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Relevant bibliographies by topics / College and school drama, Hungarian / Journal articles
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Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022
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1
Gausz, Ildikó. "French tragedy in the Hungarian theatre." Belvedere Meridionale 30, no.1 (2018): 5–20. http://dx.doi.org/10.14232/belv.2018.1.1.
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The drama is one of the important historical sources of early modern national self-interpretations. After the Long Turkish War (1591–1606) historical dramas are able to enhance patriotism and patriotic education. The tragedy entitled Mercuriade written in 1605 by Dominique Gaspard puts on stage Philippe-Emmanuel de Lorraine, Duke of Mercœur (1558–1602) when he, after the conciliation with Henry IV and leaving the Catholic League, entered into the service of Rudolf II in 1599 and joined the anti-Turkish fights in Hungary. After his death Duke of Mercœur became a mythical hero and his memory was even mentioned at the end of 17th century. Mercuriade can be considered a masterpiece of 17th century school drama, through which it is possible to study the particularities of plays written with a didactic purpose for the students.
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2
Zalay, Szabolcs. "The Use of the Drama Pedagogical Method in the Training of Cultural Project Managers." Acta Technologica Dubnicae 1, no.2 (December1, 2011): 37–45. http://dx.doi.org/10.1515/atd-2015-0044.
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AbstractThe universities are traditionally elitist bulwarks. How do they counter this image? I would like to present a special andragogy strategy which I apply in university level education, in the Cultural Project Managers´ training against poverty and social exclusion in the Institute of Cultural Studies at the University of Pécs. I demonstrate the application of drama pedagogy method in the course of the training. We have more and more experience concerning the fact that the Hungarian “drama pedagogy school”, that became stronger in recent decades, has introduced and developed effective methodological frameworks to realize constructive pedagogy able to create more efficient pedagogical situations than the traditional education methods. This means that today´s Hungarian drama pedagogy possesses the qualities which enable to answer many of the challenges mentioned above.
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3
Ta Park, Van My, Joyce Suen Diwata, Nolee Win, Vy Ton, Bora Nam, Waleed Rajabally, and VanyaC.Jones. "Promising Results from the Use of a Korean Drama to Address Knowledge, Attitudes, and Behaviors on School Bullying and Mental Health among Asian American College-Aged Students." International Journal of Environmental Research and Public Health 17, no.5 (March3, 2020): 1637. http://dx.doi.org/10.3390/ijerph17051637.
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The limited research on bullying, mental health (MH), and help-seeking for Asian American (ASA) college students is concerning due to the public health importance. Korean drama (K-Drama) television shows may be an innovative approach to improve knowledge, attitudes, and behaviors (KAB) on bullying. This study examined whether the KAB about school bullying improved after watching a K-Drama and asked participants about their perspectives of using a K-Drama as an intervention. A convenience sample of college students (n = 118) watched a K-Drama portraying school bullying and MH issues. Pre-/post-tests on KAB on bullying were conducted. Interviews (n = 16) were used to understand their experiences with K-Dramas. The mean age was 22.1 years (1.6 SD), 83.9% were female, and 77.1% were ASAs. Many reported experiences with anxiety (67.8%), depression (38.1%), and school bullying victim experience (40.8%). Post-test scores revealed significant differences in knowledge by most school bullying variables (e.g., victim; witness) and MH issues. There were varying significant findings in post-test scores in attitudes and behaviors by these variables. Participants reported that they “love” the drama, felt an emotional connection, and thought that K-Dramas can be an educational tool for ASAs. K-Dramas may be an effective population-level tool to improve health outcomes among ASAs.
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4
Szabó, Pál, and Ferenc Túry. "The Prevalence of Bulimia nervosa in a Hungarian College and Secondary School Population." Psychotherapy and Psychosomatics 56, no.1-2 (1991): 43–47. http://dx.doi.org/10.1159/000288529.
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5
Grace, Dominick. "“Speche of thynges smale”: Micro-College Medievalism at Algoma University College." Florilegium 20, no.1 (January 2003): 19–21. http://dx.doi.org/10.3138/flor.20.006.
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The phrase “medieval studies” is virtually meaningless at a small school such as Algoma University College. One faculty member out of the entire faculty complement of just over 30 is a specialist in a medieval discipline, Medieval English Literature (especially Chaucer), and though AUC does have a handful of courses on medieval topics on its books (e.g. History of Medieval Europe, Medieval Philosophy), the only ones offered regularly are the upper-year Chaucer courses. Courses in medieval drama and romance are on the books, but only the drama course has been offered, and only as a Directed Studies course. Library holdings are so sparse that even many major texts (literary and critical) are available only through inter-library loan, and most major (and all minor) journals focusing on medieval studies are not in our holdings (we receive exactly three medieval-focused journals here, and Florilegium is not, I regret, among them). Research on medieval topics is therefore and of necessity difficult, requiring long delays as inter-library loan materials trickle in, as well as extensive travel to other sites. Furthermore, few students take courses focusing on medieval topics, and even fewer of them acquire an abiding love for the subject that carries them forward to careers as medievalists. Indeed, in my years at AUC, not a single student (to my knowledge) has pursued graduate studies in any medieval discipline. The preservation, let alone the nurturing and growth, of medieval studies, is extremely difficult under such circumstances. One might imagine that a rewarding, or even an interesting, career as a medievalist would be impossible under such circumstances.
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6
Hornbrook, David. "Drama, Education, and the Politics of Change: Part Two." New Theatre Quarterly 2, no.5 (February 1986): 16–25. http://dx.doi.org/10.1017/s0266464x00001871.
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Following his analysis in NTQ 4 of the origins and effects of the ‘philosophy’ of drama-in-education which prevails in most schools. David Hornbrook here complements his critique with specific proposals for a positive future approach – building upon existing teaching strengths, but also giving the subject a greater curricular authority in the present educational climate, while correcting the ‘romantic fallacies’ from which current practice is too often derived. David Hornbrook has himself taught drama in a large comprehensive school, and is currently Head of Performing Arts at the City of Bath College of Further Education, and Special Lecturer in Drama in the University of Bristol.
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7
Benyovszky, Andrea. "The Replication of the System of Conductive Education in the United States." Acta Technologica Dubnicae 3, no.2 (December1, 2013): 66–72. http://dx.doi.org/10.1515/atd-2015-0020.
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Abstract During the 1980s, the methodology of Hungarian-created conductive education began its innovation in becoming an international model for working with individuals with physical disabilities. Its prevalence has increased around the world ever since. These international interests stimulated efforts to develop ways in which the discipline of conductive education (CE) could occur abroad and as a result, develop a worldwide network of practice. In the United States the first establishment of this international model of conductive education occurred in Grand Rapids, Michigan. Under the professional supervision of the András Pető Institute of Conductive Education and College for Conductor Training, (MPANNI in Hungarian), the Conductive Learning Center (CLC) was established in 1999, enrolling students to participate in the conductive education model and also serving as the laboratory school for the Aquinas College (AQ) teacher preparation program for earning the endorsement to teach the Physically and Otherwise Health Impaired (POHI). Currently, this collaborative program at AQ provided with MPANNI is unique in North America.
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8
DUTT, BISHNUPRIYA. "Introduction." Theatre Research International 42, no.3 (October 2017): 323–26. http://dx.doi.org/10.1017/s030788331700061x.
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These three essays on distinct research areas and case studies cover a broad history of educational institutions in India, their focus on theatre and cultural education, and their role in creating citizens active in the public sphere and civic communities. The common point of reference for all the three essays is the historical transition from pre- to post-independence India, and they represent three dominant genres of Indian theatre practice: the amateur progressive theatre emerging out of sociopolitical movements; the State Drama School, which has remained at the core of the state's policy and vision of a national theatre; and college theatre, which comprises the field from which the National School of Drama sources its acting students, as well as new audiences for urban theatres.
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9
Yang, Shih-hsien. "Creative Drama in English Learning: A Study of College Students Applying English Dramas in Elementary School Students." International Journal of the Humanities: Annual Review 5, no.2 (2007): 1–6. http://dx.doi.org/10.18848/1447-9508/cgp/v05i02/43487.
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10
Whitehead, Maurice. "‘The strictest, orderlyest, and best bredd in the world’." Cahiers Élisabéthains: A Journal of English Renaissance Studies 93, no.1 (April10, 2017): 33–49. http://dx.doi.org/10.1177/0184767817698930.
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The English Jesuit college, founded in 1593 at Saint-Omer because of increasing Elizabethan penal legislation against Catholics, soon became the largest post-Reformation Catholic school in the English-speaking world. This article analyses the organization of the school, with particular emphasis on education in drama and music. It was in the environment of this institution that the recently discovered Saint-Omer First Folio almost certainly had its first home, probably left behind following the flight of the English Jesuits and their students to Bruges in 1762, immediately prior to the expulsion of all members of the Society of Jesus from France.
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11
Hornbrook, David. "Drama, Education, and the Politics of Change: Part One." New Theatre Quarterly 1, no.4 (November 1985): 346–58. http://dx.doi.org/10.1017/s0266464x00001767.
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Drama-in-education is a subject – or a set of theories – which became an educational discipline almost by historical accident, and about which strong feelings can still be aroused. That the arguments are too often confined to educationalists is symptomatic of the way the problems raised have seldom been shared with or considered by people working in professional theatre – and this in turn reflects the way that the subject has tended to be taught, with the emphasis strongly on its ‘educational’ rather than its ‘theatrical’ potential. Back in 1973. David Clegg's article ‘The Dilemma of Drama in Education’, in TQ9, caused a briefly wider flurry of interest, and in the present article David Hornbrook also attempts to put the subject into a contemporary critical perspective, looking here at what children are supposed to ‘learn’ and ‘experience’ through drama, and in the second part of his article, to follow in NTQ 5, examining present and future prospects for the subject. A repertory actor in the 1960s. David Hornbrook has himself taught drama in a large comprehensive school, and is currently Head of Performing Arts at the City of Bath College of Further Education, and Special Lecturer in Drama in the University of Bristol.
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12
Haughton, Miriam. "Performing Power: Violence as Fantasy and Spectacle in Mark O'Rowe's Made in China and Terminus." New Theatre Quarterly 27, no.2 (May 2011): 153–66. http://dx.doi.org/10.1017/s0266464x11000285.
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Mark O'Rowe's work marks a shift in Irish theatrical form and practice, positing his stories in urban landscapes that defy modernist dramatic frames and established linguistic styles. Here, angels and demons roam the earth with lost human souls and, though mythical creatures and influences are frequently made manifest, the connection to the other world does not remove the presence of popular culture – karate movies and salty snacks in particular. But perhaps the most viscerally striking aspect of O'Rowe's dramaturgy stems from the sense of pain, isolation, and trauma his characters embody and enact. His dramatized communities are either in crisis or no longer visible, thereby situating the scope for human connection or reconnection as the prize sought from their struggle – while comedy is not lost, and the ‘skullduggerous’ tone so applauded in Howie the Rookie accompanies these later works alongside an evolved dramatic voice and sense of theatrical form. Miriam Haughton is currently in the second year of her doctoral work on postmodern Irish drama in the School of English, Drama, and Film at University College Dublin. Her research interests include drama studies, Irish studies, anthropology, and sociology.
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13
Tipton, Dorothy. "Music in the Certificate of Pre-Vocational Education: A Music Course for Special People." British Journal of Music Education 6, no.1 (March 1989): 55–68. http://dx.doi.org/10.1017/s0265051700006835.
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The author describes a project which was created to encourage communication, through music and drama, between mainstream sixth form pupils and a local Special School. The course was offered as part of the Certificate of Pre- Vocational Education of the Joint Board of City and Guilds/B. Tech. and was open to all sixth form students irrespective of their musical expertise or experience. None had previously worked with handicapped children.Dorothy Tipton is Head of Music at the Rowena School for Girls, Sittingbourne. Her interest in Special School work was awakened during a Diploma in Music Education course at Christ Church College, Canterbury, resulting in a dissertation on ‘Music in the Mainstream Classroom for children with Special Needs’ (1985). During this research close and lasting links were developed with the local Special School for the severely handicapped, St Bartholomew's School, Milton, Kent. In March 1988, project cards for Music non-specialist primary school teachers Exploring Sounds and Themes, devised by Dorothy Tipton, Alan Vincent and Vanessa Young, were published by Kent Education Committee.
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14
Diedrich, Antje. "‘Talent Is the Ability to Be in the Present’: Gestalt Therapy and George Tabori's Early Theatre Practice." New Theatre Quarterly 18, no.4 (November 2002): 375–91. http://dx.doi.org/10.1017/s0266464x02000489.
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The Jewish-German-Hungarian director and playwright George Tabori has been one of the prominent figures of German-speaking theatre over the past thirty years. Outside Germany, Tabori is best known as the author of provocative Holocaust drama, such as The Cannibals (1968) and Mein Kampf (1987). But as a director Tabori has produced an equally impressive body of work, with ground-breaking productions of Shakespeare, Beckett, and Kafka. Tabori's promotion of theatre as therapy and his unusual actor-centred approach to rehearsal earned his work a ‘somewhat dubious’ reputation of being closely related to psychotherapeutic activity. In this article, Antje Diedrich seeks to clarify the extent to which there are concrete intersections and parallels of thought between Gestalt therapy and Tabori's early theatre practice. She identifies the influence of works by Frederick S. Perls and John O. Stevens on Tabori's discourse on acting and rehearsal practice, and concludes with a discussion of Sigmunds Freude (1975), a production based on protocols of Gestalt therapeutic sessions by Frederick S. Perls. Antje Diedrich works as a Lecturer in European Theatre Arts at Rose Bruford College in London. She has completed a PhD thesis about George Tabori's theatre practice and is currently working on further articles about Tabori's work as a director and playwright.
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15
Bzunko,G.B. "DEVELOPMENT AND DEVELOPMENT OF HIGH POLYTECHNIC SCHOOL IN LVIV (Aug. of the XIX th century BC)." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Idea, no.6(50) (December28, 2018): 13–20. http://dx.doi.org/10.31471/2304-7410-2018-6(50)-13-20.
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In this article the author tries to objectively evaluate the establishment of a higher technical institution, namely, from the three-class real-school to the Technical Academy, which consists of two branches: technical and trade-school and real-school, the reaction of the ruling circles. The process of reorganization of this institution, for which the college of professors prepared a project based on the organization of training of Austrian technical institutions, was approved by the Ministry of Education and Religion and provided for a thorough study of theoretical and practical disciplines, and running the academy was compared to other technical academies of the monarchy. Accordingly, the main provisions of the educational procesus that were approved by the Galician Regional Council and the Austro-Hungarian Ministry of Education were approved. As the reaction of the Austrian and Polish authorities to the development of a higher technical school was largely positive, there was no such conflict situation as was observed at the University of Lviv, as it was about the establishment of the Ukrainian university and the policy of the Viennese government on the educational issue. The reaction of the Polish ruling circles towards the development of higher technical education was also calm, since the teaching languages in this institution were German and Polish, and the Poles predominated in nationality.
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16
Kistler, Jordan. "A POEM WITHOUT AN AUTHOR." Victorian Literature and Culture 44, no.4 (November4, 2016): 875–86. http://dx.doi.org/10.1017/s1060150316000255.
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These lines begin an “Ode” which has permeated culture throughout the last hundred years. In 1912, Edward Elgar set it to music, as did Hungarian composer Zoltán Kodály in 1964, to commemorate the 700th anniversary of Merton College, Oxford. In 1971, Gene Wilder spoke the opening lines as Willy Wonka in the film Willy Wonka & the Chocolate Factory. The words appear as epigraphs in an eclectic range of novels, including science fiction (Raymond E. Feist's Rage of a Demon King), fantasy (Elizabeth Haydon's The Assassin King), and historical fiction (E. V. Thompson's The Music Makers). They are quoted in an even more varied selection of books, including travelogues (Warren Rovetch's The Creaky Traveler in Ireland), textbooks (Arnold O. Allen's Probability, Statistics and Queueing Theory and R. S. Vassan and Sudha Seshadri's Textbook of Medicine), New Age self-help books (Raven Kaldera's Moon Phase Astrology: The Lunar Key to Your Destiny), autobiographies (Hilary Liftin's Candy and Me, a Love Story) and pedagogical guides (Lindsay Peer and Gavin Reid's Dyslexia – Successful Inclusion in the Secondary School).
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17
Delgado,MariaM. "‘Making Theatre, Making a Society’: an Introduction to the Work of Peter Sellars." New Theatre Quarterly 15, no.3 (August 1999): 204–17. http://dx.doi.org/10.1017/s0266464x00013002.
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Variously raising hackles and acclaim, the work of Peter Sellars is wider-ranging than the occasional observer might suppose – rooted in an apprenticeship as a puppeteer, followed by some sixty productions in a variety of media during the decade of the ‘eighties. But it is for his eclectic approach to opera that Sellars has become best known on the international festival circuit – which, suggests Maria M. Delgado, he is forced to travel by default, since his socially critical stance combined with an anti-realist aesthetic deters the sponsorship on which so much American theatre depends. Maria M. Delgado here offers an overview and an assessment of a career and a philosophy dedicated to an awareness ‘both of theatre’ s role as a force of political and social responsibility and understanding and of the need to rise above the literal’. The author teaches in the School of English and Drama at Queen Mary College in the University of London.
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18
Sextou, Persephone. "Theatre in Education in Britain: Current Practice and Future Potential." New Theatre Quarterly 19, no.2 (May 2003): 177–88. http://dx.doi.org/10.1017/s0266464x03000083.
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This article is based on discussions with artistic directors and administrators of British Theatre in Education companies about past and current practice and changing funding resources. Persephone Sextou reviews developments in TiE practice since its beginnings in the 1960s, focusing upon the situation in the 1990s following the enforcement of National Curriculum requirements, the redirection of government funding to partnerships in education, and the availability of funds from the National Lottery. She describes how the remaining TiE companies are struggling not to compromise their artistic autonomy, and considers the relevance of the British TiE experience in relation to the potential for the development of the medium in other countries. Persephone Sextou is an instructor in Drama and Theatre in Education at the University of Thessaly in Greece, and is researching the transference of British TiE to a Greek context for her doctoral thesis at Goldsmiths College, University of London. Her book on School Dramatization has been published in Greece.
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19
Walling, Michael. "Odysseus under Occupation: Border Crossings’ When Nobody Returns." New Theatre Quarterly 33, no.3 (July10, 2017): 227–39. http://dx.doi.org/10.1017/s0266464x17000288.
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In NTQ 123 (August 2015) Michael Walling, Artistic Director of Border Crossings, wrote about his production of This Flesh is Mine, adapted by Brian Woolland from the Iliad. Here he discusses When Nobody Returns, based on The Odyssey, a co-production with Palestine's Ashtar Theatre that reflected contemporary events in a way that was not allegorical but allusive. He explores how the play related to its 2016 context in terms of the refugee crisis, the idea of occupation, and the concept of return. As well as describing the generation of meaning through the interaction of text and context, the piece explores the production in relation to Border Crossings’ wider programme of work, which also includes community engagement with refugees and policy consultation.When Nobody Returns was written by Brian Woolland and co-produced by Border Crossings, Ashtar Theatre, and the Royal Central School of Speech and Drama. It was funded by Arts Council England, British Council Palestine, RBKC's Nour Festival, Arts University Bournemouth, and Rose Bruford College.
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20
Juríková, Tűnde, Ildikó Viczayová, Jiří Mlček, Jiří Sochor, Katarína Fatrcová-Šramková, Marianna Schwarzová, and Alžbeta Hegedűsová. "The comparative study of medicinal plants utilization as herbal antibiotics by college students." Potravinarstvo Slovak Journal of Food Sciences 13, no.1 (September28, 2019): 735–43. http://dx.doi.org/10.5219/1153.
