Al Capone :: essays research papers

A lot of Italian immigrants, like many immigrants of all nationalities, came to the New World with very few items. Many of the immigrants were peasants escaping the lack of opportunity in rural Italy. Gabriele Capone, Alphonse’s father, was one of 43,000 Italians who arrived in the U.S. in 1894. He was a barber by trade and could read and write in his native language. He was from the village of Castellmarre di Stabia, sixteen miles south of Naples. Gabriele, who was thirty years old, brought his pregnant twenty-seven-year-old wife Teresina , his two-year-old son Vincenzo and his infant son Raffaele. Unlike many Italian immigrants, he did not owe anyone for his passage over. His plan was to do whatever work was necessary until he could open his own barber shop. Gabriele's ability to read and write allowed him to get a job in a grocery store until he was able to open his barber shop. Teresina, in spite of her duties as a mother, took on sewing piecework to add to the family coffers. Her third child, Salvatore was born in 1895. Her fourth son and the first to be born and conceived in the New World was born January 17, 1899. His name was Alphonse Capone. A block from Al's home was the parish church, St Michael's, where the Reverend Garofalo baptized him several months after his birth. At the age of five in 1904, he went to Public School 7 on Adams Street. Educational prospects for Italian children were very poor. The school system was deeply prejudiced against them and did little to encourage any interest in higher education, while the immigrant parents expected their children to leave school as soon as they were old enough to work. Al did quite well in school until the sixth grade when his steady record of B’s declined rapidly. Al Capone :: essays research papers A lot of Italian immigrants, like many immigrants of all nationalities, came to the New World with very few items. Many of the immigrants were peasants escaping the lack of opportunity in rural Italy. Gabriele Capone, Alphonse’s father, was one of 43,000 Italians who arrived in the U.S. in 1894. He was a barber by trade and could read and write in his native language. He was from the village of Castellmarre di Stabia, sixteen miles south of Naples. Gabriele, who was thirty years old, brought his pregnant twenty-seven-year-old wife Teresina , his two-year-old son Vincenzo and his infant son Raffaele. Unlike many Italian immigrants, he did not owe anyone for his passage over. His plan was to do whatever work was necessary until he could open his own barber shop. Gabriele's ability to read and write allowed him to get a job in a grocery store until he was able to open his barber shop. Teresina, in spite of her duties as a mother, took on sewing piecework to add to the family coffers. Her third child, Salvatore was born in 1895. Her fourth son and the first to be born and conceived in the New World was born January 17, 1899. His name was Alphonse Capone. A block from Al's home was the parish church, St Michael's, where the Reverend Garofalo baptized him several months after his birth. At the age of five in 1904, he went to Public School 7 on Adams Street. Educational prospects for Italian children were very poor. The school system was deeply prejudiced against them and did little to encourage any interest in higher education, while the immigrant parents expected their children to leave school as soon as they were old enough to work. Al did quite well in school until the sixth grade when his steady record of B’s declined rapidly.

