In lieu of an abstract, here is a brief excerpt of the content:"ALL EXISTING IS THE ACTION OF GOD": THE PHILOSOPHICAL THEOLOGY OF DAVID BRAINE DAVID BRADSHAW University ofTexas at Austin Austin, Texas Thou lovest all the things that are, and abhorrest nothing which thou hast made: for never wouldest thou have made any thing, if thou hadst hated il And how could any thing have endured, if it had not been thy will? or been preserved, if (...) not called by thee? But thou sparest all: for they are thine, 0 Lord, thou lover of souls. Wisdom 11:24-26 He is not far from every one of us; for in Him we live, and move, and have our being. Acts 17:27-28 I T HAS long been traditional to regard God as upholding all things in existence. This belief is known as the doctrine of continuous creation; it is a doctrine widely shared by Jews, Christians, and Moslems, and was first clearly articulated by St. Augustine.1 The phrase "continuous creation" can be misleading, for there is more to the doctrine than simply the extension of God's creative act through time. If that were all that is at stake, we would not need to revise our ordinary notion of the creator as craftsman or artist; we might think of God as like a painter who 1 Augustine, De Genesi ad Litteram iv.12. The history of the development of this doctrine has yet to be written, but important sources include Timaeus 4lab; Philo of Alexandria, De Providentia i.7; Colossians 1:17, Hebrews 1:3; John of Damascus, De Fide Orthodoxa i.3; Aquinas, Summa theologiae I, q. 104, a. 1. See also David Winston, Philo of Alexandria (New York: Paulist Press, 1981), 14-17; G. L. Prestige, God in Patristic Thought (London: S.P.C.K., 1964), 31-36; Richard Sorabji, Time, Creation,-and the Continuum (Ithaca: Cornell, 1983), 303-304. 379 380 DAVID BRADSHAW never stops adding new scenes, or a writer continually elaborating his story. That picture will not do. Ifthe painter were to cease painting, what he has made up to that point would remain in existence, whereas it is precisely the ability to stand on its own that the doctrine of continuous creation seeks to deny of what is made. Nor does anything in the relation of artisan to artifact properly convey the special intimacy and presence that the act of continuous creation is supposed to establish between God and creatures. A painting or a story does not "live and move and have its being" in the one who fashions it-nor would even a living and thinking creature, if the manner of its making were solely that of an artisan. These shortcomings raise the question of whether we should seek to replace the image of artisan and artifact with one that is more dynamic. We might think of God as like a singer and of what is made as His song, or of God as like a dancer and of what is made as His dance. By envisioning the act of creation as a "doing" rather than a "making," analogies of this type more adequately indicate the continuing ontological dependence ofcreation on Creator. They also draw our attention to a mode of presence radically different from that of one body to another, the presence of an agent "within" his own actions. They may thus bring us closer to what St. Paul presumably has in mind in the passage quoted from Acts. On the other hand, they have faults of their own, for they are hard to reconcile with creaturely freedom and the reality of secondary causation. How could any kind of "doing" act contrary to the will of its doer? Indeed, how could it act at all? Actions are not causal agents; a song does not act in its own right, but is at best an instrument of the one who sings it. So it would seem that, taken to their logical conclusion, analogies such as that of the singer and his song lead to the denial of both creatures' freedom and their causal efficacy. There have been thinkers in each of the religious traditions mentioned who have been willing to accept these... (shrink)

In June 1993, conjoined twins Amy and Angela Lakeberg became the focus of national attention. They shared a complex six‐chambered heart and one liver; only one could survive separation surgery, and even her chances were slim. The medical challenge was great and the ethical challenges were even greater.

This book provides a conceptual basis for recognizing the classroom as an ecology of linguistic and cultural patterns that should be taken into account as part of the teacher's professional decision making. It argues that the orchestration of classroom behaviour cannot be separated from the mental ecology of metaphor and thought patterns that reflect the student's primary culture. Chapters discuss the metaphorical nature of language and thought, primary socilization, nonverbal communication, framing and social control, the classroom as an ecology of (...) power, culturally responsive supervision, and educating teachers for the 21st century - all from a cultural and linguistic point of view. (shrink)

Objective Ethical standards state research participation must be voluntary and free of coercion and undue influence, but what if a third party appears to engage in research-relevant coercion, without the researchers’ knowledge? This case study describes this type of situation and its resolution. Methods We are engaged in a randomized clinical trial evaluating pedestrian safety with 7- and 8- years old. Depending on children's rate of learning, families receive up to $1275 for their time. We recently learned a third-party “talent (...) agency,” a firm placing children in modeling and acting jobs, was referring families to our research with the expectation that families would share 20% of study reimbursements. Results We sensed clear impropriety, but identified no ethical violations on our part as researchers. Once paid a study reimbursement, participants can spend funds how they wish. We were concerned, however, that the third-party was exploitatively coercing families to participate. Conclusions We pursued four avenues to resolve the issue. First, we documented the situation to our university Institutional Review Board. Second, we contacted the talent agency and requested they stop referring families to our research. They agreed. Third, we retained children engaged in our study who were referred from the talent agency; removing them partway through the clinical trial could impact study results. In doing so, we explained that we were unaware of the talent agency referral and that they were not obligated by us to offer a portion of the study reimbursement to the talent agency. Last, we asked newly enrolled families about their referral source. (shrink)