Michael Porter on Value Based Health Care Delivery Essay

Michael Porter on Value Based Health Care Delivery - Essay Example By value-based, reference is being made to an era where service providers offer best value to patients. It is in the light of this that Plotkin and Orenstein (2004) explained best value to be one that caters for specific medical needs of patients. In the words of Porter however, such best value entails delivery that focuses on specific medical conditions. This opinion held by Porter is certainly supported due to the inputs that he gives as to what constitutes value based health care delivery. From the video, it would be noted that Porter sees value based health care delivery as one that takes into consideration the need for service providers to focus on what they can do best based on their experience so that there can be better outcomes at lower cost. Very often, the problem that service users who are the patients have faced is a healthcare system where every service provider or facility professes to be a master of all trades. With their need to solving every other type of healthcare need, these service providers end up becoming masters of none and therefore giving patients very poor service. As a suggestion to what Porter offers, there should now be a mechanism where service providers will be made to earn anything from their service based on the outcomes

First of all its necessary to consider Hecksher and Ohlin theory Essay

First of all its necessary to consider Hecksher and Ohlin theory - Essay Example Countries have comparative advantage in those goods for which the required factors of production are relatively abundant. This is because the prices of goods are ultimately determined by the prices of their inputs. Goods that require inputs that are locally abundant will be cheaper to produce than those goods that require inputs that are locally scarce. For example, a country where capital and land are abundant but labor is scarce will have comparative advantage in goods that require lots of capital and land, but little labor - grains, for example. Since capital and land are abundant, their prices will be low. Those low prices will ensure that the price of the grain that they are used to produce will also be low - and thus attractive for both local consumption and export. Labor intensive goods on the other hand will be very expensive to produce since labor is scarce and its price is high. Therefore, the country is better off importing those goo The Ricardian model of comparative advantage has trade ultimately motivated by differences in labour productivity using different technologies. Heckscher and Ohlin didn't require production technology to vary between countries, so (in the interests of simplicity) the H-O model has identical production technology everywhere. ... The H-O model removed technology variations but introduced variable capital endowments, recreating endogenously the inter-country variation of labour productivity that Ricardo had imposed exogenously. With international variations in the capital endowment (i.e. infrastructure) and goods requiring different factor proportions, Ricardo's comparative advantage emerges as a profit-maximizing solution of capitalist's choices from within the model's equations. (The decision capital owners are faced with is between investments in differing production technologies: The H-O model assumes capital is privately held.) Original publication Bertil Ohlin published the book which first explained the theory in 1933. Although he wrote the book alone, Heckscher was credited as co-developer of the model, because of his earlier work on the problem, and because many of the ideas in the final model came from Ohlin's doctoral thesis, supervised by Heckscher. Interregional and International Trade itself was verbose, rather than being pared down to the mathematical, and appealed because of its new insights. [edit] The 2x2x2 model The original H-O model assumed that the only difference between countries was the relative abundances of labour and capital. The original Heckscher-Ohlin model contained two countries, and had two commodities that could be produced. Since there are two (homogeneous) factors of production this model is sometimes called the "222 model". The model has variable factor proportions between countries: Highly developed countries have a comparatively high ratio of capital to labour in relation to developing countries. This makes the developed country capital-abundant relative to the developing nation, and the developing nation

Functional Level Strategies Assignment Example | Topics and Well Written Essays - 2500 words

