Background: COVID-19 pandemic has led to heightened moral distress among healthcare providers. Despite evidence of gendered differences in experiences, there is limited feminist analysis of moral distress. Objectives: To identify types of moral distress among women healthcare providers during the COVID-19 pandemic; to explore how feminist political economy might be integrated into the study of moral distress. Research Design: This research draws on interviews and focus groups, the transcripts of which were analyzed using framework analysis. Research Participants and Context: 88 (...) healthcare providers, based in British Columbia Canada, participated virtually. Ethical Considerations: The study received ethical approval from Simon Fraser University. Findings: Healthcare providers experienced moral dilemmas related to ability to provide quality and compassionate care while maintaining COVID-19 protocols. Moral constraints were exacerbated by staffing shortages and lack of access to PPE. Moral conflicts emerged when women tried to engage decision-makers to improve care, and moral uncertainty resulted from lack of clear and consistent information. At home, women experienced moral constraints related to inability to support children’s education and wellbeing. Moral conflicts related to lack of flexible work environments and moral dilemmas developed between unpaid care responsibilities and COVID-19 risks. Women healthcare providers resisted moral residue and structural constraints by organizing for better working conditions, childcare, and access to PPE, engaging mental health support and drawing on professional pride. Discussion: COVID-19 has led to new and heightened experiences of moral distress among HCP in response to both paid and unpaid care work. While many of the experiences of moral distress at work were not explicitly gendered, implicit gender norms structured moral events. Women HCP had to take it upon themselves to organize, seek out resources, and resist moral residue. Conclusion: A feminist political economy lens illuminates how women healthcare providers faced and resisted a double layering of moral distress during the pandemic. (shrink)

Since publication of the 1986 Carnegie Commission report, A Nation Prepared: Teachers for the 21st Century, the professional teaching standards movement has gained noticeable momentum. The professional standards movement in teaching has been fueled by national organizations such as the National Council for Accreditation of Teacher Education, the Interstate New Teachers Assessment and Support Consortium, the National Board for Professional Teaching Standards, the National Commission on Teaching and America's Future, and by close collaboration among these four entities. Further, nearly all (...) of the fifty states are embracing the professional standards movement through formal participation in the work of one or more of these organizations. Although the professional standards movement in teaching is strong and growing stronger, its implications are not clear for instructional programs in social foundations of education, either at the teacher preparation or the advanced graduate levels. In response to the standards movement, social foundations educators have a number of options before them, three of which are to (1) largely ignore these developments, as "this too shall pass"; (2) critically interpret and resist these developments through scholarship and collective professional action, as social foundations scholars did with Competency Based Teacher Education in the 1970s; and (3) critically interpret these developments while working to strengthen the potential of the professional teaching standards movement to achieve its stated goal of providing caring and qualified teachers for every classroom in the nation. Of these three options, the last is most advisable, but it presents a considerable challenge to social foundations educators. Although the absence of social foundations skills, perspectives, and understanding should make it very difficult for teacher candidates and teachers to perform well on standards-based teaching assessments, there is no guarantee that these assessments will hold candidates accountable for social foundations learning. Implications for social foundations educators and activists are significant. (shrink)

We recognise certain acts as ‘sexual assault’, ‘sexual violence’, or a ‘sexual offence’, often to offer strong moral condemnation or to prescribe legal sanction. A common feature of these attacks is that they impose nonconsensual sexual contact; they are sexual attacks. While there has been extensive discussion of consent to sexual contact and of the conditions under which consensual contact is sexual, there has been little investigation into what it is for nonconsensual contact to be sexual. The purpose of this (...) article is to examine the conditions under which an attack (nonconsensual contact) is sexual. I first argue that an account of sexual attacks is important, not least because the question has pressing moral and legal implications. I then consider and reject three accounts, one appealing solely to intuitions, one appealing to the body parts involved, and one appealing to the assailant’s mental state. Finally, I develop my own account. I propose that an attack is sexual if and only if it carries a sexual expressive significance, and thereby conveys a sexual meaning. (shrink)

There is no question, of course, that music is a temporal art. Stravinsky, noting that it is inconceivable apart from the elements of sound and time, classifies it quite simply as "a certain organization in time, a chrononomy."1 His definition stands as part of a long and honored tradition that encompasses such diverse figures as Racine, Lessing, and Schopenhauer. Schopenhauer, putting the case in its strongest terms, remarks that music is "perceived solely in and through time, to the complete exclusion (...) of space," thus making explicit the opposition between time and space and ruling out the latter as a possible area for legitimate musical experience. Yet anyone familiar with the philosophical and theoretical literature dealing with music must be struck by the persistence with which spatial terminology and categories appear. Indeed, it would seem to be impossible to talk about music at all without invoking spatial notions of one kind or another. Thus in discussing even the most elementary aspects of pitch organization—and among the musical elements, only pitch, we should remember, is uniquely musical—one finds it necessary to rely upon such spatially oriented oppositions as "up and down," "high and low," "small and large" , and so on. Space, then, pace Schopenhauer, apparently forms an inseparable part of the musical experience. · 1. Igor Stravinsky, Poetics of Music in the Form of Six Lessons, trans, Arthur Knodel and Ingolf Dahl , p. 28. Robert P. Morgan is active as both a music composer and theorist. A professor of music at the University of Chicago, he is currently composing a concerto for flute, oboe, and string orchestra to be performed at Swarthmore College. His previous contribution to Critical Inquiry, "On the Analysis of Recent Music," appeared in the Autumn 1977 issue. Anthony Gilbert responds to the current essay in "Musical Space: A Composer's View". (shrink)

