Health Policy and Chronic Pain Management Essay -- palliative care, ch

Introduction   Pain is not always curable but effects the life of millions of people. This essay examines the Essence of Care 2010: Benchmarks for the Prevention and Management of Pain (DH, 2010). Particularly reflecting on a practical working knowledge of its implementation and its relevance to nursing practice. It is part of the wider ranging Essence of Care policy, that includes all the latest benchmarks developed since it was first launched in 2001. It was produced specifically to improve localized quality in the delivery of healthcare. The document was chosen because I have a particular interest in palliative care and those suffering from chronic pain. Pain effects the quality of life effecting large numbers of the population, especially those near the end of life. This essay will look at defining what social policy is and give a brief overview of the selected policy. Examining the need for the policy, statistical evidence supporting this. Then the pressure groups lobbying and who may have been influential in policy development. The goals and objectives set out in the policy and subsequently analysing one aspect of the policy in particular are included. How patient care and nurses delivery of said care is improved by this policy. Practically considering the difficulties involved in implementing the policy in nursing practice. Along with methods of delivery and evaluation. Body So what is social policy? David Gill is often regarded as one of the most authoritive authors on the subject (1973 cited by Lavalette and Pratt 1997). For Gill it was â€Å"the analysis of access to life-enhancing and life-sustaining resources† In his book 'Social Policy' (Titmuss, 1974) Timuss suggested that 'policy' is action-orientated and proble... ...n.org.uk/__data/assets/pdf_file/0004/269185/003542.pdf [last accessed 6/5/2013] Titmuss, R. (1974) Social Policy. London: Unwin Hymen publishers. Toofany, S. (2005) Nurses and health policy. Nursing Management :(12)3 :pp. 26-30 Winfield, H., Katsikitis, M., Hart, L. and Rounsefell, B. (1989). Postoperative pain experiences: Relevant patient and staff attitudes. [online] 34(5): pp.543-552. Available at: http://www.sciencedirect.com/science?_ob=ArticleURL&_udi=B6T8V-45WYV7R-7G&_user=10&_coverDate=12%2F31%2F1990&_rdoc=1&_fmt=high&_orig=gateway&_origin=gateway&_sort=d&_docanchor=&view=c&_acct=C000050221&_version=1&_urlVersion=0&_userid=10&md5=35e6b5e8c8f803b487b35d4ae3b06cef&searchtype=a[ [accessed 8/5/2013] World Health Organization (WHO)(2011). WHO's Pain Ladder.[online] Available at: http://www.who.int/cancer/palliative/painladder/en/. [Accessed 7/5/2013].

New Journalism

Is New Journalism a literary genre? Analyse with reference to the literary techniques used in two examples of New Journalism. Word Count – 2231 I suppose the most common sense point at which to start is by defining New Journalism, or Literary Journalism, as Eisenhuth and McDonald (2007, p. 38) say it is called at the â€Å"upper end of the spectrum. † The Collins Concise Dictionary (1999, p. 995) defines New Journalism as â€Å"a style of journalism, using techniques borrowed from fiction to portray a situation of event as vividly as possible. †Wikipedia (2010) defines it as â€Å"a style of 1960s and 1970s news writing and journalism that used literary techniques deemed unconventional at the time. † The meaning of New Journalism has evolved over the the past one hundred years or so and has supposedly been coined by many a person, including the so-called founding father of New Journalism, Matthew Arnold (Roggenkamp, 2005, p. xii) The term, with relevance t o the above definitions, was codified with its current meaning by Tom Wolfe in his 1973 collection of New Journalism articles,  The New Journalism,  which included works by – most notably – himself, Truman Capote, Hunter S.Thompson, Norman Mailer, and Joan Didion. With reference to the aforementioned New Journalists, Tom Wolfe, in a 1972  New York Magazine  article, said, â€Å"I know they never dreamed that anything they were going to write for newspapers or magazines would wreak such evil havoc in the literary world; causing panic, dethroning the novel as the number one literary genre, starting the first new direction in American literature in half a century. Nevertheless, that is what has happened. † He went on to say that, â€Å"Bellow, Barth, Updike – even the best of the lot,Philip Roth – the novelists are all out there ransacking the literary histories and sweating it out, wondering where they now stand. ‘Damn it all, Saul, th e  Huns  have