The Golden Ratio: Importance

The Golden Ratio: Importance The great architect of age and every culture, the basis of which is Golden Ratio. Thesis statement: What is the Golden Ratio? How can one number be so important that countless historical figures have spent many years of their lives studying it and proving its existence? And why is it still so relevant in todays design and architecture? Introduction What is the most satisfying proportion in today design? The Greeks thought they knew. Their temples were designed according to certain rules relating to the golden section. (Which is what we, layman, know as the Divine Proportion, the Golden Proportion, the Golden Number or even the Golden hat Mean.) In the 13th century, Fibonnaci, an Italian mathematician, put it all down on paper. He said, the golden section or perfect proportion was 0.618034 to 1 (about 5 to 8). The Parthenon (a temple in the Athenian Acropolis that the Greeks built, dedicated to the Greek goddess Athena) fits into Fibonnacis Golden rectangle. Incidentally, so do the pyramids at Giza. Does this make the Golden proportion a necessary rule to follow in design? In the 16th century, Leonardo Da Vinci wrote a book on geometric recreations called Divine Proportion. In 1948 Le Corbusier also wrote a book on mathematical proportioning. Others who have benefited this ratio are biologists, artists, psychologists and even mystics have pondered and debated on the basis of ubiquity and appeal. It is fair to say that the Golden Ratio has inspired thinkers of all disciplines like no other numbers in the history of mathematics. Throughout the generations, many architects have also searched for the golden rule of design, thinking that it is that of the Golden Ratio. However, their search is far from over. This is because mathematics alone will not tell you what the most eye-pleasing proportion for a buildings structure is. Proportion must be generically correct and determined by the nature of the material. In other words, it is one thing for stone, another for concrete, and something else for steel. This, we would discuss further in another segment. Present technology has also given architects and engineers unlimited range to compose new forms of design and exciting spaces. My stand is that the Golden Ratio is an important aspect in designing a building but it is not the most crucial. Besides having proportion in a building, functionality is also important. A creative design through the creative intuition of a designer will make the building outstanding. History Background Renaissance Period The Golden Ratio is related to many things in the world today, not only during the times of Renaissance, Le Corbusier and Alberti. It exists in architecture, art, music, design and even fashion. Since Renaissance, many artists and architects have proportioned their works to the Golden Ratio, especially in the form of golden rectangle, in which the ratio of the longer side to the shorter in the Golden Ratio, causing this proportion to be aesthetically pleasing. Mathematicians have studied this because of its unique and interesting properties applying it to geometry. Since then, it has opened up doors for me how I view design and architecture and how it balances harmony to architecture design in this modern world. Others who have benefited this ratio are biologists, artists, psychologists and even mystics have pondered and debated on the basis of ubiquity and appeal. It is fair to say that the Golden Ratio has inspired thinkers of all disciplines like no other numbers in the history of mathematics. B Body The Golden Ratio in the Past Firstly, let us consider what the ancients were trying to achieve by including the Golden Proportion in their design. Taking the building of the Parthenon temple as an example, the Greeks have shown a clear example of proportioned Golden Ratio and design, with it being circumscribed by golden rectangles. Some scholars, however, denied that the Greeks had any aesthetic association with Golden Ratio. It could have been just pure sense of good proportion by the architects at that time. Making a building pleasing to ones eyes and creating harmony in space was the main objective. the Greeks simply wanted to achieve perfection that pleases their God, Athena. The Parthenons facade is, or? Unlikely I feel, as it is seen from the pictures, the measurements and the superimpose golden rectangles, these choices are so well made that there must be some work of the mathematical calculations to derive such proportioned structure of a building. They feel that it was not until Euclid that mathematical properties were studied. Before Elements (308BC) the Greek merely regarded the number merely as an interesting irrational numbers, with regular pentagons and decagons and dodecahedron (a regular polyhedron) and regular pentagons. But one thing for sure, it was the Euclid where it is showed how to calculate the value. Vitruvius (a Roman writer, architect and engineer) discussed proportions where it can be expressed in whole numbers, as opposed to irrational proportions. Secondly, Are modern designers concerned with the issue of Golden Ratio to architectural design? Whether they still apply Golden Ratio? Le Corbusier is said to have contributed to many modern international style architecture, centering on harmony and proportion. Its faith in the mathematical order was closely bound by the Golden Ratio and the Fibonacci series. He uses the Golden Ratio in his modulor system for the scale of architectural proportion. He saw this system as a continuation of the long tradition of Vitruvius, and others who used the proportions of the human