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The medicinal plant utilization has become more and more popular and increasing number of consumers prefer alternative medicine to synthetic antibiotic. Research dealing with evaluation of medicinal plant usage as herbal antibiotics including the sample of 584 quizzed college students aged 19 – 25 years (337 women, 217 men) originated from Slovak Republic (n = 338), Czech Republic (n = 112) and Hungary (n = 134). According to university and the study programme the following groups were evaluated: Constantine the Philosopher University CPU (PEES – Pre-school and elementary education in Slovak language, PEEH – Pre-school and elementary education in Hungarian language, BI – Biology, RT – Regional Tourism), Mendel University in Brno MU (H – Horticulture), Slovak University of Agriculture SUA (H – Horticulture), University of Pécs UP (PE – Physical education), Comenius University CU (PE – Physical education). The study was aimed at the evaluation of the significance of the country and the study programme for the use of the most commonly used herbs: plantain, elderberry, stinging nettle, ginger and coneflower (Echinacea). Our results showed that the choice of preferred medicinal plants as herbal antibiotics during illness had not been clearly influenced by country or field of study programme. Plantain was the most frequently used herb by students of UP/PE (51.5%), CPU/PEES and CPU/PEEH (47.9%; 41.1%). Elderberry was the most popular herb among the students CPU/BI (52.9%), CPU/RT and SUA/H (37.8%). Stinging nettle was preferred as the most popular herb in groups of CPU/RT (46%). The significantly lower consumption of Echinacea was noticed in MU/H 4.5% in comparison with groups, CU/PE 26.4% (p <0.05), CPU/PEEH 27.4% (p <0.01), UP/PE 17.2% (p <0.05) and CPU/RT 28% (p <0.05). Regularly, all the year round the highest utilization of Echinacea was evident in CPU/BI 30.0%. The highest percentage formed respondent’s utilized Echinacea only during illness. Otherwise, the differences between the frequencies of Echinacea usage cannot be considered as statistically significant. Generally, a significantly higher level of ginger usage was assayed within groups SUA/H 80.0% (p <0.001), CPU/PEEH 66.3% (p <0.001), UP/PE 36.6% (p <0.001), CPU/BI 58.8% (p <0.001), CPU/RT 56.0% (p <0.001), MU/H 78.6% (p <0.001) and CPU/PEES 77.1% (p <0.001) in comparison with the rest of the groups. Daily the respondents from CU/PE 20.8% consumed ginger significantly more often than students belonging to CPU/BI 0.0% (p <0.05) and MU/H 0.0% (p <0.05). Respondents from CPU/PEEH consumed statistically significantly more ginger once a week in comparison with students belonged to MU/H 0.9% (p <0.05). To sum up the research results, we can claim that state or study programme had no clear statistically significant evidence on the regular consumption of medicinal plants as herbal antibiotics.
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21
Varney, Denise, and Rachel Fensham. "More-and-Less-Than: Liveness, Video Recording, and the Future of Performance." New Theatre Quarterly 16, no.1 (February 2000): 88–96. http://dx.doi.org/10.1017/s0266464x00013488.
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With the spread of digital and other modes of electronic recordings into the auditoria and lecture theatres where performance is studied, the debate about the video documentation of performance – already well rehearsed and in the pages of NTQ – is about to intensify. Rachel Fensham and Denise Varney have based the article which follows on their own work in videoing live theatre pieces for research into feminist performance. This article deliberates on their experience with the medium and examines the anxieties that surface at the point of implosion between live and mediatized performance. The first part locates these anxieties in the question of presence and absence in performance – especially that of the performer, whose body and self are both at stake in the recorded image. In the second part, the authors offer a description of viewing practices, which they present as a model of ‘videocy’. Rachel Fensham is Senior Lecturer in the Centre for Drama and Theatre Studies, Monash University, and Denise Varney is Lecturer in the School of Studies in Creative Arts, Victorian College of the Arts, University of Melbourne.
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Brannigan, John, Marcela Santos Brigida, Thayane Verçosa, and Gabriela Ribeiro Nunes. "Thinking in Archipelagic Terms: An Interview with John Brannigan." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no.35 (May13, 2021): 3–28. http://dx.doi.org/10.12957/palimpsesto.2021.59645.
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John Brannigan is Professor at the School of English, Drama and Film at University College Dublin. He has research interests in the twentieth-century literatures of Ireland, England, Scotland, and Wales, with a particular focus on the relationships between literature and social and cultural identities. His first book, New Historicism and Cultural Materialism (1998), was a study of the leading historicist methodologies in late twentieth-century literary criticism. He has since published two books on the postwar history of English literature (2002, 2003), leading book-length studies of working-class authors Brendan Behan (2002) and Pat Barker (2005), and the first book to investigate twentieth-century Irish literature and culture using critical race theories, Race in Modern Irish Literature and Culture (2009). His most recent book, Archipelagic Modernism: Literature in the Irish and British Isles, 1890-1970 (2014), explores new ways of understanding the relationship between literature, place and environment in 20th-century Irish and British writing. He was editor of the international peer-reviewed journal, Irish University Review, from 2010 to 2016.
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Hickman, Jared. "Douglass Unbound." Nineteenth-Century Literature 68, no.3 (December1, 2013): 323–62. http://dx.doi.org/10.1525/ncl.2013.68.3.323.
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This essay tests what we might call the racialization-as-secularization thesis through an examination of a year in the intellectual and literary life of Frederick Douglass—from the summer of 1854, when he delivered his commencement address at Western Reserve College, “The Claims of the Negro Ethnologically Considered” (his direct response to the American School of Ethnology), to the summer of 1855, when his second autobiography, My Bondage and My Freedom, was published. “Claims” reveals that Douglass apprehended in the American School of Ethnology a distillation of the problem of race past internecine contentions about the interpretation of this or that biblical verse or curse to a bottom-line Christian-theistic question: What does the enslaved black body signify within a creationist framework? This confrontation of racial slavery as a theodical problem can help us account for the most salient difference of his second autobiography—its recourse to mythic drama of the sort associated with Romantic titanism. Douglass’s bravura performance of Romantic titanism in My Bondage and My Freedom underscores the extent to which Douglass abandoned the Christian millenarianism of the Garrisonian camp not for a tacitly secularist political abolitionism but rather for what we might call a heretical political-theological abolitionism that provides fruitful fodder for current historical and philosophical debates about secularity, secularism, and immanence.
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Lindstøl, Fride. "Tenk hvis – Om fiksjonserfaringer som utgangspunkt for refleksjon i lærerutdanningen." Acta Didactica Norge 10, no.3 (October24, 2016): 14. http://dx.doi.org/10.5617/adno.2964.
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I denne artikkelen settes søkelyset på norsk lærerutdanning og på et arbeid med å utvikle et profesjonsverksted hvor sammenheng mellom teoretiske og praktiske perspektiver i utdanningen kan utforskes og drøftes. Profesjonsverksted kan forklares som en læringsarena hvor lærerutdannere fra ulike fag samarbeider om å transformere overordnede mål for utdanning til høgskoledidaktiske aktiviteter og arbeidsformer. Studien tar utgangspunkt i feltnotater og fokusgruppeintervjuer fra en case der fire grupper med studenter har arbeidet med matematiske, norskfaglige og pedagogiske perspektiver knyttet til temaene klasseledelse og tilpasset opplæring. Et teoretisk og analytisk rammeverk fra drama- og teaterpedagogisk forskning bruker mediert fiksjon for å analysere muligheter til sammenheng mellom pedagogisk teori, fagdidaktiske valg og praktisk lærerarbeid. Resultatet fra analysen av studentgruppers intervensjon med tre ulike fiksjonsformer viser hvordan aktivitetene bidrar til sammenheng på ulikt vis: Simulering tilbyr mulighet til å øve og trene på delferdigheter og profesjonsspesifikke situasjoner. Narrative og poetiske fiksjonsformer bidrar til å involvere personlige erfaringer i læringsarbeidet og utvide studentenes didaktiske repertoar. Refleksive fiksjonsformer gir mulighet til å identifisere seg med ulike roller og perspektiver og trene på å bruke et profesjonsspråk for å analysere praktisk lærerarbeid. Studien er et bidrag til å utvikle og forske på høgskolepedagogiske læringsrom mellom skole og lærerutdanning som kan bidra til å skape sammenheng mellom skolefag, pedagogikk og praktisk lærerarbeid.Nøkkelord: lærerutdanning, høgskolepedagogikk, profesjonsverksted, lærerrolle, fiksjon, medieringAbstract In this article we look into Norwegian teacher training and the development of an educational workshop where the link between theoretical and practical perspectives in education can be explored and discussed. This workshop can best be described as an arena for teaching where teacher trainers who teach different subjects cooperate on transforming overriding educational goals into didactic activities and methods of teaching their college students. The course is based on field notes and interviews with focus groups from a case where four groups of students worked with class leadership and adapted learning in the subject areas of Mathematics, Educational Science and Norwegian. A theoretical and analytical framework from research into educational drama and theatre uses the medium of fiction as a way of analysing the possible parallels between educational theory, didactic choices and practical teaching. The groups worked with three different forms of fiction. The result of the analysis of this intervention shows how these activities are linked: Simulation opens up for the possibility of practicing different skills and profession-specific situations. Poetical and narrative forms of fiction encourage the involvement of feelings and personal experiences in teaching, while also offering a common aesthetic framework in the staging of complex concepts. Reflexive forms of fiction make it possible to decentre and acquire a professional language when analysing one’s teaching practice. The course may contribute to developing research into the relationship between educational science at the levels of the school, the college and teacher training, which may in turn link practical teaching, educational science and the different school subjects.Key words: teacher training, educational science at college level, educational workshop, role of the teacher, mediated fiction
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Williams, Roy. "Roy Williams, in conversation with Aleks Sierz What Kind of England Do We Want?" New Theatre Quarterly 22, no.2 (April19, 2006): 113–21. http://dx.doi.org/10.1017/s0266464x06000352.
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Roy Williams is one of the outstanding new voices in contemporary British theatre. Born in Fulham, south-west London, in 1968, he has already, by his mid-thirties, won a shelf-full of awards, with plays staged at the National Theatre and Royal Court. His debut, The No Boys Cricket Club, won the Writers' Guild New Writer of the Year award in 1996. Two years later, his follow-up, Starstruck, won three major awards: the John Whiting Award for Best New Play, an EMMA (Ethnic Multicultural Media Awards) for Best Play, and the first Alfred Fagon Award, for theatre in English by writers with Caribbean connections. In 2000, Lift Off was joint winner of the George Devine Award, and in 2001 Clubland received the Evening Standard Award for Most Promising Playwright. In 2002, Williams received a best school drama BAFTA (British Academy of Film and Television Arts) for Offside (BBC), and in 2004 he won the first Arts Council Decibel Award, given to black or Asian artists in recognition of their contribution to the arts. His most recent play, Little Sweet Thing, was a 2005 co-production between Ipswich’s New Wolsey Theatre, Nottingham Playhouse, and Birmingham Rep. What follows is an edited transcript of Aleks Sierz’s ‘In Conversation with Roy Williams’, part of the ‘Other Voices’ symposium at Rose Bruford College, Sidcup, Kent, in May 2004, organized by Nesta Jones. Williams is a graduate and now a Fellow of the college.
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Maples, Holly. "Embodying Resistance: Gendering Public Space in Ragtime Social Dance." New Theatre Quarterly 28, no.3 (August 2012): 243–59. http://dx.doi.org/10.1017/s0266464x12000437.
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In this article Holly Maples examines how the controversy surrounding the ragtime dance craze in the United States allowed women to renegotiate acceptable gendered behaviour in the public sphere. In the early 1910s many members of the public performed acts of resistance to convention by dancing in the workplace, on the street, and in public halls. Civic institutions and private organizations sought to censor and control both the public space of the dance hall and the bodies of its participants. The controlling of social dance was an attempt to restrain what those opposed to the dances saw as unrestrained and indecent physical behaviour by the nation's youth, primarily targeting ragtime dancing's ‘moral degradation’ of young women. It was not merely the public nature of the dancing that was seen as dangerous to women, however, but the dances themselves, many of which featured chaotic, off-centred choreography, with either highly sexualized behaviour, as seen in the tango and the apache dance, or clumsy, un-gendered movement, popular in the animal dances of the day. Through ragtime dancing, women performed acts of rupture on their bodies and the urban cityscape, transforming social dancing into public statements of gendered resistance. Holly Maples is a lecturer in Drama at the University of East Anglia. Both a theatre practitioner and a scholar, she trained as an actress at Central School of Speech and Drama in London and completed her PhD in Theatre Studies at Trinity College Dublin. Her book, Culture War: Conflict, Commemoration, and the Contemporary Abbey Theatre, has recently been published in the ‘Reimagining Ireland’ series by Peter Lang.
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Emeritus, Gabor Vermes. "László Péter, and Rady Martyn, eds. British-Hungarian Relations since 1848. London: Hungarian Cultural Centre London, School of Slavonic and East European Studies, University College London, 2004.Pp. 366. - Marta Fata, ed. Das Ungarnbild der deutschen Historiographie. Stuttgart: Franz Steiner Verlag, 2004. Pp. 334." Austrian History Yearbook 37 (January 2006): 220–22. http://dx.doi.org/10.1017/s0067237800016908.
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Hideg, Gabriella. "Snapshots About East Africa’s Education System." Afrika Tanulmányok / Hungarian Journal of African Studies 12, no.4. (May22, 2019): 66–81. http://dx.doi.org/10.15170/at.2018.12.4.5.
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This paper focuses on the East African country, Kenya, and its education system, which is exotic from the Hungarian point of view.The aim of my study was to present the historical development of education in Kenya, and the odds and limits appearing within it, based on the available literature. It becomes visible that access to education is not given equally to everyone, regardless of which level of education we examine. This becomes really interesting and unique if we ask primary school students and college students about fair play and its content in such an imbalanced and even unequal system.As a test method, I used the analysis of literature and a questionnaire survey, which was based on a random sampling method. The questionnaire contains 17 questions including 15 closed and 2 open questions. Questions covers the content of fair play, interest in sport, and in addition to these, the responses about behaving in different competitive situations and judging actions as well. The data obtained were summarized with simple mathematical and statistical methods.As an expected result, we get closer to a foreign, unknown country in an educational/ historical and pedagogical point of view. The results of the questionnaire survey, which measure the segments of the two different levels of the Kenyan education system, show the opinion of students about fair play.
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Schildmeier, Marvin. "Of Empathy, Imagination and Good Gloves." Scenario: A Journal of Performative Teaching, Learning, Research X, no.1 (January1, 2016): 89–106. http://dx.doi.org/10.33178/scenario.10.1.7.
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From the moment I first stepped in the door to our seminar room I was aware that I was a foreigner here. That was not just due to the fact that I had set out from my familiar Hannover on an Erasmus semester at University College Cork, but rather particularly due to the fact that in choosing the course Drama and Theatre of the 20th and 21st Century, I set foot in hitherto untested territory. As far as theatre and the performing arts were concerned, I was, in fact, a blank page. My stage experience was limited to playing Joseph in the Christmas nativity play, the canon of plays which I had read to those which were a part of the core curriculum in secondary school. I was a foreigner. The mental image of going up on stage made me feel uneasy and at moments when eyes were focused on me, I had the feeling that I could no longer properly control my body language. However, as you must sometimes set yourself new challenges, and as I thought that there could be no better point in time for such a peek outside the box than a semester abroad, in which ...
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Karady, Victor. "The Academic Profile of Doctoral School Staffs in Hungarian Universities in the Social Sciences and Humanities. A Comparative Study of Disciplines with Special Reference to Educational Science (2000-2010)." CIAN-Revista de Historia de las Universidades 19 (June3, 2016): 71. http://dx.doi.org/10.20318/cian.2016.3144.
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The paper is grounded in the quantified exploitation of a large scale (N= cc. 14000) prosopographical data bank of practitioners of the social sciences and humanities (SSH) in Hungary defined by their institutional position in a public research agency, a university, a college of higher educational or as author of books and studies in specialized SSH journals listed in an overall bibliography of SSH publications (1960-2010) by the staff of the Budapest Municipal Library. The focus is not on the whole available prosopographical data bank, but only on staff members of doctoral schools attached to universities in the early 21st century (cc. 2000-2010). Various ‘positional’ properties of the teaching personnel of doctoral schools are systematically compared hereby following their discipline, gender, academic qualification, scholarly productivity as well as a combination of major collective markers (like age, residence, size of publications, notably publications in foreign languages). For reasons of economy of space and since there is practically no significant publications available on the problem area in English or other international languages, the study includes only summary bibliographical references.Keywords: social sciences, gender inequalities, academic hierarchy, intellectual productivity, Hungarian doctoral schools.El perfil del cuerpo académico de las escuelas doctorales en las universidades húngaras en ciencias sociales y humanidades. Un análisis comparado de disciplinas con especial referencia a la ciencia educativa (2000-2010) Resumen: El artículo se basa en una exploración cuantitativa de un banco prosopográfico de datos de gran escala (N = cc. 14.000) sobre profesionales de ciencias sociales y humanidades en Hungría. Se definen como tal por su puesto profesional en una agencia pública de investigación, una universidad, un colegio de educación superior, o como autores de libros y artículos en revistas especializadas en ciencias sociales y humanidades que figuran en una bibliografía de publicaciones (1960-2010) elaborada por el personal de la Biblioteca municipal de Budapest. El énfasis no está puesto en todo el banco prosopográfico de datos sino únicamente en el cuerpo académico de las escuelas doctorales vinculadas a las universidades a principios del siglo XXI (cc. 2000-2010). Se procede a una comparación sistemática de varias propiedades relacionadas con la posición del cuerpo académico perteneciente a las escuelas doctorales en función de su disciplina, género, nivel de preparación académica, productividad académica, además de una combinación de grandes marcadores colectivos (como la edad, la residencia, el tamaño de las publicaciones, en especial las publicaciones en idiomas extranjeros). Por motivos de espacio y dado que prácticamente no hay publicaciones relevantes disponibles sobre el tema en inglés u otros idiomas internacionales, el artículo solo incluye referencias bibliográficas sumarias.Palabras clave: ciencias sociales, desigualdades de género, jerarquía académica, productividad intelectual, escuelas doctorales
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Ahmed, Syed Jamil. "Decoding Myths in the Nepalese Festival of Indra Jātrā." New Theatre Quarterly 19, no.2 (May 2003): 118–38. http://dx.doi.org/10.1017/s0266464x03000046.
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As a rule, news from Nepal gets little or no prominence in the western media – but the regicide of 2001, in which Prince Dipendra allegedly mowed down his parents and then shot himself, was a notable exception. Two years earlier, Syed Jamil Ahmed witnessed Prince Dipendra's and his father King Birendra's participation in the festival of Indra Jātrā, held annually in the nation's capital city, Kathmandu. After an analysis of the myths underlying the festival, and of their modification over centuries to serve changing dynastic priorities, the author provides an account of the festival as a ‘first-person felt experience’, and then investigates how its contemporary actuality reflects and attempts to perpetuate an intricate network of social and political meanings. Syed Jamil Ahmed is a director and designer based in Bangladesh, where he is Associate Professor at the Department of Theatre and Music in the University of Dhaka. He trained in theatre at the School of Drama in New Delhi, and in 2001–2 was a visiting faculty member at King Alfred's College, Winchester. His full-length publications – Acinpakhi Infinity: Indigenous Theatre in Bangladesh (Dhaka University Press, 2000) and In Praise of Niranjan: Islam, Theatre, and Bangladesh (Dhaka: Pathak Samabesh, 2001) – catalogue the wide variety of indigenous theatre forms in Bangladesh. He has proceeded to examine the variety of Islamic theatre forms, their inherent features, and their relationship to the corrupting influence of western forms.
