Dancing and listening : Odissi across cultures

I want to take the opportunity afforded by this conference on post-colonial writing to reflect upon the oral aspects of the transmission of knowledge in a research interview.I want to view the interview as a singular event of narration. I want to use the theme or 'content' of my interview with a young Bengali-Australian dancer to draw attention tothe interview 'form'. The interview occurred because of my interest in how this dancer had come to learn Odissi dance, how knowledge of Odissi had passed to her. In retrospect, I am trying to see myself as someone to whom, through the face-to-face interview, knowledge was 'passed' orally, not textually. I am trying to think about it in terms of some of the principles of orality discussed by Walter Ong (1982), and through the concept of 'enunciation' which foregrounds not the content of a statement but the 'position of the speaking subject in the statement.'

Dance is an oral culture. It is a set of practices transmitted from body to body. You cannot learn dancing from a book. The western researcher however learns a lot about dance of other cultures from books and articles. From my own reading I have been alerted to, and become conversant with, many of the complex negotiations of gendered, historical, national, class and aesthetic meanings at work in Classical Indian Dance practices.

I learned something of the limits of literacy, however, through the experience of interviewing Sunita (not her real name) about her learning and background in Odissi dance. She has had Odissi knowledge passed on to her in a quasi-traditional guru-sisya relationship. Her authority is in her dancing - she now embodies Odissi dance in her person - and her experience is in the oral modes of transmitting dancing knowledge. Through her telling me, through remembering out loud she was reenacting or rehearsing the 'orality' of her dance knowledge.

In my conversation with Sunita, then, wasn't it a question not of what she might say about Odissi, of what discourses she might deploy, but of what she as the subject of her own enunciations might say to me? It was also a question of how I might have listened to her and what I was able to hear.

