Health promotion Essays

Health promotion Essays Health promotion Paper Health promotion Paper The issue of evidence in health promotion is debatable because there is need for any health promoter to carry out the promotion exercise in a way aimed at attracting more customers and at the same time the promoters should come up with a way of explaining the decisions they make. Most of the issues that are supposed to be taken as facts in the health care sector are always neglected. The issue of evidence in health promotion is debatable due to the fact that most of the health experts view health as a situation where there is no morbidity and mortality and these leads them to concentrate on causes and treatment for diseases only. The research that is normally carried out in the health sector mostly focuses on how human beings are exposed to the disease causing agents and how these individuals respond to different kinds of treatments. There is a need for evidence in the health promotion because the research carried out for the purpose of promotion in health is absolutely experimental and therefore cannot be reliable (Dennis, 2000). 2)  Ã‚  Ã‚  Ã‚  Ã‚   According to Raphael the health promoters should consider phrasing the current health promotion facts in another different way so as to turn the focus of some of the promotion facts on the affected individuals or organizations instead of putting the whole blame on the medical effects arising due to exposure to disease causing agents. The other issue is how different people view the determinants of health; some people think that they can be controlled by the individuals because they are part of the lifestyle of the individual while other people view the determinants of health to be beyond the human control since they are very structural. Ideology has also been seen as a major influence to level of acceptance of the evidence (Louse et al) 3)  Ã‚  Ã‚  Ã‚  Ã‚   Principles are either functional or ideological and the health principles include; health policies, empowerment, redirecting health services, equity and health. Other organizations have defined these principles as respect, sharing resources, participation and the environment (Don, 1998).   There are differing values of health promotion principles hence values underlying the health promotion activities need to be made explicit even for the most neglected health promotion. For there to be evidence from the principles, ideology, values and data there has to be an interaction that considers the benefits the members of the community gain. The law, the code of practice respect and creation of autonomy should also be taken care of in the interaction. Health promoters need to assess the local needs of the community, come up with programs designed at the local level and carry out an evaluation of the local activities. These will have an implication on evaluation and planning in that the information needed to carry out the exercise is not always available. The other implication is that it would show the involvement of the community in health promotion exercise. Health promotion evidence needs to be evaluated with respect to the real criterion that is associated with the type of the knowledge (Wills and Naidoo, 1998). WORD COUNT: 514 Words REFERENCE LIST Dennis Raphael, 2000,the question of evidence in health promotion, Health promotion  Ã‚   international, Vol. 15, No. 4, pp.2-11 Louise Potvin, Slim Haddad and Katherine L. Frohlich, (2001), beyond process and  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   outcome evaluation: a comprehensive approach for evaluating health promotion  Ã‚   programs. Pp.85-103 Available online URL:  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   euro.who.int/Document/E73455c.pdf, retrieved on 22/6/2009 12:15 Don Nutbeam, (1998), evaluating health promotion-progress, problems and solutions,  Ã‚  Ã‚  Ã‚   health promotion international, Vol. 13, No. 1, pp.28-34 Wills, J and Naidoo, J. (1998), Effectiveness and evidence based practice in health  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   promotion, Balliere-Tindall, London, pp.49-52

