In lieu of an abstract, here is a brief excerpt of the content:Focusing on The Experience:Exploring Alternative Paths for ResearchEleanor Stubley, Anneli Arho, Päivi Järviö, and Tuomas MaliWriting and speaking are essential means of understanding, studying, and sharing music in the Western art music tradition. As a group of researchers, our story begins with the gap that seemingly exists between theoretical definitions or accounts of music and our experience of it as music makers—that is to say as composers, performers, (...) conductors, and teachers. Poignantly sensitive to the ways in which our musical experience and knowledge is embodied, we found ourselves one day four years ago sitting around an electrically-charged dinner table where ideas, questions, and the joy of having found someone like-minded seemed to be the main entrée. Since then, we have been working as a group, [End Page 39] experimenting with different ways of collaborating, using writing as a means of exploring and sharing our experiences across long distances. At first, the goal was simply to find a common ground, a platform for developing an extended dialogue that would draw on our unique backgrounds and divergent ways of our thinking. But, in the absence of a common language, both linguistic and theoretical, there were problems. We had, for example, to come to understand what each of us meant by the word experience and the role it could play as the ground of research, not as a series of defining moments or events but as the largely invisible flow of human life. We also had to deal with the inter-wovenness of mind and body, individual, and culture, not to mention our individual musical sensitivity and artistry. Confronted by these larger issues, our differences soon became the means to explore gaps or openings that could be entered to reveal the continuous becoming of music and language, the places where they intersect and diverge, and our own being in relationship to both.The papers presented in this symposium were the outgrowth of our dialogue during the summer of 2004. Each of us worked independently, yet each of us was also aware of the direction, the themes, and the ways of the others. The result is kaleidoscopic, each author starting from a different place, but seemingly working from the same palette of colors.Eleanor Stubley writes as a philosopher and conductor. Her work here is part of a larger on-going study that examines the way in which the body fills both language and our experience of music, with a particular focus on the way in which an interest in the body renews our understanding of music, language, and thought. Through a series of inter-connecting meditations inspired by the letter A, she challenges the practice of grounding research and practice in definitions of music as "organized sound." Her writing makes visible the habitual of a variety of educational practices, asking us to think anew about instructional technologies such as the alphabet, scale, and taxonomies of musical form, and to find in what we have traditionally thought of as practices of the mind, the omnipresence of the body. It also offers a new perspective on the hand, not as a tool or muscle to be trained as a skill, but as the very ground from which to develop an aesthetics of music that combines and recognizes the multiple ways in which we know and encounter music, through sight, sound, movement, and touch.Anneli Arho writes as a composer, educator, and philosopher/researcher. She explores the power of working from within the factical situation of a musician making music, focusing in particular on the embodiedness of music, questions of meaningfulness, and the ways in which phenomenological reflection on her own musical experiences has allowed her to move beyond traditional research discourses. Her writing asks us as educators to re-think curricular definitions of [End Page 40] composition, not simply as a collection of skills to be acquired or languages to be learned, but rather as embodied ways of living in and through sound. Using notation as an example, she argues that composing generates its own practical and existential questions distinct from those of listener, performer, and researcher, and which can never be totally shared with others... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Meditations on the Letter A:The Hand as Nexus Between Music and LanguageEleanor V. StubleyThe image is that of a little girl. She stands alone, center-stage, her lips moving quietly as she rehearses the letters of the alphabet so that her forthcoming performance will be fresh and perfect. Her name is called. She takes a deep breath and begins, haltingly, doh,... doh, ray,... doh, ray, me,.... Her tongue catches at (...) the beginning of each sound as if it were a new found delight, but it is the sequence, the linear progression that is the focus of her concentration. And slowly, her recitation begins to take on its own rhythmic fluidity, each sound's name becoming stronger and more confident than the one before. Then just as quickly as it began, it is over, and she stands tall in the glory of the final doh's resonance, proud in her belief that having mastered the letters of the alphabet, she has at long last discovered the key to unlocking music's deepest and darkest mysteries.The alphabet—I begin its story with the hand behind the hieroglyphic markings of our ancient ancestors, the hand that discovered in the tracings of its own aimless movements across the sand a capacity to replicate the arc of the moon, the flowering branches of a shrub. It was a hand pre-occupied with the visual, its scratchings serving to extend the communicative power of its own reach by calling forth the image of a thing not immediately present. Meaning, as such, was typically a matter of a one-to-one correspondence inferred on the basis of shape and form, with concepts such as speed and light portrayed by animals and natural objects that one would associate with each (for instance, a running cougar, a stylized sun). But as language and the art of storytelling evolved, the emergence of concepts lacking precise visual associations required the development of a variety of phonetic strategies that, often working through pictographic puns (that is, belief, bee+leaf), used the visual to invoke the sound of the human voice.1 The effect, David Abrams suggests, was that of magic, the word having seemingly been "drawn" from the silence of thin air.2 And, like all tricks, the hand disappeared behind the magic. Where initially voice and hand had worked as extensions of one another, the voice serving to bring people together,3 the hand pointing to that which was voiced, the word as name now sounded alone.The story continues with the artistry of the storyteller. It was the artistry of a rhapsodist, one who used the voice to spin a tale of a "remembered present" from [End Page 42] the remnants of the hand's scratchings that had withstood the ravages of time.4 I say "remembered present" because the voice was valued for its expressive qualities and worked in and through a battery of memorized melodic embellishments that allowed it to stitch one image to the next on the basis of the storyteller's own experience and knowledge.5 It was a voice, consequently, that worked in the moment, a voice that drew energy and inspiration not only from the hand's scratchings but also from those that had gathered to listen. The first alphabets did little to change the dynamics of the event, they being nothing more than crudely assembled compilations of idiosyncratic phonograms (that is, z = buzzing bee) designed to define the possibilities of language as a vocabulary of names.6 Etched into bark, tree, stone, and parchment, however, they came to have a longevity that allowed the sounding codes they represented to be carried "word of mouth" from place to place. Where the spoken word had once been both fleeting and fluid, gone before it was fully sounded, it now had a repeatability that served to fix both its spellings and its meanings. And it was not long before the spinning of a tale had become a matter of second sight, the work of an extraordinary memory able to "recall" that which the storyteller had not been present to hear.7The gift worked through a self-conscious awareness of oneself as... