Thesis (Ph. D.)--Boston University, 1976. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 311-329).

Bakgrund: Intensivvårdssjuksköterskor har ansvar att bedriva omsorgsfull omvårdnad av kritiskt sjuka patienter i en högteknologisk miljö samtidigt som vårdandet ska ske personcentrerat. Personcentrerad vård inom intensivvård problematiseras av patienternas sjukdomstillstånd, avancerad vård och faktorer inom organisation och miljö som påverkar. Höga krav ställs på intensivvårdssjuksköterskor samtidigt som utförandet av personcentrerad vård har stor betydelse för intensivvårdspatienter. Eftersom personcentrerad vård inom intensivvård inte är lika beforskat som andra kontexter är det ett viktigt område att belysa. Syfte: Att beskriva intensivvårdssjuksköterskors erfarenheter av personcentrerad vård inom intensivvård. Metod: Kvalitativ induktiv ansats, datainsamling med frågeformulär med öppna frågor och dataanalys utifrån manifest kvalitativ innehållsanalys. Resultat: Analysen resulterade i tre kategorier och åtta subkategorier. Första kategorin Utmaningar i utförandet av personcentrerad vård beskrev otillräckliga resurser, patienternas tillstånd, att klimatet påverkar samt behov av mer kunskap. Andra kategorin Förutsättningar som främjar utförandet av personcentrerad vård beskrev organisatoriska förutsättningar, att alla arbetar mot samma mål, betydelsen av anhöriga och holistiskt synsätt. I tredje kategorin framkom Positiva upplevelser av personcentrerad vård inom intensivvård. Slutsats: Intensivvårdssjuksköterskors erfarenheter av personcentrerad vård inom intensivvård visar att det är komplext men samtidigt betydelsefullt och att det finns behov av utveckling inom området. / Background: Intensive care nurses have responsibility to provide high-quality care to critically ill patients within high technological environment based on a person-centered approach. The complex of patients' critical conditions, advanced care, environment and organizational factors makes patient-centered nursing challenging. Due to challenges, intensive care nurses require high skills whilst provision of person-centered care is of great importance to patients. Person-centered care within intensive care is important to highlight as it's not as researched as other contexts. Aim: To describe intensive care nurses' experiences of person-centered care in intensive care. Method: Qualitative inductive design, data collection with open ended questionnaires and analysis according to manifest content analysis. Results: The analysis resulted in three categories and eight subcategories. First category Challenges in performing person-centered care described insufficient resources, patients conditions, the impact of climate and need for more knowledge. Second category Conditions that promote provision of person-centered care described organizational conditions, working towards the same goal, the significance of relatives and holistic perspective. Third category emerged Positive experiences of person-centered care within intensive care. Conclusion: Intensive care nurses' experiences of person-centered care within intensive care is complex however of great importance and in need for development.

Margaret Sweatmans novel, <i>When Alice Lay Down With Peter</i>, plays with the British Empires adventure story and its creation of manhood. Mimicking this creative process in the Canadian Northwest, Sweatman conceives and births a womans previously erased passion back into the adventure story in a playful, erotic, and politically-charged presentation of the performing female body. Although appreciating the magic realism element to the novel (157), Nicole Markotic suggests that Sweatmans characters, like the readers, become History Tourists and are mere backdrop for the last century or so of Current Events that take precedence over their stories (156). The McCormack women, Markotic argues, have few stories other than going to war, having one momentous sex scene, giving birth (156). Indeed, Sweatmans whirlwind tour through 109 years of well-documented, and already too many times rehashed, rebellions, labour strikes, and world wars, seems to reflect this sentiment, but to limit Sweatman and her characters to only the Empires gender performative is to miss the female body performing as its own Big Bang.<p>Since a womans contingency and agency within the Empires gender performative has been vigorously debated by post modern and cultural theorists, Sweatman chooses to birth her characters into a world of/as performance. Richard Schechner, a pioneer in the field of performance theory, argues in his earlier work, Essays on Performance Theory (1977), that performance is a very inclusive notion of action, in which the performance workshop and the performance strategy of play are much more important than previously imagined (1,61). Sweatman draws on this discovery in order to free her characters to explore passion beyond Imperial and textual constraints. Four generations of McCormack women mimic, mock, and sidewind their way into, around, and beyond the Empires warring narrative and its heterosexual imperative. They are savvy, sexy, and provocative, playing simultaneously as shameless voyeurs, plagiarists, and war artists.

