Outcome Oriented Chaplaincy (OOC) is a method of chaplaincy care that emphasizes achieving, describing, measuring, and improving the outcomes that result from a chaplain's work, alongside the parallel framework of evidence-based healthcare. This book examines the underlying principles of OOC and incorporates first-hand accounts of chaplains who have made a measured difference to patients and their families. Brent Peery draws on more than fifteen years of experience within the field of Outcome Oriented Chaplaincy, exploring its evolution and history within the complex culture of healthcare, and how its underlying principles of assessments, interventions, outcomes and documentation are most effectively put into practice. This practical guide will benefit chaplains interested in the approach of OOC, and identify a framework for providing the best spiritual care for those facing life's most difficult moments.
Outcome Oriented Chaplaincy (OOC) is a method of chaplaincy care that emphasizes achieving, describing, measuring, and improving the outcomes that result from a chaplain's work, alongside the parallel framework of evidence-based healthcare. This book examines the underlying principles of OOC and incorporates first-hand accounts of chaplains who have made a measured difference to patients and their families. Brent Peery draws on more than fifteen years of experience within the field of Outcome Oriented Chaplaincy, exploring its evolution and history within the complex culture of healthcare, and how its underlying principles of assessments, interventions, outcomes and documentation are most effectively put into practice. This practical guide will benefit chaplains interested in the approach of OOC, and identify a framework for providing the best spiritual care for those facing life's most difficult moments.
From the formation of the first institutions of representative government and the use of slavery in the seventeenth century through the American Revolution, the Civil War, the civil rights movement, and into the twenty-first century, Virginia’s history has been marked by obstacles to democratic change. In The Grandees of Government, Brent Tarter offers an extended commentary based in primary sources on how these undemocratic institutions and ideas arose, and how they were both perpetuated and challenged. Although much literature on American republicanism focuses on the writings of Thomas Jefferson and James Madison, among others, Tarter reveals how their writings were in reality an expression of federalism, not of republican government. Within Virginia, Jefferson, Madison, and others such as John Taylor of Caroline and their contemporaries governed in ways that directly contradicted their statements about representative—and limited— government. Even the democratic rhetoric of the American Revolution worked surprisingly little immediate change in the political practices, institutions, and culture of Virginia. The counterrevolution of the 1880s culminated in the Constitution of 1902 that disfranchised the remainder of African Americans. Virginians who could vote reversed the democratic reforms embodied in the constitutions of 1851, 1864, and 1869, so that the antidemocratic Byrd organization could dominate Virginia’s public life for the first two-thirds of the twentieth century. Offering a thorough reevaluation of the interrelationship between the words and actions of Virginia’s political leaders, The Grandees of Government provides an entirely new interpretation of Virginia’s political history.
Histories of Virginia have traditionally traced the same significant but narrow lines, overlooking whole swathes of human experience crucial to an understanding of the commonwealth. With Virginians and Their Histories, Brent Tarter presents a fresh, new interpretive narrative that incorporates the experiences of all residents of Virginia from the earliest times to the first decades of the twenty-first century, affording readers the most comprehensive and wide-ranging account of Virginia’s story. Tarter draws on primary resources for every decade of the Old Dominion's English-language history, as well as a wealth of recent scholarship that illuminates in new ways how demographic changes, economic growth, social and cultural changes, and religious sensibilities and gender relationships have affected the manner in which Virginians have lived. Virginians and Their Histories interweaves the experiences of Virginians of different racial and ethnic backgrounds and classes, representing a variety of eras and regions, to understand what they separately and jointly created, and how they responded to economic, political, and social changes on a national and even global level. That large context is essential for properly understanding the influences of Virginians on, and the responses of Virginians to, the constantly changing world in which they have lived. This groundbreaking work of scholarship—generously illustrated and engagingly written—will become the definitive account for general readers and all students of Virginia’s diverse and vibrant history.
In 1941 Thelonious Monk and Kenny Clarke copyrighted “Epistrophy,” one of the best-known compositions of the bebop era. The song’s title refers to a literary device—the repetition of a word or phrase at the end of successive clauses—that is echoed in the construction of the melody. Written two decades later, Amiri Baraka’s poem “Epistrophe” alludes slyly to Monk’s tune. Whether it is composers finding formal inspiration in verse or a poet invoking the sound of music, hearing across media is the source of innovation in black art. Epistrophies explores this fertile interface through case studies in jazz literature—both writings informed by music and the surprisingly large body of writing by jazz musicians themselves. From James Weldon Johnson’s vernacular transcriptions to Sun Ra’s liner note poems, from Henry Threadgill’s arresting song titles to Nathaniel Mackey’s “Song of the Andoumboulou,” there is an unending back-and-forth between music that hovers at the edge of language and writing that strives for the propulsive energy and melodic contours of music. At times this results in art that gravitates into multiple media. In Duke Ellington’s “social significance” suites, or in the striking parallels between Louis Armstrong’s inventiveness as a singer and trumpeter on the one hand and his idiosyncratic creativity as a letter writer and collagist on the other, one encounters an aesthetic that takes up both literature and music as components of a unique—and uniquely African American—sphere of art-making and performance.
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