Functional Level Strategies - Assignment Example Through the use of a variety of various marketing strategies, the company has navigated through all the kinds of competition that have come its way. The primary mission of the HR department in any business organization is to provide guidance, facilitation, and coordination in the unit (HRM guide 2009). It also engages in efforts to offer innovative and cost-effective human resource projects that lead to measurable outcomes whose aim is to support the strategic goals of the organization. This is achieved through recruiting, retaining, developing, and rewarding the staff which is their most prized resource. In this engagement, the human resource office provides equality of opportunity and equity at the workplace to all members of the Coca-Cola community. The future of any company depends on how well the employers of the company are treated (Storey 1999). In that aspect, the human resource department is a very vital department in the organizational setup. It is the people and not the technology or any other production factor that makes a company. The benefits that accrue to the aspect of human resource management are quite enormous. Given the fact that this is a global company with a wide range of variations in its composition of staff, then it requires great skills in harnessing the differences towards achieving unity of purpose to execute the different tasks that the company does engage in (Scribd 2008). the personnel department is charged with the responsibility of job analysis. This involves the process through which the necessary duties and skills of a specific job are determined. The objective of the department would be a job description and secondly job specification. The department thus gets the education requirements, personality issues among other things that affect the job vacancies to be filled (Allen 1994). The HR department also develops the appraisal criteria to be employed in the different jobs on offer.  

Childhood Essay Example for Free

Childhood Essay Though many are of the view that childhood is the happiest time of a persons life I do not think we can generalize it is so. Of cause childhood is a very enjoyable phase in a mans life which is free from many responsibilities and challenges of the adulthood. However I believe there are several conditions that need to be satisfied for a happy childhood. First and foremost, a child should have loving and caring parents who could provide physical, emotional, social and intellectual needs of their child. How many children have such parents today? There are thousands of children raised by foster homes or orphanages. Most of these children have never experienced the love of their mothers or fathers. In fact many a them even do not know who their parents are. These children are often deprived from many privileges and rights of a normal child. We could also see that the numbers of single parents are ever increasing due to various socio economic reasons. It is a known fact that single parents have to struggle hard to raise their children without the help of their partner and in most cases they fail to provide necessary requirements of their children, especially with respect to emotional factors. The security of the child is another important factor that decides whether the childhood is a happy one or not. In my country there was a civil war which spanned for thirty years and fortunately became to an end in the last year. The children who were born during these thirty years of war were raised under its dark shadows. In most families, the fathers had to join the army to fight against the terrorists. Many did not return home leaving endless problems for their families. There were frequent bomb blasts directed on civilians by the terrorists and in many instances children were victims. Also the children in the areas under terrorist control were abducted by the terrorists to strengthen their carders. These children were completely deprived from all their rights as children. They were neither allowed to be with their loved ones nor to attend school. Instead they were given a gun and trained to fire at the enemy. They were taught to hate not to love. How can we say that the childhood is the happiest time for such children?

Rappaccinis Daughter - Ambiguous Essay -- Rappaccinis Daughter Essay

Rappaccini’s Daughter  Ã‚  Ã‚  -   Ambiguous  Ã‚  Ã‚  Ã‚   Hawthorne’s Rappaccini’s Daughter is a Gothic romance and a thwarted, almost-allegory with a plethora of ambiguous meanings. As Hawthorne identifies in the previous quote, this story is a blatant parallel towards the story of Original Sin. The issue, then, lies in the representation. Who is playing Adam and Eve? Who is Satan and who is God? At first glance it is easy to assume that the two love birds, Giovanni and Beatrice, are Adam and Eve; while Beatrice’s black cloaked father is Satan, and God is either an omniscient overseer, represented in nature, or absent from the story all together. However, Hawthorne begins the endless possibilities of role assignments by suggesting that Beatrice’s father, the diabolic scientist, Rapaccinni, could be Adam. "It was strangely frightful to the young man’s imagination, to see this air of insecurity in a person cultivating a garden, that most simple and innocent of human toils, and which had been alike the joy and labor of the unfallen parents of the race. Was this garden, then, the Eden of the present world?---and this man, with such a perception of harm in what his own hands caused to grow, was he the Adam?" (1232) Hawthorne’s "Rappaccini’s Daughter" is a Gothic romance and a thwarted, almost-allegory with a plethora of ambiguous meanings. As Hawthorne identifies in the previous quote, this story is a blatant parallel towards the story of Original Sin. The issue, then, lies in the representation. Who is playing Adam and Eve? Who is Satan and who is God? At first glance it is easy to assume that the two love birds, Giovanni and Beatrice, are Adam and Eve; while Beatrice’s black cloaked father is Satan, and God is either an omniscient ov... ...y evil character as Iago and to simultaneously be compared to a type of Christ. "Rappaccini’s Daughter" contrasts nature to science. Rappaccini and Baglioni are scientists, Giovanni is studying it and Beatrice is a victim of it. Nature, in it’s romantic form, does not exist in this tale. Rappaccini’s garden is about as natural as walking into the plastic flower department of a craft store and commenting on the bold colors and illustrious blooms. It might look magnificent from the window of Giovanni’s abode, but it was crafted by man, not nature. Rappaccini takes "nature" a step further by making something as natural and pure as life, twisted and synthetic. Nature has become perverse and contorted by science. Works Cited: Hawthorne, Nathaniel. Rappaccini's Daughter, included in Heath Anthology of American Literature; Houghton Mifflin Co., New York, 1998.

