Marginalised Mothers: Exploring Working Class Experiences

Successive moral panics have cast poor or socially excluded mothers - associated with social problems as diverse as crime, underachievement, unemployment and mental illness - as bad mothers. Their mothering practices are held up as the antithesis of good parenting and are associated with poor outcomes for children. Marginalised Mothers provides a detailed and much-needed insight into the lived experience of mothers who are frequently the focus of public concern and intervention, yet all too often have their voices and experiences overlooked. The book explores how they make sense of their lives with their children and families, position themselves within a context of inequality and vulnerability, and resist, subvert and survive material and social marginalisation. This controversial text uses qualitative data from a selection of working class mothers to highlight the opportunities and choices they face and to expose the middle class assumptions that ground much contemporary family policy. It will be of interest to students and researchers in sociology, social work and social policy, as well as social workers and policymakers.

Probation staff experiences of managing suicidal and self-harming service users.

The current study sought to explore the impact of suicidal behaviours on probation staff, in relation to their experiences of working with probation service users who have carried out suicide, attempted suicide or self-harm. Thirteen in-depth interviews were carried out with probation staff who had direct contact with probation service users in one probation area, and had varying degrees of experience of managing suicidal or self-injurious service users. These were analysed using thematic analysis and five themes were identified. Findings indicate that staff felt that suicide and self-harm by service users are serious issues which need to be recognized and dealt with in an effective yet compassionate manner. Not attending the suicide prevention training, or lack of experience, were perceived as restricting their ability to know how to deal with these individuals, and offer support. Furthermore, staff were emotionally affected by these incidents and it is recommended that they should continue to be provided with access to appropriate support services after an incident.

Champs de bataille: experiences et imaginaires

This contribution takes as its starting point the original conception of the overall research project which sought to examine the ‘battle’ as an event and a cultural act. It examines the representation of violence by non-combatants – who are in any case implicated in the act of war – as well as by combatants themselves. It does, however, also slightly subvert the original proposition of the war narrative as a historical source, towards the idea of the war narrative as a source of artistic representation, as well as towards the notion of ‘narrative’ understood in its broadest sense, towards visual as well as written narratives. The primary focus is however, a specific site of the violence perpetrated and endured by soldiers, the battlefield. One of the fundamental questions posed by the analysis here concerns the issue of the representation and of the reality of the battlefield, and of the reception of the expression of violence. Is representation in fact the only authentic way to seize and to try to understand violence? These questions, and some of the examples used in the first section dealing with the ‘experience’ of the battlefield, have their origins in work conducted for two decades within the international and interdisciplinary research group, the ‘Group for War and Culture Studies’, and therefore concern the bases of a cultural approach to the study of war. In the second section, the analysis moves from the notion of experience to the work of the imagination with a reading of various battlefields created by the contemporary artist Cozette de Charmoy; these are imaginary battlefields certainly, but ones which viscerally engage the body of the soldier and which seem to enable the reader/spectator to access a collective experience. Finally, the question is raised of whether representation actually becomes performative, if it becomes the experience itself, and a way not to ‘see’ that experience, but to ‘know’ it.