Integrated Severe Accident Codes

Integrated Severe Accident Codes Advanced safety evaluations and design optimizations that were not possible few years ago can now be performed. Nowadays, it becomes possible to switch to new generation of computational tools in order to get better realistic simulations of complex phenomena and transients. The challenge today is to revisit safety features of the existing research reactors in order to verify that the safety requirements still met and when necessary to introduce some amendments, coming from not only the new requirements but also, in order to introduce new equipments from recent advancement of new technologies. The objective of this work is to give an overview of the state of the art in performing safety analysis of research reactors and to emphasize the need and the provision to achieve such goals. An attempt to perform standardized safety analyses for RR was proposed by the International Atomic Energy Agency e IAEA. In the framework of core conversion from the use of highly enriched uranium fuel to the use of low enriched uranium fuel. In this regard, a safety related benchmark problem for an idealized generic 10 MW MTR light-water pool-type reactor was specified in order to compare computational methods used in various research centers and institutions. The related benchmark problem covers large steady state kinetic and thermal-hydraulic calculations and wide range of hypothetical dynamic transient conditions. However, almost all of the safety analyses have so far been performed using conservative computational tools. Nowadays, an established international expertise in relation to computational tools, procedures for their application, including best estimate methods supported by uncertainty evaluation, and comprehensive experimental database exists within the safety technology of Nuclear Power Plants (NPP). The importance of transferring NPP safety technology tools and methods to RR safety technology has been noted in recent IAEA activities. However, the ranges of parameters of interest to RR are different from those for NPP. This is namely true for fuel composition, system pressure, adopted materials and overall system geometric configuration. The large variety of research reactors prevented so far the achievement of systematic and detailed lists of initiating events based upon qualified PSA (Probabilistic Safety Assessment) studies with results endorsed by the international community. However, bounding and generalized lists of events are available from IAEA documents and can be considered for de eper studies in the area. In the area of acceptance criteria, established standards accepted by the international community are available. Therefore no major effort is needed, but an effort appears worthwhile to check that those standards are adopted and that the related thresholds are fulfilled. The importance of suitable experimental validation is recognized. A large amount of data exists as the kinetic dynamic core behavior form SPERT reactors tests. However, not all data are accessible to all institutions and the relationship between the range of parameters of experiments and the range of parameters relevant to RR technology is not always established. However, code-assessment through relevant set of experimental data is recorded and properly stored. An established technology exists for development, qualification and application of system thermal-hydraulics codes suitable to be adopted for accident analysis in research reactors. This derives from NPP technology. The applicability of system codes like RELAP5, COBRA and MARS to the research reactor needs has been confirmed from recent IAEA activities. Definitely, system codes are mature for application to transient analysis in research reactors. However, code limitations have been found in predicting pressure drops as a function of mass flux at low values of mass flux when nucleate boiling occurs. The importance of the Whittle and Forgan experiments shall be mentioned, as well as the dependence of results from the noding (cell subdivision) adopted by the code users. Several code user choices, including time step may have a significant effect upon prediction, thus confirming the need for detailed code user guidelines. Furthermore, code validation must be demonstrated for the range of parameters of interest to research reactors. The crucial role of uncertainty in research reactor technology has been emphasized, (a) for the design, with main reference to the prediction of the nominal steady state conditions and, (b) for the safety issues, with main reference to the prediction of the time evolution of significant safety parameters. It has been observed that suitable-mature methods exist, but the spread of these methods and procedures within the community of scientists working in research reactor technology is limited. Therefore, the purpose of the present report is to provide an overview of the accident analysis technology applied to the research reactor, with emphasis given to the capabilities and limits of the used computational tools. There are many analysis codes for transient and accident analysis and simulating individual phenomena of severe accident. These analysis codes can be categorized into the different groups as shown in Table 1, where various analysis codes are classified into several groups. The integrated severe accident codes are formed by selecting and combining individual analysis tools. They can be used to model the whole sequence of the severe accident which may occur in the plant system or in the experimental facilities.

