Process Redesign for Health Care Using Lean Thinking is a response to a simple, but hard to answer, question and is the result of the experiences of a working doctor who was also the chief safety and quality officer of an Australian teaching hospital. At this hospital, he observed that the Emergency Department was staff by talented, well-trained, and respected doctors and nurses. The facilities were modern, and the work load unexceptional, but the department was close to melt down. Bad things were happening to patients, everyone was blaming each other, lots of things had been tried but nothing was getting better and no one could explain why. The problem was not a lack of technical knowledge or expertise, the problem was that no one stood back and said, "what’s the best way to move 200 or 300 patients a day through the complicated and varying, sequence of steps needed to sort out the many different problems that bring patients to our department?" These challenges are faced by hospitals and health services all over the world. There are difficulties with patient flow, congestion, queues, inefficient utilization of resources, problems engaging clinical staff in improvement programs, adverse incidents, and budget constraints. Lean thinking and value stream analysis gives hospitals and health services struggling with these issues the insights they need to help themselves. This book provides a method that systematically turns those insights into working programs of service and system redesign. The book is divided into two sections. The first section gives the background to the approach, and systematically works through the Process Redesign methodology, step-by-step. The second section is a series of case studies that show the methodology in action, what worked and what didn’t work. The goal of any process redesign is simple: the right care, for the right person, at the right time, in the right place, and right the first time. This book helps the people who work in hospitals and health services realize these goals by working together.
Of all the characters bequeathed to us by the Hebrew Bible, none is more compelling or complex than David. Divinely blessed, musically gifted, brave, and eloquent, David's famous slaying of Goliath also confirms that he is a redoubtable man of war. Yet, when his son Absalom rebels, David is dogged by the accusation than he will lose his kingdom because he is not merely a man of war, but a man of 'bloods' - guilty of shedding innocent blood. In this book, for the first time, this language of 'innocent blood' and 'bloodguilt' is traced throughout David's story in the books of Samuel and 1 Kings. The theme emerges initially in Saul's pursuit of David and resurfaces regularly as David rises and men like Nabal, Saul, Ishbosheth, and Abner fall. Innocent blood and bloodguilt also turn out to be central to David's reign. This is seen in a surprising way in David's killing of Uriah, but also in the subsequent deaths of his sons, Amnon and Absalom, his general, Amasa, and even in David's encounters with Shimei. The problem rears its head again when the innocent blood of the Gibeonites shed by Saul comes back to haunt David's kingdom. Finally, the problem reappears when Solomon succeeds David and orchestrates the executions of Joab and Shimei, and the exile of Abiathar. Attending carefully to the text and drawing extensively on previous biblical scholarship, David J. Shepherd suggests that innocent blood is not only a pre-eminent concern of David, and his story in Samuel and 1 Kings, but also shapes the entirety of David's history.
Of all the figures in the Bible, David arguably stands out as the most perplexing and enigmatic. He was many things: a warrior who subdued Goliath and the Philistines; a king who united a nation; a poet who created beautiful, sensitive verse; a loyal servant of God who proposed the great Temple and founded the Messianic line; a schemer, deceiver, and adulterer who freely indulged his very human appetites. David Wolpe, whom Newsweek called “the most influential rabbi in America,” takes a fresh look at biblical David in an attempt to find coherence in his seemingly contradictory actions and impulses. The author questions why David holds such an exalted place in history and legend, and then proceeds to unravel his complex character based on information found in the book of Samuel and later literature. What emerges is a fascinating portrait of an exceptional human being who, despite his many flaws, was truly beloved by God.
Of all the characters bequeathed to us by the Hebrew Bible, none is more compelling or complex than David. Divinely blessed, musically gifted, brave, and eloquent, David's famous slaying of Goliath also confirms that he is a redoubtable man of war. Yet, when his son Absalom rebels, David is dogged by the accusation than he will lose his kingdom because he is not merely a man of war, but a man of 'bloods' - guilty of shedding innocent blood. In this book, for the first time, this language of 'innocent blood' and 'bloodguilt' is traced throughout David's story in the books of Samuel and 1 Kings. The theme emerges initially in Saul's pursuit of David and resurfaces regularly as David rises and men like Nabal, Saul, Ishbosheth, and Abner fall. Innocent blood and bloodguilt also turn out to be central to David's reign. This is seen in a surprising way in David's killing of Uriah, but also in the subsequent deaths of his sons, Amnon and Absalom, his general, Amasa, and even in David's encounters with Shimei. The problem rears its head again when the innocent blood of the Gibeonites shed by Saul comes back to haunt David's kingdom. Finally, the problem reappears when Solomon succeeds David and orchestrates the executions of Joab and Shimei, and the exile of Abiathar. Attending carefully to the text and drawing extensively on previous biblical scholarship, David J. Shepherd suggests that innocent blood is not only a pre-eminent concern of David, and his story in Samuel and 1 Kings, but also shapes the entirety of David's history.
David, The Man of the Heart is a book of essays exploring the impact and implications of the character of King David as revealed through a study of key Psalms. This book is not a chronological biography, but rather an exploration of King David's life as a type of Christ as the Shepherd, the Soldier, the Sovereign, the Sinner, and the Singer. At the same time, the reader is introduced to valuable guidelines to a study of the Psalms.
David Darshan of Cracow was the first of the itinerant Jewish preachers whose works were published. He was a Renaissance man in a very real sense. Preacher, scholar, artist, healer, scribe, mystic, editor, commentator, and bibliophile (and father of five daughters), he tried in vain to establish an academy but failed because he was on the wrong side of the establishment. He was involved in the reintroduction of the printing of Hebrew books in Poland in 1569. He wrote a commentary on the Jerusalem Talmud, as well as a spirited defense of preaching and the preacher's art, and copied and illustrated a magnificent Kabbalistic manuscript. He wandered through Germany, Bohemia, and Russia; spent time in Italy during the period of the printing of the Zohar and the banning of the Talmud; served as scholar-in-residence at the home of a wealthy Jewish banking family; returned to Cracow to become the town darshan; and set out for Safed to join the community of Kabbalists and await the Messiah. This account of his background and translation of two almost forgotten books, Shir haMa'a lot l'David and Ktav Hitnazzelut l'Darshanim - a collection of sermons, response, poems, model letters to distinguished persons, efforts to fund an academy, a sourcebook for would-be preachers, and a defense of the craft - lifts the curtain on the inner life of the Jewish world in the late Middle Ages. The reproduction of the Hebrew texts of two books that have all but disappeared places a valuable resource in the hands of scholars. The cover illustration for the volume is by David Darshan and appears in the manuscript of Perush hYeri'ah haG'dolah, a commentary on the Ten Spheres, which he copied, illustrated, and signed in Modena in 1556. It depicts Rabbi Akiva, surrounded by the four creatures of Ezekiel's chariot vision, standing between the sketch of the universe and the spherotic tree. The manuscript is evidence of David's skill as scribe and artist.
“David, Did You Know?” by David Edward Keesey David Edward Keesey acknowledged God’s presence early in his life, having received Jesus Christ in his life as his Lord and Savior at the age of twelve. At a later age, he learned of the significance of the Power of the Holy Spirit, His guidance, and His direction when surrendering David’s will to His. Join David on his spiritual journey in “David, Did You Know?”
This is the story of King David as I would tell it to my grandchildren. I collected the events in David's life from Samuel, Kings, and Chronicles, and tell them in an order that creates a continuous story.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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