Discursive Policy Inquiry: A Critical Interpretive Approach

Discursive Policy Inquiry (DPI) is a distinctive theoretical approach to policy research, which endeavours to problematise and critically explain policy-making processes in a wide range of social and political settings. This chapter sets out the core assumptions, concepts and research strategies of this approach, highlighting the primary role of politics in shaping and investigating core societal problems and policy dilemmas. It locates DPI in relation to Poststructuralist Discourse Theory (PDT), which was founded by Ernesto Laclau and Chantal Mouffe, and developed by the Essex School of Discourse Analysis, and alongside the latter’s distinctive methodological orientation – the Logics of Critical Explanation (LCE) – which has been developed by Jason Glynos and David Howarth. In so doing, the chapter elaborates and connects the core notions of discourse, antagonism, power, hegemony and subjectivity to the specific questions and dilemmas that arise in policy analysis. The main elements of the theoretical approach are illustrated and further developed by analysing the changing practices of policymaking in the field of UK aviation policy since 1945, which draws on Steven Griggs and David Howarth’s Contesting Aviation Policy

Qualitative Evidence Synthesis in Health Psychology

Qualitative evidence synthesis (QES) provides a high-quality review of the qualitative evidence base, succinctly capturing and illustrating the complexity of the subjective lived experiences of people and communities. • QES and meta-synthesis have come to be used as umbrella terms for the systematic review and synthesis of qualitative research. • QES in health psychology usually involves interpretative synthesis to more fully understand the lived experience of a particular condition used to develop an intervention for that patient group. • QES can aggregate evidence to inform policy or the development of good practice guidance. • Guidance is available to support each stage of conducting a QES from a variety of sources including the World Health Organization, Cochrane, EQUATOR. Abstract Qualitative evidence synthesis (QES) provides a high-quality review of the qualitative evidence base, which are “uniquely situated to capture the full complexity of the subjective, lived experiences of people and communities” (WHO, 2021, p.2). In this chapter, we provide an overview of the history and contemporary development of QES. The proliferation of qualitative research in recent decades has resulted in a need to find systematic ways to synthesize qualitative research evidence. Such syntheses have value in health psychology and health sciences, as outcomes can inform researchers, clinicians, and policy makers to ensure evidence-based decision-making. QES has a long history starting with meta-ethnography and developing through various forms of narrative and interpretative synthesis. To guide health psychologists in their endeavour to complete their own QES, it is useful to draw on recent guidance from the World Health Organization which describes a step-by-step process. This chapter guides readers through topic selection, research question development, search strategies, critical appraisal, data extraction, evidence synthesis and reporting. In addition to explaining these processes, we highlight areas of challenge and debate and direct readers to resources to further help the development of their own QES projects. New approaches and perspectives on QES continue to develop and grow. Therefore, we conclude the chapter by looking forward towards more creative examples of evidence synthesis. We present our own worked examples of a Foucauldian-inspired Media Framing Analysis, and a poetic synthesis of caring experiences in the hope of inspiring new ways of thinking about QES

Bridging the gap: an assessment of the effectiveness of postgraduate provision in preparing students for careers in the modern music industry

The Complete University Guide lists 40 UK universities offering 74 postgraduate courses related to music technology or production (Complete University Guide, 2024). The relatively high number of these courses suggest that they are both a popular choice for students and a profitable addition to university portfolios. Some universities have closed more traditional music courses, such as musicology, composition and performance, and replaced them with music production and music technology focused alternatives. Many of the newer courses emphasise employability and are named accordingly, incorporating terms such as ‘management’ or ‘production’. Evidently, in the 17 years since Carola Boehm described music technology as “The discipline that never was” (Boehm, 2007), it has developed beyond “The discipline that became” (Boehm, Hepworth-Sawyer, Hughes, & Ziemba, 2018) into a growing number of interrelated disciplines. The implication is clear: these courses equip students with the skillsets necessary to embark on rewarding careers in the music industry. But how realistic are these claims? To what extent is the current provision of postgraduate education in music technology, production, and related disciplines preparing students for careers in the music industry? What skills do employers perceive that graduates need, and do these map to student expectations of skills and knowledge they want to acquire when choosing a degree

The IOPC is independent and makes its decisions entirely independently of the Police and government - or does it?

Formally known as the IPCC, the Independent Office for Police Conduct (IOPC) is a non-departmental public body which oversees complaints in the England and Wales criminal justice system. The organisation investigates complaints and misconduct matters against the Police, Home Office, HMRC and other government organisations. All 43 Police forces are legally obliged to directly refer some instances of corruption, misconduct, criminal offences, death and injury to the IOPC (IOPC, 2022a). Misconduct is defined under the Police (Conduct) Regulations (2020) as "a breach of the standards of Professional Behaviour that is so serious as to justify disciplinary action". Complaints or conduct issues can include corruption, death or injury and can include 'super complaints' made by public organisations that highlight problems in policing that can affect public confidence. As its name suggests, the IOPC's core aim is to operate "Independently of the police and government" (IOPC, 2022b:6), free from external influence, to make decisions based solely on the evidential aspects of each case. However, the question of the IOPC's true independence endures a complex history and a challenging future

CPD developments in China: insights from the 2022 New English Curriculum Standards

The 2022 New English Curriculum Standards (NECS) in China represent a significant shift towards an integrated, holistic approach to developing core competencies and international understanding among students (MoE PRC, 2022). On 19 April 2024, a diverse panel of experts convened at the IATEFL Conference in Brighton to discuss the recent developments in CPD for English teachers in China under the NECS. The panel brought together insights from UK-China collaborative research and CPD projects supported by the British Council, exploring challenges, needs and future directions at this critical juncture in China’s educational development

Patriarchy, Superstition and the Feminisation of Evil

This chapter critically examines how patriarchal ideologies and superstitions intersect to make women the primary targets of witchcraft accusations. Focusing on the cultural and societal mechanisms that frame the concept of evil through a gendered lens, this analysis reveals how patriarchal control is exercised by casting women as scapegoats for malevolent forces

A Beginner’s Guide to Directing Theatre

An accessible guide to the theatre directing process of text-based theatre, from the choice of the play through to an encounter with an audience. Moving from how to choose a play to the opening night, A Beginner's Guide to Directing Theatre takes the reader, via a step-by-step approach, through various techniques, practitioners, methodologies and exercises that could be applied to text-based theatre. Through doing so, the reader comes to understand: - The differences between directing (the approach) and the director (the role), how that crosses over and ways to navigate this - A range of practices, methodologies and techniques for the differing and diverse styles, genres, playwrights and movements. i.e. the 'what' of directing - How to create inclusive, safe and diverse practices of casting and rehearsal methods By not providing one single methodology, but introducing readers to various methods, the author garners an understanding of how different plays, genres, styles and movements require their own approaches to reach opening night. Whilst not concentrating on devised or non-text based theatre, the book makes explicit how devising, experiential and improvisatory techniques can be embraced to inform the types of methodologies a director may embrace whilst approaching text-based work

Community Iftar 2025

Public engagement event hosted by the University of Staffordshire in partnership with Staffordshire Police, Staffordshire Fire & Rescue Service and the local community