Health Education and Technology Essay

According to Bastable, â€Å"Technology has had such an impact on workforce training that it has given birth to a new industry and a new set of buzz words that define an Information Age approach to staff education. † (2007, p. 548) Thus, the inclusion of technology early on, as in its integration to education, has been deemed necessary. However, due to the evolution of technology, curriculum design and implementation in the field of health education will undergo a series of changes and modifications. These various changes will be determined based on the outcomes of technological evolution, the perceived potential of technology to change the landscape of health education in the future, and the educational theories, principles, approaches, etc. developed by respected members of the academic institution through research studies. According to Iwasiw, Goldenberg, and Andusyszyn, â€Å"Curricuralists should gather data about technology and informatics for health care and education, as well as expected developments† (2008, p. 13) Based on pertinent information gathered by academicians, the focal point and foundations of curriculum design are expected to change. Apart from the traditional contents of the curriculum, the scope of curriculum design should be broadened in order to include the â€Å"e-health paradigm of heath care† (Iwasiw, Goldenberg, & Andrusyszyn, 2008, p. 113), literacy in information technology, health education across disciplines, and health education in the changing world. In addition, due to the impact and contributions of technology to the field of health, allowing the course nursing informatics to become compulsory will help in opening up opportunities for the improvement of curriculum design through the undeviating inclusion of technology and informatics. When we think about it, making nursing informatics compulsory makes the course an important learning area or aspect of health education. Consequently, much needed attention will be diverted to the improvement of the course by making course objectives, contents, instructional processes, and so on, up-to-date. Thus, the quality of health education, due to its appropriateness with current technology, will also improve. Just as curriculum design changes due to the evolution of technology, the implementation of the curriculum during instruction is also expected to change. As Bradshaw and Lowenstein (2006) have discussed, the delivery of the curriculum as influenced not only by traditional concepts in education but also by technology â€Å"require organized and planned educational experiences that are guided to promote lifelong learning as well as individually motivational and experiential learning activities that involve a variety of experiential teaching methods† (p. 272). Due to the inclusion of technology in the curriculum, the process of instruction will become more complex such that the assessment of the students and the selection of instructional tools, methods, and approaches are not merely based on student interests, learning capacities, learning content, etc. but also on the kinds of technology that fits the curriculum content. (Bradshaw & Lowenstein, 2006) In terms of the instruction, the instructional process is facilitated by the use of technology. However, when it comes to learning content, the integration of technological concepts become necessary. In addition, the scope of learning content also varies from time to time since available technological tools and devices intended to facilitate heath education and health care processes change over time. For these reasons, diversity and variation should be accepted and acknowledged by academic institutions since the curriculum design and the implementation of the curriculum shall change along with the evolution of technology along the way.

