Michel Foucault and Dorothy Smith in Case File Research: Strange Bedfellows or Complimentary Thinkers?

The aim of this article is to provide an exploration how the work of two theorists with notably different stances could be used effectively to enhance critical research methods in relation to the history of child welfare social work. The design and implementation of child welfare policies, practices and discourses could considerably benefit from a more historically well grounded scholarship that enables actors to connect their present concerns with the broader historical dynamics of social regulation. The article reports on how the work of Michel Foucault and Dorothy E. Smith might be considered in parallel as two different perspectives to the same scene in time and place. The differences and similarities in their approaches are explored with an emphasis on concepts most relevant to researching child welfare archives including discourse, text, the subject and power-knowledge. The article concludes with a commentary on further development to take forward this methodological analysis.

'Strange Visitor From Another Planet': Genre, Corporate Identity and the Arrival of American Telefantasy on British Television

While the BBC had been broadcasting television Science Fiction productions from as early as 1938, and Horror since the start of television in 1936, American Telefantasy had no place on British television until ITV’s broadcast of Adventures of Superman (1952-1958) in 1956. It would be easy to assign this absence to the avoidance of popular American programming, but this would ignore the presence of Western and adventure serials imported from the US and Canada for monopoly British television. Similarly, it would be inaccurate to suggest that these imports were purely purchased as thrilling fare to appease a child audience, as it was the commercial ITV that was first to broadcast the more adult-orientated Science Fiction Theatre (1955-7) and Inner Sanctum (1954). This article builds on the work of Paul Rixon and Rob Leggott to argue that these imports were used primarily to supply relatively cheap broadcast material for the new channel, but that they also served to appeal to the notion of spectacular entertainment attached to the new channel through its own productions, such as The Invisible Man (1958-1959) and swashbucklers such as The Adventures of Robin Hood (1955-60). However, the appeal was not just to the exciting, but also to the transatlantic, with ITV embracing this conception of America as a modern place of adventure through its imports and its creation of productions for export, incorporating an American lead into The Invisible Man and drawing upon an (inexpensive) American talent pool of blacklisted screenwriters to provide a transatlantic style and relevance to its own adventure series. Where the BBC used its imported serials as filler directed at children, ITV embraced this transatlantic entertainment as part of its identity and differentiation from the BBC.

Thou art a strange fellow:Dissonance and Discordance in Intercultural Shakespeares

Any performance of the intercultural necessarily, and always, advances the question of the cultural since it involves the inter-action and interplay of unique and particular cultural performance styles and modes. Intercultural theatre, according to Pavis, is a hybrid theatrical form “drawing upon performance traditions traceable to distinct cultural areas. The hybridization is very often such that the original forms can no longer be distinguished.” The result of this collaboration of forms is, however, often not a ‘hybrid’ where cultural texts work cohesively and in unison to produce a harmonious mise en scene. Instead, intercultural performances are performances at the interstices and at the intersections of cultures. They raise problems of authorship, authority and performance unities and expose a sense of cultural foreignness. Consequently, intercultural performance can be said to be meta-theatre that queries the construction of culture since it places alongside performance traditions that confront.

Music, as performative unit, is a significant line of action by which the intercultural spectacle is constructed. Integral to Western theatre, and certainly more so in traditional Asian performance forms, the deliberate ‘fusion’ and ‘blending’ of musical styles in intercultural performances underscore not a harmony of diverse sounds but the possible dissonance and discordance already performed by the visual and verbal texts. The paper thus seeks to examine, in particular, the musical elements in intercultural performances such as Ong Keng Sen’s Lear (Theatreworks, 1999) and explore the ways in which music could possibly intensify the confrontation of performative texts resulting in a disruption of performance unities. When watching and listening to Lear, the question of the ‘local’ thus arises not merely with identification and alienation from what is seen but also what is familiar and foreign to one’s ears.

Strangers in a strange land: How Afghanistan changed our lives:How Afghanistan changed our lives

This half hour audio documentary for BBC Northern Ireland examined the connections between the different people in Northern Ireland who have forged links with Afghanistan.

Strange, But True? Object-oriented Programming Is Best Taught, And Learnt, While Sitting On The Floor.

There is a perception amongst some of those learning computer programming that the principles of object-oriented programming (where behaviour is often encapsulated across multiple class files) can be difficult to grasp, especially when taught through a traditional, didactic ‘talk-and-chalk’ method or in a lecture-based environment.
We propose a non-traditional teaching method, developed for a government funded teaching training project delivered by Queen’s University, we call it bigCode. In this scenario, learners are provided with many printed, poster-sized fragments of code (in this case either Java or C#). The learners sit on the floor in groups and assemble these fragments into the many classes which make-up an object-oriented program.
Early trials indicate that bigCode is an effective method for teaching object-orientation. The requirement to physically organise the code fragments imitates closely the thought processes of a good software developer when developing object-oriented code.
Furthermore, in addition to teaching the principles involved in object-orientation, bigCode is also an extremely useful technique for teaching learners the organisation and structure of individual classes in Java or C# (as well as the organisation of procedural code). The mechanics of organising fragments of code into complete, correct computer programs give the users first-hand practice of this important skill, and as a result they subsequently find it much easier to develop well-structured code on a computer.
Yet, open questions remain. Is bigCode successful only because we have unknowingly predominantly targeted kinesthetic learners? Is bigCode also an effective teaching approach for other forms of learners, such as visual learners? How scalable is bigCode: in its current form can it be used with large class sizes, or outside the classroom?

The Strange Revival of Bicameralism

The turn of the twenty-first century witnessed a surprising reversal of the long-observed trend towards the disappearance of second chambers in unitary states, with 28 countries – all but one of them unitary – adopting the bicameral system. This article explores this development by first setting it in the context of the historical evolution of second chambers and the arguments that support bicameralism, and then exploring the characteristics that distinguish today’s second chambers from first chambers. A ‘census’ of second chambers in 2014 is used to provide data on second chambers in federal and unitary states, to facilitate comparison with earlier data, and to distinguish between ‘new’ and longer-established second chambers. The article concludes that newly established second chambers are concentrated predominantly in political systems where liberal democratic principles are not established, suggesting that the debate over their role in democratic states is set to continue.

'What say you to [this] book? Is it yours?'::Oral and Collaborative Narrative Trajectories in the Mediated Writings of Anna Trapnel

This article argues that, when a printed page is initially orally generated and then transcribed, either at the time or on a subsequent occasion by a listener or an interlocutor, there are important critical implications for the “I” of the account. It takes as a case study Anna Trapnel's first published works. Appearing within a few weeks of each other in 1654, The Cry of a Stone and Strange and Wonderful News are both mediated texts, large parts of which depend on the agency of a relater. The article begins by examining the textual traces of the relater, arguing for the centrality of his role and other agencies in the shaping of the works which bear Trapnel's name. Situating itself in relation to a current orientation in feminist autobiographical theory that places emphasis on the external requirement to narrate one's life, rather than on the spontaneous production of autobiography by an inner self, the article emphasizes notions of coaxing, witnessing and intersubjectivity to point up an appreciation of women's life writing as a species of cultural production in which various historical actors—male and female—participate. This dialogic process, which persists into the afterlife of transcription, owes part of its genesis to the political vagaries of 1654 and precipitates two contrasting—but equally “authentic”—versions of Trapnel's life and self. Mapping this movement, discussion concentrates on the ways in which a critical confrontation with women's oral narrative is as much an activity of disentangling as it is of reconstructing, an activity which is revealing of the extent to which a spectrum of social and cultural networks participates in and facilitates the female writing act.