Discuss the strategy used to assess a patient’s social determinants.
List key questions used to assess social determinants.
Explain what one would add to the patient’s plan of care based on the patient’s responses to key questions in Ala.
Explain how a patient’s economic stability affects his or her access to healthcare.
Analyze how a patient’s educational status affects his or her health.
Analyze how a patient’s health literacy affects his or her health.
Discuss the healthcare barriers and opportunities the patient might face because of his or her educational status.
Analyze how the patient’s health and healthcare status affect his or her quality of life.
Explain how the patient’s neighborhood and environment affect his or her access to health.
Compare the healthcare of a patient living in a low-income area is likely to receive with the healthcare of a patient living in a high-income area is likely to receive
Compare the healthcare of a patient living in a low-income area is likely to receive with the healthcare of a patient living in a high-income area is likely to receive.
Discuss how access to healthcare differs for patients living in rural versus urban areas.
Discuss how a patient’s neighborhood affects his or her access to healthy food options.
Discuss why social determinants need to be addressed in comprehensive health assessment.
Identify highest priority social determinants that affect a patient.
Develop a patient plan of care
Explain how one would implement a plan based upon the social determinants identified.
Identify any barriers to implementing the interventions.
Discuss who needs to be involved in the interventions
Explain how one would evaluate the effectiveness of a patient’s plan of care.
Summarize the impact of social determinants on a patient’s overall well-being.
Asone of the most established fine arts and as one of the primitive sorts of humanexpression, the nature of theater is as fluctuated over the mainlands aspainting, stoneware, design or any of the great fine arts. Every development, every general public, each social occasion of mankind has had its personalform of dramatic execution from road craftsmen to court jokesters to nomadicplayers. Numerous would state that this assortment at the specific center of dramatic accomplishment is the thing that has allowed theater to take such a regarded and crucialpart of our advanced social orders. Again and again it is guaranteed that our present daylifestyles leave brief period for conceptual reasoning and masterful gratefulness orachievement. This is terrible yet fortunately not generally obvious. One need just watch the continuation of occasions, for example, the Welsh National Eisteddfod forhundreds of years to understand that the human want and requirement for theater willnever lessen. Notwithstanding, it is not necessarily the case that cutting edge society has not changed theater. It is just regular that aesthetic yield ought to be displayed by the way of life encompassing it. All things considered, warlike developments, for example, the Vikings savored the experience of the describing of age-old adventures while more illuminated people groups like the Ancient Greeks would draw motivation from legendary shows which point by point the imperfections at the core of humankind and their associations with their divine beings, speaking to a look for components more prominent than themselves. However,we can take it as sure that the showy preparations of the last fiftyyears have overwhelmingly been a piece of a resurgence of dramatic assorted variety. Asthe free market has made countries more open to each other, an ascent ininterest for a wide range of creative articulation has been looked about the world.Herein, we will center around the investigation and understanding of one of these.Sensory theater, or if nothing else the old importance of the term, is certainly not another concept.At its extremely center, quite a bit of what constitutes theater depends vigorously on the senses,both those of the gathering of people and that of the performers. All things considered, at once whenour quick paced way of life appears to dismiss anything strange or whichcan be marked as various, it is invigorating to feel that this resurgence hasregenerated one of the really awesome parts of theater, oft named as post-modernistbut one which connects such a large amount of generally ongoing masterful yield crosswise over theboundaries of various works of art: 'Post-modernity,in assaulting the apparent elitist approach of Modernism, looked for greaterconnection with more extensive gatherings of people. This is frequently marked 'availability' andis an essential issue of debate in the topic of the estimation of postmodern art.It has likewise grasped the blending of words with workmanship, collection and other movementsin advancement, trying to make greater variety of medium and message.Much of this focuses on a move of fundamental topic: postmodern artistsregard the broad communications as a principal subject for craftsmanship, and utilize frames, tropes,and materials -, for example, banks of video screens, discovered craftsmanship, and portrayals ofmedia objects - as central focuses for their artPostmodernism's basic position isinterlinked with displaying new evaluations of past works. As suggested abovethe works of the "Dada" development got more prominent consideration, as didcollagists, for example, Robert Rauschenberg, whose works were initiallyconsidered irrelevant with regards to the innovation of the 1950s, yet who, bythe 1980s, beganto be viewed as original. Post-innovation likewise lifted the significance of silver screen in artisticdiscussions, putting it on a companion level with the other expressive arts. This is bothbecause of the obscuring of qualifications between "high" and"low" structures, and on account of the acknowledgment that film representedthe formation of simulacra which was later copied in alternate expressions.' (Wikipedia,2005) Inthis paper, we will examine parts of tangible performance center as has beenexplored and toyed with by some extraordinary craftsmans of the art. Notwithstanding anyproblems we have with discount dismissal of this sort of theater, in the interestof impartial and finish inquire about, we will give careful consideration to theAristotelian school of thought. That which guarantees that performance center is a particulartype of experience, one from