Yhteistoiminnallinen hoitotyö

Opinnäytetyön tarkoituksena on selvittää, mitä on yhteistoiminnallinen hoitotyö. Opinnäyteytössä määritellään yhteistoiminnallisen hoitotyön käsite ja sisältö. Työssä on tarkasteltu yhteistoiminnallisuutta selittäviä käsitteitä. Opinnäytetyö on osa laajempaa projektia, jossa on mukana HUS:n Psykiatriakeskus, Helsingin kaupungin terveyskeskuksen psykiatrian osasto sekä Helsingin ammattikorkeakoulu Stadia. Projekin tarkoituksena on kehittää psykiatrisen hoitotyön käytäntöä yhteistoiminnalliseksi. Opinnäytetyö on tehty soveltaen systemaattisen kirjallisuuskatsauksen mallia. Aineisto koostuu yhteensä kolmestatoista lähteestä. Mukana on väitöskirjoja, pro gradu- tutkielmia sekä tutkimusartikkeleita, jotka on julkaistu hoitotieteellisissä julkaisuissa. Kirjallisuuskatsauksen tuloksina nousi esiin, että yhteistoiminnallinen hoitotyö on potilaan ja hoitajan välistä yhteistyötä. Se on potilaslähtöinen tapa tehdä hoitotyötä, jossa otetaan huomioon potilaan voimavarat ja tarpeet. Potilas on vastuullinen osallistuja. Jokainen hoitoon osallistuva määrittelee hoidon tavoitteen ja kukin osallistuu siihen tasavertaisesti. Yhteistoiminnallisuuteen kuuluu molemminpuolinen luottamus. Kaikki osapuolet vaikuttuvat toisistaan ja dialogisuuden avulla voidana löytää uusia näkökulmia hoitoon. Yhteistoiminnallisuus on uusi käsite hoitotyössä. Sen ymmärtäminen ja toteutuminen vaatii hoitotyön tekijöiden perehdyttämistä syvällisemmin aiheeseen. Se vaatii potilaalta mahdollisuutta osallistua voimavarojensa mukaan hoitoon. Yhteistoiminnallisen hoitotyön avulla voidaan motivoida potilasta aktiivisempaan rooliin omassa hoidossaan.

Sanoin kuvaamaton : teatterintekijän pohdintoja intuitiosta

This thesis examines the concept of intuition from different aspects. The basis for this thesis has been the author`s experience about education as a supportive process for intuitive thinking. It studies what taking advantage of intuition means for the author of this thesis and how intuition can be defined as a concept. This thesis shows what intuition means both from the performer`s and the director`s point of view. The author attemps to explain how these two areas of her professional identity either support or prevent intuitive creativity from emerging successfully. The intuition of a performer is examined through playback theatre and the insight associated with playback theatre. Regarding the work of a director, the author describes the making of a walking tour performance called "Sama maa" (2006) that she directed. The author attempted to fully utelize her intuitive creativity while planning the performance. The intuitive choices of the author were the basis for planning and carrying out the performance. This thesis studies a concept that is very challenging to explain in words. There is not a lot of literature about concept of intuition with respect to theater. The author of the thesis has ended up thinging about guestion that is very important to her, a guestion about relationship between controlled and authentic mental processing. The author also engourages others to think about the meaning of intuition and insight to themselves as a part of a daily life and as a part of the artistic creativity.

Intuitiosta esitykseen : Lear-prosessi itsereflektion ja katsojapalautteen valossa

My final project presents the directing process of my experimental production based on King Lear by William Shakespeare. I describe the process from the first visions of the beginning to the completed performance and finally the feedback from the audience. I concentrate on the special qualities of the production, such as interaction, small and moveable audience, cinematic qualities, polyphonic dramaturgy, and use of the video. The Project is divided into six parts. The first part introduces the project as a whole. The second part concentrates on the process before the beginning of the rehearsals. The third part focuses on the rehearsals and co-operation with the actors, whereas the fourth part deals with the performance and its special qualities. Following this, in the fifth part I study the interaction of the performance with the help of the audience feedback. In the final part conclusions are drawn. The focus of this work is the use of intuition even as a starting point of the theatre directing process. My conclusions drawn from the description of the process suggest that the starting point of the theatre production may be an intuitive vision as well as some conscious subject or message.