arrived. ‘† So, this uproar is what begs several questions that these writers felt the need to be answered. Is New Journalism a literary genre, simply because it utilises the tools of fiction to give it colour? Is it a journalistic genre? Is it a genre all by itself? Imagine journalism and literature both being a circle side by side; they stand alone.They are pushed together when attempting to work out the place of New Journalism in the world of writing; how far do they overlap? And if, when they meet, there is an even overlap, surely that creates a distinct genre? Some argue that, as well as not being a literary genre, New Journalism is not a stand-alone genre at all. Murphy (1974, p. 15) says that, in his eyes, the main charge levelled against New Journalism is â€Å"criticism against it as a distinct genre. † Truman Capote seems to disagree with this and says, â€Å"It seems to me that most contemporary novelists are too subjective.I wanted t o exchange it, creatively speaking, for the everyday objective world we all inhabit. Reporting can be made as interesting as fiction, and done as artistically. † (Plimpton, 1967, p. 14) This suggests that Capote believes that New Journalism falls on neither side of the fence. Instead, New Journalism is all about taking journalism with one hand, taking literature with the other, and pulling them both together. He wanted to make literature more objective, as journalism is, and he wanted to make journalism more creative, as literature is. Conley (1998, p. ) notes that, â€Å"Journalism and fiction are not usually mentioned in the same sentence unless in an unflattering sense, yet they have much in common. † Again, we are directed towards the two forms as separate, but partially overlapped. Weiss (2004, p. 177) says that, â€Å"The tugs and pulls of fact versus fiction and memory versus imagination are evident within the genre of journalism. † She goes on to say that , â€Å"Journalism splintered from early reporting and took on many of the attributes of literature. There are many attributes of literary journalism which overlap with fiction. Again, this theme of convergence is present in her thoughts. Weiss (2004, p. 179) asks a good question: â€Å"Has the blurring of lines from non-fiction to fiction become excessive and confusing? † Roorbach (2001, p. 7) goes some way in answering this and states that â€Å"an over-insistence on verifiable accuracy has about the same deadening effect on art as an over-insistence on conformity in style and subject. † So it follows that the best course of action when considering the place of New Journalism is to nod towards the pieces of work that take responsibility for both fact and fiction.Somerset Maugham (1938, p. 19) agreed that fiction and journalism are intrinsically linked and says, of news, that â€Å"it is raw material straight from the knacker's yard and we are stupid if we turn our noses up at it because it smells of blood and sweat. † These are the words of a literary great who feels that writers must take journalism into account in their work. Believing there was whole new genre, Capote called his book,  In Cold Blood,  a non-fiction novel, which is a book that employs the conventions of fiction to tell a true story. The work is about the mass murder of a Kansas farming family.Although the book was the peak of Capote's career as a writer, and was hailed as an international success, it – along with New Journalism as a whole – was heavily criticised, due to facts being changed, scenes being added and dialogue being made-up. This criticism can be seen as a positive thing though, in terms of defining New Journalism. By stating that aspects of his style of writing makes it neither journalism, nor literature, the criticism creates a new genre for Capote's work to sit, comfortably, in. Interestingly, Capote, along with Mailer and many other authors, never agreed to their style's comparisons to Wolfe's school of narration.Much to the contrary, many of these writers would deny that their work was generically relevant to other new Journalists at the time. In a 1966  Atlantic  article, Dan Wakefield said that the non-fiction work of Capote elevated reporting to the level of literature. Although praising the work of Capote, this goes some way in saying that literature is better than journalism. This is evidence for what Capote said his critics felt:  Ã¢â‚¬Å"Combining literature and journalism is little more than a literary solution for fatigued novelists. † (Plimpton, 1967, p. 16) Newfield (1967, p. 0) said that, â€Å"This new genre defines itself by claiming many of the techniques that were once