In this study, we argue that contemporary nursing care has been overtaken by new public management strategies aimed at curtailing budgets in the public hospital sector in Australia. Drawing on qualitative interviews with 15 nurses from one public acute hospital with supporting documentary evidence, we demonstrate what happens to nursing work when management imposesroundingas a risk reduction strategy. In the case study outlined rounding was introduced across all wards in response to missed care, which in turn arose as a result (...) of work intensification produced by efficiency, productivity, effectiveness and accountability demands. Rounding is a commercially sponsored practice consistent with new public management. Our study illustrates the impact that new public management strategies such as rounding have on how nurses work, both in terms of work intensity and in who controls their labour. (shrink)

Australia, along with other countries, has introduced New Public Management (NPM) into public sector hospitals in an effort to contain healthcare costs. NPM is associated with outsourcing of service provision, the meeting of government performance indicators, workforce flexibility and rationing of resources. This study explores the impact of rationing of staffing and other resources upon delivery of care outside of business hours. Data was collected through semistructured interviews conducted with 21 nurses working in 2 large Australian metropolitan hospitals. Participants identified (...) four strategies associated with NPM which add to workload after‐hours and impacted on the capacity to deliver nursing care. These were functional flexibility, vertical substitution of staff, meeting externally established performance indicators and outsourcing. We conclude that cost containment alongside of the meeting of performance indicators has extended work traditionally performed during business hours beyond those hours when less staffing and material resources are available. This adds to nursing workload and potentially contributes to incomplete nursing care. (shrink)

Tracing the relationship between Marxism and Darwinism in Bernard Smith’s writing, the article unpacks the meaning of Smith’s claim that ‘it is the business of the art historian to reveal tendencies’. While Smith tended towards Marxism his writing is not about Marxist tendencies in art. Smith was practising a type of genealogy rather than teleology, something, that is, more Darwinian than metaphysical, philosophical or ideological. I argue that Smith’s claim is more than methodological: it also shaped the content of his (...) historiography and particularly his interpretation of Australian art. (shrink)

Little appears to have changed in the western imagining of the Pacific region since ancient times. While metaphors of redemption and condemnation, paradise and paradise lost, utopia and dystopia persist, Australia's place in the Pacific will remain elusive and insecure. The essay is in two parts. The first half discusses the metaphors implicit in the names given to the region, the South Seas, the Pacific and Oceania, and relates their imagining in the early European expeditions of Balboa and Magellan, in (...) Hodges' paintings done on Cook's second voyage in the 18th century, and in conceptualizations of Australian identity from the colonial period to the mid-20th century writing of historians such as Hancock, Barnard and Manning Clark. The second half of the essay traces the repetition of the same metaphors in the theories of de Certeau and Baudrillard, and in the writings of contemporary Australian critics, including McKenzie Wark, Ross Gibson and Paul Carter. (shrink)

The way theologians think about God and their understanding of prayer have a profound and an interconnection which is significant for both.

Discussion held in April at a Political Studies Association Roundtable in Manchester, England, on G. A. Cohen’s book If You’re an Egalitarian, How Come You’re So Rich?. --- Michael Otsuka's contribution sub-titled: "Il personale e politico? Il confine tra pubblico e private nella sfera della giustizia distributiva" = "Is the personal political? The boundary between the public and the private in the realm of distributive justice.".

Steven Lukes and Alasdair MacIntyre have accused analytical action theory of being motivated by reductionist aims and of ignoring the fact that what is distinctively human about actions is their essentially social character. These reductionist aims are said to ‘subvert’ the search for the distinctively human. Enterprises that have particularly come under fire (and which Lukes recommends ‘abandoning’) are the search for ‘basic’ actions and attempts to solve problems regarding the ‘individuation’ of actions. Lukes and MacIntyre are mistaken however, both (...) in their interpretation of the aims which motivate analytical action theory, and in their characterisation of the search for the distinctively human. ‘lndividuated’ or ‘basic’ actions are not complex social actions reduced down to their ‘simplest elements’. They represent attempts to resolve problems which arise prior to the examination of the social character of actions. (shrink)

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Works of William Godwin: Series II, Political and Philosophical Writings. General editor: Mark Philp. Volume editors: Pamela Clemit, Martin Fitzpatrick, Mark Philp. Researcher: Austin Gee. Consulting editor: William St Clair. Seven volumes. William Pickering. London, 1993. £395. ISBN: 1?85196?026?0 set.

Wittgenstein asserts that aesthetic responses are not causal. They name the objects or targets of feelings rather than their causes, and are not open to experimental revision. One cannot break the object down into distinct components and match particular parts to the response. Changing a work of art produces an entirely new object and a new response; changing so much as a word in a text changes its meaning and effect. But many critics do respond to expressive, affective or connotative (...) aspects of particular words (and contemplate ‘merely’ stylistic changes), and our response to artworks can change even without the work changing, such as when we learn who the author is, or that a painting is a forgery. Critics can identify the targets of their aesthetic responses, which makes their responses causal hypotheses, although these are valid only for the particular critic and the particular occasion, and do not rest on any causal aesthetic norms. (shrink)