Vietnam Essays (8447 words) - , Term Papers

Vietnam INTRODUCTION The war-torn country of Vietnam is once again in the midst of a revolution. Only this war is not being fought with soldiers and tanks; rather, it is being fought and won with businessmen and free-trade. This new on-slot of foreign business in the formerly closed country have completely rejuvenated the Vietnamese economy. For the first time since the re-unification of Vietnam in 1976, the doors of the market place are opened to the outside world and Vietnam is aggressively taking a stance for further economic development. Before any International firm attempts to conduct business with, or in Vietnam, it is extremely important to not only know your potential consumer, but to understand him as well. Vietnam has a unique and rich cultural history that separates it from its neighboring Asian nations. Therefore, even the most successful marketing plans for other Asian countries probably will not work in Vietnam. It is a country with an identity of its own. This report was compiled in an attempt to educate businesses and their employees of what makes Vietnam the welcoming, yet challenging nation it has become in the global marketplace. By first understanding the country and the people, it is then possible to formulate the most successful plan for a business venture. By gaining a foot-hold in the emerging market now, companies will benefit from continuous economic growth from the next potential ?Asian Tiger?--VIETNAM. ABSTRACT This is a glance into the Socialist Republic of Vietnam, describing and analyzing its political, economic, social, and national security systems and institutions, and examining the interrelationships of those systems and the ways they are shaped by cultural factors. This in an attempt to provide a basic understanding of the observed society, striving for a dynamic rather than a static portrayal. Particular attention is devoted to the people who make up the society, their origins, dominant beliefs and values, their common interests and the issues on which they are divided, the nature and extent of their involvement with national institutions, and their attitudes toward each other and toward their social system and political order. GENERAL INFORMATION 1 Official Name: Socialist Republic of Vietnam Capital: Hanoi Location: A republic of Southeast Asia, bordered by China on the north, the South China Sea on the east and south, and Cambodia and Laos on the west (see Appendix A). Land Area: Its area is 329,707 sq km (127,301 sq mi); larger than Virginia, North Carolina, and South Carolina combined. Terrain: Varies from mountainous to costal delta. Climate: Tropical monsoon. GOVERNMENT 2 A constitution enacted in 1992 assigned to the Communist party a leading role in Vietnamese government and society, but curbed some of its administrative functions. The constitution also increased the powers of the National Assembly. The Communist party acts through the Vietnam Fatherland Front, which includes representatives of the nation's political parties, trade unions, and social organizations. Executive Under the 1992 constitution, the head of state is a president, elected by the legislature from among its members; as commander of the armed forces, the president chairs the Council on National Defense and Security. The president appoints, with legislative approval, the prime minister, who heads the government. The prime minister appoints a cabinet, also subject to legislative approval. Legislative The unicameral National Assembly, composed of a maximum of 400 members, is the highest legislative body in Vietnam. The legislature is elected to a five-year term by universal adult suffrage. Judiciary Judges of the people's courts are elected to their offices. Organs of Control, which act as watchdogs for the state as well as monitoring government agencies, can initiate lawsuits against governmental bodies or individuals deemed to be violating the law. The highest court in Vietnam is the Supreme People's Court. Local Government A system of people's councils, each representing a local jurisdiction, administers local government in Vietnam. Each council elects a committee to serve as an executive. The country is divided into 53 provinces and three municipalities: Hanoi, Haiphong, and Ho Chi Minh City. HISTORY 3 Over thousands of years the Vietnamese have passed down the legend of their origin as being descendants of the Dragon and the Fairy. An extremely strong son of a dragon, Lac Long Quan, having killed a sea monster, settled in what is now Vietnam, and married a fairy, Au Co. Together, they gave birth to

Tips and Techniques to Avoid Writers Block

Tips and Techniques to Avoid Writers Block Tips and Techniques to Avoid Writer's Block The writing process is rarely a straightforward one. It always comes with periods of self-doubt and lack of inspiration. Most authors struggle to know how to handle these challenges. This is why we decided to interview a specialist on writer's block: Tom Evans.Tom is the author of over 10 books on creativity, meditation and Big Questions. He teaches authors how to ‘meditate’ to get inspiration and words for their books.In this interview, he teaches us simple techniques and principles to keep writer’s block at arm’s length and unlock our creativity - even under tight deadlines!Hit â€Å"play† if you want to hear him offer his advice in a calm, soothing voice; or, alternatively, read the transcript below! Hi Tom, great to have you here! Why don’t you give us a bit of background on your writing career and how you got started as an author unblocker?Sure, I’ll tell you how my career started, because I think most writers end up being writers by accident - you can’t necessarily plan it. I was on a plane going on a holiday to the Caribbean when all of the sudden this idea for a book came in. So I started writing furiously and by the time we landed the first draft was finished. I published it when I got back to the UK, it’s called 100 Years of Ermintrude, as a hommage to One Hundred years of Solitude by Gabriel Garcia Marquez.That was before the Kindle, so I just published it as a PDF-ebook and people started downloading it and liking it! A lot of people started approaching me, saying â€Å"you’ve written a book, can you help me write one?† and it kind of started from there. At the time I was a bored IT consultant. Before I knew it I had written and published a second and third book and was helping a lot of writers with the creative process. But many people came to me as they were stuck, and I had no tools to deal with the â€Å"stuckness†. So I went and learned a bit of hypnotherapy and progression therapy and I discovered mechanisms to unblock pretty much anyone.In all cases of writer's block, there is an underlying life block, which you need to deal with.Let’s say an author approaches you because they’re stuck. What do you do to unblock them, do you look for the underlying life block?There are two main ways of doing it. The first one is to put such a big carrot in front of the author that it blasts the block away: â€Å"look, getting this book out is going to change your career; it’s going to open a bunch of doors, etc.