Levy grant training scheme evolution : focus on Fiji and Singapore

This thesis examines the evolution of national training policy in Fiji since 1973 with a particular emphasis on the national levy-grant scheme that was introduced in Fiji in that same year. Developments in the Fiji National Training Council (FNTC) levy-grants scheme since its inception, including substantive amendments to the legislation in late 2002, form part of the scholarship. The thesis will provide an analytical narration of the training policy objectives and their transformation over a time span of almost three decades in the context of a small island nation. To inform this study, it was considered essential to compare the Fiji experience of levy grants schemes with other levy grants scheme. The author decided to use as the focal comparative benchmark the case of the Skills Development Fund (SDF) in Singapore. The SDF has been increasingly portrayed, by the World Bank, the International Labour Organisation and other influential agencies, as the best practice case when it comes to managing a training levy grants scheme. The thesis adopted a qualitative approach that utilized elements of case study, historical research, and key person interviews. The challenges of doing 'insider* research were explored because of its pertinence to the study. Because the study also involved the comparison of the policy experiences of two distinct countries, it was imperative to consider the issues and challenges of undertaking comparative research with particular reference to training matters- Given that training is often enmeshed with other human resources management issues, cognisance was taken of some of the broader debates in this regard. Following consideration of the methodological issues, the research paper explores the objectives of national training strategies and, in particular, issues relating to national competitiveness and skills development. The purpose is to situate the issue of training and skills development within the broader discourse of national development. Alternative approaches to the strategic role of training are considered both at the national and organisational level and some of the classic and current debates surrounding human capital investment are visited. The thesis then proceeds to examine the forms of, and rationale for government interventions in the area of training. One of the challenges both in practice and theoretically is to arrive at a consensual definition of training because of the constantly evolving context and boundaries in which training policies are fashioned. This provides the setting to examine the role that governments can and do play in skills development and how levy-grant schemes, in particular, contribute to the process. Three forms of levy grants schemes are identified and examined: levy-generating; levy-exemption; and levy-grant and reimbursement schemes. The levy-grant and reimbursement variant is the basic thrust of this thesis. In this regard, the UK experience with the levy-grant system from 1964 to 1981 is also reviewed. Some of the issues in relation to training levies are scrutinized including the levy as a sheltered source of training finance, levy rates, duration of levy, impact of levy on the quality and quantity of training, benefits to small businesses, links between training and strategic business objectives, repackaging of training to qualify for grants, and the process by which training levy policies are devised. In looking at the policy formulation, it was necessary to unpack the processes involved and explore the role of the state further. In relation to policy development and implementation, the consultation processes, role of bureaucrats, the policy context, and approaches to policy transfer are examined. In looking at the role of the state in policy development, the alternative roles of government are explored and the concepts of the 'developmental state' and the 'corporatist state* evaluated. The notion of the developmental state has particular relevance to this study given the emphasis placed by the Singaporean government on human resource development policies. This sets the scene for a detailed examination of the role of levy-grant training schemes in Fiji and Singapore. The Skills Development Fund in Singapore was developed as an integral component of national economic policy when the Singaporean government decided to break out of the 'low-skills' trap and move the economy towards a higher value adding structure. The levy-grant system was designed to complement the strategy by focusing on upgrading the skills of employees on lower incomes, the assumption being that employees on lower remuneration were more likely to need skills upgrading. The study notes that the early objectives of the SDF were displaced when it was revealed that the bulk of SDF expenditure was directed at higher level supervisory and management training. As a result, the SDF had to refocus its activities on small and medium enterprises and the workers who were likely to miss out on formal training opportunities. The Singaporean context also shows trade unions playing a significant role in worker education and literacy programmes financed under the SDF. To understand this requires some understanding of the historical linkages between the present Singaporean government and trade union leadership. Another aspect of the development of the SDF has been the constant shifting of the institutional responsibility for the scheme. As late as September 2003, the SDF was again moved, this time to the newly created Singapore Workforce Development Agency, with the focus turning to lifelong learning and assisting Singaporeans who are unemployed or made redundant as a result of the economic restructuring. The Fiji experience with the FNTC scheme is different. It evolved in the context of perceived skills shortages but there was a degree of ambiguity over its objectives. There were no specific linkages with economic policy. Relationships with other public training institutions and more recently, private training providers, have been fraught with difficulties. The study examines the origins of the policy, the early difficulties including perceived employer grievances, and the numerous external assessments of the Fiji levy-grant scheme noting that some of them were highly critical. The thesis also examines an attempted reform of the scheme in 1992-93 that proved unsuccessful and the more recent legislative reforms to the scheme in 2002 that have expanded the role of the scheme to encompass, inter alia, national occupational standards and accreditation activities. The thesis concludes by comparing the two schemes noting that the SDF is well entrenched as a policy instrument in Singapore whilst the FNTC is facing a struggle to assert its legitimacy in Fiji.

Providence and method : Herbert Butterfield and the interpretation of history

This thesis presents an extended critical analysis of the methodological thought of the Cambridge historian Herbert Butterfield (1900-1979). It is based on the full range of his published works, as well as unpublished material. It is a contribution to the history of historiography, and to the theory of history. The thesis concentrates on the relationship between Butterfield’s views on historical research and historiographical narration, and his concept of a ‘historical process’ which was the expression of a ‘providential order’. The principal problem in Butterfield’s writings is the contradiction between his advocacy of a ‘technical history’ seen as free and independent of any interpretative presupposition, and his belief in Providence and its utilisation in the course of his historiography. Firstly, the thesis argues that Butterfield employs his own presuppositions even without making explicit references to his belief in Providence. Secondly, it explains why he embraced and advocated two contradictory standpoints. Butterfield’s position is best clarified with reference to the content of his Christian beliefs. It is argued that Butterfield regarded all non-Christian interpretations of history as distorting oversimplifications. They were for him not fully scientific and rigorous, because they selected some phenomenon, or principle, or institution arising within human history and made it the central interpretative principle. He saw his own practice as exempt from this criticism. This thesis argues that Butterfield’s position is nevertheless interpretative. However, it is argued that Butterfield’s critique of ideologically based historiographic distortions and oversimplifications is important in the assessment of rival interpretations of history.

