Without Seeing the Dawn Book Report - 1064 Words

Clarence Delano B. Juanico 7-Tindalo Novel Report in PLE (Philippine Language in Literature) Without Seeing the Dawn I. Author’s Background Stevan Javellana was born in 1918 in Iloilo. He fought as a guerilla during the Japanese invasion of the Philippines. After the World War II, he graduated from the University of the Philippines College of Law in 1948. He stayed in the United States afterwards but he died in the Visayas in 1977 at the age of 59. II. Setting Village of Manhayang- Carding was given birth in this village; they had a farm but were taken by Don Diego. Iloilo City- Carding went to Iloilo city with his wife to find a job. He worked as a Stevedore and met Nestong the strongest man before†¦show more content†¦This made him mad that he wanted to kill all the Japanese even if he swore to never touch a gun again. Then there was a mission that he was needed to burn the Japanese ammunition dump. There he met Rosing again but he was married to Nestong, she was a prostitute. Rosing still loves him that she burned the ammunition dump by herself. Carding and Rosing got arrested because Nestong reported to the police. Carding got out after a few days but Rosing got her head cut off. He came back and was promoted as the lieutenant. His army prepared for a fight without guns, Carding led them. They the villagers to go to the nearby village but Lucing stayed and he prayed until the first gunshot was heard. V. Theme A friend can be an enemy Carding’s uncle and his friend, Polo, worked for the Japanese against them. VI. Motif Journey- Carding and Lucing went to different places. They tried to live in different places nut ended up in the village. Love- He married Lucing but he also loved Rosing. Death- Many people died because there was a war that time. Rape- Many got raped by the Japanese like Lucing. VII. Symbol Rosing- She symbolizes life of a prostitute. VIII. Reaction I love the book Without Seeing the Dawn. Even if it was quite long, I love it because of its story. The story consists of different parts of our life. I love it because it teaches our history. I love books that teach history. It is quite easy to understand but it is not for kids especially theShow MoreRelatedShort Story1651 Words   |  7 PagesBellowed, Ramsay, with such intensity each syllable reverberates off the walls. Without provocation, he shouts the words again and again as he sat alone in his office organizing the paper clutter on his desk. Less than a second after his outburst, he heard a voice rise from the floor - â€Å"Sir, that’s an odd remark for a Class A humanoid to say.† Startled, Ramsay jumped to his feet; his flaming red synthetic wig flew to the floor. Scanning the area close to his desk, for his wig and the voice, hisRead MoreThemes in the Writing of Edgar Allan Poe that Mirror his Personal Life1379 Words   |  6 Pageswhen she was 13yrs old; she dies in 1847 from a long and hard battle with tuberculosis. 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Managing Up Unit 1 Psmp Assignment Wanna Case Study Review...

Reading Wanna, J 2007, ‘Improving federalism: drivers of change, repair options and reform scenarios’, Australian Journal of Public Administration, vol. 66, no. 3, pp. 275 – 279. Purpose (What is the author’s aim? For example, is the piece descriptive or does it summarise the literature or introduce a new argument? Is the author trying to convince, persuade, or inform the reader? Use a verb.) (59) The author aims to inform the reader of the strengths, weaknesses and opportunities for reform of federalism by summarizing the discussions of the round table held in May 2007. Argument/Finding (What position did the author take? What were their main points? What are their claims/conclusions?) (75) The focus of debate surrounded†¦show more content†¦Use correct reference format, see Section 5.10 of this guide. (The two citations are not included in your word count but your comments are)). (41 + 75) A Twomey and G Withers, Federalist Paper 1 – Australia’s Federal Future, Council for the Australian Federation, April 2007, p 15. Title of consider Where there are problems, they are often with the way the Australian federal system operates, rather than with federalism itself. Rather than criticising our federal system, we should be working to make better use of its advantages†¨in order to improve our prosperity. In particular, the reform of the allocation of powers and responsibilities between the Commonwealth and the States, and reform of fiscal federalism, are desperately needed. (Twomey and Withers, 2007) Twomey and Withers argue the approach of strategic pragmatism as outlined in Wanna’s paper. The basis of their position is that the federalism structure is unlikely to be subject to major redesign and the discussion should focus on improving current operation. Commonwealth Government, Budget Paper No 3: Australia’s Federal Relations, 2009-10, 12 May 2009, p 7. Federations work best when the roles and responsibilities of each jurisdiction are clear and good public accountability mechanisms allow the community to hold the appropriate level of government to account for the quality and efficiency of the services delivered and outcomes