†Or, sometimes, they just don’t have a big enough idea. I was talking to a couple of authors this morning who had been writing this book for 5 years now, but didn†™t have the idea for it formed that well. So I didn’t technically need to do any unblocking; all I needed to do was give them the whole vision for their book - through mind-mapping. I also gave them the structure for the book and how they were going to co-write it. Now they’ve got the vision, they’re up and running.A few weeks ago, we were interviewing Scott Berkun, a speaker and myth-buster on creativity and innovation, and he said that writers’ main problem is laziness. Would you agree with that? What can writers do to avoid it?Yes, it’s actually amazing how people can become creatively uncreative: they get really creative about doing everything else but the creative task.A lot of times, what happens is people have false starts when getting started. I’m sure there are many more half-written manuscripts on people’s hard-drives than there are published books out there. For most of them, it’s because the idea wasn’t st rong enough, so they get to a point where they ask themselves â€Å"where is this going?†So I always start with a structure. Of course I leave the author enough freedom to creatively wander around, but always within a structure. All my books have got a metalayer. For example, for my latest book, I knew it was going to be 18 chapters. And what I do is I make appointments for my chapters in my diary. I move other plans around these appointments, but these are sacred because no one else is going to write my book. It’s a really good discipline to have.And what happens then is that the information that you need to write that following chapter has that uncanny way of just showing up. There are a few neurological reasons for that, but basically your brain tunes in to what you need to write, so you get into that lovely zone on the given day and the chapter just flows.But of course, if you allow other elements to come in, it will disrupt that process and the book will never get written.But doesn’t this outlining, defining of the structure and planning of the writing process impose constraints on your plot and characters that go against the idea that the story will develop by itself?There are two approaches I think. In non-fiction, structure is vital. In fiction, I believe you still need some form of structure. It can be temporal - a chronology you’re going to follow - or event-based, or even character-based.Let’s say you have this classic structure of a character who goes through a journey of trial to find enlightenment, you need to define a meta-level for this character that you’re going to hold, and then you can throw things at the character that will challenge them and help them find their way.If you think about Dan Brown - my guilty pleasure – all his books have this hero A, hero B, and then the albino monk. And you know that at some point the heroes are going to get together and the albino monk will come in as we ll. Having that kind of meta-structure works. Obviously, you let things happen as you let the creative flow come in. But the reason you have a structure is so you finish. I started working with somebody a couple of years ago who has now ended up writing 180,000 words, so we have to split it into a trilogy. If you have a clear structure when you start writing, you know how long the book will be.You also use meditation a lot to unblock authors, slow down time and unlock creativity. How can authors use meditation in order to get past all the things that are an obstacle to the writing?The first thing I want to say is that there’s no mystic around meditation. You don’t need to sit in a dark room or in a cave. It’s a natural thing that we all do. When we fall into our creative zone we are in a meditative state.One thing we all need to remember is that our minds are only capable of having one thought at a time. When you’re thinking about what you’re think ing about, the thought you were thinking gets replaced by the thought you’re thinking about it, you know what I mean?If I’m thinking â€Å"will people really care about the words that I’m writing right now?†, then that takes my mind away from the words themselves. So getting in the meditative state with your eyes open is a fantastic way to get completely absorbed and focused on what you’re doing, and to take your conscious mind out of the loop. You become more of a channel of the work as opposed to a generator of it: it’s almost as if the work comes through you. Very often, I have to read the book that I wrote to work out exactly what I’ve written because I was in such a meditative state when writing that I wasn’t aware of it.The way to get into the eyes-open meditative state is to learn first how to meditate with your eyes closed. I’ve recorded a few visualizations that are free to teach authors how to do that. And as y ou rightly say, when you get into that state, time seems to take that lovely ethereal quality and you get more things done.You mentioned book marketing. That’s the other big thing that authors can be afraid about or don’t know how to handle, and I think marketing also requires a lot of creativity and structure. Do you also help authors on that path?Yes, more and more. I think there are two forms of block: writer’s block and author’s block. Writer’s block is the one that prevents the authors from getting the book written, and author’s block is the block that stops them from getting the book out there.Often, writers can be shy, afraid of public speaking, etc. So I help them with that. Nowadays, thanks to the internet, we can do things like this Hangout, or podcasting. There are lots of ways of being creative about getting the work out there.One of the things I love doing, for example, is serializing bits of my books in audio. You can put those out on podcast channels, you can tweet them, Facebook them, etc.That’s really interesting, because there is a lot of talk around serializing novels now with Kindle Unlimited, and there has been a lot of talk around audiobooks for some time now; but combining the two and serializing audio is something I haven’t seen any authors do so far. Thanks for taking the time to chat with us, Tom!My pleasure! And one last note to finish for all authors out there: you must get yourself a Reedsy profile, they’re absolutely brilliant!Follow Tom Evans and Reedsy on Twitter: @thebookwright  and  @ReedsyHQ!What do you do to  Ã¢â‚¬Å"get in the zone†? How do you manage to power through writer’s block? Leave us your thoughts, or any questions for Tom, in the comments below!

