Introduction To Duty Of Care In Health Essay Example for Free

Introduction To Duty Of Care In Health Essay I heard you were thinking of working in the Care Profession which is excellent, I just wanted to fill you in on a few things which would help you. Health and Social Care work places have what is called a duty of care which means that you have a duty of care towards the people that you are looking after that means you must do everything you can to keep the individuals you look after safe from harm. It is not only the work place that has to prioritise the safety, welfare and interests of the individuals using the service but also the care staff. Care workers must also have a duty of care towards other staff members to ensure that all working conditions are safe and suitable to deliver the best service they can. It also means being a responsible care giver for other individuals who could be too ill or physically unable to care for themselves and requires another person to assist them on a daily basis, this could include assisting the individuals with their personal hygiene, safety, meal preparation or other medical and physical needs until they are met to the highest standards that the individual is happy with. Duty of Care affects the way people work as the employer provides policies and procedures and ways of being aware of any dangers by carrying out Risk Assessments. Social Care workers and Care organisations must do as much as possible to keep individuals safe from harm, we do these Risk Assessments by looking for either a hazard which is an actual or potential such as a chemical or process that may lead to an accident, also risks a situation that can lead to a hazard and carry the possibilities of something serious happening.

THE MAJOR EVENTS :: Business and Management Studies

THE MAJOR EVENTS The graphs below summarise the fluctuations in the share price and shareholders’ returns of Vodafone group, as a result of two major events which occurred in mid February, 2004 and mid November of the same year. On the 22nd 0f January 2004, AT&T Wireless, the third largest mobile phone group in the US, put itself up for sale but as shown above in Fig1, this does not seem to have affected the share price or volume of trading as there was no significant upward or downward trend in these two areas. This can lead to an assumption that the market is inefficient as it did not respond to the information or that investors were not expecting Vodafone to bid for AT&T Wireless because Mr Sarin had told investors and analysts that he was "happy" with Vodafone's joint venture with Verizon, the leading mobile phone operator in the US. Had Vodafone succeeded in acquiring AT&T Wireless, it would have had to sell its profitable stake in Verizon back to its partner, Verizon Communications - a prospect that did not appeal to its shareholders and so may be why the new information was not relevant to the Vodafone. â€Å"9th February 2004, saw the Vodafone Group Plc announcing that it will continue to monitor developments in the US market and is exploring whether a potential transaction with AT&T Wireless is in the interests of its shareholders†. This lead to a decrease in share price as investors knew that it would mean that Vodafone would have to sell its profitable stake Verizon to buy AT&T Wireless. The steep drop in Fig 1 suggests that the market was efficient in its reaction to this announcement. The formal bidding war began on the 13th when Cingular made an initial offer of $30bn, and the offer was matched by Vodafone. Cingular then raised its bid to $35bn which was again matched by the British company. When Cingular raised its offer to $38bn, Vodafone once more matched the bid and this suggested to investors that Vodafone would pay too much for AT&T Wireless, which is why the share price dropped each day till bidding ended on the 17th. â€Å"On 17th February 2004, Vodafone withdrew from the auction when it concluded that it was no longer in its shareholder's best interests to continue discussions†. We can see that there was a 5% increase in the share price when this was announced, and the volume of trading shows the markets informational efficiency Since news emerged that Cingular had made an informal offer in mid-January, Vodafone's shares have underperformed the rest of the market, cutting the value of the company by more than

