In this article, we examine the ways gendered frames shift to make room for societal changes while maintaining existing pillars of systemic gender inequality. Utilizing the case of U.S. media representations of transgender people who reproduce, we analyze how media outlets make room for increasing societal recognition of transgender people and maintain cisnormative and repronormative traditions and beliefs in the process. Specifically, we outline how these media outlets accomplish both outcomes in two ways. First, they reinforce cisgender-based repronormativity via conceptualizations (...) of transgender reproduction as new and occurring in contrast to normative, cisgender reproduction. Second, they create a transnormative reproductive subject, which establishes a new socially sanctioned script for what it means to be transgender and what types of transgender experience may be recognized or accepted in mainstream society. In conclusion, we draw out implications for understanding how social authorities may shift existing gender frames to make room for changes in society while at the same time maintaining normative beliefs. These normative beliefs continue to facilitate societal patterns of gender inequality within such new frames. (shrink)

BackgroundWork stress is a serious problem in primary education. Decades of research underline the importance of participatory, organizational-level work stress prevention approaches. In this approach, measures are planned to tackle causes of work stress in a participatory manner and implemented by a working group consisting of members of the organization. This approach can only be effective if the measures contain effective ingredients to decrease work stress risks and are successfully implemented. The aim of this paper is to present an outline (...) of a work stress prevention approach that is evaluated in primary education. To ensure the appropriateness of measures, a logic model of change is built as part of the risk assessment to facilitate the selection of appropriate measures. Progression on target behaviors as well as implementation factors are real-time monitored during implementation and fed back to the working groups, to provide the opportunity to adjust action plans when needed to optimize implementation.MethodsThe approach consists of five steps: preparation: installing an advisory board and working groups, risk assessment: inventory of work stress risks. In addition, a behavioral analysis is performed to build a logic model of change to facilitate selection of measures, action planning: conducting an action plan with appropriate measures, implementation: implementing the action plan. During implementation progression on target behaviors and implementation factors are monthly monitored and fed back to the working groups, and evaluation: effects of the approach are studied in a controlled trial with measurements at baseline, 1 year, and 2 years follow-up. A process evaluation is carried out using quantitative and qualitative data to study the implementation process of all steps of the work stress approach.DiscussionWe believe that building a logic model of change and real-time monitoring of implementation could be of added value to improve the success of the work stress prevention approach. With this study, we aim to provide more insights into work stress intervention research, especially in primary education.Clinical Trial RegistrationThe study is registered in Netherlands Trial Register. (shrink)

Peckham claims that my "behavior" in dealing with the quotations in Natural Supernaturalism is the same, in methodology and validity, as the interpretative behavior of Booth's waiter. But the great bulk of the utterances in my quotations—and no less, of the utterances constituting Peckham's own essay—do not consist of orders, requests, or commands. Instead, they consist of assertions, descriptions, judgments, exclamations, approbations, condemnations, and many other kinds of speech-acts, the meanings of which are not related to my interpretative behavior, even (...) in the indirect way in which the meaning of Booth's order is related to the future behavior of his waiter. M. H. Abrams, author of Natural Supernaturalism and The Mirror and the Lamp and Class of 1916 Professor of English at Cornell University, responds in this essay to Morse Peckham's "The Infinitude of Pluralism" . Morse Peckham, in his Critical Response, was commenting on issues raised by the forum on "The Limits of Pluralism" , to which M. H. Abrams contributed. Previous contributions to Critical Inquiry are "Rationality and Imagination in Cultural History: A Reply to Wayne Booth" and "The Deconstructive Angel". (shrink)