Seven Lessons Reluctantly Learned from Publishing My First Book

Seven Lessons Reluctantly Learned from Publishing My First Book When your first book is finally accepted and (miracle!) published, you may think all your writing problems are solved. But I found that publication, like finally losing those stubborn ten pounds, isn’t the Nirvana we imagine it to be. In the process of publishing my first book, I’ve learned some important lessons, shared here. I hope these seven (and I’m sure they’re only a fraction) help you cushion your own publication shock and plan your counterattacks.   Ã‚      1. Tell everyone. Perfect your elevator pitch- a one-sentence explanation to rivet the person who’s getting off the floor ahead of you. Here’s mine: In Trust Your Life: Forgive Yourself and Go After Your Dreams, I apply practical spirituality to help you let go of regrets, relabel your past, and reach your lifelong yearnings. Then I mumble something about AmazonBNBooksAMillionKindleNook and whip out my bookmark, which coincidentally displays purchase and website information. For nonfiction pitches, see Ann Brandt, â€Å"Marketing Your First Nonfiction Book,† Writing World, 10:22, Nov. 18, 2010. For fiction pitches, see AuthorBuzz, authorbuzz.com/dearreader/firth.shtml. 2. Once you broadcast the good news, accept congratulations graciously. Don’t deflect: â€Å"Awww, it’s only my first. Miss Successful-Author-Five-Years-Younger has twelve.† Instead, reply like a seasoned author: â€Å"Thank you so much for your kind words.† 3. Climb on your platform. When you’ve finally finished the last revision, or, as experts counsel, much before, concentrate on your platform. This is everything you can think of to promote your book: book launch, ads, press releases, blogs, websites, social media, articles, interviews, book tours . . . . Post your book notice on Facebook, tweet about it, Pinterest it. See, for example, Clary Lopez, â€Å"The Ultimate Book Launch Party,† http://ezinearticles.com/?The-Ultimate-Book-Launch-Partyid=857042. 4. Watch out for promotion envy. Someone always does it bigger and better. Larger launches, finer wine, catered monogrammed mini-cakes, more blogs posted, excerpts published, ads placed, reviews acquired, book clubs toured, interviews given, TV shows graced, emails blasted, friends liked, tweets twitted. Do what you can- sanely. For inspiration, good judgment, and gentle stretching of your comfort boundaries, see Christina Katz’s excellent article on platform-publicity-building, â€Å"50 in Five Minutes a Day,† writersdigest.com/whats-new/50-simple-ways-to-build-your-platform-in-5-minutes-a-day. 5. Guard against Overwhelm. Staring at an endless list of bloggers inviting guests, radio shows inviting interviews, or excellent ezines for excerpts from your book, you can feel like you’ve been handed a shopping list for double septuplets. Regain your bearings 6. Write about what you’re experiencing. If you have the urge to write about the entire process, do it! Spilling can help frustration, worries, and engulfment. For the first ten days after acceptance, I kept a â€Å"Book Journal† that channeled much of my anxiety. A journal may seem like it’s taking you away from revisions or yet more promotion. But you’ll feel better, and you’ll have the makings of a blog. 7. There is writing life after publication. When your book finally appears, in print and multi-e-forms, and you’ve got the publicity on a decent schedule, go back to your writing routine. Get to the next writing project you left hanging or pine for. You’ll feel more balanced and, paradoxically, despite your first-book publication, more like a writer again. My new project (admittedly publicity-related) is excerpting passages from Trust Your Life into articles and editing them for appropriate markets, judiciously cutting and reworking snappy endings that don’t segue to the following chapters. These lessons should help arm you in advance to better ease the publication shock, handle the disenchantment, and regain your writing routine. And keep you glowing with the wonder of publishing your first book.

Discuss the impact of fear and anger (in patients) when caring for Essay

Discuss the impact of fear and anger (in patients) when caring for clients in the health care setting - Essay Example â€Å"Anger is a HEALTHY EMOTION. It is a WARNING SIGNAL that something is wrong† (Middelton-Moz, Ph.D., 2009) Fear and anger even though are common in most of the living things and also in normal cases it may not create much harm to the person who was afraid of something or feeling angry at something, it’s effect is not the same as far as patients are concerned. Fear and angry can complicate the conditions of a patient because of the psychological and physiological changes it can develop among the patients. Patients irrespective of their nature of disease definitely need a peaceful mind for the speedy recovery from the disease. Fear and anger can worsen the conditions of a patient. Frustrations can creep up among the minds of the patients because of their inability to lead a normal life which they may demonstrate in the form of fear or anger. Nurses who are taking care of the patients often confused with, how to deal with such patients in order to settle them and to regain their lost mental balances or psychological equilibriums. â€Å"Fear of not being in control, fear of uncertainty and the unknown, fear of pain and change, fear of not being able to meet your obligations to family and job. Fears can mask themselves in anger and hostility, which is often directed at those youre closest to, as well as doctors, nurses, and technicians† (Schimmel, 2009) Dry Mouth, Heart Palpitations, Numbness, Heightened Senses, Breathlessness, Feeling Dizzy, Muscle Tension, Hyperventilation etc are the most visible symptoms of fear and anger (Duffey, 2009) First and the foremost thing the nurses must concentrate in dealing with such emotionally distracted patients are to develop strategies to regain the patient’s normal mental condition. Nurses must know that medications alone may not yield 100% recovery of such patients and psychological approaches also required to

The Specter of Terrorism Essay Example | Topics and Well Written Essays - 1000 words

The Specter of Terrorism - Essay Example Example: Al-Qaeda, Hamas, Taliban, Hezbollah, Tehrik-i-Taliban in Pakistan and Armed Islamic Group of Algeria. Offensive acts commonly committed by groups of terrorists are bombing in public places, raping women, kidnapping, torturing, wounding and murdering of civilians, political leaders, journalists and other distinguished characters in the society. Initiatives taken by the nations for abolishing terrorism can thus be highly justifiable. Particularly the United States and United Nations are giants and play significant roles in controlling the acts of terrorism in today’s world. This paper examines the increasing of terrorism in America and Middle East and the role on UN in resolving the problems associated with world terrorism. Involvement of US and UN in the security and political matters of other countries especially in the Middle East seems to have lead by other interests than terrorism. Example: US army invading Iraq in March 2003 is highly obscure. Initially Iraq was p resumed to cause a significant threat on the regional security of Middle East. Allegations made against Iraqi president were developing Weapons of Mass Destruction (WMD) example, nuclear and chemical weapons and not cooperating with the international observers who were agents of the United Nations. Saddam Hussein who was the president during that time rejected all the allegations made by the US. Regardless of the president’s rejections UN placed sanctions upon trading with Iraq and later the war was declared. After a year Charles Duelfer who is an adviser of Central Intelligence Agency (CIA) stated that Iraqi nuclear program was actually eliminated in 1991 and Saddam Hussein was right in rejecting the allegations made by the UN. One can argue that the former president of Iraq died fighting to protect the rights of his country’s sovereignty. And that US army was the actual terrorist who unlawfully