theseus should be calm, and considered in his movements. I would like his costume to be of dark colours, and of neat, clean lines. This operates in contrast to Hermia’s costume – the white of her costume is a symbol of innocence while the dark of Theseus’s costume is aligned with the dark side he hints at in this speech.
West Los Angeles College Music Notation Theory Application Report Paper.

In this assignment I’m going to ask you to describe the tempo and meter of 10 musical examples. TempoChoose from one the following terms: Slow, Medium-slow, Medium, Medium-fast, and Fast.On the assignment, you must agree with my assessment of tempo, with a margin of error of one tempo gradation either way. Thus, if I perceive the tempo as medium, but you regard it as medium-slow, you would still be counted correct. However, if I have medium-slow for a tempo, and you have medium-fast, I’ll count you wrong.MeterAll examples are in either duple, triple, or quadruple meter. You will find no quintuple, sextuple, or septuple meters. Assignment 4: Beat, Meter, TempoDetermine the meter and tempo for each of the examples below. Remember, I need to know the meter and the tempo, so you’ll have 2 answers for each example.Example 1 is below.Play media comment.Example 2 is below.Play media comment.Example 3 is below.Play media comment.Example 4 is below.Play media comment.Example 5 is below.Play media comment.Example 6 is below.Play media comment. Example 7 is below.Play media comment.Example 8 is below.Play media comment.Example 9 is below.Play media comment.Example 10 is below.Audio Player00:0000:411.00×2.00×1.50×1.25×1.00×0.75×0.50xUse Up/Down Arrow keys to increase or decrease volume.Minimize embedded content
West Los Angeles College Music Notation Theory Application Report Paper

COM325 Ashford University Professional Conflict Resolutions Discussion.

Week 3 – Discussion 1The conflict climate is the psychological atmosphere the individuals perceive. This climate can be harmful or nurturing. Share an example of a situation in which abuse of power, competition, distrust, or defensive behavior created a harmful climate in a conflict situation. Identify the behaviors that created this environment. What behaviors would change this into a nurturing climate?Your initial response should be 250 – 300 words.Week 3 – Discussion 2Explain how stress and anger affect the communication in conflict resolution situations? Are stress and anger necessary in conflict resolution, or are they solely impediments to solving problems? What affect have stress and anger played in your professional conflict resolutions experiences?Your initial response should be 250 – 300 words
COM325 Ashford University Professional Conflict Resolutions Discussion

How To Write A Film Review Film Studies Essay

“Anyone can be a film critic,” French director Francois Truffaut writes in his book “The Films in My Life.” Whether you watch movies as soon as they arrive at your local theatre or wait for the video or cable version, your number one reason for being a critic must be your love of movies. If you’re a real film buff, chances are you’ll like all types from Hollywood blockbusters to subtitled films with no special effects. When watching a movie, be it a cartoon or an epic, remain objective. Don’t be swayed by who’s in it. Pay no attention to the director. Ignore any stories or rumors you might have heard about the filming of it. Be completely absorbed in the movie, concentrating on the events unfolding onscreen. If you’re launching a career as a film critic and want to use the first person, then use it right from the start. Make your opinions count and do so in a way that’s forceful. Be stern and unwavering! Or be funny. Just make sure you can handle being the “I” behind all your opinions. You’ll gain many admirers and detractors, but if you’ve comfortable with writing in the first person then go ahead-you’re the critic! Comparing movies: To compare the current movie you’re reviewing to one that is already on video/cable or has been around for dozens of years is a very common practice. This shows that A) you know about movies and B) allows people who have seen the earlier movie to know what you’re writing about. Assume nothing: Depending on your audience, whether it’s a college newspaper, a local daily, weekly or monthly publication or an Internet website, use your clearest style of writing. You never know who’ll happen to read your review. That person might be the president of a movie studio or a grade-schooler. If you’re doing a comparison, be precise but not overly so. Not everyone in the world has seen the movie “Psycho” so should you use this movie as an example, you might want to preface it with: “classic horror film” or “director Alfred Hitchcock’s 1960 movie starring Anthony Perkins,” etc. Add a few words to introduce a new reader or refresh an older reader’s memory. The story: What is this movie about? After assigning a category such as drama, action/adventure, horror, comedy, etc., you must give a synopsis of the tale. Is it a man vs. man saga of “Apocalpyse Now” proportions? Man vs. nature: “The Perfect Storm.” Man vs. the supernatural? “The Haunting” and any horror flick. Man vs. himself, any western with the proverbial ‘lone gunslinger.’ The actors

Grossmont College Criminalizing the Use of Drugs and Alcohol Essay

essay helper free Grossmont College Criminalizing the Use of Drugs and Alcohol Essay.