Drama Essay Essay

â€Å"Drama and theatre in their content and style reflect the society from which they spring† – To what extent is this true of contemporary Australian theatre practice? Theatre is a direct reflection of life and society. Any script is written, including their themes and genre, in the attempt to draw on and display our surrounding world to ultimately impact audiences. Our unit of drama including Matt Cameron’s Ruby Moon and Jane Harrison’s Stolen does exactly this, but more specifically reflects on contemporary Australian culture and events. This combined with our experiential learning proved that theatre indeed is a mirror to society. Ruby Moon’s depiction of suburbia and its â€Å"dark underbelly that lurks beneath an idyllic, picture-perfect veneer† serves as the main content of the play and a powerful comment on Australian society. Growing up in suburban Melbourne, playwright Matt Cameron reflects his childhood experiences through contemporary theatre. This involves an abandonment of genre classification through a deliberate pastiche of styles, creating dramatic tension and stimulating audience. Non-realism, the fractured fairy tale, absurdism, horror, gothic, crime, humour, vaudeville and surrealism all combine to create ambiguity and therefore unpredictable tension. In addition, Ruby Moon is typically non-realist and non-traditional, and this ambiguity is evident in the unresolved ending of Ruby’s existence; â€Å"was there a child, Ray?†¦or are we just having the same nightmare?† Leaving the audience with more questions than answers opts out of the traditional resolution and rather mirrors the confronting complexities of contemporary Australian society, we are not the â€Å"lucky† or â€Å"perfect† country, rather as Cameron quotes; â€Å"a picture-perfect veneer†, a paradox that the seemingly suburban proximity that defines Australia does not equal â€Å"intimacy, fraternity, community†. This is especially evident through experiential learning, the pair undertaking the final scenes tended towards Realism and believable Stanislavsky styled acting, which for audiences, conflicted against Cameron’s covert intent of ambiguity. However, the opening scenes  performed in our class took the opposite approach; Brechtian in style, especially in the â€Å"stripped back† manner of set; two chairs were the only props used, and alienation of audience through lighting and variation in pace and volume. Supporting this was the mixture of styles between heightened realism and absurdism contrasted within character – Ray was played as the ‘straight man’, realist and serious in nature, responding and contrasting to Dulcie’s eccentric, loud and absurdist representation. This only heightens her unpredictability, presenting the pastiche of genre and style through character and the ambiguity beneath the suburban faà §ade. Lighting again featured as a major theatre technique in my own performance of Ruby Moon. To consolidate for the harsh white lights of our theatre space, we made the choice to turn off ‘house lights’; using darkness and a warm-yellow glow lamp. This provided a non-realist, eerie and uneasy atmosphere, with up-lighting on our faces; a stereotypical â€Å"horror† visual to highlight the multi-facets of our character’s personas and emphasis on the sinister undertones in the surrounding darkness. The intimidating atmosphere heightened the intimacy of the actor-audience relationship as viewers themselves were enveloped in darkness and focus drawn to the only light source on stage. This also presented Brecht’s alienation technique through uncertainty and discomfort instilled into the perception of the fear of the unknown within darkness. This certainly juxtaposes the idyllic and conventional nature of suburbia; lights always on inside; inviting and nothing to hide, reflecting Cameron’s ideals of theatre and Australian society; â€Å"that is the ingenious deceit of suburbia†¦it is as much about the surrounding darkness as it is about the light.