The level of student preparedness for university?level study has been widely debated. Effective study skills modules have been linked to supporting students? academic development during the transition phase. However, few studies have evaluated the learning experience on study skills modules from both a student and staff perspective. We surveyed 121 first?year students and seven tutors on a study skills module on an undergraduate computing programme. The aspects in which the students? and tutors? views diverge provide insights into the perceptions of (...) academic tasks and associated competencies for higher education and the delivery of study skills in practice for computing students. (shrink)

_Self-Knowledge_ introduces philosophical ideas about knowledge and the self. The book takes the form of a personal meditation: it is one person’s attempt to reflect philosophically upon vital aspects of his existence. It shows how profound philosophy can swiftly emerge from intense private reflection upon the details of one’s life and, thus, will help the reader take the first steps toward philosophical self-understanding. Along the way, readers will encounter moments of puzzlement, then clarity, followed by more perplexity and further insights, (...) and then—finally—some philosophical peace of mind. (shrink)

The Flourishing Enterprise Strategy Design Method is a robust procedure that helps leaders craft effective enterprise strategies in our increasingly volatile, uncertain, complex and ambiguous world. Informed by the latest science and practice, it enables leaders to create strategic paths for enterprises and their stakeholders to improve their performance financially, socially and environmentally. The method integrates business design and strategy techniques with vital science-based principles for flourishing. From an overall process perspective, the method employs the backcasting approach. From a strategic (...) planning standpoint, the method hosts a strategic conversation about the stakeholder’s definition of success for the enterprise considering science-based principles. This occurs during an iterative co-creative systemic-design process focused on business modelling. Business modelling is enabled by the Flourishing Business Canvas: an innovative visual design tool aligned with the science-based principles. A case study of a medium-sized manufacturing business illustrates how the method is applied. Finally, the case is made for swift adoption of these innovative strategy methods by enterprises in all sectors and sizes to enable their powerful response to current climate challenges, to the UN Sustainable Development Goals, and to go beyond to ensure the conditions for all life to flourish are re-enabled for future generations. (shrink)

Waterland, directed by Stephen Gyllenhaal on the basis of the screenplay by Peter Prince, is a film adaptation of Graham Swift’s novel under the same title, published in 1983. The book could be called unfilmable although the history of cinema knows examples of successful screenings of apparently unfilmable novels, e.g., The French Lieutenant’s Woman. In the case of Swift’s novel, the main potential difficulties could be seen in its wide scope, its intricate mosaic character, and its style. (...) The article analyzes the changes introduced in the adaptation, including the shift of the contemporary action from Greenwich, England to the American city of Pittsburgh. The way of connecting the present with the past by means of “time travel” is discussed. Consequences for possible interpretation resulting from omitting certain elements of the book and introducing new material as well as changing the order of presentation of some of the scenes are shown. Comments on the film are juxtaposed with interpretations of some aspects of the novel taken from key critical texts on Swift’s book. Also specifically cinematic solutions present in Gyllenhaal’s movie are taken into account. (shrink)

Describes the rescue efforts involved in saving the lives of animals affected by a tornado.

Ernest Sosa has recently argued that the knowledge we get from instruments and the knowledge we get from testimony is similar in important ways. Most importantly, the justification that supports it is similar in kind – both instrumental justification and justification from testimony is to be understood in terms of reliability. I argue that Sosa’s theory is problematic. Specifically, I argue that we can take certain attitudes towards people that we cannot coherently take towards instruments. This, I argue, grounds a (...) distinction between the kind of justification that testimony can make available and the kind of justification that instruments can make available. The result is that reliability cannot provide a complete explanation of the justification that testimony makes available. (shrink)

