Why we use reflection Essay Example for Free

Why we use reflection Essay It is important that we use reflection in order to further develop our skills in practice. No matter which reflective cycle chosen it is important that you identify what has been learned from the experience, how it has helped, if it is negative, how to overcome the problem in the future, and how it relates to theory and knowledge you have been taught. Reflective practice has been identified as one of the key ways in which we learn from our experiences in practice (Jasper 2003). As a concept for learning, reflective practice was introduced in the 1980’s (Jasper 2003). Boyd Fales (1983 cited in McGuinness 2009) suggests that â€Å"learning from experience can be very personal and, because of this, the process of reflection must allow the individual to address all aspects of each situation encountered†. There are many types of reflective cycle and they are only there to offer a guide and format to reflection. Schon (1983) suggests that â€Å"we can engage in one of two ways; either by reflecting on action, after the experience, or by reflecting in action, during the experience†. I researched many different cycles before selecting the one I thought was right for me. I will explain 3 I could have chosen and then explain the cycle I used and why. Firstly is Gibbs model of reflection (1988) (appendix 1). The pros to using this method are that it is very simple and directional. It splits your work into 6 sections and gives you a very structured essay. However I find it does not give you much help as to what you need to include within your essay. It is very basic and does not expand upon each section. The second cycle is John’s model of reflection (1994) (appendix 2). This model also provides structure and more detailed information of what to include by prompting with suggestional questions. This being said, I found the questions to be a bit lengthy and over complicated reflective practice. The final model was Atkin’s and Murphy’s model of reflection (1994) (appendix 3) I thought that this model was very directional and to the point offering a 5-sectioned essay plan, however it was still too basic for my learning style and therefore I found it best not to use it. For the purpose and intent of this essay I shall be using Driscoll reflective framework (1994). The reason for this is that I found it the most suited for me to follow. His reflective cycle uses just three simple questions as the main body of the framework,  which are then expended upon in greater detail. Driscoll’s framework has since been updated in 2000 (appendix 4). Introduction This reflective essay is based on a negative experience I had as a student operating department practitioner while on placement in anaesthetics. My reason for choosing this experience is that I found it to be a very valuable way to learn what needs to be done in order to ensure the smooth running of an operating department. This particular experience had some good issues to explore. Throughout the duration of this essay I will be using fictitious names for all patients and staff in order to protect anonymity and confidentiality. This is in order to comply with the codes and conducts set out by the health professions council (HPC). Due to word limitation the main focus of this essay will be surrounding the first patient and the complications that arose prior to anaesthesia, such as communication, consent, allergies, and the importance of all of these things. What? a description of the event One morning I came into work and found out I was going to be involved in a urology list that involved 4 patients; 1 female and 3 males, all needing different urological procedures. You would have thought that after the lengthy pathway that a patient goes through before finally having their surgery, everything would run smoothly when getting to theatre. This was not the case on this particular morning. Not one patient was appropriately fit for surgery on that day. We were setting up our anaesthetic room for the morning list. Before sending for the patient you should always see both the anaesthetist and the surgeon, the reason for this is so that the patient is not sitting in the anaesthetic room for longer that they need to be as they may be extremely nervous. Typically theatre lists start at around 9am however on this particular day we had seen neither the anaesthetist nor surgeon so were unable to send for the first patient. At 9.05am the junior anaesthetist, Dr K, came in explaining she had seen the patients however we still had to wait as Dr F, the consultant anaesthetist, had to go and see the second patient on the list as there were concerns with proceeding with his surgery. After explaining this she then went on to brief us about the rest of the patients. The first patient was Mrs. G. Dr K informed us that  this patient told her that she has a latex allergy and comes out in welts when it touches her. It was questionable as to whether or not we should proceed with her surgery. The surgeon then phoned our theatre shouting at the staff, asking who it was that told everyone his patient was allergic to latex. This is because Mrs. G had now told the surgeon, Mr. B, that she did not have a latex allergy. Whilst on the phone Mr. B stated that he wanted the patient to be collected immediately for a prompt start as soon as he got down to theatre. Finally Mrs. G arrived in the anaesthetic room, however when I was running through the checklist with her, asking her several important questions, such as when was the last time you ate and drank, and obviously, do you have an allergies? To which she responded, yes, I am allergic to latex. We could have still cancelled the procedure however now she was in the anaesthetic room the anaesthetist and surgeon were both happy to proceed. This unfortunately was not the end of the complications with this patient’s procedure. When shown the consent form to confirm the surgery she was having done and that she had signed it herself previously that day, she was also consented for a cystoscopy, Mrs. G was unaware that she was also having this and when asked if she was aware of the procedure she told us that she did not know what a cystoscopy was, even though she had consented to the procedure. After finally checking in the patient and making sure she was comfortable and aware, we continued with the anaesthetic induction. So what? – an analysis of the event Whilst Dr K was explaining the complications with each patient I thought of how key communication is within a theatre team. Without that communication all of the patients could potentially have had further problems when finally arriving for their procedure, be it during induction, during surgery or in recovery. Communication is not just important between the staff, but as shown it is extremely important between healthcare workers and patients. For example, it should not have taken as long as it did for someone to find out that Mrs. G had a latex allergy. This should have been picked up during her pre assessment or even when she was admitted to the ward. When patients have an allergy they should always have an extra wristband stating their allergy. (Trust Policy 2010). Many patients suffer from fear and anxiety surrounding anaesthetic procedures, it is therefore important that a clear and effective  communication takes place between the anaesthetist and patient prior to coming to th eatre. If this is done correctly it increases patient compliance and satisfaction (Kindler et al 2005). The most effective form of communication is face to face however, there are many different ways this can be achieved, for example, written forms such as graphs and notes. There are also non verbal forms using body language and touch. It is vital that all patients