Italian and German Opera Essay

he Italian opera and the German opera are two different fields that both share characteristics, some of which are paralleled, and some of which contrast. Specifically, Giuseppe Verdi and Richard Wagner use motifs such as: redemption through love, patriotism, and sacrifice which run throughout both of their operas. The theme of betrayal also seems to be echoed throughout both operas; yet they are each used to project a different response. The significance of this comparison demonstrates that Verdi and Wagner may allude to the same references, such as Victor Hugo, Shakespeare, and Byron, but the operas The Flying Dutchman (German opera) and that of Nabucco (Italian opera) are completely different in context, and musical style; perhaps even The Flying Dutchman is a musical imitation of Italian opera while still trying to originate his own musical ideas as well. The Italian opera has three main genres: the Baroque, the Romantic, and the Modern. Italian opera first started to materialize in the seventeenth century, and approximately two hundred years later, the Romantic genre was introduced. Throughout the seventeenth century there were many developments in Italian opera due to Claudio Monteverdi (1567-1643), who wrote his first opera in 1607 (La Favola d’Orfeo) which to this day, is still performed. He introduced ideas such as the bel canto and buffa styles. Having a strong connection between the instrumental music and words was of major importance to Monteverdi, and this became a major theme for other opera composers to follow. The Romantic operas started to appear in the early 19th century. Romantic operas stress the world of imagination and emotions and through its music and aria’s was this theme magnified. Giuseppe Verdi (1813-1901) was one the composers of this era who changed the way composers would forever more look at operatic writing. His first successful opera Nabucco was immediately well received by the public for its amazing choruses, and vigorous music. One of the chorus interpretations Nabucodonosor, or in English, Nebuchadnezzar. This opera has four acts, and to the libretto by Temistocle Solera based on the biblical story of Nebuchadnezzar. In part one the Priest Zaccaria tells the Jews that there still may be peace due to the presence of a hostage, Fenena,(the younger daughter of Nabucco). Zaccaria gives Fenena to Ismaele,  (the nephew of the King of Jerusalem). Ismaele tells her to escape even though they love one another. The King (Nabucco) enters and Zaccaria disobeys him, and th reatens to kill Fenena with a dagger. Ismaele intervenes to save her. Nabucco responds by ordering the destruction of the temple, and the Jews curse Ismaele as a traitor. In part two Nabucco is away at war and has appointed Fenena as ruler. Abigaille (Fenena’s older sister) has discovered a document that proves she is not actually Nabucco’s real daughter, but in fact, a slave. The Priest of Baal tries to put Abigaille on the throne by spreading a rumour that Nabucco died in battle. Then Fenena is converted to the Jewish religion. Suddenly Nabucco himself enters which is unexpected because everyone thinks he is dead. He then declares himself God. Zaccaria objects, so then Nabucco orders that the Jews be put to death. Fenena says that she will die as one of them. When Nabucco says he is god again he is hit by a thunderbolt and goes insane. The crown falls and is picked up by Abigaille. The Priest presents Abigaille the Jews and Fenena’s death sentence. Nabucco walks in looking like a mad man, and claims his throne. Abigaille persuades him to carry out the sentence, but in the end he asks that his daughter, Fenena be spared. Here, Nabucco tells Abigaille that she is not his actual daughter but really a slave. Abigaille then destroys the document with the evidence of her being a slave. He is now a prisoner, and pleads for Fenena’s life. Then we hear the famous chorus Va persiero, chanted by the Jews as they long for their Homeland. In the final act Nabucco’s health and mentality are fully recovered. He sees Fenena in chains being taken to her death. He then asks God for forgiveness and promises to rebuild the temple in Jerusalem, and to follow the â€Å"true faith.† He and his loyal soldiers decide to punish the traitors and rescue Fenena. The Jews and Fenena are prepared for death on the sacrificial altar of Baal. Nabucco rushes in with his sword and the Idol of Baal shatters into pieces. Nabucco tells the Jews they are free. Abigaille enters. She poisoned herself. She asks for forgiveness of Fenena, says she’s sorry and dies. Zaccaria (the priest) hails Nabucco as the ‘servant of God and the King of  Kings.’ After Nabucco, Verdi based his operas on more standard romantic sources by Victor Hugo, Shakespeare, and Lord Byron. Orchestrally, it is scored for strings, timpani, bass drum, cymbals, two flutes, one piccolo, two oboes, one English horn, two clarinets, two bassoons, four French horns, two trumpets, three trombones, two harps, and one cimbasso. Musically, this opera is very directly vigorous. It sticks to the widely used concepts of arias, duets, finales, and choruses. His fine music often excused the glaring faults in character and plot lines. Contextually, there are themes of love, betrayal, and patriotism represented. We see love through Kind Nabucco’s love for his daughter Fenena, and his constant want to help and protect her. It is almost through this love that he is redeemed, and made whole again. We also see the love between Ismaele and Fenena as pure and genuine. Although this opera is not directly patriotic to Italy itself, it shows a certain sympathy and connection with the people of Jerusalem and their hardships. Abigaille betrays her ‘family’ and her people. The betrayal of close loved ones seems to be a popular theme for many Italian and German operas. The German opera can be seen in four main genres: the Baroque, the Classical, the Romantic, and the Modern. German opera first started to materialize in the seventeenth century approximately three decades after the Italians had started composing operas. German composers continuously tried to challenge the Italian dominance for the most part of the seventeenth and eighteenth century, but none were successful until Wolfgang Amadeus Mozart established the tradition of serious German opera in 1781 with the release of Idomeneo. Mozart took the genre of Singspiel and evolved it into something far more sophisticated. The Classical era emerged in the late 18th century, and at this time, a lot of German composers were still avoiding writing in their own language. This was because the courts of German states favoured Italian operas. In 1730, the Italian librettist and chief of opera seria, Metastasio, took up residence as the imperial poet in Vienna. Opera in German was forced to look  to the general public to survive because it had no aristocratic funding. This meant theatrical companies had to tour from town to town. The Singspiel became the most popular form of German opera, especially by the composer Johann Adam Hiller. The Singspiel’s were comedies intertwining spoken language with singing. They often had very simple music; Singspiele were no match for the opera serias in artistic eloquence and sophistication. Yet at the end of the 18th century Mozart changed all this, as mentioned before. Richard Wagner is one of the most controversial composers throughout history. He changed the way everyone looked at opera not only in Germany and Austria, but all throughout Europe. Wagner gradually evolved a new concept of opera: Gesamtkunstwerk (meaning â€Å"complete work of art†), binding music, poetry and painting all together. Wagner believed his career truly began with The Flying Dutchman (Der fliegende Hollander) (1843). Together with the two works which followed, Tannhauser and Lohengrin, this has been described as the â€Å"zenith of German Romantic opera† (Parker 220). The Flying Dutchman was preformed in Dresden at the Semper Oper in 1843. Both the music and libretto is by Wagner himself. This opera has three acts and is based on the legend of the Flying Dutchman who is captain of a ship condemned to sail until Judgement Day. In the first act captain Daland is on his journey home when he is forced to take refuge due to the stormy weather. He leaves the helmsman on watch and he and the sailors stop working. The helmsman falls asleep. A ghostly vessel appears and invisible hands furl the sails. A man dressed in black steps ashore. Having broken his promise, he is cursed to roam the sea forever without rest. An angel says that at the end of every seven years he will be cast upon the shore and if he can find a wife who will be true to him he will be redeemed. Daland meets him. The ghost offers him treasure, and when he hears that Daland has an unmarried daughter, he asks for her as his wife. Tempted by gold Daland consents, and both vessels set sail. In the second act Senta dreamily gazes upon the picture of the Flying Dutchman, whom she desires to save. Against the will of her nurse she sings the story of the Dutchman, and she says she will save him. Erik (who loves  her) arrives and hears her and warns her, telling her of his dream, where Daland returned with a mysterious stranger, who takes her off to sea. Daland finally arrives with the stranger, and he and Senta stand gazing at each other. Senta then swears to be truthful till death. In the last act the crew of Daland invites the men on the strange vessel to join in the festivities. The girls retire in wonder, and Daland’s men retreat in fear. Senta arrives, followed by Erik, who scolds her for her desertion, as she had loved him before and had vowed her faithfulness to him. When the stranger hears these words, he is overwhelmed with sadness, as now he is forever lost. He tells Senta of the curse and to the dismay of Daland and his crew declares that he is the ‘Flying Dutchman.’ As he begins to leave shore Senta plunges into the sea, proving her loyalty unto death. This is his salvation. The ship then disappears and Senta and the Dutchman are seen going up into heaven. One can suggest that these ideas of live and redemption, betrayal, and sacrifice can be alluded to the works of Victor Hugo, Shakespeare, and Lord Byron; specifically, Ernani (1844), Macbeth (1847), and Il Duo Foscari (1844) respectively. Orchestrally, it is scored forContextually, there are themes of redemption through love, betrayal, and sacrifice represented. There is not an overwhelming presence of family love between Senta and her father. However, we see the undying love Erik has for Senta, and the intense love Senta has for the Flying Dutchman. This love is what ultimately redeems the Flying Dutchman, and only because of this is he free. Senta ends up betraying Erik and his love for her, as she had previously already confirmed her faithfulness to him. Daland sacrifices his daughter, although he gets treasure in return, but we see how Erik has the sacrifice of letting Senta go to the Dutchman willingly. Musically, The Flying Dutchman is very different than the opera Nabucco. Wagner did not entirely abandon the traditional forms of the Italian singing-opera. For there are solos, duets, choruses, etc. just as in other operas of the time. However, he made the characters move, act, and sing in a way that suited the situation, according to the laws of ordinary  common-sense. Not yet was he entirely possessed by the leitmotiv system which later became the characteristic feature of his works, although the characteristics of the system are certainly embedded in the score. A leitmotiv is a â€Å"short theme or passage in a composition, repeated throughout the work and associated with a certain person, situation, or idea.† (Oxford Dictionary 660). In The Flying Dutchman Wagner is only evolving his way towards this essential and most principle aspect of his music. Hence the work is based half on old style, half new, overall with the balance in favour of the old. In the Overture one can only briefly note the general musical characteristics of the opera itself. There are some conventionalities in it but the score contains many passages of beauty and of vital dramatic force. The music of the First Act could not be more charmingly sea-like. No one can fail to be struck with the ghostly music which accompanies the various entries of the demon ship. The Spinning Song, one of the most popular tunes, is a lyric composition. Its dozy hum is exactly what is required to put the listener in the mood for sympathizing with Senta and her dreams. The Sailors’ Choruses are all bright and tuneful. Senta’s ballad in the second act is written in plain song form, yet is immensely dramatic in its expression. As mentioned before, The Flying Dutchman contains only small traces of the leitmotiv system. With this evidence provided it is quite clear that both Verdi and Wagner have produced two very different operas both getting inspiration from major traumatic events in history-whether it is fact or legend. Recurring themes seem to be echoed in both operas such as redemption through love, betrayal, and sacrifice. Wagner demonstrates how he is moving into his own musical style through The Flying Dutchman however originally using the more traditional forms that Verdi implements in Nabucco; suggesting that perhaps The Flying Dutchman in a way is a musical imitation of Italian opera whilst in the same way trying to develop German opera as its own independent genre which is what German composers were trying to do throughout the entire seventeenth and eighteenth century. Works Cited: 1. Balthazar, Scott Leslie. Evolving conventions in Italian serious opera: scene structure in the works of Rossini, Bellini, Donizetti and Verdi. University of Pennsylvania, 1985. 2. Gentry, Theodore L. Emblems of love and death in Italian realist opera. 1992. 4. Doerner, Mark Frederick. The influence of the â€Å"Kunstmà ¤rchen† on German romantic opera. 1990. 5. Smart, Mary Ann. Mimomania : music and gesture in nineteenth-century opera. Berkeley : University of California Press, 2004. 6.Brauner, Charles Samuel. â€Å"Vincenzo Bellini and the aesthetics of opera seria in the first third ofthe nineteenth century.† Doctor of Philosophy diss, Music History: Yale U., 1972. 7.Swales, Martin. â€Å"Schiller, Verdi, Wagner: Opera and the tragic mode in the nineteenth century† In: Vermittlungen: German studies at the turn of the century–Festschrift for Nigel B.R. Reeves Munchen: Iudicium, 1999. 8.Hall, Frederick Albert; Chapple, Gerald; Schulte, Hans. â€Å"The Romantic tradition: German literature and music in the nineteenth century† Series: McMaster colloquium on German studies no: 4. 1992. 9.Koury, Daniel. â€Å"The orchestra in the nineteenth century: physical aspects of its performance practice† PhD diss., Musicology: Boston U., 1981.