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Zupanič Slavec, Zvonka, and Zvonka Zupanič Slavec. "100 years – Faculty of Medicine, University of Ljubljana (1919–2019)." Slovenian Medical Journal 88, no.11-12 (January9, 2020): 554–75. http://dx.doi.org/10.6016/zdravvestn.3018.
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The early beginnings of Slovenian medical education take root in the Enlightenment-era Academia operosorum (Academy of the Industrious, 1693–1725) and its medical section with the physician Marko Gerbec, although the Jesuit College introduced higher education in Ljubljana already in 1619. In 1782, a Medico-Surgical Academy was established in Ljubljana, the first to provide a secondary level of medical education. Later on, when a part of present Slovenian lands was included in the Illyrian Provinces (1809–1813) as a part of Napoleon’s French Empire, with Ljubljana as capital, the school advanced to the level of a medical faculty (École Centrale). The subsequent restoration of Austrian sovereignty prevented the school from completing even the first class of graduates’ training. In 1848, Medico-Surgical Academy was dissolved and only midwifery schools remained. It was only after disintegration of the Austro-Hungarian Monarchy, as a consequence of the World War I, that in 1919 the first Slovenian University was established in Ljubljana, and within it a incomplete medical faculty was offering four preclinical semesters. In 1940, fifth and sixth semesters were added to the Faculty. The liberation impetus led in July 1945 to the establishment of a complete medical faculty including five years course divided in ten semesters. In the 1949/1950 academic year, the Faculty of Medicine was separated from the University and trained one generation of physicians as a medical college; in 1954, it was reintegrated into the University. During that period, in autumn 1949, the Faculty of Stomatology was established, which soon joined with the Faculty of Medicine, whereupon two departments were established: one for general medicine and one for stomatology (dental medicine). In the 1968/1969 academic year, the Faculty of Medicine introduced a master’s programme, and in 1995 a uniform doctoral programme; in the academic year 1989/1990 the programmes of medicine and dental medicine were extended to twelve semesters. In 1975, the new Ljubljana Medical Centre building was finished and the Faculty thus obtained the necessary lecture halls, classrooms, and rooms for clinical practice. In the next decade, in 1987, the main preclinical institutes moved to the new building of the Faculty and students finally received state-of-the-art lab classrooms, facilities, and other infrastructure. In 2015, the Faculty also constructed a new building for preclinical institutes for biochemistry and cell biology. Throughout the years the programme has continued to improve and stay up to date, and the Bologna system of education was introduced in the academic year 2009/2010. In its hundred years of existence, the Faculty of Medicine has trained approximately 9,000 physicians and 2,000 dentists, and awarded more than 1,700 doctors of science degrees and more than 1,000 master of science degrees in the postgraduate programme for physicians and dentists; it has also trained many students in graduate clinical training programmes. The Faculty of Medicine is oriented towards the future, a strong connection between theory and practice, interdisciplinary and international cooperation, and especially training new high-quality medical professionals.
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Lerman, Zafra Margolin. "Education, Human Rights, and Peace – Contributions to the Progress of Humanity." Pure and Applied Chemistry 91, no.2 (February25, 2019): 351–60. http://dx.doi.org/10.1515/pac-2018-0712.
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Abstract I started my chemistry adventure while in high school, where I was the only female in a science and mathematics-oriented class. During our Junior year of high school, we were sent to the desert, close to the Red Sea in Israel to build roads. In the summers, we were in a Kibbutz on the border to help with the work needed. After work, we had time to discuss our future. Upon graduating from high school, I was drafted into the army, and in the evenings, started my college education and majored in chemistry. After finishing my term in the army, I continued my undergraduate studies in chemistry while raising my son. As I was conducting research on isotope effects, I realized that I wanted to make chemistry accessible to all. My tenet in life is that equal access to Science Education is a human right. I developed a method of teaching chemistry using art, music, dance, drama, and cultural backgrounds which attracted students at all educational levels to chemistry. I felt that as chemists, we have obligations to make the planet a better place for humankind. At this point, I became very active in working towards Scientific Freedom and Human Rights; helping chemists in the Soviet Union, China, Chile, Guatemala, and many other countries. The American Chemical Society established the Subcommittee on Scientific Freedom and Human Rights in 1986 and I chaired this committee for 26 years. At great risk to my personal safety, we succeeded in preventing executions, releasing prisoners of conscience from jail and bringing dissidents to freedom. This work led me to use chemistry as a bridge to peace in the Middle East by organizing Conferences which bring together chemists from 15 Middle East Countries with five Nobel Laureates. The Conferences allow the participants to collaborate on solutions to problems facing the Middle East and the World. The issues are; Air and Water Quality, Alternative Energy Sources, and Science Education at all Levels. Eight conferences were held and the ninth is scheduled for 2019. More than 600 Middle East scientists already participated in these conferences. Considering that most of the participants are professors or directors of science institutions who have access to thousands of students, the number of people in the network is in the thousands. Between the conferences, the cross-border collaborations are ongoing despite the grave situation in the Middle East. In these conferences, the participants succeed in overcoming the chasms of distrust and intolerance. They do not just form collaborations, but form friendships. Hopefully, we will manage to form a critical mass of scientists who will be able to start the chain reaction for peace in the Middle East. Commitment, perseverance, and many times, bravery, helped me to overcome the obstacles I encountered.
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Dénes, Iván Zoltán. "Hungarian, Jew or Hungarian-Jewish? Parallels and Differences of Two Historians’ Careers." European Review, September9, 2020, 1–23. http://dx.doi.org/10.1017/s1062798720001295.
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This article looks at the careers of two school-founding Hungarian historians and university professors, the reconstruction, interpretation and comparison of their perceptions of history, their views on the role of the historiographer, and their opinions on the history of Jews in Hungary. Since both openly professed to be Hungarian Jews, I also try to find out what that meant for them. My interpretive frame follows the ‘speech-act’ approach of the Cambridge contextual school of the history of ideas, the description of notions of meaning/attribution of meaning, and the ‘drama triangle’ (the identification of the traumatized roles of the victim, persecutor and rescuer) in the literature of trauma elaboration.
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"Drama, Education, and Social Change: the Debate Continues, 2." New Theatre Quarterly 2, no.8 (November 1986): 369. http://dx.doi.org/10.1017/s0266464x00002384.
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David Hornbrook's articles in NTQ 4 and 5 offered a challengig perspective to the history of drama-in-education. a critique of present practices and practitioners. and some positive proposals for the future place of the subject in the clrriculum. These provoked Widespread interest and we published in NTO 7 a first selection of comments. We now continue the debate with comments from Gavin Bolton, Who has published Widely on educational drama and is Head of Drama and in the School of Education of the University of Durham. and Warwick Dobson. Senior Lecturer in Drama at Bradord and llkley College.
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Imre, Mihály. "A fiziko-teologizmus irodalmának hazai forrásai." Studia Litteraria 59, no.3–4 (December12, 2020). http://dx.doi.org/10.37415/studia/2020/8580.
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Our aim is to reimagine the Hungarian reception of physico-theology, demonstrating its significance in terms of the history of science and cultural science, and to present, with attention to other European sources and parallels, the cultural and literary process that leads us to the beginnings of the oeuvre of Mihály Fazekas and to the works of his contemporaries. We seek to obtain a deeper knowledge of the Hungarian and international sources of physicotheology in terms of the science of history in a Protestant environment in the 18th century, as well as of the first appearance of physico-theology in school education, scientific training and schools. In this endeavour, without attempting to be exhaustive, we have extended the sources to works of piety literature and liturgical literature. The scientific collections, manuscripts and printed materials of the Reformed College of Debrecen and the Reformed College of Sárospatak have been the subjects of this research, although western European sources have been used in the research as well. The principles of physico-theology were first widely introduced in Hungarian language in the works of Benjámin Szőnyi, followed by many of his contemporaries later on in the second half of the 18th century.
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Alaimo,KathleenI. "Finishing the story: Narrative ritual in news coverage of the Umpqua Community College shooting." Journalism, April16, 2021, 146488492110086. http://dx.doi.org/10.1177/14648849211008683.
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This article applies Victor Turner’s schema of ‘social drama’ to examine narrative rituals and the roles performed by a local and national newspaper in their coverage of the Umpqua Community College shooting that took place in October 2015. Textual analysis is used to compare stories from The Roseburg News-Review and the New York Times in terms of the narrative’s movement from breach, crisis, redress and finally to either reintegration or separation. This study finds that narrative patterns for the local and national newspapers do not parallel, suggesting differences in role perceptions. Instead, journalistic ritual is subject to the crisis, proximity to the tragedy and audience. The local outlet reinforces consensus with authority by focusing on victims and the grieving process to achieve the social good of healing and recovery; and the national newspaper challenges the status quo by focusing on the shooter and legislative reform. While the News-Review reaches reintegration by achieving a sense of normalcy, the New York Times stalls in a state of liminality. Both papers move the discourse on school shootings toward a societal ideal though neither narrative reaches the transformative discourse that has invoked national reflexivity noted in past instances of tragedy.
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Orsolya, Borók, and Bácsné Bába Éva. "Importance of the Mental Preparation for Competition Among Young Athletes." STADIUM - Hungarian Journal of Sport Sciences 1, no.1 (September14, 2018). http://dx.doi.org/10.36439/hjsc/2018/1/8.
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The mental preparation of athletes for competition has become more appreciated. In this paper, we asked young athletes in Hungarian team sports about their experiences and expectations in mental preparation. In the research, we used an online questionnaire where 165 valuable responses were received. Most of the respondents were women, between 15-24 years of age, high school and college graduates, with urban background. Almost 90% of respondents have been confronted an obstacle with a negative impact on performance in sports before. Most athletes know well the activities of sports psychologists, however, only 10% of them have been mentally trained so far, while 70% of them would need it. Those sports associations achieve more successful results in the talent management, where sports psychologist was involved in the assessment of young children. Based on these, sports organizations should use a sports psychologist, because it could help achieve better sports performance for players and teams.
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Borók, Orsolya, and Éva Bácsné Bába. "Importance of the Mental Preparation for Competition Among Young Athletes." Stadium - Hungarian Journal of Sport Sciences 1, no.1 (January11, 2021). http://dx.doi.org/10.36439/shjs/2018/1/8.
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The mental preparation of athletes for competition has become more appreciated. In this paper, we asked young athletes in Hungarian team sports about their experiences and expectations in mental preparation. In the research, we used an online questionnaire where 165 valuable responses were received. Most of the respondents were women, between 15-24 years of age, high school and college graduates, with urban background. Almost 90% of respondents have been confronted an obstacle with a negative impact on performance in sports before. Most athletes know well the activities of sports psychologists, however, only 10% of them have been mentally trained so far, while 70% of them would need it. Those sports associations achieve more successful results in the talent management, where sports psychologist was involved in the assessment of young children. Based on these, sports organizations should use a sports psychologist, because it could help achieve better sports performance for players and teams.
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Borók, Orsolya, and Éva Bácsné Bába. "Importance of the Mental Preparation for Competition Among Young Athletes." STADIUM - Hungarian Journal of Sport Sciences 1, no.1 (September14, 2018). http://dx.doi.org/10.36439/sjsc.v1i1.8.
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The mental preparation of athletes for competition has become more appreciated. In this paper, we asked young athletes in Hungarian team sports about their experiences and expectations in mental preparation. In the research, we used an online questionnaire where 165 valuable responses were received. Most of the respondents were women, between 15-24 years of age, high school and college graduates, with urban background. Almost 90% of respondents have been confronted an obstacle with a negative impact on performance in sports before. Most athletes know well the activities of sports psychologists, however, only 10% of them have been mentally trained so far, while 70% of them would need it. Those sports associations achieve more successful results in the talent management, where sports psychologist was involved in the assessment of young children. Based on these, sports organizations should use a sports psychologist, because it could help achieve better sports performance for players and teams.
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Borók, Orsolya, and Éva Bácsné Bába. "Importance of the Mental Preparation for Competition Among Young Athletes." Stadium - Hungarian Journal of Sport Sciences 1, no.1 (September14, 2018). http://dx.doi.org/10.36439/sjsc/2018/1/8.
Full textAbstract:
The mental preparation of athletes for competition has become more appreciated. In this paper, we asked young athletes in Hungarian team sports about their experiences and expectations in mental preparation. In the research, we used an online questionnaire where 165 valuable responses were received. Most of the respondents were women, between 15-24 years of age, high school and college graduates, with urban background. Almost 90% of respondents have been confronted an obstacle with a negative impact on performance in sports before. Most athletes know well the activities of sports psychologists, however, only 10% of them have been mentally trained so far, while 70% of them would need it. Those sports associations achieve more successful results in the talent management, where sports psychologist was involved in the assessment of young children. Based on these, sports organizations should use a sports psychologist, because it could help achieve better sports performance for players and teams.
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Deakin, Andrea. "All Fall Down: The Landslide Diary of Abby Roberts by J. Little." Deakin Review of Children's Literature 4, no.1 (July22, 2014). http://dx.doi.org/10.20361/g23s41.
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Little, Jean. All Fall Down: The Landslide Diary of Abby Roberts. Toronto: Scholastic Canada, 2014. Print.The Dear Canada Series is a strong, well-written series of novels bringing different periods of Canadian history to life through the voices of girls living at the time. There is a constant high quality of writing throughout the series and the books cover both moments of high drama, like the Halifax explosion, and also descriptions of the continuing stress of displacement and immigration.Jean Little is a fine writer whose descriptions vividly bring a scene to life and whose compassion exposes character and allows the reader to become one with her heroine.All Fall Down is the story of the Frank Slide in Alberta in 1902, but it does not begin there. We meet Abby and her family in Montreal and are thrown headlong into her story with the first sentence: “This morning my father was killed.” There has been an industrial accident and the family is left in turmoil. Here we begin to see the stresses Abby’s mother faces- no money, a child with Down Syndrome, and three other children to care for. Help comes from her mother’s brother who has opened a hotel in Frank, Alberta. He offers to take them all in. A three day train journey from Montreal takes them to Frank where their uncle and aunt greet them with kindness and concern. Little builds the situation in Frank; the prejudice against the Down Syndrome little brother, the prejudice, also against a friend Abby makes - Bird, a First Nations girl, and the changes in Abby’s older brother and sister as they, too, have to find a new place in the tiny community.The plot lines are skilfully woven- Abby’s growing skills and abilities, the family finding a place in the community, disease ,and strained relations with the First Nations people to the extent of ignoring a continual warning from Bird’s grandfather that the mountain would walk.Then the mountain walks.The first part of the book enables the reader to become so familiar with the family and the Frank community that the tragedy is all the more telling.All Fall Down is a strong engaging story, all the more effective because of the compassion with which a skilful writer, like Jean Little, has brought her people to life.Highly Recommended: 4 out of 4 stars Reviewer: Andrea DeakinAndrea has been involved with books since she was class librarian in Primary School, Student Librarian in Grammar School, student librarian for the Education Faculty when she was a student, and school librarian in schools both in England and in Canada, except for the first two years in Canada where she arrived in 1959. When she retired from teaching ( English and History) she was invited to review in February 1971, and continued to review for press, radio, and finally on the Internet (Deakin Newsletter from Okanagan College) until she retired in 2011. Forty years seemed sufficient- although she still cannot keep her nose out of good children's and YA fare.
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"Reading & writing." Language Teaching 39, no.3 (July 2006): 201–11. http://dx.doi.org/10.1017/s026144480623369x.
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Haller, Beth. "Switched at Birth: A Game Changer for All Audiences." M/C Journal 20, no.3 (June21, 2017). http://dx.doi.org/10.5204/mcj.1266.
