In the link
https://health.gov/hcq/trainings/pathways-wrap/ James Parker, safer opioid use simulation and reflection.
This week, you will proceed through the simulation as James Parker again, but make different decisions to see the different effects they cause.
Write a 3 pages’ paper describing the process you went through and the results in comparison to last week that you got based on the different decisions you made as James. State how James became addicted and what both the patient and the caregivers could have done to prevent this.
The issue of death is inseparably linked with a traditional idea of tragedy. Such ancient dramatists as Aeschylus, Euripides, Seneca and Sophocles implemented the theme of death into their dramatic works to reflect the essence of their own times and the attitude of ancient people towards death. Their treatment of death was presented through serious and tragic elements that intensified a portrayal of certain events and characters, but the concept of death was restricted by the ancient religious dogmas. The Renaissance gave birth to new visions and interpretations of various issues of existence, especially concerning life and death. According to William Engel (2002), The decline and decay of every individual is an old theme with many ways of being expressed during the Renaissance (p.14). Although William Shakespeare, a famous English dramatist of the Renaissance period, constantly applies to various aspects of death in his tragedies, he goes beyond the ancient and Renaissance conception on death. Shakespeare interprets the issue of death through both tragic and comic elements, making an attempt to solve one of the most crucial issues of that era. The dramatist revives some medieval customs associated with death and interprets them through the Renaissance vision. His idea of death is connected with both religious dogmas and atheistic values; for him, death simultaneously embodies everything and nothing. The aim of this essay is two-fold: 1) to analyse the empowerment of death in Shakespeare’s play Hamlet and 2) to evaluate the concept’s relation with the Renaissance thinking of Michel de Montaigne, Thomas More, Sir Walter Raleigh and Desiderius Erasmus Roterodamus. In Renaissance England death was perceived as a mysterious phenomenon that aroused debates among Elizabethan philosophers, priests and writers (Cressy, 1997, pp.465-468). The lack of knowledge in regard to various diseases resulted in constant increase of mortality rates. Thus, death was regarded as a leveller that eliminated social inequality, that is, both the poor and rich could die of an incurable illness or be murdered (Duddley, 1999, pp.277-281). Executions and mutilations were usually conducted in public and were rather popular among certain groups of British population. As Michael Neill (1997) puts it, death and other funerary issues constitute a crucial part of any Elizabethan drama that is aimed at transforming individual death into a common recollection (pp.12-17). During Elizabethan ruling various funeral images and buildings were created in Britain, so that people could constantly think of their mortality (Gittins, 1984, pp.140). Death became an integral part of British existence; as Nigel Llewellyn (1991) claims, Images reminding people about their own mortality were to be found in all kinds of public and private situations In early Modern England, Death always accompanied the individual on the streets or at home among the family (p.25). Thus, Renaissance literature reflects this aesthetics of death, as Neill claims (p.356). In this regard, William Shakespeare’s Hamlet is also overwhelmed with characters’ deaths that usually come out from revenge or deception. This is just the case with almost all principal characters of the play. For instance, Laertes, Ophelia’s brother, is masterfully deceived by Claudius and dies. Claudius makes Laertes avenge Hamlet who is accused of the murder of Laertes’ father. As Claudius claims, Laertes, was your father dear to you? / Or are you like the painting of a sorrow, / As face without heart? (Shakespeare, 1985 4.7.107-109). Although Hamlet makes an attempt to apologise for Polonius’ death, Laertes refuses to forgive him, because he feels fury and anger, as his sister Ophelia and his father Polonius are dead. Laertes utilises the poison sword during the dual, but Hamlet accidentally changes the sword and kills Laertes. Ophelia’s death does not fall under the category of revenge; instead her suicide is closely connected with her sexual desires towards Hamlet. As Jonathan Dollimore (1998) puts it, Death inhabits sexuality: perversely, lethally, ecstatically (p.xi). As Ophelia experiences strong desires for the Prince, she implicitly wishes death. Dollimore (1998) demonstrates that there is a close connection between sexual desires and death; the Renaissance ideas on love reveal that love is a changing phenomenon, and if it is so, sexual desires are also exposed to changes. With the loss of love and desires a person starts to feel a desire for death. According to Dollimore (1998), For the Jacobeans, as for us, what connects death with desire is mutability – the sense that all being is governed by a ceaseless process of change inseparable from an inconsolable sense of loss (p.xii). Such a thought is consistent with a Christian dogma that human desires bring destruction and death, as is just the case with Eve’s desire for an apple. Claudius’ death also conforms to the Christian principles; he is punished for his cruel actions and is killed by Hamlet. Claudius’ obsession with wealth and power results in many deaths and troubles; thus Shakespeare reveals that Claudius deserves death. But despite so many deaths, Shakespeare’s treatment of the issue of death is especially obvious through his portrayal of Hamlet who is presented as a person preoccupied with the idea of death and the Ghost of King Hamlet. It is through these characters that the dram>GET ANSWER