...Africa through Theatre This paper sets out to explore how processes of theatre making employed by The Mothertongue project, provide spaces for women to remap their personal narratives. Mothertongue works from the premise that the development and subsequent performance of stories in theatrical processes affords women the opportunity to re-write and remap their personal narratives and in so doing insert their voices into the landscape of South African Theatre. In an attempt to redress the gender imbalances and androcentricism prevalent in post-apartheid theatre, this paper speaks to the relationship between theatre, liminality and communitas. I am interested in unpacking how collaborative processes of theatre-making provide spaces for women to remap their personal narratives. Remapping in this instance refers to processes of transforming lived experience through story. I address how, through engaging in ritual activities that are central to the stories performed, actors, audiences and the owners of the source stories are invited to physically participate in remapping and transforming lived experience. Linked to this is the choice of form(s) and how this affects or impacts on the performed stories as well as on the construction of performed rituals and ultimately on the processes of remapping personal narratives. I focus specifically on Mothertongue’s 2004 production, Uhambo: pieces of a dream. The production was an integration of theatre and visual art in the form of performances...
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...Proprioceptive Writing In Writing the Mind Alive, the authors assert that “[i]f you practice Proprioceptive Writing, you’ll develop an awareness of the sound of your thinking. You’ll begin to imagine your thoughts as a persona with a voice” (Metcalf & Simon 16). Although Proprioceptive Writing should provide some benefit to everyone who uses the writing practice as taught in Writing the Mind Alive, the assertion that it will result in your thoughts becoming a persona with a voice is not universal outcome, as Metcalf and Simon failed to account for differences in individual personalities. What is Proprioceptive Writing? The definition from Proprioceptive Writing Centre website includes the following: Proprioceptive Writing is a method for facilitating emotional health, spiritual awakening, creative breakthroughs, and better writing. Proprioceptive Writing teaches you to listen to your thoughts with empathy and curiosity and reflect on them in writing, with the objective of achieving self-trust. Other frequently reported benefits include: deepened powers of attention, increased self-confidence, greater intimacy and spontaneity in relationships, enhanced emotional health, awakened spirituality. Through Proprioceptive Writing, people increase their creativity and feel their minds expand, one of life's greatest pleasures. (Proprioceptive Writing Center) Metcalf and Simon claim that each student they teach Proprioceptive Writing to believes “writing is profoundly linked...
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...Search” paper allows you to relate your personal experience engaged with some aspect of a topic, to hunt for facts and opinions firsthand, and to provide a step-by-step record of the search process. It’s part research paper, part personal narrative, part reflection. • First step: choose a controversial topic broadly pertaining to digital technology, digital media, “the internet,” television, or modern computing technology that truly interests you—specifically some problem or concern you want to be more informed about (use Homework #1 as a launching point). The topic, however, has to be argumentatively rich, meaning that there have to be many different viewpoints on the issue. • Second step: rather than starting with a thesis or claim, you’re going to begin with a question or problem spurred by some personal experience or exploration. Think of yourself like an investigative journalist or social scientist: if you’re writing about online communities, immerse yourself in one; if you’re writing about internet/television/cell phone addiction, deprive yourself for a few days; if you’re investigating some activity, try engaging in that activity; etc. You’re trying to get the heart of a controversy by gaining first-hand experience. • Third step: start researching. As you research, keep track of what you know and what you learn about the topic, how your assumptions change, and how different sources affect your perspective on your personal experiences and other sources. If you...
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...STUDIES IN PROFESSIONAL LIFE AND WORK Mike Hayler University of Brighton, UK Autoethnography, Self-Narrative and Teacher Education examines the professional life and work of teacher educators. In adopting an autoethnographic and life-history approach, Mike Hayler develops a theoretically informed discussion of how the professional identity of teacher educators is both formed and represented by narratives of experience. The book draws upon analytic autoethnography and life-history methods to explore the ways in which teacher educators construct and develop their conceptions and practice by engaging with memory through narrative, in order to negotiate some of the ambivalences and uncertainties of their work. The author’s own story of learning, embedded within the text, was shared with other teacher-educators, who following interviews wrote self-narratives around themes which emerged from discussion. The focus for analysis develops from how professional identity and pedagogy are influenced by changing perceptions and self-narratives of life and work experiences, and how this may influence professional culture, content and practice in this area. Autoethnography, Self-Narrative and Teacher Education Autoethnography, Self-Narrative and Teacher Education STUDIES IN PROFESSIONAL LIFE AND WORK The book includes an evaluation of how using this approach has allowed the author to investigate both the subject and method of the research with implications for ...
