The current international healthcare focus on ensuring the perspectives and needs of individual persons, families or communities are met has led to the core tenet of person‐centred care for all. The nurse–patient relationship is central to the provision of care, and enhancing this relationship to ensure trust and respect supports optimal care outcomes for those accessing healthcare services. Engaging authentically is one of the recognised key approaches in person‐centred practice, and this scoping review of the literature aims to gain an (...) understanding of the role this process plays in developing effective relationships between nurses and the people they care for. A systematic search of databases and grey literature was undertaken, and twenty‐one research papers met the inclusion criteria. A thematic analysis revealed four themes: ‘getting to know the patient as a person’, ‘the complexity of relationship building—it takes time’, ‘the nurse: characteristics and behaviours that support the nurse–patient relationship’ and ‘the patient voice’. Nurses and patients both benefit from effective relationships, feeling valued and experiencing greater satisfaction with care. Key elements of engaging authentically were revealed as a nurse–patient relational process through this literature review; however, further research is needed to gain a greater understanding of this concept. (shrink)

Supposing that talk of a distinctively artistic type of value is warranted, what separates it from other sorts of value? Any plausible answer must explain both what is of value and what is artistic about artistically valuable properties. Flaws with extant accounts stem from neglect of one component or the other; the account offered here, based on careful attention to actual art-critical practices, brings both together. The “value” component depends on the capacity of artworks to provide subjectively valuable experiences, while (...) the “artistic” component relies on the specific norms constitutive of artworld institutions. Understanding artistic value in this way allows for progress on several persistent problems, including the ethical value of art, relativism in artistic value, and the proper boundaries of philosophical aesthetics. (shrink)

The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny several non-standard (...) but putatively pornographic forms: Tijuana Bibles, hentai manga, and slash-fiction. We find that works of these genres possess certain depictively or fictively oriented properties that appear at least prima facie incompatible with prototypical pornography, and thereby to pose two pressing questions that anyprima facie viable analysis of pornography must answer: the depiction question and the fiction question. By answering these questions, we can not only arrive at a deeper understanding of the aims of pornography and the reasons for which significant sub-genres of pornography might diverge from the prototypical ideal, but also perhaps better understand what lies at pornography’s edge, and so better understand the ways in which pornography might relate to what lies beyond. (shrink)

The degree of justification for a judgment of artistic value is normally directly proportional to the size of the comparison class that is brought to bear in making that judgment. If that comparison class is very small or nonexistent, justified judgments are unlikely or impossible. So which artworks, if any, are comparable? The claim that evaluative comparisons can be made among artworks within a fine-grained category—abstract expressionist paintings, for example—is relatively uncontroversial. But is there any way that we can compare (...) artworks that have only a very coarse-grained category in common (such as two works of visual art), or that are in completely different coarse-grained categories (such as a symphony and a sculpture)? I argue that both very similar and very different artworks can be compared evaluatively. Comparisons within fine-grained categories are common, and reflection on critical practices shows us that they depend crucially on qualitative assessments of artistically valuable properties. Once qualitative assessment is recognized as underwriting artistic criticism, it follows that even rough-grained categorization provides no essential barrier to comparison, securing the possibility of well-justified evaluations of disparate artworks. (shrink)

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 97-100, Winter 2020.

This chapter contains sections titled: Notes References.