HAVE-H: Five Attitudes for a Narratively Grounded and Embodied Spirituality

Author(s):  
Simon Lasair

Western cultures are becoming increasingly cognitive. While this trend has produced many advances in science and related fields, it has also resulted in the neglect of human emotions and bodies in many domains. This article argues that spiritual care practitioners can counterbalance this trend through the embodiment of five specific attitudes summarized by the acronym HAVE-H ((a) honoring the origins of perception; (b) acknowledging the inevitability of projection; (c) validating experiential neutrality; (d) embodying a commitment to truth; and (e) holding space for metaphysics/transcendence/time).

2019 ◽  
Vol 6 (1) ◽  
pp. 66-72
Author(s):  
Ling-Jun Liu ◽  
Hsiao-Yu Shih ◽  
Yi-Jer Hsieh
Keyword(s):  

2011 ◽  
Vol 30 (03) ◽  
pp. 158-163 ◽  
Author(s):  
E. Frick ◽  
P. Heußner

ZusammenfassungSpiritual Care und palliative Care machen sowohl auf Seiten des Patienten als auch des therapeutischen Teams eine mehrdimensionale Blickweise erforderlich, die die Grenzen des rein Somatischen überschreitet. Ihnen gemeinsam ist die Sorge für den Betroffenen – eine Perspektive, die der Medizin immanent sein könnte, aber nicht immer als selbstverständliche, nicht zu delegierende Aufgabe angesehen wird. Dabei gilt der Grundsatz der Subsidiarität: Priorität haben immer die Bewältigungsressourcen des Patienten und seines Umfeldes, die von den professionell und ehrenamtlich Helfenden unterstützt werden. In der Herausforderung dieses Arbeitsumfeldes geraten die Professionellen unweigerlich in die Konfrontation mit der eigenen Endlichkeit des Lebens, den damit verbundenen existenziellen Ängsten und den eigenen Widerständen. Diese Auseinandersetzung mit der Unheimlichkeit des Lebensendes, ihr respektvoll zu begegnen und nicht angstvoll zu verdrängen, kann im positiven Sinne als Burnout-Prophylaxe wirksam werden.


2009 ◽  
Vol 50 (1-2) ◽  
pp. 3-27
Author(s):  
Balázs Mikusi

The long-held notion that Bartók’s style represents a unique synthesis of features derived from folk music, from the works of his best contemporaries, as well as from the great classical masters has resulted in a certain asymmetry in Bartók studies. This article provides a short overview of the debate concerning the “Bartókian synthesis,” and presents a case study to illuminate how an ostensibly “lesser” historical figure like Domenico Scarlatti could have proved important for Bartók in several respects. I suggest that it must almost certainly have been Sándor Kovács who called Scarlatti’s music to Bartók’s attention around 1910, and so Kovács’s 1912 essay on the Italian composer may tell us much about Bartók’s Scarlatti reception as well. I argue that, while Scarlatti’s musical style may indeed have appealed to Bartók in more respects than one, he may also have identified with Scarlatti the man, who (in Kovács’s interpretation) developed a thoroughly ironic style in response to the unavoidable loneliness that results from the impossibility of communicating human emotions (an idea that must have intrigued Bartók right around the time he composed his Duke Bluebeard’s Castle ). In conclusion I propose that Scarlatti’s Sonata in E major (L21/K162), which Bartók performed on stage and also edited for an instructive publication, may have inspired the curious structural model that found its most clear-cut realization in Bartók’s Third Quartet.


2016 ◽  
Vol 4 (2) ◽  
pp. 192-206
Author(s):  
Judith Gilbert
Keyword(s):  

Sign in / Sign up

Export Citation Format

Share Document