When M. H. Abrams published a defense, in 1972, of "theorizing about the arts,"1 some of his critics accused him, of falling into subjectivism. He had made his case so forcefully against "the confrontation model of aesthetic criticism," and so effectively argued against "simplified" and "invariable" models of the art work and of "the function of criticism," that some readers thought he had thrown overboard the very possibility of a rational criticism tested by objective criteria. In his recent reply to (...) these critics,2 Abrams concentrates almost entirely on whether his critical pluralism is finally a skeptical relativism. He does not even mention his great historical works, The Mirror and the Lamp and Natural Supernaturalism, and he has nothing to say about how his pluralistic theories would be applied to the writing of history. But then, surprising as it seems once we think about it, neither of the two histories has much about his method either. What is the true achievement of these aggressive raids into our past, and how does Abrams see them in relation to other possible histories of the same subjects? Knowing in advance that he has agreed to reply to my nudging, I should like both to propose that everyone has—with Abrams' own encouragement—understated the importance of what he has done and to ask: What kind of pluralist is he? · 1. "What's the Use of Theorizing about the Arts," In Search of Literary Theory, ed. Morton Bloomfield , pp. 3-54. · 2. "A Note on Wittgenstein and Literary Criticism," ELH 41 : 541-54. Wayne C. Booth's other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "Irony and Pity Once Again: Thais Revisited" , >"Preserving the Exemplar: Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W.J.T. Mitchell: “Sheldon Sacks 1930-1979”. (shrink)

Calls for the expansion of ethics education in the business and accounting curricula have resulted in a variety of interventions including additional material on ethical cases, the code of conduct, and the development of new courses devoted to ethical development [Lampe, J.: 1996]. The issue of whether ethics should be taught has been addressed by many authors [see for example: Hanson, K. O.: 1987; Huss, H. F. and D. M. Patterson: 1993; Jones, T. M.: 1988–1989; Kerr, D. S. and (...) L. M. Smith : 1995; Loeb, S. E.: 1988; McDonald, G. M. and G. D. Donleavy: 1995]. The question addressed in this paper is not whether ethics should be taught but whether accounting students can reason more ethically after an intervention based on a discrete and dedicated course on accounting ethics. The findings in this paper indicate that a discrete intervention emphasising dilemma discussion has a positive and significant effect on students’ moral reasoning and development. The data collected from interviews suggest that the salient influences on moral judgement development include: learning theories of ethics particularly Kohlberg’s theory of cognitive moral reasoning and development; peer learning; and moral discourse. The implications from the findings in this study suggest that moral reasoning is responsive to particular types of ethics intervention and educators should carefully plan their attempts to foster moral judgement development. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 44, no. 1. © 2018 by Olga Zilberbourg 95 Olga Zilberbourg Helen More’s Suicide My retired colleague Marguerite called to tell me of Helen More’s suicide. “Of all the sad, ludicrous things people do to themselves!” She invited me over. “Thursday night, as usual. I could use the company of younger people.” It had been about a year since I’d first been invited to these Thursdays —monthly (...) literary and musical soirees Marguerite hosted in her living room. Helen had been a regular at Marguerite’s for several decades; the two women were close contemporaries and each a celebrity in her own field. Helen was scholar of the English Romantics at the same university where Marguerite had taught Flaubert, Zola, and Balzac, and where I was now a junior faculty member in the English department. I’d heard of Professor More long before I met her: she lectured at the university from the 1960s until being forced into retirement in 2006 ostensibly due to age. She had a reputation as a militant feminist who eagerly engaged in battles about appointments and promotions, and her politics could have had something to do with it. “Are they sure it was a suicide?” In person Helen was a quiet, reticent woman with a sly, sarcastic sense of humor, and the idea that she might’ve committed suicide seemed outlandish. Vague murder scenarios floated in my mind. A disgruntled student? A male professor, passed over for promotion years ago and blaming her for his career failure? 96 Olga Zilberbourg “Yes, quite. The details are unpleasant, but do you know what she wrote in her suicide note?” “Of course she left a note.” “She said, ‘Thanks for the trip. Love to all.’” I couldn’t help laughing. “Yet when you think that having written that, she took all those pills and put a plastic bag over her head,” Marguerite’s voice broke. “Anyway, it’s not a conversation to have over the telephone. Do come over.” On Thursday afternoon, having collected the student papers after the last exam of the semester, I took the subway down to Greenwich Village. Marguerite lived on a third floor walkup, in a wonderfully spacious and tall-ceilinged apartment that back in the 1970s she and her husband had converted from a pillow factory. Since her husband’s death ten years earlier, the apartment had slowly turned into a trap for Marguerite. She suffered from arthritis in her hands, shoulders, and knees, and walking up and down the stairs became a nearly impossible exercise. She ventured out once or twice a week with the assistance of a visiting nurse. The place could easily fetch three or four million dollars, and Marguerite could use the money. Yet she was reluctant to sell. “I’d rather go without bread than without my piano and my books,” she insisted. A feeling of reverence and trepidation caught my breath as I climbed the stairs to Marguerite’s apartment. One never knew what kind of celebrity of the arts or music world could show up on any given Thursday. In her lifetime, Marguerite had known everyone, from Sartre and de Beauvoir to Picasso and Chagall. In the last few years the circle of her acquaintances seemed to dwindle, and yet still world-renowned musicians, poets, playwrights sometimes appeared among the circle of her former colleagues and students. I rang the doorbell and waited for several minutes as Marguerite crept to the door. “I’m afraid you’re my only guest tonight,” she said through the door, struggling with the lock and the knob. Finally, she pushed the door open. “Several people cancelled because of the end of the semester, and then of course, there’s the funeral. But come in, come in—we’ll talk of that later.” Marguerite led me into the living room, heavily shaded from the street and dimly lit with two floor lamps. Decorated with musical instruments, piles of books on the floor and on the low tables, and bright Olga Zilberbourg 97 modernist watercolors on the walls, the room seemed to belong to a royal palace, a vast, untouchable space. Usually Helen or one of Marguerite ’s... (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

