Friday, October 25, 2019
Breast Feeding Teaching Plan :: essays research papers
Teaching Plan Assessment: Subjective Information:      Mother is considering breast feeding as an option, but is unsure of methods and benefits in comparison to bottle feeding. Is unsure about herself and whether or not she will be able to perform necessary tasks required to breast feed successfully. Objective Information:      Mother is 34 weeks pregnant, 20 years old, gravida one, para zero, previous smoker who quit after learning of pregnancy at two months. She works part time at a church and baby-sits occasionally, while attending college classes as a full time student. Client’s Readiness and Ability to Learn:      Mother is a high school graduate and also attended technical school where she learned to be a surgical technician. She is currently enrolled in more college classes and is hoping to further her education and become a Registered Nurse. Physical status is good, but mother is a little exhausted. Emotional status is that she is very ready for baby and excited about its arrival. Is ready for pregnancy to be over. Nursing Diagnosis 1. Risk for ineffective breastfeeding related to anxiety and inexperience with      breast feeding as evidenced by client showing signs of anxiety and      stating that she is unsure about herself and her capability to perform      the necessary tasks that are needed to be successful in breast feeding. Planning 1. Learning Objectives      A. Client will learn benefits of breast feeding as compared to bottle           feeding.      B. Client will learn different positions for breast feeding that may           make the process easier for her.      C. Client will learn proper methods for successful breast feeding.      D. Client will be more sure of herself and be able to make the decision      of whether or not to breast feed, based on newly learned                information. 2. Outline of Learning Content: 1. Assess clients exposure to and knowledge about breast feeding, including any misinformation she may have previously acquired. Allow time for question and answer session about any concerns she may have. 2. Demonstrate to client various breast feeding positions and allow her to practice and try them using a life-like doll. Assist her, possibly with the use of pillows, and help her to accomplish the individual positions. Continue with this until she is comfortable in performing all of the positions, and has found at least one that she thinks will work well for her and is confident in executing. 3. Show client how to initiate her baby’s rooting reflex. Also show her the proper way for her baby to grasp her nipple and nurse successfully.
Thursday, October 24, 2019
“Guernica†by Pablo Picasso Art Critique Essay
When considering the painting â€Å"Guernica†by Pablo Picasso we must first consider why the piece meets the criteria of an actual work of art. First, we define wether the piece was made by an artist and why this artist is accredited. This painting was done by Picasso, one of the most renowned painters of his time. When mentioning the art of painting, Picasso is the first name that comes to the forefront of many minds. All artists and people alike recognized and continue to recognize Picasso’s work as art because of how influential and and shaping it was on his generation. Now we must decipher whether this piece was intended to be a work of art. Through research we see that Picasso wanted to make a political statement with this painting. There was much thought and preparation that went into the making of this work of art. The real world relevance and the preparation show that the piece was obviously intended to be a work of art. As we move to the descriptive criticism we must look at how the work is physically put together and how it is unified as a whole. â€Å"Guernica†is full of many exaggerated and unique shapes. Looking closely we see the painting is made up of layers. The bottom layer is full of very large basic shapes such as rectangles and triangles, while upper layers show more unique and defined drawings. Many drawings are distorted and in areas very exaggerated. The work is unified through its basic grayscale colors across the entire painting and also through the previously stated, consistent and distorted nature of all the objects. As we look at the organization of this painting it may seem that it has none, but looking deeper we see that every piece of the puzzle has its place. â€Å"Guernica†is very balanced in its structure, the painting is not â€Å"leaning†to t he left or the right. It is obvious that Picasso was very careful about the placement of the objects and shapes in the painting. Finally, when descriptively criticizing a work of art it is important to discuss the detail and