Historical Origins of Social Work Essay

Essay: In what ways do the historical origins of social work influence the current profession in Ireland? In order to provide an in-depth discussion on how the historical origins of social work have influenced the current nature of the profession in Ireland, it is important for me to provide a specific understanding of what the term denotes. Defined by Smale, Tuson and Statham (2000; 5), ‘social work is about the interventions made to change social situations so that people who need support or are at risk can have their needs met more appropriately than if no intervention were made’. Morales and Sheafor (1977) state that ‘professional social workers are dedicated to service for the welfare and self-realisation of human beings; to the disciplined use of scientific knowledge regarding human and societal behaviour, to the development of resources to meet individual, group, national and international needs and aspirations; and to the achievement of social justiceâ€⠄¢. Many individuals, other than field social workers and including all those who work in residential, day care and domiciliary care, otherwise known as social care or care workers are all involved in different types of social work. The Emergence of Social Work According to Sheldon and Macdonald (2009, p.19), ‘the term ‘social work’ was first used in Britain at the end of the nineteenth century’. During this era, people practiced social work in an attempt to establish more realistic ways of overcoming social distress as opposed to relying on traditional forms of charity work and philanthropy. Skehill (1999) and Darling (1972) state that Irish social work shares many traditional aspirations of social work elsewhere, such as in Britain and Finland and has been influenced by such countries. However, it is also shaped by the particular nature of Ireland’s society and by key political processes within the country over the past centuries. Albeit Ireland ‘industrialising’ at a different rate in comparison to England and elsewhere, key features of modern society such as: the growth in expert knowledge in relation to individuals and the family, the emanation of new expert professionals and the emergence of a liberal form of government do appear to have had an impact on shaping Irish social work (Skehill, 1999). Earlier forms of social work in Ireland evolved from religious motives which included the giving of alms and the giving of service. Skehill (1999) highlights that the relationship between the  religious bodies and their concern with the provision of charitable relief is of great importance, with the rivalry between Catholic and Protestant charities being the most significant aspect of the religious base of charities in the 19th century. Down through the years, Ireland has been a place where individuals have been ‘inspired by a sense of vocation and largely guided by intuition’ (Darling, 1972; 24). Such individuals have endeavoured to alleviate the pain and suffering of the casualties within our society. An example of such heroic bodies in Ireland includes ‘Mary Aikenhead, daughter of a Cork doctor and founder of the Order of Irish Sisters of Charity, who began prison visiting in Dublin 1821’ (Darling, 1972; 24). The 19th century is ‘characterised by a whole plethora of charitable activities relating to education, health and welfare’ (Skehill, 1990). In England, social work began with the identification, categorisation and organisation of various charities, which is most evident in the work of the Charitable Organisation Society. The COS evolved in 1869 and was primarily known as the Society for Organising Charitable Relief and Repressing Mendicity. This charitable body had a specific aim of attempting to address the disconnectedness between philanthropic organisations and bring these bodies together under some coherent umbrella (Skehill, 199). Over the same period of time (19th century), no such major body for social work existed in Ireland, however at the beginning of the 20th century the Irish state saw an attempt to standardise charity within the country. Notably, the nature of social work in Ireland is highlighted by the ‘link between philanthropy and its broader cultural and political discursive field, the relations between religion and charity, the gendered nature of practices, and the individualistic approach to soc ial problems’ (Skehill, 1990). Although, social work progressed to a greater extent in the 20th century, one could argue that some of the most defining characteristics of its current shape in society could be accredited to its earlier presence in the 19th century (Skehill, 1990). For example, social work in Ireland continues to be a practice that is primarily interested in assisting the less well off in society, with families and children being a key target for social work intervention and practice remaining individualistic. Also, the profession has continued to function traditionally based on caring for and overlooking the clients of its service (Skehill, 1990). Because of this, it  is important to look at certain aspects of philanthropy in 19th century Ireland in order to explore the charitable works’ contribution to the present day social work strategy (Skehill, 1990). Although social work began to emerge in the 19th century, it was not until the beginning of the 20th century that a coherent strategy o f social work developed (Skehill, 1990). What is significant about social work in the early 20th century is that it continued to be characterised by continuities in voluntary charity work and developed towards a more ‘strategic and structured practice of professional social work’ (Skehill, 1990; 61). However, throughout this era, social work also expanded due to a dual process of development between interacting strands of cultural, political, intellectual and institutional progression. This dual process of development includes ‘the emergence of training and education for social workers and the continued expansion of untrained social work’ within charitable bodies (Skehill, 1990; 97). The pattern of social work training that established in the 20th century persisted in the following decades, with the continuation of an individual focus, home visiting, in-depth inquiries and concentration on the poor, women and children remaining to be at the core of its’ practice. In Ireland, the health and welfare service continued to develop in the mid-20th century and as a result, had a crucial influence on the evolution of social work within this period. There was a decrease in the influence of the Catholic Church, professional training and employment for social workers increased and the State developed a greater role in the provision of social services which led to increasing opportunities for the development of social work. According to Darling (1971), formal social work training in Ireland began in 1899, when Reverend R.M. Gwynn established an association in Trinity College Dublin, with a primary aim of promoting the study of poverty. ‘The establishment of the Civic Institute of Ireland in 1914 marks a significant step in the evolution of social work in Ireland’ (Skehill, 1999; 91). The main aim of this society was the ‘study and investigation of all questions and problems affecting the lives of the Irish public in their capacity as citizens or as inhabitants of a city, urban or rural area of Ireland’ (Civic Institute of Ireland, 1914 in Skehill, 1999; 91). Bibliography * Considine, M. and Dukelow, F. (2009) Irish Social Policy: A critical introduction, Dublin: Gill & Macmillan Ltd. * Sheldon, B. and MacDonald, G. (2009) Textbook of Social Work, London: Routledge. * Skehill, C. (1999a): The Nature of Social Work in Ireland, a Historical Perspective, Lewiston, USA: Edwin Mellen Press. * Morales, A. and Sheafor, B.W. 1977. Social Work: A Profession of Many Faces. Boston: Allyn and Bacon Inc. * Darling, V. (1971) ‘Social Work in the Republic of Ireland’. Social studies, Irish Journal of Sociology, 1(1)24-37. *