Erscheint anlasslich des 15. Weltkongresses der Internationalen Vereinigung fur Rechts- und Sozialphilosophie (IVR) vom 18. bis 24. August 1991 in Gottingen und enthalt eine Selbstdarstellung der deutschen Sektion der IVR. Die Autoren berichten uber ihre eigene theoretische Position oder uber neuere Diskussionszusammenhange, die ihnen wichtig erscheinen. Aus dem Inhalt: K. Adomeit: Menschenrechte und Rechtsphilosophie u H. Albert: Erkenntnis, Recht und soziale Ordnung u R. Alexy: Idee und Struktur eines vernunftigen Rechtssystems u O. Ballweg: Analytische Rhetorik als juristische Grundlagenforschung u R. (...) Dreier: Zur gegenwartigen Diskussion des Verhaltnisses von Recht und Moral u W. Eichhorn: Wege und Irrwege einer Transformation u M. Frommel: Mannliche Gerechtigkeitsmathematik versus weiblicher Kontextualismus? u H. Garrn: Zur rechtspraktischen Bedeutung einer Theorie der juristischen Rhetorik u G. Haney: Das Widerspruchsvolle des Rechtsbegriffs u W. Hassemer: Rechtsphilosophie, Rechtswissenschaft, Rechtspolitik - am Beispiel des Strafrechts u A. Kaufmann: 45 Jahre erlebte Jahre Rechtsphilosophie u H. Klenner: Die ontologische und gnoseologische Dimension der Sein/Sollen-Problematik u U. Klug: Multidimensionale Rechtsphilosophie u H.-J. Koch/H. Russmann: Juristische Methodenlehre und analytische Philosophie u M. Kriele: Die demokratische Weltrevolution u K. Kuhl: Rehabilitierung und Aktualisierung des kantischen Vernunftrechts u E.-J. Lampe: Moderne Rechtsanthropologie u K.A. Mollnau: Vom Beginn der Niedergangsjurisprudenz in der DDR u U. Neumann: Sprachphilosophische Ansatze in der neueren Rechtsphilosophie u u.a. (Franz Steiner 1991). (shrink)

The Sanskrit D?rgh?gama manuscript is a Sarv?stiv?da/M?lasarv?stiv?da text containing a collection of ancient canonical Buddhist s?tras, composed in Sanskrit and written on birch bark folios. This collection had been lost for centuries and was rediscovered in the late twentieth century. In this paper, I examine key instances of intertextuality between a new edition of a s?tra from the Sarv?stiv?da D?rgh?gama – the Sanskrit Pras?dan?ya-s?tra –, the Pali Sampas?dan?ya-sutta, and Chinese???? – the three corresponding versions of this text in the?gama/nik?ya collections (...) of the Sarv?stiv?da, Therav?da, and Dharmaguptaka schools. Hence, contradictions among the texts that are not easily explainable will be shown, uncovering apparent confusion among the creators of these texts and hopefully shedding new light on our understanding of these texts. (shrink)

