Professional Documents
Culture Documents
https://testbankfan.com/download/understanding-the-essentials-of-critical-care-nursin
g-2nd-edition-perrin-test-bank/
The nurse identifies a patient in the critical care unit as having “resiliency.” What characteristic has the nurse
identified in the patient?
Correct Answer: 2
Rationale 2: The correct definition of "resiliency" is the ability to bounce back quickly after an insult. The degree
of resiliency is placed along a continuum between being unable to mount a response to having strong reserves.
Global Rationale:
Question 2
Type: MCSA
While caring for a patient in the critical care unit, the nurse realizes that the patient’s care needs must be a balance
between the patient’s long-term prognosis and the family’s expectations of recovery. Which of the AACN
Synergy Model’s characteristics does this situation describe?
1. Complexity
Perrin, Understanding the Essentials of Critical Care Nursing, 2/e Test Bank
Copyright 2012 by Pearson Education, Inc.
3. Participation in care
4. Resource availability
Correct Answer: 1
Rationale 1: This situation describes the characteristic of complexity that is the intricate entanglement of two or
more systems; for example, a patient’s illness with complex family dynamics.
Global Rationale:
Question 3
Type: MCSA
The nurse realizes that which stressor is one of the primary concerns of critically ill patients and should be
routinely included during assessments?
3. Hunger
Correct Answer: 4
Rationale 1: The inability to control elimination is not identified as a primary concern of critically ill patients.
Rationale 2: Lack of family support is not identified as a primary concern of critically ill patients.
Global Rationale:
Question 4
Type: MCMA
A patient has just completed a preoperative education session prior to undergoing coronary artery bypass surgery.
Which patient statements indicate that teaching has been effective?
Note: Credit will be given only if all correct choices and no incorrect choices are selected.
1. "I understand that I will have to blink my eyes to respond after the breathing tube is in my throat."
3. "I will be able to move about freely in bed and into the chair without help while connected to the electronic
equipment for monitoring."
4. "I may need something to help me rest due to the unfamiliar lights and sounds of the ICU unit."
5. “I might not behave like my usual self after the surgery but it will be because of the medications and my
illness.”
Rationale 1: An alternate method of communication discussed in advance of tube placement will assist in better
communication after the tube is inserted to aid the breathing process.
Rationale 2: While intubated, oral hygiene is needed to prevent mucosal drying due to the inability of the patient
to take oral fluids.
Rationale 3: This statement indicates that additional teaching is required because the patient will not be able to
move freely in bed and into a chair without assistance while being electronically monitored.
Rationale 4: Due to environmental lights, sounds, and difference in sleeping environment, additional aids, such as
drug management, may be needed to assist the patient to rest at night.
Perrin, Understanding the Essentials of Critical Care Nursing, 2/e Test Bank
Copyright 2012 by Pearson Education, Inc.
Another random document with
no related content on Scribd:
grace, her form all of beauty to me who opposite sat and was
watching her dextrous fingers.
The manufacture of flax into linen material was ever felt to be of
vast importance, and was encouraged by legislation from earliest
colonial days, but it received a fresh impulse in New England
through the immigration of about one hundred Irish families from
Londonderry. They settled in New Hampshire on the Merrimac about
1719. They spun and wove by hand, but with far more skill than
prevailed among those English settlers who had already become
Americans. They established a manufactory according to Irish
methods, and attempts at a similar establishment were made in
Boston. There was much public excitement over spinning. Women,
rich as well as poor, appeared on Boston Common with their wheels,
thus making spinning a popular holiday recreation. A brick building
was erected as a spinning-school, and a tax was placed in 1737 to
support it. But this was not an industrial success, the excitement died
out, the public spinning-school lost its ephemeral popularity, and the
wheel became again simply a domestic duty and pride.