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The American Broadcasting Company (ABC) Family Network show Switched at Birth tells two stories—one which follows the unique plot of the show, and one about the new openness of television executives toward integrating more people with a variety of visible and invisible physical embodiments, such as hearing loss, into television content. It first aired in 2011 and in 2017 aired its fifth and final season.The show focuses on two teen girls in Kansas City who find out they were switched due to a hospital error on the day of their birth and who grew up with parents who were not biologically related to them. One, Bay Kennish (Vanessa Marano), lives with her wealthy parents—a stay-at-home mom Kathryn (Lea Thompson) and a former professional baseball player, now businessman, father John (D.W. Moffett). She has an older brother Toby (Lucas Grabeel) who is into music. In her high school science class, Bay learns about blood types and discovers her parents’ blood types could not have produced her. The family has professional genetic tests done and discovers the switch (ABC Family, “This Is Not a Pipe”).In the pilot episode, Bay’s parents find out that deaf teen, Daphne Vasquez (Katie Leclerc), is actually their daughter. She lives in a working class Hispanic neighbourhood with her hairdresser single mother Regina (Constance Marie) and grandmother Adrianna (Ivonne Coll), both of whom are of Puerto Rican ancestry. Daphne is deaf due to a case of meningitis when she was three, which the rich Kennishes feel happened because of inadequate healthcare provided by working class Regina. Daphne attends an all-deaf school, Carlton.The man who was thought to be her biological father, Angelo Sorrento (Gilles Marini), doesn’t appear in the show until episode 10 but becomes a series regular in season 2. It becomes apparent that Daphne believes her father left because of her deafness; however, as the first season progresses, the real reasons begin to emerge. From the pilot onwards, the show dives into clashes of language, culture, ethnicity, class, and even physical appearance—in one scene in the pilot, the waspy Kennishes ask Regina if she is “Mexican.” As later episodes reveal, many of these physical appearance issues are revealed to have fractured the Vasquez family early on—Daphne is a freckled, strawberry blonde, and her father (who is French and Italian) suspected infidelity.The two families merge when the Kennishes ask Daphne and her mother to move into their guest house in order get to know their daughter better. That forces the Kennishes into the world of deafness, and throughout the show this hearing family therefore becomes a surrogate for a hearing audience’s immersion into Deaf culture.Cultural Inclusivity: The Way ForwardShow creator Lizzy Weiss explained that it was actually the ABC Family network that “suggested making one of the kids disabled” (Academy of Television Arts & Sciences). Weiss was familiar with American Sign Language (ASL) because she had a “classical theatre of the Deaf” course in college. She said, “I had in the back of my head a little bit of background at least about how beautiful the language was. So I said, ‘What if one of the girls is deaf?’” The network thought it was wonderful idea, so she began researching the Deaf community, including spending time at a deaf high school in Los Angeles called Marlton, on which she modelled the Switched at Birth school, Carlton. Weiss (Academy of Television Arts & Sciences) says of the school visit experience:I learned so much that day and spoke to dozens of deaf teenagers about their lives and their experiences. And so, this is, of course, in the middle of writing the pilot, and I said to the network, you know, deaf kids wouldn’t voice orally. We would have to have those scenes only in ASL, and no sound and they said, ‘Great. Let’s do it.’ And frankly, we just kind of grew and grew from there.To accommodate the narrative structure of a television drama, Weiss said it became clear from the beginning that the show would need to use SimCom (simultaneous communication or sign supported speech) for the hearing or deaf characters who were signing so they could speak and sign at the same time. She knew this wasn’t the norm for two actual people communicating in ASL, but the production team worried about having a show that was heavily captioned as this might distance its key—overwhelmingly hearing—teen audience who would have to pay attention to the screen during captioned scenes. However, this did not appear to be the case—instead, viewers were drawn to the show because of its unique sign language-influenced television narrative structure. The show became popular very quickly and, with 3.3 million viewers, became the highest-rated premiere ever on the ABC Family network (Barney).Switched at Birth also received much praise from the media for allowing its deaf actors to communicate using sign language. The Huffington Post television critic Maureen Ryan said, “Allowing deaf characters to talk to each other directly—without a hearing person or a translator present—is a savvy strategy that allows the show to dig deeper into deaf culture and also to treat deaf characters as it would anyone else”. Importantly, it allowed the show to be unique in a way that was found nowhere else on television. “It’s practically avant-garde for television, despite the conventional teen-soap look of the show,” said Ryan.Usually a show’s success is garnered by audience numbers and media critique—by this measure Switched at Birth was a hit. However, programs that portray a disability—in any form—are often the target of criticism, particularly from the communities they attempting to represent. It should be noted that, while actress Katie Leclerc, who plays Daphne, has a condition, Meniere’s disease, which causes hearing loss and vertigo on an intermittent basis, she does not identify as a deaf actress and must use a deaf accent to portray Daphne. However, she is ASL fluent, learning it in high school (Orangejack). This meant her qualifications met the original casting call which said “actress must be deaf or hard of hearing and must speak English well, American Sign Language preferred” (Paz, 2010) Leclerc likens her role to that of any actor to who has to affect body and vocal changes for a role—she gives the example of Hugh Laurie in House, who is British with no limp, but was an American who uses a cane in that show (Bibel).As such, initially, some in the Deaf community complained about her casting though an online petition with 140 signatures (Nielson). Yet many in the Deaf community softened any criticism of the show when they saw the production’s ongoing attention to Deaf cultural details (Grushkin). Finally, any lingering criticisms from the Deaf community were quieted by the many deaf actors hired for the show who perform using ASL. This includes Sean Berdy, who plays Daphne’s best friend Emmett, his onscreen mother, played by actress Marlee Matlin, and Anthony Natale who plays his father; their characters both sign and vocalize in the show. The Emmett character only communicates in ASL and does not vocalise until he falls in love with the hearing character Bay—even then he rarely uses his voice.This seemingly all-round “acceptance” of the show gave the production team more freedom to be innovative—by season 3 the audience was deemed to be so comfortable with captions that the shows began to feature less SimCom and more all-captioned scenes. This lead to the full episode in ASL, a first on American mainstream television.For an Hour, Welcome to Our WorldSwitched at Birth writer Chad Fiveash explained that when the production team came up with the idea for a captioned all-ASL episode, they “didn’t want to do the ASL episode as a gimmick. It needed to be thematically resonant”. As a result, they decided to link the episode to the most significant event in American Deaf history, an event that solidified its status as a cultural community—the 1988 Deaf President Now (DPN) protest at Gallaudet University in Washington. This protest inspired the March 2013 episode for Switched at Birth and aired 25 years to the week that the actual DPN protest happened. This episode makes it clear the show is trying to completely embrace Deaf culture and wants its audience to better understand Deaf identity.DPN was a pivotal moment for Deaf people—it truly solidified members of a global Deaf community who felt more empowered to fight for their rights. Students demanded that Gallaudet—as the premier university for deaf and hard-of-hearing students—no longer have a hearing person as its president. The Gallaudet board of trustees, the majority of whom were hearing, tried to force students and faculty to accept a hearing president; their attitude was that they knew what was best for the deaf persons there. For eight days, deaf people across America and the world rallied around the student protestors, refusing to give in until a deaf president was appointed. Their success came in the form of I. King Jordan, a deaf man who had served as dean of the College of Arts & Sciences at the time of the protest.The event was covered by media around the world, giving the American Deaf community international attention. Indeed, Gallaudet University says the DPN protest symbolized more than just the hiring of a Deaf president; it brought Deaf issues before the public and “raised the nation’s consciousness of the rights and abilities of deaf and hard of hearing people” (Gallaudet University).The activities of the students and their supporters showed dramatically that in the 1980s deaf people could be galvanized to unite around a common issue, particularly one of great symbolic meaning, such as the Gallaudet presidency. Gallaudet University represents the pinnacle of education for deaf people, not only in the United States but throughout the world. The assumption of its presidency by a person himself deaf announced to the world that deaf Americans were now a mature minority (Van Cleve and Crouch, 172).Deaf people were throwing off the oppression of the hearing world by demanding that their university have someone from their community at its helm. Jankowski (Deaf Empowerment; A Metaphorical Analysis of Conflict) studied the Gallaudet protest within the framework of a metaphor. She found a recurring theme during the DPN protest to be Gallaudet as “plantation”—which metaphorically refers to deaf persons as slaves trying to break free from the grip of the dominant mastery of the hearing world—and she parallels the civil rights movement of African Americans in the 1960s. As an example, Gallaudet was referred to as the “Selma of the Deaf” during the protest, and protest signs used the language of Martin Luther King such as “we still have a dream.” For deaf Americans, the presidency of Gallaudet became a symbol of hope for the future. As Jankowski attests:deaf people perceived themselves as possessing the ability to manage their own kind, pointing to black-managed organization, women-managed organizations, etc., struggling for that same right. They argued that it was a fight for their basic human rights, a struggle to free themselves, to release the hold their ‘masters’ held on them. (“A Metaphorical Analysis”)The creators of the Switched at Birth episode wanted to ensure of these emotions, as well as historical and cultural references, were prevalent in the modern-day, all-ASL episode, titled Uprising. That show therefore wanted to represent both the 1988 DPN protest as well as a current issue in the US—the closing of deaf schools (Anderson). The storyline focuses on the deaf students at the fictitious Carlton School for the Deaf seizing one of the school buildings to stage a protest because the school board has decided to shut down the school and mainstream the deaf students into hearing schools. When the deaf students try to come up with a list of demands, conflicts arise about what the demands should be and whether a pilot program—allowing hearing kids who sign to attend the deaf school—should remain.This show accomplished multiple things with its reach into Deaf history and identity, but it also did something technologically unique for the modern world—it made people pay attention. Because captioning translated the sign language for viewers, Lizzy Weiss, the creator of the series, said, “Every single viewer—deaf or hearing—was forced to put away their phones and iPads and anything else distracting … and focus … you had to read … you couldn’t do anything else. And that made you get into it more. It drew you in” (Stelter). The point, Weiss said, “was about revealing something new to the viewer—what does it feel like to be an outsider? What does it feel like to have to read and focus for an entire episode, like deaf viewers do all the time?” (Stelter). As one deaf reviewer of the Uprising episode said, “For an hour, welcome to our world! A world that’s inconvenient, but one most of us wouldn’t leave if offered a magic pill” (DR_Staff).This episode, more than any other, afforded hearing television viewers an experience perhaps similar to deaf viewers. The New York Times reported that “Deaf and hard-of-hearing viewers commented by the thousands after the show, with many saying in effect, “Yes! That’s what it feels like” (Stelter).Continued ResonancesWhat is also unique about the episode is that in teaching the hearing viewers more about the Deaf community, it also reinforced Deaf community pride and even taught young deaf people a bit of their own history. The Deaf community and Gallaudet were very pleased with their history showing up on a television show—the university produced a 30-second commercial which aired within the episode, and held viewing parties. Gallaudet also forwarded the 35 pages of Facebook comments they’d received about the episode to ABC Family and Gallaudet President T. Alan Hurwitz said of the episode (Yahr), “Over the past 25 years, [DPN] has symbolised self-determination and empowerment for deaf and hard of hearing people around the world”. The National Association of the Deaf (NAD) also lauded the episode, describing it as “phenomenal and groundbreaking, saying the situation is very real to us” (Stelter)—NAD had been vocally against budget cuts and closings of US deaf schools.Deaf individuals all over the Internet and social media also spoke out about the episode, with overwhelmingly favourable opinions. Deaf blogger Amy Cohen Efron, who participated in 1988′s DPN movement, said that DPN was “a turning point of my life, forcing me to re-examine my own personal identity, and develop self-determinism as a Deaf person” and led to her becoming an activist.When she watched the Uprising episode, she said the symbolic and historical representations in the show resonated with her. In the episode, a huge sign is unfurled on the side of the Carlton School for the Deaf with a girl with a fist in the air under the slogan “Take Back Carlton.” During the DPN protest, the deaf student protesters unfurled a sign that said “Deaf President Now” with the US Capitol in the background; this image has become an iconic symbol of modern Deaf culture. Efron says the image in the television episode was much more militant than the actual DPN sign. However, it could be argued that society now sees the Deaf community as much more militant because of the DPN protest, and that the imagery in the Uprising episode played into that connection. Efron also acknowledged the episode’s strong nod to the Gallaudet student protestors who defied the hearing community’s expectations by practising civil disobedience. As Efron explained, “Society expected that the Deaf people are submissive and accept to whatever decision done by the majority without any of our input and/or participation in the process.”She also argues that the episode educated more than just the hearing community. In addition to DPN, Uprising was filled with other references to Deaf history. For example a glass door to the room at Carlton was covered with posters about people like Helen Keller and Jean-Ferdinand Berthier, a deaf educator in 19th century France who promoted the concept of deaf identity and culture—Efron says most people in the Deaf community have never heard of him. She also claims that the younger Deaf community may also not be aware of the 1988 DPN protest—“It was not in high school textbooks available for students. Many deaf and hard of hearing students are mainstreamed and they have not the slightest idea about the DPN movement, even about the Deaf Community’s ongoing fight against discrimination, prejudice and oppression, along with our victories”.Long before the Uprising episode aired, the Deaf community had been watching Switched at Birth carefully to make sure Deaf culture was accurately represented. Throughout season 3 David Martin created weekly videos in sign language that were an ASL/Deaf cultural analysis of Switched at Birth. He highlighted content he liked and signs that were incorrect, a kind of a Deaf culture/ASL fact checker. From the Uprising episode, he said he thought this quote from Marlee Matlin’s character said it all, “Until hearing people walk a day in our shoes they will never understand” (Martin). That succinctly states what the all-ASL episode was trying to capture—creating an awareness of Deaf people’s cultural experience and their oppression in hearing society.Even a deaf person who was an early critic of Switched at Birth because of the hiring of Katie Leclerc and the use of SimCom admitted he was impressed with the all-ASL episode (Grushkin):all too often, we see media accounts of Deaf people which play into our society’s perceptions of Deaf people: as helpless, handicapped individuals who are in need of fixes such as cochlear implants in order to “restore” us to society. Almost never do we see accounts of Deaf people as healthy, capable individuals who live ordinary, successful lives without necessarily conforming to the Hearing ‘script’ for how we should be. And important issues such as language rights or school closings are too often virtually ignored by the general media.In addition to the episode being widely discussed within the Deaf community, the mainstream news media also covered Uprising intensely, seeing it as a meaningful cultural moment, not just for the Deaf community but for popular culture in general. Lacob wrote that he realises that hearing viewers probably won’t understand what it means to be a deaf person in modern America, but he believes that the episodeposits that there are moments of understanding, commonalities, and potential bridge-building between these two communities. And the desire for understanding is the first step toward a more inclusive and broad-minded future.He continues:the significance of this moment can’t be undervalued, nor can the show’s rich embrace of deaf history, manifested here in the form of Gallaudet and the historical figures whose photographs and stories are papered on the windows of Carlton during the student protest. What we’re seeing on screen—within the confines of a teen drama, no less—is an engaged exploration of a culture and a civil rights movement brought to life with all of the color and passion it deserves. It may be 25 years since Gallaudet, but the dreams of those protesters haven’t faded. And they—and the ideals of identity and equality that they express—are most definitely being heard.Lacob’s analysis was praised by several Deaf people—by a Deaf graduate student who teaches a Disability in Popular Culture course and by a Gallaudet student who said, “From someone who is deaf, and not ashamed of it either, let me say right here and now: that was the most eloquent piece of writing by someone hearing I have ever seen” (Emma72). The power of the Uprising episode illustrated a political space where “groups actively fuse and blend their culture with the mainstream culture” (Foley 119, as cited in Chang 3). Switched at Birth—specifically the Uprising episode—has indeed fused Deaf culture and ASL into a place in mainstream television culture.ReferencesABC Family. “Switched at Birth Deaf Actor Search.” Facebook (2010). <https://www.facebook.com/SwitchedSearch>.———. “This Is Not a Pipe.” Switched at Birth. Pilot episode. 6 June 2011. <http://freeform.go.com/shows/switched-at-birth>.———. “Not Hearing Loss, Deaf Gain.” Switched at Birth. YouTube video, 11 Feb. 2013. <https://www.youtube.com/watch?v=F5W604uSkrk>.Academy of Television Arts & Sciences. “Talking Diversity: ABC Family’s Switched at Birth.” Emmys.com (Feb. 2012). <http://www.emmys.com/content/webcast-talking-diversity-abc-familys-switched-birth>.Anderson, G. “‘Switched at Birth’ Celebrates 25th Anniversary of ‘Deaf President Now’.” Pop-topia (5 Mar. 2013). <http://www.pop-topia.com/switched-at-birth-celebrates-25th-anniversary-of-deaf-president-now/>.Barney, C. “’Switched at Birth’ Another Winner for ABC Family.” Contra Costa News (29 June 2011). <http://www.mercurynews.com/tv/ci_18369762>.Bibel, S. “‘Switched at Birth’s Katie LeClerc Is Proud to Represent the Deaf Community.” Xfinity TV blog (20 June 2011). <http://xfinity.comcast.net/blogs/tv/2011/06/20/switched-at-births-katie-leclerc-is-proud-to-represent-the-deaf-community/>.Chang, H. “Re-Examining the Rhetoric of the ‘Cultural Border’.” Essay presented at the American Anthropological Association Annual Meeting, Philadelphia, Dec. 1988.DR_Staff. “Switched at Birth: How #TakeBackCarlton Made History.” deafReview (6 Mar. 2013). <http://deafreview.com/deafreview-news/switched-at-birth-how-takebackcarlton-made-history/>.Efron, Amy Cohen. “Switched At Birth: Uprising – Deaf Adult’s Commentary.” Deaf World as I See It (Mar. 2013). <http://www.deafeyeseeit.com/2013/03/05/sabcommentary/>.Emma72. “ABC Family’s ‘Switched at Birth’ ASL Episode Recalls Gallaudet Protest.” Comment. The Daily Beast (28 Feb. 2013). <http://www.thedailybeast.com/articles/2013/02/28/abc-family-s-switched-at-birth-asl-episode-recalls-gallaudet-protest.html>.Fiveash, Chad. Personal interview. 17 Jan. 2014.Gallaudet University. “The Issues.” Deaf President Now (2013). <http://www.gallaudet.edu/dpn_home/issues.html>.Grushkin, D. “A Cultural Review. ASL Challenged.” Switched at Birth Facebook page. Facebook (2013). <https://www.facebook.com/SwitchedatBirth/posts/508748905835658>.Jankowski, K.A. Deaf Empowerment: Emergence, Struggle, and Rhetoric. Washington: Gallaudet UP, 1997.———. “A Metaphorical Analysis of Conflict at the Gallaudet Protest.” Unpublished seminar paper presented at the University of Maryland, 1990.Lacob, J. “ABC Family’s ‘Switched at Birth’ ASL Episode Recalls Gallaudet Protest.” The Daily Beast 28 Feb. 2013. <http://www.thedailybeast.com/articles/2013/02/28/abc-family-s-switched-at-birth-asl-episode-recalls-gallaudet-protest.html>.Martin, D. “Switched at Birth Season 2 Episode 9 ‘Uprising’ ASL/Deaf Cultural Analysis.” David Martin YouTube channel (6 Mar. 2013). <http://www.youtube.com/watch?v=JA0vqCysoVU>.Nielson, R. “Petitioned ABC Family and the ‘Switched at Birth’ Series, Create Responsible, Accurate, and Family-Oriented TV Programming.” Change.org (2011). <http://www.change.org/p/abc-family-and-the-switched-at-birth-series-create-responsible-accurate-and-family-oriented-tv-programming>.Orangejack. “Details about Katie Leclerc’s Hearing Loss.” My ASL Journey Blog (29 June 2011). <http://asl.orangejack.com/details-about-katie-leclercs-hearing-loss>.Paz, G. “Casting Call: Open Auditions for Switched at Birth by ABC Family.” Series & TV (3 Oct. 2010). <http://seriesandtv.com/casting-call-open-auditions-for-switched-at-birth-by-abc-family/4034>.Ryan, Maureen. “‘Switched at Birth’ Season 1.5 Has More Drama and Subversive Soapiness.” The Huffington Post (31 Aug. 2012). <http://www.huffingtonpost.com/maureen-ryan/switched-at-birth-season-1_b_1844957.html>.Stelter, B. “Teaching Viewers to Hear with Their Eyes Only.” The New York Times 8 Mar. 2013. <http://www.nytimes.com/2013/03/09/arts/television/teaching-viewers-to-hear-the-tv-with-eyes-only.html>.Van Cleve, J.V., and B.A. Crouch. A Place of Their Own: Creating the Deaf Community in America. DC: Gallaudet University Press, 1989.Yahr, E. “Gallaudet University Uses All-Sign Language Episode of ‘Switched at Birth’ to Air New Commercial.” The Washington Post 3 Mar. 2013 <http://www.washingtonpost.com/blogs/tv-column/post/gallaudet-university-uses-all-sign-language-episode-of-switched-at-birth-to-air-new-commercial/2013/03/04/0017a45a-8508-11e2-9d71-f0feafdd1394_blog.html>.
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Aviandy, Mochamad. "COVID-19 PANDEMIC: A MOMENT TO LEARN AND TO WRITE." International Review of Humanities Studies, July31, 2020. http://dx.doi.org/10.7454/irhs.v0i0.258.