In this article, a brief survey of some of the ways in which biblical scholars try to make sense of the coronavirus disease 2019 (COVID-19) pandemic is offered. The views of the following scholars are discussed: Walter Brueggemann, Ying Zhang, John Goldingay and Kathleen Scott Goldingay, N.T. Wright, Philemon M. Chamburuka and Ishanesu S. Gusha, and Peter Lampe. This is followed by the reflections of a biblical scholar and a systematic theologian. From the perspective of a biblical scholar, the (...) following issues are raised: the richness of biblical traditions, the influence of social location on the interpretation of the pandemic in the light of the Bible, the importance of the emphasis on lament, the reluctance to interpret the pandemic as a punishment from God, the importance of the interpreter’s view of God and the emphasis on the way in which the ‘new normal’ should be approached. From the perspective of a systematic theologian the following issues are discussed: The nature of doing theology, the role of the symbol of the Divine, performativity of sense-making, the Trinitarian confession, an emerging new self and the importance of an ethic of responsibility. Contribution: The article is a response to the COVID-19 pandemic and emphasises the critical importance of engaging the Christian scripture. The role accorded to hermeneutics and to an explicit interdisciplinary conversation makes a particular contribution to the emerging crisis discourse. (shrink)

L'enquête d'anthropologie historique, qui a donné lieu à cette publication, complète et prolonge une exposition présentée au Centre historique minier de Lewarde. L'intérêt majeur de cet ouvrage est d'associer une étude classique des épouses de mineurs à celle des femmes travaillant à la mine. Celles-ci sont employées au jour, sur le carreau de la mine, comme trieuses de charbon - et ce jusqu'au début des années 1960 - ou dans la lampisterie pour la remise et l'entretien des lampes de m...

M. J. Woods; XI*—Substance and Essence in Aristotle, Proceedings of the Aristotelian Society, Volume 75, Issue 1, 1 June 1975, Pages 167–180, https://doi.org/10.

In lieu of an abstract, here is a brief excerpt of the content:THE CASE FOR SPIRIT CHRISTOLOGY: SOME REFLECTIONS THOMAS WEINANDY, O.F.M., CAP. Greyfriars Hall, University of Oxford IN THE JUNE, 1992, issue of Theological Studies Roger Haight, S.J., of the Weston School of Theology, authored an essay entitled "The Case for Spirit Christology." 1 In the December, 1992, issue of the same journal John Wright, S.J., of the Jesuit School of Theology at Berkeley, wrote a critical response entitled: "Roger (...) Haight's Spirit Christology." 2 While I fully endorse Wright's reservations, here I wish to offer some of my own criticisms as well as expand upon some of his.3 In order for a Spirit Christology to be viable Haight believes that it must fulfill six criteria: 1) It must adequately explain why Christians believe that their salvation is found in Jesus; 2) It must be faithful to the Bible; 3) It must uphold the teaching of the Councils, especially Nicaea and Chalcedon; 4) It must be intelligible and coherent; 5) It must respond to contemporary concerns, specifically the relationship of Jesus to the founders of other 1 Roger Haight, S.J., "The Case for Spirit Christology," Theological Studies 53(1992): 257-287. Hereafter referred to in the text by page numbers. 2 John Wright, S.J., "Roger Haight's Spirit Christology," Theological Studies 53(1992) : 729-735. 3 While this article will focus exclusively on Haight's Spirit Christology, much of what will be said here, by way of criticism, can be applied equally to other expressions of Spirit Christology, since the various forms are quite similar. Haight himself relies heavily upon and substantially agrees with G. W. H. Lampe, " The Holy Spirit and the Person of Christ," in Christ, Faith and History, ed. S. W. Sykes and J. P. Clayton (Cambridge: University Press, 1972) 111-130; and God as Spirit (Oxford: Clarendon, 1977). For other recent examples of Spirit Christology see Haight's footnote 1, p. 257. 173 174 THOMAS WEINANDY, O.F.M., CAP. religions; 6) It must be able to stimulate and empower Christian life (see 260-262). As in Wright's response, I wish to examine I-Iaight's Spirit Christology in light of these criteria. I will begin with an extensive examination of Haight's second criterion-faithfulness to scripture-for it is most central to his whole enterprise. Then, more succinctly, I will address his other criteria. Biblical Revelation and Religious Language The central, and therefore fatal, flaw within Haight's Spirit Christology is that his understanding of '.' God as Spirit," upon which the whole of his Christology is founded, is itself non-biblical. To discern Haight's understanding of " God as Spirit," we must first examine his notion of religious language and the philosophy sustaining it. For Haight, "the medium through which religious experience takes place may be called a symbol, making all religious knowledge symbolic knowledge. A symbol is that through which something else is made present and known; a symbol mediates a perception and knowledge of something other" (263). While the symbol makes the presence of God known, yet, precisely because it is a symbol, God is beyond or transcends what is symbolized. The symbol " both makes God present and points away from itself to a God who is other than itself" (263). Thus the symbolized " is" and " is not" the symbol (263). Haight argues then that the biblical symbol, " the Spirit of God " refers to God and is " materially and numerically identical with God. God as Spirit is God" (266). However, God as Spirit " indicates God at work, as active, and as power, energy, or force that accomplishes something" (266-267). God as Spirit refers not to God as he is immanent in himself, but to God as he is "outside of himself," within the order of time and history. Haight recognizes that the Old Testament also uses " Word" and " Wisdom" as symbols along with " Spirit," but " all of these symbols are basically the same insofar as they point to the same generalized experience of God outside of God's self and im- THE CASE FOR SPIRIT CHRISTOLOGY 175 manent in the world in presence and active power" (267). While Haight acknowledges that these symbolic... (shrink)

