Present two different types of data, or variables, used in the health field. Examples could be blood pressure, temperature, pH, pain rating scales, pulse oximetry, % hematocrit, minute respiration, gender, age, ethnicity, etc.
Classify each of your variables as qualitative or quantitative and explain why they fall into the category that you chose.
Also, classify each of the variables as to their level of measurement–nominal, ordinal, interval or ratio–and justify your classifications.
Which type of sampling could you use to gather your data? (stratified, cluster, systematic, and convenience sampling)
Sample Solution
st and most disgusting scenes in The Butcher Boy by repeatedly introducing scatological, excremental, and grotesque details and placing both Francie and Mrs Nugent in the most embarrassing situations. One could postulate that this is a form of dark satire, yet this in no way correlates with Francieâs life journey through the novel and his fate, two things that are not satirical in the slightest. Particularly when focusing on the scene of Mrs. Nugentâs gruesome death, whilst Francie is revolting against the one force that has maintained his trauma throughout the novel, ironically he is finally accepting his role as someone, if not, something far from being moral and thus human. He isolates himself from everyone, and just like with Alex in A Clockwork Orange where he is seemingly trapped in a life of constant violence and delinquence, Francie is similarly trapped in a vicious cycle of solitude and distress. In Fear and Loathing in Las Vegas, a similar concept undoubtedly emerges in which the dystopic circumstances that Duke and his attorney reside in draw fascination from readers due to the fact that they seem to be so oblivious to living in a completely alternate reality. In one scene, Duke randomly tells a waitress âweâre looking for the American Dreamâ (p.164), yet from a wider angle the whole novel consists of two protagonists manipulating their vision of the world with hallucinogens and substances and getting involved with violent acts that ultimately lead them down a nightmarish path, deeming it almost impossible to seek any form of an âAmerican Dreamâ. In some ways Thompson takes the opportunity to employ dark comedy to criticize American culture in the sixties and its conventional advertisement of the American Dream to be hard-earned capitalist success, where he perhaps believes that there ought to have been a change to this ideology. The novel is filled with surreal imagery that are solely as a result of drug hallucinations, to the point where âreality itself is too twistedâ (p.47), and just like with A Clockwork Orange and The Butcher Boy, the sense of entrapment is revealed as a dystopiaâs biggest penalty, however âfreeâ one feels. Both Burgess and McCabe depict dystopian settings as a product of the corrupt>
st and most disgusting scenes in The Butcher Boy by repeatedly introducing scatological, excremental, and grotesque details and placing both Francie and Mrs Nugent in the most embarrassing situations. One could postulate that this is a form of dark satire, yet this in no way correlates with Francieâs life journey through the novel and his fate, two things that are not satirical in the slightest. Particularly when focusing on the scene of Mrs. Nugentâs gruesome death, whilst Francie is revolting against the one force that has maintained his trauma throughout the novel, ironically he is finally accepting his role as someone, if not, something far from being moral and thus human. He isolates himself from everyone, and just like with Alex in A Clockwork Orange where he is seemingly trapped in a life of constant violence and delinquence, Francie is similarly trapped in a vicious cycle of solitude and distress. In Fear and Loathing in Las Vegas, a similar concept undoubtedly emerges in which the dystopic circumstances that Duke and his attorney reside in draw fascination from readers due to the fact that they seem to be so oblivious to living in a completely alternate reality. In one scene, Duke randomly tells a waitress âweâre looking for the American Dreamâ (p.164), yet from a wider angle the whole novel consists of two protagonists manipulating their vision of the world with hallucinogens and substances and getting involved with violent acts that ultimately lead them down a nightmarish path, deeming it almost impossible to seek any form of an âAmerican Dreamâ. In some ways Thompson takes the opportunity to employ dark comedy to criticize American culture in the sixties and its conventional advertisement of the American Dream to be hard-earned capitalist success, where he perhaps believes that there ought to have been a change to this ideology. The novel is filled with surreal imagery that are solely as a result of drug hallucinations, to the point where âreality itself is too twistedâ (p.47), and just like with A Clockwork Orange and The Butcher Boy, the sense of entrapment is revealed as a dystopiaâs biggest penalty, however âfreeâ one feels. Both Burgess and McCabe depict dystopian settings as a product of the corrupt>
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