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March 2020 marks the coming of bad news to this country. COVID-19 pandemic began to strike and its domino impacts have affected almost all aspects of life, including academic and scientific writing on journal. In the midst of the spirit of working and researching from home, the International Review of Humanities Studies Journal is back to publish for July 2020 edition. The issues discussed are increasingly diverse, marked by the diverse expertises of the respective authors. Domestic contributions can be seen from the articles of the researchers from Universitas Indonesia, particularly from the Faculty of Humanities and the School of Strategic and Global Studies which are interconnected with the scholars from the Indonesian Police College and Al Azhar University.Since this journal is intended to be available internationally, it is also necessary to pay attention to the contributions of foreign authors. Researchers from the University of Uyo, the University of Ilorin, the University of Benin, the University of Lagos, and Delta State University provide interesting views on the issues of humanities in Nigeria. Five articles from various universities in Nigeria are interconnected with independent researchers from the People's Republic of China, who without links to universities or colleges have sent their own independent research articles.This edition begins with Darmoko's writing that discusses the moral complexities of Javanese in the Asmara Djibrat Ludira novel. Darmoko's research emphasises the spiritual role of knight figures who defended their territory and romance. The second article is from Letmiros who also discusses Java. Letmiros saw a mosque in Jogjakarta, namely the Jogokariyan Mosque, as an agent of change as well as a legend. Letmiros argued that by having activities – whether it is spiritual, economic, cultural, or politics – that are conducted in the mosque, mosque can be ordained as an agent of change and branded as legendary, especially in the city of Jogjakarta.The third article is a research carried out during the COVID-19 pandemic. Fera Belinda saw how a new normality, in a tourist village in the Badung-Bali area, is interconnected with local wisdom and health protocols. Fera Belinda's study shows that health science on pandemic like COVID-19 can be analysed together using the humanities approach. Then in the fourth article, we are invited to take a walk to explore Nigerian drama. Inegbe and Rebecca see that a theatre, titled Cemetary Road, has a significant impact on Nigerian society; to the extent that it can be considered a radical impact. Inegbe and Rebecca's research provides new treasure of knowledge, especially for readers in the regions outside Nigeria.In the fifth article, we are invited to see how online studies, especially the use of video technology, are utilised by teachers. Silalahi and Halimi see how the use of two methods, namely the use of video teaching and the use of textual textbook teaching, are compared between the experimental class and the control class. In conclusion, they find that video-based teaching provides better results in the learning process. The next article, by Soekarba and Rosyidah, invites us to see the contribution of the Hadrami group to a community in the Tegal area, Central Java.The impact of the Hadrami (Al Irsyad) group movement was mostly felt in the social and educational fields in the area.The seventh article invites us to get to know Nigeria. Okpevra's research discusses pre-colonial aspects in the Delta State, Nigeria. This research concludes that intergroup relations in the region are influenced by factors of origin, equality of geographical conditions, and similarity of cultural practices. The eighth article invites us to get acquainted with humanities research that is associated with psychological studies of the police. Mayastinasari and Suseno discussed how strengthening the current role of the police influences the public satisfaction, especially in North Sumatra where this research took place.The ninth article is an issue that has been discussed lately. Nwosu discusses the issue of homosexuality in the Catholic group in Nigeria which is interconnected with its society. Although the discussed issues are quite sensitive, the scientific explanation could vividly answers the questions regarding these issues. Next, the tenth article from Akpan and Edem discusses how a film, in this case Frozen, is examined from the perspective of digital technology and digital costumes which is a new contribution in analysing a child-friendly content. The eleventh article of Ademakinwa and Smith discusses a film adapted from a well-known Nigerian novelist in the United States, Chimamanda Adichie. Ademakinwa and Smith's findings state that collective memory, reconstructed through film, can have a more significant impact than that of novels. It can even create a crisis within society if not properly controlled.The twelfth article from Filia and Nurfitri invites us to explore the expression of confessions of love in Japanese. Data on love expressions from these researchers were collected via video interviews. It is interesting to find that the expression of love turns out to depend on the cultural context associated with togetherness and sustainability. The next article, the thirteenth, is a contribution of an independent Chinese researcher named Zhang Guanan. He analysed Chinese folklore, Pi Ying, with wayang kulit – leather puppet – stories. It is interesting to follow how Guanan managed to find the uniqueness of both in his research.The fourteenth article by Sugiharto and Puspitasari discusses the online stalking activities of urban millennial. It is their second research which found that cyber stalking is a natural thing for millennial generation living in urban areas, including following colleagues, friends, spouses, even ex-spouses and friends who have not been associated for a long time. The fifteenth paper from Guanah Akbanu and Obi discusses the practice of online journalism in Nigeria, using artificial intelligence. The case study they chose was how journalists in Edo, Nigeria, perceived the use of AI in their journalistic methods. It was found that the use of AI turned out to be more positive for journalism in the area.The sixteenth article by Sonya Suganda discusses how a commemorative object, stolperschwelle, is useful as an object for narrative of the death. The object that was initially used to commemorate Nazi victims has developed to be the object to commemorate those who are marginalized, including homosexuals, gypsies, and those who are exiled because of political differences. The next contribution, the seventeenth, comes from Zaqiatul, Al Azhar University who discusses how the functioning of suffixes and verbs is interconnected in the realm of Arabic conjugation. The eighteenth article by Hutapea discusses a quite sensitive issue, namely the conflict between the native people of Jogja and the Papuans living in Jogjakarta. This conflict was examined from the perspective of the police, especially how they controlled it. The nineteenth article from Arif Budiman discusses the strategy used by the French interpreter in the film Marlina Murder in Four Acts. The last article by Basuni discusses the problem of the Arabic-Indonesian translation, in the context of the increasingly contextual scripture.Hopefully, this current edition along with the entire articles can enlighten the readers and contribute significantly to the knowledge of humanities studies.
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Y.Lin,AngelM. "Modernity and the Self." M/C Journal 5, no.5 (October1, 2002). http://dx.doi.org/10.5204/mcj.1983.
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'Self-awareness' and the development of the autonomous subject (derived from Enlightenment and the Anglo-European philosophical traditions) has often been implicated in discussions of modernity. In East Asian societies where the Confucianist social order is seen as a deep-rooted social and cultural force, discussions of modernity and modernisation have often revolved around the tension between the spread of individualism and liberalism that come with modernisation and contact with the West. The preservation of traditional sociocultural values and familial and social structures that stress mutual obligations, social harmony and a certain form of "benign" paternalism have been key concerns. The popular television dramas in these societies seem to provide a public imaginary space where such tensions and conflicts are often played out in dramatic ways. They provide places were simulated or compromised solutions are proposed and explored. Popular TV romance dramas in particular can serve as a window to the ways in which the topic of the (non-) self-determining subject is explored. These dramas typically present a scenario in which strong mutual love and desire between two people come into conflict with the existing sociocultural values (e.g., familial, social constraints). In this paper, I analyse a recent popular South Korean TV romance drama: (1) Autumn in My Heart (also known as Endless Love I, Autumn for short below) and contrast it with (2) Friends, another recent popular TV romance drama jointly produced by television companies in Japan and South Korea. These cultural products are shown not only in their respective societies but also sold to television companies in other neighbouring countries; their VCD/DVDs are widely marketed and circulated in East Asian areas (e.g., Hong Kong, Taiwan, Mainland China). 1 Autumn is about a brother (played by Song Seung-hun) and sister (played by Song Hye-kyo) who had grown up together and had developed a very close relationship in a happy middle class family until one day the family found out that the girl was actually not their own. There had been a mistake in the hospital and two baby girls were swapped. Hye-kyo was 14 when this mistake was discovered. She returned to her real mother's poor working class home (her father died from blood cancer before she was born), while the middle class family left Korea for the States with their son and newly recovered daughter as an attempt to forget about the whole incident. From then on, Hye-kyo was separated from her "brother" (Seung-hun) and started her longing for him. Ten years later, the middle class family returned to South Korea and the "brother" and "sister" met again and fell in love. Seung-hun wanted to break his prior engagement with his fiancée to marry Hye-kyo. However, family and friends still saw them as "brother" and "sister" (despite the fact that they are not related in blood) and imposed great familial and social pressure on them to end their "improper" relationship. Later, Hye-kyo discovered that she had blood cancer. She hid her illness from Seung-hun and wished him happiness with his fiancé. Seung-hun, not knowing about Hye-kyo's illness, and under a guilty conscience to make it up to his fiancée (who had attempted suicide for him), consented to leave Hye-kyo and go back to the States with his fiancé. At the last moment, he found out about Hye-kyo's illness and rushed to the hospital. Families and friends were finally moved by their love for each other and did not prevent them from spending their last days together. Hye-kyo died from her illness soon and Seung-hun, having lost all hope and interest in life, was hit by a truck. To the Western audience, such a storyline may seem implausible and perhaps impossible. For instance, how can family and friends find any legitimate reasons to prevent Seung-hun and Hye-kyo from loving each other when they are not blood relatives? Seung-hun's father mentioned once that their "improper relationship" would bring disgrace to the family. His mother did not support their union, either, as she could not bear to see the "brother-sister" relationship being transformed into a romantic, sexual relationship. She became ill, tormented by her own guilty feelings: she blamed herself for not taking Hye-kyo with her to the States ten years ago and she thought that their "love" for each other was a tragic distortion of their original brotherly and sisterly feelings due to their long separation. On the other hand, Seung-hun felt guilty for breaking his prior promise to his fiancé. Hye-kyo was also full of guilty feelings for she felt that they were hurting everybody who cared about them. Almost 90% of the time when the couple talked to each other, they were in tears and were deeply tormented by the conflict between their perceived obligations towards family and friends who loved them and their strong desire to stay together. At one point, they decided to part so that "no one would get hurt any more" (without admitting that they themselves were deeply hurt). Such self-negating actions were coupled with an unquestioning acceptance of the legitimacy of the familial and social demands on them. Is the current South Korean society very much against the development of an autonomous individual and the individual's self-determining actions? On this issue, Korean cultural studies scholar Lee Dong-hoo had the following comments: Many Korean dramas, especially daily soap operas, put values on relationships, such as family relationship and friendship. Even a success story, which emphasizes one's own will to succeed, doesn't neglect the aspect of human relationships. … The traditional Confucianist ethics or patriarchal ideology can be found in the dramas' emphasis on relationship or one's social role. And I think that keeping good relationships is one of the survival strategies in Korea. The Korean society has been maintained by the closely connected social nets. The dramas may (unconsciously) reflect this reality. Lee's remarks about the importance of Confucianism in the Korean society are evidenced in the long-term activities of the well-organised Confucianist society ("Confucian Forest"), which maintains special schools in major cities and counties, offering instruction in Confucianist ethics, rituals and practices (Wu 27). Another example of Confucianist relational ethics can be found in the recent rejection by the South Korean parliament of the nominated female prime minister; one of the reasons quoted is that her son has chosen to be an American citizen (Nan 26). Before moving on to a discussion of the ideological implications of the tragic ending in Autumn, let us first look at another recent popular TV romance drama, Friends, which was jointly produced by Japanese and South Korean television companies. Interestingly, Friends did not start with a scene in Korea or Japan but with the Victorian Harbor scene in Hong Kong, with spectacular cosmopolitan skyscrapers in the background, and a Western-style saxophonist playing Jazz music in a busy street corner. Tomoko, a tourist from Japan, was left on her own by her colleague who had travelled with her on holiday but was keen to see her boyfriend who worked in Hong Kong. Soon, Tomoko was robbed of her handbag in a busy street. In chasing the robber, she mistook Kim as the culprit. After the misunderstanding was cleared up, they became friends. Kim was a college student from South Korea and an active member of the Film society in his university. He was in Hong Kong trying to shoot his first and last movie on a shoestring budget (last because he had decided to give up film-making after this to conform to his father's wish for him to run the family business). Tomoko agreed to help Kim by acting in his movie, which was about a young woman running and searching for true love in the busy streets of a foreign place (Hong Kong). After the short stay in Hong Kong, they returned to Japan and Korea respectively and started their e-mail correspondence. Soon they fell in love. Tomoko felt that corresponding with Kim made her able to like herself again. Coming from a divorced, single-parent family and not doing very well in school, she had tried to commit suicide before. Her lowly, routine job as a sales assistant in a big department store in Tokyo also gave her little satisfaction and purpose in life. However, after starting her romance with Kim, Tomoko seemed to have regained confidence in herself and a purpose in life -- she started taking lessons in the Korean language, worked very hard and finally succeeded in becoming a tour guide for Korean trips so that she could move to South Korea. Likewise, Kim found that he could become himself again when he was with Tomoko. Tomoko encouraged him to pursue his dream of becoming a movie director. However, aggravating family pressure later made Kim wonder whether he was right in defying his father's wishes (by pursuing a film career and loving a Japanese woman) and he blamed Tomoko for his strained relationship with his father. Tomoko, dejected and heart-broken, returned to Japan. Kim, having lost Tomoko, came to his senses and returned to his low-paid job as a film production assistant. Finally he succeeded in gaining a prize for his movie and his parents came to the award ceremony indicating a softening on the part of his father, who finally came to recognise the value of, and his passion for, film work. Kim later became re-united with Tomoko. The happy ending of Friends stands in sharp contrast with the tragic ending of Autumn. The simulated ending of Friends reflects "imaginary realism", one of the newly appropriated strategies based on marketing considerations found in the recent hugely successful blockbuster movies produced in South Korea; it "enables [one] to escape the restrictions of reality without losing a sense of the real" (Lee 12). In Autumn, Hye-kyo frequently said to Seung-hun that their actions would be punished and she later remarked that her illness was a punishment for hurting other people. This tragic ending thus seems to have the ideological, didactic effect of teaching about the punishment for violating the Confucianist social order. Friends, on the other hand, seems to use the hybrid, third space created by the cosmopolitan scene and Western symbols (the Western street musician playing jazz) in Hong Kong (a former British colony which claims itself to be "the Manhattan of Asia") to fabricate a modernised, Westernised and yet still Asian background for the love story to start in. Tomoko was instrumental in inducing Kim to follow his dream, to become the person he really wanted to be. Kim's subsequent success which helped win the acceptance of his father symbolises the possibility of the maturing of the self-determining subject in the new, globalised economic order (Kim's superior in Kim's military service once encouraged him to follow his passion and contribute to the film-making industry to bring glory to the nation) and the possible gradual transition from Confucianism to a certain form of nationalist liberalism in South Korea (e.g., following one's dream and contributing to national glory simultaneously), under the influence of seemingly more Wesernised neighbouring societies (e.g., Japan, Hong Kong). Autumn and Friends seem to represent two different possible stances towards the traditional order at this historical juncture when South Korea is experiencing enormous economic success and going through modernisation and a certain degree of Westernisation that come with its participation in the global economic order. Sociocultural tensions, conflicts and resolutions are simulated and explored in the relatively safe, imaginary space of popular TV dramas, which apart from playing their economic part in a highly successful national media industry, also play an important role in engaging the transnational public (e.g., audiences in East Asian societies which share a Confucianist tradition) with sociocultural issues in an imaginary space. As in the feminist retelling and re-staging of the traditional Chinese opera Butterfly Lovers in newly formed Communist China in the 1950s to explore the self-determining subject and autonomous actions of the female protagonist (Li), these Korean TV dramas seem to provide an important public space for the explorations of a society's cultural ethos and the contested issues of modernity, Westernisation and cosmopolitanisation. They reflect the articulation of different (contradictory) cultural, economic and historical forces and their potential constitutive impact on the future sociocultural landscape of East Asian societies awaits further research. Notes For instance, the media in Hong Kong and China readily talk of the coming of the "Korean Wave" and the names of Korean TV idols such as Song Hye-kyo, Song Seung-hun and Won Bin (who co-starred in Autumn) are familiar to many Chinese young people. The final episode of Autumn aired on Asia Television (ATV) in August 2002 had attracted as high as 70% of that night's television audience in Hong Kong, a rare phenomenon that ATV hurried to boast of. References Lee, Dong-Hoo. "Relationships in Korean Dramas". E-mail communication to the author, 6 August 2002. Lee, Sooyeon. Explaining the South Korean blockbuster movies: An industrial and textual analysis. Unpublished manuscript. Korean Women's Development Institute, South Korea, 2002. Li, Siu Leung. Cross-dressing in Chinese opera. Hong Kong: The University of Hong Kong Press, 2001. Nan, Li Ming. "Broken dream of female prime minister in a sad South Korea [in Chinese]." Yazhou Zhoukan—The International Chinese Newsweekly, 12-18 August 2002: 26. Wu, Le Shan. "Female prime minister in South Korea's new era [in Chinese]." Yazhou Zhoukan—The International Chinese Newsweekly, 22-28 July 2002: 26-27. Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Lin, Angel M. Y.. "Modernity and the Self" M/C: A Journal of Media and Culture 5.5 (2002). [your date of access] < http://www.media-culture.org.au/mc/0210/Lin.html >. Chicago Style Lin, Angel M. Y., "Modernity and the Self" M/C: A Journal of Media and Culture 5, no. 5 (2002), < http://www.media-culture.org.au/mc/0210/Lin.html > ([your date of access]). APA Style Lin, Angel M. Y.. (2002) Modernity and the Self. M/C: A Journal of Media and Culture 5(5). < http://www.media-culture.org.au/mc/0210/Lin.html > ([your date of access]).
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"Language learning." Language Teaching 37, no.3 (July 2004): 183–93. http://dx.doi.org/10.1017/s0261444805222395.
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04–314 Alloway, N., Gilbert, P., Gilbert, R., and Henderson, R. (James Cook University, Australia Email: Nola.Alloway@jcu.edu.au). Boys Performing English. Gender and Education (Abingdon, UK), 15, 4 (2003), 351–364.04–315 Barcroft, Joe (Washington U., USA; Email: barcroft@wustl.edu). Distinctiveness and bidirectional effects in input enhancement for vocabulary learning. Applied Language Learning (Monterey, CA, USA), 13, 2 (2003), 133–159.04–316 Berman, Ruth, A. and Katzenberger, Irit (Tel Aviv U., Israel; Email: rberman@post.tau.ac.il). Form and function in introducing narrative and expository texts: a developmental perspective. Discourse Processes (New York, USA), 38, 1 (2004), 57–94.04–317 Byon, Andrew Sangpil (State University of New York at Albany, USA; Email: abyon@albany.edu). Language socialisation and Korean as a heritage language: a study of Hawaiian classrooms. Language, Culture and Curriculum (Clevedon, UK), 16, 3 (2003), 269–283.04–318 Chambers, Angela (University of Limerick, Ireland; Email: Angela.Chambers@ul.ie) and O'Sullivan, Íde. Corpus consultation and advanced learners' writing skills in French. ReCALL (Cambridge, UK), 16, 1 (2004), 158–172.04–319 Chan, Alice Y. W. (City U. of Hong Kong; Email: enalice@cityu.edu.hk). Noun phrases in Chinese and English: a study of English structural problems encountered by Chinese ESL students in Hong Kong. Language, Culture and Curriculum (Clevedon, UK), 17, 1 (2004), 33–47.04–320 Choi, Y-J. (U. of Durham, UK; Email: yoonjeongchoi723@hotmail.com). Intercultural communication through drama in teaching English as an international language. English Teaching (Anseonggun, South Korea), 58, 4 (2003), 127–156.04–321 Chun, Eunsil (Ewha Womens U., South Korea; Email: aceunsil@hananet.net). Effects of text types and tasks on Korean college students' reading comprehension. English Teaching (Anseonggun, South Korea), 59, 2 (2004), 75–100.04–322 Collentine, Joseph (Northern Arizona U., USA; Email: Joseph.Collentine@nau.edu). The effects of learning contexts on morphosyntactic and lexical development. Studies in Second Language Acquisition (New York, USA), 26 (2004), 227–248.04–323 Davies, Beatrice (Oxford Brookes U., UK). The gender gap in modern languages: a comparison of attitude and performance in year 7 and 10. Language Learning Journal (Oxford, UK), 29 (2004), 53–58.04–324 Díaz-Campos, Manuel (Indiana U., USA; Email: mdiazcam@indiana.edu). Context of learning in the acquisition of Spanish second language phonology. Studies in Second Language Acquisition (New York, USA), 26 (2004), 249–273.04–325 Donato, Richard. Aspects of collaboration in pedagogical discourse. Annual Review of Applied Linguistics (Cambridge, UK), 24 (2004), 284–302.04–326 Felix, Uschi (Monash U., Australia; Email: Uschi.Felix@arts.monash.edu.au). A multivariate analysis of secondary students' experience of web-based language acquisition. ReCALL (Cambridge, UK), 16, 1 (2004), 237–249.04–327 Feuerhake, Evelyn, Fieseler, Caroline, Ohntrup, Joy-Sarah and Riemer, Claudia (U. of Bielefeld, Germany). Motivation und Sprachverlust in der L2 Französisch: eine retrospektive Übungsstudie. [Motivation and language attrition in French as a second language (L2): a retrospective research exercise.] Zeitschrift für Interkulturellen Fremdsprachenunterricht (Alberta, Canada), 9, 2 (2004), 29.04–328 Field, John (U. of Leeds & Reading, UK; Email: jcf1000@dircon.co.uk). An insight into listeners' problems: too much bottom-up or too much top-down?System (Oxford, UK), 32, 3 (2004) 363–377.04–329 Freed, Barbara F., Segalowitz, Norman, and Dewey, Dan D. (Carnegie Mellon, U., USA; Email: bf0u+@andrew.cmu.edu). Context of learning and second language fluency in French. 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Pajka-West, Sharon. "Representations of Deafness and Deaf People in Young Adult Fiction." M/C Journal 13, no.3 (June30, 2010). http://dx.doi.org/10.5204/mcj.261.