After Natalie Maines of The Dixie Chicks expressed her opposition to the Iraq War and President Bush in a country music concert, she was told to "shut up and sing." When NFL player Colin Kaepernick protested police brutality by kneeling during the national anthem, he was applauded by some and demonized by others. Both had their careers irrevocably altered by speaking out for their beliefs. This book examines the ethical issues that arise when famous people speak out on issues often (...) unrelated to the performances that brought those figures to public attention. It analyzes several celebrity speakers--singers Taylor Swift and the Chicks; satirist Jon Stewart; actor Tom Hanks; and athletes Serena Williams, Stephen Curry, Colin Kaepernick, and Naomi Osaka--and demonstrates that justifiable speaking requires celebrity speakers, journalists, and audiences to consider ethical issues regarding platform, intent, and harm. Celebrity speakers must exercise ethical care in a digital world where audiences equate celebrity status with authority and expertise about public issues. Finally, this book considers how people who are not famous can understand their ethical responsibilities for speaking out about public issues in their own spheres of influence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Quest for the Historical Abstract ExpressionismDaniel A. SiedellAbstract Expressionism:The International Context, by Joan Marter and David Anfam. Piscataway, NJ: Rutgers University Press, 2007, 320 pp. $26.95, paper.Abstract Expressionism, by Debra Bricker Balken. London: Tate, 2005, 80 pp. $9.60, paper.Reading Abstract Expressionism: Context and Critique, by Ellen Landau. New Haven, CT: Yale University Press, 2005, 768 pp. $45.00, paper.What makes any definition of a movement in art dubious is (...) that it never fits the deepest artists in the movement—certainly not as well as, if successful, it does the others.—Harold Rosenberg, 1952From the moment of its inception in the 1940s, "Abstract Expressionism" has been the subject of reframings, redefinitions, and revisions. This is because it is more than the sum total of artworks and artists traditionally recognized as part of the movement. It is a constitutive part of postwar American cultural life, and it has shaped how we understand art and the role of the artist. It has also shaped the practice of art criticism and defined the role of the art critic. Because it is part of the United States' creation myth of a distinctive postwar "American identity," it also possesses significant symbolic value. And this symbolic value is why it has been such a popular subject for art museum exhibitions for nearly half a century. The fact that in the last ten to fifteen years, major art museums have mounted major exhibitions of the work of key figures in the movement, like Jackson Pollock (including a feature film starring Ed Harris), Mark Rothko, Willem de Kooning, and Barnett Newman, and that auction prices for these artists reach tens of millions of dollars, suggest that, no matter how contested and complicated the concept of "Abstract Expressionism" is, the artists associated with the movement remain relevant.1Abstract Expressionism is not merely big business for museums, collectors, and auction houses. It has also been big business for scholars. The symbolic power of Abstract Expressionism and its influence on shaping and [End Page 107] forming contemporary artistic and critical practice has made the movement an important subject for historical and critical scrutiny. The publication of Irving Sandler's The Triumph of American Painting in 1970 was the first book-length study on Abstract Expressionism, and it marked the gradual beginning of the movement's transformation from a living entity to a more reified subject palatable for academic inquiry. Blending Alfred H. Barr's formalism with an historian's interest in subject matter and iconography and a critic's access to the artists, The Triumph of American Painting provided a taxonomy of sources and influences. Sandler's book, in part, provoked the publication of Serge Guilbaut's How New York Stole the Idea of Modern Art in 1983 (written in 1978 as a doctoral dissertation), which initiated nearly fifteen years of serious and provocative scholarship on Abstract Expressionism. Guilbaut's radical revisionist approach to the subject—which sought to reinterpret the entire development of Abstract Expressionism as an aesthetic weapon of the Cold War—provoked a slew of responses from art historians eager to either jump on the careening bandwagon of Marxist social histories of modern art or hunker down in the trenches to protect hard-won scholarly turf. The latter was the response of a loose federation of art historians eager to forge a scholarly orthodoxy. This emergent paradigm is revealed in a 1988 special issue of Art Journal called "Abstract Expressionism: New and Improved," coedited by Stephen Polcari and Ann Gibson. This issue included essays by those art historians who understood themselves as part of a "new generation" of scholars characterized by their collective desire to transcend the polemics and limitations of those critics and curators whose distorted picture of the movement would be restored to clarity through scholarly distance, a distance that a "new synthesis" of Abstract Expressionist "art, culture, history, and society together, not separately" would produce.2 Sandler and Guilbaut were swiftly dismissed by these art historians of the "new and improved," the former because of his formalism and close proximity to the artists—many of whom he knew personally—the latter because of his Marxism... (shrink)