Naiskomiikka : huumorista stand upiin, naurusta valtaan

The final project deals with the question of female comedy and the comedy made by women. Comedy has traditionally been made by men and the woman has been the one who laughs. A funny woman has been a rare phenomenon. Although times have changed and gender roles have become more flexible, female comedians still remain in a minority compared to their male colleagues. The essay reviews the social and historical structures that influence the position of women in general and on the field of comedy in particular. The teoretical basis to this is feminist theory. Female comedy and humour have features of their own, that are being examined in the essay. It also makes a difference between feminine comedy and feminist comedy. Largely the project handles stand up comedy. The popularity of stand up comedy has changed the field of professional entertainment and brought a number of widely gifted comedians to a common knowledge. Stand up has an opportunity to be a political tool, which is essential for marginal comedians, which also includes female comedians. One of the fundamental subjects of the project is the political character of comedy. The essay also portrays the historical roots of stand up comedy in the Finnish and in the American tradition. It reflects on the fore mothers of the modern female comedian. The reasons that make a woman become a comedian are under consideration, as well as the strategies that help her to get her voice and message delivered. Since a woman is still held in the marginal, it gives female comedy a feature of its own. This way comedy can become a tool for a feminist battle.

Kaksoiselämäni teatteritaiteen palveluksessa : ammatti-identiteettini rakennuselementit

In my thesis I discuss the elements of my professional identity from the perspective of an actor, a director and a team. What are acting and directing to me? What are the problems in the symbiosis of acting and directing? What are the difficulties in acting and directing and how important are the issues related to responsibility, power, trust and confidence in my work? I also discuss the consept of self-confidence. Behind all of this, there is also the thought of my ancestry and its dualism, how my roots from my father's and mother's side are struggling against each other or supporting each other, and how they affect my professional identity. The basic idea in the present thesis is the perspective of the traditional theatre and a professional team. Also the childhood influence on my professional identity is being considered. Education is discussed at the end. Moreover, a discussion on the kind of future theatre maker I want to be considered as, is included. I also try to handle all these topics through Harri Virtanen's Kiinteistövälittäjä vastoin tahtoaan (2005), which I directed, and my latest role in Arto Paasilinna's and Kristian Smeds' Jäniksen vuosi (2006). The conclusion of the present thesis is that it is very important for me to be a member of different communities, in which I can express my professional identity. My professional identity is formed by many elements that support each other. Such elements in their own right form an inticate relationship, which at the end, makes me what I am. In conclusion, I am a theatre maker, who in an alternative field of theater has opportunities to form the professional identity, as different situations and projects require.

Luovuus ja itsetuntemus ohjaajantyössä

This research deals with obstacles and opportunities with respect to creativity. It mainly focuses on the author's most meaningful discoveries as an individual and a professional in the field of theatre during the past two years of her education. The research is a description of that transitional phase in her life. Firstly, the research discusses creativity and presence. Secondly, it describes the author personally and professionally and compares her earlier and current ways of working. It contemplates the obstacles and opportunities considering her self-knowledge and creativity, and disucsses the problems she has faced on the way to freedom and well-being. Following this, the author presents the tools for increasing her creativity, self-knowledge and body awareness in theatre work: the Gestalt Method, Acting with the Inner Partner and the Authentic Movement. She discusses the relativity between overall well-being in life and the quality of theatre work. The final section of the present research discusses the process of directing the play Suurin on rakkaus in 2006. It deals with issues such as self-knowledge in directing, group management, the importance of terror and excitement in directing and ways of enduring both. The conclusion explanes the reasons behind the author's capability of working with small groups, with creative and passionate theatre workers. It also lists the benefits of exploring one's passions, cooperating with enthusiastic and creative artists and the pursuit for balance in art and in everyday life.

