Resistance to psychologization in the novel Tom Jones Essay

Resistance to psychologization in the novel Tom Jones - Essay Example Keeping in accord to the theme of argument in the paper that the narrator in the novel The History of Tom Jones often withholds information about the psychological traits of his character these observations are highly relevant. The limits of psychologization in the novel not only stops emergence of Tom Jones are a complete human character but also it affects the constructional themes of the novel from the perspectives of theme, narrative and characterization. The character of Tom Jones in the novel deserves special critical treatment and discussion because he can be regarded as a bridge between the themes of conventional medieval romanticism and the future course of the tradition of novel writing with special focus on the analysis of human psychology. While the narrator has quite carefully resisted the temptation of indulging within the psychologization of the protagonist by withdrawing information about his interior thoughts, on the other hand, he also has provided subtle hints to t he traits of psychological disturbance of the character under specific situations. Observing this trait feature in Fielding’s writing, Evans Lansing Smith has quite aptly suggested that â€Å"Henry Fielding’s novel †¦ stands at a crucial turning point in our survey of the hero in literature. While looking backwards to the traditions of the medieval romance, Tom Jones carries the conventional symbolism of the Classical epic †¦ forwards into the future, anticipating a long line of novels in our tradition which combine realistic or historical detail and mythic symbolism† (Smith 195). The relevance of Psychologization in the context of novel writing: The critics like Frances Ferguson are of opinion that psychologization of characters in novels not only helps readers to follow aesthetics of the narrative from the perspective of an outsider, but at the same time it helps them to receive understanding of the characters as well as flow of the novel from quite a personalized perspective. One of the basic principles regarding the technique of novel writing is to incite readers to enjoy tension of characterization and plot development. A novelist can effectively use his narrative skills to develop the tension by emphasizing on the psychologization of characters. Frances Ferguson in this context has opined that narration of the psychological complexity of character in a novel â€Å"†¦does not at all directly express mental states but rather relies on the contradiction built into the formal stipulation of them. Psychological complexity, that is, pits the stipulated mental state against one’s actual mental state †¦. Psychology is the ongoing possibility of the contradiction between what one must mean and what one wants to mean† (Ferguson; Cited in Macpherson 123). This observation not only attracts attention in the context of explaining Fielding’s narrative retrain of Tom’s character, but at the same time also finds support from Dr. Johnson’s special emphasis on the importance of explaining characters in terms of manner and nature (Watt 261). Ian P. Watt explains that â€Å"‘Character of manners’

Compare the management of a public service in the UK to that of one Essay

Compare the management of a public service in the UK to that of one other country of your choice. What does the comparison tell you about the factors that shape public management in each country - Essay Example igned to provide specified benefits, financial risk cover, and improved access to health services with the goal of improving the health outcomes (Baum, 2009). The healthcare programs are not meant to provide coverage for all people of the country and neither are they meant to provide treatment for all ailments. The healthcare policies are decided by three important dimensions. These refer to the people who are covered, the services that are covered along with the extent of costs that are covered. The topic of healthcare is selected since it affects all citizens of a nation. While rich people can afford to take private medical treatment and healthcare, the poor and middle class people, retirees and those with disabilities depend on the social healthcare systems to survive and lead a meaningful life. These are the reasons for selecting the topic. UK and USA are two nations that have a very effective and much debated healthcare system that are advanced and equitable in the application ( Rogers, 1997). Hence, these two nations are selected. Next chapters will examine various issues related to this subject. As a matter of policy, NHS collaborates and works with international organisations such as WHO, UNO, UNICEF and other health and social care agencies. NHS has a sustainable development unit called NHS SDU and this department takes up projects with WHO to develop support packages for WHO European Member States. NHS provides projects help on two components. These are the technical guidance for sustainable health systems and the international route map. As such, NHS does not obtain any funds from international organisations and its activities are guided by the NHS board (NHS SDU, 2012). Hofstedes cultural dimensions provide an indication of the national culture of a nation. It indicates the manner in which citizens of a country would respond to certain situations, the manner in which they react to positions of authority and power and the manner in which they react as a