† Stolen, whilst still in the realm of contemporary Australian theatre and non-realism, differs in its theatrical content, style and reflection of society. The theatre piece reflects a vital part in both our past and present Australian society; that of the Stolen Generation, dramatising the fear, agony and ongoing aftermath even in contemporary times. The style is far more overt than Cameron’s world of deceit; Harrison stresses the themes of identity, culture, hope and emotions of this event in a post-modern, extensive mix of performance styles and a non-linear narrative structure. This episodic sequence allows for a merging of past and present, and was carried through in our own experiential  learning. When witnessing the performances of Stolen, it is clear the focus both groups put on emotion, non-linear structure and effective use of props to convey style and content. For example, the use of a white sheet and spotlight to create silhouettes for storytelling was a powerful motif and use of a theatrical prop to not only portray the non-realist and narrative style of Stolen, but to enhance the content of family and fear. Dual scenes were simultaneously presented; one in dialogue, and the other in silhouetted visuals that emphasised and emotionalised the horrors of our Australian past. As Harrison quotes; â€Å"What I wanted was to make an emotional connection†¦I want them to think ‘that happened to people. How would I feel?† The play also incorporates elements of Brecht’s ‘breaking of the fourth wall’ and Realism in both the scripted and our class performance of the final scene. As the original script’s stage directions dictate; â€Å"they line up diagonally†¦just like in the first scene. Then the actors break out of their roles and talk in turn about their own experiences.† The original production in 1998 did just this in relation to indigenous actors and their role in the stolen generation. However, for our class performance, students emulated the directions through their experiences in workshopping, characters, researching and performing Stolen. This simple, stripped back and realist Brechtian ending was the perfect theatrical technique and choice to reflect the plays content and importance of personal connection and emotion, adding and a contemporary spin on Australian theatre. As an audience member, it was incredibly powerful hearing actors talk unscripted and bring a true sense of realism and conviction when recounting their own experience; strengthening the actor-audience relationship through understanding and empathy. One can only imagine the immense power of individuals exposed to the stolen generation and Australia’s dark past, and their re-telling of stories as actors on stage in Stolen. Witnessing our class performances, it was clear Harrison’s intent of emotional connection with the audience and an empowered empathy towards the story and our own traditional and contemporary society. Theatre is simply a mirror to our society; a reflection of our past wrongs and future endeavours with the aim of social comment and audience engagement. Both Cameron’s ‘Ruby Moon’ and Harrison’s ‘Stolen’ address  contemporary Australian society content: whether it is the warped world of suburbia or our country’s mistakes, both employ dramatic and theatrical techniques and style to reflect this and strengthen the actor-audience relationship. As Matt Cameron quotes, â€Å"theatre exists in the imagination of the beholder†¦it is not necessarily about the black hat. It is about the blind man in the dark room looking for it.†

