Social structures of science and approaches to outcomes-based medical research

Recently, two seemingly divergent approaches have emerged in outcomes-based medical research. Proponents of evidence-based medicine (EBM) argue that the most effective treatments will be found by adopting a hierarchical approach that gives pre-eminence to randomized controlled clinical trials, where these are available. Proponents of participatory medical research argue that research undertaken with consumers and other partners in the community will produce the best outcomes. While one approach marginalizes consumer experience the other approach draws consumers into it. EBM assumes a high level of consensus in a scientific community, while participatory medical research relies on co-opting consumer experience. This paper indicates that each approach involves a particular view of social structure in science. The paper uses theories of social relations among scientists for the purpose of critically assessing EBM and the participatory model.

In dialogue with A.D. Hope: dialogue one: childhood and adolescence

[Alec Derwent Hope, born in Cooma 1907, won a scholarship to University College, Oxford, after majoring in English and Philosophy at Sydney University, and returned to a life of teaching and writing from the ‘thirties. His pre-eminence in literary culture was underpinned by his appointment as Professor of English at University College, Canberra, the forerunner of the Australian National University. His work in poetry, translations, and criticism provoked intense response, never indifference. His first published volumes were the satirical sequence, Dunciad Minimus : An Heroic Poem (1950), and selection of poems, The Wandering Islands (1955); amongst the final volumes were the autobiographical Chance Encounters (1992) and Selected Poems (1992).
Dialogue One was designed to explore what connections can be made between the life of the child and the values engendered in this formative phase and the adult’s creative work and view of the world; an exploration shaped by what might be seen as a relentless irony inherent in his poetry and his other scholarly productions and by Hope’s view that childhood is a place of the sacred and of secrets that are best protected from the limiting force of definition--somehow best kept suspended between the unconscious and the conscious mind to draw from when enacting a poetic vision of life. To that extent, Dialogue One is an attempt to navigate territory that might be seen as Hope’s mindscape and landscape as it emerged in childhood and adolescence.
The following exchange comprises selected excerpts from the transcripts of Ann McCulloch’s videoed interviews in Melbourne 1988, The Dance of Language: The Life and Work of A.D. Hope, as well as from her many conversations with Hope between 1981 and 1996 in Canberra.]

Jaisa Desh, Waisa Vesh? Exploratory notes on the representations of adivasis in popular Hindi cinema

This paper seeks to discuss specific examples of Adivasi representation in Indian cinema, particularly popular Hindi cinema or ‘Bollywood’ (as opposed to ‘art’ or ‘parallel’ cinema). This choice of popular Hindi cinema is an attempt to explore the ways in which it has distilled and codified the representations of ‘other’ groups for a mass audience. Popular Hindi films have an unmatched circulation and pre-eminence (Prasad, 1998) in India, making the impact of their representations important to consider. Commercial interests of popular Hindi films are paramount, their producers and directors are generally from the upper castes and classes of Indian society. In the push for commercial interests and popular storylines, adequate representations of Adivasis, and as scholars (Vasudev & Lenglet, 1983; Bagchi, 1996; Subramanyam, 1996; Gopalan, 2000; Vridi, 2003) have pointed out women and other social groups, remain stereotypical. Mainstream Hindi cinema, even in its post-colonial phase, has not provided images of various cultural groups in India which reflect their lived reality. It is this cinematic marginalisation and cultural stereotyping, which will be explored further. This paper is a preliminary exploration and will look at particular examples of representation in Hindi films, including Naagin (1954), Ajantrik (1957), Madhumati (1958), Yeh Gulistan Hamara (1972), Lal Salaam (2002), and Chak De! (2007). It is aimed that this exploration will provide a foundation for further research into representations in Hindi cinema and the wider discourses of power, politics and inequality in Indian society.

Introduction: secularization and its discontents

Sigmund Freud’s 1927 work The Future of Illusion expresses the great psychoanalyst’s most whiggish assessment of the situation of Western, post-enlightenment societies. In it, Freud reanimates the ancient tradition of the materialist-Epicurean criticism of religion, with its skepticism concerning all invisible powers. For Freud, famously, the religious belief in higher, supernatural deities—particularly, the monotheistic God—represents a wish-fulfillment and illusion (Freud 1927: 30, 43). This illusion takes its particular shapes from our earliest childhood experiences of helplessness, and the longing for an all-protecting, omnibenevolent father. With the progress of science, and its benefits in technology, Freud opined that the period of the cultural pre-eminence of religion in the West was over. Civilization and its Discontents, written 3 years later, expresses a similarly sceptical assessment of religion. Whether founded in an oceanic, mystical sentiment of oneness, or the refined language of the theologians, religion remains for Freud ‘patently infantile’ (Freud 1930: 86). Between 1927 and 1930, however, Freud’s assessment of the wider prospects of modern Kultur shifted, if it did not entirely reverse. With the fortunes of fascism rising, and the first clouds of renewed European war forming on the horizon, Freud now argues that the psychological price demanded by the modern world’s manifold civilizational advances is perhaps too high. The sexual and aggressive impulses modern society demands subjects renounce must return in the forms of organized violence, collective and individual neuroses—and in the same form of unconscious guilt Freud had argued elsewhere animated the totems and taboos of the great religions (Freud 1913, 1938). Although Freud did not draw the conclusion, the logic of his wider Kulturpessimismus points to the claim that the psychologically deep-set ‘illusions’ of religion could expect a long and viable future.

Football’s first free kick : demography and the media — how and why Australia got a game of its own

There have been numerous attempts to explain why the precocious code of football that started as a game played under Melbourne Club rules devised in 1859 became the dominant form in Victoria and the most influential in Australia, while Association football (soccer) had little impact until the second half of the twentieth century. In this article, attention is directed at some demographic features that have not been addressed in the literature and on the journalists who helped shape public perceptions of this form of the game. For the first 20 years after the codification of this unique football there was virtually no inward migration into Victoria, so the domestic game had its first free kick with few foreigners with different ideas of how the game should be played to disturb its establishment. Furthermore, the journalists who shaped the ideas of the readership of the Victorian newspapers had little or no knowledge of the forms of football played in Victoria prior to 1855, and their unconscious or conscious imperialism helped secure the pre-eminence of the new code.