Dangers of Passive Smoking Essay Example for Free

Dangers of Passive Smoking Essay The topic chosen for the environmental factor that poses a threat to the health or safety of infant is secondhand smoke. According to the center for disease control and prevention, Secondhand smoke is a mixture of gases and fine particles that includes smoke from a burning tobacco product such as a cigarette, cigar, smoke that has been exhaled or breathed out by the person or people smoking. The parent I shared the pamphlet with is a 25year old African American mother of a 5year old male child. She has a high school diploma, single mother and works as a clerical associate in a private institution. The objective of the pamphlet was to educate her on the need to be aware of the danger of second hand smoke to her child, to make her environment as smoke free as possible and to know the resources out there for use when needed. The importance of the pamphlet was also explained to her because it can be used as a source for information or an avenue to reach out to resources, to know the effects of secondhand smoke. The effects of secondhand smoke to her child such asthma, ear infections, breathing problems, bronchitis and sudden infant death syndrome was also included to enhance her knowledge. During the interaction, she was very receptive of teaching, eager to learn, she also asked questions which were relevant to the topic that was discussed. She is not a smoker, but was concerned about the safety of her child because the neighbors in her apartment building smoke, sometimes in front of her building. The need to remove her child from the area as much as possible when the smoking is going on was stressed, she has a pediatrician that the child goes to for checkup. Understanding of the pamphlet by the parent was demonstrated by the relevant questions she asked such as how to protecting her child from secondhand smoke, and what type of illness occur from secondhand smoke , answers were provided to the questions from evidenced-based research. My impression of the experience is an exciting one and it went well, but there is always room to improve because nursing is a continuous process, and the feeling that I am putting my skill of educating the parent to better care for her ch ild and to protect the child as much as possible.

Grapes of Wrath - Many Questions and Few Answers :: Grapes Wrath essays

Many Questions and Few Answers in The Grapes of Wrath    The book The Grapes of Wrath focuses on a particular section of America called the "Dust Bowl" during the early nineteen thirties. During this time, when tenant farming was a way of life for so many Oklahomans, there came a drought which drastically cut down production of crops and forced the bank to evict the tenants in order to cut losses. The problem may seem straightforward at first, and maybe it is, but the cause of the problem should not be simplified. Naturally, the three participants in this disaster, the tenants, the bank and the workers, have their own separate, and logical, points of view. Who is right? In the larger picture, events occurring during this time period involving banks and corporations are primitive examples of the widespread greedy capitalism infused in our modern society. One cannot think of the tenants of these farms without feeling some sort of pity or sympathy, because they had no concept of banks or land ownership. To them, land was theirs if they lived, struggled, and eventually died on it; not just because of a flimsy sheet of paper in hand. "My pa come here fifty years ago. An' I ain't a-goin'."(60), was the sentiment expressed by Muley Graves and felt by many Oklahomans when first ordered off their farms. Some reacted quite violently, threatening to shoot anyone who came onto their land with a tractor to tear down their house, but when the tractor came and one of their friends drove it, they laid down their guns in submission. "Who gave you orders? I'll go after him. He's the one to kill."(49), said one disgruntled farmer. "You're wrong. He got his orders from the bank." the driver replied. The farmer also found out that the bank got their orders from the East and wondered in exasperation, "But where does it stop? Who can we shoot?"(49) Basica lly, the tenants were cut off from their livelihood and without hope since they weren't even sure whom they could kill or what person to talk to in order to keep the land. The Bank. Who is a bank? Is it a person? A physical thing? Couldn't it see that it was causing such suffering and despair? Although the heads of the bank could sympathize with the plight of the tenants, they felt that for some reason, the eviction could not be stopped.