One person treats another as a sexual being by responding to their actual or perceived sexual properties. I develop an account of sexualisation to examine this phenomenon, especially as it relates to wrongful treatment such as sexual harassment. On the account proposed here, one person sexualises another when they foreground that person’s sexual properties. Some property of a person is foregrounded when it is introduced to the score of the encounter, following David Lewis’s conception of a conversational score. Having developed (...) a concept of sexualisation, I argue that unwanted sexualisation is wrong because it contradicts a person’s self-presentation. Unwanted sexualisation is a particularly serious instance of this due to cultural norms surrounding sex and the practice of unwanted sexualisation. (shrink)

Much controversy surrounds Schenker's mature theory and its attempt to explain musical pitch motion. Becoming Heinrich Schenker brings a new perspective to Schenker's theoretical work, showing that ideas characteristic of his mature theory, although in many respects fundamentally different, developed logically out of his earlier ideas. Robert P. Morgan provides an introduction to Schenker's mature theory and traces its development through all of his major publications, considering each in detail and with numerous music examples. Morgan also explores the relationship between (...) Schenker's theory and his troubled ideology, which crucially influenced the evolution of his ideas and was heavily dependent upon both the empirical and idealist strains of contemporary German philosophical thought. Relying where possible on quotations from Schenker's own words, this book offers a balanced approach to his theory and a unique overview of this central music figure, generally considered to be the most prominent music theorist of the twentieth century. (shrink)

This book defines interpretation and examines the special issues that surround biblical interpretation. The authors analyze the development of traditional literary and historical criticism and more recent social, scientific, and literary approaches, focusing on the key figures from Reimarus to Gerd Theissen, and exposing the underlying theological issues. They reveal a pattern in the relationship between religious interests in the texts and the rational methods used to interpret them, providing guidance for a theologically sensitive use of the Bible today. The (...) book includes an annotated index with detailed information on over two hundred fifty biblical scholars and other interpreters. (shrink)

Cost conversations are essential to informed consent because patients have a right to information that they think is relevant, and patients overwhelmingly report that cost information is relevant to their medical decisions. Providers have an ethical responsibility to provide necessary information for informed consent, and therefore must discuss costs. The Shared Decision Making model is ideal for enabling this exchange of information, and decision aids are also helpful. Although barriers exist, many useful tools can help providers fulfill this obligation, and (...) encouraging progress is being made to improve cost transparency from insurers and facilities. (shrink)

Counting on the weather Content Type Journal Article Pages 1-4 DOI 10.1007/s11016-010-9503-3 Authors Ruth Morgan, History Discipline, Faculty of Arts, Humanities and Social Sciences, The University of Western Australia, 35 Stirling Highway, Crawley, WA 6009, Australia Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.

According to [Edward T.] Cone, then, there is a great deal of music written today that is simply no longer susceptible to analysis. If this is true, it can mean one of several things. First, it may indicate that, although there are new compositions that one finds interesting and representative of the period in which we live, the music simply does not lend itself to analysis. Thus, even if we enjoy and admire this music, there is not much that we (...) can say about it beyond perhaps a mere description—which I think most of us, along with Cone, would agree does not really constitute an analysis. I have the impression that many proponents of new music hold this view—that is, they feel that new music is understandable only through a sort of mindless apprehension of its sensory surface. But if this is a fair account of the situation surrounding new music, it seems to me to represent a very serious—and also depressing—state of affairs. For what it means, I suspect, is that new music does not lend itself to being thought about in any serious way at all; and if so, then new music is missing a crucial dimension—namely, an accompanying conceptual framework, erected through a body of critical and theoretical discourse, through which its meaning is defined and redefined as our thinking about music evolves. Indeed, this dimension forms—and has always formed—such an integral component of Western art music that its absence would seem to indicate that music, at least as we have known it, is in all likelihood dead. Robert P. Morgan is professor of music theory and composition at Temple University. In addition to being a composer, he is active as a critic; his articles on contemporary music have appeared recently in several music journals and in An Ives Celebration. His contribution to Critical Inquiry, "Musical Time/Musical Space" appeared in the Spring 1980 issue. (shrink)