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... Acknowledgement © Crown copyright 2012. You may re-use this information (excluding logos) free of charge in any format or medium, under the terms of the Open Government Licence. To view this licence, visit http://www.nationalarchives.gov.uk/doc/open-government-licence/ or e-mail: psi@nationalarchives.gsi.gov.uk. Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. Any enquiries regarding this document/publication should be sent to us at enquiries@educationscotland.gov.uk. This document is also available from our website at www.educationscotland.gov.uk. Contents Mind map of educational relevance 4 Exploring stimuli 5 Discovering your theme 12 Applying knowledge of technical skills and choreographic principles 13 Appreciating safe dance practice 15 Engaging with theatre arts and technology 16 A choreographic plan 23 Evaluation...
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...ASIAN RELIGIONS NARRATIVE ROUGH DRAFT: TAOISM I am Taoism, also known as Daoism. I am considered both an indigenous Chinese religion and philosophy due to the diversity of Taoist belief. My philosophical side accepts death as a natural returning to the Tao while my religious side is magical and emphasizes health and healing as ways to gain immortality. The root word in my name is Tao, which means “way”, is the central harmony. Tao is part of all things yet greater than all things. It refers to the road extending in one direction. For example, a road with many forks and or directions is not considered Tao. Tao is not a substance nor can it be perceived. It is often described as formless, nameless and defying convention. You could say it is...
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...ARTICLE IN PRESS Social Science & Medicine 58 (2004) 1647–1657 Understanding breast cancer stories via Frank’s narrative types Roanne Thomas-MacLean* Dalhousie University Family, Medicine Teaching Unit, Dr. Everett Chalmers Hospital, P.O. Box 9000, Priestman St. Fredericton, NB Canada E3B 5N5 Abstract While breast cancer narratives have become prevalent in Western culture, few researchers have explored the structure of such narratives, relying instead on some form of thematic analysis based upon content. Although such analyses are valuable, Arthur Frank (The Wounded Storyteller, The University of Chicago Press, Chicago, 1995) provides researchers with an additional means of studying stories of illness, through the examination of their structures. In this article, the author applies Frank’s work to a phenomenological study of embodiment after breast cancer. Frank’s three narrative types are used to enhance understanding of the ways in which stories are culturally constructed, using data collected through one focus group discussion and two in-depth interviews with each of 12 women who had experienced breast cancer. The author then conveys the significance of this form of analysis for future research. r 2003 Elsevier Ltd. All rights reserved. Keywords: Breast cancer; Qualitative and narrative Introduction Frank (1995) writes that those who are ill ‘‘need to become storytellers in order to recover the voices that illness and its treatment often take away’’...
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...Exploring the Use Literary Techniques in Bossypants To create a striking and memorable story, authors often use literary devices to bring a text to life. Literary devices help eloquently express one’s feelings while also playing to the reader’s emotions. In Tina Fey’s Bossypants, several techniques applied help successfully create a notable work of literature. Her use of literary devices proves to be effective as shown through the irony, humour and flashbacks. Irony is often used by authors to add an element of humour to a simple narrative; Tina Fey’s use of verbal irony helps effectively convey her story. An example of this is when she says: “…I took a personal inventory of all my healthy body parts for which I am grateful: wide German hips that look like somebody wrapped Pillsbury dough around a case of soda” (Fey 25). This is verbal irony as Tina Fey expresses an opinion that is opposite of what she actually means; wide hips are not considered healthy. Her use of irony adds interest to the plot while also making the text more human to readers. By proving that she is not perfect, her story becomes more relatable. A successful story is one that is easy to connect to. Situational irony also contributes to effectively conveying her story. This is evident when Tina and her husband go on a cruise to avoid planes but end up having to fly home anyways due to several problems aboard the ship. Situational irony adds a comedic feel to the story, which breaks down barriers between...