Salvador Dali’s Childhood

â€Å"The two greatest strokes of luck that can happen to a painter are (1), to be Spanish, (2) to be called Salvador Dali. â€Å"Even today, Salvador Dali is considered one of the most influential and successful surrealist artist in history, yet not much is known about his childhood; and what we do know is incredibly vague. His childhood is what influenced many of the famous symbols and styles found in his paintings and made them what they are. Salvador Dalais surrealist artwork is amazingly vivid and filled with symbols from both his childhood and adulthood.From the symbolic melting clocks to the lesser known fried eggs. Even from a young age, Salvador was a very eccentric and somewhat disturbed child. â€Å"When I was three I wanted to be a cook. At the age of six I wanted to be Napoleon. Since then my ambition has increased all the time, (surrealists. Co. UK/ Dali:pH). Dali surely had many eccentric ambitions. From a cook too Napoleon, this now legendary painter has much histo ry that is clearly shown in his art. Dalais childhood was full of perverse and sadistic elements that were to become a major art of his symbolist paintings,† (surrealists. Co. UK/Dali:pH). As a young boy, Dali began to show signs of aggression, because of this he was sent away to live with a family friend who happened to be an artist. There he developed the want to become an artist and explored other passions, such as pain. He was masochistic and would throw himself down the stairs because the pain influenced him. He had said, â€Å"The pain was insignificant, the pleasure was immense. More often than not, his desire to be different came out as violence. In one incident, pushing his friend Off 15-foot bridge to watch him fall. Salvador eccentricities didn't fade with age, if anything they intensified. â€Å"Almost everything he tried, he did well. He was a writer, a movie maker†¦ † (biography/people/ Salvador-Dali-40389? Page=1). Dali himself said that he would no t be forgotten, he made sure of this by spreading his name to all sections of the artistic community.He designed ‘dream sequences' for Alfred Hitchcock to use in his 1945 movie Spellbound, (biography/people/Salvador-Dali-40389? Page=1). He also collaborated with Walt Disney to create the short animated film, Destine. â€Å"Bizarre and outlandish, Dali often took part in performance pieces that were despised by critics,†(biography/people/ Salvador-Dali-40389? Page=1). Because he was never broody or quiet critics never took him seriously. To them an artist was secretive and every piece was to be a show case of the artist's deep sorrow and talent.Salvador really Just wanted his artwork to be seen by the masses, so much so that he created paintings specifically for companies o sell their products. Dalais matter of revealing the gap between reality and illusion influenced all manner of modern artists. Beyond developing his own symbolic language, Dali elaborated a way to repr esent the inner mind,† (transitory. Org/artist-Dali- Salvador. HTML) He used vivid imagery to show what he thought and felt. He knew how to create hypnotic art that memorized and inspired like no other artists could. On his death bed scientists asked if the melting clocks represented Einstein theory of lethality, he said ‘No its based on my perception of Camembert cheese melting in the sun. ‘ Dalais symbolism seems very profound and thoughtful and at some level it is. Ants and flesh represent an encounter with a wounded bat. Food like the fried eggs comes from Dalais childhood urge to be a cook. Instruments of mutilation are a tribute to Dalais sad-masochistic behavior and thoughts. His art has always Just been the thoughts and memories of an eccentric life and mind. Nothing more and definitely nothing less.