Full textAbstract:
What began as a simple request for a book by one of my former students, at times, has not been so simple. The student, whom I refer to as Carla (name changed), hoped to read about characters similar to herself and her friends. As a teacher, I have often tried to hook my students on reading by presenting books with characters to which they can relate. These books can help increase their overall knowledge of the world, open their minds to multiple realities and variations of the human experience and provide scenarios in which they can live vicariously. Carla’s request was a bit more complicated than I had imagined. As a “Deaf” student who attended a state school for the Deaf and who viewed herself as a member of a linguistic cultural minority, she expected to read a book with characters who used American Sign Language and who participated as members within the Deaf Community. She did not want to read didactic books about deafness but wanted books with unpredictable plots and believable characters. Having graduated from a teacher-preparation program in Deaf Education, I had read numerous books about deafness. While memoirs and biographical selections had been relatively easy to acquire and were on my bookshelf, I had not once read any fictional books for adolescents that included a deaf character. (I refer to ‘Deaf’ as representing individuals who identify in a linguistic, cultural minority group. The term ‘deaf’ is used as a more generic term given to individuals with some degree of hearing loss. In other articles, ‘deaf’ has been used pejoratively or in connection to a view by those who believe one without the sense of hearing is inferior or lacking. I do not believe or wish to imply that. ) As a High School teacher with so many additional work responsibilities outside of classroom teaching, finding fictional books with deaf characters was somewhat of a challenge. Nevertheless, after some research I was able to recommend a book that I thought would be a good summer read. Nancy Butts’ Cheshire Moon (1992) is charming book about thirteen-year-old Miranda who is saddened by her cousin’s death and furious at her parents' insistence that she speak rather than sign. The plot turns slightly mystical when the teens begin having similar dreams under the “Cheshire moon”. Yet, the story is about Miranda, a deaf girl, who struggles with communication. Without her cousin, the only member of her family who was fluent in sign language, communication is difficult and embarrassing. Miranda feels isolated, alienated, and unsure of herself. Because of the main character’s age, the book was not the best recommendation for a high school student; however, when Carla finished Cheshire Moon, she asked for another book with Deaf characters. Problem & Purpose Historically, authors have used deafness as a literary device to relay various messages about the struggles of humankind and elicit sympathy from readers (Batson & Bergman; Bergman; Burns; Krentz; Panara; Taylor, "Deaf Characters" I, II, III; Schwartz; Wilding-Diaz). In recent decades, however, the general public’s awareness of and perhaps interest in deaf people has risen along with that of our increasingly multicultural world. Educational legislation has increased awareness of the deaf as has news coverage of Gallaudet University protests. In addition, Deaf people have benefited from advances in communicative technology, such as Video Relay (VRS) and instant messaging pagers, more coordinated interpreting services and an increase in awareness of American Sign Language. Authors are incorporating more deaf characters than they did in the past. However, this increase does not necessarily translate to an increase in understanding of the deaf, nor does it translate to the most accurate, respectably, well-rounded characterization of the deaf (Pajka-West, "Perceptions"). Acquiring fictional books that include deaf characters can be time-consuming and challenging for teachers and librarians. The research examining deaf characters in fiction is extremely limited (Burns; Guella; Krentz; Wilding-Diaz). The most recent articles predominately focus on children’s literature — specifically picture books (Bailes; Brittain). Despite decades of research affirming culturally authentic children’s literature and the merits of multicultural literature, a coexisting body of research reveals the lack of culturally authentic texts (Applebee; Campbell & Wirtenberg; Ernest; Larrick; Sherriff; Taxel). Moreover, children’s books with deaf characters are used as informational depictions of deaf individuals (Bockmiller, 1980). Readers of such resource books, typically parents, teachers and their students, gain information about deafness and individuals with “disabilities” (Bockmiller, 1980; Civiletto & Schirmer, 2000). If an important purpose for deaf characters in fiction is educational and informational, then there is a need for the characters to be presented as realistic models of deaf people. If not, the readers of such fiction gain inaccurate information about deafness including reinforced negative stereotypes, as can occur in any other literature portraying cultural minorities (Pajka-West, "Perceptions"). Similar to authors’ informational depictions, writers also reveal societal understanding of groups of people through their fiction (Banfield & Wilson; Panara; Rudman). Literature has often stigmatized minority culture individuals based upon race, ethnicity, disability, gender and/or sexual orientation. While readers might recognize the negative depictions and dismiss them as harmless stereotypes, these portrayals could become a part of the unconscious of members of our society. If books continually reinforce stereotypical depictions of deaf people, individuals belonging to the group might be typecast and discouraged into a limited way of being. As an educator, I want all of my students to have unlimited opportunities for the future, not disadvantaged by stereotypes. The Study For my doctoral dissertation, I examined six contemporary adolescent literature books with deaf characters. The research methodology for this study required book selection, reader sample selection, instrument creation, book analysis, questionnaire creation, and data analysis. My research questions included: 1) Are deaf characters being presented as culturally Deaf characters or as pathologically deaf and disabled; 2) Do these readers favor deaf authors over hearing ones? If so, why; and, 3) How do deaf and hearing adult readers perceive deaf characters in adolescent literature? The Sample The book sample included 102 possible books for the study ranging from adolescent to adult selections. I selected books that were recognized as suitable for middle school or high school readers based upon the reading and interest levels established by publishers. The books also had to include main characters who are deaf and deaf characters who are human. The books selected were all realistic fiction, available to the public, and published or reissued for publication within the last fifteen years. The six books that were selected included: Nick’s Secret by C. Blatchford; A Maiden’s Grave by J. Deaver; Of Sound Mind by J. Ferris; Deaf Child Crossing by M. Matlin; Apple Is My Sign by M. Riskind; and Finding Abby by V. Scott. For the first part of my study, I analyzed these texts using the Adolescent Literature Content Analysis Check-off Form (ALCAC) which includes both pathological and cultural perspective statements derived from Deaf Studies, Disability Studies and Queer Theory. The participant sample included adult readers who fit within three categories: those who identified as deaf, those who were familiar with or had been acquaintances with deaf individuals, and those who were unfamiliar having never associated with deaf individuals. Each participant completed a Reader-Response Survey which included ten main questions derived from Deaf Studies and Schwartz’ ‘Criteria for Analyzing Books about Deafness’. The survey included both dichotomous and open-ended questions. Research Questions & Methodology Are deaf characters being presented as culturally Deaf or as pathologically deaf and disabled? In previous articles, scholars have stated that most books with deaf characters include a pathological perspective; yet, few studies actually exist to conclude this assertion. In my study, I analyzed six books to determine whether they supported the cultural or the pathological perspective of deafness. The goal was not to exclusively label a text either/or but to highlight the distinct perspectives to illuminate a discussion regarding a deaf character. As before mentioned, the ALCAC instrument incorporates relevant theories and prior research findings in reference to the portrayals of deaf characters and was developed to specifically analyze adolescent literature with deaf characters. Despite the historical research regarding deaf characters and due to the increased awareness of deaf people and American Sign Language, my initial assumption was that the authors of the six adolescent books would present their deaf characters as more culturally ‘Deaf’. This was confirmed for the majority of the books. I believed that an outsider, such as a hearing writer, could carry out an adequate portrayal of a culture other than his own. In the past, scholars did not believe this was the case; however, the results from my study demonstrated that the majority of the hearing authors presented the cultural perspective model. Initially shocking, the majority of deaf authors incorporated the pathological perspective model. I offer three possible reasons why these deaf authors included more pathological perspective statements while the hearing authors include more cultural perspective statements: First, the deaf authors have grown up deaf and perhaps experienced more scenarios similar to those presented from the pathological perspective model. Even if the deaf authors live more culturally Deaf lifestyles today, authors include their experiences growing up in their writing. Second, there are less deaf characters in the books written by deaf authors and more characters and more character variety in the books written by the hearing authors. When there are fewer deaf characters interacting with other deaf characters, these characters tend to interact with more hearing characters who are less likely to be aware of the cultural perspective. And third, with decreased populations of culturally Deaf born to culturally Deaf individuals, it seems consistent that it may be more difficult to obtain a book from a Deaf of Deaf author. Similarly, if we consider the Deaf person’s first language is American Sign Language, Deaf authors may be spending more time composing stories and poetry in American Sign Language and less time focusing upon English. This possible lack of interest may make the number of ‘Deaf of Deaf’ authors, or culturally Deaf individuals raised by culturally Deaf parents, who pursue and are successful publishing a book in adolescent literature low. At least in adolescent literature, deaf characters, as many other minority group characters, are being included in texts to show young people our increasingly multicultural world. Adolescent literature readers can now become aware of a range of deaf characters, including characters who use American Sign Language, who attend residential schools for the Deaf, and even who have Deaf families. Do the readers favor deaf authors over hearing ones? A significant part of my research was based upon the perceptions of adult readers of adolescent literature with deaf characters. I selected participants from a criterion sampling and divided them into three groups: 1. Adults who had attended either a special program for the deaf or a residential school for the deaf, used American Sign Language, and identified themselves as deaf were considered for the deaf category of the study; 2. Adults who were friends, family members, co-workers or professionals in fields connected with individuals who identify themselves as deaf were considered for the familiar category of the study; and, 3. hearing adults who were not aware of the everyday experiences of deaf people and who had not taken a sign language class, worked with or lived with a deaf person were considered for the unfamiliar category of the study. Nine participants were selected for each group totaling 27 participants (one participant from each of the groups withdrew before completion, leaving eight participants from each of the groups to complete the study). To elicit the perspectives of the participants, I developed a Reader Response survey which was modeled after Schwartz’s ‘Criteria for Analyzing Books about Deafness’. I assumed that the participants from Deaf and Familiar groups would prefer the books written by the deaf authors while the unfamiliar participants would act more as a control group. This was not confirmed through the data. In fact, the Deaf participants along with the participants as a whole preferred the books written by the hearing authors as better describing their perceptions of realistic deaf people, for presenting deaf characters adequately and realistically, and for the hearing authors’ portrayals of deaf characters matching with their perceptions of deaf people. In general, the Deaf participants were more critical of the deaf authors while the familiar participants, although as a group preferred the books by the hearing authors, were more critical of the hearing authors. Participants throughout all three groups mentioned their preference for a spectrum of deaf characters. The books used in this study that were written by hearing authors included a variety of characters. For example, Riskind’s Apple Is My Sign includes numerous deaf students at a school for the deaf and the main character living within a deaf family; Deaver’s A Maiden’s Grave includes deaf characters from a variety of backgrounds attending a residential school for the deaf and only a few hearing characters; and Ferris’ Of Sound Mind includes two deaf families with two CODA or hearing teens. The books written by the deaf authors in this study include only a few deaf characters. For example, Matlin’s Deaf Child Crossing includes two deaf girls surrounded by hearing characters; Scott’s Finding Abby includes more minor deaf characters but readers learn about these characters from the hearing character’s perspective. For instance, the character Jared uses sign language and attends a residential school for the deaf but readers learn this information from his hearing mother talking about him, not from the deaf character’s words. Readers know that he communicates through sign language because we are told that he does; however, the only communication readers are shown is a wave from the child; and, Blatchford’s Nick’s Secret includes only one deaf character. With the fewer deaf characters it is nearly impossible for the various ways of being deaf to be included in the book. Thus, the preference for the books by the hearing authors is more likely connected to the preference for a variety of deaf people represented. How do readers perceive deaf characters? Participants commented on fourteen main and secondary characters. Their perceptions of these characters fall into six categories: the “normal” curious kid such as the characters Harry (Apple Is My Sign), Jeremy (Of Sound Mind) and Jared (Finding Abby); the egocentric spoiled brat such as Palma (Of Sound Mind) and Megan (Deaf Child Crossing); the advocate such as Harry’s mother (Apple Is My Sign) and Susan (A Maiden’s Grave); those dependent upon the majority culture such as Palma (Of Sound Mind) and Lizzie (Deaf Child Crossing); those isolated such as Melissa (Finding Abby), Ben (Of Sound Mind), Nick (Nick’s Secret) and Thomas (Of Sound Mind); and, those searching for their identities such as Melanie (A Maiden’s Grave) and Abby (Finding Abby). Overall, participants commented more frequently about the deaf characters in the books by the hearing authors (A Maiden’s Grave; Of Sound Mind; Apple Is My Sign) and made more positive comments about the culturally Deaf male characters, particularly Ben Roper, Jeremy and Thomas of Of Sound Mind, and Harry of Apple Is My Sign. Themes such as the characters being dependent and isolated from others did arise. For example, Palma in Of Sound Mind insists that her hearing son act as her personal interpreter so that she can avoid other hearing people. Examples to demonstrate the isolation some of the deaf characters experience include Nick of Nick’s Secret being the only deaf character in his story and Ben Roper of Of Sound Mind being the only deaf employee in his workplace. While these can certainly be read as negative situations the characters experience, isolation is a reality that resonates in some deaf people’s experiences. With communicative technology and more individuals fluent in American Sign Language, some deaf individuals may decide to associate more with individuals in the larger culture. One must interpret purposeful isolation such as Ben Roper’s (Of Sound Mind) case, working in a location that provides him with the best employment opportunities, differently than Melissa Black’s (Finding Abby) isolating feelings of being left out of family dinner discussions. Similarly, variations in characterization including the egocentric, spoiled brat and those searching for their identities are common themes in adolescent literature with or without deaf characters being included. Positive examples of deaf characters including the roles of the advocate such as Susan (A Maiden’s Grave) and Harry’s mother (Apple Is My Sign), along with descriptions of regular everyday deaf kids increases the varieties of deaf characters. As previously stated, my study included an analysis based on literary theory and prior research. At that time, unless the author explicitly told readers in a foreword or a letter to readers, I had no way of truly knowing why the deaf character was included and why the author made such decisions. This uncertainty of the author’s decisions changed for me in 2007 with the establishment of my educational blog. Beginning to Blog When I started my educational blog Deaf Characters in Adolescent Literature in February 2007, I did not plan to become a blogger nor did I have any plans for my blog. I simply opened a Blogger account and added a list of 106 books with deaf characters that was connected to my research. Once I started blogging on a regular basis, I discovered an active audience who not only read what I wrote but who truly cared about my research. Blogging had become a way for me to keep my research current; since my blog was about deaf characters in adolescent literature, it became an advocacy tool that called attention to authors and books that were not widely publicized; and, it enabled me to become part of a cyber community made up of other bloggers and readers. After a few months of blogging on a weekly basis, I began to feel a sense of obligation to research and post my findings. While continuing to post to my blog, I have acquired more information about my research topic and even received advance reader copies prior to the books’ publication dates. This enables me to discuss the most current books. It also enables my readers to learn about such books. My blog acts as free advertisement for the publishing companies and authors. I currently have 195 contemporary books with deaf characters and over 36 author and professional interviews. While the most rewarding aspect of blogging is connecting with readers, there have been some major highlights in the process. As I stated, I had no way of knowing why the deaf character was included in the books until I began interviewing the authors. I had hoped that the hearing authors of books with deaf characters would portray their characters realistically but I had not realized the authors’ personal connections to actual deaf people. For instance, Delia Ray, Singing Hands, wrote about a Deaf preacher and his family. Her book was based on her grandfather who was a Deaf preacher and leading pioneer in the Deaf Community. Ray is not the only hearing author who has a personal connection to deaf people. Other examples include: Jean Ferris, Of Sound Mind, who earned a degree in Speech Pathology and Audiology. Ferris’ book includes only two hearing characters, the majority are Deaf. All of her characters are also fluent in American Sign Language; Jodi Cutler Del Dottore, Rally Caps, who includes a deaf character named Luca who uses a cochlear implant. Luca is based on Cutler Del Dottore’s son, Jordan, who also has a cochlear implant; finally, Jacqueline Woodson, Feathers, grew up in a community that included deaf people who did not use sign language. As an adult, she met members of the Deaf Community and began learning American Sign Language herself. Woodson introduces readers to Sean who is attractive, funny, and intelligent. In my study, I noted that all of the deaf characters where not diverse based upon race, ethnicity, and socio-economic status (Pajka-West, "Perceptions"). Sean is the first Deaf American-African character in adolescent literature who uses sign language to communicate. Another main highlight is finding Deaf authors who do not receive the mainstream press that other authors might receive. For example, Ann Clare LeZotte, T4, introduces readers to main character Paula Becker, a thirteen year old deaf girl who uses sign language and lipreading to communicate. Through verse, we learn of Paula’s life in Germany during Hitler’s time as she goes into hiding since individuals with physical and mental disabilities were being executed under the orders of Hitler’s Tiergartenstrasse 4 (T4). One additional highlight is that I learn about insider tips and am then able to share this information with my blog readers. In one instance I began corresponding with Marvel Comic’s David Mack, the creator of Echo, a multilingual, biracial, Deaf comic book character who debuted in Daredevil and later The New Avengers. In comics, it is Marvel who owns the character; while Echo was created for Daredevil by Mack, she later appears in The New Avengers. In March 2008, discussion boards were buzzing since issue #39 would include original creator, Mack, among other artists. To make it less complicated for those who do not follow comics, the issue was about whether or not Echo had become a skrull, an alien who takes over the body of the character. This was frightening news since potentially Echo could become a hearing skrull. I just did not believe that Mack would let that happen. My students and I held numerous discussions about the implications of Marvel’s decisions and finally I sent Mack an email. While he could not reveal the details of the issue, he did assure me that my students and I would be pleased. I’m sure there was a collective sigh from readers once his email was published on the blog. Final Thoughts While there have been pejorative depictions of the deaf in literature, the portrayals of deaf characters in adolescent literature have become much more realistic in the last decade. Authors have personal connections with actual deaf individuals which lend to the descriptions of their deaf characters; they are conducting more detailed research to develop their deaf characters; and, they appear to be much more aware of the Deaf Community than they were in the past. A unique benefit of the genre is that authors of adolescent literature often give the impression of being more available to the readers of their books. Authors often participate in open dialogues with their fans through social networking sites or discussion boards on their own websites. After posting interviews with the authors on my blog, I refer readers to the author’s on site whether it through personal blogs, websites, Facebook or Twitter pages. While hearing authors’ portrayals now include a spectrum of deaf characters, we must encourage Deaf and Hard of Hearing writers to include more deaf characters in their works. Consider again my student Carla and her longing to find books with deaf characters. Deaf characters in fiction act as role models for young adults. A positive portrayal of deaf characters benefits deaf adolescents whether or not they see themselves as biologically deaf or culturally deaf. Only through on-going publishing, more realistic and positive representations of the deaf will occur. References Bailes, C.N. "Mandy: A Critical Look at the Portrayal of a Deaf Character in Children’s Literature." Multicultural Perspectives 4.4 (2002): 3-9. Batson, T. "The Deaf Person in Fiction: From Sainthood to Rorschach Blot." Interracial Books for Children Bulletin 11.1-2 (1980): 16-18. Batson, T., and E. Bergman. Angels and Outcasts: An Anthology of Deaf Characters in Literature. Washington, D.C.: Gallaudet University Press (1985). Bergman, E. "Literature, Fictional characters in." In J.V. Van Cleve (ed.), Gallaudet Encyclopedia of Deaf People & Deafness. Vol. 2. Washington, D.C.: McGraw Hill, 1987. 172-176. Brittain, I. "An Examination into the Portrayal of Deaf Characters and Deaf Issues in Picture Books for Children." Disability Studies Quarterly 24.1 (Winter 2004). 24 Apr. 2005 < http://www.dsq-sds.org >. Burns, D.J. An Annotated Checklist of Fictional Works Which Contain Deaf Characters. Unpublished master’s thesis. Washington, D.C.: Gallaudet University,1950. Campbell, P., and J. Wirtenberg. How Books Influence Children: What the Research Shows. Interracial Books for Children Bulletin 11.6 (1980): 3-6. Civiletto, C.L., and B.R. Schirmer. "Literature with Characters Who Are Deaf." The Dragon Lode 19.1 (Fall 2000): 46-49. Guella, B. "Short Stories with Deaf Fictional Characters." American Annals of the Deaf 128.1 (1983): 25-33. Krentz, C. "Exploring the 'Hearing Line': Deafness, Laughter, and Mark Twain." In S. L. Snyder, B. J. Brueggemann, and R. Garland-Thomson, eds., Disability Studies: Enabling the Humanities. New York: Modern Language Association of America, 2002. 234-247. Larrick, N. "The All-White World of Children's Books. Saturday Review 11 (1965): 63-85. Pajka-West, S. “The Perceptions of Deaf Characters in Adolescent Literature”. The ALAN Review 34.3 (Summer 2007): 39-45. ———. "The Portrayals and Perceptions of Deaf Characters in Adolescent Literature." Ph.D. dissertation. University of Virginia, 2007. ———. "Interview with Deaf Author Ann Clare LeZotte about T4, Her Forthcoming Book Told in Verse." Deaf Characters in Adolescent Literature, 5 Aug. 2008. < http://pajka.blogspot.com/ 2008/08/interview-with-deaf-author-ann-clare.html >.———. "Interview with Delia Ray, Author of Singing Hands." Deaf Characters in Adolescent Literature, 23 Aug. 2007. < http://pajka.blogspot.com/ 2007/08/interview-with-delia-ray-author-of.html >.———. "Interview with Jacqueline Woodson, author of Feathers." Deaf Characters in Adolescent Literature, 29 Sep. 2007. < http://pajka.blogspot.com/ 2007/09/interview-with-jacqueline-woodson.html >. ———. "Interview with Jodi Cutler Del Dottore, author of Rally Caps." Deaf Characters in Adolescent Literature, 13 Aug. 2007. < http://pajka.blogspot.com/ 2007/08/interview-with-jodi-cutler-del-dottore.html >. Panara, R. "Deaf Characters in Fiction and Drama." The Deaf American 24.5 (1972): 3-8. Schwartz, A.V. "Books Mirror Society: A Study of Children’s Materials." Interracial Books for Children Bulletin 11.1-2 (1980): 19-24. Sherriff, A. The Portrayal of Mexican American Females in Realistic Picture Books (1998-2004). University of North Carolina, Chapel Hill: 2005. Taxel, J. "The Black Experience in Children's Fiction: Controversies Surrounding Award Winning Books." Curriculum Inquiry 16 (1986): 245-281. Taylor, G.M. "Deaf Characters in Short Stories: A Selective Bibliography. The Deaf American 26.9 (1974): 6-8. ———. "Deaf Characters in Short Stories: A Selective Bibliography II." The Deaf American 28.11 (1976): 13-16.———. "Deaf Characters in Short Stories: A Selective Bibliography III." The Deaf American 29.2 (1976): 27-28. Wilding-Diaz, M.M. Deaf Characters in Children’s Books: How Are They Portrayed? Unpublished master’s thesis. Provo, Utah: Brigham Young University, 1993.———. "Deaf Characters in Children’s Books: How Are They Perceived?" In Gallaudet University College for Continuing Education and B.D. Snider (eds.), Journal: Post Milan ASL & English Literacy: Issues, Trends & Research Conference Proceedings, 20-22 Oct. 1993.Adolescent Fiction Books Blatchford, C. Nick’s Secret. Minneapolis, MN: Lerner, 2000. Deaver, J. A Maiden’s Grave. New York: Signet, 1996. Ferris, J. Of Sound Mind. New York: Sunburst, 2004. Matlin, M. Deaf Child Crossing. New York: Aladdin Paperbacks, 2004. Riskind, M. Apple Is My Sign. Boston, MA: Houghton Mifflin, 1981. Scott, V. Finding Abby. Hillsboro, OR: Butte, 2000.
