The personal, political, and aesthetic ideals that Irish modernists found embodied in the figure of Charles Stewart Parnell—independence, self-mastery, and a capacity for radical self-fashioning—have been well attested in Irish literary historiography. What has been less often noted is the centrality of sexual health to the conception, articulation, and emulation of those virtues, particularly when attempting to translate Parnell’s public persona to the stage. This essay addresses this lacuna by tracing how a medicalized and politicized conception of sex (...) informed Irish modernist efforts to dramatize the Parnell myth at the Abbey Theatre. It begins by establishing the hitherto underexamined ways in which the Parnell myth informed the infamously divisive sexual politics of J. M. Synge’s The Playboy of the Western World (1907), in which the fallen leader and his career provide a template for Christy Mahon and the virile autonomy he is held to embody. Building on this analysis, the essay proceeds to explore the ways in which Synge’s restaging of the Parnell myth, and the medicalized and politicized model of sex which underpinned it, informed Lady Augusta Gregory’s efforts to resuscitate (and sanitize) Parnell for Abbey audiences in 1911’s The Deliverer. Finally, through a close reading of Lennox Robinson’s largely overlooked 1918 play, The Lost Leader, the essay charts how the organicist and hereditarian model of sexual health upon which earlier iterations of the Parnell myth had rested began to give place to a more psychoanalytic model. It then identifies the implications of this shift for Robinson’s reading of Irish politics in the wake of the 1916 Easter Rising. In doing so, the essay highlights the ways in which sexual health emerged as an extra-moral normative framework in Irish political discourse, and it demonstrates how a Medical Humanities approach and a sensitivity to the social history of medicine in Ireland can enrich critical understandings of the Parnell myth and its modernist afterlives. (shrink)

Antigone’s afterlives in Ireland have always enacted critical gestures of social protest and mourning that expose the fundamental fragility of human rights caught up in the symbolic conflict between oppressors and oppressed. This paper seeks to explore the scope of rereading certain Irish figurations of Antigone – the exemplary text of European humanism – through a posthumanist lens that unveils new and radical understandings of modern injustices, legal fissures, and capitalist insinuations of an “inhuman politics” against proletarian minorities in (...) twentieth-century Irish society in transnational contexts. The possibilities of a posthumanist theorization of Antigone at the intersection with gender, class, and human rights, reflect the connecting threads, political, aesthetic, and critical, between two texts: an early twentieth-century anonymous poem titled “The Prison Graves” dedicated to Irish human rights activist and revolutionary Roger Casement and an unpublished play-version of Antigone by Aidan C. Mathews in 1984, dedicated to René Girard. Written and produced as a critique of systematic institutional violence and neoliberal capitalist oppression during the epoch of the anti-revolutionary zeitgeist, the myth of Antigone shifts its dialectic from the nationalist nostalgia of “The Prison Graves” to the play-version of the Cold War era to reciprocate a counter-protest against the passing of the Irish Justice Bill. Antigone is reimagined as a hypochondriac resident of the slums of the proletariat and a member of a degenerate acting troupe. Her classical (mythical), aristocratic (white, European, Western) figure has become a posthuman commodity: a proletarian actor now, she performs the same role for millennia in a post-nuclear contaminated prison state in Thebes/Dublin. Peteokles is a bourgeois-turned-rebel mediary; Polyneikes is remembered as a communist terrorist who has been airbrushed from the records of the police state; a bibliophile Ismene religiously reads Aleksandr Solzhenitsyn’s The Gulag Archipelago, and the Chorus is the real state oppressor. (shrink)

This essay provides a critical survey of key Irish theatre productions that present queer men with HIV or AIDS as a central theme while also seeking to situate several of these productions within the controversial discourse of ‘post-AIDS’ as it plays out in Irish cultural and social discourses. Through this survey, this essay finds and critically elaborates how a discourse of AIDS as punishment is a common denominator in all of these plays; whether that be as a central (...) metaphor in the drama or conversely as a trope that theatre makers seek to disrupt. Throughout, this essay simultaneously attends to the ways in which non-realist, non-linear dramatic structures have proved to be better positioned to present the realities of living with HIV or dying with AIDS in Ireland since the emergence of the first Irish AIDS epidemic in 1982. By approaching ‘post-AIDS’ discourses through the lens of HIV and AIDS in Irish theatre, this essay critically analyses the insidious ways in which ‘post-AIDS’ Irish culture is bound up with neoliberal discourses of homonormative assimilation and cultural respectability, especially the figuring of HIV/AIDS as punishment for non-assimilation. (shrink)

Modernity, Community, and Place in Brian Friel’s Drama shows how the leading Irish playwright explores a series of dynamic physical and intellectual environments, charting the impact of modernity on rural culture and on the imagined communities he strove to create between readers, and script, actors and audience.

