A relatively small but intellectually robust strand in the Christian religion is the Reformed tradition. Especially, its Calvinist sensibilities inform this Protestant stance towards human culture in general and vocations in particular. Correspondingly, there are some small but robust contributions to academic discourse in nursing ethics. So far there has been no attempt to bring those together as a distinct approach. This article suggests such a Reformed Christian, especially Calvinist, account of nursing ethics. Central to the Reformed perspective is the notion that God is sovereign over all of creation and culture and hence that there can be no religiously or morally neutral area in human life. Consequently, nursing is not seen as professional to the extent it is based on research evidence or theoretical models, but to the extent it serves the ultimate purpose of the practice of care. In the Reformed view, this purpose is fostering the well-being of human beings in need as intrinsically valuable. Nurses are professionals who accept this responsibility, that is, the whole of expectations holding for personal qualities, conduct and outcomes, required to serve the purpose of care. As this is a moral purpose, succeeding or failing to live up to these expectations is the source of moral issues in nursing.
During the Middle Ages and early modern period, a dramatic culture of astonishing vitality developed in the Low Countries. Owing to the activities of organisations known as rederijkerskamers, or "chambers of rhetoric", drama became a central aspect of public life in the cities of the Netherlands. The comedies produced by these groups are particularly interesting. Drawing their forms and narratives from folklore and popular ritual, and entertaining in their own right, they also bring together a range of important concerns; they respond directly to some of the key developments in the period, reflecting the political and religious turmoil of the Reformation and Dutch Revolt, the emergence of humanism, and the appearance of an early capitalist economy. This collection brings together the original Middle Dutch text of ten of these comic plays, with facing translation into modern English. The selection is divided evenly between formal stage-plays and monologues, and provides a representation of the full range of rederijker drama, from the sophisticated Farce of the Fisherman, with its sly undermining of audience expectation, to the hearty scatology of A Mock-Sermon on Saint Nobody, and the grim gallows humour of The Farce of the Beggar. An introduction and notes place the plays in their context and elucidate difficulties of interpretation.