How I Wrote My Novel by Building a Community

How I Wrote My Novel by Building a Community How I Wrote My Novel by Building a Community Giuseppe Porcaro is the author of DISCO SOUR: an existential odyssey of a heartsick politician trying to save a war-torn, post-austerity Europe from algorithmic autocracy. In this article, he talks about the collaboration behind his latest novel, which was inspired in large part by interactive events he organized during the writing process.When I first started working on DISCO SOUR, I had a story stuck in my head, and this romantic dream of writing on the beach, sipping on a coconut through a straw and hammering out my book in a couple of weeks. So, I bought a ticket to Indonesia and settled on the island of Gili Meno, where I rented a bungalow by the beach. Fresh Bintangs (local beers) took the place of the coconut.Learning that there’s more to writing a novel than just, well, writingAfter three days on the island, I fell in the mud after a tropical storm and severely dislocated my arm. A local suggested that I visit their aunt in a nearby village because she was an osteopath and would be able to help heal my arm.Finally, I organized a workshop for interactive world building for DISCO SOUR with Librebook, an independent bookstore in Brussels. Jessica Woodworth, an American filmmaker, and Pieter de Byser, a Belgian theatre director, joined to give their own perspectives on creating imaginary worlds.How community-building contributed to my novelAll of these events made my writing journey a unique and collaborative one. They provided a wealth of information for character development and even inspired entire scenes: without these events, the book would have been entirely different. For example, during the â€Å"Eurovisions† event, Denis Maksimov sketched the concept of â€Å"State of Noland,† and the role of free economic zones in hacking nation states. This concept became key in developing the backdrop for my novel: the outbreak of a European civil war.I also included snippets of conversations about dating apps that were recorded during the T inderpolitics performance, and the dance parties I hosted were instrumental in depicting many of the disco scenes.One of the most valuable outcomes of this whole process was the community that formed about DISCO SOUR. Readers became part of the story, helping create the world of the novel simply by showing up and taking part in my events. I also created a Facebook group (which acquired 800 followers), and a newsletter (which has grown to 1,000 subscribers) to keep participants of the event up-to-date on the writing journey. "By throwing events inspired by my book, I allowed readers to become part of the story." However you choose to write your novel, make sure you have funEvery author has a unique approach to writing a book. However, it can be said across the board that creating a story with which you’re happy takes time and consistency, and, above all, it has to be fun. If you don’t have fun writing it, people won’t have fun reading it. "If you don’t have fun writing your book, people won’t have fun reading it." And as any independent author knows, writing a novel is only half the battle. Drumming up interest is the other half. And while my decision to involve people in the writing process was for creative reasons, facilitating shared, face-to-face experiences with potential readers was also an excellent way to build buzz and encourage people to become invested in DISCO SOUR. I learned a great deal from my friends, filmmakers, journalist, native English-speakers (English being a second language for myself), Reedsy professionals, and avid readers - all of whom helped my story grow.Please share your thoughts, experiences, or any questions for Giuseppe Porcaro in the comments below!The book is available for pre-orders on Unbound.I would like to thank Michael Rowley and Jessica Hatch, who I worked with to develop and finalize the manuscript.

Language Community Essay Example | Topics and Well Written Essays - 750 words

Language Community - Essay Example One needs to be disciplined in their life. It has been instilled in our minds, since the word go that discipline is an essential ingredient for a successful life. My family and friends also encourage a healthy balanced educated life. Education has always been given a priority in my family. Good grades, good educated life and eventually good careers have been central to my family’s values. My father believes that in the conquest to conquer the ones who read and who are the most educated of the lot outcast the rest. It is precisely due to their firm belief in such values that most members in my family and friends circle are well settled in their respective careers. My family and friends also values strong recourse and obligation to our religious and cultural values. Men and women of the family are encouraged to dress decently and revealing clothes are a strict no for girls. The dress code of the family female prompts them to be well covered. Small skimpy clothes are not allowed. Men on the other hand, are allowed to dress in both formal and informal jeans, tees, and corsets. On Fridays, they dress in traditionally because Friday prayers hold a lot of value in our family. Various other religious and cultural obligations are strictly adhered to by my family. This includes paying Zakat regularly, praying five times a day and fasting in the month of Ramadan. We also encourage good healthy friendly relations within neighborhood in our family. Alcohol and drugs are strongly prohibited. I live in an Arabic community; hence the language practiced in my community is strictly Arabic. The language holds a lot of importance not just in my part of the world but all over the Arab world because of its association with our holy book, The Holy Quran. It is the native language in my community so most of us converse in this language in all circles, be they friend circle or the family

The Diplomatic Efforts To End WWII Assignment Example | Topics and Well Written Essays - 1250 words

