Visit an agency serving your assigned census tract. Describe the agency and its accessibility/acceptability. Discover whom they serve, the eligibility requirements, costs, services offered, and other pertinent information a Community Health Nurse (CHN) would need to know. Document your findings. Identify health related issues relevant to the population that this agency serves. Be sure to include one psychosocial need.
1. Unique The 6th part of Van Zoonen's book 'Women's activist Media Studies', 'Spectatorship and the Gaze', gives a convincing prologue to the region of women's activist film considers, all the more particularly, to various issues encompassing the idea of the 'look'. Van Zoonen draws on the contentions of Laura Mulvey's work, who utilized psychoanalytic apparatuses in clarifying why ladies are introduced in the media as being taken a gander at and men as the ones who act. Van Zoonen stresses the trouble of the defenders of therapy to clarify the joys of female spectatorship, which, by and by, can be represented by utilizing alternate points of view on media ponders. In the wake of examining thoughts in regards to the male look, Van Zoonen directs her concentration toward the route pictures of men are exhibited in well known media, underscoring the way that, out of dread that their picture could be homosexualised, diverse techniques and story codes are utilized keeping in mind the end goal to make the externalization of male bodies less clear. Henceforth, the conventional view of men being the ones who have the power and ladies the ones who are taken a gander at is still set up in man centric societies, despite the fact that there are indications of attempting to set it aside. 2. Blueprint ladies are built in western prominent media similar to the inactive question of the male look, though men just like the ones who act; the psychoanalytical worldview was utilized to clarify this condition of realities a) Laura Mulvey utilized analysis in her investigation of sex media portrayals as a helpful instrument in clarifying the joys of male spectatorship, however neglecting to clarify the free female delight of taking a gander at men 'scopophilia' - the determining of sexual delights basically by looking 'narcissistic recognizable proof' - the longing of men to distinguish themselves with other men, exhibited on the screen as faultless characters the film business is connected to man controlled society, as per Laura Mulvey; both 'scopophilia' and 'narcissistic distinguishing proof' are accomplished by the way movie producers outline the activity, including the generalization of ladies - the male look dread of mutilation - the injury endured by young men while finding the physical sex contrasts is reduced by the way male onlookers take control over ladies' bodies in the film business one of the issues of the way Mulvey utilized analysis - it likens manliness with being male and womanliness with being female b) Mary Ann Doane fights the difficulty of turning around the sexual orientation parts (i.e. men getting to be female and ladies manly) no preconditions of voyeurism in ladies - in youth ladies don't encounter the separating from their moms that young men do due to the sexual contrasts the female onlooker can move toward becoming masculinized by relating to the male characters in the film or narcissistically relating to generalized female characters c) feedback of the psychoanalytic worldview: it strengthens the man centric standards by barring the likelihood of ladies to get delight from survey media items Ladies infer delight by taking a gander at other ladies - the psychoanalytical worldview and past a) some contend that the holding amongst young ladies and their moms makes the pre-states of discovering delight in taking a gander at other ladies b) ladies have existing together inert gay and show hetero wants - Chodorow's hypothesis of female advancement c) Arbuthnot and Seneca declare that the psychoanalytic hypothesis is worried about male spectatorship and in this manner not fitting to look at female encounters and inspirations Ladies infer joy by taking a gander at men a) Christianity quelling the wealth of naked portrayals of men made the man centric request vague, while regardless it is the substratum of generally social orders b) the female look - which is manly by definition - taking a gander at the male body is less hazardous than the gay look c) story and visual systems diminish the level of subjection of the male body to the look of the female spectatorship e.g. gazing back at the watcher, turning upward or far from the camera, the content going with the pictures representing male bodies and in this way making characters men displayed as dynamic (e.g. indications of physical action or work) and in charge, simply happening to be taken a gander at, not as posturing particularly to be seen by female or male onlookers male bodies exhibited like sentimental items, not sexual ones (e.g. Playgirl) 3. Writing REVIEW The three sections I have picked - Kaplan's (1983), Stacey's (1988) and Van Zoonen's (1994) - which don't offer an exhaustive dialog of the issue of the 'look', draw on the psychoanalytic clarifications of the male look and endeavor to clarify which are the joys inferred by female onlookers watching media items. Henceforth, all creators utilize Laura Mulvey's and Mary Ann Doane's thoughts as a beginning stage for their