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Kincheloe, Pamela. "Do Androids Dream of Electric Speech? The Construction of Cochlear Implant Identity on American Television and the “New Deaf Cyborg”." M/C Journal 13, no.3 (June30, 2010). http://dx.doi.org/10.5204/mcj.254.
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Cyborgs already walk among us. (“Cures to Come” 76) This essay was begun as a reaction to a Hallmark Hall of Fame television movie called Sweet Nothing in My Ear (2008), which follows the lives of two parents, Dan, who is hearing (played by Jeff Daniels), and Laura, who is deaf (Marlee Matlin), as they struggle to make a decision about whether or not to give their 11-year-old son, Adam (late-deafened), a cochlear implant. Dan and Laura represent different perspectives, hearing and deaf perspectives. The film dramatizes the parents’ conflict and negotiation, exposing audiences to both sides of the cochlear implant debate, albeit in a fairly simplistic way. Nevertheless, it represents the lives of deaf people and gives voice to debates about cochlear implants with more accuracy and detail than most film and television dramas. One of the central scenes in the film is what I call the “activation scene”, quite common to cochlear implant narratives. In the scene, the protagonists witness a child having his implant activated or turned on. The depiction is reminiscent of the WATER scene in the film about Helen Keller, The Miracle Worker, employing a sentimental visual rhetoric. First, the two parents are shown seated near the child, clasping their hands as if in prayer. The audiologist, wielder of technology and therefore clearly the authority figure in the scene, types away furiously on her laptop. At the moment of being “turned on,” the child suddenly “hears” his father calling “David! David!” He gazes angelically toward heaven as piano music plays plaintively in the background. The parents all but fall to their knees and the protagonist of the film, Dan, watching through a window, weeps. It is a scene of cure, of healing, of “miracle,” a hyper-sentimentalised portrait of what is in reality often a rather anti-climactic event. It was certainly anti-climactic in my son, Michael’s case. I was taken aback by how this scene was presented and dismayed overall at some of the inaccuracies, small though they were, in the portrayal of cochlear implants in this film. It was, after all, according to the Nielsen ratings, seen by 8 million people. I began to wonder what kinds of misconceptions my son was going to face when he met people whose only exposure to implants was through media representations. Spurred by this question, I started to research other recent portrayals of people with implants on U.S. television in the past ten years, to see how cochlear implant (hereafter referred to as CI) identity has been portrayed by American media. For most of American history, deaf people have been portrayed in print and visual media as exotic “others,” and have long been the subject of an almost morbid cultural fascination. Christopher Krentz suggests that, particularly in the nineteenth century, scenes pairing sentimentality and deafness repressed an innate, Kristevan “abject” revulsion towards deaf people. Those who are deaf highlight and define, through their ‘lack’, the “unmarked” body. The fact of their deafness, understood as lack, conjures up an ideal that it does not attain, the ideal of the so-called “normal” or “whole” body. In recent years, however, the figure of the “deaf as Other” in the media, has shifted from what might be termed the “traditionally” deaf character, to what Brenda Jo Brueggeman (in her recent book Deaf Subjects: Between Identities and Places), calls “the new deaf cyborg” or the deaf person with a cochlear implant (4). N. Katharine Hailes states that cyborgs are now “the stage on which are performed contestations about the body boundaries that have often marked class, ethnic, and cultural differences” (85). In this essay, I claim that the character with a CI, as portrayed in the media, is now not only a strange, “marked” “Other,” but is also a screen upon which viewers project anxieties about technology, demonstrating both fascination fear. In her book, Brueggeman issues a call to action, saying that Deaf Studies must now begin to examine what she calls “implanting rhetorics,” or “the rhetorical relationships between our technologies and our identity” and therefore needs to attend to the construction of “the new deaf cyborg” (18). This short study will serve, I hope, as both a response to that injunction and as a jumping-off point for more in-depth studies of the construction of the CI identity and the implications of these constructions. First, we should consider what a cochlear implant is and how it functions. The National Association of the Deaf in the United States defines the cochlear implant as a device used to help the user perceive sound, i.e., the sensation of sound that is transmitted past the damaged cochlea to the brain. In this strictly sensorineural manner, the implant works: the sensation of sound is delivered to the brain. The stated goal of the implant is for it to function as a tool to enable deaf children to develop language based on spoken communication. (“NAD Position”) The external portion of the implant consists of the following parts: a microphone, which picks up sound from the environment, which is contained in the behind-the-ear device that resembles the standard BTE hearing aid; in this “hearing aid” there is also a speech processor, which selects and arranges sounds picked up by the microphone. The processor transmits signals to the transmitter/receiver, which then converts them into electric impulses. Part of the transmitter sits on the skin and attaches to the inner portion of the transmitter by means of a magnet. The inner portion of the receiver/stimulator sends the impulses down into the electrode array that lies inside the cochlea, which in turn stimulates the auditory nerve, giving the brain the impression of sound (“Cochlear Implants”). According to manufacturer’s statistics, there are now approximately 188,000 people worldwide who have obtained cochlear implants, though the number of these that are in use is not known (Nussbaum). That is what a cochlear implant is. Before we can look at how people with implants are portrayed in the media, before we examine constructions of identity, perhaps we should first ask what constitutes a “real” CI identity? This is, of course, laughable; pinning down a homogeneous CI identity is no more likely than finding a blanket definition of “deaf identity.” For example, at this point in time, there isn’t even a word or term in American culture for someone with an implant. I struggle with how to phrase it in this essay - “implantee?” “recipient?” - there are no neat labels. In the USA you can call a person deaf, Deaf (the “D” representing a specific cultural and political identity), hearing impaired, hard of hearing, and each gradation implies, for better or worse, some kind of subject position. There are no such terms for a person who gets an implant. Are people with implants, as suggested above, just deaf? Deaf? Are they hard of hearing? There is even debate in the ASL community as to what sign should be used to indicate “someone who has a cochlear implant.” If a “CI identity” cannot be located, then perhaps the rhetoric that is used to describe it may be. Paddy Ladd, in Understanding Deaf Culture, does a brilliant job of exploring the various discourses that have surrounded deaf culture throughout history. Stuart Blume borrows heavily from Ladd in his “The Rhetoric and Counter-Rhetoric of a 'Bionic' Technology”, where he points out that an “essential and deliberate feature” of the history of the CI from the 60s onward, was that it was constructed in an overwhelmingly positive light by the mass media, using what Ladd calls the “medical” rhetorical model. That is, that the CI is a kind of medical miracle that promised to cure deafness. Within this model one may find also the sentimental, “missionary” rhetoric that Krentz discusses, what Ladd claims is a revival of the evangelism of the nineteenth-century Oralist movement in America. Indeed, newspaper articles in the 1980s and 90s hailed the implant as a “breakthrough”, a “miracle”; even a quick survey of headlines shows evidence of this: “Upton Boy Can Hear at Last!”, “Girl with a New Song in Her Heart”, “Children Head Queue for Bionic Ears” (Lane). As recently as January 2010, an issue of National Geographic featured on its cover the headline Merging Man and Machine: The Bionic Age. Sure enough, the second photograph in the story is of a child’s bilateral cochlear implant, with the caption “within months of the surgery (the child) spoke the words his hearing parents longed for: Mama and Dada.” “You’re looking at a real bionic kid,” says Johns Hopkins University surgeon John Niparko, proudly (37). To counter this medical/corporate rhetoric of cure, Ladd and Blume claim, the deaf community devised a counter-rhetoric, a discourse in which the CI is not cast in the language of miracle and life, but instead in terms of death, mutilation, and cultural oppression. Here, the implant is depicted as the last in a long line of sadistic experiments using the deaf as guinea pigs. Often the CI is framed in the language of Nazism and genocide as seen in the title of an article in the British Deaf News: “Cochlear Implants: Oralism’s Final Solution.” So, which of these two “implanting rhetorics” is most visible in the current construction of the CI in American television? Is the CI identity presented by rendering people with CIs impossibly positive, happy characters? Is it delineated using the metaphors of the sentimental, of cure, of miracle? Or is the CI identity constructed using the counter-rhetorical references to death, oppression and cultural genocide? One might hypothesize that television, like other media, cultivating as it does the values of the hearing hegemony, would err on the side of promulgating the medicalised, positivist rhetoric of the “cure” for deafness. In an effort to find out, I conducted a general survey of American television shows from 2000 to now that featured characters with CIs. I did not include news shows or documentaries in my survey. Interestingly, some of the earliest television portrayals of CIs appeared in that bastion of American sentimentality, the daytime soap opera. In 2006, on the show “The Young and the Restless”, a “troubled college student who contracted meningitis” received an implant, and in 2007 “All My Children” aired a story arc about a “toddler who becomes deaf after a car crash.” It is interesting to note that both characters were portrayed as “late-deafened”, or suddenly inflicted with the loss of a sense they previously possessed, thus avoiding any whiff of controversy about early implantation. But one expects a hyper-sentimentalised portrayal of just about everything in daytime dramas like this. What is interesting is that when people with CIs have appeared on several “reality” programs, which purport to offer “real,” unadulterated glimpses into people’s lives, the rhetoric is no less sentimentalized than the soaps (perhaps because these shows are no less fabricated). A good example of this is the widely watched and, I think, ironically named show “True Life” which appears on MTV. This is a series that claims to tell the “remarkable real-life stories of young people and the unusual subcultures they inhabit.” In episode 42, “ True Life: I’m Deaf”, part of the show follows a young man, Chris, born deaf and proud of it (his words), who decides to get a cochlear implant because he wants to be involved in the hearing world. Through an interpreter Chris explains that he wants an implant so he can communicate with his friends, talk with girls, and ultimately fulfill his dreams of having a job and getting married (one has to ask: are these things he can’t do without an implant?). The show’s promo asks “how do you go from living a life in total silence to fully understanding the spoken language?” This statement alone contains two elements common to the “miracle” rhetoric, first that the “tragic” deaf victim will emerge from a completely lonely, silent place (not true; most deaf people have some residual hearing, and if you watch the show you see Chris signing, “speaking” voluminously) to seamlessly, miraculously, “fully” joining and understanding the hearing world. Chris, it seems, will only come into full being when he is able to join the hearing world. In this case, the CI will cure what ails him. According to “True Life.” Aside from “soap opera” drama and so-called reality programming, by far the largest dissemination of media constructions of the CI in the past ten years occurred on top-slot prime-time television shows, which consist primarily of the immensely popular genre of the medical and police procedural drama. Most of these shows have at one time or another had a “deaf” episode, in which there is a deaf character or characters involved, but between 2005 and 2008, it is interesting to note that most, if not all of the most popular of these have aired episodes devoted to the CI controversy, or have featured deaf characters with CIs. The shows include: CSI (both Miami and New York), Cold Case, Law and Order (both SVU and Criminal Intent), Scrubs, Gideon’s Crossing, and Bones. Below is a snippet of dialogue from Bones: Zach: {Holding a necklace} He was wearing this.Angela: Catholic boy.Brennan: One by two forceps.Angela {as Brennan pulls a small disc out from behind the victim’s ear} What is that?Brennan: Cochlear implant. Looks like the birds were trying to get it.Angela: That would set a boy apart from the others, being deaf.(Bones, “A Boy in the Tree”, 1.3, 2005) In this scene, the forensics experts are able to describe significant points of this victim’s identity using the only two solid artifacts left in the remains, a crucifix and a cochlear implant. I cite this scene because it serves, I believe, as a neat metaphor for how these shows, and indeed television media in general, are, like the investigators, constantly engaged in the business of cobbling together identity: in this particular case, a cochlear implant identity. It also shows how an audience can cultivate or interpret these kinds of identity constructions, here, the implant as an object serves as a tangible sign of deafness, and from this sign, or clue, the “audience” (represented by the spectator, Angela) immediately infers that the victim was lonely and isolated, “set apart from the others.” Such wrongheaded inferences, frivolous as they may seem coming from the realm of popular culture, have, I believe, a profound influence on the perceptions of larger society. The use of the CI in Bones is quite interesting, because although at the beginning of the show the implant is a key piece of evidence, that which marks and identifies the dead/deaf body, the character’s CI identity proves almost completely irrelevant to the unfolding of the murder-mystery. The only times the CI character’s deafness is emphasized are when an effort is made to prove that the he committed suicide (i.e., if you’re deaf you are therefore “isolated,” and therefore you must be miserable enough to kill yourself). Zak, one of the forensics officers says, “I didn’t talk to anyone in high school and I didn’t kill myself” and another officer comments that the boy was “alienated by culture, by language, and by his handicap” (odd statements, since most deaf children with or without implants have remarkably good language ability). Also, in another strange moment, the victim’s ambassador/mother shows a video clip of the child’s CI activation and says “a person who lived through this miracle would never take his own life” (emphasis mine). A girlfriend, implicated in the murder (the boy is killed because he threatened to “talk”, revealing a blackmail scheme), says “people didn’t notice him because of the way he talked but I liked him…” So at least in this show, both types of “implanting rhetoric” are employed; a person with a CI, though the recipient of a “miracle,” is also perceived as “isolated” and “alienated” and unfortunately, ends up dead. This kind of rather negative portrayal of a person with a CI also appears in the CSI: New York episode ”Silent Night” which aired in 2006. One of two plot lines features Marlee Matlin as the mother of a deaf family. At the beginning of the episode, after feeling some strange vibrations, Matlin’s character, Gina, checks on her little granddaughter, Elizabeth, who is crying hysterically in her crib. She finds her daughter, Alison, dead on the floor. In the course of the show, it is found that a former boyfriend, Cole, who may have been the father of the infant, struggled with and shot Alison as he was trying to kidnap the baby. Apparently Cole “got his hearing back” with a cochlear implant, no longer considered himself Deaf, and wanted the child so that she wouldn’t be raised “Deaf.” At the end of the show, Cole tries to abduct both grandmother and baby at gunpoint. As he has lost his external transmitter, he is unable to understand what the police are trying to tell him and threatens to kill his hostages. He is arrested in the end. In this case, the CI recipient is depicted as a violent, out of control figure, calmed (in this case) only by Matlin’s presence and her ability to communicate with him in ASL. The implication is that in getting the CI, Cole is “killing off” his Deaf identity, and as a result, is mentally unstable. Talking to Matlin, whose character is a stand-in for Deaf culture, is the only way to bring him back to his senses. The October 2007 episode of CSI: Miami entitled “Inside-Out” is another example of the counter-rhetoric at work in the form of another implant corpse. A police officer, trying to prevent the escape of a criminal en route to prison, thinks he has accidentally shot an innocent bystander, a deaf woman. An exchange between the coroner and a CSI goes as follows: (Alexx Woods): “This is as innocent as a victim gets.”(Calleigh Duquesne): “How so?”AW: Check this out.”CD: “I don’t understand. Her head is magnetized? Steel plate?”AW: “It’s a cochlear implant. Helps deaf people to receive and process speech and sounds.”(CSI dramatization) AW VO: “It’s surgically implanted into the inner ear. Consists of a receiver that decodes and transmits to an electrode array sending a signal to the brain.”CD: “Wouldn’t there be an external component?”AW: “Oh, she must have lost it before she was shot.”CD: “Well, that explains why she didn’t get out of there. She had no idea what was going on.” (TWIZ) Based on the evidence, the “sign” of the implant, the investigators are able to identify the victim as deaf, and they infer therefore that she is innocent. It is only at the end of the program that we learn that the deaf “innocent” was really the girlfriend of the criminal, and was on the scene aiding in his escape. So she is at first “as innocent” as they come, and then at the end, she is the most insidious of the criminals in the episode. The writers at least provide a nice twist on the more common deaf-innocent stereotype. Cold Case showcased a CI in the 2008 episode “Andy in C Minor,” in which the case of a 17-year-old deaf boy is reopened. The boy, Andy, had disappeared from his high school. In the investigation it is revealed that his hearing girlfriend, Emma, convinced him to get an implant, because it would help him play the piano, which he wanted to do in order to bond with her. His parents, deaf, were against the idea, and had him promise to break up with Emma and never bring up the CI again. His body is found on the campus, with a cochlear device next to his remains. Apparently Emma had convinced him to get the implant and, in the end, Andy’s father had reluctantly consented to the surgery. It is finally revealed that his Deaf best friend, Carlos, killed him with a blow to the back of the head while he was playing the piano, because he was “afraid to be alone.” This show uses the counter-rhetoric of Deaf genocide in an interesting way. In this case it is not just the CI device alone that renders the CI character symbolically “dead” to his Deaf identity, but it leads directly to his being literally executed by, or in a sense, excommunicated from, Deaf Culture, as it is represented by the character of Carlos. The “House Divided” episode of House (2009) provides the most problematic (or I should say absurd) representation of the CI process and of a CI identity. In the show, a fourteen-year-old deaf wrestler comes into the hospital after experiencing terrible head pain and hearing “imaginary explosions.” Doctors Foreman and Thirteen dutifully serve as representatives of both sides of the “implant debate”: when discussing why House hasn’t mocked the patient for not having a CI, Thirteen says “The patient doesn’t have a CI because he’s comfortable with who he is. That’s admirable.” Foreman says, “He’s deaf. It’s not an identity, it’s a disability.” 