12 research outputs found

    Barbarians at the British Museum: Anglo-Saxon Art, Race and Religion

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    A critical historiographical overview of art historical approaches to early medieval material culture, with a focus on the British Museum collections and their connections to religion

    Australian registered and enrolled nurses: Is there a difference?

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    Australian registered and enrolled nurses: Is there a difference? There are two categories of nurse registered to practise in Australia, the degreeâ€educated registered nurse and the certificate/diploma trained enrolled nurse (EN). While it is argued that the roles of the two categories of nurse in Australia are different, recent changes to the educational preparation and supervision requirements of ENs have narrowed these differences. This paper examines the existing literature to determine the perceived differences and similarities between registered and ENs in Australia. Differences identified included registration requirements, educational preparation, supervisory requirements and role expectation. Further research needs to be undertaken to examine the educational preparation of registered and ENs in order to obtain a greater understanding of role expectations on graduation. Supervision processes also require reviewing to demonstrate differences between indirect supervision and independent practice for ENs

    Connecting art and Zoroastrianism in Sasanian studies

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    A stark divide lingers between the themes and problems addressed by art historians and those explored in historical accounts of Zoroastrianism under the Sasanian Persian Empire (224–651). Although shaped by numerous intertwined investments and catalysts over the centuries, the divergence in the attentions of the two fields crystallized during imperial and anti-imperial movements of the nineteenth and twentieth centuries, active both within Iran and without. Art has been framed as irrelevant for the history of Zoroastrianism, demonstrating the absence and avoidance of religious themes; at the other end of the scale, art has been seen as, containing innate sacred significance in its composition. Certain narratives central to the development of Sasanian studies - of continuity, exceptionalism, and eurocentricism, in particular - have shaped approaches to how iconography and art can be incorporated into discussions of Sasanian religion. Convergent interests have promoted the continuity of iconography’s sacred meanings from earlier in antiquity through the Sasanian period to the modern day, diminishing the contemporary contribution and context, and see the visual evidence as demonstrating the distinctiveness and exceptionalism of Zoroastrianism from other religions, and of Iranian culture from others
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