Definition and Discussion of Style in Prose

Style is the way in which something is spoken, written, or performed. In rhetoric and composition, style is narrowly interpreted as those figures that ornament discourse; it is broadly interpreted as representing a manifestation of the person speaking or writing. All figures of speech fall within the domain of style. Known as lexis in Greek and elocutio in Latin, style was one of the five traditional canons or subdivisions of classical rhetorical training. Classic Essays on English Prose Style Essays on StyleThe Colours of Style, by James BurnettThe English Manner of Discourse, by Thomas SpratThe False Refinements in Our Style, by Jonathan SwiftF.L. Lucas on StyleJohn Henry Newman on the Inseparability of Style and SubstanceOf Eloquence, by Oliver GoldsmithMurder Your Darlings: Quiller-Couch on StyleOn Familiar Style, by HazlittSamuel Johnson on the Bugbear StyleSwift on StyleSynonyms and Variety of Expression, by Walter Alexander RaleighA Vigorous Prose Style, by Henry David Thoreau EtymologyFrom the Latin, pointed instrument used for writing   Definitions and Observations Style is character. It is the quality of a mans emotion made apparent; then by inevitable extension, style is ethics, style is government.(Spinoza)If any man wish to write in a clear style, let him be first clear in his thoughts; and if any would write in a noble style, let him first possess a noble soul.(Johann Wolfgang von Goethe)Style is the dress of thoughts.(Lord Chesterfield)The style of an author should be the image of his mind, but the choice and command of language is the fruit of exercise.(Edward Gibbon)Style  is not the gold setting of the diamond, thought; it is the glitter of the diamond itself.(Austin OMalley,  Thoughts of a Recluse, 1898)Style is not mere decoration, nor is it an end to itself; it is rather a way of finding and explaining what is true. Its purpose is not to impress but to express.(Richard Graves, A Primer for Teaching Style. College Composition and Communication, 1974)A good style should show no sign of effort. What is written should seem a happy a ccident.(W. Somerset Maugham, The Summing Up, 1938)Style is that which indicates how the writer takes himself and what he is saying. It is the mind skating circles around itself as it moves forward.(Robert Frost)Style is the perfection of a point of view.(Richard Eberhart)To do a dull thing with style--now THATS what I call art.(Charles Bukowski)[I]t may well be that style is always to some extent the invention of the writer, a fiction, that conceals the man as surely as it reveals him.(Carl H. Klaus, Reflections on Prose Style. Style in English Prose, 1968)Cyril Connolly on the Relation Between Form and ContentStyle is the relation between form and content. Where the content is less than the form, where the author pretends to emotion he does not feel, the language will seem flamboyant.   The more ignorant a writer feels, the more artificial becomes his style. A writer who thinks himself cleverer than his   readers writes simply (often too simply), while one who fears they may b e cleverer than he will make use of mystification: an author arrives at a good style when his language performs what is required of it without shyness.(Cyril Connolly, Enemies of Promise, rev. ed., 1948)Types of StylesA very large number of loosely descriptive terms have been used to characterize kinds of styles, such as pure, ornate, florid, gay, sober, simple, elaborate, and so on. Styles are also classified according to a literary period or tradition (the metaphysical style, Restoration prose style); according to an influential text (biblical style, euphuism); according to an institutional use (a scientific style, journalese); or according to the distinctive practice of an individual author (the Shakespearean or Miltonic style; Johnsonese). Historians of English prose style, especially in the 17th and 18th centuries, have distinguished between the vogue of the Ciceronian style (named after the characteristic practice of the Roman writer Cicero), which is elaborately constructed, highly periodic, and typically builds to a climax, and the opposing vogue of the clipped, concise, pointed, and uniformly stressed sentences in the Attic or Senecan styles (named after the practice of the Roman Seneca). . . .Francis-Noel Thomas and Mark Turner, in Clear and Simple as the Truth (1994), claim that standard treatments of style such as those described above deal only with the surface features of writing. They propose instead a basic analysis of style in terms of a set of fundamental decisions or assumptions by an author concerning a series of relationships: What can be known? What can be put into words? What is the relationship between thought and language? Who is the writer addressing and why? What is the implied relationship between writer and reader? What are the implied conditions of discourse? An analysis based on these elements yields an indefinite number of types, or families, of styles, each with its own criteria of excellence.(M.H. Abrams and Geoffrey Galt Harp ham, A Glossary of Literary Terms, 10th ed. Wadsworth, 2012)Aristotle and Cicero on the Qualities of Good StyleWithin classical rhetoric, style is analyzed predominately from the viewpoint of the composing orator, not from the point of view of the critic. Quintilians four qualities (purity, clarity, ornament, and propriety) are not intended to distinguish types of styles but to define the qualities of good style: all oratory should be correct, clear, and appropriately ornamented. The basis for the four qualities and the three styles are implicit in Book III of Aristotles Rhetoric where Aristotle assumes a dichotomy between prose and poetry. The base line for prose is colloquial speech. Clarity and correctness are the sine qua non of good speech. Furthermore, Aristotle maintains that the very best prose is also urbane or, as he says in the Poetics, has an uncommon air, that gives the listener or reader pleasure.(Arthur E. Walzer, George Campbell: Rhetoric in the Age of Enlightenment. State University of New York Press, 2003)Thomas De Quincey on StyleStyle has two separate functions: first, to brighten the intelligibility of a subject which is obscure to the understanding; secondly, to regenerate the normal power and impressiveness of a subject which has become dormant to the sensibilities. . . . The vice of that appreciation which we English apply to style lies in representing it as a mere ornamental accident of written composition--a trivial embellishment, like the mouldings of furniture, the cornices of ceilings, or the arabesques of tea-urns. On the contrary, it is a product of art the rarest, subtlest, and most intellectual; and, like other products of the fine arts, it is then finest when it is most eminently disinterested--that is, most conspicuously detached from gross palpable uses. Yet, in very many cases, it really has the obvious uses of that gross palpable order; as in the cases just noticed, when it gives light to the understanding, or power to the will, removing obscurities from one set of truths, and into another circulating the life-blood of sensibility.(Thomas De Quincey, Language. The Collected Writings of Thomas De Quincy, ed. by David Masson, 1897)The Lighter Side of Style: TarantinoingForgive me. What Im doing is called Tarantinoing, where you talk about something that has nothing to do with the rest of the story, but is kind of funny and a little quirky. It was kind of avant-garde in its day and it used to develop some strong character traits, but now its just used as a cheap gimmick for pretentious film writers to draw a ton of attention to their writing style as opposed to serving the plot.(Doug Walker, Signs. Nostalgia Critic, 2012)