BackgroundInformed consent is an ethical and legal requirement for research involving human participants. However, few studies have evaluated the process, particularly in Africa.Participants in a case control study designed to identify correlates of immune protection against tuberculosis (TB) in South Africa. This study was in turn nested in a large TB vaccine efficacy trial.The aim of the study was to evaluate the quality of consent in the case control study, and to identify factors that may influence the quality of consent.Cross-sectional (...) study conducted over a 4 month period.MethodsConsent was obtained from parents of trial participants. These parents were asked to complete a questionnaire that contained questions about the key elements of informed consent (voluntary participation, confidentiality, the main risks and benefits, etc.). The recall (success in selecting the correct answers) and understanding (correctness of interpretation of statements presented) were measured.ResultsThe majority of the 192 subjects interviewed obtained scores greater than 75% for both the recall and understanding sections. The median score for recall was 66%; interquartile range (IQR) = 55%–77% and for understanding 75% (IQR = 50%–87%). Most (79%) were aware of the risks and 64% knew that they participated voluntarily. Participants who had completed Grade 7 at school and higher were more likely (OR = 4.94; 95% CI = 1.57 – 15.55) to obtain scores greater than 75% for recall than those who did not. Participants who were consented by professional nurses who had worked for more than two years in research were also more likely (OR = 2.62; 95% CI = 1.35–5.07) to obtain such scores for recall than those who were not.ConclusionNotwithstanding the constraints in a developing country, in a population with low levels of literacy and education, the quality of informed consent found in this study could be considered as building blocks for establishing acceptable standards for public health research. Education level of respondents and experience of research staff taking the consent were associated with good quality informed consent. (shrink)

The case study method offers a hands-on inquiry based method for teaching leadership traits. With this in mind, the case study method is used to provide opportunities for middle school students to analyze a situation and the actions of the case study charactcrs and to identify leadership behaviors. The use of the case study method allows instructors to teach character education to this group of middle school students by promoting the use of critical thinking skills through small group discussions and (...) reflections. The staff is confident by using this method that the students are able to analyze, discuss, and draw conclusions for discussions in small groups. (shrink)

Experimental research has shown that pairs of stimuli which are congruent and assumed to 'go together' are recalled more effectively than an item presented in isolation. Will this multisensory memory benefit occur when stimuli are richer and longer, in an ecological setting? In the present study, we focused on an everyday situation of audio-visual learning and manipulated the relationship between audio guide tracks and viewed portraits in the galleries of the Tate Britain. By varying the gender and narrative style of (...) the voice-over, we examined how the perceived congruency and assumed unity of the audio guide track with painted portraits affected subsequent recall. We show that tracks perceived as best matching the viewed portraits led to greater recall of both sensory and linguistic content. We provide the first evidence that manipulating crossmodal congruence and unity assumptions can effectively impact memory in a multisensory ecological setting, even in the absence of precise temporal alignment between sensory cues. (shrink)

The progressive art guide - an entirely new method of self-instruction on modern arts, shown in their progressive stages of completion is an unchanged, high-quality reprint of the original edition of 1888. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. (...) Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future. (shrink)

Reflective essay focusing on a discussion of personal identity issues with ninth grade students.

Reflective essay focusing on a discussion of personal identity issues with ninth grade students.

Reflective essay focusing on a discussion of personal identity issues with ninth grade students.

Essays concerned with the transmission of Boethian philosophy and poetry also relate to medieval translation practice, the emergence of European literature, reception history, and manuscript studies. 'Knowledge of the understanding of Boethius inthe middle ages is considerably enhanced. 'REVIEW OF ENGLISH STUDIES.

Stakeholder theory has largely been anthropocentric in its focus on human actors and interests, failing to recognise the impact of nonhumans in business and organisations. This leads to an incomplete understanding of organisational contexts that include key relationships with nonhuman animals. In addition, the limited scholarly attention paid to nonhumans as stakeholders has mostly been conceptual to date. Therefore, we develop a stakeholder theory with animals illustrated through two ethnographic case studies: an animal shelter and Nordic husky businesses. We focus (...) our feminist reading of Driscoll and Starik’s (J Bus Ethics 49:55–73, 2004) stakeholder attributes for nonhumans and extend this to include affective salience built on embodied affectivity and knowledge, memories, action and care. Findings reveal that nonhuman animals are important actors in practice, affecting organisational operations through human–animal care relationships. In addition to confirming animals are stakeholders, we further contribute to stakeholder theory by offering ways to better listen to nontraditional actors. (shrink)