understand what their procedure is, how it will be done, recovery rate and anaesthetic procedures, regardless of their mental competency. It is vital that you know how to communicate in different forms because every patient deals with stress and nervousness in their own way, some will come in and cant stop talking, some won’t say anything, others will be shaking and others may be experiencing some form of chest pains, low blood pressure and a very fast heart rate. Anxiety levels of patients are much higher when admitted to hospitals, this is believed to be due to the thought of the procedure/surgery and the fear of the pain they may feel post operatively (Clancey et al 2002). Communication between staff members, as well as patients, is continuous, from the moment they enter the hospital, to pre admission, the ward, theatres, recovery etc. All staff are there to aid the patient to a quick and effective recovery. When Mrs. G came down to theatre and was asked about her consent form, I found it appalling that she had not been given this effective communication as every patient is entitled to and deserves the best form of care possible. When consenting a patient, the Dr should inform the patient of the full procedure and explain any doubts, questions or worries that the patient may be feeling as well as explaining the full procedure to them. (Brigden 1998) In Mrs. G’s case this was not done therefore left her confused and slightly nervous. We explained the procedure to her and told her there was nothing to worry about and it was just a routine procedure that is done with the other. This leads me on to the issues surrounding informed consent. It is the legal and ethical right of a patient to direct what happens to their body. In order for their consent to be valid it must be voluntary and they must be considered mentally competent to make the decision. (Brigden 1998). In order for consent to be considered legal and valid it is essential that the patient be deemed competent to make the decision and their consent must be voluntary (Hind and Wicker 2000). When obtaining consent from patients it is essential  that you find out whether they have any individual needs and priorities, such as religions beliefs, occupation or other factors that may affect their treatment. For example, Jehovah witnesses will not accept any form of blood transfusion as it is not recognised in that religion. If however the patient is deemed to be incapable of making an informed decision under the mental capacity act e.g. they are unconscious, then it is not, as it is typically assumed, relatives or a care giver that has the right to give consent for them, but is generally two doctors that have the right to make the decision. (Radfo rd et al 2004). This being said in an emergency situation where consent can not be obtained, providing that the treatment necessary is directly linked with what needs to be done to ensure patients safety and health, then you can provide medical treatment to whoever may need it. If, for example, the patient has previously refused treatment and you are aware of this fact, but the case is now deemed emergent, you cannot proceed and must respect the patient’s previous wishes. Once the patient is stable and mentally aware, you must inform them of what has been done and make sure they understand fully. (Kinder et al 2005). Sadly Mrs. G was already nervous about her procedure before she found out she had been misinformed. Also discovering her latex allergy could cause complications to herself and her surgery increased anxiety when she arrived in the anaesthetic room. This sent her heart rate racing. It went from a normal steady 86 beats per minute (BPM) to an irregular 176 bpm. Luckily Dr F is an extremely calm and sensible consultant anaesthetist and knew exactly how to handle that situation in order to keep her calm and lower her heart rate. All of these things should have been explained to her prior to her surgery, or better still prior to her attendance of the hospital. After I reassured her of what she was having done and had held her hand for a while, she finally understood and calmed down, therefore allowing us to proceed. This made me think of how people cope with stress and anxiety, and it showed me that everyone deals with things differently, just by explaining what was happening and having bodily contact with Mrs. G helped her greatly. She was very thankful and happy with the level of care she received in the anaesthetic room. After the list had finished I started to wonder why the world health organisation checklist (W.H.O) was not co mpleted. The W.H.O checklist should be completed at 3 stages during each operation; prior to  anaesthetic induction known as sign in, immediately after induction or just before the incision of skin time out, and finally once the operation is complete before going to recovery sign out. (World Alliance for Patient Safety 2008). One of the questions asked is ‘does the patient have any allergies?’. If the team had completed the checklists prior to the start of the list then the complications should have been located and would have meant that they would be dealt with accordingly. For example, the issues surrounding Mrs. G’s latex allergy would have been able to be avoided if we had known before she was due to come down. It is vital that patients with latex hypersensitivity must go first, in a theatre that has had all latex products removed. It is trust policy that the theatre must be latex free for at least 1-2 hours. As none of this was done it was very questionable as to whether this patient could have her surgery or not. We informed the theatre floor person, who agreed that she thought the risk was too great as patients allergic to latex can go into anaphylaxis. These can all be incredibly dangerous when under anaesthesia. She told us that if the surgeon and anaesthetist decided to proceed then we should complete an incident report form, just in case any reaction was to occur throughout the procedure. Now what? – proposed actions following the event After looking into the aspects of this experience I have found it very useful in furthering my skills and knowledge into becoming an operating department practitioner. The issues surrounding informed consent, patient anxiety, communication between staff members as well as the patients and the surgical safety checklist are all linked together in one way or another. Had all of these been carried out correctly the list would more than likely ran smoothly. However there is no sure fire way to guarantee something else would not have occurred hindering us further. I can use the information I have researched in practice as I now have a better understanding of how the peri-operative department should work. Each member of the team should ensure that these issues are dealt with at the time they arise. They should not be passed around from person to person. It is the staff’s responsibility to make sure the standards and expectations are maintained. Each patient has the right to their own dignity and modesty and should all be treated with respect. Treat patients how you would wish to be treated if you were having  surgery. Each hospital has a set of trust policies that should be adhered to, it is expected that any new members of staff read them so that they are aware of the procedures and standards that should be met. Information about the NHS and its practices can be found in vast quantities in libraries or on the internet. This is also there to provide support and assistance to further your knowledge and ensure correct procedures are carried out. The points previously discussed are just some of the reason it is vital that reflection is so important to health care professionals, it is essential for maintaining a high standard of care.

