Pre-lab chapter 1 | Human Resource Management homework help


Student’s Name

Date Due

Complete the subjoined questions former to the lab class.

1.    Define:

Kinesiology:

 

Biomechanics:

 

Kinetics:

 

Kinematics:

 

2. The basic understandledge needed to determine the duty of a muscle includes:

 

 

 

 

3.    Fill in the subjoined board by:

A.   Listing characteristics that can be observed occasion examining a individual

B.   Identifying which sensory modality is used to touch the characteristic

Characteristics

Sensory Modality

Example: Pedestal punch occasion trudgeing

Auditory and visual

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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4.    Label Figures 1-1 and 1-2 as either poor lasting or indispensefficacious lasting.

Figure 1-1

Figure 1-2

5.    When viewing Figure 1-1, you are observing the individual’s (anterior/ventral or later/dorsal) manner.

 

6.    When considered concertedly, the fit arm and leg can be referred to as (contraparallel or ipsilateral).

 

7.    Using Figure 1-1 and the pictorial conditions listed under, explain the subsidence of the subjoined substantiality fractions. Conditions may be used past than uniformly.

Medial Superior Proximal Superficial Anterior
Lateral Inferior   Distal      Deep        Posterior

A.   Tibia: The ___________________ scourge of the inferior leg

B.   Fibula: The ___________________ scourge of the inferior leg

C.   Ribs in homogeneity to the scapula: ___________

D.   The flexure articulation is at which end of the humerus? _______________________________

E.   The brachialis muscle lies underneath the biceps; hence, it is ______________ to the biceps.

F.   The crisis is ______________ to the chest.

G.   The ________________ end of the tibia is at the flexure articulation.

H.   The numerous toe is on the ______________ face of the pedestal.

I.   The eyes are _____________ and ____________ to the bunghole.

J.   The radius is on the ______________ face of the forearm.

K.   The ulna is on the ______________ face of the forearm.

L.   The scapula is on the ______________ face of the stem.

M.   The shoulder encompass is ________________ to the pelvic encompass.

N.   Skin is ________ to muscle.

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8.    Match the superior scourge or sign of the substantiality fraction delay the pictorial signal for that fraction.

______ Arm

A.   Cervical vertebrae

______ Forearm

B.   Chest

______ Hand

C.   Pelvis

______ Thigh

D.   Radius

______ Leg

E.   Femur

______ Foot

F.   Fingers

______ Thorax

G.   Tibia

______ Abdomen

H.   Humerus

______ Neck

I.   Toes

9.    Call and explain the two fashions of rectirectiunswerving noise, which is as-well calld translatory noise.

 

 

10.   In which fashion of noise do all the competency propose:

A.   The corresponding interspace:

B.   Contrariant interspaces:

11.   In Figure 1-3, authenticate rectirectiunswerving noise and angular noise.

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12.   Match the subjoined articulation noise delay the reform designation. The regard lasting is the poor lasting true otherwise implied. Use each confutation merely uniformly.

______ Pulling your scapulae concertedly

A.   Flexion

______ Moving your leg internal the midline

B.   Extension

______ Rolling your arm forthcoming

C.   Hyperextension

______ Moving your laborer internal the thumb face

D.   Abduction

______ Turning your pedestal inward

E.   Adduction

______ Moving through a cone-shaped arc

F.   Supination

______ Moving your arm opposite the substantiality at shoulder equalize

G.   Pronation

______ Moving your laborer down the face of your leg

H.   Ulnar deviation

______ Shoulder noise during bowling endswing

I.   Radial deviation

______ Turning your laurels laterly

J.   Inversion

______ Moving your arm out to the face

K.   Eversion

______ The lasting of the flexure in lasting

L.   Parallel rotation

______ The lasting of the forearm in poor lasting

M.   Medial rotation

______ Moving the thigh confident and upward

N.   Parallel bending

______ Synonymous delay wrist adduction

O.   Circumduction

______ Moving your arm forthcoming from 90 degrees shoulder abduction

P.   Horizontal abduction

______ Moving your pedestal forthcoming

Q.   Horizontal adduction

______ Moving your scapulae abroad from the midline

R.   Protraction

______ Turning your arm inward

S.   Retraction

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Student’s Name

Date Due

1.    In a assemblage, novices execute the subjoined erratic noises.

Shoulder:

Flexion

Abduction

Horizontal abduction

Lateral rotation

Extension

Abduction

Horizontal adduction

Medial rotation

Elbow:

Flexion

Extension

Hip:

Flexion

Abduction

Lateral rotation

Extension

Adduction

Medial rotation

Knee:

Flexion

Extension

2.    Execute the subjoined activities as insignificant assemblages. Create voicelessness of the hurry and interspace traveled by each individual.

A.   Outline novices up shoulder to shoulder and acquaint them to trudge opposite the admission care their outoutline unswerving.

B.   Outline novices up shoulder to shoulder in the average of the admission and acquaint them to trudge in a divergence delay the novice on the fit end as the pivot or anchor.

C.   Repeat motive B delay the novice on the left end as the pivot or anchor.

D.   Assimilate the hurry of noise of each novice in activities A, B, and C.

 

 

E.   Assimilate interspace traveled by each novice in activities A, B, and C.

 

 

F.   What fashion of noise is executeed in motive A?

 

 

G.   What fashion of noise is executeed in activities B and C?

 

 

3.    To manner palpation, use the finger pads of your fit renunciation and average fingers. Place your fingertips triflingly on the introductory manner of your left forearm sound proximal to the wrist delay your left wrist flexed. Extend your left wrist and voicelessness the changing sensations in your fingertips as wrist production causes the tendons of the wrist and finger flexors to grace taut. Propose your fingertips medially and parallelly (face to face) balance the wrist and finger flexor tendons, making voicelessness of the changing sensations as you propose balance the tendons. Voicelessness how triflingly you are tender and if you are efficacious to palpate the changes. Explain what you reach in your fit fingers as you palpated.

 

 

4.    Palpate using your finger pads balance the muscles on the parallel front of your forearm sound distal to the flexure articulation. Using trifling urgency, propose your fingers balance the area. Explain what you reach (hard, irresolute, sound).

 

 

5.    Delay your finger pads balance the muscles on the parallel front of your forearm sound distal to the flexure articulation, ghostly growth the urgency of your palpation until it graces partially troubled. Voicelessness how abundantly urgency you are using. Patients, distinctly those in aversion or delay brittle tissues, may not allow that equality of urgency. Repeat the muscle palpation using your fingertips. What example may you after a occasionstand palpating delay your fingertips?

 

 

6.    Using your finger pads, palpate balance the dorsal front of the flexure. This is a lean area. Explain what you reach.

 

 

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7.    Assimilate the urgency used to palpate at the wrist, forearm, and flexure. Assimilate and dissimilarity the sensations you reach at each area.

 

 

8.    Repeat the preceding palpations on your associate. Did you reach the corresponding characteristics as when you palpated yourself? Were you efficacious to adsound your urgency to a comforboard equalize for your associate occasion peaceful life efficacious to create the considerations you needed?

 

 

9.    Place the dorsum (back) of your laborer on the introductory manner of your associate’s pedestal. Ghostly propose your laborer proximally to sound proximal to the flexure articulation. Explain the region of your associate’s inferior conclusion.

 

 

10.   Manner the subjoined consideration and palpation skills on at lowest two associates.

A.   Palpate the biceps brachii muscle belly and tendons. The biceps brachii is on the introductory manner of the humerus. Palpate the relaxed muscle, and then palpate occasion your associate is contracting the muscle.

1)   Explain how you used your laborers to palpate (e.g., fingertips, trifling urgency).

 

 

2)   Explain the unlikeness you felt when you palpated the relaxed muscle and the cramped muscle. Did what you palpate reach any contrariant when the biceps muscle was contracting?

 

 

3)   Did contracting the muscle succor you to furnish the tendon?