Synge, with his “fully-flavoured” Hiberno-English established a tradition of Irish theatrical eloquence that has come down into the contemporary period in the lyrical fluencies of Brian Friel, the vatic speech of Frank McGuinness and the Midlands poeticism of Marina Carr. Tom Murphy, however, set a different sort of precedent, resistant to such eloquence, forging a stage speech instead from the broken language of the inarticulate. The aim of this paper is to explore the rejection of ‘poetry talk’ in contemporary (...) Irish drama, and the various ideolects created by Billy Roche, Conor McPherson, Martin Mc- Donagh, Mark O’Rowe and Enda Walsh. (shrink)

The Irish writer and Nobel Prize winner, Samuel Beckett, assembled for himself a history of western philosophy during the 1930s, just at the point at which his first novel, Murphy, was coming together. The 'Philosophy Notes', together with related notes taken at that time about St. Augustine, thereafter provided Beckett with a store of knowledge, but also with phrases and images, which he took up in the major work that won him international and enduring fame, from the dramas Waiting (...) for Godot and Endgame, through to the late prose works Worstward Ho and Stirrings Still. This edition presents, for the first time, Beckett's full 'Philosophy Notes', which constitute his most extensive unpublished text. The Notes display Beckett's own interests and emphases within the history of western philosophy, from the pre-Socratic Greeks onwards, together with more familiar figures in the study of his work, such as Descartes, Leibnitz, and Geulincx. Here we see Beckett's original thoughts on all of these figures for the first time. The Notes also, tellingly and often comically, display Beckett's impatience with many aspects of philosophy, such as its anthropological or anthropomorphic bias, or the idealism of the Enlightenment and Kant. The Edition contains an extensive Introduction, outlining the origin of Beckett's Notes, his major sources and approach to them, the historical context for his view of philosophy, and the significance of Beckett's 'Philosophy Notes' within his mature writings. The many footnotes then suggest ways in which particular aspects of the philosophy narrated here by Beckett suggest fresh insights into those later writings-the images, but also the creative impulses, behind some of his most famous texts. This Edition, further, raises larger questions about, and perspectives upon, the relation between philosophy and literature in the twentieth century and beyond."--Back cover. (shrink)

With their charming Irish brogues, the members of the Real IRA bring a rich and sometimes sinister history to the drama of Sons of Anarchy. By discriminating among their targets and practicing military‐like discipline, the Irish Kings gain the status of freedom fighters. Admittedly, their tactics are violent, but groups like the Real IRA resort to violence only because they have no other option for effectively fighting for their political cause. On Sons of Anarchy we usually see (...) the Belfast police who are on Jimmy O's payroll—the ones who harass SAMCRO—but there is evidence that other members of the police force actively support the Crown and have used violence against the Real IRA. Some philosophers have concluded that violence may be legitimate for groups opposing an oppressive regime, but only so long as it does not directly target the civilian population. (shrink)

This book is the first major study of the theme of misanthropy, its history, arguments both for and against it, and its significance for us today. Misanthropy is not strictly a philosophy. It is an inconsistent thought, and so has often been mocked. But from Timon of Athens to Motörhead it has had a very long life, vast historical purchase and is seemingly indomitable and unignorable. Human beings have always nursed a profound distrust of who and what they are. This (...) book does not seek to rationalize that distrust, but asks how far misanthropy might have a reason on its side, if a confused reason. There are obvious arguments against misanthropy. It is often born of a hatred of physical being. It can be historically explained. It particularly appears in undemocratic cultures. But what of the misanthropy of terminally defeated and disempowered peoples? Or born of progressivisms? Or the misanthropy that quarrels with specious or easy positivities (from Pelagius to Leibniz to the corporate cheer of contemporary `total capital`)? From the Greek Cynics to Roman satire, St Augustine to Jacobean drama, the misanthropy of the French Ancien Regime to Swift, Smollett and Johnson, Hobbes, Schopenhauer and Rousseau, from the Irish and American misanthropic traditions to modern women`s misanthropy, the book explores such questions. It ends with a debate about contemporary culture that ranges from the `dark radicalisms`, queer misanthropy, posthumanism and eco-misanthropy to Houellebecq, punk rock and gangsta rap. (shrink)