The Fiction of Postmodernity is a significant and accessible new study of the relation of postmodern fiction to theories of the postmodern. Contemporary works of fiction by novelists such as Don DeLillo, Toni Morrison, Salman Rushdie, Thomas Pynchon and Martin Amis are viewed in relation to critiques of the 'culture industry', analyses of the 'postmodern condition' and theories of simulacra. The work of influential theorists of the postmodern - such as Theodor Adorno, Jean-François Lyotard, Fredric Jameson and Jean Baudrillard - (...) is explained and compared.The book offers descriptions of the postmodern from both the Marxist critical tradition and from the perspective of postmarxism. Key features in both these definitions are explained in relation to modernist and postmodern works of fiction. Issues relating to the postmodern representation of history and the development of a postmodern politics are also addressed in relation to works of contemporary fiction.Key Features*Substantial readings of fiction by major contemporary authors (e.g. Thomas Pynchon, Salman Rushdie, Don DeLillo)*Introduces influential theories of the postmodern (Fredric Jameson, Jean-François Lyotard, Jean Baudrillard)*Analysis of the relationships of modernism and the avant-garde to postmodernism*Focuses on the critical potential of postmodernism and postmodern fiction. (shrink)

Patient-centered care is now recognized as a clinical method and ideal model for patient – health professional relationships, and many definitions have influenced its evolution. Overall the patient-centered care literature has provided relatively little to define patient-centered care at the level of the patient-professional relationship. Additionally, patient-centered care lacks grounding in ethical theory. This thesis asserts that theoretical concepts from the ethics of care can provide a stronger conceptual basis for patient-centered care.This thesis begins with a critical interpretive review of (...) the patient-centered care literature, yielding 12 articles that previously introduced new theoretical and definitional work on patient-centered care and patient-centered communication. Six common themes and ideas were discovered, and include Engaging the Patient as a Whole Person, Recognizing and Responding to Emotions, Fostering a Therapeutic Alliance, Promoting an Exchange of Information, Sharing Decision Making, and Enabling Self-Management and Patient Navigation. These elements were then compared to key elements of the ethics of care. This thesis argues that feminists have good reason to consider care as a type of moral duty, and it describes how this duty functions. This thesis also argues that a duty to care is triggered when caregivers are presented with particular substantive forms of vulnerability. Specifically, this thesis argues that vulnerable subjects whose constitutive needs are at risk require particular moral obligations. The links between the ethics of care and patient-centered care are discussed, including how an ethics of care response ought to function in the health care context. Finally, the cases of J.J. and Makayla Sault, two aboriginal girls who refused chemotherapy in favour of traditional aboriginal healing practices, are analyzed. This thesis offers a short scoping review of the bioethics discourse surrounding these cases. A review of this discourse revealed several common themes, which included the peripheral importance of culture and history, the equating of best interests with survival, the supremacy of science-based medicine, and the impartial application of ethical principles. This thesis recommends that health care professionals apply an ethics of care approach to similar ethical dilemmas in the future, which involves shifting one's ethical focus to the central relationships of the case, understanding the unique perspective of the patient's narrative, and promoting a care-based rather than a justice-based approach to problem-solving. (shrink)

The Genre Legong is a secular (balih-balihan) Balinese dance genre (Anon. 1971).[1] Though originally associated with the palace,[2] legong has long been performed in villages, especially at temple ceremonies, as well as at Balinese festivals of the arts. Since the 1920s, abridged versions of legong dances have featured in concerts organized for tourists and in overseas tours by Balinese orchestras. Indeed, the dance has become culturally emblematic, and its image is used to advertise Bali to the world. Traditionally, the dancers (...) are three young girls; the servant (condong), who dances a prelude, and two legong. All wear elaborate costumes of gilded cloth with ornate accessories and frangipani-crowned headdresses.[3] The core repertoire consists of about fifteen dances (some of which are now lost), ranging in their longest versions from thirty to sixty minutes. Some of these are narrative, while others are abstract or general representations of nature, birds, insects, or plants. Those that involve narratives are, nevertheless, highly stylized, and the presentation of the drama is always secondary to the beauty of the dance. The genre is regarded as a treasury of the movements for Balinese women’s dance, and no dancer’s training is complete if she lacks a solid grounding in legong. The dance is accompanied by a gamelan of twenty-five or more players.[4] Though the legong dance remains popular in areas of traditional strength, and despite efforts to revive it, it is generally in decline (Davies 2006). (shrink)

