Magister Curationis - MCur / Background: Nursing as a profession is based on firm knowledge, values, clinical skills and attitudes. In the current dynamic healthcare systems, all nurses are challenged to be insightful and have robust clinical reasoning and psychomotor skills in order to integrate theory into practice. Therefore, they need to be accountable in ensuring that they perform optimally to meet the extensive demands of clinical settings. Theory-practice integration is a major element that sustains quality and drives best nursing practice. One of the barriers to theory-practice integration is the gap between theory and practice in nursing education. Therefore, if sound theory is the basis for understanding the reality of the clinical setting, then every effort should be made to reduce the gap between theory and practice. Aim: The aim of the study was to explore and describe the challenges experienced by second and third-year nursing students when integrating theory into practice in a selected clinical setting in the Western Cape. Method: A qualitative approach, using an explorative, descriptive and contextual design, was employed. The target population of the study was the second and third-year nursing students who were registered for the Bachelor of Nursing Degree in the academic year of 2016. The selected non probability sample comprised of 14 participants. Data were collected using semi-structured focus group interviews, with an interview guide and probing to gain detailed information during the process of data collection. Interviews were audio recorded to ensure that no information would be lost and the researcher could review it when necessary. The content analysis method was used to analyse the data. Permission to conduct the study using the nursing students was obtained from the registrar of the University of the Western Cape and the HOD of Son. The research ethics committee granted ethics approval related to the study. All participants were involved in the study on a voluntary basis. Informed consent and focus group confidentiality binding forms were completed by participants to ensure confidentiality. Results: Four themes emerged from the findings namely: Theory verses practice, lack of role models, inadequate support structures and communication. The study highlighted that nursing students still experience a challenge with integrating theory into practice in the clinical settings. In addition the study highlighted that clinical guidance from the preceptors a crucial role in the professional development of students. The results of the study also showed that a new structure of facilitating nursing students in clinical settings must be in place. This structure should include proper orientation and supervision of the nursing students. The preceptors who facilitate clinical guidance must be equipped with the necessary knowledge and skills to ensure that they are able to facilitate and monitor the competence of the nursing students. Conclusion: Clinical nursing education is vital and indispensable in nursing education. It is very complex consisting of many aspects and situations, which can be challenging and demanding for a nursing student. Due to its complexity, it is essential for nursing students to be exposed to a variety of real life situations within their training in order to better prepare them for quality practice. Nursing students therefore require sufficient support from the clinical preceptor and the nursing educators, to acquire the necessary skills, knowledge and attitude to perform nursing duties with competence, when placed in the clinical settings. This calls a lot of attention from the higher learning institutions and the clinical settings to have standardised goals and expectation for the students, providing quality clinical accompaniment that will socialise the nursing student optimally in the profession and attempt to bridge the gap between theory and practice.

The performance of optimization algorithms is sensitive to both the optimization problem's numerical characteristics and the termination criteria of the algorithm. Given these considerations two tuning algorithms named tMOPSO and MOTA are proposed to assist optimization practitioners to nd algorithm settings which are approximate for the problem at hand. For a speci ed problem tMOPSO aims to determine multiple groups of control parameter values, each of which results in optimal performance at a di erent objective function evaluation budget. To achieve this, the control parameter tuning problem is formulated as a multi-objective optimization problem. Furthermore, tMOPSO uses a noise-handling strategy and control parameter value assessment procedure, which are specialized for tuning stochastic optimization algorithms. The principles upon which tMOPSO were designed are expanded into the context of many objective optimization, to create the MOTA tuning algorithm. MOTA tunes an optimization algorithm to multiple problems over a range of objective function evaluation budgets. To optimize the resulting many objective tuning problem, MOTA makes use of bi-objective decomposition. The last section of work entails an application of the tMOPSO and MOTA algorithms to benchmark optimization algorithms according to their tunability. Benchmarking via tunability is shown to be an effective approach for comparing optimization algorithms, where the various control parameter choices available to an optimization practitioner are included into the benchmarking process. / Thesis (PhD)--University of Pretoria, 2014 / gm2015 / Mechanical and Aeronautical Engineering / PhD / Unrestricted

https://dc.etsu.edu/digital-animation-videos-oer/1031/thumbnail.jpg

No description available.

No description available.

Three cholesterol interventions were evaluated in a work-site setting to determine which was most effective in modifying physiological, behavioral, and knowledge measures related to total serum cholesterol. Of the 246 employees initially screened, 135 (55%) were identified as having elevated total serum cholesterol levels (>200 mg/dl) and were eligible for the study. Treatment consisted of either a six-session cholesterol reduction course requiring 30 days dietary monitoring, a six-session course without dietary monitoring, or an incentive only approach. Significant increases in cholesterol knowledge and dietary fiber consumption was found in both the education intervention with logging and intervention without logging groups. The results indicate that positive learning effects can take place in work-site settings and that such learning can lead to dietary changes that reduce the effects of high serum cholesterol.