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...SOC-102 Narrative Outline for Essentials of Sociology: A Down-to-Earth Approach Chapter 3 - Socialization Part 1: Chapter 3 – Socialization. This chapter outlines the role of society in the formation of human beings. It begins by demonstrating the large difference between those individuals that have been born and raised in a society compared to those that have not, such as feral children. It then goes on to discuss various theories of socialization, such as Cooley's looking glass self analysis. Furthermore, it discusses Freud and the idea of learning personality as opposed to it being an inhernet part of our genetics. Other aspects of the chapter include the discussion of various agents of socialization and the various ages in which we are suscpetible to changes in personality. Part 2: Divide the chapter into three sections by content as it is organized in the book and write a summary of each. Section 1 – Social Upbringing This section discusses the effect of where and how one is raised. It is all about how society influences our personality and uses examples such as feral children to demonstrate this point. However, this chpater also demonstrates the effect of children that are raised in isolation and institutions. Language, for example, is not an innate part of the human mind; this conclusion is reached by studies of isolated children that have no natural language nor ability to speak. Key Definition(s): Nature: The characteristics that we are born...
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...battle of the Alamo took place 50 years later and was intrigued by two women who preserved the sight of the Alamo as we know it today. Lastly the Alamo is discussed as a battlefield and the way people see the Alamo today in different perspectives. The purpose for this novel is to inform the general public of the facts of the Alamo from the American and Mexican perspectives. I found this book to be a very interesting but hard read and I assure you I know a lot more about the Alamo then I ever did. Olson and Roberts do a very good job on making the reader think about how they “remember the Alamo”. Roberts and Olson appear to me as very educated historians; I do not disagree with them. Both authors examine their personal views of the historic event, while Exploring through the impact that the Alamo “story” has had on today’s society. The book brings out the events in a much more “alive” way unlike they are told today. Television and movies is an impact of the writing of The Line in the Sand. As we all know most movies are either entirely made up or they make false assumption towards reality, such as the history of the Alamo. Many people express contempt to the Alamo. In the footsteps of history we begin to learn about Santa Anna’s journey to the north and the Mexican history. Santa Anna marched north to bring Texas back under Mexican control. Santa Anna also was sometimes referred to as the “Napoleon of the West”. Like all men, Santa Anna had his strengths and weaknesses. He...
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...Lower East Side Memories : A Jewish Place in America By HASIA R. DINER The Lower East Side and American Jewish Memory I'm Jewish because love my family matzoh ball soup. I'm Jewish because my fathers mothers uncles grandmothers said "Jewish," all the way back to Vitebsk & Kaminetz-Podolska via Lvov. Jewish because reading Dostoyevsky at 13 I write poems at restaurant tables Lower East Side, perfect delicatessen intellectual. —Allen Ginsberg, "Yiddishe Kopf" The poet Allen Ginsberg, born and raised in Newark, New Jersey, returned in his later years to a narrative style of expression, shifting gears from the anger and fire of his early career. In this poem from 1991 he also touched down again, after a long hiatus spent exploring Buddhism and Eastern philosophy, upon some Jewish themes, as a way of remembering the world of his youth. He described that world in one poem, "Yiddishe Kopf," literally, a Jewish head, but more broadly, a highly distinctive Jewish way of thinking, based on insight, cleverness, and finesse. That world for him stood upon two zones of remembrance. The world of eastern Europe, of Vitebsk, Lvov, and Kamenets-Podolski gave him one anchor for his Jewishness. Thai space of memory gave him a focus for continuity and inherited identity, tied down by the weight of the past, by family in particular. The other, the Lower East Side, nurtured and...
