Vaughan Johnson is a 7-year-old Caucasian boy who comes for an evaluation with his parents, Aeron and Donovan Johnson. The Johnsons are worried because Vaughan has been wetting the bed every night.
Vaughan has not wanted to go to sleepovers with his friends because of the bedwetting, which frustrates him a lot. Answer the following questions from your perspective as his psychiatric nurse practitioner.
1. What Important issues should you include in your psychiatric evaluation?
2. How should you approach a 7-year-old client who is very embarrassed about talking with you about the issue?
3. What information do you need to begin treatment planning?
4. Identify possible causes for the enuresis.
5. What do potential treatment interventions you suggest?
Hitting the nail on the head: An investigation of Timing and Language in Hamlet and Sure Thing This article investigates how dialect is utilized to uncover the covered up inward considerations and sentiments of characters, and how timing can have a significant influence in the depiction of sensational characters to the crowd. The street numbers how, in Shakespeare's Hamlet, dialect depicts the continuous working through of Hamlet's considerations, towards his definitive desire of requital, and conversely, how dialect is vital in setting up the underlying and basic association among Bill and Betty in David Ives' one-Act play, Sure Thing. Beyond any doubt Thing presents an arrangement of discoursed between a youthful couple becoming more acquainted with each other in a coffeehouse. The ringing of a ringer interferes with their progressive endeavors at a similar discussion. Meaning 'time out' when one says something unsuccessful, when, in normal conditions, their discussion may have finished: BILL. This is my first night out alone in quite a while. I feel a tad adrift, to disclose to you reality. BETTY. So you didn't stop to talk since you're a Moonie, or on the grounds that you have some bizarre political alliance - ? BILL. Not a chance. Straight-down-the-ticket Republican. (Ringer). Straight-down-the-ticket Democrat. (Ringer.) Can I disclose to you something about legislative issues? (Chime.) I jump at the chance to consider myself a native of the universe. (Chime.) I'm unaffiliated. BETTY. That is a consolation. So am I. (Ives, 1994, p.20). In this play, dissimilar to the wild advancement of Hamlet, boundaries are no great – it is the center ground that the two characters look to occupy, where protected and solid answers will anchor their trust in each other as a potential accomplice. Ives' utilization of dialect is clever and particular quickly addressing themes that give the gathering of people a thought of the identity and tastes of the characters, while hacking up the pace to keep their consideration. Interestingly, Hamlet looks to investigate the furthest points of human character and the limits among mental soundness and madness, and ethical quality and unethical behavior. For instance, when Hamlet's reality is all of a sudden turned upon its head after the homicide of his dad, Shakespeare utilizes representation to express the foreboding and disrupted emotions which Hamlet encounters: I have generally (yet whereof I know not) lost all my jollity, done without all custom of activities; and, to be sure, it runs so intensely with my attitude this goodly edge, the earth, appears to me a sterile projection; this most phenomenal covering, the air, look you, this overcome overhanging atmosphere, this majestical rooftop fussed with brilliant fire, why, it appeareth no other thing to me than a foul and pestilent assemblage of vapors! (Village, II. I. Found in Geddes and Grossett, 2006, P.386). Village's vision of the world is contrasted with a structure – the 'outline' of the earth, and the 'shelter' of the sky. The illustration is stretched out into the accompanying lines, where the wonders of the common world are credited with human attributes, for example, 'overcome' and 'majestical.' Shakespeare's utilization of scene as allegory is vital here as it underlines the flipping around of Hamlet's reality – the possibility that all that he knew and trusted to remain – has all of a sudden changed into the most exceedingly bad, most outrageous, situation possible. For Shakespeare, it is the continuous unfurling of Hamlet's character, which drives the play forward and makes the group of onlookers question social and individual qualities. As pundit W. Thomas MacCary remarks on Hamlet, the improvement of the plot is dictated by the advancement of Hamlet's character. Besides, Hamlet as a character must 'uncover what is covered up, [… .] so the plot of Hamlet is a steady disclosure of what is spoiled in the province of Denmark.' (MacCary, 1998, p.65): The time is out of joint: O reviled show disdain toward, That ever I was destined to set it right! (Village, I.v. 188-19. Found in Geddes and Grosset, 2006, p.384). Villa's scandalous postponement is essential for him, and the gathering of people, to have room schedule-wise to absorb and make an educated judgment on the occasions that have gone, before continuing to the following period of sensational power. Shakespeare utilizes speeches to depict to the group of onlookers what is close to home to Hamlet. This method serves not exclusively to confine the character, in this way concentrating consideration on him, yet in addition supports correlations and reflection with respect to the gathering of people to their own lives, and the nation of Denmark. Interestingly, the force of Ives' exchange among Bill and Betty presents a short, sudden understanding into the ponderousness and insouciance of a contemporary youthful couple, meeting out of the blue, while giving a clever and intriguing social analysis. As this is a play with few props, the consideration is centered around the couple; undoubtedly, Bill's longing to pick up Betty's consideration and secure her organization is anticipated onto the server, whose up and coming landing in the finish of the exchange means the end of the scene. The way that the server never arrives – and in this way neglects to intrude on the course of their discussion – detaches the ungainliness and potential incongruity of contemporary social measures: discussion is regularly shocked, lost, and wrongly coordinated: BILL. (Glances around.) Well the servers here beyond any doubt appear to be in some unique time zone. I can't find one anyplace… .Waiter! (He thinks back.) So what do you – (He sees that she's returned to her book.) BETTY. I ask exculpate? BILL. Nothing. Too bad. (Chime.) (Ives, 1994, p.17). This motivates the gathering of people to consider albeit two genuinely comparable individuals are talking in an open gathering place, with nothing to interfere with them, despite everything they can't hit the nail on the head. The characters make references to 'various timetables,' 'missed associations,' and the term 'distinctive time zone' is first said by Bill, and after that rehashed by Betty. This is suggestive of Ives' goal to present to the group of onlookers in the 21st century, in spite of the nearness of modern methods for correspondence, the straightforward demonstration of making oneself known to another remaining parts tricky. To finish up, this exposition has demonstrated that planning is significant in both the plays, not just in the depiction of the character to the group of onlookers, yet additionally in the coherence of each play in general. Particular and clever utilization of dialect in both plays reminds the crowd that they are not simply watching an envisioned situation, but rather a clashing spoof of the general public of which they themselves are a section. Book index Geddes and Grosset, 2006, The Complete Works of William Shakespeare. New Lanark: Geddes and Grosset Ives, D.1994, All in the Timing: Six One-Act comedies. Playwrights Play Service: New York Joseph, B., 1953, Conscience and the King: An investigation of Hamlet. London: Chatto and Windus MacCary, W.T., 1998, Hamlet: A Guide to the Play. Westport, CT: Greenwood Press>GET ANSWER