used weapons against Iraqi population and its president. Further, no effo rt was taken to compensate the injustice caused by US against Iraq during the war. In a household survey carried out by the World Health Organization (WHO) and the Iraqi health ministry in 2007, it was revealed that the cost of human lives which were lost during the war is much higher than the cost of terrorism operated in Iraq. Initially the number of Iraqi civilian deaths has been not recorded by the international organizations. The actual cost of destroying the physical infrastructure and human capital had been carefully excluded from all the war accounts. Nevertheless the above survey revealed that US troops had killed civilians during the first two years of the war much more than the terrorist group al-Qaida ever did in Iraq (Steele and Goldenberg, 2008). The death toll of Iraqi civilians in fact exceeded one million. Moreover, the death toll of Iraqi children during the trade sanctions placed by the UN was half a million which exceeds the killings of actual nuclear bombing occ urred in Hiroshima (Albright, 1996). The opportunity cost of fighting in Iraq was substantially high for America as well. Example: The cost of fighting ten days in Iraq is equal to funding the continent of Africa for a year and eliminating illiteracy in the world (Crawley, 2008). Clearly the approach adapted by international governing bodies for ending the terrorism in the Middle East has many drawbacks. It is provocative and unjust in many ways. In a global economy where people die in starvation pumping millions of dollars

Depictions of the Reformation in Art

Depictions of the Reformation in Art The corruption and immorality of the Church spurred the Christian Reform movement in Europe, eventually leading to the hundred years of civil war between Protestants and Catholics or the Protestant Reformation. The Counter- Reformation began with the Pope Paul IIIs calling of the Council of Trent in response to Protestant uprising; this movement was initiated by the Churchs attempt to re-establish its power as the only true Church of Christ while pacifying the current disorder as well. The creation of these two rivaling movements jeopardized the Roman Catholic Churchs absolute authority in Europe, dividing it into the regions of the Protestant North and Catholic South. Influenced by these two opposing movements, the North and South branched out into different directions in terms of its culture and artistic style of painting. They developed unique style of painting, depicting differing themes, styles, and contents based on their dissimilar beliefs. What influence did the reform moveme nts have on the paintings from the south of the Alps, the north of the Alps, and the Netherlands and were the artists from these regions inspired by each other despite the divergence in their styles? The paintings by the artists from the South of the Alps would most likely been influenced by the Counter- Reformation, while the works produced from the other two regions would reflect the influence of the Protestant Reformation due to their geographical locations. Therefore, the content and purpose of the works from these regions should differ but some similarities may exist in the artists painting techniques because it was common for artists to travel to Rome during this time. It is interesting to analyze how the style in 16th and 17th Century Europe was shaped by the religious disparity and the development of new ideas which were reflected in the paintings. Since it is inaccurate to generalize the whole European continent into only two sections, I decided to narrow down my topic by focusing on the South of the Alps, the North of the Alps, and the Netherlands. I chose to study these regions because the South of the Alps was the center of Counter- Reformation strongly embraced by the Roman Catholic Church, while the North of the Alps was the birth place of the Protestantism. And the Netherlands was the hot bed for dispute between Calvinism and Catholicism. I referred the Protestant Reformers as one group, choosing not to deal with the Protestant sectarianism, a division within the Reformers due to the difference in their interpretation of the sacred texts, as part of my research. The final spark of the Protestant Reformation was The Ninety-Five Theses written by Martin Luther in 1517. His work disclosed Churchs dishonesty, rousing doubts in peoples minds about the Catholicism and also the Churchs authority. His criticism of the sale of indulgences and the Roman Catholic clergys abuses quickly earned popularity among people, regardless of their social standings and wealth, ultimately giving birth to Protestantism. Martin Luther condemned the sale of indulgences as a violation of the original meaning of confession and penance. Indulgence is the forgiveness of the temporal punishment for sins that have already been confessed. Reformers like Zwingli and Calvin had also commented on the corruptions within Church, but Luther was the one who introduced the radical idea of purifying the Christianity by physically breaking away from the Roman Catholic Church. The Luthers idea spread rapidly throughout the Europe, threatening the Roman Catholic Churchs established auth ority especially in the North. In addition to being known as the center of the Counter-Reformation, the South of the Alps was known as the center of stylistic development as well. It was the place of passion and innovation with the overflow of new artistic styles eventually giving birth to the Italian Renaissance. The artists from all of the Europe visited Rome and were inspired by the unique Italian styles. Aside from the innovative styles of Italian Renaissance, its content was often strictly religious. The Roman Catholic Church attempted to re-establish the catholic faith among people by regulating the artworks produced. The southern painters were forced to bring back the medieval tradition of producing strictly religious art, branching off into the different direction from the Northern painters. Scipione Pulzone was famous in Rome as the prototype of the Southern painters during this time period for his strictly religious paintings. The Lamentation, one of his most famous paintings, serves as the prime example of the art commissioned by the Church. Painted in 1592 for the chapel of the Passion of Christ in the Jesuit church of Gesà ¹ in Rome, this painting is clearly influenced by the Counter- Reformation in that it demonstrates the new artistic style advocated by the holy council. The Crucifixion of the Christ is the focus of this art piece, drawing viewers attention directly to the idealistic image of Christ in the center. Like other southern painters during this time period, the artist propagated faith by portraying the lives of saints and Christ in a realistic yet intensely dramatic manner. The careful details, facial expressions, along with the shadows cast on people enhance the lifelike characteristics. The depiction of the folds on peoples gowns is also note-worthy. The artist adds details such as tears of Virgin, the crown of thorns held by John, and the pallor of the Christs body to portray people in a more expressionistic manner. Moreover, the spotlight on the Christ in the center contributes an illusionistic and dramatic element to the painting which counter-balances the paintings realistic image. The light cast on the Christ, in comparison to the dark background, creates almost a theatrical impression. These characteristics represent the style of art in the south of the Alps during this period, also called the Italian Renaissance. Catholic Italy and Lutheran Germany shared in a lively commerceand the art of the sixteenth century in the north manifests the benefit of the exchange. Although the religious clash tormented the sixteenth century Europe, the exchange of artistic ideas continued to thrive. In the North, the intellectual shakeup of age-old faiths and opinions prepared the way for a new and nonreligious outlook on the world-the Enlightenment-when the rise of a scientific view of nature would challenge forever the dogmatisms of the past, also called the Northern