Mixed Messages in Greek Theatre an Examination of Vases and Written Histories Essay Example For Students

Mixed Messages in Greek Theatre: an Examination of Vases and Written Histories Essay No one fully understands the nature of ancient Greek theatre. The barriers that stand between the scholars of the Twentieth Century and the truth of the theatrical practices of 5th and 4th centuries B. C. Athens are: 2,500 years of divergent cultures, incomplete collections of plays, vases, figurines, and theatre spaces, and a lack of the proper tools with which the evidence can be examined. Yet, hypotheses can be formulated, conclusions drawn, and understanding strengthened by undertaking a thorough and painstaking analysis of all the available data. A limited understanding of the Greek theatre is the ltimate promise of this continuing research. However, seeking this restricted perspective is clearly the only choice for those who have discovered the provocative remains of a great lost theatre. Deciding what can be learned from ancient vases is a difficult problem for experts and novices alike. Questions pertaining to theatre further complicate matters with the added condition that the vase must be depicting a scene that is theatrical in nature. Green asserts that the ancient artists were not at work to provide visual aids for textbooks and lectures. We will write a custom essay on Mixed Messages in Greek Theatre: an Examination of Vases and Written Histories specifically for you for only $16.38 $13.9/page Order now We can, with care, use them in that way as aids to a modern imagination (Green 1995, p. 3). Greens statement brings to light the importance of cautious research into this area of history, especially keeping in mind the context in which the vases were made and used. Certainly, vases exist which are, as Green explains it, inescapably linked to the theatre. A sample of these well-understood vases is examined below. Historians often agree on the subject matter of certain Greek vases because of one or more distinguishing qualities like the presence of masks, staging, inscriptions of the names of characters, and elaborate costuming. A neck-amphora by the Ixion Painter (c. 350 B. C. Kiel, private collection) represents an actor with the satyr mask he has been wearing drawn up on top of his head (Trendall 1989, p. 161). An Apulian bell-krater by the Tarporley Painter (400-380 B. C. , Sydney 47. 05) depicts three chorusmen for a satyr play (Trendall 1971 p. 29). Two of the men hold their masks while the third begins to dance near a tambourine, the instrument further supporting the theatrical nature of the vase. All authors cited agree that the presence of masks is theatrical. Assertions are easily made in the presence of staging, inscriptions, and elaborate costumes. One Apulian bell-krater (380-370 B. C. , London B. M. F. 151) depicts a phlyax play and represents a wooden stage and masks of comic actors. An inscription describes the main character as Cheiron. The fourth vase to be considered is equally uncontested in its theatrical nature. A Paestan bell-krater, signed by Python, (c. 425 B. C. , London F. 149) illustrates Euripides Alkmene with the conventions of elaborate dress and foot-wear and the names of each major character inscribed above his head. Even the most cautious historian is swayed to believe that this vase is theatrical. Although the reliability of most of the Greek vases as sources of theatre history is ebatable, as is the reliability of the historians reporting on those vases. Eight vases examined in the Museum of Fine Arts, Boston are discussed here with respect to what can be understood from the primary source and the accompanying commentaries. Looking at the actual vases offers a far more vivid perspective than any high quality photograph can capture. The detail of the rich costumes is often lost, evidence of sometimes-fraudulent restorations is made clear, and the elements accentuated with color are given their due attention by the observer. The vases themselves, after all, are the true sources of all subsequent iscussion. An Attic red-figured bell-krater by Lykaon Painter (440 B. C. , Boston 00. 