Cultural Diversity in Nursing Research Paper Example | Topics and Well Written Essays - 750 words

Cultural Diversity in Nursing - Research Paper Example This report approves that for several years, cultural diversity among patients has been recognized by nurses taking care of them. These have also led the nursing practices to determine ways to respond to the varying needs of the patients. This includes the nurses having proper knowledge of the different demands that people from different cultures have and expect from the nurses. In order to treat them well, the nurses need to respect such differences. The proper knowledge of the different cultures and values and the effects of different behaviors is an essential factor in nursing practices. Also, cross cultural practices that include the complex knowledge and solutions that are used worldwide are necessary to be known and applied by nurses to treat diverse people. Thus the basic differences in physical, psychological and cultural factors are considered. This improves the communication skills of the nurses as well. The assistance of the healthcare departments is also necessary whereby proper infrastructure may be built up allowing the nurses to deliver the appropriate treatments. When nurses are culturally competent, they realize the harmful effects of ignorance or hatred if they treat their patients in biased manner depending on their cultures. This essay makes a conclusion that from the above study it could be concluded that it is essential for nursing practices in different health departments to consider effective measures such that culturally diverse patients may be treated with appropriate care. Such treatment and care needs to be unbiased with nurses having proper knowledge of the differences in cultures and values among different people.

What are the two principle demands for artefact in Italy between 1300 Essay

What are the two principle demands for artefact in Italy between 1300 and 1600 - Essay Example Between 1300-1600 years, Italy was influenced by economic and social changes which had a great impact on social values and traditions, tastes and preferences. The demand for art was caused by different factors including wealth accumulation and the role of religion in everyday life. The principle demands for artifacts in Italy were increasing role of religion and church in life of citizens and new consumption patterns caused by accumulation of wealth and financial prosperity.The demand for a religious art was caused by increasing role of church and religion in life of the state. The supreme task of church art was to serve the liturgy. Hence church art was determined by a particular purpose. The building and furnishing of the House of God were subordinate to that purpose. This subordination was the very reverse of a restriction or hampering of creative power. It was not so much a matter of subordination as of integration into the great reality of God's dealings with man. Images in chur ch were meant to be at the service of the preaching of the faith. This immensely high task required the artist to submit his creative action to the judgment of the word of God. His uncontrolled subjectivity and creative fantasy had to be disciplined by faith. Since he was being called to be a witness to the truth through his work, he did not regard it as a restriction of his freedom when the Church exercised her pastoral office and refused to have images inside the church which contradicted truths of faith. This ordinance was not concerned with aesthetic questions of style and form. In these, so long as no offense was offered to the dignity and holiness of the faith, the artist was free. The Church's preaching, whose task was to declare and explain it, had to conform to this same order. Hence it had to be the measure of the making of images. No indifference could attach to the question of what was displayed in a church, nor to that of where the emphasis was placed in the choice of t hemes (Nanert, 2006). In Italy, literary texts were essential for understanding the devotional trends, and the art of the era was likewise a rich source of information. This was particularly true of panel painting, in which the artist was free to incorporate a wide variety of primary and secondary motifs. The painting of the fifteenth century, for example, was well known for its elaborate symbolism: not only conventional details such as saints' attributes but also specific vestments worn by angels could hold symbolic value (Nanert, 2006). The painter of an annunciation scene, for example, could draw upon several kinds of symbolic and expressive vocabulary: nuances of emotion might be conveyed in the Virgin's facial expression and posture; the painter might suggest linkage between the Old and New Testaments by showing Mary with a Bible open to a prophetic text; an anachronistic portrait of Jesus might hang on the wall behind his mother-to-be; Trinitarian theology could be expressed by showing the Father ho vering above the scene, while the Holy Spirit in the form of a dove winged its way from the Father to the Virgin along a beam of celestial light; and the artist might use flowers, candles, and other objects for their established symbolic value. "Liturgical utensils, accessories, and furnishings constituted a distinct category of these goods that satisfied a steady demand generated by religious needs, and Italian products enjoyed great success in markets abroad" (Goldthwaite 1995,p. 9). Panel painting was increasingly used to represent narrative scenes as well as static portraits (or icons): scenes from the life of Christ, the legend of the Virgin, and legends of the saints were favorite narrative motifs. The accumulation of symbolic, iconic, and narrative elements reached its fullest development as individual