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Substitute physicians --- Physicians --- Substitute physicians. --- Locum tenens (Medicine) --- Medicine --- Allopathic doctors --- Doctors --- Doctors of medicine --- MDs (Physicians) --- Medical doctors --- Medical profession --- Medical personnel --- Supply and demand --- Supply and demand. --- Practice

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Medicine --- Physicians --- Physicians. --- Practice Management, Medical. --- Allopathic doctors --- Doctors --- Doctors of medicine --- MDs (Physicians) --- Medical doctors --- Medical profession --- Medical personnel --- Clinical sciences --- Human biology --- Life sciences --- Medical sciences --- Pathology --- Management, Medical Practice --- Medical Practice Management --- Practice Management Services, Medical --- Medical Practice Management Services --- Managements, Medical Practice --- Medical Practice Managements --- Practice Managements, Medical --- Professional Practice --- Physician --- Practice --- Management --- Management. --- Physics --- Human medicine --- Health Sciences --- General and Others

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614.253 --- 614.253 <44> --- Verpleegkunde --- Palliatieve zorgen --- 614.253 Relations of doctors with colleagues, with patients. Medical ethics --- Relations of doctors with colleagues, with patients. Medical ethics --- Nursing --- Soins palliatifs --- Philosophical anthropology --- Physiology: reproduction & development. Ages of life --- palliatieve zorgen --- euthanasie --- deontologie --- verpleegkunde

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Hoe gaan verpleegkundigen om met ethische problemen in de patiëntenzorg? Welke mogelijkheden zien ze zelf? In drie op ware gebeurtenissen gebaseerde casus worden verschillende manieren beschreven waarop verpleegkundigen met ethische problemen omgaan. Die manieren zijn: op basis van een eigen rol, een eigen domein of een eigen ethiek. We zien verpleegkundigen streven naar een positie als belangenbehartiger van de patiënt, als zelfstandig beroepsbeoefenaar met een eigen beroepsdomein en uitgaan van de zorgethiek. Het lezen van de patiëntengeschiedenissen maakt al veel duidelijk. In alle verhalen komt het belang van een persoonlijke relatie tussen verpleegkundige en patiënt naar voren. Het is een voorwaarde om de rol van belangenbehartiger voor patiënten te kunnen opnemen. De verpleegkundigen in de casus worstelen met hun verantwoordelijkheden. Wat heeft voorrang, de relatie met de patiënt en diens zorgbehoefte, de protocollen en regels en richtlijnen van de beroepsgroep of de eisen van de instelling waar wordt gewerkt? Het balanceren van alle verantwoordelijkheden blijkt een hele opgave. Er is veel belangstelling bij verpleegkundigen voor de zorgethiek. Bij toepassing ervan wordt duidelijk dat de zorgethiek sterker en praktischer wordt als er tegelijkertijd ook aandacht is voor het eigen verpleegkundige domein en de eigen verpleegkundige rol van belangenbehartiger.Verpleegkundige beroepsethiek sluit af met concrete voorstellen hoe verpleegkundigen hun praktisch oordeelsvermogen kunnen ontwikkelen en in de dagelijkse beroepspraktijk samen met patiënten kunnen afwegen wat voor die patiënten goed is en hoe ze daarnaar kunnen handelen.

614.25 --- beroepsethiek --- verpleegkundig beroep --- 613 --- verpleegkunde --- 613.3 --- (verpleegkundig) --- Moraal (ethiek) --- Verpleegkunde --- Concerns, rights, duties of doctors --- Beroep en opleiding --- Ethiek --- ethiek --- Nursing --- Professional ethics. Deontology --- gezondheidszorg --- verantwoordelijkheid --- medische ethiek --- Godsdienst --- Sport --- Duurzaamheid --- Filosofie --- Psychologie --- Sociologie --- Man --- Cultuur --- Erfelijkheidsleer --- Stadssamenleving --- Technologie --- Voeding --- Maatschappij --- Drank --- Gezondheid --- Volwassene