No / This paper is a contribution to the developing understanding of social relationships in institutional care settings. It focuses on two areas that have been neglected in research: the reasons for and types of social interaction in institutional settings, and the ways in which the context of people's lives shapes social interaction. The paper draws on ethnographic observations conducted in four care settings in Scotland using a symbolic interactionist perspective. It finds that residents communicate and interact, and that the personal, cultural and structural contexts frame social interaction and influence the ways that residents use humour, express sexuality, and show hostility. The paper concludes that residents create social interactions in which action is embedded, but do so within specific structural and cultural contexts. These contexts `control¿ resident action by establishing frameworks for the interpretation of meaning. At the same time, each facet of context is `controlled¿ by the ways in which residents actively take on the `role¿ of others, and project `self¿ and a `label¿.

The musical ode, which developed during the 1660s and 1670s as a means of celebrating occasions of particular significance (often by setting a specially written text), remained popular throughout the eighteenth century, and can be regarded as the earliest form of large-scale secular choral music to have developed in England. This dissertation discusses the nature of the genre (including its relationship with the poetical ode), and surveys the contexts in which odes were composed and performed. It is supplemented by a catalogue which lists some 270 examples of the genre. Among the earliest odes were those written for performance at the court in London. These have already been the subject of musicological study, but although they were the biggest stylistic influence on the other odes written during the late seventeenth and early eighteenth centuries, they were not quite the earliest examples of the species. At the University of Oxford, the practice of performing specially composed odes to enhance academic ceremonial dates from at least 1669, and the custom continued throughout the following century. The odes on St Cecilia's Day also originate in the late seventeenth century, but although the works performed in London between 1683 and 1701 have received some scholarly attention, odes on the same theme written later in the century, along with works performed at a number of provincial centres, have not hitherto been discussed in the context of the wider ode genre. Also neglected have been the birthday odes performed at the Vice-regal court in Dublin during the eighteenth century. These complement the London court odes, but have not previously been listed or discussed in detail. Other odes were written for charitable causes, and to commemorate a miscellaneous array of occasions, including military victories and the inauguration of new buildings. In addition, in the latter half of the eighteenth century, some composers responded to developments in the poetical ode by setting libretti which had no 'occasional' inspiration, but which were notable literary achievements in their own right.

1 score (x, 113 p.) / The implementation of an informed cross-relationship between two independent art forms has often been a source of inspiration for artists throughout the millennia. However, in the late 19th century, both Russian and French thinkers and artists began to build upon this notion by creatively considering the intermingling of sensory experiences as well. The resulting artwork from this temporally specific era was described as being "Symbolist," referencing both the intermedial and multi-sensory processes involved and/or considered in creating the respective work. My personal penchant to explore this artistic approach has resulted in a symphony that was inspired by, and intimately considers, five individual pieces of French "Symbolist" art, poetry, and sculpture. Each movement specifically focuses upon one of the five human senses. The respective works are: the sculpture "Le baiser" by Auguste Rodin (touch), "Parfum exotique" from Les fleurs du mal by Charles Baudelaire (smell), "Tristesse d'été" by Stèphane Mallarmé (taste) as published in Du parnasse contemporain, the painting "Hina tefatou" by Paul Gauguin (sight/insight), and "Chanson d'automne" from Poèmes saturniens by Paul Verlaine (hearing/listening). / Committee in charge: Dr. David Crumb Chairperson, Advisor， Dr. Robert Kyr， Member； Dr. Jack Boss， Member； Dr. Jenifer Craig， Outside Member

The process of metaphrasis denotes the translation of a work of art from one medium into another. Opera is fundamentally an adaptive art form and contemporary opera has increasingly turned to the novel as the sophistication and range of the resources of modem music theatre have expanded. This dissertation will examine the contemporary operatic adaptation of five works of fiction. The method employed is a comparison of fictional and operatic discourse and an analysis of the translation of fictional narrative into operatic narrative. Emily Bronte's Wuthering Heights poses particular narrative problems for operatic adaption while Herman Melville's Billy Budd is characterised by its intrusive narrator and a pervasive ambiguity. Joseph Conrad's novel, Under Western Eyes, exemplifies many of the narratological complexities of modernism, whereas Patrick White's Voss, a seminal postcolonial text, offers the operatic adaptor opportunities for the transcendence of language through music. The final chapter of this study will examine Henry James's tale, liThe Aspern Papers II , which incorporates many of James's reflections on literature and the literary life. The postmodernist operatic adaptation transmutes this self-reflexive fictional work into an opera profoundly concerned with the ontology of opera itself. This study will test the thesis that opera's affinity lies with the novel rather than with drama: that the fundamental narrative mode of opera is diegetic rather than mimetic. The main theoretic thrust proposes that the orchestra in opera performs a similar function to the narrator in fiction. As fictional characters exist only through the medium of their 'text' therefore, it will be argued, operatic characters exist only as part of their 'musical' text. Fictional narrative, while frequently conveying the impression of mimesis is essentially diegetic; operatic characters appear to possess a similar autonomy to their counterparts in drama, but can be seen as analogous to those in fiction and as a function of the diegesis of operatic narrative. Operatic characters are 'created' by the orchestral-narrator and have their being only as part of this narrative act. / Thesis (Ph.D.)-University of Natal, Durban, 1994.