Childhood Essay Example for Free

Childhood Essay Introduction Purpose and aims 2 Context and legal responsibilities 2 About this document 3 A principled approach 4 Setting the standards Providing for equality of opportunity Creating the framework for partnership working Improving quality and consistency Laying a secure foundation for future learning 4 4 5 5 5 Section 2 – Learning and Development Requirements Overview of the areas of learning and development 7 The early learning goals and educational programmes Personal, Social and Emotional Development Communication, Language and Literacy Problem Solving, Reasoning and Numeracy Knowledge and Understanding of the World Physical Development Creative Development 7 8 8 9 10 11 11 The assessment arrangements Assessment during the EYFS 12 `12 Assessment at the end of the EYFS – the Early Years Foundation Stage Profile 12 Assessment requirements 13 Section 3 Welfare Requirements Overview of the welfare requirements 15 Safeguarding and promoting children’s welfare Suitable people Suitable premises, equipment and environment Organisation Documentation 17 24 25 32 33 Section 4 – Other information Other legal duties 35 Competency in English 35 Exemptions Inspection and regulation Local Authorities Where to go for help 35 36 36 37 Appendix 1 Assessment Scales Appendix 2 Specific requirements for qualifications and ratios of adults to children SECTION 1 INTRODUCTION Purpose and aims 1. Every child deserves the best possible start in life and the support to fulfil their potential. A child’s experience in the early years has a major impact on their future life chances. A secure, safe and happy childhood is important in its own right, and it provides the foundation for children to make the most of their talents as they grow up. When parents choose to use early years services they want to know that provision will keep their children safe and help support them to thrive. The Early Years Foundation Stage (EYFS) is the framework that provides that assurance. 2. The overarching aim of the EYFS is to help young children achieve the five Every Child Matters outcomes of staying safe, being healthy, enjoying and achieving, making a positive contribution, and achieving economic well-being by: setting the standards for the learning, development and care young children should experience when they are attending a setting outside their family home, ensuring that every child makes progress and that no child gets left behind;  promoting equality of opportunity and anti-discriminatory practice and ensuring that every child is included and not disadvantaged because of ethnicity, culture or religion, home language, family background, learning difficulties or disabilities, gender or ability; creating the framework for partnership working between parents and professionals, and between all the settings that the child attends; improving quality and consistency in the early years sector through setting a universal set of standards which apply to all settings, ending the distinction between care and learning in the existing frameworks, and providing the basis for the inspection and regulation regime; and laying a secure foundation for future learning through learning and development which is planned around the individual needs of the child, and informed by the use of ongoing observational assessment. Context and legal responsibilities 3. The EYFS is part of a comprehensive package flowing from the ten year childcare strategy Choice for parents, the best start for children and the landmark Childcare Act 2006. The Act provides the context for the delivery of the EYFS and taken together with the other elements of the strategy, the EYFS will be central to the delivery of the new duties on improving outcomes and reducing inequalities. 4. The EYFS builds on the significant recent developments in early years curriculum and standards. Practitioners will recognise continuity with the principles, pedagogy and approach of the Curriculum Guidance for the Foundation Stage, the Birth to Three Matters framework, and the National Standards for Under 8s Day Care and Childminding. These three frameworks are replaced by the EYFS and will be repealed. 5. The EYFS will be given legal force through an Order and Regulations made under the Childcare Act 2006. From September 2008 it will be mandatory for all schools and providers in Ofsted registered settings attended by young children – that is children from birth to end of the academic year in which a child has his or her fifth birthday. The term â€Å"early years provider† includes maintained schools, non-maintained schools, independent schools, and childcare registered by Ofsted on the Early Years Register, all of which are required to meet the EYFS requirements. . 6. It is the legal responsibility of these providers to ensure that their provision meets the learning and development requirements, and complies with the welfare regulations, as required by section 40 of the Childcare Act 2006. About this document 7. This document forms part of the statutory framework for the EYFS. It sets out the learning and development requirements (the early learning goals; the educational programmes; and the assessment arrangements) in Section 2 and the welfare requirements (safeguarding and promoting children’s welfare; suitable people; suitable premises, equipment and environment; organisation; and documentation) in Section 3. The learning and development requirements are given legal force by the Early Years Foundation Stage (Learning and Development Requirements) Order 2007 made under section 39 (1) (a) of the Childcare Act 2006. The welfare requirements are given legal force by Regulations made under section 39 (1) (b) of the Childcare Act 2006. Together, the Order, the Regulations and the Statutory Framework document make up the legal basis of the EYFS. This document has statutory basis by virtue of section 44(1) of the Childcare Act 2006. 