Patient/family education is an important component of nursing practice and is essential to the care of children newly diagnosed with cancer. Practices regarding patient/family education in Children's Oncology Group (COG) treatment centers have not been well described. We used an Internet-based survey to determine current patient/ family educational practices at COG institutions; participation rate was 90.5% (201/222). Patient/family education was delivered primarily by an individual (rather than a team) at 43% of institutions. Advanced practice nurses had primary responsibility for providing education at 32% of institutions. “Fever” was the most frequently reported topic considered mandatory for inclusion in education for newly diagnosed patients. More than half of institutions reported using checklists and/or end-of-shift reports to facilitate health care team communication regarding patient/family education, and 77% reported using the “teach-back” method of assessing readiness for discharge. Thirty-seven percent of institutions reported delays in hospital discharge secondary to the need for additional teaching. An understanding of current practices related to patient/family education is the first step in establishing effective interventions to improve and standardize educational practices in pediatric oncology.
This essay explores the American production and reception of the nineteenth-century animal autobiography, a genre of children’s literature that was popularized through the humane education efforts of the early animal welfare movement. In foregrounding how the animal autobiography contributed to the increasing ascription of “humanity” to nonhuman animals over the course of the nineteenth century, this essay ultimately shows how the animal autobiography facilitated new modes of racial management that relied on the circumscribed recognition of black humanity. This reading of the animal autobiography shows how the genre of the animal autobiography adapts the conventions of the slave narrative only to “domesticate” former slaves’ claim to human freedom.
In reading Eadweard Muybridge'sfamous photography study conductedatthe University of Pennsylvania, Animal Locomotion (1887), this essay ultimately illuminates how stopmotion photography'sr endering of the animal body as an "animal-machine" simultaneously constructs the laboring, racialized body as wholly body, freed from pain, ready for and reducible to its instrumentaluse. Yet this essay also highlights the cultural anxieties accompanying the mechanization of animal life at this historical moment, arguingthat the animal-machine, however expedient it proves in the reconsolidation of racialhegemony, simultaneously occasions acrisis in political liberalism'spositioning of thefemale body as as ite of recuperation from the ravages of industrial capitalism. Accordingly, the photographic depictions of whimsy, happenstance, and accident that punctuateM uybridge's Animal Locomotion attempt to resuscitate what the animal-machine otherwise erodes:the fiction of as phere of natural existence alternativet oa nd uncorruptedb yc ivil society.
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