Academic literature on the topic 'Emergency medicine Handbooks, manuals, etc'

In the cabin, in case of an emergency, cabin crew must legally receive first aid training, and can respond to emergency situations, first aid and instructions according to the guide provided for medical situations. However, in an airport that is used by a large number of people in addition to passengers, such as facility users, meals, shopping, etc., any worker at the airport must respond to the situation in case of an emergency. After January 2020, the global pandemic COVID-19 Therefore, it is necessary to deal more with infection control in the cabin and at the airport. Airport workers are responding to various patient situations with simple safety manuals written for each workplace (department), but not much training is provided. Airport workers are not given separate statutory training hours. As the first responders, it was attempted to understand the safety awareness and awareness of emergency situations and coping abilities of the workers at the airport where they can encounter patients for the first time at the scene. The questionnaire was modified and developed in consideration of the characteristics of workers' work in the airport, and consisted of safety and health education, emergency situation awareness, and emergency response ability, so that the responses of the subjects could be easily answered with 'yes' and 'no'. The questionnaire was modified and developed in consideration of the characteristics of workers' work in the airport, and consisted of safety and health education, emergency situation awareness, and emergency response ability, so that the responses of the subjects could be easily answered with 'yes' and 'no'. I explained how to connect to the airport worker so that they could use the Google survey, and 129 subjects who agreed to the survey responded. A survey was conducted from December 2020 to January 2021, and frequency analysis was performed using SPSS/WIN 18.0 to understand the characteristics of the level of safety awareness. Safety and health education for workers in airports 'Yes' 125 people (96.9%) showed that the airport was conducting safety education, and 118 people (91.5%) who had first aid experience were high, and the first responders This indicates that there is a lot of experience in first aid in case of an outbreak of a patient. As for the contents of first aid education, 54 people (41.9%) indicated that they received a lot of education in basic resuscitation (CPR, AED) and received education in medical and surgical situations. As for the degree of awareness of emergency situations, the overall awareness was high in the four questions on the field evaluation (site safety), and the awareness was high overall in the consciousness evaluation, airway evaluation, and respiration evaluation. Since the ability to cope with emergency situations cannot be applied to actual practice, a total of 7 patient cases were presented, and questions were written and answered for each case. It showed that they were well aware of burn cases, internal medicine cases, and cardiac arrest cases, but did not accurately recognize them in respiratory emergency cases, trauma cases, environmental emergency cases, and other emergency cases.

Coronavirus disease (COVID-19) is an infectious disease caused by the most recently discovered novel coronavirus, renamed as severe acute respiratory syndrome coronavirus-2 (SARS-CoV-2). 1 It was unknown before the outbreak began in Wuhan, China, in December 2019. 2 The outbreak was linked epidemiologically to the Hua Nan seafood and wet animal wholesale market in Wuhan, and the market was subsequently closed on 1 January 2020. 3 The virus rapidly spread to all provinces in China, as well as a number of countries overseas, and was declared a Public Health Emergency of International Concern by the Director General of the World Health Organization on 30 January 2020.4 Subsequently, on 11 March 2020, the WHO declared COVID-18 a pandemic.5 It is the first pandemic caused by a coronavirus. 6 Around the globe, hundreds of thousands have been infected and tens of thousands people died including frontline workforce including physicians, nurses and others. Bangladesh reported its first confirmed COVID-19 case on 8 March 2020, after three people, two men and a woman tested positive for the coronavirus. Two of the infected are recently returned from Italy, and the other one is a female family member of the infected male. On the 18 March, 2020, Bangladesh confirmed the first death from COVID-19. 7 In Bangladesh, till 30 March 2020, 49 confirmed cases and there were five deaths due to COVID-19.8 This pandemic-a global calamity, is not only a health concern, it is a threat to life and livelihoods worldwide. In addition to health, major disruptions are also occurred in business, education, transports and others areas. It causes interruption in every aspect of day to day life. To prevent and control infections, the immediate challenges ahead are to conduct the tests, isolation of infected cases, tracing of the contacts and quarantine, and appropriate measures for the overseas returnees. An effective risk communication with community engagement is critical to reduce the stigma, fake news, psychological stress. It is essential to bring courage and mental strength of the frontline fighters, and support for the poor and daily wage earners