In a contribution to a symposium on xenophilia, this essay — a study of Brian Friel’s 1980 play Translations — raises the question of whether all xenophilia is by nature doomed to fail. Set in Ireland in 1833, the drama centers on the tension arising from a young British lieutenant’s falling in love with an Irish-speaker while he is in her country to translate Irish place-names into English for an imperial cartographic survey. While the lieutenant is referred (...) to in the play as a Hibernophile, the essay interprets his love as xenophilic: love for the foreignness rather than the Irishness of what he encounters. The lieutenant’s love of foreign places and their names impedes his effort to systematize Ireland for imperial ends, and his love for an Irish woman brings about his own undoing. Applying Simone de Beauvoir’s view of alterity to the lieutenant’s xenophilia, the essay questions whether the English written over the Irish in this play and the lieutenant’s desire written over the objects of his love obscure enough of the other’s otherness to render his xenophilia no longer viable. (shrink)

Although it is hard to challenge the claim that alcohol can be considered inherent in Irish culture, the common perception of the fact often feeds on clichés. What helps understand this question is Irish literature. On the one hand, it portrays jubilant festivity to be found in many literary works; on the other, it renders the drama behind alcohol dependency, shifting the focus from joviality towards the more murky aspects of drink consumption, mostly thematised in contemporary literature. (...) This article takes a closer look at how Irish literature renders alcohol use and abuse, and how the literary representations offer a broader perspective, allowing to reconsider some of the stereotypical notions of the proverbial Irish propensity for drink. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 105-115 [Access article in PDF] Intimacy and Monumentality in Chandigarh, North India: Le Corbusier's Capitol Complex and Nek Chand Saini's Rock Garden Sharon Irish School of Architecture University of Illinois, Urbana-Champaign Chandigarh's Le Corbusier: The Struggle for Modernity in Postcolonial India, by Vikramaditya Prakash. Seattle: University of Washington Press, 2002, 179pp., $35.00 cloth. The seventh century poet and philosopher Dharmakirti wrote (...) of the path we each must make: No one behind, no one ahead, The path the ancients cleared has closed. And the other path, everyone's path, easy and wide, goes nowhere. I am alone and find my way.1The image in Figure 1 shows the bottom of a concrete ramp that angles back upon itself as it connects two levels of the government complex in Chandigarh and ends in a grassy hillside that has several dirt paths cutting across it. The concrete ramp begins just to the left of Le Corbusier's Assembly Hall (Figure 2). What I hope is evident from just two images is the contrast between the curving, unplanned path that pedestrians have made as they leave the bottom of the ramp, and the axial, monumental path implicit in the organization of the large concrete plaza in front of the Assembly Hall. One is informal and intimate because of the many footprints that have worn away the grass; the other is formal and monumental in its carefully controlled framing of a sculptural presence. They are two very different paths, offering different rewards as we wander upon them.As Vikramaditya Prakash's book, Chandigarh's Le Corbusier, emphasizes, the Capitol Complex derived from Le Corbusier's personal mythology, transmogrified somewhat by the site, the politics, and the climate. Le Corbusier "considered it the true mission of modern architecture to reestablish the aesthetic and poetic forms necessary for the liberation and deliverance of...modern man."2 Le Corbusier's monumentalism, then, was imposed on Chandigarh's landscape and the inhabitants with the assumption that he knew best what architecture was appropriate for "liberation." While there are many aspects of his designs to appreciate and admire, his buildings only indirectly address the visitor, preferring uncanny to intimate relationships.3 [End Page 105] Click for larger viewFigure 1 The bottom of the ramp leading into a path toward the Trench of Consideration, Capitol Complex, Chandigarh. Photo by the author. Click for larger viewFigure 2 Façade of the Assembly Building, Le Corbusier, 1953-61, Chandigarh. Photo by the author. [End Page 106]For six months in 1999, I lived in Chandigarh within a few blocks of Le Corbusier's government complex and another compelling place, the nearby and unrelated Rock Garden. While the paths at the Government Complex are, for the most part, empty, those in the Rock Garden are not and provide chances for intimate interactions that are only hinted at underneath Le Corbusier's concrete ramp. Poignant informality in Le Corbusier's government sector exists in areas that were never completed according to plan.4 Its predominant monumentality provides a useful contrast to the intimate spaces of the Rock Garden.In the 1950s, two men, Le Corbusier and Nek Chand Saini, began two very different projects within a kilometer of each other in Chandigarh. Le Corbusier's Capitol Complex started in the very highest government circles with Prime Minister Jawaharwal Nehru: the plan was to build a new state capital for a newly divided Punjab in a newly independent India. In architectural history, Chandigarh is well known and well studied due to its planning and design. Nek Chand's Rock Garden (under construction since 1958, and open to the public since 1976) began as an illegal private project by one man to give form to his imagination. This essay is my impressionistic response to these two projects.Monumental buildings often function powerfully as icons or as proud isolated structures. Visited on ceremonial occasions, they can provide visually compelling backdrops to large-scale... (shrink)