 

 

B.   Palpate the medial and parallel epicondyles of the humerus—lean projections on the medial and parallel faces at the flexure.

1)   Explain how you used your laborers to palpate.

 

 

2)   Explain what you felt.

 

 

C.   Palpate the patellar tendon—original delay the quadriceps muscle relaxed, and then delay your associate contracting the muscle. The patellar tendon is on the introductory proximal tibia sound distal to the patella (kneecap).

1)   Explain how you used your laborers to palpate.

 

 

2)   Explain what you felt.

 

 

3)   Did the tendon reach any contrariant when the quadriceps muscle was contracting?

 

 

4)   If you felt a unlikeness in the tendon among the relaxed aver and the cramped aver, explain the unlikeness.

 

 

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5)   Did contracting the muscle succor you to furnish the tendon?

 

 

D.   Palpate your associate’s pulse at the radial artery, which is located on the introductory manner of the forearm on the parallel face.

1)   Explain how you used your laborers to palpate.

 

 

2)   Explain how the pulse felt (weak, sound, certain, disorderly).

 

 

E.   Palpate the ulnar resolution on the later medial front of the flexure as the resolution passes sound parallel to the medial epicondyle.

1)   Explain how you used your laborers to palpate the resolution.

 

 

2)   Explain what you felt.

 

 

3)   Explain how your associate reacted when you palpated the ulnar resolution delay increasing urgency.

 

 

11.   Lie examination is a visual consideration that assimilates a individual’s lie to the regular or notional lie. Symmetry and deviation from regular lie are voicelessnessd. Because you own not thoughtful lie yet, assimilate the avoid of the subjoined two lies to the original, making voicelessness of superior changes. Example: In the preferred lasting lasting, your associate shifts a superior fraction of substantiality gravity to the left leg.

A.   Observe your associate occasion he or she is lasting elevate delay gravity as sorted twin-fellow on twain feet, which are placed almost 4 inches aloof delay the toes peaked confident.

B.   Observe your associate lasting in his or her preferred lasting lie.

C.   Explain any superior unlikenesss among the two lies.

 

 

12.   To manner visual consideration, observe at your associate.

A.   Explain your associate’s substantial characteristics such as gender, culmination, and hair and eye varnish.

 

 

B.   Create faces to dramatize contrariant moving and substantial avers such as fortunate, sad, mad, and in aversion. Your associate is to suppose which aver you are displaying.

13.   To manner reception considerations, set-out delay your end to your associate so you cannot see what he or she is doing.

A.   Occasion your associate is oppositeness abroad from you, execute some ADLs such as prelude off your shoes, removing your shirt, and trudgeing. Ask your associate to explain what they heedd and to mention you what motive you executeed.

 

 

B.   If you understand how, charm your associate’s race urgency, paying point consideration to the sounds rather than the urgency lection. What sounds did you heed? Were there periods of calm? If so, when?

 

 

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C.   Using a stethoscope, incline to your associate’s heedt and lungs. Explain the sounds you heedd.

 

14.   Execute as numerous of the subjoined noises as likely occasion lasting, sitting, untruthful listless, and face-lying.

Shoulder encompass:

Elevation and depression

Protraction and retraction

Upward and downward rotation

Shoulder:

Flexion, production, and hyperextension

Abduction and adduction

Horizontal abduction and adduction

Medial and parallel rotation

Circumduction

Elbow:

Flexion and production

Forearm:

Supination and pronation

Wrist:

Flexion and production

Radial and ulnar deviation

Circumduction

Finger:

Flexion and production

Abduction and adduction

Thumb:

Flexion and production

Abduction and adduction

Opposition

Hip:

Flexion, production, and hyperextension

Abduction and adduction

Medial and parallel rotation

Circumduction

Knee:

Flexion and production

Ankle:

Dorsiflexion and plantar flexion

Inversion and eversion

Toe:

Extension and flexion

15.   Execute the precedingly listed noises in vague enjoin and own your associate call the noise that you are executeing.

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