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...Andrew Weinstock notes how the pedagogical diversity of Charlotte Perkins Gilman’s “The Yellow Wall-Paper” prompted him to collect essays for this book. He goes on to explain that “given the ubiquity of the text within various academic settings, I was also struck by the absence of attention to the text within pedagogical contexts. Despite the large (and steadily growing) body of criticism to the story, very little of it explicitly addresses its importance as a tool to facilitate learning or various ways in which to make use of the text in the classroom” (3). As a collection, Weinstock’s The Pedagogical Wallpaper contains informed, detailed, and diverse analysis that attempts to shore up the absence of “pedagogical possibilities” concerning Gilman’s transgressive short story (9). Among the contributors are a MOO space specialist, a Gilman scholar, a queer theorist, an existentialist, a formalist, and several reader/student-response theorists. Because each essayist presents a distinct critical perspective on Gilman’s text, each essay is likewise concerned with “how the narrative teaches and how to teach the narrative” (5). Thus, it seems to me that Weinstock’s The Pedagogical Wallpaper resonates with Pedagogy’s conviction that teaching is central to our work as scholars and educators, no matter what our particular perspective. Indeed, Weinstock’s commitment to diverse and instructive pedagogical prompts is persuasive and liberating, affording ample avenues for new...
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...10 Qualitative Research Methods in Psychology Deborah Biggerstaff Warwick Medical School University of Warwick, Coventry UK 1. Introduction In the scientific community, and particularly in psychology and health, there has been an active and ongoing debate on the relative merits of adopting either quantitative or qualitative methods, especially when researching into human behaviour (Bowling, 2009; Oakley, 2000; Smith, 1995a, 1995b; Smith, 1998). In part, this debate formed a component of the development in the 1970s of our thinking about science. Andrew Pickering has described this movement as the “sociology of scientific knowledge” (SSK), where our scientific understanding, developing scientific ‘products’ and ‘know-how’, became identified as forming components in a wider engagement with society’s environmental and social context (Pickering, 1992, pp. 1). Since that time, the debate has continued so that today there is an increasing acceptance of the use of qualitative methods in the social sciences (Denzin & Lincoln, 2000; Morse, 1994; Punch, 2011; Robson, 2011) and health sciences (Bowling, 2009; Greenhalgh & Hurwitz, 1998; Murphy & Dingwall, 1998). The utility of qualitative methods has also been recognised in psychology. As Nollaig Frost (2011) observes, authors such as Carla Willig and Wendy Stainton Rogers consider qualitative psychology is much more accepted today and that it has moved from “the margins to the mainstream in psychology in the UK.” (Willig & Stainton...
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...constructivist, interpretivist approaches to human enquiry, commented that “what is unusual about the approaches cannot be explained through an examination of their methods. They are principally concerned with matters of knowing and being, not method per se” (p.118). Feminists have also considered that it is the methodology and outcomes rather than the methods which define the research as being feminist. Nonetheless, while feminists have adopted a variety of methods, they have tended to prefer qualitative methods. It is generally agreed that a method for women needs to be one in which women can present their thoughts and feelings in their own words rather than the words of the researcher. As Graham (1984) argues regarding the use of narrative in survey research, the emphasis is on the telling rather than the asking; participants can choose what and how much to tell. The traditional...
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...with his sight restored as he follows Jesus on the way up to Jerusalem. In a unique way, this story concretizes the power of the faith of persons who are oppressed by physical or mental handicaps, patriarchal social structures, racial discrimination, and economic systems over which they have no control. It is an invitation to allow our own personal and communal humiliation to be seen in the context of Bartimaeus's faith in Jesus as the Christ. The Story And they came to Jericho. And as he was leaving Jericho with his disciples and a great multitude, Bartimaeus, a blind beggar, the son of Timaeus, was sitting by the roadside. And when he heard that it was Jesus of Nazareth, he began to cry out and say, "Jesus, Son of David, have mercy on me!" And many rebuked him, telling him to shut up. But he cried out all the more, "Son of David, have mercy on me!" And Jesus stopped and said, "Call him." And they called the blind man, saying to him, "Take heart; rise, he is calling you." And throwing off his mantle he sprang up and came to Jesus. And Jesus said to him, "What do you want me to do for you?" And the blind man said to him, "Master, let me receive my sight." And Jesus said to him, "Go your way; your faith has made you well." And immediately he received his sight and followed him on the way. Learning the Story Verbal Threads "Jericho." The first episode is tied together by Jericho: "He came to Jericho"/"as he was leaving Jericho" (vs. 46). "Cried out…'Son of David, have mercy on me.'...
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