An online narrative archive of service user experiences to support the education of undergraduate physiotherapy and social work students in North East England: An evaluation study.

Background: Patient narratives are a viable process for patients to contribute to the education of future health professionals and social workers. Narratives can facilitate a deeper understanding of the self and others through self-reflection and encourage transformative learning among students. Increasingly, accounts of health and care are available online but their use in health and social work education requires evaluation. This study explored the experiences of stakeholders who contributed to, developed and used an online narrative archive, which was developed in collaboration with five universities and healthcare providers in the North East of England (CETL4HealthNE). Methods: Realistic evaluation principles were used to underpin data collection, which consisted of semi-structured interviews, a focus group and observations of educators using narrative resources in teaching sessions with different professional groups in two universities. Participants included educators, storytellers, narrative interviewers, students and a transcriber. Data were analysed thematically by two researchers and verified by a third researcher. Findings: Stakeholders reported that listening to patient narratives was challenging. The process of contributing the story was a positive cathartic experience for patients, and the powerful storyteller voice often evoked empathy. Students commented on the ability of the online audio-visual narratives to enable them to see the patient holistically, and educators reported that narratives provided a means to introduce sensitive topics. Conclusions: The use of a locally generated online narrative archive is beneficial for storytellers, students and educators, providing an opportunity to influence healthcare professional training. Care needs to be taken when exposing individuals to potentially sensitive narratives

Suzanne Jones to Mr. Meredith (2 October 1962)

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Printing Stage: Relationships between performance, print, and translation in early English editions of Molière

The publication of dramatic texts designed initially to be performed on stage requires a form of translation from one medium to another. While a play in manuscript might be subject to modification in the rehearsal stage, a printed version is intended to preserve the text in a more fixed form. Molière became involved in the Paris printing world in order to maintain authorial and commercial control of his works. Yet the printing of his works allowed them to travel beyond the bounds of Paris and France. From the early 1660s onwards many of his plays were translated quickly in England, where there was high demand for dramatic material following the closure of the theatres during the interregnum. The translators of Molière took on the role of seeing new versions of his work put through the printing press and by the early eighteenth century collected works of Molière were published in translation. Far from the translators making themselves invisible, they used publication techniques to advertise their changes. In doing so they demonstrate engagement with the French sources and encourage readers to keep in mind the plays’ stage histories

Growing Up in the South: An Anthology of Modern Southern Literature

Something about the South has inspired the imaginations of an extraordinary number of America’s best storytellers—and greatest writers. That quality may be a rich, unequivocal sense of place, a living connection with the past, or the contradictions and passions that endow this region with awesome beauty and equally awesome tragedy. The stories in this superb collection of modern Southern writing are about childhood, adolescence, and young adulthood—in other words, about growing up in the South. Flannery O’Connor’s “Everything That Rises Must Converge,” set in a South that remains segregated even after segregation is declared illegal, is the story of a white college student who chastises his mother for her prejudice against blacks. But black, white, aristocrat, or sharecropper, each of these 23 authors is unmistakably Southern—and their writing is indisputably wonderful.https://scholarship.richmond.edu/bookshelf/1036/thumbnail.jp

Book Review: Oklahoma Tough: My Father, King of the Tulsa Bootleggers

Oklahoma Tough celebrates the life and career of Wayne Padgett, a thief, fence, arsonist, wife-beater, and alleged murderer. The author, his son Ron Padgett, designed this biography as a tribute to his father, whom he sees as a daring and cunning desperado who was an extraordinary, generous, exciting, charismatic, man. Relying heavily on interviews with his father\u27s associates, relations, and his own childhood memories, Padgett chronicles the length and breath of his father\u27s criminal involvement as well as the gaudy but sordid way of life of small-time gangsters and their molls