dialog; Kaplan contends that therapy is 'a valuable apparatus [...] [, however not] fundamentally revealing basic 'realities' about the human mind' (1983: 23). She additionally contends that it can clarify just the current auxiliary association of society, which, I would contend, is a Marxist point of view; in her view, silver screen is viewed as a methods for discharging the strains made by the mechanical society and therapy as a vital intends to comprehend the reasons for these (Kaplan, 1983). Stacey (1988) recognizes the holes in Mulvey's line of contention, all the more absolutely the exchange of the male as a suggestive question (which Van Zoonen examinations) and of female homosexuality, and endeavors the last to address one of the issues handled in little profundity by Van Zoonen (1994): female gay joy, which has been disregarded by thinks about inside the psychoanalytic system. Stacey (1988), like Van Zoonen (1994), draws on Mary Ann Doane's thought that ladies' joys are not identified with fetishism and voyeurism, as men's are and additionally recognizes Mulvey's contention as per which ladies waver amongst male and female distinguishing pieces of proof. In talking about potential outcomes for comprehension and clarifying the female look, each of the three creators contend that the inversion of parts is incomprehensible without losing the particular sexual orientation distinguishing proof; the female observer moves toward becoming masculinized and the other way around, and in this way the structure remains essentially unaltered (Kaplan, 1983). Stacey (1988), as does Van Zoonen (1994), logically inquires as to whether ladies fundamentally need to involve female positions and men - manly ones. I would recommend that 'manly' and 'female' really allude to an arrangement of qualities related with people individually simply because it has generally been believed that they happen all the more frequently in the particular sexual orientation from which their names infer. Thus, they are not natural for men or ladies. Notwithstanding, there remains the issue that they are in resistance, not on square with terms. In addition, if these names which allude to sex and sexual parts would be neglected, I figure it would not be an issue for female onlookers to embrace a 'dynamic' ('manly') position any longer. Additionally talking about the female and manly spectatorships, Stacey (1988) fights that the subjectivities of onlookers ought to be likewise considered, regardless of whether their angle is viewed as 'manly'. Kaplan notes, drawing on Mary Ann Doane's contention, that if endeavoring to give female spectatorship a dynamic part and not masculinizing it, there is the threat of precluding joy and from claiming 'disembody[ing] their onlooker' (Kaplan, 1983: 28). A dynamic fundamental female character about dependably loses her customary ladylike qualities in this manner - '[...] of graciousness, altruism, nurturing instincts' (Kaplan, 1983: 29). The issue with this announcement is that every one of these attributes of 'womanliness' are really built similarly as ideas like 'dynamic', 'sexually alluring' and so forth are. In this way, Kaplan's announcement does no equity to the part of the female observer. The overwhelming pictures of ladies, every single male develop, as Kaplan (1983) stresses, are the objects of male fetishism and voyeurism, as each of the three creators specify. Notwithstanding Van Zoonen's (1994) overall dialog of these Freudian ideas, Kaplan (1983) focuses at three male looks in famous media, distinguished by Laura Mulvey: that of the movie producer, of the film watcher and of male characters in the film. As per this clarification of female's situation in the film structure, Kaplan contends, 'the man possesses the craving and the lady' (1983: 27), while female observers just 'get and restore the look yet can't follow up on it' (1983: 31). Thus, male and female spectatorships are diverse in fundamental regards. Every one of the three creators have a women's activist viewpoint in like manner from whence they take a gander at the portrayal of ladies in prevalent media. Stacey (1988) is presumably the most committed of each of the three to the women's activist reason, talking about issues which are forbidden for different researchers (women's activist or not): the gay female spectatorship. The contentions they present cover, being corresponding in the regard that all offer new data. In any case, they don't examine each other's commitment to the women's activist level headed discussion for the most part since every one of the three (Stacey to a lesser degree) offer a review of the contentions presented by Laura Mulvey and Mary Ann Doane. Every one of the three finished up by indicating the need of further examining the wellsprings of joy for female onlookers both in connection to men and to other ladies. Besides, the issue of puzzling sex distinguishing pieces of proof with sexuality in film thinks about has likewise been expressed just like an issue. 4. CROSSCUTTING THEMES The issues concerning the portrayal of sexual orientations in the media is a standout amongst the most vital zones of worry for women's activist researchers on account of the numerous suspicions covered up under what seems to be good judgment. By the by, this is just a single of the issues in which women's activists are intrigued. Among the general worry with the resou>GET ANSWER