Handwriting speed in children with Developmental Coordination Disorder: Are they really slower?

This is the post-print version of the final paper published in Research in Developmental Disabilities. The published article is available at the link below. Changes resulting from the publishing process, such as peer review, editing, corrections, structural formatting, and other quality control mechanisms may not be reflected in this document. Changes may have been made to this work since it was submitted for publication. Copyright @ 2013 Elsevier B.V.Handwriting difficulties are often included in descriptions of Developmental Coordination Disorder (DCD). They are cited as the most common reason for referral to health professionals following parent and teacher concerns about slow and untidy writing. The aim of this study was to compare handwriting performance in English children with and without DCD across a range of writing tasks, to gain a better understanding of the nature of ‘slowness’ so commonly reported. Twenty-eight 8–14 year-old children with a diagnosis of DCD participated in the study, with 28 typically developing age and gender matched controls. Participants completed the four handwriting tasks from the Detailed Assessment of Speed of Handwriting (DASH) and wrote their own name; all on a digitising writing tablet. The number of words written, speed of pen movements and the time spent pausing during the tasks were calculated. The findings confirmed what many professionals report, that children with DCD produce less text than their peers. However, this was not due to slow movement execution, but rather a higher percentage of time spent pausing. Discussion centres on the understanding of the pausing phenomenon in children with DCD and areas for further research.Oxford Brookes Universit

Clone stories: ‘shallow are the souls that have forgotten how to shudder’

This article explores literary interrogations of the bioethical implications of cloning. It does so by outlining the basic science of cloning before going on to question the dominance of the Freudian notion of the ‘uncanny’ in the critical theoretical responses to cloning by figures such as Jean Baudrillard and Slavoj Žižek. The second half of the article turns to two recent novels exploring the theme of cloning: Eva Hoffman's The Secret, and Kazuo Ishiguro's Never Let Me Go. It is argued that the former rehearses familiar themes of revulsion connected to the figure of the clone, yet resolves the struggle for identity in a ‘human’ conclusion; whereas the latter maintains the uncanny in-human difference of the clone even as it highlights the dangers of the biopolitical instrumentalization of life itself. The article therefore argues that fictional treatments of cloning can provide an important alternative to simplified debates on the subject in the mass media

Funny walking : the rise, fall and rise of the Anglo-American comic eccentric dancer

This article will attempt to reposition comic eccentric dance as a metamorphic form that still, surprisingly, exists, and is to be found with reasonable ubiquity, in renewed incarna-tions within twenty first century media. Tracing the origins of comic eccentric dance through examples of earlier comedy performance, and drawing from Bergson’s comic theory of body misalliance, this article will dis-cuss this particularly ludic fusion of music and comedy. Further changes to the form affected by modernist preoccupations during the new Jazz Age at the turn of the twentieth century will be suggested. Finally, ways in which the formulation lives on in twenty-first century in-carnations in the comedy work of, for instance, Jimmy Fallon and Ricky Gervase, and in popular television shows such as Strictly Come Dancing (BBC 2004 - ) and Britain’s Got Talent (ITV 2006 - ) will be posited

Very silly party politics : surrealism and satire in the ‘Pythonesque’

2019 sees the 50th anniversary of the iconic British television comedy series Monty Python’s Flying Circus (BBC: 1969-74). This article focuses on the concept of ‘Pythonesque’, placing the broadly political satirical content that is evident within the Pythons’ mainstream TV work and in selected subsequent film work at the centre of the notion of ‘Pythonesque’. It will be suggested, moreover, that the Pythons’ socio-cultural critical position is embedded in a long established British literary satirical tradition. Further, this article will aim to show that ‘Pythonesque’ incongruity, whilst adopting the aesthetic of the nihilistic cabaret of the Dadaists, was further influenced by the contemporary strain of British vernacular surrealism that permeated twentieth century popular performance through Music Hall, Variety comedy and The Goons, and also borrows Surrealist satirical perspectives. This evaluation of ‘Pythonesque’ fusion of satirical and surreal elements will posit that the comedians were simultaneously behind the times; of their time; and, in their prescience, some ways ahead of their time in their construction of humorous commentary on British societal mores and their vividly underscoring of the absurdity of the institutions they targeted. Key Words: Monty Python, Satire, Surrealism, Comedy, ‘Pythonesque

Visual perceptual and handwriting skills in children with Developmental Coordination Disorder

Objective: Children with Developmental Coordination Disorder demonstrate a lack of automaticity in handwriting as measured by pauses during writing. Deficits in visual perception have been proposed in the literature as underlying mechanisms of handwriting difficulties in children with DCD. The aim of this study was to examine whether correlations exist between measures of visual perception and visual motor integration with measures of the handwriting product and process in children with DCD. Method: The performance of twenty-eight 8-14 year-old children who met the DSM-5 criteria for DCD was compared with 28 typically developing (TD) age and gender-matched controls. The children completed the Developmental Test of Visual Motor Integration (VMI) and the Test of Visual Perceptual Skills (TVPS). Group comparisons were made, correlations were conducted between the visual perceptual measures and handwriting measures and the sensitivity and specificity examined. Results: The DCD group performed below the TD group on the VMI and TVPS. There were no significant correlations between the VMI or TVPS and any of the handwriting measures in the DCD group. In addition, both tests demonstrated low sensitivity. Conclusion: Clinicians should execute caution in using visual perceptual measures to inform them about handwriting skill in children with DCD.This study was funded by the Doctoral Training Programme for Children and Young People at Oxford Brookes University

The Life of Galileo and Brechtian television drama

Bertolt Brecht's dramaturgy was as influential upon the development of British drama on television between the 1950s and the 1970s as it was in the theatre. His influence was made manifest through the work of writers, directors and producers such as Tony Garnett, Ken Loach, John McGrath and Dennis Potter, whose attempts to create original Brechtian forms of television drama were reflected in the frequent reference to Brecht in contemporary debate concerning the political and aesthetic direction and value of television drama. While this discussion has been framed thus far around how Brechtian techniques and theory were applied to the newer media of television, this article examines these arguments from another perspective. Through detailed analysis of a 1964 BBC production of The Life of Galileo, I assess how the primary, canonical sources of Brecht's stage plays were realised on television during this period, locating Brecht's drama in the wider context of British television drama in general during the 1960s and 1970s. I pay particular attention to the use of the television studio as a site that could replicate or reinvent the theatrical space of the stage, and the responsiveness of the television audience towards Brechtian dramaturgy