body, to improve the appearance and function of architecture. In addition to Golden Ratio, Le Corbusier based the system on human measurements, Fibonacci numbers and the double unit. He took Leonardos suggestion of the Great Ratio in human proportions to an extreme, he sectioned his model human bodys height at the navel with the two sections in the Golden Ratio, then subdivided those sections in Golden Ratio at the knees and throat; he used these Golden Ratio proportions in the Modulor system. The Villa Stein in Garches exemplified the Modular system. The Villas rectangular ground, elevation and inner structure closely approximate golden rectangles. Thirdly, Fractal Dimensions in Modern Architecture Recently, fractal dimensions have been calculated to be used frequently for Frank Lloyd Wrights and Le Corbusiers buildings. It can be found that both architects use the method of increasingly smaller rectangular grids. Frank Lloyd Wrights buildings display a self-similar characteristic over a wide range of scales (far and spaced versus micro small sizes), so those buildings are intrinsically fractal. However for this specific project, Wright was following the brilliant example of his teacher, Louis Sullivan. By contrast, Le Corbusiers architecture displays a characteristic over only two or three of the largest scales. In more detail, Le Corbusiers architecture is flat and straight, and therefore has no fractal qualities. A fractal dimension between one and two characterizes a design that has an infinite number of self-similar levels of scale, whereas the fractal dimension of Le Corbusiers buildings immediately drops to one. (Bovill, 1996. Salingaros, 1999.) Golden Ratio has also proven in the Art and Nature Leonardo da Vincis illustrated yet another divine proportion in the infamous painting of Mona Lisa. Other equally well known painting which has made use of the Golden Ratio is The Sacrament of the Last Supper by Salvador Dali. The Golden Ratio is expressed in the arrangement of branches along the stems of plants and of veins in leaves and even to the skeletons of animals including their veins and nerves, to the proportions of chemical compounds and the geometry of crystals, to the use of proportion in artistic endeavours. From this, the Golden Ratio has become a universal law in strive to create completeness and beauty, with both nature and art, in structure, forms and proportions, organic and inorganic, in the human form. According to Volkmar Weiss and Harold Weiss the Golden Ratio also affects the clock cycle of brain waves, known as psychometric data. Golden Ratio is Relevance in Present Times Modernising the Traditional Intimate Relationship Between Architecture and Mathematics The traditional intimate relationship between architecture and mathematics has changed in the 20th century. Architecture students no longer need to have a mathematical background according to the article Architecture, Patterns and Mathematics by Nikos Salingaros. It may be promoting an anti-mathematical mindset. Mathematics is a science of patterns, the presence or absence of patterns in our surroundings influences how easily one grasp the concepts that rely on patterns. However, it has been seen that an increase in technological advances, rather especially in the area of environmental factors, has made mathematics almost redundant in architecture. Environmental psychologists know that our surroundings influence the way we think, so if we are raised in an anti-mathematical environment, then we would deem to subscribe more human qualities. This is not an argument about preferences or styles, it concerns more about a trained functionality of the human mind! An example to illustrate the meaning of functionality in the human mind is made by Christopher Alexander where: the need for lights from two sides of a room; a well-defined entrance; interaction of footpaths and car roads; hierarchy of privacy in different rooms of a house and etc. It speaks about specific building types, about building blocks that can be combined in an infinite number of ways. This implies a more mathematical and combinatoric approach to design in general. Alexandrine patterns represent solutions which repeat itself in time and space, thus relating to visual patterns transforming into other dimensions. A new concept: Organic Architecture In recent years, there has been a shift in architecture looking away from Golden Ratio to other ways in which design can still have a sense of proportion by looking at nature for inspiration; the term given is Organic Architecture. The term organic architecture was coined by the famous modern architect, Frank Lloyd Wright (1867-1959), though never well expressed by his cryptic style of writing: So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal and the teaching so much needed if we are to see the whole of life, and to now serve the whole of life, holding no traditions essential to the great TRADITION. Nor cherishing any preconceived form fixing upon us either past, present or future, but instead exalting the simple laws of common sense or of super-sense if you prefer determining form by way of the nature of materials Frank Lloyd Wright, written in 1939. While Organic Architecture does describe some form of individuality, it also expresses our need to connect the designs, we create, to Nature. Using Nature as a fundamental for design, from there a building or design must grow, as Nature grows, from the inside out. Many architects design their buildings as that similar to a shell and force their way inside. Nature grows from the idea of a seed and reaches out to its surroundings. A building thus, is akin to