I will look at and discuss the ideological-subject position of the ‘sympathetic’ slave-owner by employing Žižek ’s specific conception of ideology across two varying slave-narratives. I attempt to uncover how this ideology operates within the social-material reality in the texts Our Nig and Minnie's Sacrifice and the ways that the authors employed tropes in depicting this particular archetypal figure in slave-narratives. These charachter's exhibit an ideology remarkably aligned with Žižek ’s: that a certain non-knowledge of the proper logic of an (...) ideological reality is what sustains it. This suggests not only that such an archetypal figure exists across slave-narratives, but also that they deploy a communal ideology that attempts to conflate unwillingness with inability. They enable the perpetuation of the institution by their unwillingness to reject the economic benefits of slavery, which they conceive of as an inability. (shrink)

The comprehension of anaphoric relations may be guided not only by discourse, but also syntactic information. In the literature on online processing, however, the focus has been on audible pronouns and descriptions whose reference is resolved mainly on the former. This paper examines one relation that both lacks overt exponence, and relies almost exclusively on syntax for its resolution: adjunct control, or the dependency between the null subject of a non-finite adjunct and its antecedent in sentences such as Mickey talked (...) to Minnie before ___ eating. Using visual world eyetracking, we compare the time course of interpreting this null subject and overt pronouns (Mickey talked to Minnie before he ate). We show that when control structures are highly frequent, listeners are just as quick to resolve reference in either case. When control structures are less frequent, reference resolution based on structural information still occurs upon hearing the non-finite verb, but more slowly, especially when unaided by structural and referential predictions. This may be due to increased difficulty in recognizing that a referential dependency is necessary. These results indicate that in at least some contexts, referential expressions whose resolution depends on very different sources of information can be resolved approximately equally rapidly, and that the speed of interpretation is largely independent of whether or not the dependency is cued by an overt referring expression. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 32-41 [Access article in PDF] Does Art Education Dream of Disneyland? [Figures] Introduction What image can we present when challenged to illustrate art education in the form of a scheme? The word "illustration" literally means to build understanding through an explanatory diagram. In art education or anything [End Page 32] else, the use of a visual image to understand a certain system (...) can be interpreted as a question of human sensitivity and recognition. Translating minute nuances or peculiarities of information into a vibrant image is, however, a confusing and difficult exercise. In this essay, I attempt to portray those elements crucial to the teaching and learning process of art education using Disneyland as a structural as well as a functional metaphor. The Happiest Place on Earth? Disneyland is depicted as "a dream world" and "the happiest place on earth." As described in various incisive essays, Disneyland is a symbol of modern American culture, an ultimate form of the consumer society or the hegemony of entertainment. 1 To start with, the structural elements of this epitome of Walt Disney's vision are outlined.Walt Disney created Main Street USA (the World Bazaar) to make all visitors feel as if they are the leading character in a Disney film, walking through the main street of life. He attempted to remove the ugliness of everyday life from his dream space by eradicating the back streets of the real world. The design of the buildings along Main Street originates from Walt Disney's hometown. The sense of distance within the Disney complex is enhanced by using a smaller scale for the upper stories of buildings and a progressively narrowing street.Sleeping Beauty's Castle (or Cinderella Castle at Tokyo Disneyland) lies beyond Main Street and is modeled on Neuschwanstein Castle in Fussen,South Bayern, Germany. The road leading to the castle ascends slightly which amplifies the anticipation factor for visitors. Sleeping Beauty's Castle is the centerpiece of Disneyland and functions as the hub to guide visitors to various lands. Several attractive spaces radiate from this hub, forming a total of six areas.On the extension line from the Entrance via Sleeping Beauty's Castle lies Fantasyland where Walt Disney has reproduced the world of animation based on European legends and fables. Toontown lies beyond Fantasyland. This is a world of familiar characters, such as Mickey, Minnie, and Goofy. Traveling clockwise, Tomorrowland is next where all kinds of imaginary worlds await visitors. Adventureland, on the opposite side of Main Street, offers worlds of different cultures and spaces for adventure. Beyond Adventureland lies Westernland, designed to invite visitors to return to the Wild West.It is possible to form a hypothesis that there are three axes connecting the six lands. Those axes run through Sleeping Beauty's Castle that acts as the hub and two opposing areas on the same