Plant MADS‐box genes encode transcriptional regulators that are critical for a number of developmental processes. In the angiosperms (the flowering plants), these include the specification of floral organ identities, flowering time and fruit development. It appears that the MADS box gene family has undergone considerable gene duplication and sequence divergence within the angiosperms. Here I discuss the possibility that these events have allowed the recruitment of these genes to new developmental pathways in particular angiosperm lineages. Recent analyses of sequence changes, (...) expression patterns and, in a few cases, gene function are beginning to provide tantalizing evidence for deciphering when and how such genetic diversification has led to particular morphological innovations. In the future, comparative studies of large numbers of species will be required to assess the extent of such variation as well as to fully understand the mechanisms by which evolution of these developmental regulators has played a role in shaping new morphologies. BioEssays 25:637–646, 2003. © 2003 Wiley Periodicals, Inc. (shrink)

This introduces the special issue “Literature and Emotion.”.

Dementia syndromes offer a unique opportunity to clarify some of the component processes of spontaneous expressions of memory proposed by the Barzykowski and Moulin model. By considering the model through the lens of memory disorders, I outline several important extensions to progress our understanding of these spontaneous cognitive phenomena.

Spirituality and Solidarity among De La Salle Schools in Region IV were evaluated and used as basis for development of a management program for enhancement of culture of faith in three schools. The study evaluated the extent of each indicators manifest among groups of respondents and how these can be nurtured in schools’ trilogy of functions and what management program may be developed. Descriptive method of research was used in the study, employing research triangulation as methods in gathering data. The (...) study revealed that the three Lasalian Schools were governed by the Gospel’s values, the charism of its founder and the traditions of the Religio, Mores, et Cultura and Crescit Gratia Virtuteque . The respondents had high level of spirituality and with moderate level of solidarity. The study concludes that the spirituality and solidarity may be nurtured through the implementation of the trilogy of functions. This involves the pursuance of instructional goals and preparation of an extensive research and extension agenda integrated with the principles of the Founder and inspired with gospel values. Thus, the proposed management program is conceptualized as a guide to the enhancement of the culture of faith which will serve as hallmarks for spirituality and solidarity development. Keywords - spirituality, solidarity, culture of faith, Religio, Mores, Cultura and Crescit Gratia Virtuteque. (shrink)

This paper argues that deep disagreements stem from conflicting worldviews. In particular, I examine how recent moves in engineering education contribute to deep disagreement by inculcating stu-dents into valuing the environment as a key stakeholder in engineering design. However, some graduates who value the environment meet resistance from employers who hold a more traditional engineering worldview, which regards the environment as an externality. Clashing worldviews can, as Robert Fogelin posited, render rational resolution to argument impossible. Disputants must consider the emotional (...) and rhetorical as means to move toward productive ground for argument. I offer two moves from classical rhet-oric–making an exordium and invoking friendliness–as means to shift the frame of an argument and there-by possibly navigate a deep disagreement. (shrink)

Maize develops separate male and female flowers in different locations on a single plant. Male flowers develop at the tip of the shoot in the tassel, and female flowers develop on the ears, which terminate short branches. The development of male flowers in tassels and female flowers in ears is the result of selective abortion of pistils or stamens, respectively, in developing florets. Genetic analysis has shown that stamen abortion and pistil abortion are under the control of two different genetic (...) pathways. Local levels of the plant hormone gibberellic acid determine whether or not stamens are suppressed. Pistil abortion is under the regulation of the tassel seed genes, one of which has been shown to encode a short‐chain alcohol dehydrogenase. The tassel seed genes play a role in regulating the fate of inflorescence meristems as well as pistil primordium fate. (shrink)