8. Providers must ensure that their early years provision complies with the learning and development requirements, and the welfare requirements. In addition, this document contains statutory guidance issued pursuant to Section 44 (4) of the Childcare Act 2006. All providers must have regard to this guidance, which means they must take it into account and, if they decide to depart from it, they must have clear reasons for doing so and be able to demonstrate to the Chief Inspector of Schools in England (Ofsted) that their alternative approach achieves the same ends as the guidance conveys. 9. This document is referred to as the EYFS Statutory Framework and is part of a package of  materials which comprise: this document (legal requirements including the Learning and Development Requirements Order and the Welfare Regulations and statutory guidance); EYFS Practice Guidance (contains the learning and development grids, non-statutory guidance, additional advice and information); and EYFS re sources for providers and practitioners (CD-ROM, poster and Principles into Practice cards). A Principled Approach 10. The EYFS principles which guide the work of all practitioners are grouped into four distinct but complementary themes, as set out below: A Unique Child Positive Relationships Enabling Environments Learning and Development 11. These four guiding themes underpin effective practice in the EYFS, put the requirements into context, and describe how practitioners should support the development, learning and care of young children. Each theme is supported by four commitments which describe how the principles can be put into practice, and these are expanded on in the EYFS Principles into Practice cards. 12. The four themes also underpin the five aspirations set out in paragraph two which tie into the Every Child Matters Outcomes. Setting the standards 13. The EYFS sets the standards for providers to enable them to reflect the experience which many parents give their children at home. As parents do, providers should deliver individualised learning, development and care which enhances their child’s development and gives them the best possible start in life. Every child should be supported individually to make progress at their own pace and children who need extra support to fulfil their potential should receive special consideration. All providers have an equally important role to play in children’s early years experiences – for example a childminder who sees a child for two hours a day should consider what a child’s individual needs are at that time of day, and ensure that the provision they deliver is both appropriate to those needs and complementary to the education and care which the child receives in its other setting(s). All types of providers have the potential to deliver the EYFS to an excellent standard. Providing for equality of opportunity 14. Providers have a responsibility to promote positive attitudes to diversity and difference – not only so that every child is included and not disadvantaged, but also so that they learn from the earliest age to value diversity in others and grow up making a positive contribution to society in this respect. Practitioners should focus on each child’s individual learning, development and care needs: removing or helping to overcome barriers for children where these already exist; the early identification of and response to needs which could lead to development of difficulties; and stretching and challenging all children. 15. All children, irrespective of ethnicity, culture or religion, home language, family background, learning difficulties or disabilities, gender or ability have the opportunity to experience a challenging and enjoyable programme of learning and development. Creating the framework for partnership working 16. Partnership working underpins successful delivery of the entire EYFS. Many children will receive education and care in more than one setting and in these cases practitioners must ensure effective continuity and coherence by sharing relevant information both with each other and with parents. Patterns of attendance should be a key factor in practitioners’ planning. Early years practitioners also have a vital role to play in working with parents to identify learning needs and to respond quickly to any area of particular difficulty. It will regularly be appropriate for practitioners to work together with professionals from other agencies, such as local and community health services, or where children are in care to identify needs and use their knowledge and advice to provide the best learning opportunities and environments for all children. Improving quality and consistency 17. The EYFS brings together and simplifies the learning and development and welfare requirements, in addition to ending the distinction between care and learning and between birth-to-three and three-to-five provision.