13: “It’s also a culture.” F: “Anything I can simulate with $3 earplugs isn’t a culture.” Later, House, talking to himself, thinks “he’s going to go through life deaf. He has no idea what he’s missing.” So, as usual, without permission, he orders Chase to implant a CI in the patient while he is under anesthesia for another procedure (a brain biopsy). After the surgery the team asks House why he did it and he responds, “Why would I give someone their hearing? Ask God the same question you’d get the same answer.” The shows writers endow House’s character, as they usually do, with the stereotypical “God complex” of the medical establishment, but in doing also they play beautifully into the Ladd and Blume’s rhetoric of medical miracle and cure. Immediately after the implant (which the hospital just happened to have on hand) the incision has, miraculously, healed overnight. Chase (who just happens to be a skilled CI surgeon and audiologist) activates the external processor (normally a months-long process). The sound is overwhelming, the boy hears everything. The mother is upset. “Once my son is stable,” the mom says, “I want that THING out of his head.” The patient also demands that the “thing” be removed. Right after this scene, House puts a Bluetooth in his ear so he can talk to himself without people thinking he’s crazy (an interesting reference to how we all are becoming cyborgs, more and more “implanted” with technology). Later, mother and son have the usual touching sentimental scene, where she speaks his name, he hears her voice for the first time and says, “Is that my name? S-E-T-H?” Mom cries. Seth’s deaf girlfriend later tells him she wishes she could get a CI, “It’s a great thing. It will open up a whole new world for you,” an idea he rejects. He hears his girlfriend vocalize, and asks Thirteen if he “sounds like that.” This for some reason clinches his decision about not wanting his CI and, rather than simply take off the external magnet, he rips the entire device right out of his head, which sends him into shock and system failure. Ultimately the team solves the mystery of the boy’s initial ailment and diagnoses him with sarcoidosis. In a final scene, the mother tells her son that she is having them replace the implant. She says it’s “my call.” This show, with its confusing use of both the sentimental and the counter-rhetoric, as well as its outrageous inaccuracies, is the most egregious example of how the CI is currently being constructed on television, but it, along with my other examples, clearly shows the Ladd/Blume rhetoric and counter rhetoric at work. The CI character is on one hand portrayed as an innocent, infantilized, tragic, or passive figure that is the recipient of a medical miracle kindly urged upon them (or forced upon them, as in the case of House). On the other hand, the CI character is depicted in the language of the counter-rhetoric: as deeply flawed, crazed, disturbed or damaged somehow by the incursions onto their Deaf identity, or, in the worst case scenario, they are dead, exterminated. Granted, it is the very premise of the forensic/crime drama to have a victim, and a dead victim, and it is the nature of the police drama to have a “bad,” criminal character; there is nothing wrong with having both good and bad CI characters, but my question is, in the end, why is it an either-or proposition? Why is CI identity only being portrayed in essentialist terms on these types of shows? Why are there no realistic portrayals of people with CIs (and for that matter, deaf people) as the richly varied individuals that they are? These questions aside, if these two types of “implanting rhetoric”, the sentimentalised and the terminated, are all we have at the moment, what does it mean? As I mentioned early in this essay, deaf people, along with many “others,” have long helped to highlight and define the hegemonic “norm.” The apparent cultural need for a Foucauldian “marked body” explains not only the popularity of crime dramas, but it also could explain the oddly proliferant use of characters with cochlear implants in these particular shows. A person with an implant on the side of their head is definitely a more “marked” body than the deaf person with no hearing aid. The CI character is more controversial, more shocking; it’s trendier, “sexier”, and this boosts ratings. But CI characters are, unlike their deaf predecessors, now serving an additional cultural function. I believe they are, as I claim in the beginning of this essay, screens upon which our culture is now projecting repressed anxieties about emergent technology. The two essentialist rhetorics of the cochlear implant, the rhetoric of the sentimental, medical model, and the rhetoric of genocide, ultimately represent our technophilia and our technophobia. The CI character embodies what Debra Shaw terms a current, “ontological insecurity that attends the interface between the human body and the datasphere” (85). We are growing more nervous “as new technologies shape our experiences, they blur the lines between the corporeal and incorporeal, between physical space and virtual space” (Selfe). Technology either threatens the integrity of the self, “the coherence of the body” (we are either dead or damaged) or technology allows us to transcend the limitations of the body: we are converted, “transformed”, the recipient of a happy modern miracle. In the end, I found that representations of CI on television (in the United States) are overwhelmingly sentimental and therefore essentialist. It seems that the conflicting nineteenth century tendency of attraction and revulsion toward the deaf is still, in the twenty-first century, evident. We are still mired in the rhetoric of “cure” and “control,” despite an active Deaf counter discourse that employs the language of the holocaust, warning of the extermination of yet another cultural minority. We are also daily becoming daily more “embedded in cybernetic systems,” with our laptops, emails, GPSs, PDAs, cell phones, Bluetooths, and the likes. We are becoming increasingly engaged in a “necessary relationship with machines” (Shaw 91). We are gradually becoming no longer “other” to the machine, and so our culturally constructed perceptions of ourselves are being threatened. In the nineteenth century, divisions and hierarchies between a white male majority and the “other” (women, African Americans, immigrants, Native Americans) began to blur. Now, the divisions between human and machine, as represented by a person with a CI, are starting to blur, creating anxiety. Perhaps this anxiety is why we are trying, at least in the media, symbolically to ‘cure’ the marked body or kill off the cyborg. Future examinations of the discourse should, I believe, use these media constructions as a lens through which to continue to examine and illuminate the complex subject position of the CI identity, and therefore, perhaps, also explore what the subject position of the post/human identity will be. References "A Boy in a Tree." Patrick Norris (dir.), Hart Hanson (by), Emily Deschanel (perf.). Bones, Fox Network, 7 Sep. 2005. “Andy in C Minor.” Jeannete Szwarc (dir.), Gavin Harris (by), Kathryn Morris (perf.). Cold Case, CBS Network, 30 March 2008. Blume, Stuart. “The Rhetoric and Counter Rhetoric of a “Bionic” Technology.” Science, Technology and Human Values 22.1 (1997): 31-56. Brueggemann, Brenda Jo. Deaf Subjects: Between Identities and Places. New York: New York UP, 2009. “Cochlear Implant Statistics.” ASL-Cochlear Implant Community. Blog. Citing Laurent Le Clerc National Deaf Education Center. Gallaudet University, 18 Mar. 2008. 29 Apr. 2010 ‹http:/ /aslci.blogspot.com/2008/03/cochlear-implant-statistics.html›. “Cures to Come.” Discover Presents the Brain (Spring 2010): 76. Fischman, Josh. “Bionics.” National Geographic Magazine 217 (2010). “House Divided.” Greg Yaitanes (dir.), Matthew V. Lewis (by), Hugh Laurie (perf.). House, Fox Network, 22 Apr. 2009. “Inside-Out.” Gina Lamar (dir.), Anthony Zuiker (by), David Caruso (perf.). CSI: Miami, CBS Network, 8 Oct. 2007. Krentz, Christopher. Writing Deafness: The Hearing Line in Nineteenth-Century American Literature. Chapel Hill: UNC P, 2007. Ladd, Paddy. Understanding Deaf Culture: In Search of Deafhood. Clevedon, UK: Multilingual Matters Limited, 2002. Lane, Harlan. A Journey Into the Deaf-World. San Diego: DawnSignPress, 1996. “NAD Position Statement on the Cochlear Implant.” National Association of the Deaf. 6 Oct. 2000. 29 April 2010 ‹http://www.nad.org/issues/technology/assistive-listening/cochlear-implants›. Nussbaum, Debra. “Manufacturer Information.” Cochlear Implant Information Center. National Deaf Education Center. Gallaudet University. 29 Apr. 2010 < http://clerccenter.gallaudet.edu >. Shaw, Debra. Technoculture: The Key Concepts. Oxford: Berg, 2008. “Silent Night.” Rob Bailey (dir.), Anthony Zuiker (by), Gary Sinise (perf.). CSI: New York, CBS Network, 13 Dec. 2006. “Sweet Nothing in My Ear.” Joseph Sargent (dir.), Stephen Sachs (by), Jeff Daniels (perf.). Hallmark Hall of Fame Production, 20 Apr. 2008. TWIZ TV scripts. CSI: Miami, “Inside-Out.” “What Is the Surgery Like?” FAQ, University of Miami Cochlear Implant Center. 29 Apr. 2010 ‹http://cochlearimplants.med.miami.edu/faq/index.asp›.
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Loon, Julienne van. "An Excerpt from the Novella Moving." M/C Journal 6, no.1 (February1, 2003). http://dx.doi.org/10.5204/mcj.2132.
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“Di? Di? Come on, Di. I know you’re in there.” It would have been better if she had just said nothing, just lay there. The voice would have gone away eventually. She did attempt a small silence, leaning back on her pillow and listened to the rattling of the door handle, then a sigh, and an ongoing tapping. “Di?” Finally, she couldn’t help herself. “Fuck off, Nic.” “Come on, Di. What’s up?” “Why don’t you go and find someone else to rip off?” “What do you mean?” “You know what I mean.” “What’s wrong? Come on, let me in, Di. Please?” The door to Diana’s King Street bed-sit was pink, the paint chipped. She threw a cushion at it, producing a dull thumping sound followed by a soft whistle as the polyester cover slid down toward the floor. “So, where’d you take it all to, Nic?” Diana raised her voice to the ceiling. “What was it worth to you?” There was no answer. She could feel bitterness rising in her throat. “What am I supposed to do now? You want me to go down to the fucking pawn shop and buy back my own stuff just so you can come and rip me off again?” Silence. A shifting of weight. The sliding of cloth against the door. Then, again: tap, tap. “Di?” A low, childish whisper. “Don’t shut me out, Di, please, I need you.” Something compelled Diana Kooper. She rose up from her spot on the futon and moved toward the closed door. The movement seemed to stretch out momentarily, as if offering the chance to change her mind, to sit down again, to forget. But she did none of these things, instead opening the door with a swish and a body fell immediately into the room. Diana was ready for it. Her hands landed quickly on the soft hollow of Nicole’s armpits, pulling the other girl further inside then pinning her by the shoulders to the filthy carpet. She climbed on top of the body and knocked the head against the floor, hard. Soon she was aware only of sounds: fabric tearing; the soft whoosh of her friend’s breath beneath shawls of hair. Diana discovered a vital physical strength fed by rage and despair: a blinding extravagance of will. But Nicole fought back, so that Diana too was flung against the furniture legs, against the floor, against the corner of the low bed. Blood swam from their noses and skin burnt at hips, knees, elbows. They knocked into an open cupboard door, sending empty containers and food packaging like celebratory confetti across the stained carpet. They were using fists, boots, wrangles, pinches. They were tripping each other up, wedging grit and splinters and skin beneath short fingernails. Wrestling gave way briefly to a round of boxing. Diana could picture the kids practising in the warehouse near their old place in Glebe. Maybe Nicole could see them too. For a moment the girls were fenced in by thick red ropes. They had bright silk shorts on. Diana could feel her right fist clenched at her side, burning to lodge a lethal knock. She was raking up stray instructions from the schoolyard: Go for the soft temple / Avoid the jaw / Form the fist right / Dance! Dance on your feet. Diana’s bare fist made sharp contact with an eye, flinging the other girl back. Nicole stumbled and held one hand across her damaged eyelid, trying to refocus. Diana smirked, too pleased with herself. She had only glanced away momentarily when she felt something land with the force against her own gut. Suddenly the wind was gone from her. Breathing is life. Life is breathing. She folded forward and fell. The world blackened. When she came to there was a smell of hot metal. The electric kettle had boiled dry. There was a pillow beneath her head, and the familiar shape of Nicole Carr sprawled out on the bed beside her. “Oh, God,” she said. All that effort, for nothing. The body beside her moaned in response. Diana got up and turned off the kettle. Diana had coined the term Big Change Trouble when she was small. It was something she reckoned she could sense early, before others got a whiff of it. It was the kind of trouble she had watched her mother trying to dodge at the last minute, the way drivers who speed are forced to dodge sudden obstacles on the road, without much success. When she was a kid, Big Change Trouble meant the convergence of all number of small trouble things - things to do with her mother’s drinking, things to do with money, or things to do with school. It started with little ruptures right across all the stuff she’d gotten used to. Sometimes it was like she was outside of herself, looking down, watching it all going on, and always this sense that nobody else could make out it quite like she could. Just before she did the bolt from Sydney, Diana could sense that eerie childhood feeling, so rotten, so familiar. It rose up the day after she and Nicole had beat the shit out of each other. She went to work, as usual, in the bar in Redfern in the late afternoon, her limbs tired and sore. Dick Richards, the guy who always gave her good, reliable tips, stood at the bar rubbing his hand across his left nipple and saying “Caaaw,” widening his eyes and blinking. She got an odd feeling, watching the way his t-shirt creased beneath his hand as he rubbed. Maybe he was actually having a heart attack, right there at the bar. She felt removed from him, on edge, and said nothing that might have helped. She was more concerned that there was something wrong with one of her work shoes. The rubber sole was coming off at the front, and it was flip-flapping around, getting stuck on the edges of the bar mats. Twice she nearly tripped carrying two full schooners of Resch’s. Later one of the other regulars, Marty Miller, told her about how he had to walk home all the way from St Peters the previous afternoon, because he had these three boils on his arse and they had burst, and even though one of his mates went by and offered him a lift, he didn’t want to get in. He didn’t want to make a mess on his mates’ seat. It was so bad, he wouldn’t even have gotten into a taxi. It was about eight kilometres he had to walk. He was the nicest guy, Marty, but he didn’t generally talk too much, it was unlike him to even be standing at the bar. Usually he drank over by the window, looking out at the street. Diana was left wondering about him, long after he’d gone home. Marty Miller and the boils on his arse, the blood and puss leaking down his legs as he walked. Why did he have to tell her about it? That night, Jeff Fenech was due to defend his WBC Featherweight Title. Skychannel was broadcasting it live. Gradually, the place filled up and soon there wasn’t a punter in the whole pub who wasn’t barracking for Fenech. It was dead busy. Diana’s boss, Micheal, was completely stoned. He kept smiling and pointing at the bruises on her face and shaking his head, but he was smiling from the wrong side of the bar. There should have been two of them serving. It was annoying. Beryl and Matt’s two kids came in again, they must be six and eight years old, and Diana had to keep her eyes on them as they pushed their way through the crowd to find Mum and Dad at their usual spot in front of the card machines. Probably just asking for money for a feed, poor buggers, but they weren’t supposed to come into the pub, especially at night, especially in a big crowd like this. She lost track of them, couldn’t tell if they’d already gone or not. Big Change Trouble gives a certain flavour to everything. It might as well have been in the beer itself, the yeasty scent of it filling the room every time a drinker exhaled. Jeff Fenech went to twelve rounds with the tiny little Mexican, Mario Martinez. It was a long, monotonous fight with barely any drama in it. Jeff wasn’t at his best. “His hands are fucked,” people were saying. “His fucking hands are ratshit.” There’d been too many fractures, too many punches over too many years. It was difficult to watch. Everybody sensed the champion’s reign close to being over. Jeff won the fight, but it wasn’t with anything you could call style. The pub emptied out quickly after that. It was like someone had just taken a giant scoop out of the place, and everybody was gone, even Dick Richards. She put up the stools, wiped down the bar, emptied the flat amber fluid out of the trays. When she got outside, she watched two taxis go past with their “Engaged” signs up, even though there was no one but the drivers in them. Several mounted police turned out of Raglan Street and she could hear the sound of their horse’s hooves against the blacktop, the clip-clop, clip-clop, clip-clop ricocheting up and down the length of near empty Botany Road. Her little Suzuki coughed to a start and she drove home the back way through this odd disquiet. When she got to the laneway behind her King Street bed-sit, she was met by the picture of Nicole Carr walking into the stream of her headlights. Nicole held up a limp hand, shielding her face from the light. “What?” “You gotta help me, Di. I want to get clean.” She seemed thinner than ever, her hair all flat. “I want to give it a go, I mean it, really,” she said through the open driver’s window. “I got to stay away from Harry.” She followed Diana up the stairs. “You’ve got to help me keep away from him, Di. We’re bad for each other.” Nicole was going to move out of Harry’s place in Bondi and find a place of her own. She was going to work two jobs and save to go to a private college, do a course in natural medicine. Diana could tell she’d had a hit not long before she arrived. Her friend sat at the table, flicking her hair back out of her eyes and doodling on an old telephone bill. They went to sleep a little after one, but Diana slept lightly. At seven, Nicole was up and getting restless, wandering in small loops around the tiny space. Diana tried to sleep on, raising an eyelid occasionally to see Nicole hunched over, biting her nails, staring out into space. They ate blueberry yoghurt for breakfast, sharing the same spoon, eating straight out of the tub. Diana was supposed to be at the TAFE that morning, to see about a supplementary exam. And she was due to start at her shift at The Royal at two. But she was afraid to leave. If she left, Nicole might go out. If Nicole went out, that would be the end of it. “You must hate me,” Nicole said, sulkily. “Yes and no.” The bed-sit had very little in it. The old blue fridge rumbled and buzzed. Nicole had already stolen the stereo, the television, the microwave, even the little dual ring gas cooktop. There were two folding chairs beside a fold-out table. There was the futon. Diana shared the bathroom down the hall with Bernie and Wanda, the drag queens in the next room. The tiny bed-sit’s best feature was a set of French doors, opening onto a railing and overlooking the busy road below. The breeze, or sometimes just the hot air created by the ceaseless traffic, made the red curtains above the doorway dance and sway. The girls sat watching this dance for most of the morning. Funny the way the fabric lifted, ballooned then fell. Lifted, ballooned, then fell. There was something in it. And yet, also, there was nothing. Soon Nicole Carr’s stomach would knot into a long, sharp cramp. Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style BLoon, Julienne van. "An Excerpt from the Novella Moving" M/C: A Journal of Media and Culture 6.1 (2003). Dn Month Year < http://www.media-culture.org.au/0302/02-feature.php>. APA Style Loon, J. v., (2003, Feb 26). An Excerpt from the Novella Moving. M/C: A Journal of Media and Culture, 6,(1). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0302/02-feature.html
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