Rohkeutta henkilöiden käsittelyyn : katsojatutkimus 45 minuuttia -ajankohtaisohjelman henkilökuvajutuista

The present thesis deals with the reception of the celebrity profiles of the MTV3 news current affairs program "45 minuuttia". The target group of the research consists of young adults between the ages from 25 to 34 living in the Helsinki metropolitan area. The research is qualitative and it studies the target group's opinions of the program profiles by the means of a survey and a group interview. In the group interview, the interviewees were also presented sample clips of the program. The results of the survey were analyzed mainly quantitatively. The purpose of the survey results was to map the viewing habits of the target group. In analyzing the results of the group, the interview methods of feedback research and cultural audience research were used. The current thesis was a commissioned research, the purpose of which was to study how interested the young adults are in the program. In addition, the aim was also to find out possible new trends and approaches for the producer of the program. In contrary to the expectations, the reason for the low interest in the profiles seemed to be due to the approach taken to the topics, e.g. the profiled person. By the approach I mean how the person is visually presented or how the person is verbally described. Many people presented in the profiles were regarded as interesting, but at the same time, the way the stories were told was hoped to be more versatile. In addition, a more contemporary visual approach was hoped for. The results also verified the claim that the young adults in general are not interested in the current affair programmes. In addition, these results suggested that in order to obtain more precise information of the viewing preferences of the audience, a more thorough study should be conducted.

Voiko totuutta tavoittaa? : direct cinema -tyylisuunnan käyttö dokumenttielokuvassa

The subject of this study is the use of direct cinema style in documentary film. The main purpose of this thesis was to the research the ways in which direct cinema style attempts to show and achieve truth in documentary films. The following questions were posed: Is it possible to depict reality in a documentary film; how does the choice of using this style affect the final documentary? The essential purpose of this study was to try to see whether the direct cinema style works when trying to achieve truth in a documentary film. This work consints of two elements, the theoretical part and the short documentary. The theoretical part deals with the history, the truth, and the direct cinema- style in documentaries. The theoretical information of direct cinema has been used when making the short documentary. In the documentary Tuloaula 2 I have studied the way in which using direct cinema -style works in practise. The documentary has followed as strictly as possible the direct cinema style. I was the director, the cameraman and the editor of my documentary film. In the documentary film Tuloaula 2 it appeared that the direct cinema style works best when filming everyday life. By using this style it is easy for the director to observe and leave his own persona in the background. The strength in using the direct cinema style is that it enables the viewer to build his/her own impression on the subject. Even though the direct cinema style aims to achieve objectivity the director has to make numerous subjective choices during both the filming and the editing process. These subjective choices automatically effect the "truth" of the documentary film. The difficulty in a direct cinema style is the large amount of material. This often leads to a long editing phase, which is not often possible in the busy production schedules. The direct cinema style is not at its best when shooting people who are passive because their attention often focuses too much on the camera. In general, the best way to make a documentary film would be to use many documentary styles in one film and not to srictly concentrate on only one style.

Mielikuvien luominen traileroinnilla : tutkimuskohteena Big Brother Suomi

The thesis studies the launch campaign of Big Brother Finland, especially from the viewpoint of on-air promotion. Interest to the subject arose when participating in the campaign as an on-air promotion planner together with Subtv's marketing director, on-air promotion editor and the channel's advertising agency. The launch of the campaign was a challenge due to the format, since not a lot of information can be revealed before the start of the program. When the planning started, all the material consisted of two logos. The first season of the Finnish version of Big Brother begun on Subtv August 2005. The goal of the program was to become a topic of discussion on TV on the fall 2005 and to raise the profile of the channel. The goal of the launch was to get good ratings for the first episode. The launch campaign was also supposed to open up the format to the viewers and to arouse interest in the show. Secrecy and the size of the program were set to be the marketing tones of the launch. Although partly different messages were told via on-air promotion and external media, the campaign was congruent in visual design. In the study, interviews of Subtv's staff, campaign plans and notes were used as research material. From the aspect of affecting images and emotions, the finished campaign promos and other on-air elements were analyzed. In on-air promotion, all choices in audio and visual design affect the outcome and therefore the images that the viewer constructs. The two promo series were made to affect emotions and to awaken curiosity. Other on-air elements were merely used to present program information. The campaign and the series were accepted with enthusiasm. The launch of the second season was even more massive than the first. Participation in the launch campaign of Big Brother Finland was an essential experience in the development of professional identity. When one has taken part in the creation of a massive campaign from scarce materials, tools are given to future assignments in the field of on-air promotion.