also the structural relationships of the piece. The detail of Picasso’s work is found in the obscure and unique lines used throughout the painting. Also, we find many â€Å"hidden†images in this painting, many things you would not see by merely glancing at the work. Structurally the painting is formed by layers and many overlapping shapes. The overlapping shapes are what bring the work together and make it appear completely fluent across the entire piece. Although â€Å"Guernica†does have many intricate designs and unique amenities we could describe the paintings form, overall, as chaotic and distorted. When interpretively criticizing this painting we focus on the content. We will attempt to define the identity of and the meaning behind the work. Not only is â€Å"Guernica†Pablo Picasso’s most famous work but also his most powerful. Painted as an immediate reaction to the Nazi’s devastating casual bombing practice on the small town of Guernica during the Spanish Civil War this painting makes a very bold political statement. The painting reveals the tragedies of war and the physical and emotional toll it took on individuals, particularly innocent civilians. We must also consider what the work of art reveals about the subject matter or form. The chaotic nature of the painting reveals the chaos and disorder of the actual event. Also, we see pained faces on every figure represented in the painting showing the emotional and physical suffering that was inflicted on these civilians. Picasso did a wonderful job of connecting the form and content of this piece, this being one of the many reasons it is such an admired work of art. While interpreting â€Å"Guernica†we must also dig deeper into what the artist was trying to convey through the artistic form. Picasso not only wanted to depict the horror of the bombing of Guernica but publicly display his own outrage toward the happening. Picasso had a personal and emotional connection to the people of Guernica considering his birth in Spain. The painting was a way of expressing his feelings toward the situation and also representing the feelings of those affected by the bombing. In the interpretive criticism of â€Å"Guernica†we find an overall representation of Picasso’s thoughts toward the horrible event that happened in this small spanish town, depicting the heartlessness of and devastation caused by the Nazi bombing. As we move to the evaluative criticism of this piece we will be focusing on its worth, what the merits of the work are, what it amounts to, and why it is valuable. â€Å"Guernica†is one of the most famous and influen tial paintings to ever be brushed onto canvas. The painting is not only aesthetically beautiful but has meaning and effects the emotions of people everywhere. â€Å"Guernica†was originally exhibited in July 1937 at the Spanish Pavilion at the Paris International Exposition. After the Paris Exhibition the painting went on tour and has traveled around the world since its completion in 1937. We see by the international touring of the painting its worth to society. But where we find the true value in â€Å"Guernica†is in its becoming a universal and powerful symbol warning humanity against the suffering and devastation of war. Moreover, the fact that there are no obvious references to the specific attack the painting has contributed to making its message universal and timeless. Picasso truly made an inexhaustible impact on society through the painting of â€Å"Guernica†one that will last for many generations to come.
Wednesday, October 23, 2019
How Does Mary Shelley Explore Suffering in Frankenstein
How does Shelley portray suffering in â€Å"Frakenstein†? Throughout the novel, suffering of not only an individual but also humanity, remains at the heart of the plot. Many critics today believe that this suffering comes from the troubled and tormented life Shelley had. For example from 1815 to mid 1819, Shelley was to lose the first three of her four children, for which she held herself responsible. Therefore, it could be argued that the monster is the embodiment of Shelley’s suffering and guilt. Suffering in the novel becomes apparent through the narrator, Frankenstein. For example, from a psychoanalyst’s perception ofVictor, his suffering comes from his character. Victor is the very incarnation of the Byronic Hero. He represents a lonely, isolated and self- ? destructive force vulnerable to his own over- ? powering emotions of greed and fervid curiosity. This is perfectly depicted in Caspar David Friedrich’s painting (commonly associated with the image of the Byronic hero) â€Å"Wanderer above the sea of fog†whereby a man overlooks an untouched landscape (Byron’s poem The Corsair; â€Å"lone, wild and strange, he stood alike exempt from all affection and all contempt†) with