Of mice and men - A comparison of the opening scenes of the film and the beginning of the book Essay Example for Free

Of mice and men A comparison of the opening scenes of the film and the beginning of the book Essay A comparison of the opening scenes of the film and the beginning of the book Of mice and men is set in southern California at the time of the great depression (late 1920 and early 30s), the basis of the story is about 2 men George and Lenny, who are two workers who travel from place to place finding work on ranches, so they can earn there 50 bucks a month. George is the leader out of the two he looks after Lenny, sorts out where they go and what they do and eat. Lenny is a very big and strong man, but he is very dumb and could not look after himself, he his at heart a nice, harmless man but likes colourful, nice feeling things, so he is just like a small child. Lenny gets them into trouble a lot, he likes to touch nice things and when he does people get the wrong idea and like at the start of the book and film gets accused of rape, and at the end causes a death of a woman. Like most writers or directors, John Steinbeck and Gary Sinise try to grab the readers or viewers attention. Even though the novel and film are based on the same story, they use different techniques and ways to try and get the audiences attention. In the novel John Steinbeck uses a lot of description of his settings and this is how he tries to keep the audiences imagination going. For example in the first two pages of the novel, he uses a strong descriptive and a strong style of language to try and give an effect of a natural, calm and peaceful atmosphere, also when describing the willow pool he tries and puts as much detail in as possible, as this area of land is one of the most important places in the story as this is where Steinbeck starts the story and ends it in a similar place. Its quite amazing how Steinbeck manages to turn a violent and threatening scene into a calm, relaxing place and an almost peaceful time. I think that the first set of settings is set in a spring/summer theme as they are talking about there dream which is seen as the American dream of this time, so this also relates to life in the late boom and depression of the 1920s. The beginning is used to try and introduce the two main characters portraying Lenny as the leader and it seems that he is like a father to Lenny who is portrayed as a small child who cannot control what he is doing. George also knows he has to take the role as the father or older brother and has to keep rules and tells him what to do, e.g. when they are drinking from the lake Lenny keeps his head in the water and is just guzzling the water down, then George says; For god sake dont drink so much, and also he checks if the water is safe by making sure that its is running although George is of little intelligence him self he knows how to stay alive and live well. Gary Sinise tries to grab the audiences attention quite differently at the beginning of the film as he uses a dramatic sequence of George and Lenny sitting in the luggage holder of a train, and you see him thinking back to what happened at Weed. When this is happening the light fades over Georges face from the cracks in the compartments wooden walls, this effect of the light streaming across his face gives an imaginary sense of prison bars. During Georges flashbacks you see them running fast and out of breath down a field full of long grass, and it keeps flashing back on Georges face in the train giving you a sense of distress instead of the calming effect of the novel. It then flashes to a pretty woman in a red dress that has a rip going down the bottom of it, the air flows through her dress and hair as she is running down a field. This scene really is exciting and full of tension to the viewer, which contrasts totally to the calm and peaceful opening of the book. Next you she a bunch of workers in a field, and they hear the girls screams. The workers on horse follow carrying shotguns. This contrasts to the life of today against nearly a century ago, as nowadays Lenny would have been arrested and put to a fair trial but back then they would have just killed Lenny on the spot. This scene puts people on the edges of their seats giving a sense of suspense; this is how a good director is able to keep the audiences attention to the film. The scene of the willow pool is quite like the scene in the book it gives a more relaxed effect from the previous suspense scenes, as they hide neck deep under the overflowing bush weed, and luckily the workers lose them. When we see George and Lenny getting there work cards it proves the fact that this is in the 1930s as there were a lot of job shortages and you had to go to a job office and see if any jobs were available, most people would take any job there was, because of the depression. This then gives us a slight historical background of the time they are in. George in the book is firstly described as small and quick, dark of face with restless eyes and sharp, strong features. George being described as having restless eyes gives an impression that he is quite alert and a quick thinker of what to do in troubled times. Lenny on the other hand is described quite differently: Huge man, shapeless face with large, pale eyes, with wide sloping shoulders; and he walked heavily, dragging his feet a little, the way a bear drags his paws. the way a bear drags his paws Lenny is being described as an animal which shows that he is a slow and clumsy both physical and mentally. The characters in the film are unlike the ones in the book as they are not physically opposite. Lenny is only slightly taller than George, but the behaviours of these two characters do mirror that it is similar to the book as Lenny acts like a child and George is the smart, dominant one. This is often shown in the close ups of their faces and in their speech and movement. The clothes they wear are described in the book as workers clothes so rugged and tattered, so the movie is also based on this part as the clothes in the movie are like this. In my opinion I think casting John Malkovich was perfect to be Lenny as he was able to portray the child like brain of Lenny. He seemed to fit the right description of Lenny. The voice used by John Malkovich was very effective in giving the viewer a childlike impression of Lenny. Gary Sinise although he was director he himself played George and he obviously knew how he wanted George to be played and he did with an amazing attitude, he gave out the attitude and cunningness of George as is written in the book. In conclusion, the beginning of the book and the beginning of the film are based on the same storyline. The way the scenes are described and presented are really quite different. Gary Sinise is able to create a sense of action and suspense followed by the calm of the willow pool, whilst Steinbeck creates a very rich and calm descriptive opening scene, which contrasts with the violence of what is actually happening.