Pocahontas: A Great American Myth Essay -- Native Americans History Es

Pocahontas: A Great American Myth John Smith's tales of the Indian princess, Pocahontas, have, over time, encouraged the evolution of a great American myth. According to this myth, which is common knowledge to most Americans, Pocahontas saved Smith from being killed by her father and his warriors and then fell in love with John Smith. Some versions of the myth popular among Americans include the marriage of Smith and Pocahontas. Although no one can be sure of exactly what happened almost four-hundred years ago, most historians agree that the myth is incorrect. Pocahontas did not save John Smith's life from "savages" and never showed any affection for him. The events of her life differ greatly from the myth Americans have created. Historians, such as Nancy Egloff, of the Jamestown settlement, believe Smith created the story of his attempted murder to gain fame (Vincent 1). Our sole evidence that Pocahontas saved Smith's life comes from his story in The General History of Virginia, New England, and the Summer Isles (1624), but this may not be a reliable source. According to Smith, he was captured by Indians, taken to their chief, Powhatan, and was to be killed, but Pocahontas, Powhatan's daughter, saved his life (111). John Smith was captured by the Indians, but whether he was to be killed by them in the ceremony which he describes in The General History of Virginia is not certain. Smith describes a scene where all of the Indians gather around him, place his head on a stone, and Pocahontas lays her head on top of his to save him from being clubbed to death (111). Historians believe that this was not an attempt to "beat out his brains," as Smith describes (111), but rather an adoption ceremony. The Indians merely welcomed Smith into the tribe, for after the ceremony, Chief Powhatan named him his son, which Smith also describes in his General History, but attributes his acceptance to Pocahontas' love for Englishmen. This ceremony was actually a traditional ritual of the tribe, and Pocahontas played a designated role in that ritual (Chief Crazy Horse). She accepted Smith as her brother in the ritual, while Smith believed she saved his life from ruthless savages. Smith may have misinterpreted an Indian ritual, or he may have romanticized the story to gain fame, which many believe was typical of him. Some believe Smith's captivity may never have occurred... ...ey's further dramatization of the myth: It is unfortunate that this sad story, which Euro-Americans should find embarrassing, Disney makes "entertainment" and perpetuates a dishonest and self-serving myth at the expense of the Powhatan Nation. (3) Perhaps we, as Americans, enjoy this romantic tale of Indians and Europeans, our ancestors, uniting. We therefore continue to relay this obstruction of the truth from generation to generation, until the truth is no longer recognizable. Works Cited "Pocahontas." Association for the Preservation of Virginia Antiquities. Online. Internet. January 24, 1998. Available at http: //www.apva.org /history/ pocahont.html. "John Smith." The Norton Anthology of American Literature. Baym, Nina et. all. 4th ed. Vol. 1. New York: Norton, 1994. 111. Chief Roy Crazy Horse. "Pocahontas Myth." Powhatan Nation. Online. Internet. January 24, 1998. Available http://www.powhatan.org/pocc.html. "Pocahontas." Columbia Concise Encyclopedia: Microsoft Bookshelf. Microsoft Corporation: 1993. 1. Vincent, Mal. "Preview: the historical Pocahontas." Online. Internet. 24 Jan. 1998. Available http://www.pilotonline.com/movies/mv0620his.html