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Memoriam: Eleanor V. Stubley (1960–2017)Roberta LambIt is dusk in the desert—that bewitching hour when the intensity of today’s unrelenting heat suddenly lifts with the hint of a breeze and a promise of darkness. Worn and weary with dust trailing my every movement, I am inexorably drawn forward by the distant sounds of drums and community. I am curious to see what lies ahead, but for one (...) brief minute I look back from where I have come. A single window penetrates the gloom. It opens on a small room, cluttered with mementos celebrating a long history of great artistry. I feel the weight of this history, even at this distance; but what captures my attention is the music making in the only uncluttered corner of the room where four musicians are poring over a recently discovered score of a late Beethoven string quartet. While the music making appears to be motivated and bound by the score, it is as if the musicians are searching for something that lies beyond the score. At times, the searching seems to question the shape or presence of a particular note or melodic motive; other times, it appears to be a quest for “the work,” the string quartet written by Beethoven. As I continue to eavesdrop, I am struck by the way in which the searching in both instances ultimately seems to evolve into a question of ensemble. It is as if the musicians are not only trying to discover the music implied by [End Page 203]the score notations, but also trying to find themselves, trying to get a sense of who they are in relationship to this music. It is a phenomenon that I have encountered frequently in my travels, and I wonder, as the sounds in the distance reenter my consciousness, why of all possibilities the window of my mind opened on this particular room.1Thus, Eleanor V. Stubley began a moving evocation of body, sound, and shifting identities in philosophical argument. It remains my favorite opening of any philosophical essay I have ever read, even though her skill and artistry grew immensely in the subsequent nineteen years. To be honest, the connection with this particular essay comes from my bond with Eleanor at a particular time and particular place, when each of us was establishing our career in a recognized university. We shared a lot through extensive phone calls and my visits to Montreal. While Eleanor was able to travel, we also shared conference spaces together, when I often functioned as her advocate as well as her friend. As I re-read this essay and the others, I remember fondly particular conversations where we discussed ideas and feelings about music, teaching, and life. We shared our health challenges and their effects on our lives and work. We talked about being female in the academy; she shared issues around disability; I around homophobia. I see sources in the endnotes for this essay resulting from those conversations and the ideas Eleanor worked out as we chatted. I find similar memories in her other philosophical essays. I am happy to have contributed to the thinking that came out of this heady time. We were slaying dragons!Eleanor (and I must be personal because we were friends) contributed an original and strongly philosophical base to music education within a handful of articles. She never wrote the book she intended in those earlier years. Instead, she refocused her career outside of music education, partly because she realized she had much to say, do, and create within a limited lifespan and partly because music education did not have room for such brilliance and creativity. In fact, music education gave Eleanor a not so gentle shove. She worked nearly all of the last two decades of her life in the departments of musicology and performance. In addition, she served McGill’s students as Associate Dean of Graduate Studies. She knew she had no time to slay music education’s dragons. Even so, Eleanor continued to contribute philosophical columns to the Canadian Music Educator. She wrote regularly for volumes 42–44 (2001–2003) and intermittently before and after those years. These thirteen columns... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Michael L. MarkPatrice Madura Ward-SteinmanI met Michael Mark at the first Philosophy of Music Education conference held at Indiana University in the summer of 1990. I was a doctoral student at IU then and had studied the writings of many of the conference presenters and so the experience of hearing and meeting them in person was a heady one, indeed. I will never forget those impressions of Phil Alperson, (...) Wayne Bowman, Allen Britton, David Elliott, Peter Kivy, Gerard Knieter, Thomas Regelski, Bennett Reimer, John Shepherd, Ann Stokes, Eleanor Stubley, Keith Swanwick, and many others.I was interested in meeting Michael after hearing his response to the presentation of one of my favorite IU professors of musicology, Austin Caswell. Caswell’s provocative paper, “How We Got into Canonicity and What it has Done to Us: An American Music Historian’s View of Music in Academia,” claimed that “the effect of canonicity on American musical life is destructive,” while Michael’s response was characterized by his style of writing that I came to recognize over the decades as distinct, calm, logical, methodical, and based in an extraordinarily wide and deep wealth of historical knowledge. While I greatly admired my rebellious and passionate professor’s views and temperament which were not unlike my own, I also appreciated hearing Michael’s measured and thoughtful response. Thus began my friendship with Michael, who, I learned, was not only a professor [End Page 92] and dean at Towson State University but also an avid big band woodwind doubler who showed interest in my doctoral research in the art of vocal jazz improvisation. That friendship lasted for almost twenty-eight years and we enjoyed memorable reunions at other conferences. For example, there was the ISPME conference held at UCLA where he invited me to dinner with his good friend and connoisseur of fine wines, Bennett Reimer, and the ISPME conference in Helsinki where, after I tripped and severely broke my ankle, requiring surgery, Michael, Estelle Jorgensen, Iris Yob, and two then-doctoral students (Kasia Bugaj and Leonard Tan) visited me in the Helsinki hospital.When I began teaching at the University of Southern California in 1995, it was fortuitous that Michael’s brother, Brian, lived in the Los Angeles area. His frequent visits allowed him to make several guest lectures to my graduate research methods classes, very welcome opportunities. After one of those lectures, I relayed the history of my family’s ballroom in the Chicago area that was open for business with big band music from 1929 until 1967. He asked if I had any artifacts from Madura’s Danceland, and when I mentioned my father’s stacks of dusty record books, newsletters, photos, and posters in our basement, he became very enthusiastic and told me that I had a “gold mine” of an archive with which to write a book about the place! As a trained quantitative researcher, I began to explore the record books to analyze trends in band pay over the Depression and World War II years.1 Over the next ten years, with help from Michael’s regular prodding and encouragement, I organized the large archive into the history of Madura’s Danceland.2 I owe this personally important accomplishment to Michael Mark.Michael invited me (in his endearing way which I could not refuse) to coauthor a music education textbook with him3 and our writing partnership went so smoothly that he invited me to co-author the 4th edition of his Contemporary Music Education.4 Although our writing styles and areas of expertise were very different, I learned much from his narrative approach which included illustrative scenarios, interviews, and the informal use of contractions, a style of writing that was not second nature for me. We wrote both books without meeting in person, except to celebrate the publication of the first at the Metropolitan Art Museum café in New York with our beloved spouses, Lois Mark and David Ward-Steinman.Dr. Michael L. Mark will long be remembered for his many books, chapters, and articles on the history of music education and his many symposium presentations; for his university teaching and administrative achievements; and for his... (shrink)