346), according to Trendall 1971 p. 62, is a scene in Aeschylus Toxotides. On it, Actaion is being attacked by dogs. The presence of Zeus and Lyssa is evidence relating the vase to the play. The other data used for this linkage are the tragic costuming, Aktaions special horn mask, and the inscriptions over the actors, including one that identifies the main figure as Euaion, the son of Aeschylus. The reverse side shows two women and a youth conversing, but neither the Museum of Fine Arts, Boston nor Trendall addresses this half of the vase. Less dramatic visually, the reverse side may still depict an important dialogue in the play or perhaps audience members reacting to the performance. Notably, Trendall claims that this vase is a depiction of a scene in performance, not merely a representation of the story. Trendall asserts that a Faliscan kalyx-krater by the Nazzano Painter (c. 375 B. C. , Boston 1970. 487) is probably derived from a stage production of Euripides Telephos (Trendall 1971, p. 104). The vase lacks inscriptions, but the ornate costuming, including decorated boots and drapery seem to indicate tragic conventions. Again, however, no mention is made by the museum or Trendall on the contents of the reverse side which, in this case, is a scene with satyrs and Dionysus. The presence of satyrs and the god may indicate a theatrical scene or merely the visitation of Dionysus. The possibility is never examined by Trendall. .udb440ea365f54550539564bedc4aa3a4 , .udb440ea365f54550539564bedc4aa3a4 .postImageUrl , .udb440ea365f54550539564bedc4aa3a4 .centered-text-area { min-height: 80px; position: relative; } .udb440ea365f54550539564bedc4aa3a4 , .udb440ea365f54550539564bedc4aa3a4:hover , .udb440ea365f54550539564bedc4aa3a4:visited , .udb440ea365f54550539564bedc4aa3a4:active { border:0!important; } .udb440ea365f54550539564bedc4aa3a4 .clearfix:after { content: ""; display: table; clear: both; } .udb440ea365f54550539564bedc4aa3a4 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .udb440ea365f54550539564bedc4aa3a4:active , .udb440ea365f54550539564bedc4aa3a4:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .udb440ea365f54550539564bedc4aa3a4 .centered-text-area { width: 100%; position: relative ; } .udb440ea365f54550539564bedc4aa3a4 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .udb440ea365f54550539564bedc4aa3a4 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .udb440ea365f54550539564bedc4aa3a4 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .udb440ea365f54550539564bedc4aa3a4:hover .ctaButton { background-color: #34495E!important; } .udb440ea365f54550539564bedc4aa3a4 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .udb440ea365f54550539564bedc4aa3a4 .udb440ea365f54550539564bedc4aa3a4-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .udb440ea365f54550539564bedc4aa3a4:after { content: ""; display: block; clear: both; } READ: Genetics EssayAlso, the museum highlights the side A with a special spot-light, sending the back-side into darkness and leaving the complete story left untold. An even more abstract specimen is conveniently categorized by Trendall as having a theatrical nature (Trendall 1971, p. 66). The Attic red-figured pyxis-lid by Aison (450-425 B. C. , Boston 04. 8) is a small lid possibly showing Odysseus coming out of a bush. One of the five women in the piece is wearing an ornate costume, and Trendall states that she must be the leader of the chorus, but besides the costuming of this individual little suggests a theatre scene at all. The reliance on the costume evidence is put into question because the lower half of all the figures was lost and restored by a contemporary scholar. Here, Trendalls argument is weakly supported. Another vase with vague theatrical elements is pinned to something more concrete by Trendall (Trendall 1971 p. 63). The Attic red-figured pelike (450-440 B. C. , Boston 63. 663) shows an ornately costumed individual being tied to a pole by a black servant. Trendall points out that the vase may well represent memories of the same production of Sophocles Andromeda. Not appreciably clear is the manner in which Trendall reaches this conclusion. To be sure, the figure is likely to be Andromeda, but there is no way of suggesting that the image was inspired by an actual production. Boardman describes a scene with three satyrs as perhaps being theatrical. The neck-amphora by the Charmides Painter (c. 470 B. C. , Boston 76. 