etc. Aimed at preventing and control of SARS-COV-2, government of Bangladesh has already initiated steps including enhancement of public awareness on hand hygiene, respiratory hygiene, social distancing, wearing of masks, avoidance of public gatherings, campaign against myths, fake news and stigma; preparing the health care services including expansion of hospital facilities, training and protective measures for the health workforce and other frontline fighters. Furthermore, steps are being taken conducting RT PCR tests, isolating infected cases, tracing contacts, quarantine the contacts and overseas returnees, and other necessary measures. The government has declared the general holiday in Bangladesh including closure of the educational institutes and office and workplaces, to prevent and control of infections. Necessary steps have been initiated for the social and economic protections of the vulnerable including expansion of the existing social safety net programmes. Aimed at adequate and timely response to the COVID-19, the Directorate General of Health Services (DGHS), the Ministry of Health and Family Welfare, developed a number of guidelines and manuals for the containment of this pandemic disease. For an effective and timely preparedness and response, the DGHS has developed ‘National Preparedness and Response Plan for COVID-19, Bangladesh’.9 For better response, well-coordinated and cooperated global efforts, including exchange of information, scientific knowledge, research findings, expertise and best practices are important. All countries should implement WHO guidelines and recommendations. In Bangladesh, the Ministry of Health and Family Welfare alone cannot mitigate this pandemic. Strengthening of the coordinated efforts among the ministries, and effective and timely engagement of the non-government and private sectors are strongly recommended. Intensification of RT-PCR lab tests for case detection, and isolation and management of cases, and to trace the contacts and ensure quarantine, surveillance, and research, serological tests to detect SARS-CoV-2 specific immunoglobulins (IgG and IgM) to estimate the population exposure, strengthening public awareness and risk communication, strict implementation of personal hygiene, use of face mask, social distancing and other measures are thus suggested to prevent and control COVID-19 in Bangladesh. Bangladesh Med Res Counc Bull 2020; 46(1): 01-02

It seems nowadays that any aspect of collecting and displaying tangible or intangible material culture is labeled as curating: shopkeepers curate their wares; DJs curate their musical selections; magazine editors curate media stories; and hipsters curate their coffee tables. Given the increasing ubiquity and complexity of 21st-century notions of curatorship, the current issue of MC Journal, ‘curate’, provides an excellent opportunity to consider some of the changes that have occurred in professional practice since the emergence of the ‘digital turn’. There is no doubt that the internet and interactive media have transformed the way we live our daily lives—and for many cultural commentators it only makes sense that they should also transform our cultural experiences. In this paper, I want to examine the issue of curatorial practice in the postdigital age, looking some of the ways that curating has changed over the last twenty years—and some of the ways it has not. The term postdigital comes from the work of Ross Parry, and is used to references the ‘tipping point’ where the use of digital technologies became normative practice in museums (24). Overall, I contend that although new technologies have substantially facilitated the way that curators do their jobs, core business and values have not changed as the result of the digital turn. While, major paradigm shifts have occurred in the field of professional curatorship over the last twenty years, these shifts have been issue-driven rather than a result of new technologies. Everyone’s a Curator In a 2009 article in the New York Times, journalist Alex Williams commented on the growing trend in American consumer culture of labeling oneself a curator. “The word ‘curate’,’’ he observed, “has become a fashionable code word among the aesthetically minded, who seem to paste it onto any activity that involves culling and selecting” (1). Williams dated the origins of the popular adoption of the term ‘curating’ to a decade earlier; noting the strong association between the uptake and the rise of the internet (2). This association is not surprising. The development of increasingly interactive software such as Web 2.0 has led to a rapid rise in new technologies aimed at connecting people and information in ways that were previously unimaginable. In particular the internet has become a space in which people can collect, store and most importantly share vast quantities of information. This information is often about objects. According to sociologist Jyri Engeström, the most successful social network sites on the internet (such as Pinterest, Flickr, Houzz etc), use discrete objects, rather than educational content or interpersonal relationships, as the basis for social interaction. So objects become the node for inter-personal communication. In these and other sites, internet users can find, collate and display multiple images of objects on the same page, which can in turn be connected at the press of a button to other related