Educating for career - comparative views on knowledge transfer to film students

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Educating for Creativity : Are Universities in Sync With Creative Arts Industry Needs?

Author's accepted version (postprint)This is an Accepted Manuscript of an article published by Academic Conferences International in Proceedings of the International Conference on Intellectual Capital, Knowledge Management and Organisational Learning, ICICKM in 2020.acceptedVersio

Knowledge transfers between academia and the creative industry

Author's accepted version (postprint)This is an Accepted Manuscript of an article published by Academic Conferences & Publishing International in Proceedings of the European conference on knowledge management in 2019.Available online: https://www.academic-conferences.org/wp-content/uploads/dlm_uploads/2019/09/ECKM-abstract-booklet-Download_embedded.pdf#page=87acceptedVersio

Using Computer-assisted Qualitative Data Analysis Software (CAQDAS) to Re-examine Traditionally Analyzed Data: Expanding our Understanding of the Data and of Ourselves as Scholars

As diverse members of a college of education evaluation committee one of our charges is to support faculty as we document and improve our teaching. Our committee asked faculty to respond to three qualitative questions, documenting ways in which interdepartmental and cross-department conversations are used to promote reflective thinking about our practice. Three of us investigated the use of CAQDAS to provide an additional level of analysis and how we learned more about ourselves as scholars through this collaboration. Our findings include recommendations regarding the use of CAQDAS to support collaborative efforts by diverse scholars

‘Dropped from the system’: the experiences and challenges of long-term breast cancer survivors

Aims The aim of this study was to explore breast cancer patients’ experiences during survivorship. Particular attention is given to the role of specialist breast care nurses in supporting women throughout this phase. Background There is a relative lack of research involving long‐term breast cancer survivors. Yet, many survivors experience substantial psychosocial and iatrogenic harms created by diagnosis, symptoms of disease and treatment. A more comprehensive understanding may assist in supporting the needs of breast cancer survivors. Design An exploratory qualitative approach was used to collect data on breast cancer survivors’ experiences during 2013. Methods Semi‐structured interview data were collected from seven British women aged 38–80 years exploring the support received during survivorship. Data were analysed using Interpretive Phenomenological Analysis. Findings Breast cancer survivors perceived a systemic absence in support from oncology teams and rapid deterioration of support from personal support networks. Despite this, survivors were able to find benefits from the cancer experience. This allowed for adjustment and enabled patients to assume a new identity as a breast cancer survivor. We recommend specialist breast care nurses would be suitably placed to provide extended support allowing for a salient transition from treatment to survivorship. Conclusion This study yields insights into breast cancer survivorship and specifically the role of specialist breast care nurses. Given the growing cohort of breast cancer survivors and the increased importance on promoting and supporting optimal psychosocial adjustment, we advise the cost‐effectiveness of providing continuing nursing support and the mode of administration requires further research

Identity, relational and aesthetic issues in the transmission of Odissi dance in India. The case of an emerging dance school in Bhubaneswar in the State of Orissa

Cette thèse porte sur le rapport entre les normes sociales, les pratiques pédagogiques et l’esthétique dans la danse Odissi en Inde. Apparue sur la scène post-coloniale dans la période de l’après-indépendance du pays en tant que « danse classique », l’Odissi véhicule, en dépit du caractère hétérogène, voire multiculturel, de ses pratiquants, des revendications identitaires relatives à l’Etat indien d’Orissa, rebaptisé Odisha en 2011. La recherche a été menée à partir de terrains successifs effectués principalement dans la ville de Bhubaneswar, capitale de l’Orissa, et plus particulièrement dans une école de danse émergente.Un examen des narrations historiques concernant les années de fondation de la danse ainsi que des éléments mythiques sur lesquels les protagonistes basent les représentations de celle-ci, permet d’identifier l’organisation sociale de la communauté des pratiquants, qui se manifeste notamment dans la généalogie officielle de l’Odissi. Dans le cadre de l’observation des pratiques de danse dans l’école, il apparaît que cet ordre social est réactivé discursivement par le maître aux moments des entraînements quotidiens des danseurs. Il use ainsi d’assignations identitaires dans le cadre de son activité pédagogique, tissant des liens dialectiques entre certaines valeurs morales, une éthique relationnelle entre pratiquants, et les pratiques. Ce mode d’action renforce certes la structure hiérarchique de l’école. Toutefois, du point de vue des pratiquants, cette instauration d’un sens moral de la situation se rapporte à certaines qualités esthétiques intrinsèques à la danse, qui apparaît alors comme une manière d’être plus qu’une manière de faire.This thesis addresses the relation between social norms, pedagogical practices and aesthetics in Odissi dance in India. Despite the heterogeneous and even multicultural nature of its practitioners, Odissi, which appeared as a “classical dance” on the post-colonial stage during the country’s post-Independence era, is a vehicle for identity claims relative to the Indian State Orissa, renamed Odisha in 2011. The research was undertaken during successive fieldwork periods mainly in the state capital of Bhubaneswar, and more specifically in an emerging dance school.The social organisation of the community of practitioners, which manifests itself in the official genealogy of Odissi, is identified through an examination of historical narratives on the foundation years of the dance, and of mythical elements on which protagonists base their representations. From observation of dance practices in the school, it becomes clear that this social order is reactivated discursively by the master during daily training sessions. He literally uses identity ascriptions in his pedagogical activity, creating links between certain moral values, a relational ethics between practitioners, and dance practice. This mode of action certainly reinforces the hierarchical structure of the school. However, from the point of view of the practitioners, the institution of a moral sense of the situation is related to certain aesthetic qualities of the dance, which then appears as a mode of being rather than a mode of doing