Write 2 paragraphs answering the following questions:What are the social problems created by the criminalization of drugs and alcohol?In which ways would society benefit with the legalization of drugs such as marijuana, cocaine and heroine? Are you in favor of the legalization of currently illegal drugs? Why? After submitting your answers, please reply to at least three (3) of our classmates’ posts, pointing out their good points as well as any limitation you see in their arguments. Your original answer to the questions as well as your reply-comments to other students must be of substantial quality in order to get points. Substantial quality includes a demonstration that you have completed the required readings and videos and thought critically about them. Your answers and reply-comments must be original, use your own ideas and words. Do not copy from any website or written material from another person. Defining Deviance The sociological definition of deviance—as behavior that is recognized as violating expected rules and norms—stresses: (1) social context, (2) recognizes that not all behaviors are judged similarly by all groups, and (3). recognizes that established rules and norms are socially created.Sociologists distinguish between two types of deviance:formal deviance – behavior that breaks laws or official rules (crime)informal deviance – behavior that violates customary norms (body piercing)The Social Construction of DevianceLabeling theory – evaluates the meaning of deviance in terms of the breaking of norms and rules AND how people react to those behaviors. Deviance is created by groups who make rules and label offenders as outsiders.The Context of Deviance – derives not only from what one does, but also from who does it, when, and where.Behavior that is deviant in one circumstance may be normal in another, or behavior may be ruled deviant only when performed by certain people (e.g. heterosexual or homosexual kissing in public).The definition of deviance can also vary over time (e.g. acquaintance rape).Emile Durkheim argued that deviance is functional for society because it produces social solidarity.The Influence of Social Movements – networks of groups that organize to support or resist changes in society, can reform how a behavior is perceived and dealt with by society (e.g., the anti-smoking movement and the gay and lesbian movement).Sociology looks at deviance as constructed by society rather than as the public commonly understands it – as the result of individualistic or personality factors. What is considered deviant or normal depends on the social context. Deviance may be: (1) a positive adaptation to a situation (the Andes survivors) or (2) a rational adaptation to some situations (gang membership).The Medicalization of DevianceSociologists criticize many psychological explanations of deviance that emphasize individual factors underlying deviant behavior because they see these explanations as incomplete for as they do not take into consideration the social conditions surrounding deviant behavior, ignoring the effects of social structures on the development of deviant behavior as in the medicalization of deviance, exemplified in some explanations of alcoholism.Sociologists include in their concept of deviance the idea that it is as an adaptation to the social structures in which people live. See Merton’s strain theory to further your understanding of this phenomenon. Here is the YouTube video: https://m.youtube.com/watch?v=BGq9zW9w3Fw&feature=emb_title Explaining DevianceLast page we introduced deviance as a concept, but today we’re going return to the major perspectives in sociology and how each approaches deviance. We’ll explore how structural functionalism sees deviance fulfilling a function in society; how deviance is constructed, according to symbolic interactionism; and finally, how conflict theory views deviance as tied to power and inequality.YouTube vid: https://m.youtube.com/watch?v=06IS_X7hWWI&feature=emb_titleCrime and the Justice SystemIt is time to examine the legal definitions of crime and the use of FBI data to get an idea of the amount and kinds of crime committed in the US. It is important to paint a demographic picture of who gets arrested, and explain why that’s not necessarily a full look of who commits crime. We need to discuss society’s response to crime in the criminal justice system, and how that response has resulted in mass incarceration. Watch the following short videos:https://m.youtube.com/watch?v=zBodqwAlW3A&feature=emb_titlehttps://m.youtube.com/watch?v=vFe_7sOGvGI&list=PLZapTuSHtu-CeejcJGLVBLqNT-ipS0Idh&index=44https://m.youtube.com/watch?v=nUZqvsF_Wt0&feature=emb_titlehttps://m.youtube.com/watch?v=om2hx6Xm2JE&feature=emb_title
Grossmont College Criminalizing the Use of Drugs and Alcohol Essay

Writer’s Choice

Writer’s Choice. Paper details Health Science 3301: Community Health Online Movie Assignment • Screen the movie “Contagion.” You may purchase a copy online at Amazon.com or rent it Netflix, etc. I will also place a copy in the College of Health Sciences ILC-1101 N. Campbell St. for you to screen (Contagion – Matt Damon, Jude Law, Gwyneth Paltrow – DVD – September, 2011). • Write a two-page paper identifying at least three epidemiologic concepts addressed in Chapter 2 of your text as they relate to this dramatization. • The paper should: o Include a coversheet with pertinent information (Name, date, title of paper, etc.) o A well formulated introduction and conclusion o The elucidation of 3 epidemiologic concepts as they relate to Chapter 2 of your text o Standard MS Word page format (1-inch margins, 12 font, etc.) o Typed o Double-spaced o Free of spelling and grammatical errors, etc. Writer’s Choice

Epithelial Tissue Discussion

Epithelial Tissue Discussion.

Requirements for your article:
1- Article is about a biological, medical, or health topic THAT IS OR WAS DISCUSSED IN THIS COURSE from an acceptable source (scholarly journals, newspapers, magazines, Internet sites. 
         Examples of science websites:
www.sciencedaily.com
www.livescience.com
www.scienceneews.org
www.discovermagazine.com
2- Article was published within four months of the due date—the date of the article needs to be on the actual article, not written on nor will I accept the date in the footnote of a printout
3- Article is at least 150 words in length but no longer than 2 pages in length
4- Copy of your article, including the source and date of the article, is turned in with your paper (You can upload a pdf version of your online science article or scan an article if there is no electronic version.) 
Your paper will NOT be graded if a copy of the article is not attached with it or if the article does not meet the aforementioned requirements.
Requirements for your paper:
• 1-2 typed pages (double-spaced, 12 font); no handwritten pages will be accepted!  2 points
Summary paragraph 4 points:   
– Begin with ONE complete sentence that accurately presents the main idea of the article
– Subsequent sentences should answer most of the 6 journalistic questions:
Who?, What?, When?, Where?, Why?, How?
– Overall paragraph should be at least 8 grammatically complete sentences
(no text message language please)
– Should be written in standard English and the 3rd person (Ex., he, she, one, or they)
Reaction paragraph 4 points:
– Reaction includes how the article influenced or inspired you
– Reaction statements must relate to main idea of the article
– Overall paragraph should be at least 8 grammatically complete sentences
 (no text message language please)
Topic: Epithelial tissue
Epithelial Tissue Discussion