sources of information in the form of text, commentary or more images. These sites are often seen as the opportunity to virtually curate mini-exhibitions, as well as to create mood boards or sites of virtual consumption. The idea of curating as selective aesthetic editing is also popular in online markets places such as Etsy where numerous sellers offer ‘curated’ selections from home wares, to prints, to (my personal favorite) a curated selection of cat toys. In all of these exercises there is an emphasis on the idea of connoisseurship. As part of his article on the new breed of ‘curators’, for example, Alex Williams interviewed Tom Kalendrain, the Fashion Director of a leading American department store, which had engaged in a collaboration with Scott Schuman of the fashion blog, the Sartorialist. According to Kalendrain the store had asked Schuman to ‘curate’ a collection of clothes for them to sell. He justified calling Schuman a curator by explaining: “It was precisely his eye that made the store want to work with him; it was about the right shade of blue, about the cut, about the width of a lapel” (cited in Williams 2). The interview reveals much about current popular notions of what it means to be a curator. The central emphasis of Kalendrain’s distinction was on connoisseurship: exerting a privileged authoritative voice based on intimate knowledge of the subject matter and the ability to discern the very best examples from a plethora of choices. Ironically, in terms of contemporary museum practice, this is a model of curating that museums have consciously been trying to move away from for at least the last three decades. We are now witnessing an interesting disconnect in which the extra-museum community (represented in particular by a postdigital generation of cultural bloggers, commentators and entrepreneurs) are re-vivifying an archaic model of curating, based on object-centric connoisseurship, just at the point where professional curators had thought they had successfully moved on. From Being about Something to Being for Somebody The rejection of the object-expert model of curating has been so persuasive that it has transformed the way museums conduct core business across all sectors of the institution. Over the last thirty to forty years museums have witnessed a major pedagogical shift in how curators approach their work and how museums conceptualise their core values. These paradigmatic and pedagogical shifts were best characterised by the museologist Stephen Weil in his seminal article “From being about something to being for somebody.” Weil, writing in the late 1990s, noted that museums had turned away from traditional models in which individual curators (by way of scholarship and connoisseurship) dictated how the rest of the world (the audience) apprehended and understood significant objects of art, science and history—towards an audience centered approach where curators worked collaboratively with a variety of interested communities to create a pluralist forum for social change. In museum parlance these changes are referred to under the general rubric of the ‘new museology’: a paradigm shift, which had its origins in the 1970s; its gestation in the 1980s; and began to substantially manifest by the 1990s. Although no longer ‘new’, these shifts continue to influence museum practices in the 2000s. In her article, “Curatorship as Social Practice’” museologist Christina Kreps outlined some of the developments over recent decades that have challenged the object-centric model. According to Kreps, the ‘new museology’ was a paradigm shift that emerged from a widespread dissatisfaction with conventional interpretations of the museum and its functions and sought to re-orient itself away from strongly method and technique driven object-focused approaches. “The ‘new museum’ was to be people-centered, action-oriented, and devoted to social change and development” (315). An integral contributor to the developing new museology was the subjection of the western museum in the 1980s and ‘90s to representational critique from academics and activists. Such a critique entailed, in the words of Sharon Macdonald, questioning and drawing attention to “how meanings come to be inscribed and by whom, and how some come to be regarded as ‘right’ or taken as given” (3). Macdonald notes that postcolonial and feminist academics were especially engaged in this critique and the growing “identity politics” of the era. A growing engagement with the concept that museological /curatorial work is what Kreps (2003b) calls a ‘social process’, a recognition that; “people’s relationships to objects are primarily social and cultural ones” (154). This shift has particularly impacted on the practice of museum curatorship. By way of illustration we can compare two scholarly definitions of what constitutes a curator; one written in 1984 and one from 2001. The Manual of Curatorship, written in 1994 by Gary Edson and David Dean define a curator as: “a staff member or consultant who is as specialist in a particular field on study and who provides information, does research and oversees the maintenance, use, and enhancement of collections” (290). Cash Cash writing in 2001 defines curatorship instead as “a social practice predicated on the principle of a fixed relation between material objects and the human environment” (140). The shift has been towards increased self-reflexivity and