The Exploration of the Rite of Spring Costumes

Greenshields #1 The research for this paper was based off a question that came to, while re-visiting the history and celebrating the one hundredth anniversary of Vaslav Nijinsky’s creation of Le Sacre du Printemps, The Right of Spring that premiered in 1913. This question in mind has many dimensions when asked, to compare the relationship between the costumes of Nijinsky’s The Right of Spring and Pina Bausch interpretation of the score.When researching both ballets in relationship to the costumes that were represented in each version it becomes unclear of the real reasons behind the choices that Nijinsky and Bausch made to develop the style, design and visual effect of the costumes; Questioning whether there was a specific initial inspiration for the designs or perhaps it was the style in the time period when both individual ballets premiered and was influenced by fashion and society.Beginning to study where it all began in the early 1900’s with Nijinsky’s development of The Right of Spring the focus is on the involvement of individuals who took part in the creation and development process of the original costumes. This can be narrowed down to Nicholas Roerich as the designer, Igor Stravinsky who potentially provided inspiration for Roerich’s designs and finally Nijinsky himself.To look at and discover how Roerich was inspired and where the root of his designs developed from other than Nijinsky’s vision, if any, brings this piece of writing one step closer to clearly answering the question of not only where the costumes initiated from but also how they compare to later ballet costume creations. Speaking of other ballet costumes, there will be research done on Pina Bausch’s 1975 interpretation of The Right of Spring with regard to her costumes in comparison to Nijinsky’sGreenshields #2 costumes. The hopes are to gain a strong visual and rational understanding of the development the styles have gone through and the reasons for the advancement in ballet costumes. Having the opportunity to explore such a uniquely creative woman like Bausch, who had such an impact on the dance and choreography world, will allow this paper to go beyond a simple comparison between the costumes themselves but will allow further exploration of questions concerning how and why they developed into what they did.The suggestion of the time period potentially having an influence in the designs of Nijinsky’s and Roerich costumes also implies to Bausch’s costumes as well, which will coincide with the overall change that the performance ware came to since the early 1900’s to 1975. Exploring the relationship between Nijinsky’s in The Rite of Spring costumes in 1913, to Pina Bausch costumes in 1975 it is visually clear to pin point the different aspects each costume possesses.The challenging part of this piece of writing is going to be discussing how multiple costume creations come about fro m the same score, how such opposite but equally meaningful costumes can represent a similar story line in different eras, and overall where the inspiration came from, if inspired from anything or anyone at all for the costume designs in both Nijinsky’s and Bausch’s versions of The Right of Spring. Nijinsky hired Nicholas Roerich to help with the creations and designs for his costumes due to his outstanding and miraculous art work and the international reputation he had developed for himself over the previous years.They began their collaboration for The Right of Spring in the early 1900’s, a few years before the 1913 premier. Roerich was faced with a big commitment when he was asked to create and design the costumes that would make or break Nijinsky’s piece Greenshields #3 of artistic work. Roerich accepted this task and immediately began consulting with Stravinsky, Diaghilev and of course Nijinsky to create what would soon to be the most unappealing cost umes during this time for the future world renowned ballet.Other ballets being produced during the early 1900’s began to present their dancers in more modern day ballet attire; â€Å"Clothes began to be more simple, leotards were worn and eventually the tutu† (Wagner). Nijinsky’s vision and Roerich’s designs completely went against the modern ballet look with the use of unflattering over sized material that covered the dancers shape and alignment, some even referred to them looking like â€Å"potato sacks† or â€Å"taters† (â€Å"essortment Your Source for Knowledge † ).One aspect of early 19th century ballet costumes that Nijinsky and Roerich grasped was the ability to use a variety of color and designs in the creation of the costumes, which they did very well. Roerich’s costumes were very unique in the way he used