La Crisi i el petit comerç alimentari : els queviures vs. els supermercats

Els queviures són petits comerços d’alimentació on el tractament personal amb els clients es la clau de l’èxit ja que això provoca una conscienciació per part d’aquests i així es mantenen fidels a aquest establiment. En canvi, el supermercats tracten de explotar al màxim la seva reducció dels costos sense tenir tant en compte el tracte amb el client i donant-li més importància al preu de producte. Com podem observar, són dos tipus de comerços molt diferenciats tot i que al cap i a la fi, són competidors directes.La idea d’aquest treball es veure com afecta la crisi actual en aquests petits comerços i comparar-los amb el grans supermercats per arribar a una sèrie de conclusions.Hem escollit aquest tema ja que ens ha semblat interessant tractar de demostrar com el queviures tradicionals segueixen sent un negoci de profit, tot i la forta expansió que han patit les grans superfícies comercials. Un exemple d’aquest fort creixement podrien ser les dades que ens ha facilitat l’Ajuntament de Barcelona on es reflexa que el consum d’aliments es solen donar en primer lloc al supermercat (47,3%), seguit pel mercat municipal (29,3%) i en tercer lloc en la botiga de barri (16,2%).Un dels grans problemes amb que es troben els queviures és el canvi en el ritme de vida de la societat actual, sempre amb presses i estressada, que busca més, la comoditat i l’estalvi, tant de temps com de diners, a l’hora d’anar a comprar. Peraquest motiu, hem volgut investigar sobre quin es el factor que facilita la supervivència dels queviures.Degut a que el tema dels comerços estrangers va ser un tema que va provocar molta controvèrsia a la presentació del nostre treball, hem cregut convenient estudiar-lo una mica més a fons, únicament a Poble Sec. Per fer-ho hem estudiat el punt de vista que tenen els comerços estrangers sobre els comerços nacionals i també la situació actual del nombre de queviures regentats per uns i altres a través de informació extreta de la associació de comerciants de Poble Sec.Per crear el nostre treball hem realitzar diferents enquestes i entrevistes, tant a consumidors com a propietaris, per poder extreure informació amb la qual poder treballar. En total hem realitzar 100 enquestes a clients, una enquesta a cadapropietari i dues entrevistes: una a un propietari estranger i una altra a Pedro de Diego ( fundador de la associació de comerciants del Poble Sec i primer tresorer del barri)Cal destacar que ens hem trobat amb moltes dificultats per trobar o aconseguir dades econòmiques i financeres sobre aquests establiments i per això hem realitzat una aproximació a la proporció de beneficis sobre ingressos per veure quina proporció dels ingressos es poden considerar beneficis.També hem recopilat diverses notícies de diaris que tracten sobre temes relacionats amb la crisi del petit comerç i sobre l’augment en el nombre de nous queviures regentats per gent estrangera, i a partir d’aquestes hem realitzat una breu crítica sobre la situació actual.

Lastenkulttuuripoliittisesta ohjelmasta tilanvuokraustoimintaan : lastenkulttuuritarjonnan muodostuminen Helsingin alueellisissa kulttuurikeskuksissa