a focus on greater plurality–acknowledging the needs of their diverse audiences and community stakeholders. As part of this internal reflection the role of curator has shifted from sole authority to cultural mediator—from connoisseur to community facilitator as a conduit for greater community-based conversation and audience engagement resulting in new interpretations of what museums are, and what their purpose is. This shift—away from objects and towards audiences—has been so great that it has led some scholars to question the need for museums to have standing collections at all. Do Museums Need Objects? In his provocatively titled work Do Museums Still Need Objects? Historian Steven Conn observes that many contemporary museums are turning away from the authority of the object and towards mass entertainment (1). Conn notes that there has been an increasing retreat from object-based research in the fields of art; science and ethnography; that less object-based research seems to be occurring in museums and fewer objects are being put on display (2). The success of science centers with no standing collections, the reduction in the number of objects put on display in modern museums (23); the increasing phalanx of ‘starchitect’ designed museums where the building is more important than the objects in it (11), and the increase of virtual museums and collections online, all seems to indicate that conventional museum objects have had their day (1-2). Or have they? At the same time that all of the above is occurring, ongoing research suggests that in the digital age, more than ever, people are seeking the authenticity of the real. For example, a 2008 survey of 5,000 visitors to living history sites in the USA, found that those surveyed expressed a strong desire to commune with historically authentic objects: respondents felt that their lives had become so crazy, so complicated, so unreal that they were seeking something real and authentic in their lives by visiting these museums. (Wilkening and Donnis 1) A subsequent research survey aimed specifically at young audiences (in their early twenties) reported that: seeing stuff online only made them want to see the real objects in person even more, [and that] they felt that museums were inherently authentic, largely because they have authentic objects that are unique and wonderful. (Wilkening 2) Adding to the question ‘do museums need objects?’, Rainey Tisdale argues that in the current digital age we need real museum objects more than ever. “Many museum professionals,” she reports “have come to believe that the increase in digital versions of objects actually enhances the value of in-person encounters with tangible, real things” (20). Museums still need objects. Indeed, in any kind of corporate planning, one of the first thing business managers look for in a company is what is unique about it. What can it provide that the competition can’t? Despite the popularity of all sorts of info-tainments, the one thing that museums have (and other institutions don’t) is significant collections. Collections are a museum’s niche resource – in business speak they are the asset that gives them the advantage over their competitors. Despite the increasing importance of technology in delivering information, including collections online, there is still overwhelming evidence to suggest that we should not be too quick to dismiss the traditional preserve of museums – the numinous object. And in fact, this is precisely the final argument that Steven Conn reaches in his above-mentioned publication. Curating in the Postdigital Age While it is reassuring (but not particularly surprising) that generations Y and Z can still differentiate between virtual and real objects, this doesn’t mean that museum curators can bury their heads in the collection room hoping that the digital age will simply go away. The reality is that while digitally savvy audiences continue to feel the need to see and commune with authentic materially-present objects, the ways in which they access information about these objects (prior to, during, and after a museum visit) has changed substantially due to technological advances. In turn, the ways in which curators research and present these objects – and stories about them – has also changed. So what are some of the changes that have occurred in museum operations and visitor behavior due to technological advances over the last twenty years? The most obvious technological advances over the last twenty years have actually been in data management. Since the 1990s a number of specialist data management systems have been developed for use in the museum sector. In theory at least, a curator can now access the entire collections of an institution without leaving their desk. Moreover, the same database that tells the curator how many objects the institution holds from the Torres Strait Islands, can also tell her what they look like (through high quality images); which objects were exhibited in past exhibitions; what their prior labels were; what in-house research has been conducted on them; what the conservation requirements are; where they are stored; and who to contact for copyright clearance for display—to name just a few functions. In addition a curator can get on the internet to search the online collection databases from other museums to find what objects they have from the Torres Strait Islands. Thus, while our curator