an organism and mirrors the beauty and complexity of Nature. Where the Golden Ratio Fits In However, in the research that I have done on this topic, many of the historic scholars who devoted their entire lives to studying the Golden Ratio has always studied nature for inspiration and they derived the Golden Ratio from nature itself. Modern architects who claim to move away from the Golden Ratio as it is too conformist and look towards nature for their inspiration for proportion instead still end up following the Golden Ratio as it was from studying nature that led to the discovery of Golden Ratio. Hence, the continuing relevance of Golden Ratio in todays architecture. How the Golden Ratio is evident in our everyday lives The Golden Ratio seen in Music Rhythm is everywhere in nature, at every scale from cosmic phenomena to the oscillations of atoms. Our every cell has its own clock, governing its own repetitive rhythms. Time itself, once measured by the motion of earth, sun and stars, is now defined, less memorably, as 9,192,631,770 oscillations of a single atom of an obscure metal. At the scale of the biosphere, the fidelity of replication in the genetic system is such that no more than about 200 errors are made in copying the 300 million bases strung into the chromosomes that hoard the design of our bodies. Without those errors, however, there could be no change and so no evolution. With this is mind, we shall now look at how rhythm ties in with the Golden Ratio. Much of the rhythm and movement and design of our bodies and normal everyday life experiences all tie in with the Golden Ratio, how we perceive an object and whether we find it pleasing all goes back to the Golden Ratio. Because it is the one of the universal constants that allow for the interactions between all things on earth, it continues to hold relevance in our lives, regardless of the advancements in technology, which in fact is actually discovering more and more how life and design is so intimately associated with the Golden Ratio. Architectural evidence of the Golden Ratio Take a look at modern architecture and you will soon realize that the last decades have produced an increasing number of buildings with exotic shapes. Of course, also in earlier times the design of buildings has been influenced by mathematical ideas regarding, for instance, symmetry. Both historical and modern developments show that mathematics can play an important role, ranging from appropriate descriptions of designs to guiding the designers intuition. C Case study Case Study One: Republic Poly Technology of Singapore by Fumihiko Maki Fumihiko Maki designed the new campus attempting to preserve the green qualities and the topography of the original site introducing landscape elements that contrast with the natural widerness and strengthen the sense of place based on Golden Ratio. Case Study Two: AL Mukminin Mosque In Jurong East by Forum Architects built in 1987 The adoption of the Fibonacci sequence as a design generator is the intriguing concept of this Mosque, a strong arithmetic pattern. The architects involved with questions of context and the sense of harmony is gathered from the aspiration. Case Study Three: Palladios Villa Rotunda. The Villa Rotonda design is completely symmetrical on all axes under a modern teminology, including diagonals. Case Study Four: Taj Mahai Taj Mahai in India contains the golden ratio in its design and it was completed in 1648. Case Study Five: CN Tower in Toronto The CN Tower in Toronto, the tallest tower structure in the world, has contains the also has golden ratio in its design. 342 meters was the ratio of observation deck and total height of 553.33 is 0.618 or phi, the reciprocal of Phi! Case Study Six: California Polytechnic State University The College of Engineering was also designed based on the Fibonacci number What I have perceived until this moment In my analysis, Golden Ratio forms the basis of understanding of architecture, however it is not the entirety. Because form follow function, function plays an important part of the architectural design because without understanding the functionally of form, it is not possible to develop a building of good use, for example a good architect must be able to understand the utility of function. For example, the architect must know how many rooms a house needs, whether a swimming pool is required or a badminton court needed. After a form is selected and function must go beyond the concerns of biotechnical materialism. The creative architects must go beyond utility technical knowledge to an awareness of experiential associations and symbolic meanings that lies behind the visible form. Beauty in design is not guaranteed when all of the above is satisfied. Some intuition is required by the architect and an outstanding design depends also in skill and intuition with functionality. Therefore, the great architect of age and every culture, the basis of which is mathematical. Word count : 2953

Irish English literature interaction