Environment in a Montessori School Essay

Young children like to explore experiment, tinker and try new things. They like to touch and feel and manipulate objects. They feed their minds through activities. They learn through their senses to satisfy their insatiable appetite for things to do. The first of the child’s organs to begin functioning are his senses. Dr. Maria Montessori based her method of teaching young children considering the fact that a child between two to six years passes through the ‘sensitive period for the refinement of senses’ and they can be helped in the development of the senses while they are in this formative period. In order to serve this purpose Dr. Maria Montessori introduced a subject called ‘Sensorial’ where the materials are specially designed to enable the children to use their senses to explore different attributes of the world. â€Å"it is necessary to begin the education of senses in the formative period, if we wish to perfect these sense development with the education which is to follow† (Maria Montessori, The Montessori Method, page 221) Montessori classrooms provide a prepared environment where children are free to respond to their natural tendency to work. The prepared environment offers the essential elements for optimal development. The key components comprise the children, teacher and physical surroundings including the specifically designed Montessori educational material. All of the materials in the Montessori classroom have been specifically designed to attract the interest of the student, while at the same time teaching an important concept. The purpose of each material is to isolate a certain concept the child is bound to discover. Montessori believed that â€Å"what the hand does, the mind remembers†. The materials are simple, direct and are easy to understand. Children use these materials in spontaneous exercises. The sensorial materials are concrete bits of information which can be organized into meaningful patterns. The didactic nature of the material gives the children hands on experience with all concepts, taught. Human senses can perceive nine qualities in an object: Shape, Colour, Texture, Sound, Smell, Taste, Temperature, Weight and Size. Montessori materials are made to isolate each of these qualities in order to individually perfect the senses that identify them. Hence, a child who is subjected to these materials are refining, exercising and sensitizing all five basic senses; visual sense, tactile sense, auditory sense, gustatory sense, olfactory sense and also the additional senses; baric sense (sense of weight), thermic sense (sense of temperature) and stereo gnostic sense (sense of shape and size of an object by feeling it with hands). For example: a child using his tactile and visual sense explores different dimensions of an object i.e. height, diameter etc. in the presentations like Knobbed cylinders, Pink tower, Brown stairs and so on. He explores different intensities of colours using his visual sense in Colour boxes. His auditory sense is enhanced while exploring different intensities of sound; loud and soft in Sound boxer while he can differentiate between tow textures; rough and smooth using his tactile sense in Touch boards. In Baric tablets, he gets a clearer perception of weight – light or heavy using his baric sense and so on. â€Å"A tower of blocks will present to the child only a variation of size from block to block- not a variation in size, colour, design and noises†¦Ã¢â‚¬ (P.P. Liliard, Montessori A modern Approach, Page 62) Though the idea of didactic materials is taken from Seguin, Dr. Montessori modified them based on her observations of the children. By Didactic materials we mean the materials which are self-corrective and by the process of trial and error a child can achieve the end result without much assistance from the. This is basically known as ‘Auto Education’. For example, when working with the sound cylinders, the child can check the bottom of the cylinders to see if the dots/numbers match. If they do, she knows she has matched them correctly. In the Montessori classroom the materials represent abstract ideas. The use of concrete materials to learn abstract concepts and operations is essential to the development of the child’s mind. The materials can be felt and manipulated so that the hand is always involved in the learning process. Later, as they master the concrete they begin to move to the abstract, where the child begins to solve problems with paper and pencil while still working with the materials. â€Å"..The lessons are designed to enable the child to sort out and digest the large numbers of impressions he possesses, to assimilate additional ones through experience, and to stimulate and refine the child’s power of observation preliminary to acquiring judgment and understanding†( E.G. Hainstock, The Essential Montessori, page 92) The sensorial activities provide self-confidence, independence, concentration and memory which leads to more abstract learning. Since, the sensorial training introduces a child to work with all other Montessori materials, the sensorial materials become an important part of the prepared environment. For example, the touch boards provides the initial sensitivity to rough surfaces required for sand paper letters and the red rods provides the basis for number rods. In a Montessori classroom, The first thing which is given to a child is usually is the knobbed cylinders. This piece of material is entirely self-corrective, and needs no supervision. When it becomes easy for a child quickly to get all the cylinders into the right holes, he goes on to other exercises, One of the exercises which it is usual to offer him