which the group of onlookers part should feel scrubbed andhave learnt an exercise. This is a legitimate perspective, one which we shallthoroughly investigate keeping in mind the end goal to check whether it is without a doubt more artisticallyjustifiable than tactile theater. Afterexploring Aristotle's conclusions, we will look in facilitate profundity at the nature ofsensory theater. What does this term mean? How is each sense tapped? Will themelding of encounters of a few detects which are at the same time stimulatedprovide a lifting background? For this investigation, we will utilize the casestudy of Dwr (water in Welsh), a tactile bit of theater put on in2003, utilizing water, light and different materials to investigate responses among itsaudience. The explanations behind utilizing this play are that it was an audiovisualexperience and additionally a simple dramatic one as projections and cameras were anintegral part of the execution. Besides, the tangible impact of theaudience can be better broke down as individuals from the crowd were additionally utilized inthe play, their responses characterizing the kind of tactile experience. In any case, Dwr additionally gives us a decent case of Brechtian theater for the quantity of levels the play goes up against. The on-screen characters themselves go about as facilitators for the group of onlookers to get individual tangible encounters. With just a minority of gathering of people individuals participating in the play, we can increase two further levels of enthusiastic profundity and multifaceted nature. The general foundation of the gathering of people will see their feelings and faculties pounced upon by the developments, signals and choices of those participating while this minority will be subjected to tangible info and produce criticism with no space for thinking ahead or preparing. In this way, we will give an exceptionally unmistakable and fascinating case to move down any reasonable characterizing of tactile theater we come to. We will likewise take a gander at how Dwr fits into the examples of tactile auditorium made by Brecht and Artaud and how its disposition towards its gathering of people characterizes this multi-layered performance center as one of the urgent purposes of tangible theater. However,no investigation of tactile auditorium without itemized explore into the works ofpioneers of the class. Here, we have taken a gander at Bertolt Brecht andAntonin Artaud, each for particular reasons. Brecht's mentality, absolutely inconflict with the well established Aristotelian perspectives of theater, helped construct hisreputation as an agitateur who chose to stamp his own particular markupon a fine art he saw as static. Consequently, the propensities for Brechtian theater oftotal affirmation of the gathering of people caused as much merriment as it angered. Onthe other hand, Artaud furnished his group of onlookers with a totally integralexperience. By utilizing tactile auditorium to deny gathering of people individuals their typical rightto include themselves in an execution to a level of their decision, Artaud madesure his plays would profoundly stun his groups of onlookers. We will investigate Artaud'stechniques and additionally his explanations behind giving this sort of theater. It is the objective of this thesis to feature the distinctions that make tangible performance center its very own indispensable class, containing such a large number of outlets for inventiveness, articulation and enthusiastic effect as to make it an intriguing piece of theater as well as a fundamental one. Its ongoing resurgence will subsequently give us a perfect stage from which to survey its significance to an advanced group of onlookers. TheAristotelian perspective of dramatic standards Goodoratory can pass the dividers over block structures. Not simply in reality ofpolitical talks or revitalizes however in human expressions too. As one of the main formsof human articulation where no point of view is unheard, no projection unconsidered,no leaf left unturned, theater has all through its history normally overthrownand disregarded any shackles or traditions appended to it. This thought couldgive ascend to an impression of commotion and turmoil in an artistic expression that had runaway with its own particular significance. As one of the main figures in the history ofliterature, Aristotle's perspectives on the nature and significance of theater arewell-recorded and normally thought of as still pertinent today. 'Aristotlehad the specific human normal for beholding back to past times worth remembering, andthinking them much superior to anything the days in which he lived. Taking insufficient accountof Aeschylus,he respected Sophoclesand Euripidesas models in catastrophe. His central grumblings were that the writers of his own timespoiled their work by logical show; that the performer was regularly of moreimportance than the play; and that the artists messed with the plot all together togive a most loved on-screen character a chance of showing his unique ability. He saidthat the artists were inadequate in the intensity of depicting character, and that itwas not by any means reasonable for contrast them and the monsters of the previous period.' (FletcherBellinger, pp.61, 1967) However,in the matter of tangible theater, we keep running into a zone of a few issues. Beingof a traditionalist mentality which acknowledged performance center for the ethical lessonscontained inside the account, Aristotle revered Sophocles with hisstraight and thin way to deal with dramatic dramatization while shunning the work ofhis counterparts as being excessively prominent, excessively diluted, making it impossible to address the issues ofa open envious of not so much lecturing but rather more fun inside the theater. Aristotlepossessed maybe what could be deciphered as a fairly tight view in that hesaw disaster as the best type of sensational articulation, completely passingoff on satire as minor cushion when contrasted with catastrophe with the considerable lessonscontained inside it. Moreover, Aristotle additionally considered disaster to bemagnificent when it likewise contained a reasonable and very much developed narrativeframework and fanciful references to the deeds of more noteworthy men and divine beings in anobler past. Despite the fact that Aristotle's works on these subjects made a great deal ofsense, they are>GET ANSWER