The Lantern, 2018-2019

The Treasure Buried in Ponce de Leon\u27s Fountain of Youth Archaeological Park • High Cards on the Low River • Sestina of a Vagina left in the microwave too long • Keeps on Tripping • The Auction • Nuclear Meltdown on Seedship C5B.6 • Cock Fight • An Interview with God • Minimum Wage • Star-Crossed Lovers • Romeo Echo Alpha • PM Entertainment, or Action Beats • The Gospel of Aggregates • Hel Hath no Fury • Crossing the Line • Mango de la hora • Stress Judgment • Perception (Part 2) • Rain Falling Up • Church: the Italian Market • Landscape with the Fall of Hillary • Forced to Ponder • Morally Upright • Adulthood • Migration in Tandem • Hospital Bed • To Autumn (After Keats) • Selected Tweets • Hidden Moments • Mysteries are Wrong • Jukebox Memory • Flames • A Simple Moment • The Farmhouse • Lord, Let Me Catch a Fish • Sun-Kissed • Five • The Thing • The Moons of Mars • You are Weak • You Kept Me Quiet • Offer Her a Seat • Sacraments • Cigar • The Lake George Mafia • Houses • Spun Out • To Romanticize the Restless • 12/25/17 • skylight • lanternflies • Goo Girls • Toi Le • Lovers, Thinkers, Rebels • home in paradise • Irreverence • The Fisherman • St Mary Episcopal Cathedral, Edinburgh • Mirror 2https://digitalcommons.ursinus.edu/lantern/1187/thumbnail.jp

'It's not the form; it's the process': A phenomenological study on the use of creative professional development workshops to improve teamwork and communication skills

Introduction: Past research has demonstrated the positive effects of visual and performing arts on health professionals’ observational acuity and associated diagnostic skills, well-being, and professional identity. However, to date, the use of arts for the development of non-technical skills, such as teamwork and communication has not been studied thoroughly. Methods: In partnership with a community print and media arts organization, Centre[3], we utilized a phenomenological approach to explore front-line mental health and social service workers’ experiences with a creative professional development workshop based on the visual and performing arts. Through pre- and post-workshop interviews with participants and post-workshop interviews with their managers, we sought to examine how participants’ perceptions of the workshop compared to their pre-workshop expectations, specific impacts of the workshop with respect to participants’ teamwork and communication skills, and changes in their perceptions regarding the use of the arts in professional development. Results: Our workshops were successful in enhancing teamwork skills among participants and showed promise in the development of communication skills, though observable changes in workplace communication could not be confirmed. The workshop facilitated teamwork and collegiality between colleagues, creating a more enjoyable and accepting work environment. The workshops also helped participants identify the strengths and weaknesses of their communication skills, made them more comfortable with different communication styles, and provided them with strategies to enhance their communication skills. Conclusions: Participation in the arts can be beneficial for the development of interpersonal skills such as teamwork and communication among health professionals

Nationalism, Britishness and the ‘Souring’ of Australian National Art

This article investigates the nationalist historiography of the Heidelberg School, an Australian art movement from the Federation period, known for its iconic representations of national life and landscape. Drawing on recent scholarship of Australian nationalism, it questions conventional accounts of the Heidelberg School in Australian art history, especially those based on Bernard Smith’s radical interpretation of this movement. For Bernard Smith, and the generations of Australian art historians he influenced, the nationalism of the 1890s was a progressive force for national culture. Yet, in the post-Federation decades, national art declined (or ‘soured’) into a reactionary form of insular nationalism. By focusing on the ‘souring’ narrative of Australian national art, this article critiques the nationalist interpretation of the Heidelberg School. It explores an apparent contradiction: the role of Britishness in the construction of a distinctly Australian national art