Margaret Sweatmans novel, <i>When Alice Lay Down With Peter</i>, plays with the British Empires adventure story and its creation of manhood. Mimicking this creative process in the Canadian Northwest, Sweatman conceives and births a womans previously erased passion back into the adventure story in a playful, erotic, and politically-charged presentation of the performing female body. Although appreciating the magic realism element to the novel (157), Nicole Markotic suggests that Sweatmans characters, like the readers, become History Tourists and are mere backdrop for the last century or so of Current Events that take precedence over their stories (156). The McCormack women, Markotic argues, have few stories other than going to war, having one momentous sex scene, giving birth (156). Indeed, Sweatmans whirlwind tour through 109 years of well-documented, and already too many times rehashed, rebellions, labour strikes, and world wars, seems to reflect this sentiment, but to limit Sweatman and her characters to only the Empires gender performative is to miss the female body performing as its own Big Bang.<p>Since a womans contingency and agency within the Empires gender performative has been vigorously debated by post modern and cultural theorists, Sweatman chooses to birth her characters into a world of/as performance. Richard Schechner, a pioneer in the field of performance theory, argues in his earlier work, Essays on Performance Theory (1977), that performance is a very inclusive notion of action, in which the performance workshop and the performance strategy of play are much more important than previously imagined (1,61). Sweatman draws on this discovery in order to free her characters to explore passion beyond Imperial and textual constraints. Four generations of McCormack women mimic, mock, and sidewind their way into, around, and beyond the Empires warring narrative and its heterosexual imperative. They are savvy, sexy, and provocative, playing simultaneously as shameless voyeurs, plagiarists, and war artists.

This thesis argues that Barth’s asymmetrical structuring of the Trinity in I/1, his doctrine of election in volume II, his concept of the humanity of Christ as the imago Dei in III/2 and his account of the obedience of the Son being reflected in his incarnate life, as detailed in IV/1 and IV/2, are not just coherent but mutually reinforcing. The thesis demonstrates that Barth uses a nexus of crucial terms, including ‘correspondence’ [Entsprechung], ‘reflection’ [reflex/Abbildung] and ‘overflowing’ [Ueberstroemen], to express that God’s actions and relationships ad extra reveal who God is. The concept of ‘correspondence’, tentatively present in the first two volumes, gathers pace through III/2 and achieves full force in volume IV, where the obedience of Christ in IV/2 ‘reflects’ or ‘mirrors’ the obedience of the Son in IV/1. Crucially, the fact that the economic Trinity ‘reflects’ the immanent Trinity, or (differently stated) that the immanent Trinity ‘overflows’ into the economy, establishes a direction, an asymmetry, to the relationship of ‘correspondence’. In ch. II of the thesis we argue that the asymmetry developed in the doctrine of the Trinity in I/1 is the basis for this asymmetric correspondence. Barth describes the triune life as one of giving and receiving existence, suggesting a divine order with an irreversible direction, an asymmetric order. This is shown to be particularly evident in Barth’s defence of the filioque clause which enables him to claim that the Spirit is the one in whom the ruling Father and obedient Son are united ad intra. On this basis we argue, in ch. III, that, when Barth revises his doctrine of election, he comes to see it as the event of triune reflection: the Father, Son and Spirit electing to reflect who they are with a direction of determination, an asymmetry, which is irreversible. In this respect we argue against Bruce McCormack, who sees election as the event in which God elects triunity. In ch. IV we read Barth’s III/2 account of the humanity of Christ as the imago Die, as an attempt to demonstrate that God’s economy of salvation corresponds to who he is. This theme comes into full focus in the first two part-volumes of volume IV, explored here in ch. V. The obedience of Christ reflects, corresponds to, the obedience of the Son. There is obedience in God. This concept, which so mystifies Paul Molnar and Rowan Williams, is shown to be theologically consistent with a doctrine articulated by Barth some thirty years previously: his asymmetrically structured doctrine of the Trinity.

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