Various claims have been made concerning the role of narrative in grief. In this paper, we emphasize the need for a discerning approach, which acknowledges that narratives of different kinds relate to grief in different ways. We focus specifically on the positive contributions that narrative can make to sustaining, restoring and revising a sense of who one is. We argue that, although it is right to suggest that narratives provide structure and coherence, they also play a complementary role in disrupting (...) established structure and opening up new possibilities. We add that both of these roles point to the importance of interpersonal, social and cultural factors in shaping the trajectory of grief. We conclude by briefly considering the implications for distinguishing between typical and pathological forms of grief. (shrink)

In this chapter I explore various facets of Addams' approaches to culture as art and as structures of life because they illuminate not only her struggles to reconcile competing perspectives and values, but also because these issues are recurring features in the development of feminist analyses of culture. -/- “This well-crafted collection of essays recognizes Jane Addams as the inspiring and occasionally provocative feminist she was. Connecting Addams’s pragmatism to social theory, political philosophy, queer theory, postcolonial theory, and more, the (...) book’s twelve authors sympathetically and critically explore Addams’s ongoing relevance to issues of art, culture, sexuality, prostitution, religion, cosmopolitanism, public/private divisions, and community organization. Scholarly experts on Addams, as well as those discovering her feminist pragmatism for the first time, will find this volume valuable.” -/- Although Jane Addams's Twenty Years at Hull-House is considered an American classic, her dozen books and hundreds of published articles have sometimes been thought of as quaint examples of an overly optimistic era. Beginning in the 1990s, feminist scholars rediscovered the vitality of Addams's social philosophy and challenged the marginalization of her ideas. Today, following a war-laden twentieth century and the failure of militarism and "get tough" approaches to solve domestic and global problems, Addams's social theorizing, which emphasizes cosmopolitan experiences and sympathetic connections, provides a provocative alternative to Western notions of individualism, transactional relations, and spectator epistemology. Feminist Interpretations of Jane Addams brings together many of the leading Addams scholars in North America to consider Addams's ongoing relevance to feminist thought. Aside from the editor, the contributors are Victoria Bissell Brown, Marilyn Fischer, Judith M. Green, Shannon Jackson, Katherine Joslin, Louise W. Knight, L. Ryan Musgrave Bonomo, Wendy Sarvasy, Charlene Haddock Seigfried, Eleanor J. Stebner, and Judy D. Whipps. (shrink)