Gun safety Essay Example | Topics and Well Written Essays - 500 words

Gun safety - Essay Example Top scoring shooters who are likewise nationals of the USA can work their path to the top, and on the off chance that they meet the prerequisites of International Olympic Committee (IOC), the International Shooting Sports Foundation (ISSF), and the United States Olympic Committee (USOC), they could be selected for the US Shooting Team (USST). There are two essential sorts of compressed air firearm ammo; pellets and Bbs. Pellets weigh significantly short of what gun shots, which make the striking vitality considerably less. They are formed from delicate lead and most are hour-glass molded which provides for them expanded soundness in flight. They are intended for each compressed air firearm and arrive in a mixture of head shapes. Pellets may be shot in either smoothbore or rifled barrels, not at all like Bbs which ought to be discharged just through smoothbore barrels. Pellet quality is second in imperativeness just to the general nature of the compressed air firearm itself. In rivalry, the .177 gauge is viewed as standard. This is accurate in different sorts of rivalry, from the BB firearm through the Olympic-evaluation air rifles and guns. There are four fundamental sorts of pellets: woodcutter, utilized for paper target rivalry; pointed, intended for field use, generating more dynamic vitality for entrance; empty point, utilized for shape rivalry and field utilize; and round nose, acknowledged for any use requiring thump down force. The round BB is the most well known compressed air firearm ammo and is created out of either steel or lead. Firearm safety is essential for any holder or client of a BB weapon or pellet firearm. Adolescent shooters must be managed by an educated grown-up at whatever point utilizing the weapon. Grown-ups and kids ought to deliberately read and see all guidelines that accompany their compressed air firearm, and comprehend the correct safe