Then aim of this thesis is to investigate children's culture in the regional cultural centres of Helsinki, namely Stoa, Malmitalo and Kanneltalo. The main objective was to identify how the center's repertoire for children forms. Moreover, a further research question was how different fields of art as well as proposals for action defined by the Children's Culture Programme, are portrayed in the repertoire of the regional cultural centres. The Ministry of Education's missions are to plan cultural and artistic policies, to support the industry financially, and to prepare cultural legislation. The Ministry promotes children's culture with a variety of programs and projects. The basis of the thesis is formed by the Finnish Ministry of Education's Children's Culture Programme, published in 2003. The goal of the programme is to give direction to the promotion of children's culture from 2003 to 2007. The programme presented proposals for action in different fields of art that are directed towards a broad range of implementors. In addition, in the theoretical section the focus is on the research of the Ministry of Education, the Art Council of Finland and the Municipalities. The research investigates the roles in children's culture as well as the activities of regional cultural centers. The qualitative analysis has been conducted by interviewing the employees of these regional cultural centers. The factors that affect and hinder the composition of the children's programme's repertoire are analysed based on the results of the interviews. The factors that affect the composition are the supply, the facilities and the possibilities provided by cooperation. The results section examines how the Children's Cultural Programme presents different fields of art. What is also taken into account is focal points connected to them, the proposals for action when building the repertoire. The results of the interviews indicate that the repertoire of the regional cultural centres is very diverse and it often meets the propositions of the children's cultural programme. However, the contents of the program were unknown for many. Various fields of art have been catered for in the children's repertoire and the supply is of good quality. The City of Helsinki Cultural Office's upcoming change in the administration was also mentioned, as the interviewees contemplated its future effects.

La Gestió econòmico-empresarial d'un club de futbol

Hi ha records que perduraran sempre; el gol d’Iniesta contra el Chelsea, la boleia de Zidane a Hampden Park… Aquests moments memorables que queden gravats a les retines de tots nosaltres i produeixen una immensa felicitat a l’ésser humà, que l’emocionen, que el fan casi plorar. Tot això es produeix gràcies a un esport de masses molt present en les nostres vides, el futbol. Una activitat merament esportiva que s’ha convertit, amb el pas dels anys, en quelcom més que un esport, ha travessat l’àmbit purament sentimental d’una regió fins a assolir nivells d’autèntica globalització arreu del món. I és precisament el fet que el futbol porta una immensa passió a tots els racons de la societat, el que fa plantejar-nos el funcionament d’aquesta gran indústria de l’entreteniment.La realitat, tanmateix, revela l’existència de tot un món econòmico-empresarial que s’amaga darrere aquest espectacle, del qual, els veritables protagonistes són els clubs de futbol. Sense ells no es produiria mai l’espectacle. És per aquest motiu, que centrarem el nostre anàlisi sobre aquestes entitats esportives: veure el seu funcionament en la seva vessant més econòmica (1).En el present estudi s’analitzarà tot el funcionament intern d’un club, des del seu marc legal fins a l’econòmic, parant molta atenció en el que és el mercat futbolístic, el qual, al cap i a la fi, acaba relacionant la part més esportiva amb l’empresarial. A partir d’aquí intentarem extrapolar aquest entramat al que és el món futbolístic en general.Amb això, intentarem qüestionar-nos el perquè del gran moviment de divises existent, actualment, en aquest esport. Com pot ser que un club inverteixi més de 30 milions d’euros (2) només en el que seria contractar un nou treballador? Com es podengenerar tants recursos per després gastar-los en nòmines astronòmiques pels jugadors?Doncs aquest seguit de qüestions es el que pretenem respondre en aquest treball, de la forma més amena i clara possible, amb els gràfics i taules més adients.(1) Com que de clubs de futbol n’hi ha molts i no els podem analitzar tots un per un, partirem de la based’agafar-ne un com a model, en aquest cas, per la seva proximitat i facilitat d’obtenció de dades hemescollit el FC Barcelona.(2) Quantitat que equival, ni més ni menys, a 500 vegades el sou d’un treballador mitjà al llarg de tota la seva vida

TV taskussa - tänään ja tulevaisuudessa

The objective of my thesis was to find out how mobile TV service will influence TV consumption behaviour of the Finns. In particular the study focuses on the consumption behaviour of a well educated urban people. For my thesis, I provided a detailed analysis of the study results of a large scale questionnaire research FinPilot from the year 2005 based on an assignment of Nokia Ltd. In order to deepen the study results, I focused on the above mentioned group of young people with good education. The goal of the FinPilot research was to give answers to the following questions: what kind of programs, in what kind of circumstances, and for which reasons are they watched when using the mobile television service. The results of the research consisted mainly of data like figures, graphics etc. The data was explaned from the helicopter perspective, for it gave additional value to the research and consequently to my own thesis. My study offered complementary, unique information about their needs as it was based on questionnaires supplemented by individual interviews of the group members, their free comments as well as group discussions. The study results proved that mobile TV service did not increase the total TV consumption time. The time used for watching the mobile TV was significantly shorter than the time for watching the traditional TV. According to my study, the young urban people with good education are more interested to adapt the mobile TV service than the average Finns. Being eager to utilize the added value offered by the mobile TVs they are a potential target group in launching and marketing processes. On the basis of the outcome of the thesis, the future of mobile TV service seems very promising. The content and the pricing, however, have to match the user's needs and expectations. All the study results prove that there exists a social order for mobile TV service.