is at this point conducting the same type of exhibition research that she would have done twenty years ago, the ease in which she can access information is substantially greater. The major difference of course is that today, rather than in the past, the curator would be collaborating with members of the original source community to undertake this project. Despite the rise of the internet, this type of liaison still usually occurs face to face. The development of accessible digital databases through the Internet and capacity to download images and information at a rapid rate has also changed the way non-museum staff can access collections. Audiences can now visit museum websites through which they can easily access information about current and past exhibitions, public programs, and online collections. In many cases visitors can also contribute to general discussion forums and collections provenance data through various means such as ‘tagging’; commenting on blogs; message boards; and virtual ‘talk back’ walls. Again, however, this represents a change in how visitors access museums but not a fundamental shift in what they can access. In the past, museum visitors were still encouraged to access and comment upon the collections; it’s just that doing so took a lot more time and effort. The rise of interactivity and the internet—in particular through Web 2.0—has led many commentators to call for a radical change in the ways museums operate. Museum analyst Lynda Kelly (2009) has commented on the issue that: the demands of the ‘information age’ have raised new questions for museums. It has been argued that museums need to move from being suppliers of information to providing usable knowledge and tools for visitors to explore their own ideas and reach their own conclusions because of increasing access to technologies, such as the internet. Gordon Freedman for example argues that internet technologies such as computers, the World Wide Web, mobile phones and email “… have put the power of communication, information gathering, and analysis in the hands of the individuals of the world” (299). Freedman argued that museums need to “evolve into a new kind of beast” (300) in order to keep up with the changes opening up to the possibility of audiences becoming mediators of information and knowledge. Although we often hear about the possibilities of new technologies in opening up the possibilities of multiple authors for exhibitions, I have yet to hear of an example of this successfully taking place. This doesn’t mean, however, that it will never happen. At present most museums seem to be merely dipping their toes in the waters. A recent example from the Art Gallery of South Australia illustrates this point. In 2013, the Gallery mounted an exhibition that was, in theory at least, curated by the public. Labeled as “the ultimate people’s choice exhibition” the project was hosted in conjunction with ABC Radio Adelaide. The public was encouraged to go online to the gallery website and select from a range of artworks in different categories by voting for their favorites. The ‘winning’ works were to form the basis of the exhibition. While the media spin on the exhibition gave the illusion of a mass curated show, in reality very little actual control was given over to the audience-curators. The public was presented a range of artworks, which had already been pre-selected from the standing collections; the themes for the exhibition had also already been determined as they informed the 120 artworks that were offered up for voting. Thus, in the end the pre-selection of objects and themes, as well as the timing and execution of the exhibition remained entirely in the hand of the professional curators. Another recent innovation did not attempt to harness public authorship, but rather enhanced individual visitor connections to museum collections by harnessing new GPS technologies. The Streetmuseum was a free app program created by the Museum of London to bring geotagged historical street views to hand held or portable mobile devices. The program allowed user to undertake a self-guided tour of London. After programing in their route, users could then point their device at various significant sites along the way. Looking through their viewfinder they would see a 3D historic photograph overlayed on the live site – allowing user not only to see what the area looked like in the past but also to capture an image of the overlay. While many of the available tagging apps simply allow for the opportunity of adding more white noise, allowing viewers to add commentary, pics, links to a particular geo tagged site but with no particular focus, the Streetmuseum had a well-defined purpose to encourage their audience to get out and explore London; to share their archival photograph collection with a broader audience; and to teach people more about London’s unique history. A Second Golden Age? A few years ago the Steven Conn suggested that museums are experiencing an international ‘golden age’ with more museums being built and visited and talked about than ever before (1). In the United States, where Conn is based, there are more than 17,500 accredited museums, and more than two million people visit some sort of museum per day, averaging around 865 million museum visits per year (2). However, at the same time that museums are proliferating, the traditional areas of academic research and theory