The Diplomatic Efforts To End WWII - Assignment Example However, America supported the Nationalist wing but remained neutral till the very end (Butow). The Attack on Pearl Harbor: With the passage of time, it was observed that relations between Japan and America were growing weak which eventually resulted in the attack on Pearl Harbor. America along with other countries condemned Japan’s growing influence and its strategy to expand its boundaries by getting into wars with the neighboring countries. To maintain its dominance in the region, Japan attacked the U.S naval base at Pearl Harbor in Hawaii. The attack was intended to keep the U.S military away from entering or invading the military actions of Japan. This attacked changed the nature of relationship between Japan and America and thus provoking America to enter in the war with Japan which caused huge damages to the Japanese nation. End of the War: We find no significant clue or the evidences that could state clearly that what ended the war in 1945 and there is no evidence of t hat could prove the most highlighted controversy that the use of atomic bomb or a nuclear weapon was the reason to end the war. However, the reasons for ending the war can be concluded on the formation of three national consensuses that: 1- The use of nuclear weapons was justified 2- The war ended because of their use 3- The use of the weapons was justified morally as saving more lives than they cost (Sherwin). American Policy and Strategy: In 1943, President Roosevelt declared the ending of war by stating it as the ‘unconditional surrender† of the Axis powers. The term ‘unconditional surrender’ was coined to declare that no one after Japan and Germany would ever try to threaten the peace of the region. America declared its actions as a need to restore peace and harmony in the region (Sherwin). Japanese Strategy and Policy: Japanese devised a new strategy to overcome the defeat they have incurred during the war by the hands of Americans. The Japanese leaders did not see their condition as severe in fact they devised a new military-political plan to overcome this defeat. They thought that this plan would be sufficient enough to mark the ending of the war as satisfactory. This plan which they named Ketsu Go contained the fundamental idea that Americans despite their strong material power are brittle creatures. Japanese believed that by giving huge loss to Americans on the Home lands would mark an end on the war. Japanese calculated the strength of American force and the command. But after the Imperial conference in June, they sanctified the Ketsu Go plan. Japanese proposed the fact in their policy papers that the starvation from the food could bring them more causalities than the battle with America (Butow). An Insight on What Ended the War: Truman became the President of America in 1945 when World War II was almost getting over in Europe. Hitler committed suicide which marked the surrender of Germany. However, in Pacific the war was sti ll on its highest peak with Japan fighting back like a warrior with America. With the new President Truman, military officials proposed the plan with Allied invasion on Japan, America can gain the victory. Truman knew about the plan which was planned on using it as his second option; the use of the most terrible weapon that would destruct and damage the entire country known in

Stanislavski Essay Example for Free

Stanislavski Essay * Realistic theatre has been dominant for the past 100 years, on cinema and stage. * The idea is to create believable characters and situations and t=give the illusion of real life * It makes the audience believe what they see/hear and become involved in the play * This style evolved during the twentieth century, moving to selective realism (focus on particular characters and events) and magical realism (similar to realism but with magical/supernatural elements involved). * The movement of realism in theatre began in the 19th century to move away from melodrama. Stanislavski started this through he creation of his own theatre company. * Born in Moscow 17th Jan 1863 * Well educated as a child and often went to the opera and theatre. Took his name as Stanislavski in a amateur theatre in 1885 * Joined a group and directed/acted in plays, did not enjoy melodrama as much * He met with a successful playwright to discuss ways of changing theatre and as a result the Moscow arts theatre was created. * Its production were famous and a success. * In 1906, Stanislavski also began to develop a system to train actors, in 1912 set up a studio to experiment with these techniques and continued this for the rest of his life. * The Moscow arts theatre toured Europe and Stanislavski work was known worldwide. * He suffered a heart attack while acting and gave up acting, instead focusing on training actors and writing books on his techniques. * He died in Moscow on 7th august 1938. Most influential director developed a whole style of staging and acting that worked. * He experimented with himself and actors to develop his work and performers. Teaching them to observe and exercise their creativity. * â€Å"Theatre of living experience†- actors had to believe everything happening on stage and what they were doing. Actors needed to have self-control and intensive training. * Aims of the techniques were all the same: develop creative intelligence, complete self-discipline, control over their voice, diction and physical movement and experience and create human emotions. * Insisted that the actors made their own techniques too * He was extremely dedicated and demanded the same of his actors, made them repeat scenes if they were not real enough. * Had integrity and was willing to accept ideas and techniques but only did what he believed in. * Refused to do propaganda plays, even if it meant death. However he was rewarded, as they believed his almost scientific experimenting fitted with communist theory. He was honoured well I his own country. Grotowski * Transformation: mixture of realism, surrealism and ideological theatre. Actors transform themselves and the space representing not just characters but the entire context of the play: location, sound, and the whole world of drama. Actors transform the imagination of the audience by changing themselves on stage. * Experimented with Artaud’s techniques, shock and mesmerise the audience and Brecht’s epic theatre, strong political and social messages through narration, actors changing orles and simple objects to signify sets and locations. * Born in Poland. Setup a theatre in 1959 to study the way theatre worked, experimenting with staging and acting. * Through 1960s and 70s the company had brief tours overseas making his theatre and techniques world famous. In 1976 he moved away from acting and directing and worked with small groups to develop self-awareness and self-realisation using his techniques. * Even though he moved away from mainstream theatre, his contribution has been enormous and his training techniques and the most demanding and intensive. He also revolutionised directing and staging. * Grotowski always knew that theatre could not compete with v and films complex technical equipment. He eliminated these from his theatre and created a theatre of poverty where the important elements were the actors themselves and their relationship with the audience. * To make the relationship more intense, he abandoned traditional theatre building style and stage his plays in old buildings with small audiences. The actors and audience had to share the space. * He aimed to do what v and film could not and that was to bring the audience face-to-face with living characters and live action. He directed the plays so that the actors were all around the audience and sometimes in their personal space. * There was failure in trying the physically involve the audience. Instead he arranged the space to make the audience completely involved as possible. * The plays he directed dealt with important issues and in many of the productions, the protagonist was a Christ-like figure, tormented and crucified. He made the audience confronted with terrible questions. He said that the spectators of his show were researching for the truth about themselves and their purpose in life. * Often he would direct plays just to test out his new techniques.