next is the construction of the Pink tower. Pacing the biggest at the bottom, the next biggest on that, and so on to the apex made by the smallest one- basically teaches the difference between big and small. The difference between long and short is taught by means of ten squared Red rods of equal thickness, but varying length, the shortest one being just one-tenth as long as the longest. The Long Stair is constructed by the child with these. Thickness and thinness are studied with the Broad stairs; ten solids, wooden bricks, all of the same length, but of varying thickness, the thinnest one being one-tenth as thick as the thickest. With these the child constructs the Broad Stairs. After the construction of the Long Stair and the Broad Stair, begins the training of the eye to discriminate between minute differences in shades, is carried on steadily in a series of exercises. After this, the child is usually ready for the exercises with different fabrics to develop his sense of touch, and for the first beginning of the exercises leading to language; especially the strips of sandpaper pasted upon smooth wood used to teach the difference between rough and smooth. At the same time with these exercises, begin the first ones with color which consist of matching spools of identical color, two by two. When these exercises of the tactile sense have been mastered, the child is allowed to attempt the more difficult undertaking of recognizing all the minute gradations between smooth and rough. After such initial exercises children move to more abstract exercises like geometric insets, where children are taught to trace along the geometric shape and inset before fitting it in; thus imprinting the muscular habit of tracing the shapes later used to introduce letters & numbers. â€Å"Dr. Montessori set out to produce abstract ideas in a concrete form. She took each main abstract idea necessary for the understanding of the curriculum and made a piece of sensorial material to help children understand† (Course manual 105, The five senses, page 3) The objective of Montessori is to develop the concept first. Montessori students use concrete hands-on learning materials that make abstract concepts more clear. Lessons and activities are introduced simply and concretely in the early years and are reintroduced several times during the following years at increasing degrees of abstraction and complexity. Concrete materials make concepts real, and thus easily internalized. Therefore, sensorial materials not only provide the refinement of sense but it actually prepares the child for many other subjects which the child encounters afterwards. By using concrete materials during the early, sensitive years, the Montessori child can learn the basic concepts of mathemati cs and language. Maria Montessori believed that all humans are born with a â€Å"mathematical mind†. From the beginning, the students are introduced to mathematical concepts in concrete form. This approach to math is logical, clear and extremely effective. It allows the students to internalize math skills by using concrete materials and progressing at their own pace toward abstract concepts; to help students understand and develop a solid foundation in mathematics. As most mathematical topics, Geometry too, relies on the concreteness of the materials. Traditionally, geometry is taught as an abstract series of rules, theorems, and propositions meant to be memorized by the student. Maria Montessori saw geometry as firmly rooted in reality. Her geometry curriculum uses concrete, sensorial experimentation that lead students to concepts through concrete research. The focus of the geometry work is not as dependent on the result as it is but the work the student has done to achieve the result. Hence, the sensorial materials offer an excellent way of introducing Geometry to a child at a very tender age by the presentations of Geometry Cabinet, Geometry Solids etc. in every presentation a child thinks logically or compares the materials with other to achieve the final goal. This actually sharpens the comparative study skills and logical thinking of a child. Additionally, almost all materials indirectly prepares a child for decimal system because most of the materials are ten in number. Sensorial materials also prepares a child for languages starting from introduction of letters to other aspects of language like adjectives, opposites, comparatives, superlatives and also new words by the three period name lesson given on each material. The presentation of drawing insets prepares a child to write while the knobs present in the materials being the thickness of a writing pencil prepares the hand for holding it. As all Montessori materials, sensorial materials continue to reflects the basic concepts of left to right & top to bottom, imprinting pattern in the child’s mind, for future reading and writing. The student works abstractly (paper and pencil) when he or she has internalized the pattern and no longer needs the Montessori material. Therefore to initiate a child into world of spontaneous education using his senses and his natural propensities sensorial materials provide a vital basis As montessorians, we need to understand how children move towards understanding concepts and how different ways of using the materials match children evolving conceptual development. Montessori designed her sensorial curriculum area considering these facts. The child who has worked with the sensorial materials has not only acquired a greater skill in the use of senses but also guides his exploration of the outside world. Since, â€Å"The education of senses makes men observers.† (Maria Montessori, The Montessori Method, page 228)