Charles Francis Digby Moule, a Fellow of the British Academy, was probably the most influential British New Testament scholar of his time. The youngest of their three children, he was born in the same house as his father, and spent a happy if often solitary childhood in China. Moule spent three years studying theology and training for Holy Orders in the Church of England at Ridley Hall. He soon had to take on leadership of New Testament teaching at the University (...) of Cambridge for the Regius Professor, A. M. Ramsey. Moule was also fascinated, without losing his head as a critic, by the associated question of interaction between liturgy and literature in the early church, posed by such cultic interpreters of the gospels as G. Bertram. He joined the Evangelical Fellowship for Theological Literature, founded in 1942, an impressive body of younger authors that came to include Henry Chadwick, G. W. H. Lampe, S. L. Greenslade, and F. W. Dillistone; the moving spirit was Max Warren. (shrink)

IntroductionBisphenol A is highly debated and studied in relation to a variety of health outcomes. This large variation in the literature makes BPA a topic that is prone to selective use of literature, in order to underpin one’s own findings and opinion. Over time, selective use of literature, by means of citations, can lead to a skewed knowledge development and a biased scientific consensus. In this study, we assess which factors drive citation and whether this results in the overrepresentation of (...) harmful health effects of BPA.MethodsA citation network analysis was performed to test various determinants of citation. A systematic search identified all relevant publications on the human health effect of BPA. Data were extracted on potential determinants of selective citation, such as study outcome, study design, sample size, journal impact factor, authority of the author, self-citation, and funding source. We applied random effect logistic regression to assess whether these determinants influence the likelihood of citation.ResultsOne hundred sixty-nine publications on BPA were identified, with 12,432 potential citation pathways of which 808 citations occurred. The network consisted of 63 cross-sectional studies, 34 cohort studies, 29 case-control studies, 35 narrative reviews, and 8 systematic reviews. Positive studies have a 1.5 times greater chance of being cited compared to negative studies. Additionally, the authority of the author and self-citation are consistently found to be positively associated with the likelihood of being cited. Overall, the network seems to be highly influenced by two highly cited publications, whereas 60 out of 169 publications received no citations.ConclusionIn the literature on BPA, citation is mostly driven by positive study outcome and author-related factors, such as high authority within the network. Interpreting the impact of these factors and the big influence of a few highly cited publications, it can be questioned to which extent the knowledge development in human literature on BPA is actually evidence-based. (shrink)

The network model of EEG formation has revealed a unified mechanism for disparate EEG phenomena: for various reactions as well as for ontogenetic and phylogenetic differences. EEG rhythmicity was shown to be an external manifestation of the functioning of the intracortical stabilizing system which provides normal informational operations in the cerebral cortex.