Antoni Gaudis Architecture Style

Antoni Gaudis Architecture Style Introduction In order to appreciate Antoni Gaudis creative vision we must look at the context in which he worked. It seems that previous studies of Gaudi have not researched extensively into placing him within this cultural context; and have rather preferred to outline him as a lonely reclusive figure or concentrated on his elaborate architectural forms. This dissertation will explore whether political, social and economic developments in the late 19th and 20th Centuries in Catalonia and Spain proved touchstones for the architect, his work and his immediate circle; and whether these factors influenced his creative decisions and have been overlooked throughout his life. The work is composed of three inter-related sections. The first section will discuss Gaudis Catalan roots, and early social influences. Park G?ell will be used to illustrate this. The second section explores Catalan nationalism, social classes and the rise of Catalan industrial capitalism. It will also examine the political conflict and tensions between Castile and Catalonia, including the three Carlist wars, which were fought out on Catalan territory, the disastrous effects after Spains loss of her empire in 1898, and the impact of Tragic Week in 1909. It will consider how these may have affected Gaudi and his working rationale. This section will be analysed through the example of the Casa Mila. The third section will examine Gaudis shift in faith and the impact that this had on his architecture. This will be shown through the example of the Sagrada Familia (Holy family) Cathedral. This discussion starts by considering the view expressed by Clara Gari of the Catalan architects approach: Perhaps what makes a quick understanding difficult in Gaudis work is its daring and fascinating uncertainty, that range which slips between architectural code and structure. Such ambiguity is accentuated much more when the matrixes from which Gaudi extracts a determined stylistic code are not always clearly evidenced. But rather they appear, as often happens, ambiguously confused as a consequence of a sort of intervention, prior to the adoption of the chosen code, which by way of a distorted lens, varies the facets and the colour in it, tricking us with a free all embracing conduct, and with an underlying energy directly emanated from the ethnic heritage which is difficult to simplify Gari seems to be commenting that, despite Gaudis classical education and training as an architect, he could risk being very radical in his use of the accepted architectural codes and structures of his time. In Gaudis work, codes and structures seem to be passed through the filter of his imagination and his Catalan identity, and are transformed into something which may appear distorted but can have a powerful effect upon us as observers. Gaudis Catalan roots and early social influences Antoni Placid Guillem Gaudi I Cornet was born in Tarragona, Catalonia, Spain on June 25, 1852, into a family which had come from a long line of Catalan merchants, miners, farmers, weavers, boilermakers and coppersmiths. Gaudi was introduced to the family craft tradition at an early age when watching his father in his workshop. He was proud of this heritage and once said: I have the quality of spatial apprehension because I am the son, grandson, and the great grandson of coppersmiths All these generations of people gave me preparation. Gaudis predecessors came from a cross-Pyrenean culture that bordered the Mediterranean Sea and were accustomed to absorbing influences from different cultures, while somehow retaining their own Catalan identity. The Catalan language, for example, is closer to the tongue of Languedoc in France than it is to Castilian which is spoken in most of Spain. Joan Bergos explains in his book, Gaudi the man and his works, that: Gaudis lineage therefore has deep, i f distant roots in central Europe, mixed with the virtues traditionally found among the people of Tarragona, a typically Mediterranean people, passionate, industrious, courageous in the face of adversity and somewhat inclined to irony. The Mediterranean region of Tarragona, with its natural surroundings and quality of light, are elements of the rural world that Gaudi seems to provide as references to his architectural forms. His love of nature began as a small child, when rheumatoid arthritis, made physical exploration and play painful and difficult and he was restricted to riding around on the back of a donkey, according to family stories, he was able to study his natural surroundings and to create his own imaginary world. Perhaps because of his difficult start in life Gaudi may have developed an inner world of fantasy, shape, structure and colour, produced by his knowledge of the artisans craft and the natural forms found in his environment. Gaudi came from a deeply religious family and received a thorough Catholic religious education generated from the continuation of medieval Guilds. This would have included obligatory prayer to the Virgin, Christian doctrine, religious morals and religious history. By 1874, at the age of 22, Gaudi had moved to Barcelona with his brother Francesc; and here he began his preparation to train as an architect at the Escuela Tà ©cnica Superior de Arquitectura (Upper Technical School of Architecture). Here he studied Spanish architecture which would have focused upon its many cultural traditions, including: Phoenician, Roman, Greek, Visigothic, Celtic, Arab, Berber and Jewish. These would have been completely absorbed into the thinking of contemporary design so that there was no prejudice against the adoption of Islamic motifs and symbols. One could imagine how important this multi-faceted cultural heritage of Spain would have been for the development of Gaudis own approach to architecture. Gaudi also seemed to share the concerns and ideals that surrounded the dynamic and intellectual atmosphere during his youth, and would have been influenced by the famous intellectuals of the time: Pugin, Ruskin and Viollet-le-Duc. The latter was responsible for the Gothic revival in France and as a pupil of Le Grand Durand he had influenced Frances adoption of Renaissance models and rationalist approach to city planning, which had put the country at the forefront of European artistic and architectural debate. One could also presume that Gaudi had read the work of the English writer Ruskin, in which he states, in his book: The seven lamps of Architecture: I say that if men really lived like men, their houses would be like temples which we would not dare to violate so easily and in which it would be a privilege to live. There must be some strange dissolution of family affection, a strange ingratitude towards everything that our houses have given us and that our parents have taught us, a strange awareness of our infidelity with respect and love for our father, or perhaps an awareness that our life is not for making our house sacred in the eyes of our children, which induces each one of us to want to build for ourselves, and to build only for the little revolution of our personal life. I see these miserable concretions of mud and limestone that shoot up like mushrooms in the boggy fields around our capitalI look at them not only with the repulsion of the offended view, not only with the pain that is caused by a disfigured landscape, not with the painful presentiment that the roots of our national grandeza must have infected with gangren e right down to their tips from the moment that they were planted in such an unstable manner in out native soil. It seems that Ruskins moral and aesthetic dilemma was one that Gaudi would also experience as a young professional architect, and he would move between his support of socialist ideals and various privileged connections with the aristocracy and upper middle classes (his possible clients) throughout his life. Gaudi was discovered by the bourgeoisie without whom his architecture would not stand today. However it seems he was not indifferent to the social life of his age and its contradictions. Other contemporaries working towards these ideals, were: Elies Rogent (1821-1897), whose design of Barcelonas University building was influenced by the German Rundbogenstil, which was a Neo-classical rounded arch; Joan Martorell (1833-1906) who designed the Neo-gothic brick and glazed-tiled church of Saint Francesc de Sales (1885); Josep Vilaseca who collaborated with Lluis Domà ¨nech i Montaner (1850-1923) on the Batlo tomb (1885). As his former