Soap Operas Are Regarded Media Essay

Soap Operas Are Regarded Media Essay Introduction Soap operas are often regarded as bad, poorly acted, not socially valued if not said have no aesthetic at all. Is it because most of the soap opera viewers are women? In traditional view, soap opera is perceived as less significant compare to other forms of television programme. However, this overview changed when soap opera reached high ratings and generated high revenues. It increases prominence of soap opera in television landscape and attract scholars to study this particular genre of television programme. The study of soap opera has not completed without studying its audiences. It is assumed that soap opera viewers are predominantly women. There are various theories of soap opera audience that emerge, such as uses and gratification (à ¢Ã¢â€š ¬Ã‚ ¦). Literature review The gendered audience theory discussed by Mary Ellen Brown in her book, Soap Opera and Womens Talk is the starting point of our discussion on women and soap opera. In the gendered audience theory, it is assumed that hegemonic values, in which tend to exclude non dominant perspectives, has to be deconstructed in order to study television audiences (Brown 1994, p.12). Brown (1994, p.13) assumes that the interaction between TV audiences and a text does not stop with the moment of consumption of the text. Rather, she explains that the process of meaning making exists in the tertiary text, a term used by John Fiske which refers to the conversations that people engage in about television watching, in which also used in the ethnographic research (Brown 1994, p.13). Brown asserts that soap opera gives women reactive pleasures, that is pleasures of being represented by the narrative that soap opera brought to the surface (Brown 1994, p.18). This pleasure has to do with the idea that soap opera has been facilitating women to talk with each other and expressing their ideas and feelings without being criticised (p.18). Soap opera depicts problems that women in real life are dealing with, it creates conversation between them around the text, which called the spoken text. This conversation is emerged as result of feeling unrepresented in the dominant discourse, in which women are considered as part of subordinate groups, where their positions are constructed within patriarchy system (p.23). Christine Scodari in her book, Serial Monogamy: soap opera, lifespan, and the gendered politics of fantasy discusses Stuart Halls (1980) decoding/ encoding model, in which divides the reader into preferred/ dominant, negotiated and oppositional. According to Lewis, this classic model is believed to leave a gap of readers who acknowledge the storys intent but disagrees with it (p.42). In order to fill in this gaps, Lewis creates a fourth designation, the resistive reading that is the process of questioning the idea of preferred reading by exploring the messages ambiguity they see fit (p.42). Scodari suggests to add the qualifier hegemonic or counter hegemonic into the discussion, as the emerging of interaction between soap opera fans creates collective positions of reading. She further explores this conception by discussing interaction between fans of Another World, a mid 1990s US soap opera. Scodari claims that the shows plot was becoming more similar with Days of Our Lives, that ten d to focus on catfight between the female characters, she calls this as DOOLification of soap opera (p.43). The plot tends to encourage confrontation between audiences that happens in private place such as home, or publicly in the online media. The fans reaction toward it was polarised between the preferred, hegemonic reading and the oppositional, counter hegemonic. The fans begin to name calling each other and attacking personal, in which Scodari refers this as tabloid talk (p.43). Jennifer Hayward, in her journal, Day after Tomorrow: Audience Interaction and Soap Opera Production discusses about soap opera audience have power over the show. This notion contradicts with the common perception that soap fans have been considered as passive victims, brainwashed by the shows narrative (p.97). Hayward analyse conversation between Oprah Winfrey and one of the addict soaps fans. Hayward finds that speculating what will happen to characters within the next episodes, which called the narrative game contributes to what we understood as soap pleasure (p.98). According to the conversation, Hayward assumes crucial function of soap opera as to provide communities an open lines of communication between viewers, a neutral field discussion for housewives isolated in their respective homes and nuclear families (p.99). She also adds other function of soap opera, which is to provide a forum for public to explore disruptive social issues as well as political matters. In relation to power of the audience, she contests the notion that soap opera audiences are passive victims. From her analysis of the fans letters and conversation with them, Hayward suggests that the audiences are showing active involvement with the process of fiction making (p.99). They send letters to the shows producer, convey their criticism and even giving suggestion on how the narrative should be. Hayward uses a case study