Culturally Responsive Teaching (CRT) weaves together rigor and relevance while it improves student achievement and engagement. The Philippine Department of Education implemented Indigenous People’s education to respond to the demands for culturally responsive teaching. Teacher education graduates are expected to articulate the rootedness of education in sociocultural contexts in creating a learning environment that recognizes respect, connectedness, choice, personal relevance, challenges, engagement, authenticity, and effectiveness. Practice teachers need relevant exposure and immersion to fully develop their competence in CRT. This scenario (...) necessitates attention to assessing the competence of 191 practice teachers in CRT, correlating their competence across dimensions, and verifying the role of gender and degree programs in competence development. This investigation provides evidence on the role of gender in competence development toward culturally responsive teaching. Such competence is vital in practice teachers, especially because they are exposed to learners with diverse backgrounds during their teaching internship. This evidence informs supervising instructors in molding practice teachers. (shrink)

Defining “community” from a research perspective is difficult. Communities consist of environmental, social, and geographic components. In addition, race, ethnicity, socio-economic status, and group memberships often play roles in community identity. Barry Wellman and Scot Wortley urge that to truly understand and influence a community, and most certainly to conduct research within communities, one must take into account the varied nature of relationships and networks and how they may work together synergistically to meet the needs of community members. Using the (...) Social Ecological Model, with its delineation of multiple spheres of influence, community-based research has attempted to reach this understanding. Although dramatic shifts have not yet been realized, many studies suggest improved health behaviors and healthy environments, which indicate a promising future for community intervention work. The discussion that follows reviews the theory and rationale for community-based interventions, the socialecological approach to understanding and studying obesity, and the progress and promise of community interventions. (shrink)

The syndrome of semantic dementia represents the “other side of the coin” to Alzheimer's disease, offering convergent evidence to help refine Bastin et al.’s integrative memory model. By considering the integrative memory model through the lens of semantic dementia, we propose a number of important extensions to the framework, to help clarify the complex neurocognitive mechanisms underlying recollection and familiarity.

Given Aristotle’s response to Plato’s views by positing a cathartic function for tragedy, it is understandable that an author opposing him through the development of a non-Aristotelian theatrical theory would spontaneously draw closer to Platonic thought. However, Brecht’s stance goes beyond this spontaneous proximity in this debate. This article challenges those critics who have overlooked the direct relationship between Plato and Brecht, and it offers a reasoned decision on Walter Benjamin’s verdict that epic theatre is a form of Platonic (...) class='Hi'>drama. Moreover, it argues that Brecht’s endeavour aimed to create a theatre that remained impervious to Plato’s critiques. The article analyzes Brecht’s achievements in epic theatre as an expression of disenchantment, demonstrating how, through the techniques he developed, he radically dismantled the magical effect that was essential to Aristotelian theatre. (shrink)

While Shakespeare's historical and political imagination mainly centres on the traditional character of the stranger or exile, The Merchant of Venice and Othello stand out as dramas about a new figure, the absolute stranger. The absolute stranger belongs to a new situation Shakespeare found in cosmopolitan Venice. Through Shylock and Othello, Shakespeare encounters the drama of the outsider's failed assimilation into cosmopolitan life. For Shakespeare, the figure of the absolute stranger is a representative illusion, and these two plays are (...) dramas about the modern world. (shrink)

In God and Mystery in Words David Brown uses the way in which poetry and drama have in the past opened people to the possibility of religious experience as a launch pad for advocating less wooden approaches to Christian worship today. So far from encouraging imagination and exploration, hymns and sermons now more commonly merely consolidate belief. Again, contemporary liturgy in both its music and its ceremonial fails to take seriously either current dramatic theory or the sociology of ritual. (...) Yet this was not always so. Imagery and hymns mattered, liturgial msic encouraged a sense of drama, sermons required rhetoric. In a characteristically stimulatling and inspiringly expansive study, that ranges from ancient Greek drama to modern poetry, from the meaning of the Logos to the history of vestments, David Brown pleads for a much wider focus on the kind of factors that aid experience of God. (shrink)