professor at the Escuela Tà ©cnica Superior de Ar quitectura, Lluis Domà ¨nech i Montaner was at the forefront of the Catalan Modernist movement, also known as the Renaixenca (or Rebirth), which encouraged art, theatre and literature in the Catalan language. He was also responsible for designing the Palau de la Musica Catalana which symbolises the coming together of the Catalan nationalist sentiment and international culture. It also shows a particular connection to Gaudis Colonia Guell, Casa Vicens and Park Guell, though its elaborate ornamentation, sculptures and colourful ceramic mosaics, all of which seem to refer to a deep connection with Catalan nature and nationalism that were apparent at the time. This connection can be seen in the leaf and flower patterns on the facade of the Palau de la Musica Catalana which are inspired by Moorish architecture and followed the curvilinear design seen in Art Nouveau. At the same time, the civil engineer Ildefons Cerda (1815-1876) had been given the commission to expand Barcelonas boundaries by demolishing its walls and providing land for new residential areas. It seems that his plans were influenced by Haussmanns redesign of Paris, and were based on a similar grid system. Cerda was shocked that the working classes were paying proportionately more in rent for their confined living accommodation than the wealthy paid for their luxurious housing. The design for city, although Neo-classical, was also considered realist because of Cerdas understanding of modern urban sociology and living conditions. It seems that this expansion signalled to other architects that it was acceptable to explore new ways of designing public and private spaces. This new sociological attitude towards urban spaces can be seen as the catalyst for the creation of the idea of the Garden City. The concept of setting up communities outside cities was started by enlightened industr ial philanthropists such as Robert Owen, Titus Salt and George Cadbury, creating small housing projects for their workers in England as far back as 1800. However, the most important of the Garden City movement was Ebenezer Howard whose book Tomorrow: A Peaceful Path to Real Reform, published in 1898, was to become highly influential in town planning throughout the 20th century. The Garden City movement is a good example of the changing social attitude towards the built environment and can be seen in the later planning texts of Tony Garnier and of Le Corbusiers ASCORAL, first published as Les Trois Establissements Humains in 1945. In a short text called Notes on the family house (Casa Pairal) written by Gaudi between 1878 and 1881, he reflects on the relationship between house and family: The house is a small nation of the familyThe privately owned house has been given the name of Casa Parial (family home) who among us does not recall, on hearing this expression, some beautiful example in the countryside or in the city? The pursuit of lucre and changes in customs have caused most of these family homes to disappear from the city, and those that remain are in such a terrible state that they cannot last long. The need for a family house is not only limited to one age and one family in particular but is an enduring need for all families. The text seems to be referring to the unity of a nation and of its people, it reflects the understanding of an architect who strives for sanitation and well being, as well as the anti-urban feeling which had arisen in England and spread throughout Europe. One could presume that it also reflects Gaudis deep-rooted connection with the rural world, that of peasant and craftsman, a world from which he had come. Maria Antonietta Crippa explains in her book, Living Gaudi that: Gaudis attention was not directed immediately to the bourgeois house, but to the needs of everyone. She goes on to say that He does not hide his unease at the excessive, over accelerated growth of cities, which uproot many people from the land of their birth and force them to live in rented houses in the land of emigration. And he applauds the decision to abandon congested city centers for the spacious, light-filled, leafy suburbs. Perhaps this sociological approach is what allowed Gaudi to think up the imaginative design that he created for Park G?ell in 1900. This was a garden city which captured the spirit of the 20th century and followed the fashionable trend in Europe for creating large ornamental spaces. It was a public space which would create a haven away from industrialisation, where the common man, both wealthy and poor, could exercise and see public events during their new-found leisure hours. It was also designed as a space where nouveau-riche families could live comfortably away from the crowded city centre. The park seems to reveal Gaudis extraordinary imagination in what could be seen as an optimistic phase of his life. Maria Antoietta Crippa explains that: Gaudis gardens are reminiscent of The Rose Garden, evoked in the first of T.S Eliots Four Quartets: a place that arouses memories of childhood, but which is also a symbol of a past and a future that are alive in our present: Humankind cannot b ear too much reality. / Time past and time future / what might have been and what has been / point to one end, which is always present. She goes on to explain that the garden is a metaphor not just for an earthly paradise, but also of the power of human memory, another expansion of Gaudis inner world. The park draws together urban sociology, his early childhood interest in nature and his strong sense of Mediterranean Catalan nationalism and symbolism. Gaudi uses the Moorish art of trencadis, a method of deliberately breaking tiles and re-arranging them into intricate patterns. He uses this technique on the long serpentine bench-balustrade where broken ceramic pieces have been arranged into words and symbols with religious and Catalan nationalist connotations. Some historians have also suggested that the Doric columns which consist of fluted shafts made of rough stone, covered at the base with white ceramics, and joined to the ceiling by domes which are supported by gently curving be ams, not only evoke the motion of Mediterranean waves but are also reminiscent of the Temple of Delphos and reflect the culture of Greece and the Mediterranean. They believed the structure of these columns existed as a tribute to Greece, which had won its independence from the Turkish Empire, drawing parallels with the political situation of Catalonia and the Catalans desire for independence. Gaudi arrived in Barcelona at a time of important change in architectural thinking and it seems that he benefited from meeting and leading architects of his day, who were involved in the regeneration of Catalan culture, in which, the re-birth of the language had a vital contribution in Catalans rediscovering their heritage and their common identities. In the journal: Tongue tied: The role of linguistics in Basque and Catalan Nationalism, Ryan Barnes explains how important the rebirth of the Catalan language was: Language has always been an essential element of nationalism, providing a distinctive feature and source of pride for a collective people. The ability to communicate with one another is essential to building bridges between strangers and forging the idea of a nation, which instils the idea of unity among a people that have never met Moreover, communication brings knowledge with it. Language conveys the ideas of a people or nation through literacy works such as poems or novels, which nationalists can look back on with pride. It seems that Catalan nationals were comparing themselves, not to the intellectuals in the Spanish capital, Madrid, but to artists and designers of other nations in Europe who were more technologically advanced, such as: England, France and Germany. The Catalan language had been suppressed for many years by Spains central government but now Catalans seemed to take pride in self-expression, while being aware of developments from the other side of the Pyrenees, including the redevelopment of Paris and the creation of the London squares with their ornamental gardens. They also seemed aware of the Neo-gothic architecture which was encouraged by intellectuals such as Pugin, the architect of the Houses of Parliament and John Ruskins ideas on workers education and benefits. It seems that Gaudi too was aware of these ideas, and although Catalonia was isolating itself from the decline of Spain, it was also keeping up with new and important influences from abroad. Catalonia