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John Shearman makes the plea for a more engaged reading of art works of the Italian Renaissance, one that will recognize the presuppositions of Renaissance artists about their viewers. His book is the first attempt to construct a history of those Renaissance paintings and sculptures that are by design completed outside themselves in or by the spectator, that embrace the spectator into their narrative plot or aesthetic functioning, and that reposition the spectator imaginatively or in time and space. He takes the lead from texts and artists of the period, for these artists reveal themselves as spectators. Among modern historiographical techniques, Reception Theory is closest to the author's method, but Shearman's concern is mostly with anterior relationships with the viewer--that is, relationships conceived and constructed as part of the work's design, making, and positioning. Shearman proposes unconventional ways in which works of art may be distinguished one from another, and in which spectators may be distinguished, too, and enlarges the accepted field of artistic invention. Furthermore, His argument reflects on the Renaissance itself. What is created in this period tends to be regarded as conventional, or inherent in the nature of painting and sculpture: he maintains that this is a careless, disengaged view that has overlooked the process of discovery by immensely inventive and visually intelllectual artists. John Shearman is William Door Boardman Professor of Fine Arts at Harvard University. Among his works are Mannerism (Hardmondsworth/Penguin), Raphael's Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel (Phaidon), The Early Italian Paintings in the Collection of Her Majesty the Queen (Cambridge). and Funzione e Illusione (il Saggiatore).The A.W. Mellon Lectures in the Fine Arts, 1988Bollingen Series XXXV: 37Originally Publsihed in 1992The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Art, Italian. --- Art, Renaissance --- Audiences --- Psychology. --- Art, Italian --- -Audiences --- -Audiences, Communication --- Communication audiences --- Communication --- Spectators --- Italian art --- Bamboccianti (Group of artists) --- Corrente (Group of artists) --- Cracking Art (Group of artists) --- Fronte nuovo delle arti (Group of artists) --- Geometria e ricerca (Group of artists) --- Girasole (Group of artists) --- Gruppo 1 (Group of artists) --- Gruppo Aniconismo dialettico (Group of artists) --- Gruppo di Como (Group of artists) --- Gruppo di Scicli (Group of artists) --- Gruppo Enne (Group of artists) --- Gruppo Forma uno (Group of artists) --- Italiens de Paris (Group of artists) --- Mutus Liber (Group of artists) --- Novecento italiano (Group of artists) --- Nuovi-nuovi (Group of artists) --- Origine (Group of artists) --- Sei pittori di Torino (Group of artists) --- Transvisionismo (Group of artists) --- Renaissance art --- Psychology --- Social aspects --- -Psychology --- History --- Renaissance --- Painting --- Art --- anno 1400-1499 --- anno 1500-1599 --- Italy --- Art italien --- Art de la Renaissance --- Audiences, Communication --- Art, Renaissance - Italy. --- Audiences - Psychology. --- Italiaanse school --- Adolf von Hildebrand. --- Albrecht Dürer. --- Altarpiece. --- Andrea Fulvio. --- Andrea Mantegna. --- Andrea Solari. --- Andrea del Sarto. --- Antonello da Messina. --- Antonio Rossellino. --- Aretino. --- Bacchus and Ariadne. --- Baptistery. --- Baroque architecture. --- Basilica. --- Bembo. --- Camera degli Sposi. --- Caravaggio. --- Catullus. --- Cecilia Gallerani. --- Chiaroscuro. --- Christ among the Doctors (Dürer). --- Conceit. --- Cosimo de' Medici. --- Counter-Reformation. --- Cristofano Allori. --- Della Rovere. --- Diego Velázquez. --- Donatello. --- Duke of Florence. --- Edward Burne-Jones. --- Epigram. --- Famulus. --- Feast of the Gods (art). --- Filarete. --- Filippino Lippi. --- Galleria Borghese. --- Ginevra de' Benci. --- Giorgio Vasari. --- Giorgione. --- Giovanni Bellini. --- Giovanni Pisano. --- Giulio Romano. --- Grand manner. --- Hercules and Cacus. --- Heroides. --- High Renaissance. --- High place. --- Hyperbole. --- Intentionality. --- Jan van Eyck. --- Las Meninas. --- Lateran Baptistery. --- Lodovico Dolce. --- Madonna of the Harpies. --- Mario Equicola. --- Mario Praz. --- Marriage of the Virgin (Perugino). --- Masaccio. --- Master of the Virgo inter Virgines. --- Michelangelo. --- Mona Lisa Smile. --- Mystery play. --- National Gallery of Art. --- Orlando Furioso. --- Paragone. --- Parmigianino. --- Persius. --- Pesaro Madonna. --- Petrarch. --- Phrenology. --- Pietro da Cortona. --- Poetry. --- Poliziano. --- Pontormo. --- Pope Julius II. --- Pseudo-Bonaventura. --- Putto. --- Reginald Pole. --- Religion. --- Renaissance art. --- Richard Wollheim. --- Rokeby Venus. --- Romanticism. --- Ruggiero (character). --- Sack of Rome (1527). --- Saint Roch. --- Sandro Botticelli. --- Simone Martini. --- Sistine Chapel. --- Sleeping Venus (Giorgione). --- The Feast of the Gods. --- The Fire in the Borgo. --- The Philosopher. --- The School of Athens. --- The Spirit of the Laws. --- The Vision of the Cross. --- The Worship of Venus. --- Tintoretto. --- Titian. --- Work of art.