Moral injury and psycho-spiritual development: Considering the developmental context.

2015 ◽  
Vol 2 (4) ◽  
pp. 256-266 ◽  
Author(s):  
J. Irene Harris ◽  
Crystal L. Park ◽  
Joseph M. Currier ◽  
Timothy J. Usset ◽  
Cory D. Voecks
2008 ◽  
Author(s):  
Jacqueline S. Mattis ◽  
Carolyn Watson ◽  
Sheri-Ann Cowie ◽  
Daisy Jackson

2007 ◽  
Author(s):  
Jonathan Shay ◽  
William Nash ◽  
Cameron March ◽  
David Gibson ◽  
Kathy Darte ◽  
...  

2008 ◽  
Author(s):  
Heather M. Kemp ◽  
Elizabeth Anderson ◽  
Lydia Sagar

2018 ◽  
Vol 10 (1) ◽  
pp. 36-45 ◽  
Author(s):  
Craig J. Bryan ◽  
AnnaBelle O. Bryan ◽  
Erika Roberge ◽  
Feea R. Leifker ◽  
David C. Rozek

2020 ◽  
Vol 3 (1) ◽  
pp. 50-59
Author(s):  
Xu Jianqin

This article analyses the evolution of the mother–daughter relationship in China, and describes the mothering characteristics of four generations of women, which in sequence includes “foot-binding mothers”, “mothers after liberation”, “mothers after reform and opening up”, and “mothers who were only daughters”. Referring to Klein’s ideas about the mother–child relationship, especially those in her paper “Some reflections on ‘The Oresteia’ ”, the author tries to understand mothers and their impact on their daughters in these various periods of Chinese history, so as to explore the mutual influence of the mother–daughter relationship in particular, and the Chinese cultural and developmental context in general.


2017 ◽  
Vol 14 (2) ◽  
pp. 170-178
Author(s):  
Khatija Bibi Khan

The rapid production of films of diversity in post-1994 South Africa has unfortunately not been matched by critical works on film. Part of the reason is that some of the films recycle old themes that celebrate the worst in black people. Another possible reason could be that a good number of films wallow in personality praise, and certainly of Mandela, especially after his demise. Despite these problems of film criticism in post-1994 South Africa, it appears that some new critics have not felt compelled to waste their energy on analysing the Bantustan film – a kind of film that was made for black people by the apartheid system but has re-surfaced after 1994 in different ways. The patent lack of more critical works on film that engages the identities and social imaginaries of young and white South Africans is partly addressed in SKIN – a film that registers the mental growth and spiritual development of Sandra’s multiple selves. This article argues that SKIN portrays the racial neurosis of the apartheid system; and the question of identity affecting young white youths during and after apartheid is experienced at the racial, gender and sex levels.


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