Bowdoin College and the Point of Education Essay

Bowdoin College and the Point of Education - Essay Example Bowdoin College's commitment to the common good is expressed in its mission, on the Academics – Common Good page: â€Å"A commitment to the common good isn’t just about giving back. It’s about looking forward and connecting who you are and what you can do to a greater purpose. We all want to live in a better world, but it’s not always clear where to start†. The common good is what inspired me to choose Bowdoin College to attend. In my opinion, the academy has to justify its existence, it's funding. People are putting in their hard-earned money, through taxes, donations, grants and tuition, to subsidize this institution. It is true that expanding the boundaries of human knowledge is a worthy endeavour. But so are many other things that people could spend their money on. Bowdoin College distinguishes itself by giving back to the community. I am interested in the Bowdoin College community outreach programs. Not only are these programs excellent for the college to build its connection to the communities that it resides in, but this is also a great way to apply my skills immediately. I will learn how to interact with the community, with leaders, and get real-world experience while still in college! What a wonderful career builder, and a great way to build the contacts essential for my ongoing professional success. Bowdoin College recognizes that the point of education is to give back to our communities, and I am proud to consider this institution for that reason.

Leadership Term Paper Example | Topics and Well Written Essays - 2250 words

Leadership - Term Paper Example An effective leadership is reflected in terms of the leader’s behavior, tactics, strategies, and adaptability to situations. However, in the modern day world, corporations have witnessed a drastic change in the model of leadership where no such model can be regarded perfectly right or absolutely wrong. Their implementation has become leader specific. The change in leadership style has been reflected in terms of the leader’s vision, planning, and effective application of resources in order to ensure a smooth and friendly operating environment whereby high level of productivity and personnel satisfaction can be achieved. As such this report will focus on different theories of leadership and will evaluate the leadership style of three leaders, Brain, Larry and Tom, who work for Kay and Associates Inc, based on the leadership theories studied within the report. Table of Contents Introduction 4 Leadership Theories 5 Leadership Grid 5 Path Goal Theory 7 Fiedler’s conti ngency model 8 Leadership Style Evaluation 9 Brain 9 Larry 10 Tom 12 Conclusion 13 References 14 Introduction Kay and Associates, Inc. (KAI) is a small business that was established in 1960 providing cost effective and exceptional quality technical services to Government and Commercial customers worldwide. Their operations for the last 50 years have got worldwide recognition and thus they are always expected to provide the very best of their services to their customers from all over the world. KAI's line of operations involve management of complex depot level aviation maintenance operations, metrology laboratory operations, maintenance test flight, flight training, management and operation of customer owned ground support equipment and direct maintenance and support for daily flight operations Currently KAI holds the contract to maintain aviation Contract Field Team (CFT) on HAAF, GA, for the US government providing all levels of maintenance, including Organizational, Intermediate a nd Depot level support (Kay and Associates Inc, 2010). The CFT for this department is composed of three subsequent teams along with few support personnel. The first two team’s line of work involves Chinook helicopters and comprises of 13 members, and is headed by Brian and Larry. Whereas the third team, comprising of 9 people, is led by Tom and they work on black hawk helicopters. This report will involve a thorough analysis of leadership theories such as the leadership grid, path – goal theory and Fiedler’s contingency model thereby evaluating the performance of each of the leaders mentioned above. Leadership Theories Leadership Grid Leadership can be defined as a process which initiates, enables, develops implements and maintains a change in the management of an individual, group or an organization (Mackenzie, 2006). In this rapidly changing environment the role of leaders rather than managers has become a critical factor contributing towards the performance o f an organization (Cope & Wadell, 2001). A similar theory has been explained by Natale, Sora & Kavalipurapu (2004). According to Zeidan (2009), some leaders are task oriented (whose leadership is based on setting and enforcing tight schedules) whereas some are people oriented (whose leadership is based on accommodating employee needs). The important thing here is to identify one’