46) shows the satyrs in a small procession in what might be a skit (Boardman 1975, p. 95). The possibility that the satyrs may be a part of the activities of Dionysus is not considered, and the back of the vase is also ignored by Boardman. Fairly consistently Boardman describes both sides of the vases in his Athenian Red Figure Vases: the Archaic Period, but here, with the unusual depiction of a fourth satyr with his back to the viewer, only half of the vase is discussed. Also lost in Boardmans photograph is the radiance of the old satyrs white hair. The museum briefly describes the reverse side, but only side A is open to the public. Interestingly, the Museum of Fine Arts, Boston takes a more liberal position han that of Trendall on an Attic black-figured skyphos of the Heron Group (500-490 B. C. Boston 20. 18). The museum claims that the men riding dolphins and ostriches are members of a chorus, while the only evidence of a theatrical scene is the flute player on both sides of the vase. Trendall, who freely assigns theatrical importance to many vague vases, sees that pinning the vase to theatre is only a possibility (Trendall 1971, p. 22). He does mention the chance that the image is one of a chorus and an early comic actor, however. The black-figured vase is the most unusual in this analysis and is understandably difficult to ink to the Greek theatre. Again in this instance, Boardman ignores the reverse side of a cup by the Telephos Painter (470-460 B. C. , Boston 95. 30) and asserts that the satyrs and the maenads of the first side may be theatrical, but he gives no definitive response. Here, a look at the reverse side of the vase would reveal Dionysus, and yet the only evidence Boardman uses to imply a theatrical subject matter is the flying drapery of the maenads (Boardman 1975, p. 196). He ignores also the presence of a flute player, a detail Trendall would not have missed. The last vase of this discussion is a kalyx-krater by the Dokimasia Painter (460 B. C. , Boston 63. 1246). The vase depicts the deaths of Agamemnon and of Aegisthus with Clytemnestra present in both. Upon an examination of this piece the observer notices that the costumes are not quite as elaborate as some other depictions of Greek tragedy, and the characters lack the decorated boots that are often worn by tragic actors. Nevertheless, these observations are put aside because the subject matter of this particular vase is made quite clear. The Museum of Fine Arts, Boston neatly describes the large specimen as being scenes from the Orestea. A dilemma presents itself with this description. The Agamemnon was first performed several years after the creation of the kalyx-krater, so the play did not exist when the vase was painted. Clearly, the Museum of Fine Arts, Boston has made a serious error. John Boardman confirms this discovery: The Agamemnon, with the king enveloped in a cloth, recalls Aeschylus treatment of the story, but on conventional dating the vase is earlier than the production of the Agamemnon (456 B. C. ), and we should therefore suppose this version of the story to be the invention of an earlier poet (Boardman 1975, p. 137). The realization that even the most credible authorities must be scrutinized is otentially unsettling for any historian. Even the Museum of Fine Arts, Boston reports faulty information. In this case, the correct information was published over twenty years ago by at least one author, and still the facts have yet to surface at the museum. Perhaps this gross error is the only one of its kind in the Greek vase exhibit in the Museum of Fine Arts, Boston. .u07c5265fcd4db1a9f7bb1bc3c741ba3f , .u07c5265fcd4db1a9f7bb1bc3c741ba3f .postImageUrl , .u07c5265fcd4db1a9f7bb1bc3c741ba3f .centered-text-area { min-height: 80px; position: relative; } .u07c5265fcd4db1a9f7bb1bc3c741ba3f , .u07c5265fcd4db1a9f7bb1bc3c741ba3f:hover , .u07c5265fcd4db1a9f7bb1bc3c741ba3f:visited , .u07c5265fcd4db1a9f7bb1bc3c741ba3f:active { border:0!important; } .u07c5265fcd4db1a9f7bb1bc3c741ba3f .clearfix:after { content: ""; display: table; clear: both; } .u07c5265fcd4db1a9f7bb1bc3c741ba3f { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u07c5265fcd4db1a9f7bb1bc3c741ba3f:active , .u07c5265fcd4db1a9f7bb1bc3c741ba3f:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u07c5265fcd4db1a9f7bb1bc3c741ba3f .centered-text-area { width: 100%; position: relative ; } .u07c5265fcd4db1a9f7bb1bc3c741ba3f .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u07c5265fcd4db1a9f7bb1bc3c741ba3f .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u07c5265fcd4db1a9f7bb1bc3c741ba3f .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u07c5265fcd4db1a9f7bb1bc3c741ba3f:hover .ctaButton { background-color: #34495E!important; } .u07c5265fcd4db1a9f7bb1bc3c741ba3f .