was becoming a deve loped region within an undeveloped country. The history of Catalan nationalism, social classes and the rise of Catalan industrial capitalism and political tensions in Catalonia and Spain. Catalonia had become the industrial centre for the rest of Spain during the 19th century, a period when there was increasing unrest in the whole country. During the 18th century Catalonia had evolved from an economy based on goods for local consumption to an economy with wider commercial aspirations. This industrialisation took place in a country of untapped raw materials and very low purchasing power. Catalonias manufacturing expansion depended upon its source of energy generated from hydraulic turbines on its irregularly flowing rivers, but in the 20th century the hydroelectric potential of the Pyrenees was eventually secured for advancing industrial production. The class system of Catalan society was largely the result of three successive long waves of industrialisation and capital accumulation, with the attendant growth of new factory-linked centres, the massive importance of the workforce, the consolidation of a skilled working class and a large middle class, together with furth er advances in the direction of secularisation and urbanisation. These three long waves entailed the following developments: the growth of the bourgeois class, the rise of an industrial society based, at first, as in so many other places, on the textile industry, and the establishment of great family fortunes. Karl Marx was writing in Das Kapital at this period of time about the expansion of the bourgeoisie in Europe: Constant revolutionising of production, uninterrupted disturbance of all social conditions, everlasting uncertainty and agitation distinguish the bourgeoisie epoch from all earlier ones. All fixed, fast frozen relations, with their train of ancient and venerable prejudices and opinions, are swept away, all new formed ones become antiquated before they can ossify The bourgeoisie has subjected the country to the rule of the towns. It has created enormous cites, has greatly increased the urban population as compared with the rural, and thus rescued a considerable part of the population from rural idiocy. In common with the bourgeoisie across Europe there was an increasing number of newly rich Catalan industrialists such as Eusebi G?ell and Pere Mila i Camps who were seeking the outward expression of their fortunate position in society. The city culture of Barcelona attracted them because it offered them a style of life that was equivalent to what they witnessed in other European industrialised societies. To express their power, and their love of the new, as Marx discusses, they needed modern fashionable architects who could take advantage of the trends in design that were current in those other countries. Most of the architects at this time were drawn into the Capitalist desire to use space as a commodity that could be built on and sold. Gaudi, although willing to offer his considerable talent to industrialists who were acquiring land for building projects, eventually rejected this approach to architecture in favor of a return to the traditional architectural forms, such as church building, as a symbolic representation of Catalan nationhood. According to Maria Antonietta Crippa, Gaudi was already setting out on a different path in terms of the secularisation of modern architecture, as will be demonstrated in the example of the Casa Mila. In her book, Living Gaudi, The architects complete vision, she suggests that: (Gaudis) constructions were built at a time when a utopian, secularising trend was developing in the world of European architecture. This trend, which was radically different from the direction taken by the Catalan architect, proposed the creation of the new urban and residential spaces that would resolve the imbalances caused by the violent growth of cities and by the technological revolution that took place in the second half of the nineteenth century and the beginning of the twentieth. Despite the apparently luxurious life of Barcelonas bourgeoisie, the political situation in the whole of Spain was increasingly unstable throughout the 19th century. Instead of developing a system of political parties Spain had been confronted by a series of military coups; and instead of political debate there were attempts to change the written constitution. Between 1822 and 1875, opposition to liberal capitalism led to five civil wars, which were fought out on Catalan territory. The last three were to be known as the Carlist wars, in which royalists and the military opposed the liberals and republicans, and this conflict continued into the 20th century with increasing brutality and bloodshed. The Third Carlist war ended in 1876 when Gaudi was 24. Gaudi believed that: war, offering violence as a solution to any problem, is inevitably demoralising. The Crusades were a failure and many sensible Carlists abandoned that cause in the face of the behaviour of the Carlist forces. It seems that Gaudi was interested in public affairs and followed developments on the political scene. He once said: I am very like my father. At one point, not long before he died, there had just been elections, and he still had enough enthusiasm for the subject to ask me to tell him which candidates had been elected He railed against separatism and he defended energetically the ideas of rationalism and a strong and united Spain. Gaudi was one of a large group of intellectuals known as the generation of 98. In 1898 the political decline of Spain worsened when it entered a war with the USA, which it could not afford to fight. America supported the minority of planters in the colony of Cuba, who were making demands for emancipation from Spain. Following Spanish reprisals against these rebels, and supported by fictitious claims in the US press, America launched an attack on Spanish forces which caused enormous loss of life and led to Cuba being liberated into an American sphere of influence. The shock of defeat in Spain was overwhelming, as Gabriel Tortella explains in The Development of Modern Spain, an Economic History of the Nineteenth and Twentieth Centuries: the loss of markets for industry and agriculture, the loss of human life, of physical and military resources and income to the Treasury, the disappearance of various transportation and communication networks, and perhaps the most important, a widespread sense of revulsion and demoralization. For Spanish rulers and people, it seems that such a national humiliation inflicted by a relatively young democratic state would mark their country out as deeply flawed and unstable in the modern age of the early 20th century, and would be linked to decline, political chaos and eventual brutal civil war in 1936-1939. A few years after this catastrophe, Gaudi began work on the Casa Mila, a building six stories high, with eight apartments on each floor grouped around two internal courtyards, one circular and the other oval. It is designed so that light floods in through the two inner courtyards which are open to the sky. Gaudis idea was that the building should be a pedestal for an enormous statue of the Virgin Mary accompanied by two angels, which he had hoped would stand 25m above the roof of the building and would have dominated the city. The building seems to reflect Gaudis revulsion at the anti-clerical violence in Spain and loss of spiritual meaning in modern day society. Perhaps he would have agreed with Kandinskys view that: the nightmare of materialism, which has turned the life of the universe into an evil, useless game, is not yet past: it holds the awakening soul still in its grip. It seems that Mila I Camps was uneasy about the appearance of the proposed vast statue of the Madonna on the roof of his property, as according to art historian Robert Hughes: given the turbulence of 1904 it would probably lead to the destruction of his building by infuriated anti-clerical mobs. It seemed that Gaudi was obliged to convey the importance and opulence of the life of this new entrepreneurial class, who: did not look to the past, but only desired one thing: to invent their own future. Instead of the statue of the Virgin Mary, Gaudi was compelled to replace it with ventilation towers, chimneys and sculptures. The stair units are topped with crosses with four equal arms and the chimneys are surmounted by small domes similar to warrior heads. According to Maria Antonietta Crippa the resulting sculptures on the roof: (carry) a powerful emotive