Stakeholders Of The Aging Network

Posted on January 11, 2022 | by Dan

Economic Security and Home Equity Facts. With what you now know about the interconnectedness of the aging network and various stakeholders, in a journal assignment, address the following:

What stakeholders are most dependent on the existing continuum (model) of long-term care and support services? Explain your thinking.
Discuss the role technology plays in healthcare now and the role it might play in the future to meet the changing needs of the aging population.

Sample Solution

anner. The first quatrain is written in a negative tone and describes the mistress body in 3rd person narrative. In line 1 he uses assonance that creates a melody with the words my, eyes, and like and implements the negative simile in “nothing like the sun” – a strong anti-Petrarchan image (line 1). Line 2 further plays with the comparisons of that time by comparing her lips red to that of coral, that his mistress apparently does not possess. A parallelism is to be observed in lines 3 and 4, not only at the beginning of the line but their syntactical structure as well. Overall, I perceive a shift in described colour from line 1 “nothing like the sun” followed through in line 2 “her lip’s red” continuing to line 3 “if snow be white, why her breast are dun” into line 4 “black wires” (lines 1-4) to more darker shades that perhaps represent the Dark Lady. Quatrain 2 changes the perspective as the narrator speaks in 1st person. The damasked roses belong to the semantic field of love and are typical Petrarchan imagery as well as the negative comparison of her breath to the delight of perfume. Alliteration is also dominant in line 7 with words like than, the, that, (and enjambed into line 8) there. Quatrain 3 beginning with the Volta, has a subtle shift of tone and perception, since it begins with “I love to hear her speak, yet well I know”, however turns again in line 10 as the narrator states that “music hath a far more pleasing sound”, perhaps stating that he likes the content of her utterances rather than the sound of her voice itself (line 9-10). Line 11 and 12 employ again a Petrarchan image of a divine being of with alliterations on grant, goddess and go that his “mistress, when she walks treads on the ground”, empowering a more realistic description that she is a down-to-earth person, rather than an angelic being (line 11-12). These two lines refer directly to the 3rd sonnet by Petrarch himself, where he states that “Her walk was not that of mortal thing but of some angelic form” (Petrarca 192 line 7-8). Shakespeare actually goes right at Petrarch himself and since the structure Shakespearean sonnet is “argued to be haunted by the Petrarchan sonnet” (Holton 380), Shakespeare takes a new approach to this ‘archaic’ poem form. The rhyming couplet follows by concluding the story and revealing the admiration for his mistress despite all his flaws in the preceding 12 lines. For me, line 13 is the more apparent turn than the Volta and in my humble opinion is like a vow of his love his mistress by stating that “by heaven” his love is as dear to him “as any she belied with false compare” (Sonnet 130 line 13-14). The ‘she’ in line 14 is widely debated in academic publications I came across in my research, while Booth glosses ‘she’ as synonymous the noun ‘woman’ (Shakespeare, Booth 455), Steele contests that assumption (Steele 133), which would change the perception of his mistress. However, this is not to be discussed any further in this paper. After pointing out the differences of Elizabethan and Italian sonnets, arguing that there are various possibilities to write a sonnet without breaking the standard English sonnet and comparing the sonnet to the typical Blazon I must come to the conclusion that sonnet 130 by Shakespeare does not oppose the sonnet form as it neither can do so if it does possess 14 lines in a distinctive rhyming pattern and contains a rhyming couplet at the end (Ordemann 172) without breaking the blueprint in general, nor does it break the Shakespearean form specifically. It employs traditional Petrarchan imagery in a cunning way (Steele 132-133) while using satire to mock the predominant Blazon and pedantically according to its rules. The reader, after following through the octave and the third quatrain, might think that the damage to this love could not be averted and such an insulting poem is inadequate, however, Shakespeare manages to turn around within the last two lines. As in the words of Rappoport and Boyd, “he will consciously reject while exploiting them, current conventions of rhetoric and poetry” (135). After reading sonnet 130 repeatedly, I must partially agree with Barber, who stated that the sonnets dealing with the Dark Lady were in fact so outrageous poems that “one wonders whether in fact most of them can have been sent to the poor woman” (666), since I find the general images that are depicted in this work “dwell on her imperfections and falsehood and the paradox that nevertheless she inspires physical desire” (660). I find it a far more likely an

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