axis with the Castle being the point of symmetry.The first axis could be the axis of "reality." If Main Street is considered to be the "crawling approachway" from the everyday sphere to dreamland,Fantasyland, offering playful space of extraordinary imagination, is set [End Page 33] against the ordinary space for everyday life. The second axis is the axis of "relationship" which connects individual persons to society. Toontown presents a world of fraternity and is a place where people bonded by kinship or friendship can trust each other and feel at ease. Frontierland, located on the opposite side of this axis creates a solitary space where people leave family and friends for the adventure of traveling to unknown lands. The third and final axis is that of "time" from the past to the future. Tomorrowland is a future world based on fantasy and imagination where prophecies becomereality. On the opposite side of this axis lies Westernland embodying the history and traditions of the American past.It is possible to regard each area of Disneyland, structured by these different worlds, as a metaphor to reflect the basic content and structure of art education in the context of the general curriculum. In fact... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 32-41 [Access article in PDF] Does Art Education Dream of Disneyland? [Figures] Introduction What image can we present when challenged to illustrate art education in the form of a scheme? The word "illustration" literally means to build understanding through an explanatory diagram. In art education or anything [End Page 32] else, the use of a visual image to understand a certain system (...) can be interpreted as a question of human sensitivity and recognition. Translating minute nuances or peculiarities of information into a vibrant image is, however, a confusing and difficult exercise. In this essay, I attempt to portray those elements crucial to the teaching and learning process of art education using Disneyland as a structural as well as a functional metaphor. The Happiest Place on Earth? Disneyland is depicted as "a dream world" and "the happiest place on earth." As described in various incisive essays, Disneyland is a symbol of modern American culture, an ultimate form of the consumer society or the hegemony of entertainment. 1 To start with, the structural elements of this epitome of Walt Disney's vision are outlined.Walt Disney created Main Street USA (the World Bazaar) to make all visitors feel as if they are the leading character in a Disney film, walking through the main street of life. He attempted to remove the ugliness of everyday life from his dream space by eradicating the back streets of the real world. The design of the buildings along Main Street originates from Walt Disney's hometown. The sense of distance within the Disney complex is enhanced by using a smaller scale for the upper stories of buildings and a progressively narrowing street.Sleeping Beauty's Castle (or Cinderella Castle at Tokyo Disneyland) lies beyond Main Street and is modeled on Neuschwanstein Castle in Fussen,South Bayern, Germany. The road leading to the castle ascends slightly which amplifies the anticipation factor for visitors. Sleeping Beauty's Castle is the centerpiece of Disneyland and functions as the hub to guide visitors to various lands. Several attractive spaces radiate from this hub, forming a total of six areas.On the extension line from the Entrance via Sleeping Beauty's Castle lies Fantasyland where Walt Disney has reproduced the world of animation based on European legends and fables. Toontown lies beyond Fantasyland. This is a world of familiar characters, such as Mickey, Minnie, and Goofy. Traveling clockwise, Tomorrowland is next where all kinds of imaginary worlds await visitors. Adventureland, on the opposite side of Main Street, offers worlds of different cultures and spaces for adventure. Beyond Adventureland lies Westernland, designed to invite visitors to return to the Wild West.It is possible to form a hypothesis that there are three axes connecting the six lands. Those axes run through Sleeping Beauty's Castle that acts as the hub and two opposing areas on the same axis with the Castle being the point of symmetry.The first axis could be the axis of "reality." If Main Street is considered to be the "crawling approachway" from the everyday sphere to dreamland,Fantasyland, offering playful space of extraordinary imagination, is set [End Page 33] against the ordinary space for everyday life. The second axis is the axis of "relationship" which connects individual persons to society. Toontown presents a world of fraternity and is a place where people bonded by kinship or friendship can trust each other and feel at ease. Frontierland, located on the opposite side of this axis creates a solitary space where people leave family and friends for the adventure of traveling to unknown lands. The third and final axis is that of "time" from the past to the future. Tomorrowland is a future world based on fantasy and imagination where prophecies becomereality. On the opposite side of this axis lies Westernland embodying the history and traditions of the American past.It is possible to regard each area of Disneyland, structured by these different worlds, as a metaphor to reflect the basic content and structure of art education in the context of the general curriculum. In fact... (shrink)