that feed into museums such as history, cultural studies, anthropology and art history are experiencing a period of intense self reflexivity. Conn writes: At the turn of the twenty-first century, more people are going to more museums than at any time in the past, and simultaneously more scholars, critics, and others are writing and talking about museums. The two phenomena are most certainly related but it does not seem to be a happy relationship. Even as museums enjoy more and more success…many who write about them express varying degrees of foreboding. (1) There is no doubt that the internet and increasingly interactive media has transformed the way we live our daily lives—it only makes sense that it should also transform our cultural experiences. At the same time Museums need to learn to ride the wave without getting dumped into it. The best new media acts as a bridge—connecting people to places and ideas—allowing them to learn more about museum objects and historical spaces, value-adding to museum visits rather than replacing them altogether. As museologust Elaine Gurian, has recently concluded, the core business of museums seems unchanged thus far by the adoption of internet based technology: “the museum field generally, its curators, and those academic departments focused on training curators remain at the core philosophically unchanged despite their new websites and shiny new technological reference centres” (97). Virtual life has not replaced real life and online collections and exhibitions have not replaced real life visitations. Visitors want access to credible information about museum objects and museum exhibitions, they are not looking for Wiki-Museums. Or if they are are, they are looking to the Internet community to provide that service rather than the employees of state and federally funded museums. Both provide legitimate services, but they don’t necessarily need to provide the same service. In the same vein, extra-museum ‘curating’ of object and ideas through social media sites such as Pinterest, Flikr, Instagram and Tumblr provide a valuable source of inspiration and a highly enjoyable form of virtual consumption. But the popular uptake of the term ‘curating’ remains as easily separable from professional practice as the prior uptake of the terms ‘doctor’ and ‘architect’. An individual who doctors an image, or is the architect of their destiny, is still not going to operate on a patient nor construct a building. While major ontological shifts have occurred within museum curatorship over the last thirty years, these changes have resulted from wider social shifts, not directly from technology. This is not to say that technology will not change the museum’s ‘way of being’ in my professional lifetime—it’s just to say it hasn’t happened yet. References Cash Cash, Phillip. “Medicine Bundles: An Indigenous Approach.” Ed. T. Bray. The Future of the Past: Archaeologists, Native Americans and Repatriation. New York and London: Garland Publishing (2001): 139-145. Conn, Steven. Do Museums Still Need Objects? Philadelphia: University of Pennsylvania Press, 2011. Edson, Gary, and David Dean. The Handbook for Museums. New York and London: Routledge, 1994. Engeström, Jyri. “Why Some Social Network Services Work and Others Don’t — Or: The Case for Object-Centered Sociality.” Zengestrom Apr. 2005. 17 June 2015 ‹http://www.zengestrom.com/blog/2005/04/why-some-social-network-services-work-and-others-dont-or-the-case-for-object-centered-sociality.html›. Freedman, Gordon. “The Changing Nature of Museums”. Curator 43.4 (2000): 295-306. Gurian, Elaine Heumann. “Curator: From Soloist to Impresario.” Eds. Fiona Cameron and Lynda Kelly. Hot Topics, Public Culture, Museums. Newcastle: Cambridge Scholars Publishing, 2010. 95-111. Kelly, Lynda. “Museum Authority.” Blog 12 Nov. 2009. 25 June 2015 ‹http://australianmuseum.net.au/blogpost/museullaneous/museum-authority›. Kreps, Christina. “Curatorship as Social Practice.” Curator: The Museum Journal 46.3 (2003): 311-323. ———, Christina. Liberating Culture: Cross-Cultural Perspectives on Museums, Curation, and Heritage Preservation. London and New York: Routledge, 2003. Macdonald, Sharon. “Expanding Museum Studies: An Introduction.” Ed. Sharon MacDonald. A Companion to Museum Studies. Oxford: Blackwell Publishing, 2011. Parry, Ross. “The End of the Beginning: Normativity in the Postdigital Museum.” Museum Worlds: Advances in Research 1 (2013): 24-39. Tisdale, Rainey. “Do History Museums Still Need Objects?” History News (2011): 19-24. 18 June 2015 ‹http://aaslhcommunity.org/historynews/files/2011/08/RaineySmr11Links.pdf›. Suchy, Serene. Leading with Passion: Change Management in the Twenty-First Century Museum. Lanham: AltaMira Press, 2004. Weil, Stephen E. “From Being about Something to Being for Somebody: The Ongoing Transformation of the American Museum.” Daedalus, Journal of the American Academy of Arts and Sciences 128.3 (1999): 229–258. Wilkening, Susie. “Community Engagement and Objects—Mutually Exclusive?” Museum Audience Insight 27 July 2009. 14 June 2015 ‹http://reachadvisors.typepad.com/museum_audience_insight/2009/07/community-engagement-and-objects-mutually-exclusive.html›. ———, and Erica Donnis. “Authenticity? It Means Everything.” History News (2008) 63:4. Williams, Alex. “On the Tip of Creative Tongues.” New York Times 4 Oct. 2009. 4 June 2015 ‹http://www.nytimes.com/2009/10/04/fashion/04curate.html›.