The notion of Irish literature is often the subject of much critical contention. For some people Irish literature is reserved for works in the Irish language. The fact that the Irish language was almost eradicated during the nineteenth century is still, however few people actually now speak or write it in contemporary Ireland, an inescapable fact of Irish history and Irish literary history. Its eradication was, in part, a matter of political compulsion and also, in part, a matter of the tragic history of the vast scale of emigration which followed on the Irish Famine of 1845-8.This is why, among Irish writers who write in the English language, language itself becomes the focus of their reflection. Literature in English in Ireland has been a literature in which ideas of Ireland — of people, community and nation — have been both created and reflected. To understand how it is true it is necessary to contemplate the conceptions of a distinctively Irish identity which have b een articulated, defended, and challenged. Another point to consider is how the perception of alienation, felt almost by all Irish writers, influences their choice of themes for literary works.For the material of my study I have chosen the works of two great Irish writers, prose writer Joyce and poet Heaney and American writer who nevertheless is regarded as English writer, Thomas Stern Eliot. The reason I choose to include Eliot in this essay is that he is much like Joyce and the comparison between those two geniuses with help to trace the ways of intersection and similarity of two cultural traditions. Another reason for choosing to study Eliot, together with Joyce and Heaney is that all three writers were exiles, the fact that influenced their literary style and themes.They knew and influenced each other.. Eliot founded new literary movement, and Joyce's technical innovations still occupy his followers like Heaney. The work of all three great moderns exhibits the characteristic fe atures of modern art in being difficult to the point of obscurity, complex, allusive, experimental in form, and encyclopedic in scope. The work of all three writers, especially Heaney’s, is imbued with the modern attitude to the past–that the past was radically different from the present but eternally haunts it and so is inescapably past-present.Of the three writers, Joyce was clearly driven into exile in order to write. Joyce wrote with scrupulous naturalism with its fidelity to detail and habit of naming names, and satiric vein. Outwardly rootless Joyce was not inwardly so. His life and art were transfixed, rooted in the Dublin he had known as a young man, which was the subject of all his work. Joyce constantly carried feeling of alienation in relation to his homeland. Joyce rejected his home, family, society, nation, and religion. Alienation is explicitly detailed in Dubliners, the collection of short stories focused on the exploration of Irish theme.One of those st ories Araby focuses on a vagrant boy energized by a desire for escape from the confinement of Irish culture. The desire for such escape appears already in the first story of collection, continues in the second and finally materializes in the third. The epiphanies at the end of first three stories metaphorize the promise of freedom. To gain clear understanding of this metaphor of the travel in quest of liberation we have to illustrate what was the place of Irish culture in the broader aspect of British literature and how it is reflected in Joyce’s literary work.This story is a metaphor for Joyce’s life too, for his search for place where he would have been able to work. Joyce's issue is to present the lives lived by his people and their characteristic and characteristically Irish ways of trying to make sense of them. The image of Dubliners illustrates more than the human condition; it illustrates the Dublin condition, which may be defined as an excessive degree of susce ptibility to decay and loss. It is a condition not of excess but of deprivation. The first three stories The Sisters, Encounter and Araby are connected by the common hero, a boy, who is looking for something that is not there.Araby opens with an inspection of the empty back rooms of an abandoned house on a blind street: An uninhabited house of two stories stood at the blind end, detached from its neighbors in a square ground (Joyce, 29), concludes with the lights going out in an emptied hall: The upper part of the hall was now completely dark. Gazing up into the darkness I saw myself as a creature driven and derided by vanity (Joyce, 36), and in between tracks the narrator as his money and the dreams built on it come, by degrees, to nothing.The story gives much attention to detail. In the scene at the marketplace, the narrator offers vivid metonymic of the boy's world. The boy aspires to commence his journey to Araby, a journey which is metaphorized as chivalric quest. His destinati on is eastward, the East is even more important metaphorically to the boy: â€Å"The syllables of the word Araby were called to me through the silence in which my soul luxuriated and cast an Eastern enchantment over me† (Joyce, 32).Because he had thought the East would be the proper place in which his desire might be realized, he is disillusioned, as readers, of Araby by his encounter with the actuality of the â€Å"empty† bazaar with its â€Å"magical name. † On arrival to the Araby the boy discovers absolutely discouraging scene which makes him describe himself, in this confrontation with the real world, in one of Joyce's most famous sentences: â€Å"Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger† (Joyce, 35).What the boy had expected as the completion of his traveling toward Araby, namely the validation of his mastery, ends by confirming, at least in his own eyes, his power lessness. The wanted to find what the priest, the dead father, has lost: faith in the ability to liberate himself and thereby to make at least the journey, into the unknown. Furthermore, he must find a means of bringing that â€Å"poetry† found in the books into touch with the â€Å"prose,† or reality of ordinary Dublin life. Eliot, like Joyce, was an exile.He left United States and found in England an organic society which satisfied his hunger for tradition and order; society, politics, and religion