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Assignment 10
Sources must be cited in APA format. Your response should be four (4) pages in length; refer to the “Assignment Format” page for specific format requirements.
carefully study and review the section titled,
“Ecological Challenges Facing Humanity.” Skim through that and then focus on the topic of deforestation.
Relying solely on the material in your course and using your own words, write a short descriptive essay that defines and explains selected environmental impacts of deforestation. As you write, imagine you are talking to a friend who has no knowledge of this topic. In short, write the way you speak, using a conversational tone. Also, try to alternate short sentences and longer sentences to make your writing more readable.
Environmental Impacts of Deforestation
Jennifer Croft
Your essay should include five paragraphs, as follows:
Paragraph 1 is your lead      paragraph. It will contain an overview of what you have to say about these      three topics: disruption of the carbon cycle, disruption of the hydrologic      (water) cycle, and the reduction of species diversity.
Paragraphs 2, 3, and 4, are      your body paragraphs.
Paragraph 2 should describe       how deforestation disrupts the carbon cycle.
In paragraph 3, you’ll write       about how deforestation disrupts the hydrologic (water) cycle.
In paragraph 4, you’ll explain       how deforestation is related to declining species diversity.

Big-Picture Question
Both Martin Luther King and Wo-Haw were forced to negotiate with the forces of oppression in their lives in order to fight for and retain freedom for themselves and justice for their communities. In other words, they had to give up certain things to achieve justice and freedom. Discuss the elements of negotiation in A) MLK’s Letter from Birmingham Jail, B) Wo-Haw’s Between Two Worlds, and the ways in which those negotiations functioned in their fights for a “good life” (a life of meaning and purpose). What methods of fighting did they use to negotiate with the forces of oppression?
Abbreviated Instructions (click
here
for complete instructions)
(1) Do the reading assignment for the module.
(2) Submit l post, you will need to (a) respond to the
Big-Picture Question
and (b) ask
Your Own Question
:

The classical period of Greece (490 – 323 B. C. ) saw the artists perfecting their style. Following Alexander’s conquests, ancient Greece entered the Hellenistic period (323 – 31 B. C. ) (“Timeline of Ancient Greece”). Of course, Alexander the Great was not the only god of the ancient Greek civilization. Ancient Greeks worshipped plenty of gods that were believed to have appeared to them in human form with extraordinary strength and beauty (“Culture”). Professor Harris describes Euhemerus as the philosopher responsible for presenting Greek myths as simple stories to his readers.
Euhemerus’ interpretation of Greek mythology was considered radical in his times. It was he who wrote that Greek gods and goddesses were human beings to begin with. Because of their extraordinary feats or the cultural and/or social value that they added to life in ancient Greece, their ordinary humanity was turned into godhood in the minds of ancient Greeks (Harris). Thus, ancient Greek gods and goddesses were portrayed in painted scenes on stone, vases, and also with bronze and terracotta sculptures for the sake of remembrance.
Although many of the ancient Greek temples honored multiple gods and goddesses, certain places showed greater reverence to a sole deity or a pair of gods, e. g. Olympia’s Zeus, and Eleusis’ Demeter and Persephone (“Culture”). For reasons described above, the ancient Greeks downplayed the divine aspects of their gods by giving them a typically human form, as the example of the Torso of Apollo reveals (See Appendix I). Made in 2nd century AD, the Torso of Apollo of marble shows young Apollo, “the Greek god of light, music, archery, healing, atonement, prophecy, and flocks and herds” (“Torso of Apollo”).
The figure was popular with both Greeks and ancient Romans. It is an unclothed manifestation of perfection, splendor and courage with Apollo wearing a belt over one of his shoulders to which a case for holding arrows was fastened at his back (“Torso of Apollo”). By showing the god as distinctly human, the artist inspires into viewers the spirit to take Apollo for a courageous model and turn into heroes themselves. After all, Apollo was not only a gentle lover of the arts but also domineering to the extent that he was cruel to those who challenged his supremacy among ordinary mortals (Ingfei, 2002, p.
