Måske er netop Grundtvigs forståelse af det evige en nødvendig inspiration til at se sider af kristendommen, som vi ellers fortrænger. For om nogen formulerede han både sammenhængen og det uoverstigelige svælg mellem ”nu” og ”engang”, det dennesidige og det evige - og så den modsætning, der går ned gennem det menneskelige liv mellem lys og mørke, liv og død, frelse og fortabelse. Det modsætningsfyldte i kristendommen, dens paradoks, var for Grundtvig at se gået tabt i rationalismens kritiske syn på (...) Bibelen og i romantikkens harmonitænkning Spørgsmålet er så, om det dristige og håndgribelige i Grundtvigs tale om det evige kan gøres gældende i en folkekirkelighed, hvor den teologiske refleksion over eskatologien er gledet i baggrunden. Er Grundtvigs kraftige billedverden, kampen mellem lys og mørke, fylde og meningsløshed, frelse og fortabelse, liv og død blevet uforståelig? Og kan vi igen gøre denne billedverden nærværende og meningsfyldt? (shrink)

This essay explores some concerns about the quality of informed consent in patients whose autonomy is diminished by fatal illness. It argues that patients with diminished autonomy cannot give free and voluntary consent, and that recruitment of such patients as subjects in human experimentation exploits their vulnerability in a morally objectionable way. Two options are given to overcome this objection: (i) recruit only those patients who desire to contribute to medical knowledge, rather than gain access to experimental treatment, or (ii) (...) provide prospective subjects the choice to participate in standard doubleblind study or receive the experimental treatment. Either option would guarantee that patients in desperate conditions are given a more meaningful choice and a richer freedom, and thus a higher quality of informed consent, than under standard randomized trials. Keywords: autonomy, double-blind trials, prerandomized and randomized trials, informed consent CiteULike Connotea Del.icio.us What's this? (shrink)

The target article by Bernard Baars presents a quick way of grasping the gist of his book In the Theater of Consciousness: The Workspace of the Mind, published recently . The metaphor of consciousness as a theatre has a long history. A prototype of the theatre model may be traced back to Plato's Allegory of the Cave, in which we are like prisoners living in a cave just observing the shadows of reality. The modern theatre model insists on consciousness being (...) under the control of attention by introducing a searchlight metaphor . The target article explores some evidence from the viewpoint of Global Workspace theory by using a method of ‘contrastive analysis’. According to this theory, GW works as the publicity organ of the brain and has a facility for accessing, disseminating, and exchanging information, and for exercizing global coordination and control . Baars describes his GW as a theatre. ‘As the house lights begin to dim and the audience falls silent, a single spotlight pierces the descending darkness, until only one bright spot, shining on stage, remains visible. You know that the audience, actors, stagehands, and spotlight operators are there, working together under invisible direction and guided by an unknown script, to present the flow of visible events on stage. As the house lights dim, only the focal contents of consciousness remain. Everything else is in darkness’ . According to GW theory, a theatre stage with a bright spot is just a working memory. So I would like to comment on some general characteristics of the working memory and related spotlight problem. (shrink)

The essays collected in this issue offer complementary critical perspectives on the mature lyric work of Derek Walcott, the acclaimed Nobel laureate from the Caribbean island of St. Lucia. The centerpiece of the ensemble is a previously unpublished essay in which Walcott’s reflections on poetics illuminate his project in the masterpiece, _Omeros._ Other contributions by literary scholars in North America and the Caribbean focus on fundamental dimensions of Walcott’s craft and on such thematic preoccupations as the intersection of pictorial and (...) verbal modes of representation, the deployment of nuanced intertextual strategies (especially in relation to the Greco-Roman canon), the invention of a viable artistic identity in a postcolonial intercultural milieu, and the psychosocial modeling of the process of literary apprenticeship. _Contributors. _Edward Baugh, Peter Burian, Gregson Davis, Carol Dougherty, Joseph Farrell, Judith Harris, Timothy Hofmeister, Derek Walcott. (shrink)