were more closely related and institutionalized in England than in the United States. Unlike Joyce Eliot’s poetry is universal but there is little specifically local attributions, Eliot's work is not as local as Joyce's is. When we look at his poems for physical evidence of his adopted country, we find little. Such images as there are of city, village, church, or stately home are universalized, made symbolic.Eliot in his poetry tends to touch upon unconventional phi losophical issues like what will happen if we lose the capacity to see the community between persons and lose the capacity to believe in any real community between persons. Such a hypothetical situation is exemplified in The Love Song of J. Alfred Prufrock where the â€Å"eyes that fix you in a formulated phrase† (Eliot, line 56) have made the community between persons unable to be seen. The climax is in the middle of the poem, where we see most clearly what the theme of this poem is; it is the peculiar affliction of our age — metaphysical blindness.The middle is the most intricate one in the poem, but if we concentrate on what is essential, following Prufrock as he struggles up the stairs, as he wrestles with the dead lumber in his head, and as he draws near to the person he has come to visit, there is a moment of suspended thought, a moment when Prufrock is his experience, a moment typical of in Eliot’s works, where the door out of the corridor suddenly opens, and we are invaded by a sense of reality. The opening here is not much more than a crack: the flash of light to light as the lamplight is reflected from the brown hair on the woman's arms.But it is sufficient not only to throw Prufrock off his bent: â€Å"Is it perfume from a dress/ That makes me so digress? † (Eliot, line 65) but almost to bring him to act. His â€Å"Shall I say . . . ?† shows him on the verge of entering a real present. But then he falls back, and rejoins the arthropods, because he has nothing to act with, just as he had nothing to confront the streets with: here, for example, he did not see the light answering light. This scene illustrates what is meant by the theme of metaphysical blindness. The poetic collection Prufrock & Other Observations had made Eliot famous in the English-speaking literary world.The interplay between Irish and English literature is continued by Joyce’s follower Seamus Heaney. This divided tradition states the essenti al condition of the modern Irish mind. The Irish literary tradition proffered a sense of identity which became the preoccupation of Irish writers of the early twentieth-century like Joyce; that identity still confounds contemporary poets like Seamus Heaney. Modern poetry in general is haunted by the divided mind, a reflection of man cut off from his past, confused about meaning, and attempting to reconcile himself to his solitude.In the Irish literary tradition that reconciliation is defined in cultural and national terms. The struggle for reconciliation becomes embroiled in the question of identity. Heaney wrote in the early seventies, his poems have as their focus the relation of England to Ireland which tends to be that of domineering male to helpless female. His was a witness of cruelty in Belfast when Catholic student arranged civil rights marches. Heaney moved from Belfast at the peak of this conflict, but his poem Punishment presents his experiences: â€Å"I can see her drow ned / body in the bog, / the weighting stone, / the floating rods and boughs†.(Heaney, 1975) In this poem Heaney explores a theme of revenge for betrayal but admits his own feebleness when facing violence inculcated for ages: â€Å"I almost love you / but would have cast, I know, / the stones of silence. I am the artful voyeur / your brain's exposed and darkened combs†¦ † (Heaney, 1975) This poem as other in collection North, are Heaney's ‘bog poems', in which he disturbs very dark emotions and appeals to the political and social situation in his native Northern Ireland.Heaney's through the interpretation of the past gives his comments on the present in concealed yet strong manner. In conclusion, Heaney, Eliot, and Joyce all exemplify the case of the artist who due to various reason is forced to abandon his homeland. Eliot freed himself from America in order to transplant himself elsewhere. Joyce was trying to find a perfect place for his creative activity. D espite his love-hate relationship with Ireland Joyce remained faithful to Ireland in spirit. Heaney deserted North Ireland because of unstable political situation but often resorted to it in his works.Thus we see, beyond certain similarities in their work, striking contrasts in the lives of these three writers. Joyce preceded and prepared the way for Heaney, as an Irishman writing happily in English. These should enable us better to understand them and the general problem of the alienation of the modern artist. Works Cited List: Eliot T. S. â€Å"The Love Song of J. Alfred Prufrock† in Prufrock and Other Observations. New York: Bartleby. Com, 2000 Heaney, Seamus. â€Å"Punishment† in North. London: Faber and Faber, 1975 Joyce, James. Dubliners. London: Penguin Group, 1996

Typography and Professional Nursing