9; “Apollo”). What is more, he was intelligent and handsome enough to be taken as a model by the ancient Greeks. With the sun as his special symbol, Apollo did not only show physical courage but was also a supporter of intellectual pursuits (Leadbetter, 2004; Regula, 2009). He was known as the god of poetry, medicine, and intellectually enquiry to boot (Leadbetter). In other words, he was next to perfect. Athena Parthenos, too, was considered immaculate in ancient Greece. The Parthenon is a classical temple dedicated to the woman, considered the goddess of wisdom (See Appendix II).
The temple was built between 447 – 432 B. C. on the Acropolis, which is in the capital city of ancient Greece, Athens. It has survived despite severe damage over the centuries (“Art,” 2008). Perikles, the famous politician of Athens, had championed the construction of the Parthenon (“The Parthenon”). Some of the architectural features of the temple have been described thus: …[R]ectangular floor plan with a series of low steps on every side, and a colonnade (8 x 17) of Doric columns extending around the periphery of the entire structure. Each entrance has an additional six columns in front of it.
The larger of the two interior rooms, the naos, housed the cult statue. The smaller room (the opisthodomos) was used as a treasury. (“The Parthenon”) The temple was constructed with marble, and mainly represented the Doric order with features of the Ionic order incorporated in its sculptural program (Kerr, 1995). The Doric order gave Parthenon its series of ninety two metopes (with panels of sculptured reliefs depicting law and order and struggle); and triglyphs on its entablature. Additionally, the Doric order made the temple a peripteral, simple-looking structure with short and thick columns (“The Parthenon”).
The “continuous sculpted frieze” of the Parthenon represents the Ionic order, however (“The Parthenon”). There are four tall and slim columns of the temple, too, that represent this architectural order which happens to support the opisthodomos’ roof at the Parthenon. The capitals or the columns’ tops that are built using the Ionic order have volutes, which are the names of the curlicues special to this order (“The Parthenon”). Above the metopes and triglyphs of the temple lie the pedimental sculptures, one of which shows the birth of Zeus – yet another god for the ancient Greeks (“The Parthenon”).
The frieze of the temple, running “around the upper edge of the temple wall” and inside from the metopes and the triglyphs shows day to day life in ancient Greece, the rituals of the Greeks, processions, musicians, gods and goddesses, and much more (“The Parthenon”). Indeed, the place of the frieze in the sculptural program of the temple is unique, seeing as it does not only portray real life and beliefs of the ancient Greeks, but also gives the Parthenon a central place in the life of Athens. The temple was, after all, a place where religious festivals as well as sacrifices were held.
Moreover, this temple gave Athena Parthenos a special place to stay for the protection and welfare of the Athenians (“The Parthenon: Religion, Art, and Politics”). Whether or not the ancient Greeks would consider it Athena Parthenos’ blessing that took ancient Greek art styles to faraway lands, the fact is that even the ancient art of the Nabataeans and the Arabs experienced the influence of Greek artists. Vries & Osinga (2005) state that “[t]he Nabataeans at their height spread as far north as Damascus, to the coast of the Mediterranean at Gaza in the east and to Madain Salih in the south.
” But, the Nabataean kingdom came under Roman rule in the year 106 A. D. It became an Arabian province at the time (Vries & Osinga). The Nabataeans were caravan drivers on a large scale. Roman traders visited Petra even before the Nabataean kingdom was taken over by the Romans. These traders came to conclude transportation agreements with the Nabataeans. The latter traveled around the world with merchandise – “between the Red Sea and the Nile, and sometimes as far away as the Delta” (Sartre, Porter, & Rawlings, 2005, p. 268).
