An Exploration of the Use of Coaching and Mentoring in the Supervision of Doctoral Students in UK University Business Schools

Purpose: to consider and evaluate the student and supervisor experience of doctoral supervision (dyadic and triadic) and specifically the value of using coaching and mentoring approaches (process and relationship) in supervisory practice. Design/methodology/approach: phase one is a mixed methods study exploring the use of coaching and mentoring in doctoral supervision on traditional and taught doctoral programmes in one UK university business school. The focus is on developing a conceptual model for doctoral supervisory practice for the transfer of learning and the improvement of practice. Phase two will be a collaborative action research study in a range of UK university business schools to use, reflect on and refine the conceptual model of supervision. Findings: the initial findings from phase one will be reported on at the conference presentation. Research limitations/implications: we have tentative agreements from four UK university business schools for phase two (subject to ethics approval). Practical implications: students and supervisors participating in the research will benefit from having the opportunity to review and improve their practice; the participating business schools will have the opportunity to review and potentially revise their doctoral student and supervisor training; and a business school’s reputation for high quality doctoral supervision could be enhanced. Social implications: could potentially benefit numerous future students and supervisors across a wide range of UK university business schools. Originality/value: there does not appear to be any previously published research on the use of coaching and mentoring in doctoral supervision in UK university business schools for the transfer of learning and improvement of practice.

Social Justice Cannot, in the Form Commonly Articulated, Meaningfully Guide Action

Nurses – along with many others – are often told that they should or must accept and work towards the promotion of social justice. Further, it is claimed that social justice represents or is a shared nursing value. This presentation challenges these assertions. Claims regarding shared values easily fall prey to forms of attribution error. Alternatively, while social justice is sometimes presented as a remedy or alternative to market disutility, the quality of arguments in which this linkage appears leave much to be desired and, in such instances, the robustness of these claims collapse. Or, assertions regarding social justice frequently appear without supporting explanation or justification. It is simply assumed that social justice (inadequately defined) is a ‘good thing’. This is not necessarily a problem. The normative strength of a claim does not rest only upon the arguments put forward in support of it. However, when social justice is advanced as mere assertion, often in a manner devoid of specificity, claims that the concept should be embraced and claims that the concept should or can promote action in the world, lack persuasive force. Moreover, in some articulations, the concept appears to generate illiberal and intolerant consequences. This presentation does not argue for inequality or social injustice. Rather, it suggests that underdeveloped and frail arguments require improvement or dismissal.

The Object Animates: Displacement and Humility in the Theatre of Philippe Quesne

This article considers the animating role that objects play in the theatre of Philippe Quesne and Vivarium Studio (France). The conventional role of object animation is often characterised by the performer manipulating objects and scenic material on the stage, asserting a control over the environment they are implicated in. In Quesne's theatre, this relationship is democratised. The theatrical apparatus, both materially and conceptually, is set up to enable the flow of animation to be interchangeable, affording an equal agency to the objects being used much as that of the performers. This theatre of animation is drawn through the framing concepts of displacement and humility. Displacement is considered as a compositional strategy that makes us aware of the volume of the stage space beyond the proscenium frame as a plane of composition. The introduction of large inflatable objects, real cars or large roles of fake snow foreground the objects material presence allows Quesne to play with moments of equilibrium, tipping, excess and absence. Humility is traced as a philosophy of objects that transcends the choice, handling and use of material items in Quesne's work. Simple objects take on a specific vibrancy because of how they give shape to the human participants on stage, animating moments of recognition that allows the human figure, its ethics, emotions and humour, to appear.