the unchallenged terrain of the novelist: tension, symbol, cadence, irony, prosody, imagination. † Gay Talese's 1966 article for  Esquire  magazine,  Frank Sinatra Has a Cold,  was a very influential pie ce of New Journalism that gave a very detailed portrait of Frank Sinatra, without ever having interviewed him. Talese undertook huge amounts of research, as did many of the New journalists, including Capote with  In Cold Blood. Unlike Capote, Talese did not invent facts of characters.His article is, therefore, an example of New Journalism that falls under the category of a journalistic genre, as opposed to a distinct genre. In agreement with the methods of Talese and critical of those of Capote, writer Barry Seigel, who heads up a literature and journalism course at the University of California, says that he teaches of â€Å"nonfiction prose that transcends the limits of daily journalism. † He nonetheless â€Å"rejects absolutely the notion of imagining or otherwise fabricating quotes, inventing characters or blurring different sources into composites. (Eisenhuth and McDonald, 2007, p. 41) If the aim of most New Journalism is to write so  vividly and report in such inten se bursts that a scene leaps from the page, Talese goes in the other direction. He slowly drills down through the mundane subterranean reality of human existence to its â€Å"fictional† core. He said he wanted â€Å"to evoke the fictional current that flows between the reality. † Neither of these examples, nor any of the quotes gleaned from research, point towards New Journalism falling under the category of a literary genre.Obviously there will be those that do not wish to have it associated with the word literature; they see it as a bastard child. Hartsock (2000, p. 7) states that New Journalism â€Å"reflects a rough, but not definite split between journalism and literature. † He notes that some commentators, such as Lounsberry, who is affiliated with English studies, prefer to view it as a literary genre. Others, such as Connery, who is affiliated with journalism, prefer to view it as a journalistic genre. He adds that, â€Å"there long has been a bias agai nst journalism by English studies. Eisenhuth and McDonald (2007, p. 49) say that some journalists tend to see the term as ‘bunging it on a bit,' but the fact is that the notion of New Journalism is gaining acceptance, even in university English departments, which have traditionally disdained the reporting milieu that has nurtured so many novelists – the likes of Ernest Hemingway and Graham Green; and in more recent times, journalists turned non-fiction writers and novelists like Robert Drewe. † Drewe was the focus of Conley's 1998 article,  Birth of a Novelist, Death of a Journalist.Drewe is Australia's most prominent author turned journalist. His first book, The Savage Crows, was well received,  although at the time with some surprise, â€Å"like here is a dog that can ride a bicycle and play a trumpet at the same time, which was sort of flattering and slightly offensive† He said his transition to fiction entailed a grudging acceptance because of Austr alia’s tradition that novelists either came from the School of Hard Knocks – â€Å"the realist, outback, dingo-trapping background† – or from English Departments. (Conley, 1998, p. 0) There is still, to this day, an enormous amount of debate surrounding New Journalism and its place in the world of writing. There is, and always will be, a furore amongst steadfast writers that refuse to accept it into the literary world. Connery acknowledges â€Å"the difficulty of the form's identity,† and that our understanding of New Journalism as a genre â€Å"is still very much emerging. † (Hartsock, 2000, p. 3) The mere fact that Connery seeks to find a justification at all highlights the critical discomfort with the form's identity.Weber argues that this discomfort comes because â€Å"this category of serious writing is not well defined, and the many different terms used to describe it do not help. † (Hartsock, 2000, p. 6) Here, he is obviously r eferring to the terms Literary Journalism, New Journalism, and Literary Non-fiction; which vary in use, depending on the commentator. It seems that an answer will never be reached as to whether or not New Journalism is a stand-alone genre. Without taking the sceptics and critics too much to heart, New Journalism seems to be nestled, just fine, in its own world. Lounsberry (1990, p. 5) sums things up in a nutshell, despite her affiliation towards New Journalism as a literary genre. She states that, â€Å"it does not really matter what name we give to this type of discourse; it