Renaissance. However, the art of northern Europe during this period is also characterized by a sudden awareness of the advances made by the Italian Renaissance and by a desire to assimilate this new style. In other words, while the content of the artworks produced in the North differ from those of the region south of the Alps, the style was similar. Many northern artists traveled to Rome to study the new art in firsthand and others were exposed to the Italian style of painting through the direct contact with the Italian artists who came to the north. The influence of the Italian art varied according to the artist, the time, and the place; the northern artists generally kept their local traditions while adopting on ly single motifs or the general form of a composition. The Northern painters in general moving away from depicting biblical scenes and turned to painting ordinary people in a commonplace setting can be inferred to have been influenced by the Protestant- Reformation. Especially in the north of the Alps, the artists quickly incorporated Italian style into their artworks while avoiding portrayal of religious themes. The famous work, The Battle of Issus, by Albrecht Altdorfer in 1529 is a great example of a northern painting that diverges from the works produced in the regions south of the Alps. Albrecht Altdorfer represents the Donaustil (Danube Style), which depicts the landscape and stresses mood and passion. Although Altdorfers style is unique and personal, it still reflects the influence of Protestant- Reformation in that it eliminates depiction of religious themes. Moreover, his style clearly diverges from the style of painting prevalent in the regions of the south of the Alps. The painter gives a birds eye view of an Alpine landscape as the setting and depicts the battle scene in which the Alexander the Great overthrows the Persian King Darius. Instead of illustrating the strictly religious theme, the artist chooses to focus more on depicting the historical event. The crowd of people in comparison to the vast nature in the background suggests the moralizing theme of the insignificance of h uman life. He uses the vast nature in the background to symbolize the power of cosmos and the illuminating sky to represent the immense space. The slight trace of Italian Renaissance is shown by the meticulous details the painter uses for the image of Alexander the Great and the dramatic and illusionistic portrayal of the setting. Also the idealistic impression of the artwork as a whole resembles that of the Italian Renaissance paintings. Another praise-worthy example of Northern painting is The Judgment of Paris by Lucas Cranach the Elder, who is the representative of German Protestant painting. This work is a great example of how his works shifted from religious to humanistic subject matter when he became a follower of Luther. His humanistic subject matters include mythology, history, and also portraits. The Judgment of Paris illustrates the scene from mythology in which the three goddesses boast off their beauties in front of Paris. The humanistic subject matter along with the background landscape reflects the typical characteristics of Northern paintings. The cupid in the painting serves as a symbol for love and affection while the German armor that Paris is wearing in the painting represents his social status as a knight and his honor. The artist does not dress the goddesses after the antique manner. Cranachs composition featuring the nude was inspired in an attempt to learn from the style of Italian Renaissance. The Four Apostles by Albrecht Durer in 1526 is a remarkable northern painting that is stylistically influenced by Italian Renaissance. This art piece is unique in that the painter expresses his own religious and political testament, sympathizing the protestant cause and [warning] against the dangerous times, when religious, truth, justice, and the virtues all will be threatened. Unlike other Northern paintings, this piece does contain religious meanings, but it distinguishes itself from Italian paintings by eliminating any glorification of the Church. This piece was hung in the city hall, the four apostles symbolically representing the guardians of the city; they are cautioning people against the sermons of false prophets who will misinterpret the word of God. The four apostles are symbolic representative of various ideas such as the four temperaments, of the human soul, and also the four ages of man. In this painting, Durers experience of traveling to Italy allows him to harmonize t he two opposing styles of northern naturalism and southern monumentality. The realistic visualization of the four apostles reflects the northern naturalism while the monumentality of the figures along with the vivid use of color and sharp lighting mirror the Italian Renaissance. Durer, along with Cranach and Altdorfer, serves as an example of northern artist who illustrated contents related to Protestant-Reformation while incorporating styles of Italian Renaissance into his paintings. The Netherlands was the exceptional region in North in which Calvinism and Catholicism co-existed. In the late 16th Century, the Northern Netherlands was able to break away from Spains influence, while the Southern Netherlands remained under the rule of Spain. Therefore, the Northern Netherlands eventually embraced Calvinism while the Southern Netherlands remained as supporters of Catholicism. It is important to realize that Dutch and Flemings were not predestined to become Calvinists and Catholics; it was solely caused by the geographical and military circumstances. No curtain existed between the North and the South that forbid the exchange of ideas. In fact, Constantin Huygens, a diplomat and an art critic, referred to great painters of Amsterdam, Utrecht, and The Hague collectively as the painters of Netherlands. Therefore, it cannot be concluded that the Northern Netherlands was only influenced by Calvinist ideas, which also applies to the Southern Netherlands. In the early 17th Century Catholicism was suppressed and catholic churches were demolished due to the iconoclast movement, but the protestantizing of the Northern Netherlands was still a slow process. Most artists chose to remain as Catholics, although exact number is hard to determine. However, the attempt to repair damage caused by the iconoclast movement was not as extensive and as systematic in the North as in the South. The Northern Renaissance in the Netherlands took on a completely different form from the Italian Renaissance because the Church no longer was the major patron in the North. Instead, the wealthy merchant middle class were the primary patrons of the art and thus, the Dutch masters painted small pictures for their small houses, not for the Cathedral altars. Since large church commissions were no longer available, artists changed their styles in accordance to the taste of their new customers. The artists from the Netherlands specialized in intense realism, depicting lifelike features with an unflattering honesty, unlike the Italian Renaissance painters who specialized in idealism and simplicity. Therefore, the basis of art for the Northern Renaissance was observation while for the Italian Renaissance, it was theory. The Northern Renaissance in the Netherlands indirectly reflects the influence of Protestantism in that religious themes no longer prevailed in art, although more direct causes were the changing structure of the Netherlands economy and culture. The artworks produced in the 17th Century Netherlands were more conservative compared to those of Germany, concentrating on the nature and the past times of the prosperous Dutch merchants. The direct portraits, realistic still-lifes, landscapes, marine-scapes, and genre paintings showing scenes of everyday life were popular subjects of the Dutch artists. A Scene on the Ice by Hendrick Avercamp in 1625 is an accurate representation of a typical Dutch style, illustrating the commonplace scene of people enjoying winter sports in the quiet village of Kampen northeast of Amsterdam. His style clearly reflects the Northern Renaissances realism and its use of details, faithfully