Second person : a point of view? The function of the second person pronoun in narrative prose fiction

This thesis looks at the functions and effects of the ‘second-person’ pronoun in narrative prose fiction, with particular focus on the fluidity and ambiguity of the mode that I will call Protean-'you.' It is a mode in which it is unclear whether the ‘you’ is a character, the narrator, a reader/narratee, or no-one in particular—or a combination of these—so that readers find ‘second-person’ utterances at once familiar and deeply strange. I regard the ‘second person’ as a special case of narrative ‘person’ that, at its most fluid, can produce an experience of reading quite unlike that of reading traditional ‘first-‘ and ‘third-person’ narrative. Essentially, this unique experience comes about because Protean-‘you’ neglects to constitute the stable modes of subjectivity that readers expect to find within narrative textuality. These stable modes of subjectivity, modelled on what I will refer to as Cartesianism’s hegemonic notion of the self, have been thoroughly formalised and naturalised within the practices of ‘first-‘ and ‘third-person’ narrative. The Protean-‘you’ form of ‘second-person’ narrative, conversely, is a mode of narrative discourse that puts readers in a place of doubt and uncertainty, its unsettling equivocations forcefully disrupting accustomed, mimetic explanations of narrative and denying us access to the foundational, authorising subject of classical Cartesian thought. Rather than founding a notion of ‘second-person’ narrative and narrative ‘person’ generally on Cartesianism's ‘self-ish’ logic of unified, privatised identity, I turn to C.S, Peirce's notion of the semiotic self and to developments in post-structuralist thought. Essentially, the conception of subjectivity underpinning my arguments is Peirce's proposition that the self is to be conceived of not as a cogito, but as a sign by which the conscious entity knows itself. It is a sign, moreover, that is constantly being re-read, reinterpreted, so that identity is never self-complete. This reconception of subjectivity is necessary because 1 will argue that the effects of Protean-‘you’ arise in some part from a tension between Cartesianism's hegemony and what philosophical pragmatism and post-structuralism glimpse as the actual condition of the human subject—the subject as dispersed and contingent rather than unified and authoritative. Most discussions of ‘second-person’ narrative conceive of the mode in terms of implicit communicative relations, in some measure instituting Cartesianism's notion of the intentionalist self at the centre of literary meaning. I contrast the paradigmatic address model that arises from this conception against a model that approaches the analysis of ‘second-person’ narrative modality in terms of a referential function, that is, in terms of the object or objects referred to deictically by the ‘second-person’ pronoun. Two principal functions of ‘second-person’ textuality are identified and discussed at length. The first is generalisation, which is rarely dissipated altogether, a situation that contributes to the ambiguities of the pronoun's reference in much ‘second-person’ fiction. The second principal function is that of address, that is, the allocutionary function. Clearly, although stories that continually refer to a ‘you’ can seem quite baffling and unnatural, not all ‘second-person’ narratives unsettle the reader. In order to make the ‘second person's’ outlandish narratives knowable and stable, we bring to bear on them in our habits of reading whatever hermeneutic frames, whatever interpretive keys, come to hand, including a large number of unexceptional forms of literary and ‘natural’ discourse that employ the ‘second-person’ pronoun. These forms include letter writing and internal dialogue (i.e., talking to one's self), the language of the courtroom, the travelogue, the maxim, and so on. In looking at the ways in which the radicalising potentials of ‘second-person’ discourse are contained or recuperated, I focus on issues of vraisemblance and mimesis. Vraisemblance can be described as the ‘system of conventions and expectations which rests on/reinforces that more general system of ‘mutual knowledge’ produced within a community for the realisation and maintenance of a whole social world’. All of the forms of the vraisemblable are already instituted within social, cultural relations, so that what vraisemblance describes is the way we fit the inscriptions we read-that is, the way in which we naturalise what we read-into those given cultural and social forms. I also look at the conventionalising and naturalising work done by notions of mimesis in explaining relations between the world, our being in it, and texts, proposing that mimesis provides a principle buttress by which the good standing of