The UK’s National Institute for Health and Care Excellence is responsible for conducting health technology assessment on behalf of the National Health Service. In seeking to justify its recommendations to the NHS about which technologies to fund, NICE claims to adopt two complementary ethical frameworks, one procedural—accountability for reasonableness —and one substantive—an ‘ethics of opportunity costs’ that rests primarily on the notion of allocative efficiency. This study is the first to empirically examine normative changes to NICE’s approach and to analyse (...) whether these enhance or diminish the fairness of its decision-making, as judged against these frameworks. It finds that increasing formalisation of NICE’s approach and a weakening of the burden of proof laid on technologies undergoing HTA have together undermined its commitment to EOC. This implies a loss of allocative efficiency and a shift in the balance of how the interests of different NHS users are served, in favour of those who benefit directly from NICE’s recommendations. These changes also weaken NICE’s commitment to AfR by diminishing the publicity of its decision-making and by encouraging the adoption of rationales that cannot easily be shown to meet the relevance condition. This signals a need for either substantial reform of NICE’s approach, or more accurate communication of the ethical reasoning on which it is based. The study also highlights the need for further empirical work to explore the impact of these policy changes on NICE’s practice of HTA and to better understand how and why they have come about. (shrink)

The National Institute for Health and Care Excellence (NICE) is the UK’s primary healthcare priority-setting body, responsible for advising the National Health Service in England on which technologies to fund and which to reject. Until recently, the normative approach underlying this advice was described in a 2008 document entitled ‘Social value judgements: Principles for the development of NICE guidance’ (SVJ). In January 2020, however, NICE replaced SVJ with a new articulation of its guiding principles. Given the significant evolution of NICE’s (...) methods between 2008 and 2020, this study examines whether this new document (‘Principles’) offers a transparent account of NICE’s current normative approach. It finds that it does not, deriving much of its content directly from SVJ and failing to fully acknowledge or explain how and why NICE’s approach has since changed. In particular, Principles is found to offer a largely procedural account of NICE decision-making, despite evidence of the increasing reliance of NICE’s methods on substantive decision-rules and ‘modifiers’ that cannot be justified in purely procedural terms. Thus, while Principles tells NICE’s stakeholders much about how the organisation goes about the process of decision-making, it tells them little about the substantive grounds on which its decisions are now based. It is therefore argued that Principles does not offer a transparent account of NICE’s normative approach (either alone, or alongside other documents) and that, given NICE’s reliance on transparency as a requirement of procedural justice, NICE does not in this respect satisfy its own specification of a just decision-maker. (shrink)