N3645 Transition to Professional Nursing Part A Week 2 Assignment Instructions: Personal Philosophy of Nursing Submit by 0800 Monday of Week 3. NOTE: You will create a new Word document for this Assignment instead of typing directly into this document. Overview: â€Å"Personal Philosophy of Nursing† In this week’s Assignment, you will draft a formal paper expressing your personal philosophy of nursing. In this paper, you will provide a framework for your personal practice of nursing and reflect on why you chose nursing as a profession.Your paper will define how you interact with patients, family members, other nurses, and other health care professionals. Since this is your first formal paper for the program, be sure to use the resources listed below to ensure you are using the proper formatting, scholarly language, and saving and submitting procedures as you write and submit your assignment. Resources ANA Code of Ethics, 2001* APA Module* http://isites. harvard. edu/icb /icb. do? keyword=apa_exposed (This is also printable. Follow instructions in the tutorial. Scholarly Writing Tips* (*Available in the Resource section of this week) MS Word Help and How-To Word 2007 – http://office. microsoft. com/enus/word/FX100649251033. aspx? CTT=96&Origin=CL100636481033 Word 2003 – http://office. microsoft. com/enus/word/FX100649261033. aspx? CTT=96&Origin=CL100636481033 Review your course readings, lecture, and your Week 2 Resources before completing this week’s Assignment. Performance Objectives †¢ Compose a personal philosophy of nursing. †¢ Correlate historical, ethical, and/or political factors influencing professional nursing practice with what you believe the core of nursing is and should be. Apply professional practice standards. †¢ Use correct grammar, punctuation, and American Psychological Association (APA) format in writing professional papers.  ©2008 UTA School of Nursing Page 1 of 6 N3645 Transition to Profess ional Nursing Part A Rubric Use this rubric to guide your work on the Week 2 Assignment, â€Å"Personal Philosophy of Nursing. † Tasks Accomplished Proficient Needs Improvement ? Personal Philosophy of Nursing Paper Format (Total 40 points) Title Page No mistakes in APA format (5 points) Headings and References Uses APA format for headings and to cite 2 references. 25 points) Writing Conventions Professional grammar, spelling, and punctuation; paragraphs of at least 3, well-written sentences (10 points) Title Page Errors in APA format (4 points) Headings and References Cites 1 reference and includes headings in APA format. (20 points) Writing Conventions No more than 8 grammar, spelling, and punctuation errors in the entire paper. (8 points) No Title Page (0 points) Headings and References Does not cite references and/or include headings. (0 points) Writing Conventions More than 8 grammar, spelling, and punctuation errors in the entire paper (5 points)  ©2008 UTA School of NursingPage 2 of 6 N3645 Transition to Professional Nursing Part A Tasks ? Accomplished Introduction Writes a comprehensive overview of the paper in 1-2 paragraphs. (5 points) Choice of Nursing Clearly answers question in 2-3 paragraphs. (10 points) Essence of Nursing Clearly answers question in 2-3 paragraphs with correlations to historical, ethical, and political factors. (10 points) Beliefs and Values Answers each of the 4 questions in separate paragraphs. (15 points) Vision for the Future Answers question for all 3 time periods listed in separate paragraphs. (10 points) Summary Answers both questions in separate paragraphs. 10 points) Proficient Introduction Writes an overview of the paper in 1-2 paragraphs. (4 points) Choice of Nursing Answers question in 1 paragraph. (8 points) Essence of Nursing Answers question in 2-3 paragraphs without correlation to historical, ethical, and political factors (8 points) Beliefs and Values Answers 3 of the 4 questions in separate paragraphs. (12 points) Vision for the Future Answers question for 2 of the 3 time periods listed in separate paragraphs (8 points) Summary Answers 1 question in a separate paragraph. (8 points) Needs Improvement No Introduction (0 points) Content (Total 60 points)Choice of Nursing Does not answer question. (0 points) Essence of Nursing Does not clearly answer question. (5 points) Beliefs and Values Answers 1 or 2 of the 4 questions in separate paragraphs. (5 points) Vision for the Future Answers question for 1 of the 3 time periods listed in separate paragraphs. (3 points) Summary Does not directly address either question. (4 points)  ©2008 UTA School of Nursing Page 3 of 6 N3645 Transition to Professional Nursing Part A Personal Philosophy of Nursing Paper †¢ Use the following outline to guide composition of your personal philosophy of nursing. Follow both the content and format criteria in completing your composition. †¢ Open a new Word document, and save it to your Desktop with the filename, â€Å"yourname_Personal_Philosophy,† inserting your name in place of â€Å"yourname. † †¢ Begin your paper by setting the margins, font, and Header. (See MS Word Help. ) †¢ Click â€Å"Save† often to keep from accidentally losing your work. Content Criteria Section or Section Title Entire paper Description †¢ 1† margins all around †¢ Font – Times New Roman, 12 pt †¢ Double-spaced †¢ â€Å"Header† with short title and page How-To and Tips Select File – Page Setup†¦ †¢ Select Format – Font†¦ †¢ Select Format – Paragraph†¦ †¢ Select View – Header and number, right-justified Footer†¦ (Refer to the MS Word â€Å"Help and How To† links if you need help with any of these tasks. ) The short title should be in upperand lower-case, or â€Å"Title Case. † †¢ Professional grammar, spelling, and punctuation, and paragraphs compose d of at least 3 well-written sentences each Title Page †¢ Just below Header, include a â€Å"running †¢ See â€Å"Scholarly Writing Tips† head† as shown below, left-justified: (Replace â€Å"CAPITALIZED ABBREVIATED TITLE† with an abbreviated version of your paper’s title. See guidelines in section 5. 