Research and diabetes nursing. Part 2 : process of critical review

This article is the second in a six-part series addressing research and the DSN. Crirical review is a key aspect of research and evidencebased care and, therefore, of clinical and professional practice. Critical review is an analytical and reflective process that involves judging the quality of research publicarions and their relevance to practice. This article oudines key aspects of how to review publications and conference presentations, how critical review applies to clinical care, and how this process om help develop writing and critical thinking skills. Also addressed are the general aspects of critical review, and a list of further reading and useful websites is provided. Specific considerations for particular research methods such as quantitative, qualitative, evaluation studies and audits will be addressed in later articles in the series.

Punctuation and spelling in learners' writing

Despite their apparent straightforwardness, certain features of language seem almost less teachable. The learners’ writing is often full of minor errors on surface features that make it hard for the reader to make sense of it, let alone appreciate its content. These language features are taught to students of English during their first two years of education at university. However, whether these courses accomplish that goal to an acceptable point is questionable.

The present study focuses on two such aspects of writing, punctuation and spelling, in the writing of advanced level students at an Iranian University. For this purpose, three different subject groups are chosen from among those who have passed Grammar and Writing I, Grammar and Writing II, and Advanced Writing. Using a recognition-production (henceforth R-P) and a composition task, the performance of these groups is compared in various aspects of punctuation. For the measurement of spelling, a descriptive approach is taken based on the misspellings observed in the students' compositions. These errors are classified according to their assumed causes, and frequency counts are performed for the words of each category. The results of the punctuation and spelling tasks are compared across test items, subject groups and task types, using various statistical means. Overall, it was found that the courses mentioned above did not make much contribution to the development of the students’writing in terms of spelling and punctuation.

Reading in brown paper : Beckett's budget and the sensationalist press in interwar Sydney

This article addresses the audience reception of sensationalist newspapers in interwar Australia through a case study of Sydney weekly Beckett's Budget. During a libel trial brought against Beckett's in 1928, readers came to its defence and their testimony reveals overlaps between reading and political allegiances: reading Beckett's equated with voting Labor. While histories of sensationalist media in Australia have rightly emphasised illicit sexuality and public outcry, connections between sensationalism and working-class political movements remain on the margins of academic interest. Responding to the question 'Do you read Beckett's?' readers' evidence at the trial constitutes an audience response and invites debate over the ways gender and class could inform political engagement in the 1920s. Viewing Beckett's Budget outside of 'brown paper' and beyond the sensationalist genre reveals a shift in Australian political culture as party strategists embraced a broader electorate, using Beckett's Budget to tap into the culture and concerns of interwar society.

Why do you write? Creative writing and the reflective teacher

Whether we write creatively or academically (or both) it takes time to understand the reasons why we ‘want’ to write, and the more we write the more we fully begin to appreciate why we write and why we have to write in the first place. From the age of nine, I kept a diary and now, 31 years later, I’m still writing down thoughts, opinions, feelings and aspirations. Nearly every day, I actively participate in recording my reflections. These reflections are part of an academic writing ritual that fuels research ideas and potential narratives associated with reflective teaching practices. I have discovered that the daily practice of imagining and writing compared to academic research and writing has more similarities than differences. Other creative writers who operate in higher education as learning and teaching academics have also taken note of ‘the similarity between the processes of writing fiction, and writing learning texts, not the contrasts’ (McVey, 2008, p. 290, emphasis). More specifically, I have come to realise that strengthening one’s use of the imagination via self-confessional writing exercises is a central ingredient in order to fulfill a well-rounded learning and teaching career.

Reading the local and global: teaching literature in secondary schools in Australia

Recently Australia has witnessed a revival of concern about the place of Australian literature within the school curriculum. This has occurred within  a policy environment where there is increasing emphasis on Australia’s place  in a world economy, and on the need to encourage young people to think of  themselves in a global context. These dimensions are reflected in the  recently published Australian Curriculum: English, which requires students to read texts of ‘enduring artistic and cultural value’ that are drawn from  'world and Australian literature’. No indication, however, is given as to how the reading and literary interpretation that students do might meaningfully be framed by such categories. This essay asks: what saliences do the categories of the ‘local’, the ‘national’ and the ‘global’ have when  young people engage with literary texts? How does this impact on teachers’  and students’ interpretative approaches to literature? What place does a  ‘literary’ education, whether conceived in ‘local’, 'national’ or ‘global’  terms, have in the twenty-first century?

This voice: the poetry of knowing and not knowing

This essay is concerned with how poetry—reading it, writing it, and adapting it—relies on a dialectic between knowing and not knowing, a flickering movement between understanding and ignorance that is central to the production of poetry and its effects. To illustrate this, I discuss my poem, ‘This Voice’, and its subsequent adaptation into what I call a ‘poetry soundtrack’, a form of digital audio poetry employing poetry, music, and sound design. The essay illustrates the centrality of the knowing/not-knowing dialectic to poetry by considering the following with regard to my works: the thematics of nescience; the liminal and virtual space of interpretation and play (the latter as theorised by D.W. Winnicott); ‘nocturnal poetics’; and sampling (both sonic and lexical).