Unsurprisingly, therefore, their temples expose a variety of influences on the hearts and minds of the Nabataeans (Vries & Osinga). Vries & Osinga write: The many structures are so diverse that it is difficult to categorize them, at least without oversimplifying or overlooking what may be important details. Philip Hammond, who excavated the Temple of the Winged Lions, concludes that it might be more faithful to the diversity of the temples to see them not as derivatives of Iranian temples, Roman temples or other, but to recognize the borrowing of constructional and decorative technique and to
concentrate on why each was unique. (Vries & Oringa) Sartre, Porter & Rawlings write that Nabataeans were so influenced by Greek art – following the Roman invasion – that they spread that influence in many parts of Arabia. Nude heroes of the Greeks have been found in Arabia and believed to have been conveyed there by the Nabataeans (Sartre, Porter & Rawlings, p. 269). However, Vries & Oringa have uncovered Egyptian influence in the temples of Nabataeans to boot. Describing one of the most significant temples left by the Nabataeans, the authors state:
[T]he Wadi Rum temple took its layout from Egyptian models, specifically the Egyptian Temple Dayr Chelouit. The only reference to the Roman world would be columns of the Wadi Rum Temple. Dharih might also be kin to the Egyptian Temple of Coptos, while the Qasr al-Bint and the Temple of the Winged Lions find construction parallels there also (Vries & Oringa). Then again, Greek and/or Roman influence seems to be most profound. Although temple plans of the Nabataeans do not appear typically Roman, decoration outside of the temples may be recognized as distinctly Roman and/or Hellenistic.
As an example, the external decoration of Khasneh makes it appear as though it was built in Alexandria (Vries & Oringa). Even so, Vries & Oringa believe that the Nabataeans did not simply copy the designs that were handed down to them by Romans. Instead, they took influence in their stride, sometimes appropriating “the general structure,” but modifying and adapting it as time went on (Vries & Oringa). In other words, they were open to influence, but also believed in maintaining their local traditions. Taylor (2001) agrees with this view.
In her book, Petra and the Lost Kingdom of the Nabataeans, she explains that the Nabataeans did not make copies as slaves would. Rather, Greek ideas were amazingly transformed by the Nabataeans into works of art keeping “a distinctively Nabataean flavor” (Taylor, p. 92). No wonder, Petra remains as an incomparable feast for the eyes for all lovers of art. Vries & Oringa write that the art of Nabataeans, in particular the sculptures they made, also changed from era to era; that is, even before the Romans came to rule the Nabataean kingdom, the Nabataeans went on altering their artistic style (Vries & Oringa).
Perhaps their visits to foreign lands brought such changes to the art of the kingdom. But, once the Romans had arrived on the scene, the Nabataeans did not only borrow the artistic styles of the Greeks but also others’. The sculptures of deities in Tannur, for example, appear both Hellenistic and Oriental. The Nabataeans also seem to have been influenced by the Syrian artistic style, as revealed through sculptures at both Dharih and Tannur (Vries & Oringa).
Although Hellenistic artistic style “of classical proportions” is most often cited as an influence on Nabataean art, there were plenty of sculptures made by the Nabataeans that did not appear Greek at all even though they were made while the Nabataeans were living under Roman rule (Vries & Oringa). Vries & Oringa cite “the simple standing block” as an example of such artwork. The fact that the Nabataeans maintained their local flavor in their artistic style shows that these people did not wholly lose their cultural identity at the time.
Even the Romans may have delighted in the diversity revealed through Nabataean art, simply because the Nabataeans mingled with many peoples at the time. What is more, the adaptation of Greek art to new cultures must have been viewed as a triumph of ancient Greek artistic styles. After all, ancient Greek art continues to be celebrated around the world to this day. References Apollo. Retrieved Feb 27, 2009, from http://felc. gdufs. edu. cn/jth/myth/Greek%20Online/5Apollo. htm. Art. (2008). Ancient Greece. Retrieved Feb 27, 2009, from http://www. ancientgreece. com/s/Art/. Culture. Retrieved Feb 27, 2009, from http://www. crystalinks.
com/greekculture. html. Harris, W. Euhemerus. Retrieved Feb 27, 2009, from http://community. middlebury. edu/~harris/SubIndex/greekmyth. html. Ingfei, C. (2002, Aug 2). The Sun also Heals; Some believe. International Herald Tribune. Kerr, M. (1995, Oct 23). “The Sole Witness”: The Periclean Parthenon. Retrieved Feb 27, 2009, from http://people. reed. edu/~mkerr/papers/Parth95. html. Leadbetter, R. (2004, Jan 31). Apollo. Encyclopedia Mythica. Retrieved Feb 27, 2009, from http://www. pantheon. org/articles/a/apollo. html. Sartre, M. , Porter, C. , & Rawlings, E. (2005). The Middle East under Rome. Cambridge, MA: Harvard University Press.