Sisäilma- ja kosteusteknisten asantuntijapalvelujen käyttö rakennuttamisprosessissa

Tämä insinöörityö tehtiin HKR-Rakennuttajan Taloteknisen toimiston Kiinteistöjen elinkaaripalvelut- yksikölle. Työ on osa HKR-Rakennuttajan laatujärjestelmän uudistusta ja selkeytystä. Tavoitteena oli selvittää millaisiin asioihin tulisi kiinnittää huomiota kosteusteknisessä mielessä HKR-Rakennuttajan hankkeissa. Samoin Kiinteistöjen elinkaaripalvelut -yksikön asiantuntijapalveluiden käyttö rakennuttamisprosessissa ei ollut selvästi dokumentoituna HKR-Rakennuttajan laatujärjestelmään, joten tähän pyrittiin saamaan selkeytys. Lisäksi käynnissä on kuntotutkimustoiminnan uudistus, jossa kosteusteknisten asiantuntijapalvelujen konsulttitoiminnan käytössä tapahtuu muutoksia. Omalta osaltaan tämä insinöörityö pyrki selvittämään konsultin toimia hankkeen eri vaiheissa. Insinöörityössä kartoitettiin yksikön omat toimintakuvaukset kosteus- ja sisäilmateknisissä asioissa. Tämän jälkeen käydään läpi kaksi eri HKR-Rakennuttajan kohdetta, jossa oli kosteusteknisesti ongelmia. Kohteet valittiin ohjaajien toimesta, sillä näin saatiin esille työn kannalta oleellisia puutteita. Lisäksi kartoitettiin HKR-Rakennuttajan hankkeiden eri vaiheissa eri osapuolien tehtävät kosteus- ja sisäilmatekniseltä kannalta. Kartoitusten ja toimintakuvausten perusteella tehtiin ohje, joka liitettiin HKR-Rakennuttajan laatujärjestelmään. Lisäksi tehtiin urakkarajaliitteeseen velvoite, jossa määritellään kosteudenhallintasuunnitelman sisältö. Tietolähteinä tässä insinöörityössä oli alan kirjallisuus, HKR-Rakennuttajan Taloteknisen toimiston henkilökunnalta saatu suullinen informaatio ja internet.

Madetojan-L. Onervan kokoelma

Leevi Madetojan (1887-1947) ja L.Onervan (1882-1972) n. 2900 niteen kirjasto (painettu aineisto) on kokonaisuudessaan Oulun yliopiston kirjastossa. Suomen kulttuurirahasto lahjoitti testamentilla saamansa kokoelman Ouluun v. 1972. Kirjeenvaihto ja käsikirjoitukset ovat Suomalaisen Kirjallisuuden Seuran arkistossa Helsingissä (Onerva) ja Helsingin yliopiston kirjastossa (Madetoja). Vuosisadan ensimmäisten vuosikymmenten kulttuuri-ilmapiiriä ja -kontakteja henkivä kokoelma on säilytetty yhtenä kokonaisuutena. Kaunokirjallisuus on kokoelmassa keskeisellä sijalla. Tietokirjallisuutta löytyy mm. kirjallisuudentutkimuksen, musiikin, taiteen ja kulttuurihistorian aloilta, samoin nuottijulkaisuja. Kokoelman julkaisuista löytyy noin 400 omistuskirjoitusta pääosin L. Onervalle. Kokoelman kirjat on luetteloitu OULA-kokoelmatietokantaan. Omistuskirjoituksista on huomautus kirjojen viitetiedoissa. Kokoelman nuotit ovat luetteloimatta.