the metaphor of ‘person’ is preserved in traditional and pre-critical modes of analysis. Indeed, the critic’s recourse to ‘person’ is in some measure always an engagement with mimesis. Any discussion that maintains that mimesis is in some way productive of meaning-which this thesis in fact does-must identify mimesis as a merely conventional category within practices of reading and semiosis more generally, and at the very least remove that term from its traditional position of transparent primacy and authority. Some of the most interesting and insightful arguments about ‘second-person’ narrative propose that the ‘second person’s’ most striking effects derive from the constitution of an ‘intersubjective’ experience of reading in which the subject positions of the ‘you’-protagonist, reader-narratee and narrator are combined into a fluid and indeterminate multiple subjectivity. Notions of intersubjectivity frequently position themselves as liberating the reader from Cartesianism's fixed, authoritative modes of subjectivity, Frequently, however, they tend implicitly to reinstate Cartesianism's notion of the self at the centre of textual practice and subjectivity. I look at Daniel Gunn's novel ‘Almost You’, at length in this context, illustrating the constant overdetermination of the ‘you’ and the novel's narrating voice, and demonstrating that this overdetermination leaves the origin of the narrative discourse, the identity of the narrator, and the ontological nature of both principal protagonists utterly ambiguous. The fluidity and ambiguity of Protean-‘you’ in ‘Almost You’ is discussed in terms of ‘second-person’ intersubjectivity, but with a view to demonstrating the indebtedness by the notion of intersubjectivity to Cartesianism's hegemony of ‘person’. I then turn to a discussion of what might be a more ‘old fashioned’ if perhaps ultimately more far-reaching approach to the ‘second person’s’ often startling ambiguities. This is Keats's notion of negative capability, a capacity or quality in which a person ‘is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact and reason.’ I suggest that Protean-‘you’ texts will license all of the readings of ambiguity and fluidity proposed in my discussion of ‘Almost You’, but conclude that the instances of indeterminacy illustrate no more than that: the fluidity and deep ambiguity, and thus, finally, the lack of coherence, of Protean-‘you’ discourse. This has particular implications for how we are to consider readers’ experiences of narrative texts. More fundamentally, it has implications for how we are to consider readers as subjects. I suggest that unstable, ambiguous instances of ‘second-person’ narrative can tear the complex and systematic embroidery of ideological suture that unifies Cretinism’s experience or sense of subjectivity, leaving the reader in a condition of epistemological and ontological havoc. I go on to argue that much of the deeply unsettling effect of Protean-‘you’ discourse anises because its utterances explicitly gesture towards Cretinism’s notion of self. Protean-‘you’ involves a sense of address that is much more pronounced than we are accustomed to facing when reading literary narrative, alerting us to the presence of inscribed anthropomorphic subjects. At the very same time, protean-‘you’ leaves its inscribed subjects indeterminate, ambiguous. This conflict generates a tension between the anticipation of the emergence of speaking and listening selves and our inability to find them. I go on to propose that Protean-‘you’ narrative's lack of coherence is also to be understood as the condition of narrative actuality generally, but a condition that is vigorously mediated against by dominant practices of reading and writing, hocusing my discussion in this respect on the issue of narrative ‘person,’ I argue that narrative ‘person’ is constituted within texts as an apparent unity, but that it is in fact, produced as unitary solely within the practice of making sense, that is, Within our habits of reading, and so is never finally unified. I propose that this is the case for ‘first-‘ and ‘third-person’ modes no less than for the ‘second.’ Where ‘second-person’ narrative at its most radical and Protean differs from conventional ‘first-‘ and ‘third-person’ narratives is the degree to which each has been circumscribed by practices of tantalization, containment and limit, and, in particular, Cretinism’s hegemony of ‘person.’ It may be that the most significant insights ‘second-person’ narrative has to offer are to be found within its capacity to reveal to the engaged reader the underlying condition of narrative discourse, and more generally, its capacity to reveal the actual condition of the human subject-a condition in which, exactly like its textual corollary of narrative ‘person,’ the self is glimpsed as thoroughly dispersed and contingent.