depicting the winter. He enhances his realistic rendering by using a frosty day to convey a sense of depth; the pearly gray tonality here becomes ever paler and the forms less distinct as they move into the distance. His work is unique in that it successfully portrays all classes of Dutch society through by using meticulous details, from the poor fisherman surveying the skater to the well-dressed ladies riding in an elegant sleigh driven by a groom. This is the typical genre painting of Northern Renaissance departing itself from the religious influence of Roman Catholic Church of Italy. A seascape, along with landscape, also became very popular in Holland due to the rise of merchant class; view of Dordrecht from the Dordtse Kil by Jan Van Goyen painted in 1644 serves is an impressive seascape painting. The artist uses monochromatic phase, which is a technique in which a single color dominates the painting, to unify each view of nature; the golden brown aura dictates the scene, from the hazy clouds to the city skyline. He reached the summit of Northern realism by lowering the horizon to focus more on the atmospheric conditions overhead and by creating an illusion of standing on the opposite shore of the port. Unlike the Northern Netherlands, the Southern Netherlands was more influenced by the Counter Reformation than the Protestant Reformation. The Reborn Catholicism in Spain had an undeniable impact on the Southern Netherlands provinces. Moreover, France sent numerous religious orders and congregations to Spanish Netherlands in order to secure the Catholics authorit y. The disparity in the contents of the paintings resulted from the disagreement in Protestants and Catholics perspectives of the human relationship with god. Unlike the Protestants who claimed that humans are capable of having a direct communication with god, the Catholics argued that intermediaries, such as saints and the Virgin Mary, are essential for humans to connect with god. Therefore, Catholics created artworks of saints, the Virgin Mary, and Jesus and gave reverence to them, as a way of getting closer to god. Although the Catholics asserted that they are not worshipping the intermediaries, the Protestants criticized this practice and led the iconoclastic movements. Iconoclasm is a deliberate destruction of religious icons and symbols within ones own culture for religious changes. The Protestants and Catholics conflict was caused by the difference in their perspectives of the sacred and secular;while the Catholics maintained the clear separation of the two, the reformers recogni zed the connection between the two. Consequently, the Roman Catholic Church clergy advocated strictly religious and sacred artworks whereas the reformers preferred artworks depicting the lives of ordinary people. The Northern Protestant painters believed that an ordinary life could glorify God just as much as a life `in the ministry ; since god created humans in His image, the reformation artists claimed that they are glorifying god by portraying the natural beauty of his creation, in other words, the people. These differing ideas are well conveyed through the artworks produced from the regions south of the Alps, north of the Alps, and the Netherlands mentioned above. My thesis is partially proven to be correct in that Italian art was definitely influenced by the Counter- Reformation and that German art was influenced by the Protestant- Reformation. But contradicting to my statement, the Netherlands was influenced by both religious movements. According to the Art History Professor S arah Blick from Canyon University, the Counter- Reformation had a more direct influence on art produced after 1520s then the Protestant Reformation. Therefore, she suggested me focus on the lack of religious content in the artworks in order to study the influence of Protestant Reformation during her interview. Although artworks from each of these regions have distinct characteristics that set them apart, Italian style of painting frequently perceived in these artworks indicate that artists were inspired by each other. Because I had to narrow down my topic, many new questions emerged from my research. I am curious to know whether the various Protestantism had different influences on art. For this research, I referred to Protestants as one group but I want to extend my research so that I can investigate on the influence of the Protestant Sectarianism on art. Bibliography MacCulloch, Diarmaid. The Reformation A History. New York: Viking Adult, 2004. Print. The Annotated Mona Lisa. Missouri: John Boswell Management, Inc., 1992. Print. Helen, Gardner,. Gardners art through the ages. Fort Worth: Harcourt Brace College, 1996. Print. Iconography of the Counter Reformation in the Netherlands heaven on earth John B Knippings Art of the Reformation and Counter-Reformation. HyperHistory.net. Web. 07 Oct. 2009. . Scipione Pulzone (Il Gaetano): The Lamentation (1984.74) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art. The Metropolitan Museum of Art, New York: metmuseum.org. Web. 07 Oct. 2009. . Janson, H. W. History of art for young people. New York: H.N. Abrams, 2002. Print. Matters of Taste: Genre and Still Life Painting in the Dutch Golden Age. Welcome to Albany Institute of History and Art. Web. 07 Oct. 2009. .

Jean Watson

Jean Watson’s Theory of Human Caring Heidijo Elyea Olivet Nazarene University Theoretical and Professional Foundations of Nursing MSN SP2013 NRSG-653-54 Theresa Williams March 19, 2013 Certification of Authorship: I certify that I am the author of this paper and that any assistance I received in its preparation is fully acknowledged and disclosed in the paper. I have also cited any sources from which I used data, ideas, or words, either quoted directly or paraphrased. I also certify that this paper was prepared by me specifically for the purpose of this assignment.Your Signature: _____Heidijo Elyea____________________________ Jean Watson’s Theory of Human Caring Jean Watson’s Theory of Human Caring focuses on holistic care of the patient and understanding the power of a meaningful therapeutic relationship. The theory is a middle-range theory and is based on the role of care and the influence of caring on healing. Caring is a moral ideal of nursing that involves m ind, body, and soul engagement with another, which can be expressed through nursing interventions (Chinn & Kramer, 2011).Many nurses have adopted Jean Watson’s Caring Theory in their own practice. Nursing has a commitment to protect, enhance, and preserve their client’s humanity by helping them restore harmony. Caring moments should transform both the patient and nurse, as they are linked together. Educational History Jean Watson earned her BSN, MS, and PhD degrees all at University of Colorado. She was also the former dean in the College of Nursing and founded the Center for Human Caring (Parker & Smith, 2010). Watson’s undergraduate and graduate degrees are in nursing and mental health nursing.Her PhD is in educational psychology and counseling. Jean Watson also serves as director of the Watson Caring Science Institute, which is a nonprofit company she founded and is dedicated to promoting the work of caring, science, and heart-centered nursing (Parker & Smith , 2010). Overview of Theory of Human Caring Major Elements There are four major elements in Jean Watson’s Theory of Human Caring. The four elements are the ten carative factors/clinical caritas processes, transpersonal caring relationships, caring moment/occasion, and caring-healing modalities.Carative factors are a guide and process in which a person cares for another and does all they can to protect, support, enhance, and maintain his or her quality of life. Transpersonal caring is a time when the nurse and patient come together and has an influence on each other. Caring should not be done as a chore as an assignment as it is an ethical deliberate action. Caring moments occur when two people come together with one person being the care recipient. Watson also developed the concept of clinical caritas that evolved from carative factors.Caritas means to cherish and expands on the relationship between caring and healing for self and others (Parker & Smith, 2010). Original Carat ive Factors Dr. Watson started her theory with ten carative factors, which she later evolved into clinical caritas processes. The ten factors are: 1. Formation of a humanistic- altruistic system of values. 