I\u27ll Take My Land: Contemporary Southern Agrarians

For many earlier southern white writers, the southern rural landscape was the repository of nostalgia for lost ways of life, whether it was the plantation fantasy that Thomas Nelson Page pined for in his stories In Ole Virginia (1887) or the segregated agrarian ideal that many contributors yearned for in I\u27ll Take My Stand (1930). For modern southern white writers, beginning most prominently with William Faulkner, the rural landscape has conjured up unsettling guile about a way of life that flourished on the backs of the black people who tilled that land. And not surprisingly, for many black writers the southern rural landscape has been the repository of troubled memories-- slavery\u27s old backyard, as Eddy Harris terms it in South of Haunted Dreams (1993). African American writers such as Richard Wright and Ralph Ellison started their lives and their plots in the rural South and then fled its racism. During the Harlem Renaissance, writers such as Jean Toomer and Zora Neale Hurston found the rural South to be a storehouse of African American culture, a culture that Hurston\u27s anthropology professor Franz Boaz thought might be lost during the Great Migration of blacks from the South, a culture that she reclaimed. Many contemporary African American writers, no matter their region of origin, have found that at some time in their writing lives they must go South in their fiction to understand their history, to confront old enemies, and to heal old wounds. For writers not native to the South, the turn South is often made in historical fictions recounting slavery or segregation--Charles Johnson\u27s Middle Passage, Toni Morrison\u27s Beloved, Sherley Anne Williams\u27s Dessa Rose, and Bebe Moore Campbell\u27s Your Blues Ain\u27t Like Mine. In David Bradley\u27s The Chaneysville Incident, Toni Morrison\u27s Song of Solomon, Gloria Naylor\u27s Mama Day, and Octavia Butlers Kindred, contemporary characters delve into their ancestors\u27 southern rural past in order to understand their racial heritage

City Folks in Hoot Owl Holler: Narrative Strategy in Lee Smith\u27s Oral History

Over the years American writers have perceived Appalachia differently depending on how America has perceived itself. While those who have approved of the American way of life have looked down on mountain life, those who have disapproved have seen Appalachia as an alternative culture from which America might take a lesson (Appalachia, 65). In 1873 the journalist William Harney and the editors of Lippincott Magazine discovered Appalachia, and historian Henry Shapiro argues that since then America has thought of this mountainous portion of eight southern states as a discreet region, in but not of America (Appalachia, 4). In the 1870\u27s writers caught up in what they saw as America\u27s progress saw Appalachia as behind the times. For vacationers and local-color writers, who looked with wonder at colorful people, quaint customs, and picturesque scenes, Appalachia was a measure of how far America had come. At the turn of the century when writers of uplift literature accompanied the missionaries and teachers to the region, America\u27s success became a measure of how far Appalachia had to go. These outsiders viewed Appalachians as ignorant, isolated hillbillies, poor, shiftless, and easily provoked

Race Mixing: Southern Fiction Since the Sixties

In the southern United States, there remains a deep need among both black and white writers to examine the topic of race relations, whether they grew up during segregation or belong to the younger generation that graduated from integrated schools. In Race Mixing, Suzanne Jones offers insightful and provocative readings of contemporary novels, the work of a wide range of writers—black and white, established and emerging. Their stories explore the possibilities of cross-racial friendships, examine the repressed history of interracial love, reimagine the Civil Rights era through children\u27s eyes, herald the reemergence of the racially mixed character, investigate acts of racial violence, and interrogate both rural and urban racial dynamics. Employing a dynamic model of the relationship between text and context, Jones shows how more than thirty relevant writers—including Madison Smartt Bell, Larry Brown, Bebe Moore Campbell, Thulani Davis, Ellen Douglas, Ernest Gaines, Josephine Humphreys, Randall Kenan, Reynolds Price, Alice Walker, and Tom Wolfe—illuminate the complexities of the color line and the problems in defining racial identity today. While an earlier generation of black and white southern writers challenged the mythic unity of southern communities in order to lay bare racial divisions, Jones finds in the novels of contemporary writers a challenge to the mythic sameness within racial communities—and a broader definition of community and identity. Closely reading these stories about race in America, Race Mixing ultimately points to new ways of thinking about race relations. We need these fictions, Jones writes, to help us imagine our way out of the social structures and mind-sets that mythologize the past, fragment individuals, prejudge people, and divide communities.https://scholarship.richmond.edu/bookshelf/1035/thumbnail.jp

Reading the Endings in Katherine Anne Porter\u27s Old Mortality

With these final sentences of Old Mortality (1937), Katherine Anne Porter qualifies the progress eighteen-year-old Miranda has made toward self-knowledge and sophisticated reading strategies. This long story is a bildungsroman of sorts, tracing Miranda\u27s development from childhood to young adulthood, but focusing particularly on her apprenticeship as a reader. Porter links Miranda\u27s quest for self-discovery with her attempts to determine fact from fiction in the stories her family tells about the love affairs, brief marriage, and early death of her beautiful Aunt Amy. By dismissing both her father\u27s romantic legend and her Cousin Eva\u27s feminist critique as untrue--by focusing on narrative as representing reality rather than producing reality--Miranda misses not only the truths that both versions of the story contain but also the nature of the ideologies that shape these truths. By failing to comprehend the complexity of the reading experience, Miranda undermines her own ability to see how she has unconsciously used the romance narrative to script her elopement and the feminist critique to write the erotic plot out of her life. In the end, Porter herself shies away from the feminist politics of the reading experience, by concluding Old Mortality with a typical modernist ambiguous ending that runs counter to the plot\u27s interest in creating feminist readers