is possible to study it without actually placing it under any specific category. † References Books Collins Concise Dictionary, 1999. New Journalism. Glasgow: Harper Collins Publishers. Eisenhuth, S, MacDonald, W. , 2007. The Writer's Reader – Understanding Journalism and Nonfiction. Cambridge: Cambridge University Press. Hartsock, J. C. , 2000. A history of American Literary Journalism.The Emerge nce of a Modern Narrative Form. Massachusetts: University of Massachusetts Press. Lounsberry, B. , 1990. The Art of Fact – Contemporary Artists of Nonfiction. Lincoln: Greenwood Press. Maugham, S. , 1938. The Summing Up. London: Heinemann. Roggenkamp, K. , 2005. Narrating the News: New Journalism and Literary Genre in Late Nineteenth Century Newspapers and Fiction. Kent, OH: Kent State University Press. Roorbach, B. ,2001. The Art of Truth: Contemporary Creative Nonfiction. New York: Oxford University Press. Articles Conley, D. , 1998. Birth of a Novelist, Death of a Journalist.Australian Studies in Journalism 7,  46-73, p1. Murphy, J. E. , 1974. The New Journalism: A Critical Perspective. Journalism Monographs,  34, p15. Newfield, J. , 1967. Hooked and Dead. New York Times Book Review,  May 7, p. 20. Wakefield, D. , 1966. The personal Voice and the Impersonal Eye. The Atlantic,  pp. 86-89 Weiss, C. , 2004. Reviving the Elephant; Bringing Literary Journalism Back into the Classroom. Schenley High School,  p173. Websites Plimpton, G. , 1967. Truman Capote: In Which Various Friends, Enemies, Acquaintances, and Detractors Recall His Turbulent Career. Online] Available at: ;http://www. thefreelibrary. com/Truman+Capote%3A+In+Which+Various+Friends,+Enemies,+Acquaintances,+and†¦ -a020210227; [Accessed 27 November 2010) Wikipedia, 2010. New Journalism. [Online] Available at: ;http://en. wikipedia. org/wiki/New_Journalism; [Accessed 27 November 2010]. Wolfe, T. , 1972. Participant Reveals Main Factors Leading to Demise of the Novel, Rise of New Style Covering Events. New York Magazine. [Online] Available at: ;http://nymag. com/news/media/47353/; [Accessed 27 November 2010].

The Cask Of Amontillado By Edgar Allan Poe - 1219 Words

Sometimes the circumstances in an individual’s life causes them to do the unexpected and the shocking. These events can affect how that person acts in society and everywhere they go. Most of the time, writers tend to write from their personal experiences, their childhood, and any other period of their life that caused a dramatic change and left a strong mark or memory. The author’s personal stories allows them to create new stories but express the same feelings within other characters. So, the psychological material will be presented indirectly through â€Å"symbolism, condensation, and displacement.† Literary works written in a psychological perspective are based on the author’s childhood traumas and family life. The Freudian approach in the psychological perspective usually highlights the influences of a character’s id, superego, and ego. Hence, Edgar Allan Poe’s,â€Å" The Cask of Amontillado† is based on a psychological perspective . Montresor senses bitterness towards Fortunato because Fortunato had insulted Montresor. Likewise, Poe’s foster father doubted and in a way insulted Poe’s writing abilities which caused Poe to seek revenge. Moving on, Poe seeked revenge by continuing to write and publish literary works which was against his foster father’s will. Therefore, â€Å"The Cask of Amontillado† portrays the psychological perspective since the reader is able to understand and relate the author’s work to the author’s childhood trauma and family life. To begin with, the attitudesShow MoreRelatedThe Cask of Amontillado by Edgar Allan Poe888 Words   |  4 PagesThe Cask of Amontillado by Edgar Allan Poe In ?The Cask of Amontillado?, Edgar Allan Poe takes us on a trip into the mind of a mad man. Poe uses certain elements to convey an emotional impact. He utilizes irony, descriptive detail of setting, and dark character traits to create the search of sinful deceit. Poe also uses first person, where the narrator is the protagonist who is deeply involved. The purpose is to get the reader to no longer be the observer. He wants them to see with MontressorRead MoreThe Cask of Amontillado by Edgar Allan Poe836 Words   |  3 Pagesqualities in the story. In the story many things are used as symbols such as the actual cask of amontillado, the trowel, the jester costume and the setting in which there is two in the story. Another literary technique used significantly in the story is irony. Irony is the expression of ones meaning by using language that