ABSTRACT Intellectual historians have tended to focus either on shifts in sensibility or, more analytically, on the substance and structure of thought. They might usefully, however, examine both, as well as the reciprocal action of the one upon the other. This applies equally to political and religious ideas. In early twentieth-century Ireland, it was the relationship between religion and politics that stirred controversy. How would the institutions of church and state function, respectively, under Home Rule and the Union. Opposing camps (...) advanced competing prognostications. This contest forces us to rethink the claim that revolutionary insurgency in Ireland was a species of ‘political religion’. The evidence points to a more complex picture while at the same time highlighting the persistence of sectarian attitudes in the historiography of the period. (shrink)

In this paper, we focus on Berkeley's reasons for accepting the ‘resemblance thesis’ which entails that for one thing to represent another those two things must resemble one another. The resemblance thesis is a crucial premise in Berkeley's argument from the ‘likeness principle’ in §8 of the Principles. Yet, like the ‘likeness principle’, the resemblance thesis remains unargued for and is never explicitly defended. This has led several commentators to provide explanations as to why Berkeley accepts the resemblance thesis and (...) why he also takes his opponents to do so too. We provide a contextual answer to this question, focusing on epistemological discussions concerning resemblance and representation in Early Modern Irish Philosophy. We argue that the resemblance thesis is implicit in early responses to William Molyneux's famous example of the ‘man born blind made to see’ and trace the ‘Molyneux man’ thought experiment as it is employed by Irish thinkers such as William King and Berkeley himself. Ultimately, we conclude that Berkeley's acceptance of the resemblance thesis can be explained by the Irish intellectual climate in which he was writing. (shrink)

This work is an attempt to decipher the therapeutic essence of the Hellenic theater through the prism of "catharsis", starting with the Athenian orgy, when theatrical performances turned into a tool for collective healing. The article deals with the theoretical views of Aristotle, in whose aesthetics catharsis has become the main concept that testifies to the healing abilities of the Greek theater to purify and harmonize the personality. The author shows how these ideas can be used in modern theatrical art, (...) helping to identify and eliminate the mental problems of today's audience. Dramatic "catharsis", named and analyzed in the theoretical system of Aristotle, in turn, became a theoretical generalization of the healing abilities of the Greek theater. The scientific novelty of this work lies in the fact that the study of the essence and form of healing in the Greek theater can be used as a theoretical basis for the development of modern drama therapy. The work uses an interdisciplinary approach, a cultural-historical method and the principle of comparative analysis in the 70-80s. In the twentieth century, drama therapy began to be explored as a separate discipline that awakened creativity and imagination, contributed to the reunification of people with their inner world, removed the burden of difficult experiences, changed behavior and life circumstances, thus revealing the healing abilities of theatrical "catharsis". The rise of modern theater therapy reflects a new direction in the development of psychotherapy and theater, as well as a return to the ancient traditions of healing and artistic creativity and the development of fresh ideas and new creative ideas based on them. (shrink)

Dance is an art of human movements, and it is an art form that takes refined, organized and artistically processed human movements as the main means of expression, expresses people's thoughts and feelings, and reflects social life. Humans not only transfer knowledge by means of dance, but also communicate with heaven and earth and soothe the soul by means of dance. Dance drama, an art form, is more and more popular among the masses. With the development of the times (...) and science and technology, dance drama forms are constantly bringing forth the new. On the basis of the ancient stage art, it glows with new splendor and enriches the treasure house of human spirit and culture. During the development of history and culture, both religious culture and dance culture have tenacious vitality, and are constantly developing and evolving. The two are inextricably linked, interacting and influencing each other. This paper studies the relationship between dance and religion, trying to learn from historical experience, analyze the relationship between dance and religion, solve the problems in the creation of dance drama, provide theoretical basis for the development of dance drama, and promote the vigorous development of dance art. (shrink)

