Exploring the Justificational Status of Assertions Made About Nursing’s Collective Beliefs

Nursing publications frequently reference groups (e.g. the group nurses). The nature and capabilities of group agents or collective subjects, and the relationship between nursing as a group and nurses as individuals is, however, rarely made explicit in these publications. Following Alvin Goldman, questions pertaining to groups can be classified as metaphysical or epistemic. Metaphysical questions take two forms. First, we might ask about the ontological status of group agents. For example, to what extent, if at all, do group agents exist and act independently of their constituent members? Second, we can ask whether group agents have psychological states or properties that can, for example, be formulated as propositional attitudes and, if they can, in what ways are group attitudes correlated with or tied to those of individual group members? In this presentation, having recognised the potential reality of group ontological and psychological being, I examine an under researched element of social epistemology. Specifically, the potential of non-individualist reliabilism (social process reliabilism) to justify doxastic group beliefs (i.e. statements such as “nurses believe that”) are considered. It is suggested that this issue has concrete implications for how we think about nursing.

Shakespeare and the Re/Vision of Indian Heritage in the Postcolonial British Context

As part of the 2012 World Shakespeare Festival, the Royal Shakespeare Company staged a production of Much Ado About Nothing set in India. Shakespeare’s Messina in sixteenth century Italy was transposed to twenty-first century Delhi and with a company of actors who were all of Indian heritage. The casting of individual British Asian actors in mainstream UK productions of Shakespeare is no longer unusual. What was unprecedented here, however, was that not only was the entire cast ‘Asian’ but the director was not, as is standard practice, a leading member of the white British theatrical establishment. Instead the director, Iqbal Khan, is the son of a Pakistani father who migrated to England in the 1960s. I use the term ‘Indian heritage’ with great caution conscious that what began under the British Raj in nineteenth century India led through subsequent economic imperatives and exigencies, and political schism to a history of migratory patterns which means that today’s British Asian population is a complex demographic construct representing numerous different languages and cultural and religious affiliations. The routes which brought those actors to play imagined Indian Shakespeare in Stratford-upon-Avon in July 2012 were many and various. I explore in this chapter the way in which that complexity of heritage has been brought to bear on the revisioning of Shakespeare by British Asian theatre makers operating outside the theatrical mainstream. In general because of the social, economic and institutional challenges facing British Asian theatre artists, the number of independent professional companies is comparatively small and for the most part, their work has focused on creating drama which interrogates thorny questions of identity formation and contemporary cultural practices within the ‘new’ British Asian communities. Nevertheless for artists born and/or educated in the UK the Western classical canon, including of course Shakespeare, is as much part of their heritage as the classical Indian narratives and performance traditions which so powerfully evoke collective memories of the lost ‘home’ of their elders. By far the most consistent engagement with Shakespeare has been seen in the work of Tara Arts which was the first British Asian theatre company set up in 1977. The artistic director Jatinder Verma brings his own ‘transformed and translated’ heritage as an East African-born, Punjabi-speaking, English-educated, Indian migrant to the UK to plays as diverse as A Midsummer Night’s Dream, Troilus and Cressida , The Tempest and The Merchant of Venice. I discuss examples of Tara productions in the light of the way Shakespeare’s plays have been used to forge both creative synergies between parallel cultures and provide a means of addressing the ontological ruptures and dislocations associated with the colonial past.