Court of appeal ruling on assisted dyingIn July 2013, the Court of Appeal ruled on an assisted dying case brought by Paul Lamb, a 58-year-old man who has been quadriplegic and without function in any of his limbs, apart from a little movement in his right hand, since a car accident in 1990.1 Mr Lamb was permitted by the Court to take over the legal case of Tony Nicklinson, who died in August 2012, less than a week after his request (...) for judicial review was rejected by the High Court.2 Like Mr Nicklinson, the severity of Mr Lamb's injuries means that he is unable to take his own life, other than by starvation. He would like his life to be ended, preferably by lethal injection administered at home, and does not want to travel to Switzerland for an assisted suicide.Mr Lamb's case was heard, along with that of Mr Nicklinson's wife and that of another man, ‘Martin’, in the Court of Appeal in May.The Court identified three issues from the parties’ submissions: The common law should provide a defence to murder where that takes the form of euthanasia in circumstances where another party is giving effect to the settled wish of a competent person. The legal prohibitions on those providing assistance constitute a disproportionate interference with Article 8 rights to a private and family life. The Director of Public Prosecution's policy statement on factors which he will take into account when considering whether or not to exercise his discretion in favour of prosecuting does not satisfy the …. (shrink)

Susan Faludi's Backlash, first published in 1991, offers a compelling account of feminism being forced to repeat itself in an era hostile to its transformative potentials and ambitions. Twenty years on, this paper offers a philosophical reading of Faludi's text, unpacking the model of social and historical change that underlies the “backlash” thesis. It focuses specifically on the tension between Faludi's ideal model of social change as a movement of linear, step-by-step, continuous progress, and her depiction of feminist history in (...) terms of endless repetition. If we uphold a linear, teleological ideal of social change, I argue, repetition can only be thought of in negative terms—as a step backwards or a waste of time—which in turn has a negative and demoralizing impact within feminism itself. To explore an alternative model of historical time and change, I turn to the work of feminist philosopher Christine Battersby, who rethinks repetition through the Kierkegaardian mode of “recollecting forwards,” and the Nietzschean notion of “untimeliness.” I suggest that Battersby's philosophical reconceptualization of historical repetition, as a potentially creative, productive phenomenon, can be of great utility to feminists as we enact and negotiate the dynamics of backlash politics. (shrink)

In Mozambique, poverty is pervasive because of factors such as the civil war and its aftermath, political instability, food scarcity and natural disasters. This article elucidates the situation of post-civil war Mozambique from a socio-political perspective with a specific focus on children and the youth as a particularly vulnerable group. Many children and young people have been displaced and are subject to work exploitation and sexual abuse. Female children also fall victim to the cultural practice of child marriage. The absence (...) of comprehensive social measures for the protection of vulnerable young persons has a detrimental effect on their welfare and future prospects. The aim of the article is to explore the role that faith communities and church institutions can play in this context. From an inclusive congregational perspective, the inclusion of youth in all aspects of faith communities as a strategy for development is discussed. From a human rights and theological perspective, participatory action is required for faith communities and church institutions to contribute to making a life of human dignity possible for children and young people. (shrink)

A lexical unit of meaning, or the concept, involves not just two moments, the rule and the following of the rule, but two reciprocally dependent moments. I argue that this links meaning to value. As a reciprocal relation, truth as normative is constituted by what Hegel calls ethical substance, which exists only between more than one consciousness, or, as Hegel would say, moments of consciousness. I read these two moments as the two shapes of consciousness that Hegel calls the master (...) and slave in the Phenomenology of Spirit. (shrink)

This volume of essays is both a useful introduction to the work Maurice Blanchot and an advanced and interesting study of this work. Well-known themes of Blanchot's thought are addressed: 'death as non-dialectical other', 'conversation as a (non) meeting place', 'the absence of any present', 'the worklessness of the work' (which rewrites G.W.F. Hegel's 'work as sublation of contradiction', and 'the impossibility of any origin'. The book divides Blanchot's oeuvre into three periods: criticism, fiction, and a more recent period of (...) hard-to-classify works. (shrink)

