Reviews/interviews/contributors Tributes to Professor Andrzej Kopcewicz - Agnieszka Salska New Media Effects on Traditional News Sources: A Review of the State of American Newspapers - Richard Profozich Review of The Body, ed. by Ilona Dobosiewicz and Jacek Gutorow - Grzegorz Kość “Taste good iny?”: Images of and from Australian Indigenous Literature - Jared Thomas Speaks with Teresa Podemska-Abt Engaging the “Forbidden Texts” of Philosophy - Pamela Sue Anderson Talks to Alison Jasper.
The theorist and philosopher Julia Kristeva is invited to curate an exhibition at the Louvre in Paris as part of a series-Parti Pris - and to turn this into a book, The Severed Head: Capital Visions. The organiser, Régis Michel, wants something partisan, that will challenge people to think, and Kristeva delivers in response a collection of severed heads neatly summarising her critique of the whole of western culture! Three figures dominate, providing a key to making sense of the exhibition: (...) Freud, Bataille, and the maternal body. Using these figures, familiar from across the breadth of her work over the last half a century, she produces a witty analysis of western culture’s persistent privileging of disembodied masculine rationality; the head, ironically phallic, ironically and yet necessarily severed; the maternal body continually arousing a “jubilant anxiety”, expressed through violence. Points of critique are raised in relation to Kristeva’s normative tendencies-could we not tell a different story about women, for example? The cultural context of the exhibition is also addressed: who are the intended viewers/readers and whose interests are being served here? Ultimately, however, this is a celebration of Kristeva’s tribute to psychic survivors. (shrink)
Michèle Roberts: Female Genius and the Theology of an English Novelist Since Simone de Beauvoir published The Second Sex in 1949, feminist analysis has tended to assume that the conditions of male normativity—reducing woman to the merely excluded "Other" of man—holds true in the experience of all women, not the least, women in the context of Christian praxis and theology. Beauvoir's powerful analysis—showing us how problematic it is to establish a position outside patriarchy's dominance of our conceptual fields—has helped to (...) explain the resilience of sexism and forms of male violence that continue to diminish and destroy women's lives because they cannot be seen as questionable. It has also, I would argue, had the unintended consequence of intensifying the sense of limitation, so that it becomes problematic to account for the work and lives of effective, innovative and responsible women in these contexts. In order to address this problematic issue, I use the life and work of novelist Michèle Roberts, as a case study in female genius within an interdisciplinary field, in order to acknowledge the conditions that have limited a singular woman's literary and theological aspirations but also to claim that she is able to give voice to something creative of her own.The key concept of female genius within this project draws on Julia Kristeva's notion of being a subject without implicitly excluding embodiment and female desire as in normative male theology, or in notions of genius derived from Romanticism. Roberts' work as a writer qualifies her as female genius in so far as it challenges aspects of traditional Christianity, bringing to birth new relationships between theological themes and scriptural narratives without excluding her singular female desires and pleasures as a writer. This paper—as part of a more inclusive, historical survey of the work of women writers crossing the disciplinary boundaries between literature and Christian theology over the last several centuries also asks whether, in order to do proper justice to the real and proven limitations imposed on countless women in these fields across global and historical contexts, we need, at the same time, to reduce the Christian tradition to something that is always antithetical or for which women can take absolutely no credit or bear no responsibility. (shrink)
The purpose of this article is to discuss the ethical issues impacting the phenomenon of patient safety and to present implications for nursing management. Previous knowledge of this perspective is fragmented. In this discussion, the main drivers are identified and formulated in ‘the ethical imperative’ of patient safety. Underlying values and principles are considered, with the aim of increasing their visibility for nurse managers’ decision-making. The contradictory nature of individual and utilitarian safety is identified as a challenge in nurse management (...) practice, together with the context of shared responsibility and identification of future challenges. As a conclusion, nurse managers play a strategic role in patient safety. Their role is to incorporate ethical values of patient safety into decision-making at all levels in an organization, and also to encourage clinical nurses to consider values in the provision of care to patients. Patient safety that is sensitive to ethics provides sustainable practice where the humanity and dignity of all stakeholders are respected. (shrink)
The Artist and Religion in the Contemporary World Although we begin with the words of the poet Henry Vaughan, it is the visual artists above all who know and see the mystery of the Creation of all things in light, suffering for their art in its blinding, sacrificial illumination. In modern painting this is particularly true of van Gogh and J.M.W. Turner. But God speaks the Creation into being through an unheard word, and so, too, the greatest of musicians, as (...) most tragically in the case of Beethoven, hear their sublime music only in a profound silence. The Church then needs to see and listen in order, in the words of Heidegger, to learn to "dwell poetically on earth" before God. To dwell thus lies at the heart of its life, liturgically and in its pastoral ministry, as illustrated in the poetry of the English priest and poet, David Scott. This can also be seen as a "letting go" before God and an allowing of a space in which there might be a "letting the unsayable be unsaid" and order found even over the abyss. This is what Vladimir Nabokov has called "the marvel of consciousness" which is truly a seeing in the darkness. The poet, artist and musician can bring us close to the brink of the mystery, and thus the artist is always close to the heart of the church's worship and its ministry of care where words meet silence, and light meets darkness. Such, indeed, is the true marvel of consciousness in the ultimate risk which is the final vocation of the poet and artist, as it was of Christ himself, and all his saints. The church must be ever attentive to the deeply Christocentric ministry of art and the creative power of word and image in the letting the unsayable be unsaid. With the artist we may perhaps stand on Pisgah Height with Moses with a new imaginative perception of the divine Creation. The essay concludes on a personal note, drawing upon the author's own experience in retreat in the desert, with a reminder of the thought of Thomas Merton, a solitary in the community of the Church. (shrink)
In view of the subsequent career of the leading Lutheran theologian Paul Althaus, the student letters reproduced here obtain considerable biographical weight: 1913 doctorate in Göttingen, 1914 habilitated and a privatdozent, during the war an volunteer orderly, then a hospital and provincial pastor in Lodz, 1919–1924 Professor in Rostock, 1924–1966 Professor of systematic theology and New Testament exegesis in Erlangen. Althaus' letters shed light on the family and confessional traditions in which he originated, just as they do on his connections (...) with a fervent church as well as a national and patriotic life. In addition, they illustrate the outstanding powers of observation and formulation as well as the intelligence and wide interests of the young student, all qualities of importance for his later career. In addition, the student letters of the 18–19 year old Paul Althaus describe the conditions of studying in Tübingen a hundred years ago. The professors then instructing there, among them, especially Adolf Schlatter, are also vividly described in their various roles, just as the letters richly narrate aspects of the general conduct of studies, life in fraternities – Althaus was active in the Nicaren, a non-duelling Christian association – as well as the many student rambles through the woods. (shrink)