the sole desire to explore and gain victory. This passionately intense nd over- ? powering desire of knowledge is perfectly depicted in Book IV of Milton’s Paradise Lost ‘Satan’s address to the sun’ (An epic poem heavily influencing Shelley) whereby Satan must suffer for his â€Å"Pride and worse ambition†. It is therefore blatant that Frankenstein’s immense feelings of isolation (Byron; â€Å"That man of loneliness and mystery†) and fervid desire become the sole cause of Frankenstein’s loss of humanity and mental self- ? destruction (the use of the phrase â€Å"infernal machinations†implying a man so susceptible to his own greed, curiosity and isolation that his o wn mental torment becomes almost an quivalent to Dante’s ‘Inferno’). Therefore, Victor becomes the â€Å"Satan†of this novel. Having had an intense yearning for victory (as his name suggests), he has attempted to assume the position of God, which has only caused mental decline and suffering. Aside from his mental torment, Victor’s physical deterioration mirrors his guilt. Frankenstein has held himself responsible for the deaths of his closest friends and family. For example, in Chapter IV- ? â€Å"I felt the fiend’s grasp in my neck†a direct link is made to Coleridge’s (a close friend of William Godwin- ? Shelley’s Father) ‘Rime of the Ancient Mariner’ whereby, fter having shot the albatross (once a symbol of good luck), the course of time has been altered forever; â€Å"With my crossbow I shot the Albatross†. Consequently, the â€Å"[shooting] of the albatross†in this novel comes not f rom Victor’s creation of the monster but infact his crime of denying the monster of love. For example, Rousseau (a philosopher that inspired Shelley) suggested that a child deprived of a loving family becomes a monster. This act of depriving the monster of maternal love (thus, showing men’s incapability of love) caused the monster to kill those closest to Victor. This sparked immense feelings of guilt n Victor â€Å"I was overcome by gloom and misery†linking to Coleridge’s poem (â€Å"And I had done a hellish thing†), which inevitably becomes the cause of his physical decline â€Å"The human frame could not longer support the agonizing suffering that I endured†. It is therefore, through the â€Å"hellish†act of denying the monster of love, that â€Å"The Albatross about [Victor’s] neck was hung†and his supreme guilt lead to his suffering. Victor’s physical deterioration in this novel also confirms the idea of à ¢â‚¬Å"The Double†. As many critics have suggested, the monster is merely a projection of Frankenstein’s innate corruption. It is hence ossible to assume that Frankenstein’s physical suffering and loss of humanity comes from the monster’s increased power thus showing how these two individuals are linked. The idea of such a double is backed up by the fact that the monster kills at moonlight and thus, the moon acts as an illuminating object shining into the heart of Victor only to reveal the monster. Such a theme is present in Stevenson’s â€Å"Dr. Jekyll and Mr. Hyde†whereby; the suppressed emotions of Dr, Jekyll are projected at night in the ultra- ? ego of Mr. Hyde. However, a far greater suffering is observed within the monster. The suffering comes withinThe Daemon’s rejection from his creator Frankenstein. The Daemon has lost any parental influence or more importantly, he has failed to achieve his â€Å"father figure†. Con stant desire to be appreciated by a father is a theme in this novel. For example, Frankenstein felt safe and secure in the presence of his father (â€Å"Nothing, at this moment, could have given me greater pleasure than the arrival of my father†) and Shelley herself longed for the appreciation and love from her father (especially after, William Godwin cut off relations to Shelley after her marriage to Percy). However, the monster, much like Adam from ParadiseLost, has failed to be appreciated by Victor (who he views as his father). In Paradise Lost, Adam had a constant desire to please God, but due to the temptation of Eve, he was outcast and rejected. This is similar to the monster, as purely to his appearance, the monster has been denied love from his father thus giving rise to an Oedipus complex. This Oedipus complex (also present in Shakespeare’s Macbeth) is shown through the monster as, when Frankenstein rejects the monster, the monster seemingly denounces him as a father and instead views his mother (possibly, nature) as the only love he will ever receive (â€Å"He was soon orne away by the waves†- ? last sentence, Page 191). Therefore, this rejection of love from a paternal influence based on the monster’s appearance of â€Å"horror and disgust†(page 39) has lead to a loss of identity within the monster, and thus a mental anguish and suffering (â€Å"who am