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u07c5265fcd4db1a9f7bb1bc3c741ba3f .u07c5265fcd4db1a9f7bb1bc3c741ba3f-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u07c5265fcd4db1a9f7bb1bc3c741ba3f:after { content: ""; display: block; clear: both; } READ: American Revolutionary War EssayConsidering the small sample size of this research, that possibility is highly unlikely. What is likely is that all sources that deal with Greek vases, especially in the context of theatre history, contain misleading data and should be handled with some discretion. Unfortunately, false and misleading information will always be present in some form in the body of research, and the job of the conscientious researcher becomes more significant in the light of this fact. Ultimately, the reward for questioning the validity of all data is the historical description that is closest to the truth. Finding the truth of the nature of Greek theatre by examining the vases is probably impossible, but a better history can certainly be developed. In the spirit of this pursuit a researcher must make several important considerations specific to the area of Greek vases. The vases, first of all, were objects of ommercial value and the scenes painted on them were made attractive to buyers. Many of the vases dealing with theatrical subjects were unearthed in Southern Italy, Sicily and other Mediterranean lands because the Greeks exported the images that had lost some popularity in Greece itself but were just beginning to be popular in other areas. So much of the extant vases that can be used for research into ancient Greek theatre are not actually from Greece, and the many revivals of the Greek plays may have been represented by foreign artists. And there is no evidence that any painter actually saw a play before painting on a ase. This information should compel cautious searching. Further problems arise with investigations into the tragedies. Unlike the vases depicting comedies, there is no evidence of tragic actors acting on a vase, rather they are always in realities of the play. This makes linking comedy scenes rather easy and tragic ones more difficult. Of course, not even half of all the Greek plays are illustrated in any manner on pottery. Even by the most generous estimates the illustrations cover only 40 of the 82 plays of Aeschylus, 37 of the 123 plays of Sophocles, and 48 of the 87 plays of Euripides (Trendall 1971, p. 1). Another problem associated with this particular body of research lies in the dating of the vases. Until the 5th c. B. C. ating is based upon stylistic changes in the artwork, and the vases and other works are loosely attached to an absolute calendar date. As Cook points out, absolute dating is precarious (Cook 1972, p. 268). The dating through the 4th c. B. C. and beyond becomes much more accurate with the more complete accounts of the potters and painters of the time. As explained earlier with the vase concerning the death of Agamemnon, the difference of just four years in the dating may lead to completely different ets of data. For a good chronology see Cook 1972, pp. 66-7. The observations and problems associated with this particular research project will be helpful to future researchers. The scope of this project was limited chiefly by time and by the inexperience of the undergraduate researchers in the field of Greek vases. The first and most resilient obstacle was the seemingly subjective nature of the analyses made by various experts. At many times, the position of the authors could not be disputed for lack of background in the subject area. Seeing the vases personally was the most beneficial aspect of this esearch. The first problem in this area is finding the vases of interest, and without any assistance from the museum other than the accession number this task becomes one of trial and error. Once the piece is found, of course, the efforts are worthwhile. Evidence of restorations, forgeries, inscriptions, and the fading line details were all available to the viewer, and the value of examining the primary work cannot be under estimated. The colors of these vases are really quite impressive and may serve to highlight important figures in the theatrical scenes. This distinction is lost in the photographs. As with any body of research there are some important problems to consider, but these issues can be resolved. When they are a newer, more complete body of information is made available to the public, and a fuller understanding of the nature of the Greek theatre is made possible. As Green suggests, perhaps the vases are most valuable to the 20th century as an aid to modern imagination. Certainly, as long as the authority of the experts is kept in check with new approaches and questions, then the vitality of research into the history of the Greek theatre will continue.