The COVID-19 pandemic coincided with a transition in my scholarly life. Specifically, I shifted from being a postdoctoral fellow in an anthropology department at a traditional university to a tenure track position as an assistant professor at an institute for bioethics and health humanities within an academic health center. This development has been instructive, partly because I have begun learning about how the political economies of academic medicine and the traditional university differ, align, and respectively shape institutional research cultures. My (...) primary research interests are focused on ethical and socio-technical issues in infectious disease research and control, including in initiatives that are... (shrink)

1. IntroductionIt is an increasingly accepted protocol to situate oneself discursively in order to approach a set of problems. This protocol, consolidated by Donna Haraway’s famous “situated knowledge,” is also evident in everyday Indigenous Australian practice.1 I begin, therefore, with my long association with the Goolarabooloo community in Broome, North-West Australia, and in particular with Paddy Roe, who started teaching me in the late 1970s. This text attempts to translate his sense of belonging to that territory, an attachment he had (...) to struggle to maintain, both in the face of ongoing destructive colonization and also in the face of other Aboriginal territorial claims. These collective attachments are therefore inflected by history—not just settler history, but Indigenous history that has changed in relation to colonization. These changes are wrought through overwhelmingly rapid material changes, shifting institutional alliances, contested concepts, and new practices. This ethnographic history is an attempt to provide an overview of some of these changes in the North-West corner of Australia over the last forty years. (shrink)

This article argues that the concept of translation is central to the work of Bruno Latour, starting before ANT, with the group working on the sociologie de la traduction at the École des Mines. As one of his translators, I reflect on the extension of his identity via translation, then on the idea of translation as ‘political labour’ across social discontinuities, including those in colonisation contexts where certain languages can become hegemonic. Finally, with Latour’s major project, the Inquiry into Modes (...) of Existence, translation continues its descriptive task, but carries so much weight over the various modes of existence that it qualifies as a key philosophical concept of considerable analytic value. (shrink)

This article demonstrates the distortion of concepts involved in davidson's identification of linguistic understanding with interpretation. It suggests that the motivation for this distortion lies in davidson's commitment to a quinean metaphysics, In which human beings encounter bare sounds and bodily movements rather than words and actions. The affinities between this picture and that of empiricism are briefly adumbrated.

(1995). Re-Monstrations: Heidegger, Derrida and Wittgenstein's Hand. Journal of the British Society for Phenomenology: Vol. 26, Lacan, Adorno, and Bataille, pp. 65-85.

Now let us imagine, if you please, a tiny worm living in the blood, . . . . The worm would be living in the blood as we are living in our part of the universe, and it would regard each individual particle as a whole, not a part, and it would have no idea as to how all the parts are controlled by the overall nature of the blood and compelled to mutual adaptation as the overall nature of the (...) blood requires, so as to agree with one another in a definite relation. . . .Now all the bodies of Nature can and should be conceived in the same way as we have here conceived the blood; . . . . Now since the nature of the universe, unlike the nature of the blood, is not limited, but is absolutely infinite, its parts are modified by the nature of this infinite in infinite ways and are compelled to undergo infinite variations. (Spinoza, ESL, Letter 32, 245–6). (shrink)

A key phrase in working with horses, “bringing up life” is taken in its literal sense of moving expressively and energetically in order to animate the movements of the horses. The phrase also points to both what the radical phenomenologist Michel Henry referred to as the auto-affectivity of life and the vital powers of an essential hetero-affectivity. “Bringing up life” is the kinetic, kinaesthetic, affective expression of this fundamental impression that life is shared with other animate beings and that it (...) is all the more powerfully felt for being so. Working with horses – in spite of all the human conceits that groundwork, liberty training, and the riding disciplines hold – can thus reveal what it means to “bring up life” as more than a topic of very practical interest and specific phenomenological description. Through the impressional investigation of this expression we may well begin to feel our way toward more life-affirming, life-enhancing interactions with others of our own and many other animal kinds. (shrink)