of One Life to Live to show fans power. One of the characters of OLTL, left the show due to a contract dispute, the fans response by sending 45.000 letters and then it became the headlines across soap magazines. Hayward calls this activity as active fandom (p.101). Whetmore and Kielwasser on their journal, The Soap Opera Audience Speaks: A Preliminary Report discusses how the soap viewers perceive the viewing process (p.110). The complexity and multiple sub plots seem to be characteristic of soap opera, therefore it takes a while for newly viewers to be able to understand the whole narratives. The authors suggests that newly viewers of certain soap opera has to get over the hump, that is the process of understanding the historical ties that bind the characters together (p.110). This process is enabled through discussion with other more experienced viewers. Soap opera tends to withheld the solutions of problems encountered by the characters, ends each episode with questions in viewers minds. This is claimed to be one of the appeal of soap opera (Jen Hayward). This creates viewing dependency. According to Whetmore and Kielwasser, by this viewing consistency, viewers are developing different emotional payoffs. They classify these payoffs into thre e categories; immediate, short term and long term (p.111). Newly viewers usually developing immediate payoffs, because it do not require understanding of previous plot lines and are usually characterised by the completion of a single event (p.111). The example of immediate payoffs is romantic scene. Short term payoffs require viewing practice from the beginning of a single sub plot to its completion. It usually found in the mini climax of a single sub plot (p.111). Long term payoffs are mostly awaited by devoted and long time viewers. Often, it requires years of constant viewing. Barbara Stern and Cristel Russell in their journal, Vulnerable Women on Screen and at Home: Soap Opera Consumption contests positive functions of soap opera that have been described by Hayward. Stern and Russel assume that soap opera appealing for women because it provides emotional release, personal gratification, companionship and reality escapism (p.222). They claim that soap opera industry continue displaying vulnerable upper class women to put viewers in an inferior position that are constantly exposed to imaginary ways of living and improper role models. Persistent viewing practice is assumed to risk viewers an emotional harm (Jewel and Abate 2001). They claims that the soap industry repetitively convey gender stereotyping that put women in subordination (p.223). The negative effects of soap opera are claimed to give viewers parasocial attachment and vulnerability loop in social learning and behavioural modelling (p.223). Parasocial attachment is defined as viewer relationship with fictional characters in which perceived to be real people, thus able to influence viewers norms, desires and behaviours (Churchill and Moschis 1975). In long term period, this can lead to cultivation effects, that is images on television shapes viewers perception of social reality (Larson 1996, p.98). This is enabled by viewers attachment to characters they observe on a daily basis. The stronger this parasocially interaction, the more it is likely to become a source of behavioural modelling (Stern Russell 2005, p.223). In contrast with Haywards idea, Stern and Russell claim that social function of soap opera have been over expected, because it has negative implications to less educated and less affluent soap audiences. To clarify their idea, the authors discuss recent study of 900 long term soap viewers who mostly perceive that alcohol drinking looks attractive and is associated with success (Diener 1993). Behavioural modelling also become concerns especially for adolescent gi rl soap viewers. The author mention a study of teenage girl soap viewers responses to images of single mothers, found that the girls tend to trivialise the parental role of single mom as hip and enjoyable without having to work hard. Dorothy Hobson in her book, Soap Opera claims that those critics who perceive that soap opera viewers as vulnerable and likely to be fooled by the programmes have not done sufficient studies of the audience. Hobson supports what Brunsdon noted as active audiences. Those viewers consciously choose which aspects of the programmes that they interesting in and then interpret the text according to their own experiences (Hobson 2003, p.166). Soap operas are appealing to women audiences because the programmes portray problems as well as solutions that they can identify with. Viewers at home especially housewives are incorporating soap opera viewing as her daily routines and manage her domestic duties such as cooking and preparing for dinner in a way that enable them to watch prime time soap opera. In an interview she conducted to women viewers, Hobson finds that soap opera are interesting to them because of the unpredictable events that happen within the serial, unlike other genre such as n ews programmes that are most likely to show crimes (p.171). When something bad happens to soap opera characters, the dramatic effect that viewers feel is more likely as if it is happen to somebody