charge. She goes on to say consider, for example, that way that he uses catenary structures and fluted surfaces, or the features that appear in his artificial landscapes and stone gardens; these elements all work to create a fantasy world, as in the case of the multitextured, undulating faà §ade of Casa Batllo, or the mysterious ghost world of the roof terrace of Casa Mila. Could these anguished, twisted shapes express Gaudis inner fantasy world? Or indeed his mental state at the time? Could they possibly convey the violence of his times and his personal bereavements? It is reasonable to consider that the architects creative process is strongly influenced by his unconscious mind, as Karl Jung argues: Archetypes are numinous structural elements of the psyche which have a degree of autonomy and energy of their own, which allows them to attract whatever contents of the consciousness that suit them. These are not hereditary depictions, but rather certain innate predispositions to form parallel representations, which I called the collective unconscious. One could assume that these distorted forms were connected with his distress at the loss of his preferred sacred symbol, the Mother of Christ, but may also have held a more personal significance as a representation of his own mother, who had died 30 years previously along with his brother Francesc. The period following their deaths, in 1876, had caused an all enveloping depression for Gaudi. Reflecting on the Casa Mila it was probably a good idea that Gaudi had not used the building as a living shrine, as violent protests again erupted in the city, and saw the burning of 40 religious schools, convents and monasteries, and 12 Parish churches in 1909, the rioters considering the Church to form part of the corrupt bourgeois structure. The so-called Tragic Week seemed to affect Gaudi deeply; perhaps this is why everything he produced afterwards seemed to be built in the Catholic spirit of somehow making amends for the destruction. Could it be that he was carrying the burden of unconscious guilt for his own losses and for those that had devastated the Mother Church? At the same time as dealing with this spiritual crisis, it seems that he was coping with failing physical health. The death of Gaudis patron Don Eusebi G?ell in 1918 ground him to a complete halt, after which it is presumed that he had a psychological breakdown. During his last eight years of increasing isolation, perhaps he turned his back on the chaotic events in his country and withdrew into a life of abstinence and religiosity. Upon these painful tragic loses, after his fathers death and the death of his sisters daughter Rosa, his sense of uncertainty about life and on suffering from bouts of Mediterranean fever. He began his descent into a strict life of religiosity. My closest friends are dead; I have no family, no clients, no fortune, nothing. Now I can dedicate myself wholly to my church. Gijs Van Hensbergen summarises the crisis for Gaudis generation when he explains in his book: Gaudi the Biography: Spains loss of her empire in 1898 and the Tragic Week of 1909 in which convents and churches were burnt down; both had strong effects on Gaudi, his friends, patrons and completely changed his working patterns. The political situation in Catalonia was a complex, potentially explosive one. Catalonias alliance with Spain (Castile) was one of immense tensionBefore the civil war, some Spanish intellectuals and politicians recognised the dangers, but tragically they didnt have the power to halt the momentum of the approaching crisis. Few generations have ever been so savagely self analytical as Gaudis. Few have put themselves through such painful discoveryThese political and social tensions between reform and reaction provide the subtext and hidden structures of Gaudis work. Shift in faith and its impact on Gaudis architecture The wish to form something uniquely powerful and symbolic in a time of unpredictable political and social events may be at the heart of Gaudis most famous design, the cathedral. A personal account of Gaudi is given by one of his close friends Joan Bergos who remarked on the transformation in Gaudi during the latter years of his life, when he became completely consumed by his creative masterpiece. Bergos said: Faith changed the passionate, impetuous, irascible youth into a serene, balanced, exemplary man, who only on rare occasions gave vent to any temperamental outburst and who radiated such a beneficent aura that he sometimes inspired conversion and even heroic sacrifice in those lives he touched. Furthermore, Mark Burry suggests in his book Expiatory Church of the Sagrada Familia: Architecture in detail: The Sagrada Familia is a biography of a singular architects coming to terms with his time, his personality and, eventually, his vulnerability. Also one could also consider that Gaudi had been influenced by Viollet-le-Ducs statement that: We must find creativity through an accurate knowledge of the works of our ancestors. Not that such knowledge must lead us to imitate them slavishly, but rather it will reveal and make available all the secret skills of our predecessors. Perhaps what was important for Gaudi was that a designer must take from the traditional what he has absorbed into his own knowledge and re-interpret and re-work it so that it can appear innovatory and familiar, as well as inspirational. When Gaudi moved to Barcelona as a young man, it seems that he had been impressed with its wealth of historical architecture, which dated back to the Middle Ages. He had visited the Basilica Church of Santa Maria del Mar in the Ribera district which has three aisles forming a single space with no transepts and no architectural boundary between nave and presbytery. The simple ribbed vault is supported on slender octagonal columns, and daylight streams in through the tall clerestory windows. The foundation stone was laid by King Alfonso IV in 1329 and the whole building was carried out by local people including dockworkers, who collected the large stone slabs from near

Danielle Steels The Ring - A Thin Line Between Fiction and Reality :: Danielle Steel Ring Essays

Danielle Steel's The Ring - A Thin Line Between Fiction and Reality Fiction can be considered something invented by the imagination. Although many people might feel that fiction is totally exclusive of reality, I believe that there is a very thin line between fiction and reality. This is proved in Danielle Steel's The Ring, where she has used common characters and placed them in realistic situations, facing everyday realistic issues. The Ring gives the reader a sense of realism in a fictitious novel. In fact, Danielle Steel does a really good job, portraying the characters in realistic situations such as Kassandra dealing with her affair, Walmar acting as an overprotective father to Ariana and Gerhard, and Ariana struggling to find her family. All these characters have been intertwined in a real historical setting that has, to some extent, led to their dilemmas. Kassandra's affair with Dolff is a result of being married to an elderly man, Walmar, in an arranged marriage. While Kassandra's affair cannot be justified, it is dealt with realistically as many women might engage in a similar activity under the given circumstances. These circumstances are best described by Danielle Steel, as follows, "Her assistance wasn't needed, her help, or her love, or her time" (20). There is no doubt that some women in her place would have an affair to feel special, important, and needed. And that is exactly how Dolff has made her feel. Danielle Steel confirms, "And with Dolff, Kassandra had found what she had always so desperately needed, someone who understood the odd meanderings of her soul, the longings, the fragmented pieces, the rebelliousness against the lonely restrictions of her world" (12). While this affair may seem immoral and wrong, it presents a realistic state that many people, both men and women can relate to, as seen in the movie version. Even the brutal murder of Dolff by the Nazis and Kassandra’s suicide are realistic consequences foreshadowed in Walmar’s earlier warning to Kassandra to stop the affair. Walmar also plays a pivotal part in The Ring, and just like Kassandra, he has been placed in some harsh and realistic circumstances as an overprotective father. Walmar has grown more attached to his children, Ariana and Gerhard, after his wife’s suicide. Just like any father, Walmar wants to protect his children from anything and everything, after losing their mother.

