Teaching Ethics as a Creative Subject: Ideas From an Interdisciplinary Workshop

2021 ◽  
Vol 20 (3) ◽  
pp. 68-71
Author(s):  
Luke Haliburton ◽  
Alexander Heimerl ◽  
Stephanie Bohme ◽  
Elisabeth Andre ◽  
Albrecht Schmidt ◽  
...  
PsycCRITIQUES ◽  
2015 ◽  
Vol 60 (23) ◽  
Author(s):  
James H. Korn

1998 ◽  
Author(s):  
Geri Miller ◽  
LaSharion Henderson ◽  
Wayne Hogwood
Keyword(s):  

2021 ◽  
Vol 13 (01) ◽  
pp. e88-e94
Author(s):  
Alyssa M. Kretz ◽  
Jennifer E. deSante-Bertkau ◽  
Michael V. Boland ◽  
Xinxing Guo ◽  
Megan E. Collins

Abstract Background While ethics and professionalism are important components of graduate medical education, there is limited data about how ethics and professionalism curricula are taught or assessed in ophthalmology residency programs. Objective This study aimed to determine how U.S. ophthalmology residency programs teach and assess ethics and professionalism and explore trainee preparedness in these areas. Methods Directors from accredited U.S. ophthalmology residency programs completed an online survey about components of programs' ethics and professionalism teaching curricula, strategies for assessing competence, and trainee preparedness in these areas. Results Directors from 55 of 116 programs (46%) responded. The most common ethics and professionalism topics taught were informed consent (38/49, 78%) and risk management and litigation (38/49, 78%), respectively; most programs assessed trainee competence via 360-degree global evaluation (36/48, 75%). While most (46/48, 95%) respondents reported that their trainees were well or very well prepared at the time of graduation, 15 of 48 (31%) had prohibited a trainee from graduating or required remediation prior to graduation due to unethical or unprofessional conduct. Nearly every program (37/48, 98%) thought that it was very important to dedicate curricular time to teaching ethics and professionalism. Overall, 16 of 48 respondents (33%) felt that the time spent teaching these topics was too little. Conclusion Ophthalmology residency program directors recognized the importance of an ethics and professionalism curriculum. However, there was marked variation in teaching and assessment methods. Additional work is necessary to identify optimal strategies for teaching and assessing competence in these areas. In addition, a substantial number of trainees were prohibited from graduating or required remediation due to ethics and professionalism issues, suggesting an impact of unethical and unprofessional behavior on resident attrition.


Author(s):  
Thomas Taro Lennerfors ◽  
Mikael Laaksoharju ◽  
Matthew Davis ◽  
Peter Birch ◽  
Per Fors

2017 ◽  
Vol 6 (2) ◽  
Author(s):  
Katherine Fu ◽  
Robert Kirkman ◽  
Bumsoo Lee
Keyword(s):  

Organization ◽  
2017 ◽  
Vol 24 (3) ◽  
pp. 330-354 ◽  
Author(s):  
Patrizia Zanoni ◽  
Annelies Thoelen ◽  
Sierk Ybema

Much literature on the cultural industries celebrates ethnicity as a source of creativity. Despite its positive connotation, this discourse reduces ethnic minority creatives to manifestations of a collective ethnic identity automatically leading to creativity, creating a paradox of creativity without a creative subject. Approaching creatives with an ethnic minority background as agents, this article investigates how they self-reflectively and purposely discursively construct ethnicity as a source of creativity in their identity work. Empirically, we analyze interviews with well-established creatives with an ethnic minority background active in Belgium. Most respondents construct their ethnic background as ‘hybrid’, ‘exotic’, or ‘liminal’ to craft an identity as creatives and claim creativity for their work. Only few refuse to discursively deploy ethnicity as a source of creativity, crafting more individualized identities as creatives. Our study contributes to the literature on power and ethnicity in the creative industries by documenting ethnic minority creatives’ discursive micro-struggle over what is creative work and who qualifies as a creative. Specifically, we show their counterpolitics of representation of ethnicity in the creative industries through the re-signification of the relation between the ‘west’ and the ‘other’ in less disadvantageous terms. Despite such re-signification, the continued relevance of the discourse of ethnicity as a key marker of difference suggests that ethnicity remains a principle of unequal organization of the creative industries.


NanoEthics ◽  
2010 ◽  
Vol 4 (3) ◽  
pp. 221-228 ◽  
Author(s):  
Nael Barakat ◽  
Heidi Jiao
Keyword(s):  

2014 ◽  
Vol 19 (1) ◽  
pp. e6-e10 ◽  
Author(s):  
Thierry Daboval ◽  
Gregory P Moore ◽  
Kristina Rohde ◽  
Katherine Moreau ◽  
Emanuela Ferretti

2006 ◽  
Vol 12 (2) ◽  
pp. 381-389 ◽  
Author(s):  
Shirley T. Fleischmann
Keyword(s):  

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