they know. Draw from this findings, Hobson asserts that soap opera carries the message more effectively than the same discourses exposed in a news programme (p.172). Viewers also make judgement on how the characters should behave in certain circumstances, comparing with how they would react if those things happen to them in real life. Hobson asserts that watching soap opera is not a passive process, instead the pleasure of it comes from conversation with other people, sharing opinions and using it as a medium to discuss aspects of their own lives (p.175). According to interview conducted to working women in Britain, Hobson found that women are discussing soap opera within their workplace. This conversation of the narratives enables them to discuss personal matters without making anybody fe els being intruded and humiliated. Hobson calls this as bringing the private sphere into the public domain (p.179). Conversation about soap opera performs as a medium to discuss personal problems among these working women. Hobson calls this as creating a cultural space in the workplace (p.182). Conclusion

Le Faux Mirror: A Profile of René Magritte Essay -- Rene Magritte Pape

Le Faux Mirror: A Profile of Renà © Magritte I was a child and she was a child in this kingdom by the sea and this maiden she lived with no other thought than to love and be loved by me* (Poe 1) â€Å"Si vous aimez l’amour, vous aimerez le Surrealisme!,† She screams as he slams the door (Mundy 4). His eyes are like nails in the rain. He steps onto the street— the cobbled street. She presses her lips to the window— the waiting window. As he runs away his militant frame, once emboldened in comparison to her tiny fragility, sinks into a comforting smallness. He is gone. How small he looks now that he has not listened to her. How logical he seems. She is glad that he is no longer a man, but the memory of an umbrella. There is no way she will capture him again. She knows that he no longer sees her face in every song, but a whiteness, like a bed sheet, that covers everything. Her body is water. Her features are obstructed. She finds pleasure in drowning. She wants to scream. As she breathes through the glass, watching him run, these words are in her mind: â€Å"You suicide me, so obediently. /I shall die you however one day. /I shall know that ideal woman /and slowly I shall snow on her mouth† (Matthews 61). Why does she love him? Qu’est-ce que? What is it? She sees him as a man, yet she knows that the future will remember him as an artist. How will he capture them? Of which facets of his art will they philosophize rapturously? Will it be the way his clean and vivid images seal themselves into the mind in a manner that is almost mathematical? Is it the subconscious sense of eroticism that manages to pervade all of his work even through the innocent ... ...dgar Allen Poe. French Translations: â€Å"Si vous†¦Ã¢â‚¬ Ã¢â‚¬â€If you love love, you’ll love Surrealism! â€Å"Qu’est-ce..†Ã¢â‚¬â€What is it? â€Å"Qu-est-ce†¦Ã¢â‚¬  (p. 69) —What is Surrealism? â€Å"Grelots Roses!†Ã¢â‚¬â€Pink Bells (A painting by Magritte) â€Å"dans les yeux†¦Ã¢â‚¬ Ã¢â‚¬â€In the darkest eyes the brightest eyes enclose themselves. Works Cited Gohr, Siegfried. Magritte.San Francisco: The Museum of Modern Art. Abrams, 2000. Hammacher, Abraham Marie. Renà © Magritte. Trans. James Brockway. New York: Abrams, 1995. Mundy, Jennifer, ed. Surrealism: Desire Unbound.Princeton, New Jersey. Princeton UP, 2001. Poe, Edgar Allen. â€Å"Annabelle Lee.† Romantic-Lyrics.com, 2003. http://www.romantic-lyrics.com/pa12.shtml. Soby, James Thrall. Renà © Magritte.New York: The Museum of Modern Art. Doubleday, 1965. Valery, Paul. Little Blue Light, 2003. http://www.littlebluelight.com/lblphp/quotes.php?name=Valery

Review of the on stage performance Of The Lion King Essay -- Drama

Review of the on stage performance Of The Lion King Drama In 1999, a spectacle hit the west-end after it roared through Broadway in the USA, and a few weeks ago I went to see it at the Lyceum Theatre. Disney's award winning animation, The Lion King, was brought to life in musical fashion by director Julie Taymor. It was seen with its story line intact, but as a completely original and sophisticated piece of theatrical art. With over 40 actors, singers and dancers giving a stunning performance of puppetry, song, dance, fairytale and even humour. The story concerns young lion prince Simba, whose birth has pushed his evil uncle (Scar) back to second in line to the throne. Scar plots to kill both Simba and his father, King Mufasa, and steel the throne for himself. Simba survives and is left to believe his father's death was his fault, and so leaves the kingdom. He comes across a warthog and meercat called Pumbaa and Timon who look after him. Throughout the play this duo add many humorous moments that stick with the audience. He grows fully and is left with the decision whether to return to his rapidly crumbling kingdom at the hands of Scar. He faces Scar in a great and emotional finale. There is a very enchanting performance from Josette Bushell-Mingo as Rafiki, who takes on the wise old baboon of the play and acts as the plays narrator. Also, a convincing part by Cornell John as Mufasa and the young Simba is played