Missy is a healthy 4-year-old who seems to be in perpetual motion. She came home from preschool today and told her mother she was tired and wanted to take a nap. Her mother immediately sensed there was something wrong, because Missy never volunteers to take a nap. Missy’s appetite was diminished at dinner, and although she appeared pale, she went to bed that night without complaint.
The following morning, Missy looks very ill, refuses to get out of bed, and hasn’t urinated since 8 p.m. the evening before. Missy’s mother brings her to the pediatrician’s office, where Missy is diagnosed with acute tubular necrosis (ATN). Her pediatrician admits Missy to the local acute care facility. You are the nurse admitting Missy to the pediatric unit.
What questions would you ask Missy’s mother to determine contributory factors of the development of acute tubular necrosis?
What orders would you anticipate from the healthcare provider to prevent the development of ARF?
What independent nursing orders would you develop to provide holistic, family-centered care for Missy?
What nursing diagnosis would be appropriate for Missy’s plan of care?
Without Her by Dante Gabriel Rossetti Disclaimer: This work has been put together by an understudy. This isn’t a case of the work composed by our expert scholastic authors. You can see tests of our expert work here. Any feelings, discoveries, ends or suggestions communicated in this material are those of the writers and don’t really mirror the perspectives of UK Essays. Distributed: Thu, 14 Jun 2018 ‘Without Her’ – Dante Gabriel Rossetti Framed in 1848, the Pre-Raphaelite Brotherhood comprised of a gathering of youthful specialists who wished to divert from the traditions of the craftsmanship foundation and found another development that took its motivation from the more ‘crude’ specialty of the medieval and early Renaissance period. Dante Gabriel Rossetti was one of the establishing individuals from the gathering and went about as a stimulating power to alternate craftsmen. Rossetti himself, however, was never only dedicated to painting. Partitioning his opportunity amongst painting and verse, he was to some degree in charge of the gathering’s utilization of artistic subjects and images in their work and additionally for the printing of the gathering’s fleeting abstract diary, The Germ. A critical number of his ballads were composed to supplement painted subjects and his philosophical thoughts regarding painting were likewise contended in his sonnets. Following the demise of his significant other, Elizabeth Siddal, huge numbers of his ballads were distracted with adoration and passing. It is trusted that his conjugal acts of unfaithfulness, together with his experience of becoming hopelessly enamored with the spouse of his companion, William Morris, prompted sentiments of blame and regret and affected the critical tone of his later ballads (Wilmer, 1991, 7-21). Walter Pater (1889, 230) remarks upon the ‘definiteness of sensible symbolism’ and the ‘moment and unequivocal’ consideration regarding visual detail in Rossetti’s work and it is absolutely the case that the imagery of ‘Without Her’ is grounded specifically physical items which are portrayed with a painterly eye and with the average Pre-Raphaelite thoughtfulness regarding the detail of nature. However Rossetti is likewise worried about the sound and rhythms of verse. He made an interpretation of Italian stanza into English and his piece arrangement, The House of Life, demonstrates that impact, especially in his utilization of Petrarch’s model of the poem cycle. The work ‘Without Her’ is composed in the Petrarchan frame, its fourteen lines of measured rhyming orchestrated as an octet taken after by a sestet. The rhyme conspire, abbaabba cddccd likewise takes after this tradition. Notwithstanding, inside this system, Rossetti much of the time subverts the shape, particularly in unpredictable examples of mood and worry, with a specific end goal to pass on the weight of feeling. This inconsistency of mood is available in the opening line, which breaks in the center and after that keeps running on to the second line. Rossetti rejects the ordinary versifying beat, starting the line with the focused on word ‘What’ and finishing with two focused on words ‘clear dim’. The second line has a comparative example, changed in the center, yet again starting with a focused on word, ‘There’ and finishing with the twofold worry of ‘moon’s face’. To include more prominent accentuation, he makes utilization of similar sounding word usage in the hard g of ‘glass’ and ‘dark’ in the clench hand line and the sound similarity of ‘pool’ and ‘moon’, ‘there’ and ‘where’ in the second. Straddling these two lines, the similar sounding word usage of ‘clear’ and ‘visually impaired’ additionally echoes the consonant ‘l’ from ‘glass’ and ‘pool’. The expression of these lines is misleadingly basic, made up as it is of single-syllable words. In any case, these pictures work emblematically, rehashing pictures, for example, the mirror, the pool and the moon that have happened somewhere else in The House of Life (for instance, in XLI, ‘Through Death to Love’ and in the ‘Willowwood’ arrangement, XLIX-LII). His lost darling is connected with the moon – a traditional image of womanliness – and the mirror that had already mirrored her essence is currently unfilled. In the second match of lines, Rossetti proceeds with this example of sporadic burdens. Similarly as the give up on the principal lines is underscored by the twofold worry of ‘clear dark’, so the third line contains the expression ‘hurled void space’. The ‘s’ sound in ‘dress’ in taken up by ‘hurled’, ‘space’, ‘whence’ and ‘passed’ and the nonappearance of the moon is repeated. In the second quatrain, Rossetti subverts the desire that he will make sets of lines that break amidst the first and keep running on to the second’s end; rather, three back to back lines are broken in the center and keep running on to the following. Just the last line of this quatrain is a finished. In this more noteworthy metric abnormality, Rossetti demonstrates a more prominent passionate disturbance, particularly in the shout ‘Tears, ah me!’, trailed by the triple worry of ‘affection’s great beauty’, with its alliterative ‘g’ sounds adding weight to the inclination. Once more, he utilizes similar sounding word usage for accentuation, particularly when alluding to the bed from which she is missing as ‘her padded place’, which gets the ‘p’ sound from ‘ways’ and ‘named’ in the past line. While the octet utilizes four solid examples from the outward physical world to speak to the nonattendance of the adored, the sestet swings internal to the core of the artist. With the inquiry ‘What of the heart without her?’, the sonnet winds up self-reflexive in its tone and these six lines likewise start to have a more normal metrical cadence. The superseding picture is of the ‘wayfarer’ who is ‘exhausted’ and ‘working’. The vacancy of his reality is hence accentuated by a more settled beat, which speaks to the dull give up all hope of a forlorn voyage through life. Especially powerful are the last four lines, in which the style is commanded by words, for example, ‘desolate’, ‘chill’, ‘soak’, ‘tired’, ‘haziness’ and ‘working’. The reiteration of the match of words ‘the long’ in the penultimate line demonstrates that the artist views his life as a progression of dreary redundancies without his affection. Besides, this reiteration is taken up in the last line with the alliterative expression ‘multiplied obscurity’, where the cloud and the wood end up severe to the artist, feeling as he does that his life comprises of ‘working’ up a precarious slope. All through the poem, the expression ‘without her’ has repeated six times thus the last pictures of ‘multiplied dimness’ takes up this feeling the writer feels anguish as a sort of steady redundancy of void and haziness which is reflected in the reiterations that he finds in the common world around him. In the utilization of such visual symbolism, Rossetti has consequently composed a work where his painterly eye supplements his writer’s ear to make a combination of the two fine arts to which he committed his life.>