Soren Kierkegaard

Project: Soren Kierkegaard: Mega Mind of the 19th Century Soren Kierkegaard: Mega Mind of the 19th Century As a man whose work spans across areas such as philosophy, theology, devotional literature, and more, Soren Kierkegaard is considered one of the mega-minds of philosophy and the 19th century. He was influenced by many people throughout his life, as well as influencing many people himself. With works that ranged from religious views all the way to developing a â€Å"new† way to view our surroundings, Kierkegaard was a very well-rounded and mentally profound man. There were few people that could influence such a profound mind at the time, but Kierkegaard found them both in church as well as in the realm of philosophy. As a whole Kierkegaard lead a rather boring life and was rarely seen away from his hometown of Copenhagen, Denmark. â€Å"[Kierkegaard] was educated at a prestigious boys' school (Borgerdydskolen), then attended Copenhagen University where he studied philosophy and theology. His teachers at the university included F. C. Sibbern, Poul Martin Moller, and H. L. Martensen (McDonald, 1996). † Moller had a major negative effect on Kierkegaard’s philosophic-literary development. In H. L. Martensen, he found the perfect match, someone who taught him in school and was involved in the church as well. â€Å"†¦when [Martensen] became Bishop Primate of the Danish People’s Church, Kierkegaard published a vitriolic attack on Martensen’s theological views (McDonald, 1996). † Martensen was considered one of Kierkegaard’s chief intellectual rivals. Another very important figure in Kierkegaard's life was J. L. Heiberg, the doyen of Copenhagen's literati (McDonald, 1996). † Heiberg influenced Kierkegaard to write his first major publication, â€Å"†¦From the Papers of One Still Living, [which] is largely an attempt to articulate a Heibergian aesthetics – which is a modified version of Hegel's aesthetics (McDonald, 1996). † Another group of people/entities that profoundly influenced Ki erkegaard were his mother, his father, and God. His mother had no visible impact on Kierkegaard’s writing, but â€Å"†¦for a writer who places so much emphasis on indirect communication, and on the semiotics of invisibility, we should regard this absence as significant (McDonald, 1996). † There was even another philosopher named Johannes Climacus that stated â€Å"†¦ ‘in Concluding Unscientific Postscript  remarks, ‘†¦ how deceptive then, that an omnipresent being should be recognisable precisely by being invisible’ (McDonald, 1996). † His father’s influence has been noted quite frequently in Kierkegaard’s works. Not only did Kierkegaard inherit his father's melancholy, his sense of guilt and anxiety, and his pietistic emphasis on the dour aspects of Christian faith, but he also inherited his talents for philosophical argument and creative imagination (McDonald, 1996). Kierkegaard was a very religious man, even though he did not attend church on a regular basis. â€Å"He perceived God and existence of life from a humanistic view emphasizing the total autonomy of man (Philosopher Kierkegaard, 2011). As almost a lone man standing, Kierkegaard was in seclusion publishing his writings for most of his adult life, due to the atheism of fellow philosophers of his time. â€Å"[Kierkegaard’s] legacy was his belief that our response to God should be one of unrestrained passion toward our beloved (Philosopher Kierkegaard, 2011). † During his later years Kierkegaard felt that the Christian religion had become corrupt through secular and political involvement, so he started to attack Christ endom saying that the individual is fully responsible for their faith in God without doctrinal influence. The Christian ideal, according to Kierkegaard, is even more exacting since the totality of an individual's existence is the artefact on the basis of which s/he is judged by God for h/er eternal validity. Of course a writer's work is an important part of h/er existence, but for the purpose of judgment we should focus on the whole life not just on one part (McDonald, 1996) Kierkegaard influenced others as well with his works that were published and unpublished throughout his lifetime. Kierkegaard’s Christian philosophy may have been rejected by clergy, but he certainly influenced individual Christians who became enamored with his theology. Most notably are American theologians Paul Tillich and Lincoln Swain, and philosophers from Europe — Karl Jaspers, Gabriel Marcel, Miguel de Unamuno — and from Russia Nikolai Berdyaev (Philosopher Kierkegaard, 2011) Kierkegaard is known as one of the fathers of existentialism. Existentialists are characterized by: * They are obsessed with how to live one's life and believe that philosophical and psychological inquiry can help. They believe there are certain questions that everyone must deal with (if they are to take human life seriously), and that these are special — existential — questions. Questions such as death, the meaning of human existence, the place of God in human existence, the meaning of value, interpersonal relationship, the place of self-reflective conscious knowledge of one's self in existing. Note that the existentialists on this characterization don't pay much attention to â€Å"social† questions such as the politics of life and what â€Å"social† responsibility the society or state has. They focus almost exclusively on the individual. By and large Existentialists believe that life is very difficult and that it doesn't have an â€Å"objective† or universally known value, but that the individual must create value by affirming it and living it, not by talking about it. Existential choices and values are primarily demonstrated in ACT not in words. Given that one is focusing on individual existence and the â€Å"existential† struggles (that is, in making decisions that are meaningful in everyday life), they often find that literary characterizations rather than more abstract philosophical thinking, are the best ways to elucidate existential struggles. They tend to take freedom of the will, the human power to do or not do, as absolutely obvious. Now and again there are arguments for free will in Existentialist literature, but even in these arguments, one gets the distinct sense that the arguments are not for themselves, but for â€Å"outsiders. † Inside the movement, free will is axiomatic, it is intuitively obvious, it is the backdrop of all else that goes on. There are certainly exceptions to each of these things, but this is sort of a placing of the existentialist-like positions. Corbett, 1985) Kierkegaard contributed to this movement with his works due to the influence of his father and others that are previously mentioned, with a melancholy typed self actualization mind set. Kierkegaard did not believe that everyone on earth had the same plan for life, or that they were all here for the same reason, in fact he believed the exact opposite, all people on earth have a different life path, whether that be Christianity or at heism, â€Å"plumber or surgeon†, smart or dumb, he believed that the individual has the power to fulfill whatever destiny they please. One xistential quote found was posted by an anonymous user stated, there is no luck, no fate, no ultimate plan in life, there is just determination†¦100% determination to succeed and make something of yourself. As one of the founding fathers of existentialism and a great mind of his time Soren Kierkegaard is now remembered as a mega-mind of the 19th century. With influences galore and a self actualizing personality, he formed a great reputation for himself. Maybe not recognized in his time, Soren Kierkegaard is by far one of the most influential philosophers of the modern world. References Corbett, B. (1985, March). What is Existentialism? Retrieved November 10, 2011, from Webster. edu website: http://www. webster. edu/? ~corbetre/? philosophy/? existentialism/? whatis. html McDonald, W. (1996, December 3). 1. Kierkegaard’s Life. In Soren Kierkegaard. Retrieved November 10, 2011, from Stanford Encyclopedia of Philosophy website: http://plato. stanford. edu/? entries/? kierkegaard/? #Chron Philosopher Kierkegaard. (2011). Retrieved November 10, 2011, from AllAboutPhilosophy. org website: http://www. allaboutphilosophy. org/? philosopher-kierkegaard-faq. htm