HCI Reading Journal - Journal #2 Research Paper Example | Topics and Well Written Essays - 500 words

HCI Reading Journal - Journal #2 - Research Paper Example However I must add that an interface goes beyond this. It might sound strange but I think I have some emotional attachment to my Smartphone its interface is so interactive and convenient that I sometimes feel incomplete without it. It has totally changed m experience in many ways. My nephew who is about 2 years is fond of me; he would jump at the sound of my voice. But that was before I realized that after the normal hug he would go straight for my phone and keep pressing the screen and motioning me to open an application that has an animation of a cat that would repeat any sound he makes. I could see he was excited and totally loved it. I thought this was normal but once we started this class I was able to understand the role played by design. According to Heim (2008), cognitive aspect of design determines the effectiveness of the interface. At this early age the kid was able to create a perception of the interface and consequently create an attachment. In essence, the interface was able to achieve its purpose due to the adequate thought put into its cognitive design. In my local town, there is an ATM boot that has three ATM machines placed in one row. The machines work alright and are very convenient. I did not see any problem in this setup until I read in Heims text about the consideration of public computers in relation to work space. In his argument, Heim (2008) postulates that design should consider the working space needed for a particular device. This opened my mind regarding the ATM machines; the working space is so small you literally can brush your shoulders when moving from one machine to another. This not only affects the comfort that should be accorded to a public computer but most importantly infringes on privacy. This is something that needs to be addressed in public computing devices that are used by hundreds of people in a

Mild Therapeutic Hypothermia Essay Example | Topics and Well Written Essays - 2500 words

Mild Therapeutic Hypothermia - Essay Example failure of the heart to effectively contract during systole. Out-of -hospital cardiac arrest is a leading cause of unexpected death in the developed world, occurring in about 1 in 1,500 adult each year (Bernard, 2004). Prognosis after cardiac arrest with an overall survival rate of less than 6%, is unfavorable. Cardiac arrest outcomes depend on the rhythym: 33% of patients with ventricular fibrillation or pulseless ventricular tachycardia survive, comparing with less than 2% of patients with asystolic or pulseless electrical activity. Other rhythyms and cardiac arrest complications/conditions which comprise less than 2% include subarachnoid hemorrhage or trauma, pregnant women, pediatrics, coma after near-drowning, hanging and other causes of asphyxia. About 60% of cardiac arrest survivors regain consciousness; of these, one-third experience irreversible cognitive disabilities. Emergency life support focus on early aggressive resuscitation; but unluckily, most patients who survive do sustain anoxic brain injury (Green, 2007). Anoxic brain injury is that condition wherein the brain is severely deprived of oxygen. The blood is unable to flow to the brain due to bleeding or injury. After cardiac arrest, chemical cascades resulting in brain injury are created by the free radicals and other mediators in the brain. Three phases of brain injury after hypoxic insult are identified: early, intermediate and late (Howes, 2005). The early stage is described as the utilization of glucose, oxygen and energy due to the directThe Use 4 cessation of blood flow in the brain. The intermediate...Emergency life support focus on early aggressive resuscitation; but unluckily, most patients who survive do sustain anoxic brain injury (Green, 2007). Anoxic brain injury is that condition wherein the brain is severely deprived of oxygen. The blood is unable to flow to the brain due to bleeding or injury. After cardiac arrest, chemical cascades resulting in brain injury are created by the free radicals and other mediators in the brain. Three phases of brain injury after hypoxic insult are identified: early, intermediate and late (Howes, 2005). The early stage is described as the utilization of glucose, oxygen and energy due to the direct cessation of blood flow in the brain. The intermediate phase is described as the release of neurotoxic mediators and excitatory amino acids in the brain, occurring hours post arrest. The late phase occurs when cerebral edema and blood-drain barrier are increased. Seizures and Sample.