- How can a nurse make sense of the travesty of oppression that causes so much human suffering?
- What moral obligation do nurses have to prevent human entrapment rather than just caring for victims of violence? How could nurses advocate for an end to oppressive conditions such as poverty and racism?
- When nurses observe an underserved population trapped by one or more of these external factors, what should be done? How should a nurse begin to mobilize awareness to address issues entrapping the population being served?
- How does the Code guide the nurse in mobilizing forces to address this social issue?
- If nurses ignore forces trapping the population they serve, what is the most likely set of outcomes five years from now?
Sample Solution
the artistâs own ideology is replicated in the process of actualisation, with the effect that the artist cannot be removed from the artefact they produce. However, in The Death of the Author (1967), Roland Barthes, a French theorist, explains that all texts are mediated by prior social and political knowledge and therefore lack originality. Barthes believes the author exists only as a tool and not as a constructed consciousness: ââ¦the modern writer (scriptor) is born simultaneously with his text; he is in no way supplied with a being which precedes or transcends his writing, he is in no way the subject of which his book is the predicate; there is no other time than that of the utterance, and every text is eternally written here and now.â (Barthes, 1977) The Death of the Author marks a milestone for 20th century literary theory and deeply influenced postmodern trends in the visual art world. At first glance, all of Calleâs work discussed here appears deeply and intentionally personal to the artist, arguably making it impossible to remove the artist from her work. A lot of her pieces are based upon her own experiences and, as such, Calle seems to challenge directly Barthesâ theory that the artist is somehow irrelevant to its interpretation. However, Calleâs work accentuates the importance of the role of the viewer in considering the artefact and subsequently how it is then subjectively considered.>
the artistâs own ideology is replicated in the process of actualisation, with the effect that the artist cannot be removed from the artefact they produce. However, in The Death of the Author (1967), Roland Barthes, a French theorist, explains that all texts are mediated by prior social and political knowledge and therefore lack originality. Barthes believes the author exists only as a tool and not as a constructed consciousness: ââ¦the modern writer (scriptor) is born simultaneously with his text; he is in no way supplied with a being which precedes or transcends his writing, he is in no way the subject of which his book is the predicate; there is no other time than that of the utterance, and every text is eternally written here and now.â (Barthes, 1977) The Death of the Author marks a milestone for 20th century literary theory and deeply influenced postmodern trends in the visual art world. At first glance, all of Calleâs work discussed here appears deeply and intentionally personal to the artist, arguably making it impossible to remove the artist from her work. A lot of her pieces are based upon her own experiences and, as such, Calle seems to challenge directly Barthesâ theory that the artist is somehow irrelevant to its interpretation. However, Calleâs work accentuates the importance of the role of the viewer in considering the artefact and subsequently how it is then subjectively considered.>