impressively by a naturally cheek... Review of the on stage performance Of The Lion King Essay -- Drama Review of the on stage performance Of The Lion King Drama In 1999, a spectacle hit the west-end after it roared through Broadway in the USA, and a few weeks ago I went to see it at the Lyceum Theatre. Disney's award winning animation, The Lion King, was brought to life in musical fashion by director Julie Taymor. It was seen with its story line intact, but as a completely original and sophisticated piece of theatrical art. With over 40 actors, singers and dancers giving a stunning performance of puppetry, song, dance, fairytale and even humour. The story concerns young lion prince Simba, whose birth has pushed his evil uncle (Scar) back to second in line to the throne. Scar plots to kill both Simba and his father, King Mufasa, and steel the throne for himself. Simba survives and is left to believe his father's death was his fault, and so leaves the kingdom. He comes across a warthog and meercat called Pumbaa and Timon who look after him. Throughout the play this duo add many humorous moments that stick with the audience. He grows fully and is left with the decision whether to return to his rapidly crumbling kingdom at the hands of Scar. He faces Scar in a great and emotional finale. There is a very enchanting performance from Josette Bushell-Mingo as Rafiki, who takes on the wise old baboon of the play and acts as the plays narrator. Also, a convincing part by Cornell John as Mufasa and the young Simba is played impressively by a naturally cheek...

Paramedic Professionals Essay

Although paramedics work alongside other emergency services and health care providers, they are not classified as health care professionals, therefore, working independently from these organisations and autonomously within their own state ambulance organisations. Through exploring the evolution of paramedic practice and their role as a health care provider, the current status of paramedics as a semi profession is explained along with what further development is needed before they become a recognised profession. In understanding how paramedics work autonomously within their own state based organisations, the concept of scope of practice and evidence based practice is explored. Finally by discussing how paramedics are independent, we establish paramedics’ role and position within the Australian Health Care System. A paramedic is a health care professional At present in Australia, paramedics are not classified as registered health care professionals. (Smith 2012) Instead, paramedics are widely regarded as semi-professionals with the potential to become a fully recognised profession in the near future. The definition of profession and the guidelines to become a recognised profession are not black and white. Professions Australia defined a profession as ‘a disciplined group of individuals who adhere to ethical standards and who possess special knowledge and skills in a widely recognised body of learning derived from research, education and training at a high level. ’ (Allied Health Professions Australia 2008: 8) Whilst Wilinsky (1964) describes 4 key elements that are essential for the process of professionalization. These include; the implementation of a unified code of ethics and regulations, attaining professional licencing, registration and accreditation, the establishment of university study and education and the development of full-time occupation and formation of occupational territory. Over the past 20 years the roles of paramedics have changed rapidly, with changes still occurring at the present. Paramedics have transitioned from ‘stretcher bearers’ knew as ambulance officers, to todays’ paramedics who are full time workers and are able to administer extensive pre hospital care. Along with the changes to the nature of the paramedics’ job, there has also been a significant change in the way paramedics are trained. ‘Training for paramedics has transitioned from on the job training provided by State and Territory Ambulance Services to vocational qualifications and more recently, higher education (University) sector qualifications. ’(Williams, Brown, Onsman 2012: 6) These changes to higher education training and full time employment, has allowed for paramedics to move one step closer in becoming a recognised profession. A review of common professional traits suggests two main areas where the discipline falls short and it is that paramedics do not have ‘national registration and regulation resulting in professional self-control and accreditation’ and they do not nationwide qualifications that link from tertiary education to the paramedic services (Williams, Brown, Osman 2012: 1) Firstly, registration in the context of health care professionals, is the process of licensing and registering clinicians to practice at a uniform national standard of care. Productivity Commission 2005 in Williams, Brown, Osman 2012: 7) Registration allows for consistency in education and training nationwide, and ensures paramedics work within the provisions of their scope of practice. (Council of Ambulance Authorities 2008) Secondly, there are no national university standard degree competencies or a national curriculum in relation