Man suffers from a very particular fate, namely that of being besieged by questions which he cannot answer and cannot ignore either. The ability to pose questions like these is a key characteristic of the fundamental existential situation of mankind. Every person must find his or her own particular method of coping with such questions. This makes up a significant part of the human maturing process. People with dementia, having already found their personal solution to cope with the problem of (...) these unanswerable questions, radically stumble into this existential situation once again. The problem of this repetition is that the people with dementia can only make limited use, if indeed any use at all, of their previously successful biographical strategies. The drama of human existence as such thus repeats itself within a person with dementia. We must recognise the seriousness of this task. We thus must support people with dementia in coping existentially with this renewed task in the best possible way. The existential dignity of this task is no different from that of a young person. This insight is very important for the care of patients: people with dementia should be recognised as a people in an existential situation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Master" versus "Servant":Contradictions in Drama and Theatre EducationShifra Schonmann (bio)Mr Jourdain: You mean to say that when I say "Nicole, fetch me my slippers" or "Give me my night-cap" that's prose?Philosopher: Certainly, sir.Mr Jourdain: Well, my goodness! Here I've been talking prose for the last forty years and never known it, and mighty grateful I am to you for telling me!—Molière, Le Bourgeois Gentilhomme1My basic claim is that (...) our young field—drama and theatre education—feels old. Are we being stifled by applied drama and theatre, so that it has put real obstacles in the way of broadening the horizons of the field? I know that by asking this question I risk setting myself up as a living target for all those who maintain that applied theatre is the "hot" and the appropriate concept in the field. For more than twenty-five years now, we have been working with our students in teacher education departments and with children in schools in the manner of applied drama and theatre, but we have named it differently. It is as if we had been speaking the language of applied drama and theatre for twenty-five years—and we did not know that this was the case. (It reminds me of Moliere's Monsieur Jourdain who suddenly discovers that he has been speaking prose for the past forty years.) I would like to make it very clear from the outset that my claim is not against applied drama and theatre; it is a claim for another proportion (balance) between the instrumental function and the artistic-aesthetic function of our drama and theatre work in education.Is this a new claim? Not at all. But in the midst of our intensive endeavors in the field, it strikes me again and again that we have been running after our own tails, doing almost the same things over the past twenty-five [End Page 31] years. I have tried to understand why we are wandering around, surrounded by the same basic circles and experiencing a feeling of déjà-vu. What, really, is our problem? As a result of asking myself these questions, I began to analyze programs of the major conferences of the last ten years in drama and theatre education: Exeter (Researching Drama and Theatre in Education), AATE (American Alliance for Theatre and Education), IDEA (International Drama/Theatre and Education Association), and IDIERI (International Drama in Education Research Institute). These are considered to be the main international professional gatherings in the field (most of which I have attended). I have been looking into the headings that express the topics that were discussed. My data show that the majority of the topics were concerned with the by-products that drama and theatre can produce but not with the artistic and/or the aesthetic dimensions of the field. Sometimes I wonder if we fail to see the wood for the trees.In the Dictionary of Developmental Drama, written by Richard Courtney, an attempt was made to clarify the terms of drama used in a variety of practical fields.2 In this dictionary, we cannot find the applied theatre entry or process drama entry, but we can find entries such as developmental drama, drama in education, drama therapy, dramatic activity, educational drama, educational theatre, forum theatre, and many others. The terminology used among drama workers, leaders, and researchers is not precise. When drama educators and researchers meet, we engage in extensive discussion, often exchanging experiences and successful strategies. Quite some time can pass before we realize that our concepts of drama education differ considerably. These concepts range from completely spontaneous activities, such as improvisational exercises, to very carefully planned work, such as staging written scripts. Courtney's dictionary is the only one that I know that tries to define the basic concepts in our field: It is necessary but not adequate or up to date.In the "Drama Way" Project, a comprehensive work by Jouni Piekkari et al., coordinated by the University of Turku in Finland, I found a good attempt to set up a "mini" dictionary.3 The "Drama Way" Project identified a number of... (shrink)