It is frequently noted that a “crisis in language” accompanied the profound changes in human consciousness everywhere evident near the turn of the century. As the nature of reality itself became problematic—or at least suspect, distrusted for its imposition of limits upon individual imagination—so, necessarily, did the relationship of language to reality. Thus in the later nineteenth century, the adequacy of an essentially standardized form of “classical” writing was increasingly questioned as an effective vehicle for artistic expression: even though often (...) in “elevated” form, such writing bore too close a connection to ordinary discourse. Indeed, it was precisely the mutually shared, conventional aspects of language that came to be most deeply distrusted for their failure to mirror the more subjective, obscure, and improbable manifestations of a transcendent reality or, rather, realities—the plural reflecting an insistence upon the optional and provisional nature of human experience. Language in its normal manifestations—with its conventionalized vocabulary and standardized rules for syntactical combination—proved inadequate for an artistic sensibility demanding, in Friedrich Nietzsche’s words, “a world of abnormally drawn perspectives.”This dissatisfaction with “normal” language received its classic statement through Hugo von Hofmannsthal’s Lord Chandos. Writing in 1902, Hofmannsthal conveys through the figure of the aristocratic Chandos the loss of an encompassing framework within which the various objects of external reality are connected with one another and integrated with the internal reality of human feelings. Chandos’ world has become one of disparate, disconnected fragments, resistant to the abstractions of ordinary language. It is a world characterized by “a sort of feverish thought, but thought in a material that is more immediate, more fluid, and more intense than that of language.” Chandos longs for a new language in which not a single word is known to me, a language in which mute objects speak to me and in which perhaps one day, in the grave, I will give account of myself before an unknown judge.”2 The content and forms of art thus shifted away from exterior reality, which no longer provided a stable, “given” material, toward language itself—to “pure” language in a sense closely related to the symbolists’ “pure” poetry. “No artist tolerates reality,” Nietzsche proclaimed.3 And Gustave Flaubert’s farsighted advice to himself was that he should write “a book about nothing, a book dependent on nothing external, which would be held together by the internal strength of its style.”4 2. Hugo von Hofmannsthal, “Ein Brief,” Gesammelte Werke, ed. Bernd Schoeller with Rudolf Hirsch, 10 vols. , 7:471-72; my translation. All further translations are my own unless otherwise indicated.3. Friedrich Nitzsche, Complete Works, ed. Oscar Levy, 18 vols. , vol. 15, The Will to Power, trans. Anthony M. Ludovici, p. 74.4. Gustave Flaubert, Flaubert to Louise Colet, 16 Jan. 1852, The Letters of Gustave Flaubert 1830-1857, ed. and trans. Francis Steegmuller , p. 154. Other passages in this letter are equally remarkable for their “modernist” tone. Flaubert argues that from the standpoint of l’Art pur, “one might almost establish the axiom that there is no such thing as subject—style in itself being an absolute manner of seeing things” . Further:The finest works are those that contain the least matter; the closer expression comes to thought, the closer language comes to coinciding and merging with it, the finer the result. I believe the future of Art lies in this direction. I see it, as it has developed from its beginnings, growing progressively more ethereal …. Form, in becoming more skillful, becomes attenuated, it leaves behind all liturgy, rule, measure; the epic is discarded in favor of the novel, verse in favor of prose; there is no longer any orthodoxy, and form is as free as the will of its creator. This progressive shedding of the burden of tradition can be observed everywhere: governments have gone through similar evolution, from oriental despotisms to the socialisms of the future. [P. 154] Robert P. Morgan, professor of music at the University of Chicago, is currently writing a history of twentieth-century music and working on a study of form in nineteenth-century music. His previous contributions to Critical Inquiry are “On the Analysis of Recent Music” and “Musical Time/Musical Space”. (shrink)

The fact of four different Gospels can be faced as a theological opportunity rather than as a merely historical problem by the hermeneutic of an understanding of Christianity as based upon the christological dogma.

The aim of this essay is to show the significance for a new situation of Barth's attack upon some of the historical scholarship of his day over fifty years ago. Barth was motivated by Christian theological concerns, but what he stood for has important implications for New Testament studies generally, and in particular for its purpose and place within a Religious Studies syllabus. If what is written has a mildly polemical edge this will betray the scarcely veiled theological interests which (...) prompt the warning against New Testament studies that spurn theology and a theology that spurns the New Testament. But the argument depends upon considerations arising from the character of the New Testament material and the educational reasons for studying it outside the Christian church. Within the theological circle, liberal protestantism is at last emerging from under the cloud cast over it by the dialectical theology. The rediscovery of Schleiermacher is rightly being followed by a rediscovery of Troeltsch. But for reasons for which dialectical theology is itself partly to blame this is being accompanied in some quarters by a failure to insist upon the importance of the Bible for Christian theology. Despite all their differences, liberals and dialectical theologians agreed in defending biblically rooted theologies. Some of those engaged in revising the map of recent theological history need reminding that the emphasis upon the theological use of the New Testament which has dominated the work of Barth and Bultmann has more than a narrowly confessional interest. It is directly relevant to the recent swing towards Religious Studies in British universities and colleges of education. (shrink)

In Search of Just Families. By Chhanda Gupta.