intricate patterns mixed with a variety of shapes and colors. H is designs were said to be inspired by Stravinsky ’s brilliant and century marking score he developed specifically for Nijinsky’s ballet and backed up by The Princess Maria Tenisheva’s collection that also helped initiate Roerich’s work.In the case of Roerich’s costume designs, the initial inspirations become evident yet we are still left with uncertainty as to why such foreign and unpleasant costumes came from such experienced, intelligent artists. In 1975, Pina Bausch the legendary dancer and choreographer had completed choreographing and premiering her own interpretation of Stravinsky’s score and Nijinsky’s story line to produce her own The Rite of Spring.Bausch was known for her elaborate and far fetch setting and images one sees on stage and in fact her interpretation of the Rite of Spring involved Greenshields #4 the dancers performing with a layer of dirt over the stage making the movement and choreography more difficult to perform as the piece progresses (Mackrell). Comparing Bausch costumes that were designed by Rolf Borzik to Nijinsky and Roerich designs it is evident that Bausch incorporated some aspects of the original costumes but developed them into a more modern day look.Bausch kept the lengthiness of the costumes but used a lighter material on the females and had the males dance shirtless to allow the dancer’s body and alignment to be visible. The material that Bausch had the females wear was so thin that as the dancers became more vigorous the material became damp with remnants of soil ground in. This making the costumes and choreography appeal more earthier and grounded in a natural way as opposed to Nijinsky`s, where he used thick, busy yet clean material with long braided head dresses to portray that earthy look.Bausch also eliminated color for all the other performers’ costumes except the virgin, who wore red to signify the importance of the sacrifice. This was well thought out on her part for there was more focus on the virgi n during the initial scene of the sacrifice and portrayed the characters in a modern day light with having the red dress be the focal point with shades of beige white and black subtly surrounding the red.While researching Pina Bausch and the creation of her costumes it became clear as to why she made changes from Nijinsky`s original costumes while producing her own. She evidently made the costumes more appealing to modern day society; â€Å"Russian Ballet had a wide effect, a remarkable influence on fashion† (Spencer 149-162), which happened to correspond and enhance the look of the movement and choreography on the dancer’s body.Unfortunately there lacked evidence on what or who inspired Bausch or Borzik to create these modern day costumes, Greenshields #5 which interfered in answering where the costume designs were inspired from but helped with the overall understanding of the relationship between Nijinsky`s and Bausch`s The Right of Spring costumes. This may be a rea lization for some that artists in a developing world are capable of adapting to the changes and progress in society.Taking a moment to step back and look at both the costumes from an outside perspective it is noticeable that each design gives off a completely different vibe from one another by the use of unique fabric, colors, shapes and patterns. There has been an enormous evolution in the dance wear from the 1900’s until now, and both Nijinsky’s and Bausch’s versions of the ballet are just two examples of the development it experienced in the 1900’s alone. After this period, costumes and dance wear in general continued on this path of development and grew into an enormous selection and an endless variety of designs to base any genera of costumes off of.One feature of costumes in general that continued through the decades of development is the ability to incorporate meaning and significance into the design of the outfit. Both ballets previously talked ab out in this essay present significance within their costumes through the shapes and intricate patterns inspired by Stravinsky that Roerich used on Nijinsky’s costumes and the use of a single solid color signifying the significance of the sacrificial virgin in Bausch’s interpretation. â€Å"Some of the figures thus formed came to have symbolical meanings† (Royce 192-212).This is a tactic still used in the performing arts today to help the audience fully understand the directors vision and or to signify something of importance that may influence how one sees the performance. The research for this piece of writing has uncovered many discoveries’ regarding a costume comparison between Nijinsky’s and Pina Bausch’s versions of The Right of Spring. It