15 of the Publication Manual of the American Psychological Association, 5th edition Running head: CAPITALIZED ABBREVIATED TITLE †¢ Title in upper half of page, centered, The running head appears only on the title page, and includes the words â€Å"Running head. † You can access the UTA directions and an example title page by looking in the Resources tab on the left menu of the course in Weeks 1-6. upper- & lower-cased letters (Title Case) o Title is content of unique paper, not assignment title; add your name or a unique descriptor to the title so not everyone’s is â€Å"Philosophy of Nursing. †¢ Student name, with â€Å"Un iversity of  ©2008 UTA School of Nursing Texas Page 4 of 6 N3645 Transition to Professional Nursing Part A at Arlington† underneath †¢ The following information centered, 1† from the bottom: (Fill in course, faculty details. ) Your finished Title Page should resemble this snapshot: In partial fulfillment of the requirements of Course name and number Faculty name, credentials Submission date Online RN-BSN (Introduction) Overview of the paper (1-2 paragraphs) Put title of paper at the top, centered, in Title Case. No section title, just start paragraphs (Remember to indent each paragraph! )Choice of Nursing Why did you choose nursing? (2-3 paragraphs) Insert Section title, centered and Title Case. Then start paragraphs. Essence of Nursing What do you believe the core of nursing is and should be? Correlate historical, ethical, and/or political factors influencing professional nursing practice. (2-3 paragraphs) Insert Section title, centered and Title Case. Then start paragraphs. (Do not start a new page; just continue in regular double-spaced body. ) Insert Section title, centered and Title Case. Then start paragraphs. (Do not start a new page; just continue in regular double-spaced body. ) Beliefs and ValuesWhat do you believe about patients? ( 1 paragraph) What do you believe about the patient’s family and significant others? (1 paragraph) What do you believe about your fellow health care providers? (1 paragraph) What do you believe about your own  ©2008 UTA School of Nursing Page 5 of 6 N3645 Transition to Professional Nursing Part A health? (1 paragraph) Vision for the Future What do you want to be doing in 2 years? (1 paragraph) 5 years? (1 paragraph) 10 years? (1 paragraph) Insert Section title, centered and Title Case. Then start paragraphs. (Do not start a new page; just continue in regular double-spaced body. Summary What strengths do you have that will support your achievement of your professional goals? (1 paragraph) What li mitations will you need to overcome to achieve your professional goals? (1 paragraph) References †¢ Title of this page is Insert Section title, centered and Title Case. Then start paragraphs. (Do not start a new page; just continue in regular double-spaced body. ) â€Å"References† should be centered at the top of the page just below the header. Be sure to left-justify the first line of each citation, but indent subsequent lines 5 spaces. References centered on top of page †¢ At least 2 professional references. Put references in alphabetical order by author’s name. Submitting Your Assignment †¢ Click Open at the bottom of the Assignment screen, then click Browse and navigate to the Desktop where your paper is located. Select the final version of your paper to upload. (Look for the file â€Å"yourname_Personal_Philosophy†. ) †¢ When you’ve selected your paper, click Open in the â€Å"Choose document to submit† dialogue box to att ach the file. The path and filename should then show up in the â€Å"Attachment:† space. Click Close, then click Submit at the bottom of the Assignment screen. †¢  ©2008 UTA School of Nursing Page 6 of 6

African Lion Facts Habitat, Diet, Behavior

Throughout history, the African lion (Panthera leo) has represented courage and strength. The cat is easily recognized both by its roar and the males mane. Lions, which live in groups called prides, are the most social cats. The size of a pride depends on food availability, but a typical group includes three males, a dozen females, and their cubs. Fast Facts: African Lion Scientific Name: Panthera leoCommon Name: LionBasic Animal Group: MammalSize: 4.5-6.5 feet body; 26-40 inch tailWeight: 265-420 poundsLifespan: 10-14 yearsDiet: CarnivoreHabitat: Sub-Saharan AfricaPopulation: 20,000Conservation Status: Vulnerable Description The lion is the only cat exhibiting sexual dimorphism, which means that male and females lions look different from each other. Males are larger than females (lionesses). A lions body ranges in length from 4.5 to 6.5 feet, with a 26 to 40 inch tail. Weight runs between 265 to 420 pounds. Lion cubs have dark spots on their coat when they are born, which fade until only faint belly spots remain in adulthood. Adult lions range in color from buff to gray to various shades of brown. Both males and females are powerful, muscular cats with rounded heads and ears. Only adult male lions display a brown, rust, or black mane, which extends down the neck and chest. Only males have dark tail tufts, which conceal tail bone spurs in some specimens. White lions occur rarely in the wild. The white coat is caused by a double recessive allele. White lions are not albino animals. They have normal-colored skin and eyes. The lion is the only cat with different appearances for males and females. claudialothering / Getty Images Habitat and Distribution The lion may be called the king of the jungle, but its actually absent from rainforests. Instead, this cat prefers the grassy plains, savannas, and scrubland of sub-Saharan Africa. The Asiatic lion lives in Gir Forest National Park in India, but its habitat only includes the savanna and scrub forest areas. Diet Lions are hypercarnivores, which means their diet consists of more that 