A comparative examination of the novels of Farida Karodia, Rayda Jacobs, Pamela Jooste.

The intention of this dissertation is to examine the writings of three South African women authors who are active in the post-apartheid era. Work by South African women writers, mainly English-speaking, has been emerging at a remarkable rate in the first 10 years of democracy. The three women authors chosen for examination here have been selected because of their different racial and social backgrounds. In different ways, they attempt to recuperate an alternative past by using a voice previously denied them through sexist and racial discrimination during apartheid South Africa. Post-apartheid writing has not received its due attention. In the main, the treatment of the works of post-apartheid authors has been slight and superficial. Unsurprisingly, the writers whose works are examined here reveal a cultural awareness of a society previously dominated by racial discrimination. However, their creative responses to the period of transition and the new social and political realities have been diverse, and this makes for revealing and enlightening analysis, criticism and comparison

The Currency of Art: a collaboration between the Baring Archive and the Graduate School of CCW.

This publication arises from a collaborative project undertaken by The Baring Archive and the Graduate School of CCW (Camberwell College of Arts, Chelsea College of Art and Design and Wimbledon College of Art, three of the constituent colleges of University of the Arts London). In 1995, ING acquired the business of Barings plc, after Barings became insolvent as a result of unauthorized trading. Along with the acquisition of the company came a collection of archival material relating to the long history of Barings, whose origins stretch back to 1717 when John Baring of Bremen settled in Exeter and set up business as a merchant and manufacturer. In 1762, his three sons established the London merchant house of John & Francis Baring & Co., later known as Baring Brothers and, by the nineteenth century, the firm had expanded to become a leading financier for overseas governments and businesses. Documentation and objects relating to the illustrious history of the bank were augmented by portraits – eighteenth and nineteenth century paintings of the Baring family by leading practitioners of the period, such as Thomas Lawrence, Benjamin West, John Linnell, Ambrose McEvoy and William Orpen. From the 1970s onwards, a distinguished collection of water-colours was added to the historical archive, containing works by artists such as Paul Sandby, Francis Towne and David Cox, and Barings, with great discernment, had also accrued an impressive group of modern British artworks to hang on its office walls.Prunella Clough, L.S. Lowry, Paul Nash, Matthew Smith, Stanley Spencer, Keith Vaughan and Carel Weight are just a few of the artists represented. The Currency of Art is one outcome of a collaboration initiated with ING seven years ago. Staff and students from Wimbledon College of Art, and pupils from three of its neighbouring secondary schools, were invited to create new works in response to the painting collection which now hangs in ING’s offices at 60 London Wall. The staff, students and schoolchildren – diverse communities in themselves – brought fresh perspectives, distinct from those of financial historians or more traditional academics, to the collection. Residencies, symposia and workshops generated responses to the paintings, culminating in two exhibitions hosted by ING, re:MAKING and re:INVENTING, whereby the newly created works were hung alongside the originals that had inspired them. This represented an unusual opportunity, given the problems associated with conservation and stewardship that often inhibit such a combination

Family health narratives : midlife women’s concepts of vulnerability to illness

Perceptions of vulnerability to illness are strongly influenced by the salience given to personal experience of illness in the family. This article proposes that this salience is created through autobiographical narrative, both as individual life story and collectively shaped family history. The paper focuses on responses related to health in the family drawn from semi-structured interviews with women in a qualitative study exploring midlife women’s health. Uncertainty about the future was a major emergent theme. Most respondents were worried about a specified condition such as heart disease or breast cancer. Many women were uncertain about whether illness in the family was inherited. Some felt certain that illness in the family meant that they were more vulnerable to illness or that their relatives’ ageing would be mirrored in their own inevitable decline, while a few expressed cautious optimism about the future. In order to elucidate these responses, we focused on narratives in which family members’ appearance was discussed and compared to that of others in the family. The visualisation of both kinship and the effects of illness, led to strong similarities being seen as grounds for worry. This led to some women distancing themselves from the legacies of illness in their families. Women tended to look at the whole family as the context for their perceptions of vulnerability, developing complex patterns of resemblance or difference within their families

Working out of the ‘toolbox’: an exploratory study with complementary therapists in acute cancer care

Aims: The aim of this research was to explore and capture therapists’ experiences of and preparation for working with patients in an acute cancer care setting. Method: Semi structured interviews with therapists (n=18) in an acute cancer hospital in the North West of England. The interviews were transcribed and analysed using thematic coding. Results: Key themes identified included; the need for a ‘tool box’ that goes beyond initial training, building confidence with adapting these new skills in practice, helping patients to become empowered, the need to support carers, research evidence and resources issues, and the role of supervision. Conclusion: This study was limited by being set in a single acute cancer site. Therapists valued having a ‘tool box’ but needed confidence and support to navigate the challenges of clinical practice.The authors would like to acknowledge the support of ‘Walk the Walk’ Charity, who help fund the complementary therapy services in the Radiotherapy and Chemotherapy Departments

Screening for breast cancer : medicalization, visualization and the embodied experience

Women’s perspectives on breast screening (mammography and breast awareness) were explored in interviews with midlife women sampled for diversity of background and health experience. Attending mammography screening was considered a social obligation despite women’s fears and experiences of discomfort. Women gave considerable legitimacy to mammography visualizations of the breast, and the expert interpretation of these. In comparison, women lacked confidence in breast awareness practices, directly comparing their sensory capabilities with those of the mammogram, although mammography screening did not substitute breast awareness in a straightforward way. The authors argue that reliance on visualizing technology may create a fragmented sense of the body, separating the at risk breast from embodied experience

Engaging Opportunities: Connecting young people with contemporary research and researchers

This is the final report for ‘Engaging Opportunities’, an RCUK-funded School-University Partnership between the Open University and the Denbigh Teaching School Alliance. Informed by action research, this four-year project was designed to create structured, strategic, sustainable and equitable mechanisms for effective school-university engagement with research. The report describes an evidence-based strategy designed to embed school-university engagement with research within the University’s strategic planning for research and the operational practices of researchers. Through the early stages of our partnership we noted a lack of suitable planning tools that work for researchers, teachers and students. We therefore introduced a flexible and adaptable framework of four types of activity—open lectures, open dialogues, open inquiry and open creativity—combined with an upstream approach to planning based on a set of six principles. A sub-set of these activities were evaluated through a combination of surveys, interviews and interventions. In conclusion, we argue that institutional and professional cultures can be resistant to the prospect of fully embedding school-university engagement with research in a structured, strategic and sustainable manner, and offer suggestions for how this context could and should be changed