Greenshields #6 has looked deeper into pin pointing inspirations that have influenced the design and creativity of the costumes, as well as etermining the significance that stage costumes portray. Thi s essay also spends a great deal of time picking apart and examining the relationship between Nijinsky’s 1913 ballet with Bausch’s interpretation done in 1975. It looks at the development of The Right of Spring costume designs during 1913-1975 and discusses the continual development it had to today’s generation as it continues to expand. As a student of Social Work with dance as a minor, the research inquiries in this essay have aspects that will help me in both of my career options.What triggers my attention the most is the idea of a constantly developing world that will influence any individual practicing their profession in today’s society. This information is most helpful to me in the dance stream, as any artist would know that it is extremely important to keep others and more importantly yourself in tune with modern day aspects of the dance world. Although not every performance or piece of artistic work needs to incorporate current day trends, it is crucial to learn about the developments that have happened or that are taking place to expand your knowledge and create the best work available to you.Not only will this be useful to me throughout my dance life, it has also taught me to be aware of the developments and changes that are taking place day to day which will enhance my role as a critical social worker. Another important aspect of the research I uncovered that will be beneficial to me as a dance student is the overall background knowledge I gained on Vaslav Nijinsky, Nicolas Roerich and Pina Bausch.Nijinsky and Bausch especially, as I could now comfortable educate others on their separate versions of The Right of Spring focusing on the history and creations of the Greenshields #7 costumes. Having focused on two very inspirational dancers and choreographers who impacted the dance world in one way or another it will help me in whatever career path I choose from the initial information gathered or whether it be from the mess ages behind the facts there will always be useful information to me as an individual who studied dance.Bibliography 1. Right of Spring by Igor Stravinsky. † essortment Your Source for Knowledge . 2011: n. page. Print. . 2. Kant, Marion. The Cambridge Companion to Ballet. Cambridge: Cambridge University Press, 2007. 3. Kelly, Thomas. â€Å"Milestones of the Millennium. † Milestones of the Millennium. (1999): n. page. Print. http://www. npr. org/programs/specials/milestones/991110. motm. riteofspring. html>. 4. Kirstein, Lincoln. Four Centuries of Ballet: Fifty Masterworks.New York: Dover Publications, 1984. 5. Mackrell, Judith. â€Å"The Guardian. † Guardian. (2008): n. page. Print. . 6. Rerikh, Nikolai? Konstantinovich, and Cordier & Ekstrom. Nicholas Roerich: Decors and Costumes for Diaghilev's Ballets Russes, and Russian Operas. New York: Cordier ; Ekstrom, 1974. 7. Royce, Anya Peterson. The Anthropology of Dance. Canada : Fitzhenry ; Whiteside Limited, 1977. 1 92-212. Print. 8. Spencer, Charles. The World of Serge Diaghilev. England: Paul Elek, London, Limited , 1974. 49-162. Print. 9. Taruskin, Richard. Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra. Berkeley: University of California Press, 1996. 10. Thomas, Michael. â€Å"A Riotous Premiere: Igor Stravinsky The Rite of Spring. † San Francisco symphony Keeping Score . N. p. , n. d. Web. http://www. keepingscore. org/sites/default/files/swf/stravinsky/full;. 11. Wagner, Christopher. â€Å"Historical Bo'ys Clothing. † Historical Bo'ys Clothing. (2002): n. page. Print. . 4. Kirstein, Lincoln. Four Centuries of Ballet: Fifty Masterworks.New York: Dover Publications, 1984. 5. Mackrell, Judith. â€Å"The Guardian. † Guardian. (2008): n. page. Print. . 6. Rerikh, Nikolai? Konstantinovich, and Cordier & Ekstrom. Nicholas Roerich: Decors and Costumes for Diaghilev's Ballets Russes, and Russian Operas. New York: Cordier ; Ekstrom, 1974. 7. Royce , Anya Peterson. The Anthropology of Dance. Canada : Fitzhenry ; Whiteside Limited, 1977. 192-212. Print. 8. Spencer, Charles. The World of Serge Diaghilev. England: Paul Elek, London, Limited , 1974. 49-162. Print. 9. Taruskin, Richard. Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra. Berkeley: University of California Press, 1996. 10. Thomas, Michael. â€Å"A Riotous Premiere: Igor Stravinsky The Rite of Spring. † San Francisco symphony Keeping Score . N. p. , n. d. Web. http://www. keepingscore. org/sites/default/files/swf/stravinsky/full;. 11. Wagner, Christopher. â€Å"Historical Bo'ys Clothing. † Historical Bo'ys Clothing. (2002): n. page. Print.