Taylor, J. (2001). Petra and the Lost Kingdom of the Nabataeans. London: I. B. Tauris. Timeline of Ancient Greece. Retrieved Feb 27, 2009, from http://www. aspasiaproject. com/timeline. htm. The Parthenon. Retrieved Feb 27, 2009, from http://academic. reed. edu/humanities/110Tech/Parthenon. html. The Parthenon: Religion, Art, and Politics. Retrieved Feb 27, 2009, from http://employees. oneonta. edu/farberas/arth/ARTH200/politics/parthenon. html. Torso of Apollo. (2000). The Detroit Institute of Arts. Retrieved Feb 27, 2009, from http://www. cartage. org. lb/en/themes/arts/scultpureplastic/SculptureHistory/GloriousScul

COMPETENCIES
705.4.1
Health Policy
The graduate effectively interprets health policy initiatives.
705.4.2
Health Legislation
The graduate analyzes strategies that impact health legislation.
INTRODUCTION
Healthcare does not operate in a vacuum. Trends that emerge in the national market are influenced by legislation, delivery of care, changes in payment methods, and social and economic conditions. Healthcare professionals monitor policy at the national level by reviewing legislative initiatives and analyzing rules and regulations. Understanding healthcare policy helps in facilitating grant reviews and in developing new program initiatives. Legislation may cause changes in the way hospitals and healthcare providers deliver patient care. It is beneficial for hospitals to incorporate the national trends, policy, and legislation in determining the appropriate path for selecting service lines. You will use the “Service Line Development Case Study” to complete this task. Imagine that you have received a memo asking you to identify national trends, policy, and legislation and to summarize the impact it will have on the new service line. The proposed service lines are the following:
• Orthopedic center
• Cancer center
REQUIREMENTS
Your submission must be your original work. No more than a combined total of 30% of the submission and no more than a 10% match to any one individual source can be directly quoted or closely paraphrased from sources, even if cited correctly. An originality report is provided when you submit your task that can be used as a guide.
You must use the rubric to direct the creation of your submission because it provides detailed criteria that will be used to evaluate your work. Each requirement below may be evaluated by more than one rubric aspect. The rubric aspect titles may contain hyperlinks to relevant portions of the course.
A.  Identify current national healthcare trends and policy initiatives that may affect the healthcare organization evident in the attached “Service Line Development Case Study.”
1.  Discuss how the identified trends impact the delivery of healthcare in the case study.
2.  Discuss possible legislation that may result from these trends.
B.  When you use sources, include all in-text citations and references in APA format.
RUBRIC
ARTICULATION OF RESPONSE (CLARITY, ORGANIZATION, MECHANICS):

Research a health care organization or network that spans several states with in the United States (United Healthcare, Vanguard, Banner Health, etc.). Assess the readiness of the health care organization or network you chose in regards to meeting the health care needs of citizens in the next decade.
Prepare a 1,000-1,250 word paper that presents your assessment and proposes a strategic plan to ensure readiness. Include the following:
Describe the health care organization or network.
Describe the organization’s overall readiness based on your findings.
Prepare a strategic plan to address issues pertaining to network growth, nurse staffing, resource management, and patient satisfaction.
Identify any current or potential issues within the organizational culture and discuss how these issues may affect aspects of the strategic plan.
Propose a theory or model that could be used to support the implementation of the strategic plan for this organization. Explain why this theory or model is best. Prepare this assignment according to the guidelines found in the APA Style Guide, located in the Student Success Center. An abstract is not required.
This assignment uses a rubric. Please review the rubric prior to beginning the assignment to become familiar with the expectations for successful completion.
You are required to submit this assignment to LopesWrite. Refer to the LopesWrite Technical Support articles for assistance.