2. Instillation of faith-hope. 3. Cultivation of sensitivity to one’s self and to others. 4. Establishing a helping-trusting relationship, human caring relationship. 5.Promotion and acceptance of the expression of feelings, both positive and negative 6. The systematic use of a creative problem-solving caring process. 7. Promotion of system and subjective life world of self and one being cared for. 6. Systematic use of a creative problem-solving caring process becomes transpersonal teaching-learning. 8. Provision for a supportive, protective and /or corrective mental, physical, societal, and spiritual environment. 9. Assistance with the gratification of human needs. 10. Allowance for existential-phenomenological-spiritual forces. Parker & Smith, 2010) Clinical Caritas Proces ses Watson’s evolved carative factors became clinical caritas processes evokes a way for nurses to be more open and adds a spiritual touch to the relationship. The clinical caritas processes are: 1. Formation of humanistic-altruistic system of values becomes the practice of loving kindness and equanimity within the context of caring consciousness. 2. Instillation of faith-hope becomes being authentically present, and enabling and deep belief system and subjective life world of self and one being cared for. 3.Cultivation of sensitivity to one's self and to others becomes cultivation of one’s own spiritual practices and transpersonal self, going beyond ego self, opening to others with sensitivity and compassion. 4. Development of a helping-trusting, human caring relationship becomes developing and sustaining a helping-trusting, authentic caring relationship. 5. Promotion and acceptance of the expression of positive and negative feelings, becomes being present to, and sup portive of the expression of positive and negative feelings as a connection with deeper spirit of self and the one being cared for. 6.Systematic use of a creative problem-solving caring process becomes creative use of self and all ways of knowing as part of the caring process; to engage in artistry of caring- healing practices. 7. Promotion of transpersonal teaching-learning becomes engaging in genuine learning experience that attends to unity of being and meaning, attempting to stay within other's frame of reference. 8. Provision for a supportive, protective, and/or corrective mental, physical, societal, and spiritual environment becomes creating healing environment at all levels (a physical and nonphysical, subtle environment of energy and consciousness, whereby holeness, beauty, comfort, dignity, and peace are potentiated). 9. Assistance with gratification of human needs becomes assisting with basic needs, with an intentional caring consciousness, administering â€Å"human care essentials†, which potentiate alignment of mind-body-spirit, wholeness, and unity of being in all aspects of care, tending to both embodied spirit and evolving spiritual emergence. 10. Allowance for existential-phenomenological-spiritual forces becomes opening and attending to spiritual-mysterious, and existential dimensions of one's own life-death; soul care for self and the one-being-care-for. Parker & Smith, 2010). The first three carative factors form the â€Å"philosophical foundation† for the science of   caring. The remaining seven carative factors spring from the foundation laid by these first three (Parker & Smith, 2010). Implications of the Caring Theory Jean Watson feels her theory can be considered a â€Å"philosophical and moral/ethical foundation for professional nursing and part of the central focus for nursing at the disciplinary level† (Parker & Smith, 2010). The theory offers a framework that encompasses the arts, sciences, humanities, spiritu ality, and evolving dimensions of holistic medicine and nursing.The model is an invitation to work together and experiment with the ideas and the philosophy. Watson offers up several questions to assess where we are as nurses within the framework of the Caring Science. †¢ Is there congruence between the values and major concepts and beliefs in the model and the given nurse, group, system, organization, curriculum, population needs, clinical administrative setting, or other entity that is considering interacting with the caring model to transform and/or improve practice? What is one’s view of human? And what it means to be human, caring, healing, becoming, growing, transforming, etc. Such thinking in regard to this philosophical question can guide one’s worldview and help to clarify where one may locate self within the caring framework. †¢ Are those interacting and engaging in the model interested in their own personal evolution? Are they committed to seeking authentic connections and caring-healing relationships with self and others? Are those involved â€Å"conscious† of their caring caritas or noncaring consciousness and intentionally in a given moment and at an individual and system level? Are they interested and committed to expanding their caring consciousness and actions to self, other, environment, nature and wider universe? †¢ Are those working within the model interested in shifting their focus from a modern medical science-technocure orientation to a true caring-healing-loving model (Parker & Smith, 2010)? Strengths and Limitations Jean Watson’s theory has many strengths, as it is logical, generalizable, and relatively simple.The theory is based on phenomenological studies that ask questions rather than state hypotheses and can be used to guide and improve practice. Supported by the theoretical work of numerous humanists, philosophers, developmentalists and psychologists. This theory places the client in the context of the family, the community and the culture and places the client as the focus on practice rather than the technology. Limitations of Dr. Watson’s theory are few, but the main limitation is that the carative factors primarily address the psychosocial needs.The physical and biological needs appear secondary. Conclusion Watson’s theory provides many useful concepts for nursing practice. She also ties together other theories used in nursing education. The ten carative factors and caritas processes provide guidance to nurses wishing to improve their nursing practice. References Chinn, P. L. , & Kramer, M. K. (2011). Integrated knowledge development in nursing (8th ed. ). St. Louis: Mosby. Parker, M. , & Smith, M. (2010). Nursing theories & nursing practice 3rd ed. ). Philadelphia: F. A. Davis Company. Jean Watson Jean Watson’s Theory of Human Caring Heidijo Elyea Olivet Nazarene University Theoretical and Professional Foundations of Nursing MSN SP2013 NRSG-653-54 Theresa Williams March 19, 2013 Certification of Authorship: I certify that I am the author of this paper and that any assistance I received in its preparation is fully acknowledged and disclosed in the paper. I have also cited any sources from which I used data, ideas, or words, either quoted directly or paraphrased. I also certify that this paper was prepared by me specifically for the purpose of this assignment.Your Signature: _____Heidijo Elyea____________________________ Jean Watson’s Theory of Human Caring Jean Watson’s Theory of Human Caring focuses on holistic care of the patient and understanding the power of a meaningful therapeutic relationship. The theory is a middle-range theory and is based on the role of care and the influence of caring on healing. Caring is a moral ideal of nursing that involves m ind, body, and soul engagement with another, which can be expressed through nursing interventions (Chinn & Kramer, 2011).Many nurses have adopted Jean Watson’s Caring Theory in their own practice. Nursing has a commitment to protect, enhance, and preserve their client’s humanity by helping them restore harmony. Caring moments should transform both the patient and nurse, as they are linked together. Educational History Jean Watson earned her BSN, MS, and