Why is understanding the health care system at the local level important to consider when planning an EBP implementation? Conduct research and solicit anecdotal evidence from your course preceptor that you will take into consideration for your own change project.
and open to interpretation in its realisation in the playhouse. This scene, as well as providing interesting insight into the way in which midline switches, repeated cues and actors’ parts may have functioned in Shakespearean drama, also facilitates a useful examination of speech prefixes and the process by which play texts moved from stage to printing house. In the Second Quarto, Act1 scene 3 begins with Enter Capulet’s Wife and Nurse, Capulet’s wife’s prefix is then abbreviated to Wife from (TLN359) until (TLN 395) when she becomes prefixed as Old La. for Old lady which counter intuitively is also around the time she tells her daughter that she is approximately 26 years old; the prefix then changes again for a final time, in this scene, to Mo. for Mother (TLN 431). There are a number of possible reasons for this. One is that it is the result of the Second Quarto being printed from a ‘foul copy’, the 1st draft of the manuscript passed to the playhouse by Shakespeare, during which he has labelled characters in line with their narrative function in a particular moment rather than the character’s name, which would be straightened out by the playhouse in the ‘fair copy’ as such characterological uncertainty would be an “intolerable nuisance to a prompter.” If this theory is applied to Act 1 Scene 3 of Romeo and Juliet, Capulet’s wife’s primary function at the start of the scene is her maternal and social status, then it is her age to draw contrast with Juliet’s youth, and finally her role as Juliet’s mother that are of primary concern. However, this is problematic as when Capulet’s Wife is labelled as Old Lady she is primarily acting as Juliet’s mother, not as “some generalised Old Lady”, perhaps this speech fix inconsistency reflects issues at the printing house deciphering handwriting from a manuscript, or from limited access to typeset. A further theory suggests that these variations in character markers were introduced in the playhouse by the prompter and master of revels, who made notes and amendments on the ‘fair copy’.>GET ANSWER