Parent education and home-based behaviour analytic intervention: an examination of parents' perceptions of outcome

There is convincing evidence that applied behaviour analysis (ABA) offers a highly effective form of intervention for children with autistic spectrum disorder (ASD). There is less evidence, however, about how parents perceive and evaluate ABA programmes. In this paper an examination of parents’ perceptions of outcome is reported. Twenty-two questionnaires were completed by two groups of parents. The first group had just completed an introductory course in ABA and were in the early stages of implementing ABA programmes with their children. The second group had been involved in ABA education for more than 2 years. Overall, both groups of parents reported a positive impact of ABA on the lives of their children, their family life, and themselves. The long- term group reported that they had achieved complex goals with their children, whilst the short-term group reported an immediate positive impact on child and family functioning and parental self-esteem. Conclusions are drawn in the context of evidence-based practice.

Professional Educational Psychology and Community Relations Education in Northern Ireland.

This article provides an account of practice-based research of, at least, one-star quality in terms of its contribution to both theory and practice. Aimed at practitioner (as opposed to academic) psychologists, the article addresses a dimension of the practitioner role that has remained silent in the literature. The article makes creative and original connections between school effectiveness, school improvement and education in a divided society. Post 11th September, the article was described as being highly original, significant and relevant to all practising educational psychologists. Concrete evidence for this is gained from, eg: hits on the online electronic version (2002-2003 Annual Report of the Association of Educational Psychologists), citations in reviews of research, and author invitations to present his work at UK and international practitioner psychology conferences. The article is published in the premier journal reporting on quality applied educational research and practice within the United Kingdom and beyond.

Experiencing Kane: an affective analysis of Sarah Kane's 'experiential' theatre in performance

The article argues for a phenomenological approach to Kane's work in performance. It notes the rise in productions of Kane's work from 2004, and focuses on productions of Crave by 11th Hour Theatre in Melbourne and Acquiesce Speck in Sydney.

When Shiels met Liberace: a skirmish with the canon of Irish theatre

Just Shiels, the product of one of the first practice as research programmes undertaken by a theatre professional within the environment of an Irish university, ‘activates’ in performance the archives of the Northern Irish dramatist George Shiels (1881–1949). The play explores Shiels's marginalization from the canon of Irish theatre on grounds of his embodied position as a disabled person, his status as a Northerner writing plays to be performed across the border in the new free Irish state, his geographical peripherality to the centre of theatrical activity in Dublin and his choice of popular forms in his dramaturgy. Just Shiels was first performed in May 2008 at Queen's University Drama Centre, Belfast. This article seeks to explore to what degree Shiels's choice of popular forms and his serious physical impairment might be implicated in his marginalization. It was first delivered as a plenary session to the American Conference for Irish Studies in New York, in October 2008.

“Authentic Reproductions”: Staging the “Wild West” in Modern Irish Drama

This article examines two metatheatrical plays written by playwrights from the north of Ireland that bookend the twentieth century. The first is Ulster Literary Theatre (ULT) playwright Gerald MacNamara’s parodic, “proto-Pirandellian”4 The Mist That Does Be on the Bog (1909), which satirizes the peasant aesthetic of the “Abbey play” of the Irish Revival.5 The second is Marie Jones’s international hit, Stones in His Pockets (1999), a “play-full,” postmodern deconstruction of the commodification of Irish culture in the era of the Celtic Tiger. Although separated by exactly ninety years, the two plays can be connected through their critiques of the cultural politics of nationalism and globalization during the periods of the Irish Revival and the Celtic Tiger, respectively. Moreover, both plays are distinguished by their dramaturgical form, as the political critique of each is corporeally embodied in metatheatrical performance.

The Advent of Modern Irish Drama and the Abjection of Peasant Popular Culture: Folklore, Fairs and Faction Fighting

This paper is part of a larger project in which the author is interested in recovering popular performative traditions and practices that have been occluded by the modernist project of the Irish Revival. This erasure has been compounded by subsequent historiographical paradigms that have reinforced the revivalist narrative of theatre history and excluded indigenous forms, traditions and practices (mumming, rhymers, strawboys) along with the wider performative culture of patterns, wakes, fairs, faction fights etc. This essay subjects to scrutiny what the author sees as a disjuncture between the riotous reality of peasant popular culture and its representation in Revivalist dramas to argue that Irish Theatre Studies needs to develop alternative historiographies of performance and to methodologically engage with theoretical models extant in Performance Studies.

Whose play is it anyway?: Theatre Studies, Translation Studies and translation for the stage

This article explores the historical neglect of translation as a consideration in the study and practice of theatre in the United States and Europe. While the study of literature is fairly strictly divided between English-language and Comparative Literature departments, theatre and drama have shown little concern about language as a barrier to reception of the dramatic text. Arguably, this discrepancy may be traced to a fundamental gap between the perceived status of the novel as a completed work of art and the playtext as work of art in progress, waiting to find its completion in performance.