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Wisdom About Papanicolaou: A Campaign To Promote Cervical Cancer Screening Among HIV-Positive Women
No full textBackground: HIV-positive women are more likely to die from preventable or treatable cervical cancer than HIV (UNAIDS, 2018). HIV-positive women are five times more likely to be affected by cervical cancer than HIV-negative women (UNAIDS, 2018). Previous research has shown that widespread use of the Pap test leads to substantial reductions in death from cervical cancer; however, few women remain adherent to cervical cancer screening guidelines.
Purpose: The quality improvement project aimed to use an educational brochure to increase cervical cancer knowledge and screening among HIV-positive women in a local FQHC using the Health Belief Model (HBM).
Methods: In this quality improvement project, HIV-positive women’s knowledge regarding cervical cancer screening was assessed using a pre- and post-test. Pre- and post-intervention cervical cancer screening compliance was assessed. The difference in mean knowledge scores were assessed using the paired samples t-test. A one-sample chi-square test assessed the difference in the proportion of women who received cervical cancer screening between the period before and after the intervention. An alpha level of 0.05 determined statistical significance.
Results: Results of the two-tailed paired samples t-test revealed a statistically significant difference between pre-intervention and post-intervention knowledge (t(17) = -4.27, p \u3c .001). The chi-square test results yielded greater than 50% of participants who scheduled and completed pap screening post-intervention.
Implications for the Future: Results of this quality improvement project can guide the implementation of policies, protocols, and guidelines which promote healthcare providers to utilize HIV-tailored education
(R1897) Further Results on the Admissibility of Singular Systems with Delays
Get PDFAdmissibility problem for a kind of singular systems with delays is studied in this article. Firstly, given the singular system with delays is transformed into a neutral system with delays. Secondly, a new sufficient criterion is obtained on the stability of the new neutral system by aid of Wirtinger-based integral inequality, linear matrix inequality (LMI) method and meaningful Lyapunov-Krasovskii functionals (LKFs). This criterion is valid for both systems. At the end, Two numerical examples are given to illustrate the applicability of the obtained results using MATLAB-Simulink software. By this article, we extend and improve some results of the past literature
CHOKWE Culture of Arts from southern part of Congo (Kinshasa) from the Kwango River to the Lualaba; northeastern Angola- (Seated Female Figure)
No full textSeated Female figures with almond-shaped eyes, realistic mouth shapes, and curved eyebrows meeting over the nose are features common to both Chokwe and Shinji carvings.
They usually integrate different parts of their mythology that represents their community’s beliefs. Their artworks reflect the ideas, beliefs, and history that their people have kept throughout the centurieshttps://digitalcommons.pvamu.edu/african-sculptures-and-masks/1016/thumbnail.jp
SONGHAY Culture of Arts from eastern Mali, western Niger, and northern Benin - (Kneeling Female Figure)
No full textSeated female figures are usually shown with their legs tucked under them, their feet turned inward so that in the back their toes are touching.https://digitalcommons.pvamu.edu/african-sculptures-and-masks/1017/thumbnail.jp
BAULE Culture of Arts from Ghana and Cote d’Ivoire (Ivory Coast) - (Seated Female Figure)
No full textIn Baule society, aesthetics play an important role not only in providing the sculptor with a worthy source of inspiration but also in ensuring a sculpture\u27s efficacy. This sculpture of a seated male figure presents an unusual level of stylization for a Baule figure. The circular face and the way the seat merges with the hind of the sitter are particularly distinctive. Baoule is the language of the Akan people who inhabit Ghana and Cote d’Ivoire.https://digitalcommons.pvamu.edu/african-sculptures-and-masks/1038/thumbnail.jp
YORUBA Culture Of Arts West African ethnic group that mainly inhabits parts of Nigeria, Benin and Togo that constitute Yorubaland - (Head Figure)
No full textThe head of a man is part of a group of over a thousand known sculptures identified with a site in the Yoruba town of Esie in north-central Nigeria. This sculpted head possesses many traits common to Esie figures, including sharply defined almond eyes, and ears set far back on the head. While some statues from Esie have been described as solemn in expression, here the mouth seems to part in a slight but gentle smile.https://digitalcommons.pvamu.edu/african-sculptures-and-masks/1056/thumbnail.jp
KALABARI Culture of Arts from eastern Niger Delta region of Nigeria - (Funerary Screen)
No full textThe Kalabari Ijo began creating ancestral screens during the nineteenth century as a way to honour, memorialise and communicate with deceased leaders of \u27war canoe houses\u27. Called duein fubara (sometimes written as duen), the name of these memorials translates to \u27forehead of the dead\u27. Its meaning originates from the Kalabari Ijo’s belief that the so, the fate that governs a person’s fortunes, resides in one’s forehead.https://digitalcommons.pvamu.edu/african-sculptures-and-masks/1058/thumbnail.jp
IGBO (KWA) Culture Of Arts in Nigeria - ( Standing Figure)
No full textThe standing figure object has specific names and meanings, The sculptures are for use in funerary rituals and ancestor worship. This type of sculpture accessed ancestral power through the charge inserted in its head.https://digitalcommons.pvamu.edu/african-sculptures-and-masks/1062/thumbnail.jp
HEMBA Culture Of Arts from southern Kasai to northeastern Zambia- ( Ancestor Figure)
No full textThis figure is depicted in a classic Hemba-style standing in a symmetrical position with the hands alongside the navel or abdomen of the figure. These types of ancestral figures were placed in small huts in the village compound, and they represented local chiefs or warriors and founders of their royal lineages.https://digitalcommons.pvamu.edu/african-sculptures-and-masks/1064/thumbnail.jp
SENUFO Culture of Arts from northern Ivory Coast, the southeastern Mali and the western Burkina Faso and in north-western Ghana - (Bellows)
No full textDuring the 18th century, the puna had to flee their land, under pressure from the Fang, and settled in the south and southwest of Gabon. In this case, the craftsman chose to incorporate the classic symbol to top a utilitarian object, a village bellows used for a blacksmith forge. This once again demonstrates the ability of African carvers to turn everyday objects into functioning works of art. The Senufo Figurative wooden bellows are completely functional after iron pipes are added into the two open holes located at the lower ends.https://digitalcommons.pvamu.edu/african-sculptures-and-masks/1068/thumbnail.jp