For many years after this, housewives had everywhere flax and
hemp to spin and weave in their homes, and the preparation of these
staples seems to us to-day a monumental labor. On almost every
farm might be seen a patch of the pretty flax, ripening for the hard
work of pulling, rippling, rotting, breaking, swingling, and combing,
which all had to be done before it came to the women’s hands for
spinning. The seed was sown broad-cast, and allowed to grow till the
bobs or bolls were ripe. The flax was then pulled and spread neatly
in rows to dry. This work could be done by boys. Then men whipped
or threshed or rippled out all the seed to use for meal; afterwards the
flax stalks were allowed to lie for some time in water until the shives
were thoroughly rotten, when they were cleaned and once more
thoroughly dried and tied in bundles. Then came work for strong
men, to break the flax on the ponderous flaxbreak, to get out the
hard “hexe” or “bun,” and to swingle it with a swingle knife, which
was somewhat like a wooden dagger. Active men could swingle forty
pounds a day on the swingling-board. It was then hetchelled or
combed or hackled by the housewife, and thus the rough tow was
gotten out, when it was straightened and made ready for the spruce
distaff, round which it was finally wrapped. The hatchelling was
tedious work and irritating to the lungs, for the air was filled with the
fluffy particles which penetrated everywhere. The thread was then
spun on a “little wheel.” It was thought that to spin two double skeins
of linen, or four double skeins of tow, or to weave six yards of linen,
was a good day’s work. For a week’s work a girl received fifty cents
and “her keep.” She thus got less than a cent and a half a yard for
weaving. The skeins of linen thread went through many tedious
processes of washing and bleaching before being ready for weaving;
and after the cloth was woven it was “bucked” in a strong lye, time
and time again, and washed out an equal number of times. Then it
was “belted” with a maple beetle on a smooth, flat stone; then
washed and spread out to bleach in the pure sunlight. Sometimes
the thread, after being spun and woven, had been washed and
belted a score of times ere it was deemed white and soft enough to
use. The little girls could spin the “swingling tow” into coarse twine,
and the older ones make “all tow” and “tow and linen” and “harden”
stuffs to sell.
To show the various duties attending the manufacture of these
domestic textiles by a Boston woman of intelligence and social
standing, as late as 1788, let me quote a few entries from the diary
of the wife of Col. John May:—
A large kettle of yarn to attend upon. Lucretia and self rinse
our through many waters, get out, dry, attend to, bring in, do
up and sort 110 score of yarn, this with baking and ironing.
Went to hackling flax.
Rose early to help Ruth warp and put a piece in the loom.
Baking and hackling yarn. A long web of tow to whiten and
weave.
The wringing out of this linen yarn was most exhausting, and the
rinsing in various waters was no simple matter in those days, for the
water did not conveniently run into the houses through pipes and
conduits, but had to be laboriously carried in pailfuls from a pump, or
more frequently raised in a bucket from a well.
I am always touched, when handling the homespun linens of olden
times, with a sense that the vitality and strength of those enduring
women, through the many tedious and exhausting processes which
they had bestowed, were woven into the warp and woof with the flax,
and gave to the old webs of linen their permanence and their
beautiful texture. How firm they are, and how lustrous! And how
exquisitely quaint and fine are their designs; sometimes even
Scriptural designs and lessons are woven into them. They are,
indeed, a beautiful expression of old-time home and farm life. With
their close-woven, honest threads runs this finer beauty, which may
be impalpable and imperceptible to a stranger, but which to me is
real and ever-present, and puts me truly in touch with the life of my
forbears. But, alas, it is through intuition we must learn of this old-
time home life, for it has vanished from our sight, and much that is
beautiful and good has vanished with it.
The associations of the kitchen fireside that linger in the hearts of
those who are now old can find no counterpart in our domestic
surroundings to-day. The welcome cheer of the open fire, which
graced and beautified even the humblest room, is lost forever with
the close gatherings of the family, the household occupations, the
homespun industries which formed and imprinted in the mind of
every child the picture of a home.
Transcriber’s Notes
Minor punctuation errors have been silently corrected.
Page 100: “take the the case” changed to “take the case”
Page 162: “promply sailed” changed to “promptly sailed”
Page 302: “was was set outside” changed to “was set outside”
Spelling and punctuation quoted from original sources has been left as-is.
*** END OF THE PROJECT GUTENBERG EBOOK COLONIAL
DAMES AND GOOD WIVES ***
1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside
the United States, check the laws of your country in addition to
the terms of this agreement before downloading, copying,
displaying, performing, distributing or creating derivative works
based on this work or any other Project Gutenberg™ work. The
Foundation makes no representations concerning the copyright
status of any work in any country other than the United States.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if
you provide access to or distribute copies of a Project
Gutenberg™ work in a format other than “Plain Vanilla ASCII” or
other format used in the official version posted on the official
Project Gutenberg™ website (www.gutenberg.org), you must, at
no additional cost, fee or expense to the user, provide a copy, a
means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original “Plain Vanilla ASCII” or other
form. Any alternate format must include the full Project
Gutenberg™ License as specified in paragraph 1.E.1.
• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”
• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.
1.F.
Most people start at our website which has the main PG search
facility: www.gutenberg.org.