Labor Market Research Nursing an Example of the Topic Career by

Labor Market Research : Nursing by Expert Marvellous | 07 Dec 2016 ABSTRACT Need essay sample on "Labor Market Research : Nursing" topic? We will write a custom essay sample specifically for you Proceed This paper discusses the Labor Market of Nursing. The paper outlines the statistics in the United States and then focuses on the state of California. A demand and supply explanation is also provided in the paper. Nurse Wage Structure is also provided in the last part of the paper. Nursing is known to be an in-demand job in the United States. According to Dr. Lovell of Institute for Womens Policy Research, the health care system of America is dependent mostly on nurses. On the average a patient is being attended the number of employed nurses will grow by 29 percent. This is equivalent from 2.4 million to 3.1 million. These statistics show that there is a big demand of nurses in the country. The focus of the study is the state of California. From here on, the discussion would be regarding the state of California. California is one of the states that has been featured in the first labor market of Californias Nurse Work Force Initiative in January 2004. As per the report, California needs a total of 60,000 nurses to meet the projected demand for nursing services in 2020. The government in response to the shortage of the nurses, Governor Gray Davis had announced a Nurse Workforce Initiative. This particular program had been developed and implemented to recruit , train and retain nurses in the state. NWIs report as of 2004, the nursing force of California is around 280,000 registered nurses and 90,000 Licensed vocational nurses. Registered Nurses are employed frequently as compared to the licensed vocational nurses because of the educational background and scope of practice. According to Briggance (2004), the state of California has the lowest ratio of registered nurses among the 50 states. The reasons for the increasing demand and inadequate suppliers cannot only be judged based on numbers. According to NWI (2004), the dominant determinant of the demand is the size of the states population. The higher the population the higher the need for health care services. There is a large population of people because of the high birth rates in the state, the international immigration and low death rates. The wealth of the population affects the demand for services. In January 2004, there has been a legislation about a minimum licensed nurse to patient ratios requirements in hospitals from Assembly Bill 394. The increase in demand because of this law is estimated to be as low as 1,600 nurses. The supply of nurses on the other had been explained by NWI. The inflow of California nurses comes from the education system, migration from other states and migration from other countries. The California supply of registered nurses then comes from Active License status, these are the currently working nurses and the non working. The outflow of nurses is retirement, migration to other countries and career changes. According to a research from the U.S. Government Accountability (Lovell, 2004), the shortage of nurses is caused by job satisfaction problems. These job satisfaction problems is then answered by the hospitals through increasing compensation and benefits of the nurses. Hospital wages vary depending on the local labor market (Lovell, 2004). As of 2004, California is considered as one of the states that give their nurses high compensation. Median hourly wages for a nurse is $38.85 to $19.44 in Virginia. Nurses have large compensation because of the job satisfaction problems that some had encountered. Since hospitals wanted to attract nurses then it is imperative that they increase the compensation of the nurses. Another reason for a high compensation is that hospitals and nursing homes are known to be one of the riskiest nations. Nurses are exposed to latex allergies, bhck injuries, physical assault, blood-borne pathogens,and pollution from waste incineration, disinfectants, and surgical waste. Workers such as nurses who are exposed to greater risks on the job should be compensated for the risk associated with their occupation. Based on California Nurses Association (2004), the structure of the nurse wages depends on the level of experience and the type of Nurse that a person is. There are six levels of Nurses in California. First is the Clinical Nurse which has four levels. Clinical Nurse is considered as the entry-level position. Next is Practitioner which has 2 levels. A Nurse Practitioner has a higher wage as compared to that of the clinical nurse because this category has a higher level of experience. A nurses pay is computed hourly. Based on the following information stated above, nurse wages compensation are determined by the demand and supply of nurses in California. California is a big state as compared to that of the other states in the U.S. Compensation for California is higher than the other states because of the fact that it has the lowest Nurse to patient ratio in the continent. Some may think that the Nurses are overpaid and some may think of it as a health commodity job. However, there are reasons for the amount of compensation that the nurses received and this can be justified through the law of economics, and the risk that the nurses take because of the call of duty. REFERENCES California Nurses Association (2004). Nurses NX. Retrieved last February 28, 2008 from University of California. Briggance, B. (2004). Nursing, Leadership and Strategic Action (Powerpoint Presentation). Center for Health Professions Retrieved last February 29, 2008 from University of California, San Francisco. Lovell, V. (2004). Solving the Nursing Shortage through Higher Wages. Retrieved last February 29, 2008 from Institute for Womens Policy Research. Spetz J., Rickles J., and Ong P. (30 January 2004). Californias Nursing Labor Force: Demand, Supply and Shortages. First Labor Market Report. California Nurse Work Force Initiative. Retrieved last February 28, 2008. From Univesity of California.