PhD degrees all at University of Colorado. She was also the former dean in the College of Nursing and founded the Center for Human Caring (Parker & Smith, 2010). Watson’s undergraduate and graduate degrees are in nursing and mental health nursing.Her PhD is in educational psychology and counseling. Jean Watson also serves as director of the Watson Caring Science Institute, which is a nonprofit company she founded and is dedicated to promoting the work of caring, science, and heart-centered nursing (Parker & Smith , 2010). Overview of Theory of Human Caring Major Elements There are four major elements in Jean Watson’s Theory of Human Caring. The four elements are the ten carative factors/clinical caritas processes, transpersonal caring relationships, caring moment/occasion, and caring-healing modalities.Carative factors are a guide and process in which a person cares for another and does all they can to protect, support, enhance, and maintain his or her quality of life. Transpersonal caring is a time when the nurse and patient come together and has an influence on each other. Caring should not be done as a chore as an assignment as it is an ethical deliberate action. Caring moments occur when two people come together with one person being the care recipient. Watson also developed the concept of clinical caritas that evolved from carative factors.Caritas means to cherish and expands on the relationship between caring and healing for self and others (Parker & Smith, 2010). Original Carat ive Factors Dr. Watson started her theory with ten carative factors, which she later evolved into clinical caritas processes. The ten factors are: 1. Formation of a humanistic- altruistic system of values. 2. Instillation of faith-hope. 3. Cultivation of sensitivity to one’s self and to others. 4. Establishing a helping-trusting relationship, human caring relationship. 5.Promotion and acceptance of the expression of feelings, both positive and negative 6. The systematic use of a creative problem-solving caring process. 7. Promotion of system and subjective life world of self and one being cared for. 6. Systematic use of a creative problem-solving caring process becomes transpersonal teaching-learning. 8. Provision for a supportive, protective and /or corrective mental, physical, societal, and spiritual environment. 9. Assistance with the gratification of human needs. 10. Allowance for existential-phenomenological-spiritual forces. Parker & Smith, 2010) Clinical Caritas Proces ses Watson’s evolved carative factors became clinical caritas processes evokes a way for nurses to be more open and adds a spiritual touch to the relationship. The clinical caritas processes are: 1. Formation of humanistic-altruistic system of values becomes the practice of loving kindness and equanimity within the context of caring consciousness. 2. Instillation of faith-hope becomes being authentically present, and enabling and deep belief system and subjective life world of self and one being cared for. 3.Cultivation of sensitivity to one's self and to others becomes cultivation of one’s own spiritual practices and transpersonal self, going beyond ego self, opening to others with sensitivity and compassion. 4. Development of a helping-trusting, human caring relationship becomes developing and sustaining a helping-trusting, authentic caring relationship. 5. Promotion and acceptance of the expression of positive and negative feelings, becomes being present to, and sup portive of the expression of positive and negative feelings as a connection with deeper spirit of self and the one being cared for. 6.Systematic use of a creative problem-solving caring process becomes creative use of self and all ways of knowing as part of the caring process; to engage in artistry of caring- healing practices. 7. Promotion of transpersonal teaching-learning becomes engaging in genuine learning experience that attends to unity of being and meaning, attempting to stay within other's frame of reference. 8. Provision for a supportive, protective, and/or corrective mental, physical, societal, and spiritual environment becomes creating healing environment at all levels (a physical and nonphysical, subtle environment of energy and consciousness, whereby holeness, beauty, comfort, dignity, and peace are potentiated). 9. Assistance with gratification of human needs becomes assisting with basic needs, with an intentional caring consciousness, administering â€Å"human care essentials†, which potentiate alignment of mind-body-spirit, wholeness, and unity of being in all aspects of care, tending to both embodied spirit and evolving spiritual emergence. 10. Allowance for existential-phenomenological-spiritual forces becomes opening and attending to spiritual-mysterious, and existential dimensions of one's own life-death; soul care for self and the one-being-care-for. Parker & Smith, 2010). The first three carative factors form the â€Å"philosophical foundation† for the science of   caring. The remaining seven carative factors spring from the foundation laid by these first three (Parker & Smith, 2010). Implications of the Caring Theory Jean Watson feels her theory can be considered a â€Å"philosophical and moral/ethical foundation for professional nursing and part of the central focus for nursing at the disciplinary level† (Parker & Smith, 2010). The theory offers a framework that encompasses the arts, sciences, humanities, spiritu ality, and evolving dimensions of holistic medicine and nursing.The model is an invitation to work together and experiment with the ideas and the philosophy. Watson offers up several questions to assess where we are as nurses within the framework of the Caring Science. †¢ Is there congruence between the values and major concepts and beliefs in the model and the given nurse, group, system, organization, curriculum, population needs, clinical administrative setting, or other entity that is considering interacting with the caring model to transform and/or improve practice? What is one’s view of human? And what it means to be human, caring, healing, becoming, growing, transforming, etc. Such thinking in regard to this philosophical question can guide one’s worldview and help to clarify where one may locate self within the caring framework. †¢ Are those interacting and engaging in the model interested in their own personal evolution? Are they committed to seeking authentic connections and caring-healing relationships with self and others? Are those involved â€Å"conscious† of their caring caritas or noncaring consciousness and intentionally in a given moment and at an individual and system level? Are they interested and committed to expanding their caring consciousness and actions to self, other, environment, nature and wider universe? †¢ Are those working within the model interested in shifting their focus from a modern medical science-technocure orientation to a true caring-healing-loving model (Parker & Smith, 2010)? Strengths and Limitations Jean Watson’s theory has many strengths, as it is logical, generalizable, and relatively simple.The theory is based on phenomenological studies that ask questions rather than state hypotheses and can be used to guide and improve practice. Supported by the theoretical work of numerous humanists, philosophers, developmentalists and psychologists. This theory places the client in the context of the family, the community and the culture and places the client as the focus on practice rather than the technology. Limitations of Dr. Watson’s theory are few, but the main limitation is that the carative factors primarily address the psychosocial needs.The physical and biological needs appear secondary. Conclusion Watson’s theory provides many useful concepts for nursing practice. She also ties together other theories used in nursing education. The ten carative factors and caritas processes provide guidance to nurses wishing to improve their nursing practice. References Chinn, P. L. , & Kramer, M. K. (2011). Integrated knowledge development in nursing (8th ed. ). St. Louis: Mosby. Parker, M. , & Smith, M. (2010). Nursing theories & nursing practice 3rd ed. ). Philadelphia: F. A. Davis Company.