70% meat. African lions prefer to hunt large ungulates, including zebra, African buffalo, gemsbok, giraffe, and wildebeest. They avoid very large (elephant, rhinoceros, hippopotamus) and very small (hare, monkey, hyrax, dik-dik) prey, but will take domestic livestock. A single lion can take down prey twice its size. In prides, lionesses hunt cooperatively, stalking from more than one direction to capture fleeing animals. Lions kill either by strangling their prey or by enclosing its mouth and nostrils to suffocate it. Usually, prey is consumed at the hunting site. Lions often lose their kills to hyenas and sometimes to crocodiles. While the lion is an apex predator, it falls prey to humans. Cubs are often killed by hyenas, wild dogs, and leopards. Behavior Lions sleep for 16 to 20 hours a day. They most often hunt at dawn or dusk, but can adapt to their prey to change their schedule. They communicate using vocalizations, head rubbing, licking, facial expressions, chemical marking, and visual marking. Lions are known for their fierce roar, but may also growl, meow, snarl, and purr. When lions and other cats rub heads, they exchange scent markers. Verà ³nica Paradinas Duro / Getty Images Reproduction and Offspring Lions are sexually mature at about three years of age, although males tend to be four or five years old before winning a challenge and joining a pride. When a new male takes over a pride, he usually kills the youngest generation of cubs and evicts the adolescents. Lionesses are polyestrous, which means they can mate at any time of year. They go into heat either when their cubs are weaned or when they are all killed. As with other cats, the male lions penis has backward-pointing spines that stimulate the lioness to ovulate during mating. After a gestation period of about 110 days, the female gives birth to one to four cubs. In some prides, the female gives birth to her cubs in a secluded den and hunts alone until the cubs are six to eight weeks of age. In other prides, one lioness cares for all the cubs while the others go hunting. Females fiercely defend cubs within their pride. Males tolerate their cubs, but dont always defend them. About 80% of cubs die, but those that survive to adulthood may live to be 10 to 14 years of age. Most adult lions are killed by humans or other lions, although some succumb to injuries sustained while hunting. Lion cubs are spotted. Image captured by Joanne Hedger / Getty Images Conservation Status The lion is listed as vulnerable on the IUCN Red List. The wild population decreased in numbers approximately 43% from 1993 to 2014. The 2014 census estimated about 7500 wild lions remained, but the numbers have continued to decline since that time. Although lions can tolerate a wide range of habitats, they are threatened because people continue to kill them and because of prey depletion. Humans kill lions to protect livestock, out of fear of human endangerment, and for illegal trade. Prey are threatened by increased commercialization of bushmeat and habitat loss. In some areas, trophy hunting has helped preserve lion populations, while it has contributed to the species decline in other regions. African Lion Versus Asiatic Lion Male Asiatic lions have smaller manes than African lions. World of nature / Getty Images Recent phylogenetic studies indicate that lions shouldnt really be categorized as African and Asian. However, cats living in the two regions do display different appearances and behaviors. From a genetic standpoint, the main difference is that African lions have one infraorbital foramen (hole in the skull for nerves and blood vessels to the eyes), while Asian lions have a bifurcated infraorbital foramen. African lions are larger cats, with thicker and longer manes and shorter tail tufts than Asian lions. An Asiatic lion has a longitudinal fold of skin along its belly that is lacking in African lions. Pride composition differs between the two types of lions, too. This most likely results from the fact that the lions are different sizes and hunt different types of prey. Lion Hybrids Liger (Panthera leo Panthera tigris) in zoo, Siberia, Russia. Denis Ukhov / Getty Images Lions are closely related to tigers, snow leopards, jaguars, and leopards. They can interbreed with other species to create hybrids cats: Liger: Cross between a male lion and a tigress. Ligers are larger than lions or tigers. Male ligers are sterile, but many female ligers are fertile.Tigon or Tiglon: Cross between a lioness and a male tiger. Tigons are typically smaller than either parent.Leopon: Cross between a lioness and a male leopard. The head resembles a lions, while the body is that of a leopard. Because of the focus on conserving genes from lions, tigers, and leopards, hybridization is discouraged. Hybrids are primarily seen in private menageries. Sources Barnett, R. et al. Revealing the maternal demographic history of Panthera leo using ancient DNA and a spatially explicit genealogical analysis. BMC Evolutionary Biology 14:70, 2014. Heinsohn, R.; C. Packer. Complex cooperative strategies in group-territorial African lions. Science. 269 (5228): 1260–62, 1995. doi:10.1126/science.7652573Macdonald, David. The Encyclopedia of Mammals. New York: Facts on File. p. 31, 1984. ISBN 0-87196-871-1.Makacha, S. and G. B. Schaller. Observations on lions in the Lake Manyara National Park, Tanzania. African Journal of Ecology. 7 (1): 99–103, 1962. doi:10.1111/j.1365-2028.1969.tb01198.xWozencraft, W.C. Panthera leo. In Wilson, D.E.; Reeder, D.M. Mammal Species of the World: A Taxonomic and Geographic Reference (3rd ed.). Johns Hopkins University Press. p. 546, 2005. ISBN 978-0-8018-8221-0.