Learning from the patient

The healthcare profession involves augmentation of a patient’s condition through therapeutic intervention.   The shared moment between a healthcare worker and a patient who is unbearably suffering by himself provides guidance for proper course of action, often resulting in greater patient satisfaction and healing potentialities (Gooden et al., 2001).   During this interaction, the healthcare professional establishes his presence by using a human care transaction mind-body-soul with another’s mind-body-soul in a lived moment. Presence has been defined as a relational style within healthcare professional interactions that involves being with, as well as doing with.   The core of this interaction is to learn and understand the circumstances of the situation and to direct the course of action to achieve the desired outcome of healing and recuperation in the part of the patient (Rachagan and Sharon, 2003; Hagihara A and Tarumi K, 2006).   In addition, the focused shared moments with the patient and his family teaches the healthcare professional to identify the key turning point necessary for patient’s healing process (Gore and Ogden, 1998; Street et al., 2003). The professional learns the needs of his patient by being fully present and consciously relating to his whole being, enabling the professional to use aesthetic ways of discovering the obstructions in the hidden pathways preventing the healing process (Murphy DD and Lam CL, 2002).   The healthcare professional plays a major role as a therapeutic agent by getting deeply involved with the situation using his inner energy of caring, being open and listening with solid awareness, and developing and sustaining a helping-trusting, authentic caring relationship (Ornstein, 1977; Heszen-Klemens and Lapinska E, 1984; Berry, 2007). Healthcare guidelines highlight that every healthcare professional is accountable for his decision and action and for maintaining competencies in every day of practice. This strong foundation requires that all nurses provide a therapeutic professional-patient relationship and provide care to patients under the scope of practice according to their needs, which will in turn, lead to significant outcomes (Clark, 2002).   Healthcare workers use different types of presence in order to learn from their patient, in order a therapeutic relationship and mutual understanding under any circumstance. References Berry PA (2007):   The absence of sadness: darker reflections on the doctor-patient relationship.   J. Med. Ethics 33(5):266-8. Clark PA (2002):   Confidentiality and the physician-patient relationship — ethical reflections from a surgical waiting room.   Med. Sci. Monit. 8(11):SR31-4. Gooden BR, Smith MJ, Tattersall SJ and Stockler MR (2001):   Hospitalised patients' views on doctors and white coats.   Med. J. Aust. 175(4):219-22. Gore J and Ogden J (1998):   Developing, validating and consolidating the doctor-patient relationship: the patients' views of a dynamic process.   Br. J. Gen. Pract. 48(432):1391-4. Hagihara A and Tarumi K (2006):   Doctor and patient perceptions of the level of doctor explanation and quality of patient-doctor communication.   Scand. J. Caring Sci. 20(2):143-50. Heszen-Klemens I and Lapinska E (1984):   Doctor-patient interaction, patients' health behavior and effects of treatment.   Soc. Sci. Med. 19(1):9-18. Murphy DD and Lam CL (2002):   Functional needs: agreement between perception of rural patients and health professionals in China.   Occup. Ther. Int. 9(2):91-110. Ornstein PH (1977):   The family physician as a â€Å"therapeutic instrument†.   J. Fam. Pract. 4(4):659-61. Rachagan SS and Sharon K (2003):   The patient's view.   Med J Malaysia. 58 Suppl A:86-101. Street RL Jr, Krupat E, Bell RA, Kravitz RL and Haidet P (2003):   Beliefs about control in the physician-patient relationship: effect on communication in medical encounters.   J. Gen. Intern. Med. 18(8):609-16.

Definition of Adolescent Development - 14200 Words

Definition of Adolescent development: The development of children ages 12 through 19 years old is expected to include predictable physical and mental milestones. Introduction Derived from the Latin verb adolescere (to grow into maturity), adolescence is the period of transition from childhood to adulthood. Adolescent is a distinct and dynamic phase of development in the life of an individual. It is a period of transition from childhood to adulthood and is characterized by spurts of physical, mental, emotional and social development. WHO considers adolescence to be the period between 10-19 years of age, which generally encompasses the time from the onset of puberty of the full legal age. Information: During adolescence, children†¦show more content†¦Simultaneously, he is faced with great challenges on account of his rapid physical growth, soaring as well as falling ideals, and his search for identity as he is neither a child nor an adult, his growing sexual desires, heightened emotions and lack of appropriate opportunities to channelise his enormous energy. All these issues together make adolescence a stage of â€Å"stress and storm†. The formula ‘no longer a child-not yet an adult’ vividly expresses the transitional character of adolescent life. It is a state in which the person has already broken with the happy age of childhood, but has not yet found himself in adult life. That is why the adolescent’s mind is confused. The age of adolescence is marked by psychological manifestations that have caused it to be described as â€Å"an age of crisis and transition†. An adolescent is faced with several alternatives on account of his ‘conflicts and dilemmas’. ‘To do or not to do’ attitude creates several problems. An adolescent’s notion of ‘knowing it all’ makes him confront several difficulties. Adolescence is one of the most fascinating and perhaps most complex stage of life, its breathtaking pace of growth and change second only to that of infancy. Physically, children go from being small and compact one day to being all legs and arms the next. They mature sexually. They also develop the capacity to reason in more abstract ways, explore the concepts of right and wrong, develop hypotheses andShow MoreRelatedDefinition of Adolescent Development14194 Words   |  57 PagesDefinition of Adolescent development: The development of children ages 12 through 19 years old is expected to include predictable physical and mental milestones. 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