In this article, I defend the view that conscience exemption clauses for medical practitioners (doctors, nurses, technicians, pharmacists) should be limited by patient protection clauses. This view was also defended by Mark Wicclair, in his book on conscience exemptions in medicine (Cambridge UP, 2011). In this article, I defend Wicclair’s view by supplementing it with Hegelian ethical theory and feminist critical theory. Conscience exemptions are important to support as a matter of human rights. They support an individual’s right to protect (...) their deepest value-commitments. A true understanding of conscience is dialectical, however, and it requires patient protection clauses because they, too, protect individuals in their deepest value-commitments. In this article, I show that the defense of patient protection clauses is historically supported by the theory of “conscience [Gewissen]” developed by G.W.F. Hegel in the nineteenth century (mostly in the Phenomenology of Spirit (1807)). (shrink)

This thesis was a critique of Hegel from a Heideggerian standpoint focusing on the role of action in community. It argues, first, that Heidegger has a more highly developed account of the present of action than does Hegel on account of his theory of temporality. On the basis of a discussion of the nature of action and its site, I examine the way in which action functions in community in both Hegel and Heidegger. For Hegel, action is essential to community; (...) intersubjective relations and mutual recognition depend upon it. For Heidegger, it is precisely the non-acting moment, the moment of vision (Augenblick), which forms the basis for community. Community, for Heidegger, would thus be prior to action, issuing from a place proper to Dasein which precedes all action in the world. I argue that the existence of a moment, the moment of vision, which would initially seem to refuse community in Heidegger actually provides a rich sense of the intersubjective because it allows for the experience of that which is totally Other. On the basis of this experience, Dasein -- the being that each and every one of us is -- would thus be capable of recognizing the essential alienness of the everyday communal world to it. Dasein would thus be able to recognize its difference and thus the difference of others from how their actions are taken up in the communal sphere. Action would thus not be the basis for community. For Hegel, action is essential to mutual recognition, which is the fabric of community. The radical otherness that is found in Heidegger when he articulates the authentic moment would be dismissed by Hegel as an affront to the possibility of community (Hegel’s beautiful soul). For Hegel, we are what we do and we are recognized exclusively on the basis of our actions. Consequently, I argue that Heidegger has a deeper and more radical sense of community than Hegel. This dissertation was inspired by the work of Maurice Blanchot. (shrink)

Within recent feminist philosophy, controversy has developed over the desirability, and indeed, the possibility of defining the central terms of its analysis—“woman,” “femininity,” etc. The controversy results largely from the undertheorization of the notion of definition; feminists have uncritically adopted an Aristotelian treatment of definition as entailing metaphysical, rather than merely linguistic, commitments. A “discursive” approach to definition, by contrast, allows us to define our terms, while avoiding the dangers of essentialism and universalism.

Background: Family therapy is considered as the gold standard in treatment of adolescents with anorexia nervosa (AN). Among the different types of family therapy, multi-family therapy (MFT) is increasingly used for treating AN, and shows promising results. In this article, our focus relied on the patients’ and their parents’ perceptions of the effectiveness and the underlying mechanisms of the MFT. Methods: The present pilot exploratory qualitative study included two focus groups conducted using a semi-structured approach: one with the adolescents (n= (...) 3), and another with one or two of their parents (n= 4 mothers;n= 2 fathers). The subjects discussed were the changes observed in both AN symptoms and family interactions following therapy, and the mechanisms underlying these changes. We crossed the perspectives of the adolescents and of the parents on these two points. Results: Qualitative analysis revealed that while both adolescents and parents had difficulties relating the changes they observed in the last year to MFT, they were able to say that the group cohesion had several positive effects and that their family dynamics had improved. In the light of analysis the adolescents perceived more improvements related eating disorders symptoms than their parents did, while parents were concerned about a negative effect of MFT on their children. Discussion: While both patients and parents perceived improvements in both AN symptoms and family interactions in the past year, it was not clear if they considered MFT to have led to these improvements. FG also explored the MFT mechanisms underlying changes. Both adolescents and their parents stressed the beneficial effects of identification to others members of the group and shared experience to overcome social isolation. Parents also mentioned the sympathy they felt for each other. The idea that they give a central place to families in the therapy was also described by the families. (shrink)

... significs and the signific movement in the Netherlands which derived from it from the standpoint of the history of science stems from my esteemed ...

Este trabajo defiende la necesidad, por razones elementales de justicia, de universalizar de manera cabal el ideal de la igualdad de derechos que inspira la concepción de los derechos humanos. Realiza un repaso por varios hitos históricos desde el siglo XIX en una lucha que todavía a finales del siglo siguiente revela que la aspiración a la igualdad de derechos políticos de la mujer sigue siendo un reto pendiente de carácter legal, moral y político.