Thesis (M.A.)--Western Washington University, 2010. / Includes bibliographical references (leaves 67-69). Also issued online.

No abstract available. / Thesis (DMus)--University of Pretoria, 2009. / Music / unrestricted

Maps bound separately.

Thesis (M.A.)--Western Washington University, 2009. / Includes bibliographical references. Also issued online.

No description available.

Se efectuó Lima- Perú, un estudio para determinar el riesgo a úlceras por presión y clasificar el nivel de riesgo según proveedor de cuidados, mediante la ESCALA DE NORTON en los pacientes adultos mayores de un programa de atención domiciliaria en el Callao. Objetivo: Determinar el Riesgo a desarrollar úlceras por presión mediante el uso de una Escala de Norton, clasificar el nivel de riesgo según proveedor de cuidados, desarrollo de protocolo de atención médica encaminado a la parte preventiva en un programa de una institución de la seguridad social. Materiales y Métodos: El presente estudio cuantitativo descriptivo tipo transversal; realizado en el Programa de Prestaciones de Atención Domiciliaria/PADOMI, del Seguro Social de Salud/EsSalud de la Provincia Constitucional del Callao. La población estuvo conformada por 718 adultos mayores, considerando una muestra aleatoria de 152 adultos mayores conforme criterios de inclusión. Los datos se recolectaron mediante visita domiciliaria, entrevista y observación utilizando una ficha de trabajo que incluía datos sociodemográficos del adulto mayor/cuidador, y Escala Norton; para analizar los datos se uso la estadística descriptiva. Resultados: El 53,3% de los Adultos mayores se encuentran en un rango de 80-89 años, predomina el sexo femenino con un 39,4%,un 52,6% asistido por un cuidador informal. De la misma forma el 48% presenta un riesgo medio para Ulceras por Presión según Escala de Norton siendo el 53,9% presenta un Estado Físico General Regular, Estado Mental Apático de 55,3%, Actividad Disminuida con un 50,7%, Camina con Ayuda con 51,3% y en cuanto a Incontinencia Ocasional de 57,9%.En relación a clasificación de Riesgo según cuidador, destaca el Riesgo Medio en todos los cuidadores, pero el 20% obtuvo el Riesgo Muy Alto tanto el Cuidador Informal como Otro Cuidador y el 21,25% como Riesgo Alto al Cuidador Informal. Conclusiones: La gran mayoría de Adultos Mayores tuvo un Riesgo Medio para presentar úlceras por presión.

No

Syftet med denna systematiska litteraturstudie var att ta reda på vilka mätinstrument som används för att identifiera patienter med risk att utveckla trycksår samt beskriva vilka omvårdnadsåtgärder som har betydelse för trycksårsprevention och sårläkning. De vetenskapliga artiklarna (n=16) som ingick i denna studie söktes i databasen Elin@dalarna. Sökorden som användes var pressure ulcer i olika kombinationer med nutrition, activity, skin, Norton, treatment och hydrocolloid. Inklusionskriterierna var att artiklarna skulle vara publicerade mellan åren 1999-2006 och vara i fulltext samt svensk och/eller engelskspråkig. Resultatet visade att patienter borde riskbedömas för trycksår så snart som möjligt efter att de anlänt till vårdinrättningen. Bedömningen kunde göras med ett flertal olika evidensbaserade mätinstrument såsom Norton, modifierad Norton, Braden, modifierad Braden, och RAPS skalorna samt bedömning av BMI, serum albuminvärde och hudtemperatur. Sjuksköterskans omvårdnadsåtgärder gällande prevention och sårläkning var att snabbt mobilisera patienter. Hos immobiliserade patienter var det viktigt att dessa vändes varannan timme samt att sjuksköterskan använde kuddar, fårskinn eller anti- decubitus madrasser för att tryckavlasta huden i denna patientgrupp. Resultatet visade även att kosttillägg hade stor betydelse för trycksårsprevention och sårläkning. Det var viktigt att sjuksköterskan rengjorde såret med tvål/vatten eller natriumklorid och använde hydrocolloida förband för att få en optimal sårläkning.

Research Doctorate - Doctor of Philosophy (PhD) / This thesis explores the contribution of the Australian witch and trance artist Rosaleen Norton (1917-1979) to the 20th century Western esoteric tradition. Norton’s artistic career began in the 1940s, with publication of some of her earliest occult drawings, and reached a significant milestone in 1952 when the controversial volume The Art of Rosaleen Norton – co-authored with her lover, the poet Gavin Greenlees – was released in Sydney, immediately attracting a charge of obscenity. Norton rapidly acquired a reputation as the wicked ‘Witch of Kings Cross’, was vilified by journalists during the 1950s and 1960s, and was branded by many as evil and demonic. Norton’s witchcraft coven was dedicated to the practice of heathen worship and ceremonial sex magic and attracted a small number of dedicated inner-circle followers, most notably the renowned musical conductor Sir Eugene Goossens (1893-1962), whose personal and professional career would be irrevocably damaged as a result of his contact with Norton’s magical group. Within the social context of post-World War Two Australia Norton was unquestionably an unconventional figure at a time when the local population was approximately 80 per cent Christian. Norton claimed to be an initiated follower of the Great God Pan and also revered other ancient figures, most notably Hecate, Lilith and Lucifer. Norton claimed to encounter these mythic beings as experientially real on the ‘inner planes’ which she accessed while in a state of self-induced trance. Many of her most significant artworks were based on these magical encounters. Norton is presented in this thesis as a magical practitioner and artist whose creative work and thought has made a substantial contribution to the 20th century Western esoteric tradition – and, in particular, to the magic of the so-called ‘left-hand path’, which is a significant part of this modern occult tradition. Norton’s artworks are also compared to those of the notable British trance artist and occultist Austin Osman Spare (1886-1956), who is now widely regarded as a major figure in the 20th century magical revival.

Research Doctorate - Doctor of Philosophy (PhD) / This thesis explores the contribution of the Australian witch and trance artist Rosaleen Norton (1917-1979) to the 20th century Western esoteric tradition. Norton’s artistic career began in the 1940s, with publication of some of her earliest occult drawings, and reached a significant milestone in 1952 when the controversial volume The Art of Rosaleen Norton – co-authored with her lover, the poet Gavin Greenlees – was released in Sydney, immediately attracting a charge of obscenity. Norton rapidly acquired a reputation as the wicked ‘Witch of Kings Cross’, was vilified by journalists during the 1950s and 1960s, and was branded by many as evil and demonic. Norton’s witchcraft coven was dedicated to the practice of heathen worship and ceremonial sex magic and attracted a small number of dedicated inner-circle followers, most notably the renowned musical conductor Sir Eugene Goossens (1893-1962), whose personal and professional career would be irrevocably damaged as a result of his contact with Norton’s magical group. Within the social context of post-World War Two Australia Norton was unquestionably an unconventional figure at a time when the local population was approximately 80 per cent Christian. Norton claimed to be an initiated follower of the Great God Pan and also revered other ancient figures, most notably Hecate, Lilith and Lucifer. Norton claimed to encounter these mythic beings as experientially real on the ‘inner planes’ which she accessed while in a state of self-induced trance. Many of her most significant artworks were based on these magical encounters. Norton is presented in this thesis as a magical practitioner and artist whose creative work and thought has made a substantial contribution to the 20th century Western esoteric tradition – and, in particular, to the magic of the so-called ‘left-hand path’, which is a significant part of this modern occult tradition. Norton’s artworks are also compared to those of the notable British trance artist and occultist Austin Osman Spare (1886-1956), who is now widely regarded as a major figure in the 20th century magical revival.