Movement as Translation: Dancers in Dialogue

This chapter explores the creative process of translating a series of images into a live artwork, performed by two professional dancers. The process is documented in an introduction written by the artist and a transcribed conversation between the visual artist and dancers. These provide an insight into intersemiotic translation from the perspective of the makers and performers. Including first hand experiences of those translating and performing the material, the descriptions probe the process of translation that incorporates collaboration, embodiment and improvisation

What can managers learn online? Investigating possibilities for active understanding in the online MBA classroom

Online MBAs have become integral to business schools’ portfolios and the number of MBA students opting for an online version looks set to grow. In the wake of well documented critiques of traditional MBA formats, this expansion prompted us to examine the potential for critically reflexive learning ideals in asynchronous MBA learning environments. Building the Community of Inquiry (CoI) model we elaborate elements of Bakhtin and Shotter’s dialogism to develop the notion of ‘active understanding’ as a means to study an online MBA classroom. We present two illustrative episodes to show how aspects of active understanding may unfold and we point to the role of infrastructure, curriculum and instructor interventions in developing more genuine dialogical exchanges. Our findings suggest that online MBA course designers can learn from CoI approaches to which we add that critically reflexive learning is situationally sensitive; requiring the capacity to create and recognize nuance and difference in the written communication; making the other the focus of learning. We conclude with implications for pedagogy and technology infrastructure

Midlands Cadences: Narrative Voices in the Work of Alan Sillitoe

This paper will examine excerpts from a range of Alan Sillitoe’s prose fiction, most notably Saturday Night and Sunday Morning (1958) and short stories from the collection The Loneliness of the Long-Distance Runner (1958), via a comparative exploration of the texts’ representations of Midlands English demotic. Both texts enact Bakhtin’s notion of novelistic dialogism and find much expressive capital in the tension between discourses: between the oral and the written. Indeed, it could be argued that much of Sillitoe’s work functions as a direct challenge to dominant notions of the literary. The narrative discourse attempts to trace a link between the quotidian experience of the Midlands English working classes represented and the demotic language which they speak. His technique also explores the link between language and sensibility; i.e. verbal articulacy need not be a limit to expression of a character’s distinctive identity. In contrast to the more radical techniques of novelists like James Kelman and Irvine Welsh, all instances of phonetically-rendered demotic remain imprisoned by what Joyce called ‘perverted commas’ – as direct speech. However, the diegetic narrative discourse itself is redolent of registers rooted in 1950s English working class life. The texts also contain different methods of representing their protagonists’ consciousness through their own idiolect. In Saturday Night and Sunday Morning, this is evidenced by the use of the second person ‘you’. It functions simultaneously as a representation of Seaton’s consciousness in the oral register which he might choose to articulate it, and as a dialogic ‘sideways glance’ at the reader and assumed shared experience. The second is more redolent of internal monologue, using the first-person form (as seen in the homodiegetic narration of the second novel); crucially, though, it remains in Standard English, if explicitly orientated towards oral register. Sillitoe’s is a novelistic discourse which refuses to normalise itself to accord with the conventions of classic realism, and as such prefigures the ambitions of many contemporary writers who incline their narrative voices towards the oral – asserting the right of a character’s dialect/idiolect to be the principal register of the narrative. The paper will demonstrate this thesis through the ideas of Bakhtin, and through an analytical taxonomy derived from literary stylistics. It aims to propose a model which can be used to analyse and explore any fiction which has been labelled as ‘working class’, and asserts that such an approach leads to a more principled characterisation of working class fiction (based on its use of language) than current literary-critical discussions based simply on cultural/social context and biography

Simulated Encounters With Vaccine-Hesitant Parents: Arts-Based Video Scenario and a Writing Exercise

Vaccine hesitancy is an increasing and urgent global public health challenge. Medical students’ encounters with vaccine-hesitant parents, however, remain incidental and unexplored. During pre-clinical training, the vaccine-hesitant parents are typically represented through impersonal text-based cases, lists of their concerns, and sometimes a virtual patient. However, in reality, vaccine-hesitant parents have many health beliefs and arguments that are accompanied with intense emotions, and students remain unaware and unprepared for them. This study is an experimental pilot test in stimulating the medical students’ understanding of, and ability to respond to, vaccine-hesitant parents’ beliefs and questions. An arts-based video scenario and a writing exercise are used to demonstrate a rich case of vaccine hesitancy, including a simulated dialogue between a parent and a student. The study invites vaccine-hesitant parents to ask questions to medical students, then it incorporates these questions in a video scenario and subsequently invites the students to answer these questions as junior doctors. The study examines how the peer group discussion after the video viewing resembles a hospital breakroom conversation and how the written dialogue with a vaccine-hesitant parent simulates a consultation-room encounter

Lament as Transitional Justice

Works of human rights literature help to ground the formal rights system in an informal rights ethos. Writers have developed four major modes of human rights literature: protest, testimony, lament, and laughter. Through interpretations of poetry in Carolyn Forché’s anthology, Against Forgetting, and novels from Rwanda, the United States, and Bosnia, I focus on the mode of lament, the literature of mourning. Lament is a social and ritualized form, the purposes of which are congruent with the aims of transitional justice institutions. Both laments and truth commissions employ grieving narratives to help survivors of human rights trauma bequeath to the ghosts of the past the justice of a monument while renewing the survivors’ capacity for rebuilding civil society in the future. Human rights scholars need a broader, extra-juridical meaning for “transitional justice” if we hope to capture its power

Finding a voice? Narrating the female self in mathematics

If mathematics is a male domain, where does this leave women who do mathematics? In a world where there is little or no discursive space in which to be female, women who enter in must do identity work in order to achieve what is often an uneasy presence. This paper builds on recent research which suggests that some undergraduate women are however finding new spaces for belonging in the world of mathematics through critical reflection and collective challenge to dominant discourses. Focussing on an analysis of two women’s narratives of their success in mathematics, it explores their multi-voiced accounts of self through the lens of Bakhtin’s dialogism. It discusses the scope of reflexivity in creating new identity spaces in refigured worlds

Living in several languages: Language, gender and identities

Living in several languages encompasses experiencing and constructing oneself differently in each language. The research study on which this article is based takes an intersectional approach to explore insider accounts of the place of language speaking in individuals’ constructions of self, family relationships and the wider context. Twenty-four research interviews and five published autobiographies were analysed using grounded theory, narrative and discursive analysis. A major finding was that learning a new language inducted individuals into somewhat ‘stereotyped’ gendered discourses and power relations within the new language, while also enabling them to view themselves differently in the context of their first language. This embodied process could be challenging and often required reflection and discursive work to negotiate the dissimilarities, discontinuities and contradictions between languages and cultures. However, the participants generally claimed that their linguistic multiplicity generated creativity. Women and men used their language differences differently to ‘perform their gender’. This was particularly evident in language use within families, which involved gendered differences in the choice of language for parenting – despite the fact that both men and women experience their first languages as conveying intimacy in their relationships with their children. The article argues that the notion of ‘mother tongue’ (rather than ‘first language’) is unhelpful in this process as well as in considering the implications of living in several languages for systemic therapy