normally signifies the opposite. In the short story â€Å"The Cask of Amontillado,† Montresor a very troubled man who plans to seek revenge on another man named FortunatoRead MoreEdgar Allan Poe And The Cask Of Amontillado1384 Words   |  6 PagesWhat makes Edgar Allan Poe work unique? Other than being a strange individual, Poe has become a remarkable literature writer. The Raven, Annabel Lee, and The Cask of Amontillado are just a few of Poe’s work that staples the theme of gothic literature. This essay will allow you to see the gothic elements Edgar Allan Poe uses through his most common poems. Gothic literature has many elements which play into its definition. The actual definition is a style of writing that is characterized by elementsRead MoreThe Cask Of Amontillado By Edgar Allan Poe906 Words   |  4 Pages â€Å"The Cask of Amontillado† â€Å"The Cask of Amontillado† was written in 1846, by Edgar Allan Poe. Born in 1809, Poe never knew any of his parents. At the age of three, his mother died of tuberculosis, and his father deserted the family before he was born. Taking care of him was his foster parents in Richmond, Virginia. They loved Poe, but were not supportive of his decisions and kept Poe poor. Having debt and not being able to provide food and clothes for himself caused Poe to quit school. Later, heRead MoreThe Cask Of Amontillado By Edgar Allan Poe920 Words   |  4 Pageswhen that trust no longer exists? In â€Å"The Cask of Amontillado† written by Edgar Allan Poe, Fortunato is about to find the answer to this question. On the surface, Montresor seems friendly with Fortunato, but deep down he feels nothing but hate for him. Could this hatred have an irrationality that only Montresor understands? In different ways, both of these men are proud and affluent, yet both have downfalls that will l ead to a tragic ending. Edgar Allan Poe’s use of language contributes to the understandingRead MoreThe Cask Of Amontillado By Edgar Allan Poe1555 Words   |  7 PagesIn his writing, Edgar Allan Poe has multiple uses of direct and indirect characterization. In The Cask of Amontillado, Montresor had rules such as â€Å"I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong† (Poe, 2). Poe used indirect characterization to show the reader that Montresor is an unreliable narrator because he justified hisRead MoreThe Cask Of Amontillado By Edgar Allan Poe1303 Words   |  6 PagesIn Edgar Allan Poe’s â€Å"The Cask of Amontillado,† the narrator recalls an extremely significant time in his life, and takes the reader along with him. Throughout the story, one experiences a perfectly planned murder which took place over fifty years ago, and still no one has discovered what truly happened to poor Fortunato as he was chained to a wall in a room that was then closed off, and torched to death due to all the nitre in the walls. As the story goes on, the reader can see some of Poe’s unfortunateRead MoreThe Cask Of Amontillado By Edgar Allan Poe1076 Words   |  5 PagesThe short story, The Cask of Amontillado, written by Edgar Allan Poe is a story of terror and betrayal. Like many of Poe’s literary works, the story has a dark undertone with a theme of terror and depression. More than half a century ago, Marshall McLuhan argued that though Poe was fascinated by evil, the evil that he had in mind was not that of Calvinism, but that of the split man and the split civilization. In general, McLuhan was right, but in this instance Calvinism, and its God, provided a darkRead MoreThe Cask Of Amontillado By Edgar Allan Poe707 Words   |  3 PagesIn the short story of The Ca sk of Amontillado, Edgar Allan Poe writes in first person point of view from the perspective of Montresor who seeks revenge against Fortunato. Montresor began to develop the perfect plan for revenge. During the carnival season, Montresor meets with Fortunato and decides to implement his plan carefully through irony. Poe s story describes the murderer s mind which has lived as a memory of Fortunato s death for fifty years. Poe uses different types of irony and symbolismRead MoreThe Cask Of Amontillado By Edgar Allan Poe985 Words   |  4 PagesEdgar Allen Poe is a well known author of short stories and poetry from the 19th century. He is known especially for his stories of horror and suspense. The Cask of Amontillado is one of his more famous pieces. The story follows the narrator, Montresor, as he exacts revenge on Fortunato. Montressor draws Fortunato into the wine cellar where eventually he chains Fortunato to the wall and encloses him inside it. Throughout the story the narrator continually proves that he is not the most reliable source