Economic Development in three Urban Areas: Atlanta, Baltimore and Cleve

Executive Summary The following pages review the comprehensive strategies that have been used by the cities of Atlanta, Baltimore and Cleveland to improve their economic conditions. It should become apparent to the reader that the fate of each city is determined by many factors including historical events, the balance of power between stakeholder groups, the ability of the city to capitalize on federal programs and the relationships between the private sector and the community. Unfortunately, no clear winning strategy arose from each city’s economic development efforts; they all caused both gainers and losers.   Ã‚  Ã‚  Ã‚  Ã‚  Atlanta is a city that is led by business leadership whose main priority is to promote business interests that are at times at odds with the communities’ development. Baltimore, with very little private investment, relies heavily on its citizens' involvement whose collective bargaining and activism have hindered its political leadership’s attempts at growth. Cleveland has fallen victim to â€Å"ivory tower† leadership that has led to financial mismanagement and increased community frustration.   Ã‚  Ã‚  Ã‚  Ã‚  I have attempted to review the last decade in each city, and in the context of that city examine the strengths and weaknesses of their actions. The scope of this project is large. To focus the reader’s attention on the difficulty the cities have experienced in trying to meet their stakeholders’ needs and expectations, I have chosen to focus on a few specific actions that were taken in each city to promote economic development. This discussion is by no means exhaustive; additional learnings can be gleamed from further research. Atlanta Atlanta’s political and social structure and development has been characterized by what author Clarence Stone labels regime politics in his book Regime Politics: Governing Atlanta: 1946-1989. The regime’s determining factor is the loosely formed coalitions and collaborations between the white Atlanta elite and the black middle class leadership. The partnership (although the power was not balanced between the groups equally) has its beginnings in the 1940’s when astute white businessmen properly predicted the growth of a black middle class and a shifting in electoral power. Faced with two choices: to use their social and economic clout to fight the inevitable changes in politic... ...nnovation Study Suggests Metro Area Must Change its Priorities to Increase Prosperity.† Atlanta Journal & Constitution. Nov. 5, 2001. Shields, Gerard. â€Å"2 bills Aim to Bring BDC Into the Open; City Senators Want Agency's Meetings Accessible to Public; Mayor Opposes Measures; Proposals' Critics Say Business Dealings Require Secrecy.† The Baltimore Sun. February 21, 2000. Siegel, Eric. â€Å"Renewal Efforts Move at Slow Pace; Empowerment Zone Shows Spot Successes Five Years After Grant.† The Baltimore Sun. Jan 10, 2000. Smith, Jane. â€Å"A Dialogue on The Atlanta Project with Jane Smith, Executive Director.† The Inner City: Urban Poverty and Economic Development in the Next Century. ed Thomas Boston and Catherine Ross. New Brunswick, NJ: Transaction Publishers, 1997. pp. 291-297. Smothers, Ronald. â€Å"Cleveland Mayor Warns Newark an Arena Is No Cure-All.† New York Times. Oct 20, 1999. Stone, Clarence. Regime Politics: Governing Atlanta: 1946-1989. Lawrence, Ks: University Press of Kansas, 1989. â€Å"Videotape: The Cleveland Turnaround: Leadership In Action,† (Boston: Harvard Business Publishing Corporation, 1996). The Cleveland Today website. http://www.clevelandtoday.org/info/edit.html