The study as an Undergraduate Student at Brooks Institute Essay

The study as an Undergraduate Student at Brooks Institute - Essay Example During the three-year journey of professional photography at Brooks Institute, I felt myself to be growing from an amateur photographer who shots everything he sees, to an advertising-oriented photographer who now has a clear focus on still-life and product photography. The credit for this goes to the great instructors at the Brooks Institute. With their guidance, I produced a body of work that can proudly be presented in the graduation review panel. In summer 2014, I was thrilled to get an opportunity of working as an intern with Bill Cahill (a top-class product photographer in Los Angeles, California) to get a hands-on experience in the advertising industry. I was of the view that everything will turn out to be perfectly fine after I graduate in August. At this point, however, I met Norman Maslovs; a successful businessman who represents numerous world’s leading photographers. Norman’s assertion was that photographers, who have a collection of fine-art work, always draw more attention of the art buyers and agencies than the ones who only work in the commercial sector. Norman’s words broadened my vision of the photographic world and I was convinced that a blend of commercial and fine art photography would give me a spark in the industry. I came to the conclusion that fine art together with my commercial photography background would lead me to a better photography career in the long run. Consequently, keeping in view Norman’s advice I decided to pursue my study further to earn a graduate degree in Fine Art related Photography. During my affiliation with the Brooks Institute, I have always been profoundly interested in works of arts that were made by master students of fine arts. I feel that that photograph of a dead chicken lying in a wooden box (The Recipe Can Change, by Hugo Martinez) or a shattered ambrotype of a railway (Disconnected, by Cyndi Di Micco) are both amazing to look at. Having figured out the meaning behind such pieces of arts, my desire to appreciate such artworks has always increased.  

Instrument History Report ( Strings ) Essay Example | Topics and Well Written Essays - 750 words

Instrument History Report ( Strings ) - Essay Example Different tones or pitches can be achieved with varying thickness and tightness of the strings, as well as with changing lengths. A string instrument may have strings already of various lengths played separately or in combinations, such as with harps and zithers. They can also have strings of the same length that are varied by pressing them against the instrument’s body, such as with lutes and lyres. Stringed musical instruments are said to have existed way back in 3500 BC with lyres and harps made by the Sumerians in Mesopotamia, and the harps of 3000 BC in the Old Empires of Egypt. But even before that time, the early civilizations in Africa and South America already developed the musical bow. Some say that it was made from the hunter’s bow and arrow, but others suggest that the bow and arrow evolved from the musical bow. In any case, the resemblance between the two seems to indicate that they are in a way related. From this simple single-stringed instrument, it is believed that the first harps were made. In form, these first harps were very similar to a simple bow in that a string is attached from one end of a bent piece of wood to another. However, unlike the musical bow, more strings have been added to produce a variety of tones in the harp. These harps were found in ancient Egypt and Mesopotamia as early as 3000 BC. Harps were later adopted by the early Christian Church as one of the appropriate musical instruments. During these times, very few instruments were acceptable as most of them were considered tools of the devil. The harp also plays a significant role in European nations where it has evolved through the Medieval age and the Renaissance into the harps we know today. In fact, quite a number of early cultures in Europe had harps in their myths and legends. In Ireland, the harp has become the national instrument because of its Celtic heritage. Similar to the harp, the lyre is another string instrument deeply rooted in

Impact of Fatigue Associated with Long Hours as it Relates to Patient Article

Impact of Fatigue Associated with Long Hours as it Relates to Patient Safety - Article Example Thus, while fatigue derives from a number of causes, there is one aspect of fatigue that is highly dangerous to the performance of nurses. The fatigue derived from extended working shifts for nurses, coupled with deprivation of enough sleep results to a state of body where the nurses can neither function effectively physically nor apply the cognitive function of the mind efficiently. Studies have indicated that within the last century, the average sleep duration for working days has changed, from 9 hours in 1910, to 6 hours in 2002 (Rogers, 2008). Thus, while the actual sleeping duration for healthy adults has not yet been determined, the effects of extended period of work, coupled with lack of adequate sleep has been extensively documented. The well defined adverse effects of sleep deprivation that is coupled with extended long period of work include reduced motivation and mood alterations, physiological problems and cognitive problems, which then translates to poor job performance and high safety risks (Shen, Barbera & Shapiro, 2006). Other adverse effects of extended working shifts and deprivation of sleep are irritability, stress and depression, which in turn affect the interpersonal communication and interaction between the individuals involved and other parties. In this respect therefore, fatigue that arises either from extended shifts for the nurses, resulting to their overworking, or the fatigue that results from deprivation of adequate sleep, has the potential of affecting the nurses in two major ways. First, such fatigue is likely to result to irritation and mood changes, which means that the nurses will address and interact with patients in a less productive manner, or even in a more negative manner, resulting to the patients being dissatisfied with the nurses’ services (Rogers, 2008). Secondly, fatigue is likely to cause the