Collaborative writing with young people with disabilities: raising new questions of authorship and agency

The process of communication between author and reader is a critical issue in examining any text. When considering the communication of ideas from young people whose voices are seldom heard, the journey from author to audience has particular significance. The construction of children and young people as ‘authors’ is important, especially for those with learning difficulties or who struggle to comply with the current emphasis on spelling, punctuation and grammar. This article relates to a UK Research-Council-funded three-year collaborative research project involving the co-creation of fictional stories with young people with disabilities to represent aspects of their lives. Drawing on frameworks from narratology, I analyse the co-creation of one of the stories, and present an interpretation and elaboration of the discourse structure of narrative fiction to illustrate the complexities of the relationship between the multi-faceted ‘author’ and community ‘reader’ of these stories. The combination of qualitative research and fictional prose has particular characteristics and implications for the dissemination and communication of research findings; while extending feminist critique of Barthes’ claim for the death of the author provides new insights for engaging children in writing with their own voice

The relationship between individual variation in macroscale functional gradients and distinct aspects of ongoing thought

Contemporary accounts of ongoing thought recognise it as a heterogeneous and multidimensional construct, varying in both form and content. An emerging body of evidence demonstrates that distinct types of experience are associated with unique neurocognitive profiles, that can be described at the whole-brain level as interactions between multiple large scale networks. The current study sought to explore the possibility that whole-brain functional connectivity patterns at rest may be meaningfully related to patterns of ongoing thought that occurred over this period. Participants underwent resting-state functional magnetic resonance imaging (rs-fMRI) followed by a questionnaire retrospectively assessing the content and form of their ongoing thoughts during the scan. A non-linear dimension reduction algorithm was applied to the rs-fMRI data to identify components explaining the greatest variance in whole brain connectivity patterns, and ongoing thought patterns during the resting-state were measured retrospectively at the end of the scan. Multivariate analyses revealed that individuals for whom the connectivity of the sensorimotor system was maximally distinct from the visual system were most likely to report thoughts related to finding solutions to problems or goals and least likely to report thoughts related to the past. These results add to an emerging literature that suggests that unique patterns of experience are associated with distinct distributed neurocognitive profiles and highlight that unimodal systems may play an important role in this process

‘Not a country at all’: landscape and Wuthering Heights

This article explores the issue of women’s representational genealogies through an analysis of Andrea Arnold’s 2011 Wuthering Heights. Beginning with 1970s feminist arguments for a specifically female literary tradition, it argues that running through both these early attempts to construct an alternative female literary tradition and later work in feminist philosophy, cultural geography and film history is a concern with questions of ‘alternative landscapes’: of how to represent, and how to encounter, space differently. Adopting Mary Jacobus’ notion of intertextual ‘correspondence’ between women’s texts, and taking Arnold’s film as its case study, it seeks to trace some of the intertextual movements – the reframings, deframings and spatial reorderings – that link Andrea Arnold’s film to Emily Brontë’s original novel. Focusing on two elements of her treatment of landscape – her use of ‘unframed’ landscape and her focus on visceral textural detail – it points to correspondences in other women’s writing, photography and film-making. It argues that these intensely tactile close-up sequences which puncture an apparently realist narrative constitute an insistent presence beneath, or within, the ordered framing which is our more usual mode of viewing landscape. As the novel Wuthering Heights is unmade in Arnold’s adaptation and its framings ruptured, it is through this disturbance of hierarchies of time, space and landscape that we can trace the correspondences of an alternative genealogy