Personality Types of Graphic Designers

Just like all five fingers of the human hand are not the same, all graphic designers are unalike. The field of graphic design is blessed with immense designers, each endowed with a unique talent. All designers have their own style of working, thought processes, likes and dislikes and, above all, their own distinctive personality. Every graphic designer tackles clients in a different way. Personality is a set of characteristics, attributes or traits of the person distinguishing him from others. Nowadays, designers of various personalities are found. The following is meant to be a humorous, albeit insightful examination of the different types of graphic designers and how they are different from one another. Several years back actor Tony Shalhoub immortalized the character Adrian Monk from the television series â€Å"Monk. † The personality of Adrian Monk was that of a perfectionist on top of his obvious obsessive compulsions, of course. While most of it was hilarious, his attention to detail and perfection drove him to be the great detective that he was. Similarly, some graphic designers are analogous to Monk: they want every project to be completed with precision. Extreme obsession with their work makes them behave compulsively. Although being a perfectionist is a good thing, it can also add unnecessary stress for the designer to achieve absolutely flawless work. Sherlock Holmes, penned by Sir Arthur Conan Doyle, is regarded as the most astute detective the fictional world has read to date. The creative and ingenious ways in which he used to solve the toughest of mysteries still amazes readers. Some designers are akin to Sherlock and his personality; clever, resourceful and ingenious in their work. Designers who share this type of personality have unique problem solving skills. When faced with the toughest design projects, they execute it in a Holmes-like fashion with astuteness and inventiveness, reducing the design to its most elementary level. There are â€Å"nerds† in every working profession and graphic designing has its own share of â€Å"Dexters and Dorksters. † It should be easy to recall the famous cartoon character Dexter, the boy genius created by Genndy Tartakovsky. Graphic designers with this personality are usually an ace in the academia and, as a result, have a vast knowledge of the elements of design. They know concepts that even the most experienced designers might not be familiar with. The downside is that, due to their knowledge, they may be difficult to work with and closed to any form of suggestion. Keeping with the cartoon theme, ghosts are usually known to be frightful spirits. There is, of course, the exception of one who is popularly known as â€Å"the friendly ghost:† the one and only Casper. Casper loves to gather friends and be as sociable as possible. Similarly, designers of this personality type are gregarious and use social media excessively, not just for professional purposes. They love new friends and connections, and simply cannot live without a social circle. This can lead to a great many distractions while trying to work with a Casper. Papa Smurf was one of the oldest and most knowledgeable of the Smurfs. He serves as the Smurfs’ leader whom the Smurfs turn to when they require counsel and guidance. Designers of this type are experienced campaigners who are distinguished in their field as Veterans. Emerging graphic designers look at them as an icon of inspiration and motivation. Contrary to Papa Smurf, there exists Johnny Bravo: a handsome hunk who always goes out of his way to impress the girls only to end up beaten by them. The one quality that gets Johnny into trouble is his habit of showing off. Some designers, unfortunately, fall into this type. They love to brag about their work and skill, though usually have little to back their words. The fastest cartoon character is, without question, Flash. He is capable of running at a lightning place and can perform any task within the blink of an eye. Designers of this personality type are very fast and prompt. They meet their deadlines with ease, sometimes completing assignments with ample time to spare. Although speed is a great quality, haste can make waste, as is often the case with The Flash. Garfield, on the other hand, is as lazy as any cat can be and then some. Sure, all cats become lethargic as they grow older, though there is no match to the laziness he has perfected. Graphic designers of this type are gluttonous and ravenous. Moreover, they tend to get sluggish and this delays their projects. More often than not, deadlines are rarely met a bill for all those extra hours of â€Å"work† will surely be sent. Marvel Comics created a character worthy of envy: Iron Man and his exceptional ability for endurance. Yes, his suit was originally designed to act as armor and enhance his own natural abilities, but it is the underlying will of Tony Stark that keeps him going when all seems lost. Similar to the idea behind the Iron Man suit, graphic designers who fall under this category are extremely forbearing and tolerant. They can easily endure countless hours of design work and complete it without experiencing any fatigue. They can tolerate heaps of pressure and strain to finish off any design job within the deadline. Contrary to the Iron Man, Marvel also created the giant, raging humanoid monster known as The Hulk. He is an emotional and impulsive mirror image of the reserved physicist Dr. Bruce Banner. At the slightest provocation, The Hulk can — and will– tear off in a frenzy and wreak havoc. These types of designers are the exact opposite of the â€Å"enduring Iron Man. † Hyper, intolerant and easily provoked, they often create unnecessary stress in an already stressful workplace, though they do get their work done†¦ as they see fit. There are many types of designers out there beyond those covered here. To make things even more interesting, most designers will fall into multiple categories. While this was meant to be a humorous look at the different types of design personalities out there, the definitions behind them are solid and worth keeping in mind. Where The Flash may be needed for rapid delivery of a design, he may be less suited for working out the complexities of an international ad campaign. Choosing the right type of designer for the job at hand can make or break the project.