miserable beyond all living things- ? page 77). This suffering the monster feels is extended by society’s further rejection of him based on his appearance. The fact that he is even rejected by the DeLaceys is Shelley’s view that everyone, however seemingly perfect, has an innate ability to judge based on appearance. This is why the monster s, at first, welcomed into the house of DeLacey. He is blind and therefore does not possess humanity’s evil ability to judge based on appearance- ? he therefore is the very quintessence of purity an d kindness at the heart of a judgmental society as he does not possess sight. Shelley therefore attempts to suggest that humanity’s most dangerous quality is sight. This allows The Monster to believe he really is â€Å"a daemon†/ â€Å"wretch†/ â€Å"foul being†and suffers due to it. However, despite the suffering of the individual, this novel seems to address a far greater suffering; the suffering of humanity. Linking once again toMilton’s Paradise Lost, the ‘ultimate sin’ of Eve stealing the forbidden fruit leads to Adam and Eve (the first humans and thus, our ancestors) to be outcast to the wilderness. The suffering of humanity therefore comes from the fact that we, as descendants of Adam and Eve must be held responsible for Adam and Eve’s actions and temptation. Therefore, the human existence is based on the belief that we must continually repent for our ancestor’s sins and leads to the theory that the monster is mer ely the embodiment of God’s vengeance, warning the most corrupt humans who attempt to overcome nature (which is sublime and God- ? ontrolled) that, God will prevail. This is however a use of irony. Mary Shelley married Percy Shelley 3 years after he was expelled from Oxford for his pamphlet â€Å"The necessity of atheism†. This therefore exposes Shelley’s cynicism of religion, whereas it should be based on glorifying existence, it is in fact, based on the suffering of humanity. Further suffering of humanity is observed through the treatment of sexuality in the novel. When Adam and Eve were cast out into the wilderness in Paradise Lost, they had to commit the ‘original sin’ of sexual reproduction as a means to produce offspring and ensure the survival f humanity. This act therefore undermines God’s power as it shows nature and science cannot be controlled by God (who is allegedly ‘the creator of all’). Therefore, within Victori an society a religiously backed suppression of sexuality meant men could not show any signs of sexual desire and that instead they must be kept secret. This leads to the idea that the monster is infact the depiction of Frankenstein’s sexual desire and that, much like the monster, it is locked away in the human body and allowed to ‘fester’ it will only be more ugly and violent (as shown in Elizabeth’s death and Frankenstein’s destruction of he female monster which seem to almost mirror an aggressive rape). Moreover, this leads to the development of what is more commonly known as â€Å"The Queer Theory†. This entails the idea that Frankenstein has a secretly oppressed homosexual desire which was shunned upon by Victorian society and that the only way to reveal this homo- ? erotic desire was to create the â€Å"daemon†as a male Adonis â€Å"I selected his features a beautiful†in order to fulfil his suppressed sexuality. Theref ore, humanity suffers as their sexuality is oppressed by society and religion meaning that when it is revealed only more suffering is unleashed.Shelley in this novel also speaks from a seemingly feminist perspective. This may have been inspired by her mother, Mary Wollstonecraft’s book â€Å"A Vindication of the rights of woman†which placed stress on female independence and the importance of female education (women who succumb to sensuality will be â€Å"blown about by every momentary gust of feeling†); which links to the passive and generally ‘pathetic’ description of women in this novel. They’re suffering comes from the fact that Eve, the first woman committed the original sin thus damning society into a world far less sublime than the Garden of Eden. Therefore, Shelley esires show how women are forced into submission and general passiveness as a result of being the gender that committed the original sin. Their passiveness, perfectly depic ted in Elizabeth and Justine, links well to Coventry Patmore’s poem, The Angel in the house. This poem states the power men possess over women and that, to remain included in society, women must remain tacit and pretty so to fulfil the expectations of society. This links to the monster; the monster fails to fulfil society’s expectations of appearance and therefore is outcast. However, this juxtaposes with women as they fulfil society’s expectations and
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