Dong Qichang, in the Shade of Summer Trees, 17th Century, Ming Dynasty

This painting is from the Ming Dynasty, and very clearly depicts and captures the essence of The Southern School, or Literati painters. The first thing to note is the overall composition of the painting. First and foremost it is a landscape painting. The colors are very monochrome; the space is stretched to reveal a depth to the painting that the eye cannot capture; and there is stillness to the art that embraces nature and serenity of life. In the right-hand corner of the painting there is calligraphy. The calligraphy lacks the precision, but is very clear in its form, much like the depiction within the painting itself. There are three men in the painting. The men are at ease and are almost lost in the painting. The men do not seem distinct from their surroundings but rather just another natural element in the bigger picture. The men are in poses that do not suggest positions that can be held for long periods of time, but rather only a moment. The men appear to be marveling at their surroundings as they look out into the vast wilderness. Above them, and hidden behind trees, there is a building. Just like the men, the nature and trees overwhelm the structure itself, clearly defining the more important and powerful of the two. Just below the men, there is a waterfall. The water appears to be making its way downward winding its way through the clusters of rocks. Water, representing the source of life, flows in this painting with great force, capturing the vitality and life of an individual moment in nature. This painting possesses a narrative emphasizing nature and the life that exists beyond human existence. It is the influence of nature on the human and not the influence of the human on nature. While the painting lacks the formal resemblance we recognize from photographs or our own perception, there is an overall impression that the viewer is left with: a true introduction to nature, and an intimate glimpse into a particular moment. The painting takes what the eye can see and extends it further, to a realm that cannot be captured by someone unless they have the patience and diligence to see beyond the obvious and capture more than the eye permits. Dong Qichang is revealing his discovery of nature and its importance and relevance to himself at a particular moment in time. There is an inner truth and realization that is depicted with every stroke of the brush and as each different element is unveiled, a different realization of life and nature is put down as a record. After attempting to emulate the techniques of Dong Qichang, and create a literati painting using the California scenery, I have realized many things. One is that I would never make it as a painter. The other things revolve around the life of the painting. The painting seems to resonate with a vitality that is captured through the depiction of a moment in time. The wind moves all the trees, and forces them to take on a life of their own and assume a position that seizes a particular moment, even though the layout and the trees themselves seem to lack the likeness to what we would expect to see in nature. The water is caught in a single moment, and we can see the life in it as it tries to get past the rocks and settle below. We know that the water is only in that particular position for a miniscule amount of time, and we can see that the painting truly captures a very distinct and precise time. The painting shows three men, one of whom is lifting his arm to point to something in the distance, and all three men follow with their heads to the direction of his arm. This is also capturing a single moment in time, and the painting serves as the record for a past event that will never be again, and captures emotions distinct to that moment, that will probably never be felt in the same way again. We can see the instantaneous placement of the cloud creating a fog and with it an illusion of something that is unknown and mysterious. This moment is captured so expertly before the fog can be burned away, or hidden by night, or pushed away with the wind. There is also emptiness in the painting. I did not realize this until I started to try to do a landscape drawing of my own. While the emptiness lacks any objects, it seems to have, or be, purposeful in the painting. It represents something, and is a source to the elements in the painting. It could be the wind that is moving the trees, or gravity that is causing the water to fall. The empty part of the picture seems to hold significance to the individual perspective and time of the painting. The artist’s personal feelings and reasoning once again captured and recorded in the painting. All of this being said, the question of how much of the painting is natural and how much of the painting is artifice arises. I think that the best way to tackle this question is from the largest perspective, and narrowing thereafter. That which the painting references is natural, and that which is within the painting is natural, but the composition and interaction between the different elements is artifice. Everything within the painting draws on what is natural: trees, water, rocks, mountains, clouds, humans, etc. It is how these elements interact with each other and with the canvas that enriches the painting with artifice. The interaction between the artist’s thoughts and emotions and nature, are so intertwined that the painting almost masks the artist’s true feelings with the natural behaviors of the elements. It is when the viewer steps back and looks at the whole painting, that one is able to appreciate the importance this painting plays as a record to an individual moment- both for the artist and its muse, nature.

Story of the Comfort Women of World War II

During World War II, the Japanese established military brothels in the countries they occupied. The women in these comfort stations were forced into sexual slavery and moved around the region as Japanese aggression increased. Known as comfort women, their  story is an often understated tragedy of the war that continues to strike debate. The Story of the "Comfort Women" According to reports, the Japanese military began with volunteer prostitutes in occupied parts of China around 1931. The comfort stations were set up near military camps as a way to keep the troops occupied. As the military expanded its territory, they turned to enslaving women of the occupied areas. Many of the women were from countries like Korea, China, and the Philippines. Survivors have reported that they were originally promised jobs like cooking, laundry, and nursing for the  Japanese Imperial Army. Instead, many were forced to provide sexual services. The women were detained next to military barracks, sometimes in walled camps. Soldiers would repeatedly rape, beat, and torture the sex slaves, often multiple times a day. As the military moved throughout the region during the war, women were taken along, often moved far from their homeland. Reports go further to say that as the Japanese war efforts began to fail, the comfort women were left behind with no regard. The claims of how many were sexual slaves and how many were simply recruited as prostitutes are disputed. Estimates of the number of comfort women range from 80,000 to 200,000.   Continuing Tensions Over "Comfort Women" The operation of the comfort stations during World War II has been one that the Japanese government has been reluctant to admit. The accounts are not well detailed and it has only been since the late 20th century that the women themselves have told their stories. The personal consequences on the women are clear. Some never made it back to their home country and others returned as late as the 1990s. Those that made it home either kept their secret or lived a life marked by the shame of what theyd endured. Many of the women could not have children or suffered greatly from health problems.   A number of former comfort women filed lawsuits against the Japanese government. The issue has also been raised with the United Nations Commission on Human Rights. The Japanese government initially claimed no military responsibility for the centers. It was not until papers were discovered in 1992 showing direct links that the larger issue came to light. Yet, the military still maintained that recruitment tactics by middlemen were not the responsibility of the military. They long refused to offer official apologies. In 1993, the Kono Statement was written by then-chief cabinet secretary of Japan, Yohei Kono. In it, he said that the military was â€Å"directly or indirectly, involved in the establishment and management of the comfort stations and the transfer of comfort women.† Still, many in the Japanese government continued to dispute the claims as over exaggerated. It was not until 2015 that Japanese Prime Minister Shinzo Abe issued a formal apology. It was in accord with an agreement with the South Korean government. Along with the much-awaited official apology, Japan contributed 1 billion yen to a foundation formed to help the surviving women. Some people believe that these reparations are still not enough. The "Peace Monument" In the 2010s, a number of Peace Monument statues have appeared in strategic locations to commemorate Koreas comfort women. The statue is often a young girl dressed in traditional Korean clothing sitting serenely in a chair next to an empty chair to signify the women who did not survive. Comfort Woman Statue in Seoul, South Korea. Chung Sung-Jun / Getty Images In 2011, one Peace Monument appeared in front of the Japanese embassy in Seoul. Several others have been installed in equally poignant locations, often with the intent of getting the Japanese government to acknowledge the suffering caused. Comfort Women Statue In San Francisco, California. Justin Sullivan / Getty Images One of the most recent appeared in January 2017 in front of the Japanese consulate in Busan, South Korea. This locations significance cannot be understated. Every Wednesday since 1992, it has seen a rally of supporters for the comfort women. Comfort Woman statue on Seoul public transit bus. Chung Sung-Jun / Getty Images