Based on 12 in-depth, semi-structured interviews, this study explores the attitudes of news media professionals toward Codes of Practice and guidelines and how they may conflict in the coverage of murder-suicide incidents. There is a dearth of research in this area, even though four organizations in Ireland have issued guidelines on how journalists should report on cases of this nature. This study found that news media professionals have a largely positive attitude toward guidelines and codes; however, news media conventions and (...) routines can conflict with recommendations. Furthermore, the interview subjects’ sense of duty to the public, to provide a full and frank disclosure of information often outweighed their responsibility to any guide or code in the context of covering cases of murder-suicide. This raises critical issues for the coverage of cases of this nature, particularly when news values clash with Codes of Practice and guidelines. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 119-131 [Access article in PDF] New Stages: Challenges for Teaching the Aesthetics of Drama Online Michael Anderson Introduction The history of drama education can be read as a series of arguments over dichotomies: process and product, theatre and classroom, artist and teacher, and so forth.1 One of the more recent discussions has focused on technology versus live classroom drama.2 (...) At the heart of these discussions is an attempt to define the aesthetic dimensions of the subject. In one sense, these are fruitful discussions to have as they reflect the dynamism of a live art form in schools. There seems, however, to be a tendency for these debates to entrench themselves into ideological positions. In this paper, I would like to promote the idea that we do not have to develop oppositions or dichotomies before finding that the middle ground provides the richest experiences for drama students. I would like to propose that we see these emerging technologies as providing yet other (albeit different) stages upon which the drama aesthetic can be played.3 Aesthetics and Drama Education Drama education has had an uneasy and often contentious relationship with discussions around aesthetics. Often the drama education community has split along two lines—those who value process and those who value product.4 Work by drama educators such as Judith McLean has demonstrated the centrality of the understanding of the aesthetic and the importance of putting an aesthetic understanding at the center of teaching and learning in drama.5 Her development of an Aesthetic Framework provides teachers with an approach for understanding the position of aesthetics within drama teaching and learning that bypasses the fruitless dichotomies [End Page 119] of process versus product. As most now agree, the drama classroom has a place for both process and product.6 In both, we can find important aesthetic features of drama education. The Challenge of Emerging Technologies and Drama Education Having weathered the dichotomies of the past, there are now fresh challenges to the understanding of drama and aesthetics. The prevalence of and pressure for integration of new technologies in the drama classroom are also challenging drama educators to incorporate technology within the drama aesthetic. The ubiquity of technology that relates to drama education is facing teachers with serious challenges to engage with a dramatic aesthetic in classrooms. Perhaps the most stunning challenge is the exposure and experience twenty-first-century children have to rapidly changing technologies. As Morris explains, students are exposed to more drama in settings other than classrooms and theatres: For most Australian children, experience of drama is less likely to be through live performance than through screen-based media such as television, film, videos, video games, CD-ROM, DVD-ROM and interactive web-based games. And their experience of live performance is most likely to be shaped by the use of technology for design elements such as set, lighting and sound.7This is a compelling and imminent challenge. If drama educators cannot or will not find ways to work with technology, students will find other places to express their creativity outside the drama classroom. Added to the pressure from students who have grown up with these technologies, there is increasing pressure from curriculum developers and school systems to integrate technology into teaching. Aesthetics, Technology, and Curriculum: An Evolving Relationship All authorities and educational policy bodies in Australia are mandating integration of Information and Communications Technology (ICT) into drama curriculum. Recently, the New South Wales (NSW) Board of Studies mandated ICT as an area of "cross curriculum content," necessitating its inclusion in all Years 7-10 syllabi (which include all of the arts).8 For instance, the Year 7-10 drama syllabus states "... teachers should allow students the opportunity to explore different information communication technologies in their class work."9Recent studies have demonstrated mixed rates of participation and enthusiasm for the introduction of ICT in Australia and internationally. In the Australian study, half the respondents surveyed were not using ICT of any kind in their drama education.10 A... (shrink)

Before he joined the Communist Party, the young György Lukács published an outstanding history of the modern drama in which he combined sociological analysis with aesthetic judgment. By doing so he called his countrymen's attention to a new and insightful approach to the study of literature. At the same time, he made a strong case for the superiority of neoclassical tragedy—largely inspired by personal experience.

The study reported in this paper focused on nursing students' learning and, in particular, their integration of caring science in theory and practice. An educational model incorporating educational drama was developed for implementation in three different teaching contexts within the nursing and midwifery study programmes at a Swedish college. A central aim was to understand the dynamics of educational drama in the healthcare context and its impact on learning and teaching. Using a phenomenological approach, seventeen students and six (...) teachers were interviewed and their experience of drama as an educational method explored.The research findings illustrate the meaning of learning and teaching that is sensitive to students' lifeworld experiences. In order to be a successful method for closing the gap between caring science theory and practice, not only the educational drama, but teaching in general, must be anchored in the lived world of the students - that is, their experiences of health and care. While embodied reflection, as a key factor in integrating theory and practice, was shown to be well supported by educational drama, it was also found that "the method" tends too readily to take over and govern teaching and learning. The findings of this study further indicate how learning in practice and embodied reflection can be supported by the inclusion of well-chosen caring science theory to cast light on caring practice dilemmas. (shrink)