Comparison of Linguistic Differences in the Film and Novel of A Clockw

Anthony Burgess’ A Clockwork Orange - Linguistic Differences in the Film and Novel A Clockwork Orange, written by Anthony Burgess, is experienced differently as a novel than it is as the movie directed by Stanley Kubrick. The heart of the difference between the two forms is expressed by Bakhtin: "The potential for [‘double-voiced discourse’ between the author and narrator] is one of the most fundamental privileges of novelistic prose, a privilege available neither to dramatic nor to purely poetic genres" (Bakhtin, 320).1 An entire dimension of the novel’s story is lost in the movie when Alex’s role is reduced from narrator to commentator. The ability of Burgess to speak indirectly to the audience through Alex is removed, and the perspective on the Clockwork world revealed through Nadsat, the language Alex speaks, is lost. However, this does not mean that the movie is less effective than, or an inferior medium to the novel. The main drive of the story remains in the movie form: Kubrick utilizes the means, such as a musical score and th e visual dimension, unique to the dramatic genre to find ways around the loss of Nadsat and first person narration. He also tries to maintain the twisted sense of humor found in the book while working to promote the audience’s understanding of Alex’s universe. Kubrick preserves the unusual opportunity A Clockwork Orange offers the audience—a chance to immerse itself in Alex’s character and actions, and have its "nastier propensities titillated" (Burgess ix)2 by Alex’s "ultra-violence", instead of being frightened away. In the novel, Burgess is able to speak indirectly through Alex’s narration, telling the reader about the novel’s political setting as well as revealing Alex’s (and perha... ... Nadsat, is lost. And with the loss of a large and comprehensive language such as Nadsat, goes part of Burgess’ voice. However, Kubrick does an excellent job of retaining the novel’s spirit and structure, even while offering his own interpretation. He takes advantage of the visual and auditory possibilities that the film medium presents to fill in the gap created by the removal of Nadsat, resulting in an accessible and satisfying movie. In both forms, A Clockwork Orange draws its audience into sympathizing with Alex and ultimately enjoying themselves as they "rape and rip by proxy" (Burgess ix). Works Cited 1. M.M. Bakhtin, The Dialogic Imagination (Austin: University of Texas Press, 1981). 2. Anthony Burgess, A Clockwork Orange (NewYork: W.W. Norton & Company, 1986). 3. A Clockwork Orange, prod. and dir. Stanley Kubrick, 137 min., Warner Bros., 1971.

Decision Making Model Essay -- essays research papers

Decision Making Model Abstract   Ã‚  Ã‚  Ã‚  Ã‚  Decision making models can be very effective in problem solving. Scheduling is a big problem at Direct HomeHealth Care and a solution needed to be found. Scheduling software which can be very expensive was the only conclusion that could be reached. With much thought and analysis a resolution was reached with critical thought and a decision making model from the Small Business Development Center. Decision making models can be very helpful in analyzing a problem and setting up a step by step process to evaluate and come to a favorable conclusion. Recently there has been a problem at my agency with scheduling and the difficulty the on call schedulers have with toting around several very large scheduling books. The Small Business Development Center has a decision making model to assist with problem solving and I have chosen their web sight to aid with this problem.   Ã‚  Ã‚  Ã‚  Ã‚  The first step in this decision making model is to recognize a problem exist and set a solution objective. Direct HomeHealth Care’s everyday business is making sure patients are scheduled properly and taken care of by nursing assistants. There are approximately 250 patients and 250 nursing assistants. Scheduling books are used to keep track of every patient and every nursing assistant that is scheduled to see that patient. The patient books are divided up by payer source, for example, Medicaid, Social Services or private pay patients. The nursing books are categori...

Lord of the Flies Persuasive Essay

â€Å"Lord of the Flies† Ralph the Leader Ralph from the â€Å"Lord of the Flies† by William Golding is charismatic, athletic, and smart. He cares about how people are and what they need. He has his responsibilities in order unlike the other kids who do anything they want. He knows how to keep the kids in order so they can get work done. Ralph makes the best leader out of all the other kids. After the conch is blown, and children assemble, Jack calls Piggy Fatty.Ralph is quick to point out that his name is not Fatty, but Piggy. Everyone laughs and begins to chant his name, and Piggy becomes hurt. It is through this small conflict that Piggy becomes a target for the others, to taunt and hurt, because of his name and physical appearance. This event shows the beginnings of breakdown of the community, and Ralph is the only one that can put it back together. Ralph worked tirelessly on the tents while all of the other kids were playing in the water.Jack is a main character in â€Å"Lord of the Flies† but he is a jerk and he is obsessed on kill a pig that he chickened out of doing the first time. While Jack and the hunters are hunting they have a second job that is to keep the signal fire running. They didn’t do that while that is going on a boat comes by and if they had a signal fire they could have been saved but didn’t. Ralph confronted him at an island meeting and Jack still just wants to go hunting. Ralph was smart and nice in the beginning when he first met the boys.They made him chief because of his treats and Jack called them all together but he is mean. The little kids like Jack more because he thinks the beasties are real. Ralph knows they're not real and for the little kids not to believe that they're real. Ralph is the better leader and should always. The facts have shown why Ralph is a better leader. He cares about other people and their emotions. He has his responsibilities in order and will do it. He can lead other peo ple and to get stuff done.