to paramedic training. This leads to an inconsistency between the curricula taugh t to paramedic students. This is further aggravated by ambulance services as they work independently from the Australian Health care System and of the universities as well. Williams, Brown, Osman 2012) In conclusion, without the implementation of nationwide registration, licensing and education qualifications, paramedics will continue to be recognized as a semi-profession. Operating autonomously Paramedics are allied health care providers who are operating autonomously at a state level within their own ambulance services. The United States National Library of Medicine defines autonomy as the ‘decisions and the freedom to act in accordance with one’s professional knowledge base. (Nurs 2010: 1) In the paramedic profession this knowledge base is known as a scope of practice. Within each state based paramedic organisation, there is legislation and guidelines that outline the scope of which a certain qualified paramedic can work in. Scope of practice refers to ‘the ext ent to which providers may render Health care services and the extent they may do so independently and the type of diseases, ailments, and injuries a health care provider may address and what procedures and medication they can provide. ’ (Prats ;amp; Katz 2012: 13) For example, in Queensland, whilst out on road paramedics have the freedom to make their own decisions and judgments based on their knowledge, as long as it is legal in the legislation of the Queensland Ambulance Service Ambulance Service Act 1991 (Qld) and within the scope of practice of the paramedics qualifications. (Queensland Consolidated Acts 2010) As paramedics gain further knowledge and undergo more training, the scope of practice of this paramedic will increase. The larger the scope of practice, the more autonomously the paramedic is able to operate. Currently in Queensland there has been an increased awareness of poorer patient outcomes and difficulties in accessing medical help in rural and remote areas. (Horizon 2007 in O’Meara 2011) In an attempt to increase positive patient outcomes, expanded scope roles have been introduced into the Australian Health Care System, allowing certain paramedics to apply skills and protocols for which they were not originally trained. (Sterling, Pedler, Walker 2007) This increases the paramedics’ autonomy within their field which allows them to work for better patient outcomes. Paramedics are also highly autonomous as they frequently use evidence based practice as a means of new research and technique. In the pre hospital care environment, ‘rather than making decisions about practice actions based on routine and traditionally taught methods, paramedics use evidence identified from well-constructed studies as a basis for the clinical decisions and behaviours. ’ (Curtis ;amp; Ramsden 2011: 111) Evidence based practice occurs through ‘integrating individual clinical expertise with the best available external clinical evidence from systematic research. (Sackett ;amp; Rosenberg 1996: 1) This can only occur when an individual is given autonomy within their field of work. In conclusion, as paramedics have the freedom to make decisions within their scope of practice and can utilise evidence based practice, paramedics are autonomous within a state level. Operating independently within The Australian Health Care System Although paramedics work alon g-side the Australian Health Care System, paramedics are independent of this system. The Houghton Mifflin Company 2011 defines independent as being ‘not governed by a foreign power; self-governing. Paramedics are governed by their own state based organisations and are separate and independent of the hospitals and the Australian Health Care System. When dealing with any misconduct or inquiries, unlike nurses and doctors whose governing power is the Australian Health Care System, paramedics approach their own state based organisation. In conclusion, even though the paramedics work in conjunction with other health care providers both in and out of the hospital setting, paramedics governance is independent of other health care services and the Australian Health Care System. Willis, McCarthy, Lazarsfeld-Jensen and O’Meara 2009) Conclusion: In conclusion paramedics are autonomous and independent health care providers who work along-side the Australian Health Care system. Alth ough paramedics work alongside other emergency services and health care providers in both the in and out of hospital care environment, they are not classified as health care professionals. But with the implementation of nationwide curricula and ethical standards, paramedics can move from a semi profession to fully recognised profession. Paramedics have the freedom to make decisions within their scope of practice and can utilise evidence based practice, making paramedics autonomous within a state level. Through the broadening of paramedics’ scope of practice in certain environment such as rural areas and through the use of evidence based practice we see efforts to increase positive patient outcomes. Finally, paramedics are independent from the Australian Health Care System as they are self-governed by their own state based organisations.