Thesis (MScMedSc (Rehabilitation))--University of Stellenbosch, 2008.
Stroke is the second commonest cause of mortality worldwide and remains a leading cause of adult physical disability. It is estimated that sixty percent of South African stroke survivors require assistance with at least one activity of daily living. This burden is predominantly on the shoulders of mostly untrained caregivers. The process of enabling caregivers to make choices conducive to their own health as well as the health of the stroke survivors is multidimensional. One of the cornerstones of this process is the provision of information. In 1995, the Centre for Rehabilitation Studies of the University of Stellenbosch started to develop a training package for stroke care at home. The training takes the form of an interactive workshop and a booklet with practical information. The aim of this study was to refine and pilot this booklet for implementation with the training. The study found that existing guidelines to evaluate the appropriateness of written material for developing communities (measured by Hugo’s grading model), were inadequate. Consequently, a new checklist, based on twenty existing checklists, was compiled. This list, as well as the Suitability Assessment of Material (SAM), was used to evaluate the booklet and make recommendations for a pre-pilot refinement. Even though this checklist has not been validated, it revealed similar results to the SAM when applied to the booklet. After cosultation with the authors, improvements were effected to the booklet The booklet was tested with four samples of the target audience. The functional literacy of the participants was determined using a standardised literacy test. A fifth sample completed a questionnaire on their preference between the pre- and postrefined booklet. Experts in the field of rehabilitation and graphic design also commented on the booklet. This study confirmed the need of stroke survivors and their caregivers for written health information. The refined booklet was found to be an appropriate tool to address the needs of the target audience. The participants perceived the booklet as useful and comprehensible and the readability level was shown to correspond with the tested literacy level of the samples. However, there is a need for printed material on topics related to stroke not currently covered in the booklet, e.g. spasticity. This study showed that the checklist could be used to tailor written health information that is preferred by the target audience. It confirmed that the testing of printed material with stakeholders could expose additional gaps after applying the checklist. Recommendations for further improvements were made based on the comments of the participants. It is foreseen that the new checklist could be a valuable tool for developing future written health material. Finally, it is recommended that an interdisciplinary team that includes a graphic designer be involvement from the planning stages.

Résumé

Cette thèse est le rassemblement, par blocs homogènes, de notes d’orientation, de présentations orales, de textes variés, rédigés pour des revues scientifiques, comme chapitres de livres, pour des colloques ou des congrès, pour divers décideurs politiques, des années 80 à ce jour.

Son but est de montrer leur cohérence avec un fil conducteur commun :le développement d’outils conceptuels et méthodologiques utiles pour la pratique de la médecine générale en particulier, pour le système de dispensation des soins plus globalement. L’impact espéré est une amélioration de la qualité des soins dispensés, à l’échelle individuelle (relation soignant/soigné) ou à l’échelle collective (système de santé).

Les différents blocs se succèdent dans l’ordre suivant :

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Doctorat en Sciences de la santé publique
info:eu-repo/semantics/nonPublished

Thesis (M.Tech.: Emergency Medical Care)-Durban University of Technology, 2007 xiv, 116 leaves
The Professional Board for Emergency Care Practitioners (PBECP), a division of the Health Professions Council of South Africa, regulates the scope of practice and publishes guidelines and protocols that advanced life support (ALS) practitioners are required to follow. These define an acceptable, standardised approach to each commonly encountered emergency. Non compliance with the guidelines and protocols regularly occurs, which could impact on the quality of care delivered and may result in further injury or death of the patient. This study investigated the reasons for non-compliance by ALS practitioners and explored how compliance could be improved.