Film audio pace

We explore the concept of film pace expressed through audio to analyse the film at a semantic level. We use domain knowledge to derive a number of measures for film audio pace. We then apply the audio pace to examine two semantic concepts: counterpoint and narrative structure. Counterpoint is a method used to highlight a salient event by contrasting the visual and audio aspects of a film. We divide narrative structure into visual narration, action, and audio narration, plot development. We hypothesise that changes in the narrative structure signal a change in the audio pace. We then test this hypothesis using eight films of varying genres. A pattern was established linking the audio pace features, guided by the properties of the audio energy, to the narrative structure. The method was successful in determining the narrative structure for seven of the films, achieving an overall precision of 76.4% and recall of 80.3%.

Novel approach to determining tempo and dramatic story sections in motion pictures

This paper presents an original computational approach to extraction of movie tempo for deriving story sections and events that convey high level semantics of stories portrayed in motion pictures, thus enabling better video annotation and interpretation systems. This approach, inspired by the existing cinematic conventions known as film grammar, uses the attributes of motion and shot length to define and compute a novel continuous measure of tempo of a movie. Tempo flow plots are derived for several full-length motion pictures and edge detection is performed to extract dramatic story sections and events occurring in the movie, underlined by their unique tempo. The results confirm reliable detection of actual distinct tempo changes and serve as useful index into the dramatic development and narration of the story in motion pictures.

Narrative structure detection through audio pace

We use the concept of film pace, expressed through the audio, to analyse the broad level narrative structure of film. The narrative structure is divided into visual narration, action sections, and audio narration, plot development sections. We hypothesise, that changes in the narrative structure signal a change in audio content, which is reflected by a change in audio pace. We test this hypothesis using a number of audio feature functions, that reflect the audio pace, to detect changes in narrative structure for 8 films of varying genres. The properties of the energy were then used to determine the. audio pace feature corresponding to the narrative, structure for each film analysed. The method was successful in determining the narrative structure for 1 of the films, achieving an overall precision of 76.4% and recall of 80.3%, We map the properties of the speech and energy of film audio to the higher level semantic concept of audio pace. The audio pace was in turn applied to a higher level semantic analysis of the structure of film.

Determining dramatic intensification via flashing lights in movies

Movie directors and producers worldwide, in their quest to narrate a good story that warrants repeated audience viewing, use many cinematic elements to intensify and clarify the viewing experience. One such element that directors manipulate is lighting. In this paper we examine one aspect of lighting, namely flashing lights, and its role as an intensifier of dramatic effects in film. We present an algorithm for robust extraction of flashing lights and a simple mechanism to group detected flashing lights into flashing light scenes and analyze the role of these segments in story narration. In addition, we demonstrate how flashing lights detection can improve the performance of shot-based video segmentation. Experiments on a number of video sequences extracted from real movies yields good results. Our technique detects 90.4% of flashing lights. The detected flashing lights correctly eliminates 92.7% of false cuts in these sequences. In addition, data support is compiled to demonstrate the association between flashing light scenes and certain dramatic intensification events such as supernatural power, crisis or excitement.

Communication strategies : an interplay between proficiency and gender

This paper is intended to investigate the interplay between proficiency and gender in the use of communication strategies. Sixty Iranian university male and female subjects studying English took part in the experiment and performed two tasks: word recognition and picture-story narration. The results indicate that proficiency had a more perceptible effect on the frequency and types of communication strategies. Tasks also had a strong effect on the number and type of strategies chosen. Gender did not yield any significant results except in the case of low proficiency level of female participants. The reason was attributed to the subject of study and formal educational system.

Light the towel: narrative and the negotiated unconscious

The thesis consists of a creative component: a novel in multiple first-person voices, and a theoretical component: investigating the interaction between conscious and unconscious processes, in creative writing. The concept of alterity as ‘otherness’, at the heart of the theoretical inquiry, derives its momentum from the experience of the operation of the ‘other’ in the ‘I’ in narrative composition.

Autoethnography: introducing 'I' into medical education research

Context: Autoethnography is a methodology that allows clinician-educators to research their own cultures, sharing insights about their own teaching and learning journeys in ways that will resonate with others. There are few examples of autoethnographic research in medical education, and many areas would benefit from this methodology to help improve understanding of, for example, teacher-learner interactions, transitions and interprofessional development. Objectives: We wish to share this methodology so that others may consider it in their own education environments as a viable qualitative research approach to gain new insights and understandings. Methods: This paper introduces autoethnography, discusses important considerations in terms of data collection and analysis, explores ethical aspects of writing about others and considers the benefits and limitations of conducting research that includes self. Results: Autoethnography allows medical educators to increasingly engage in self-reflective narration while analysing their own cultural biographies. It moves beyond simple autobiography through the inclusion of other voices and the analytical examination of the relationships between self and others. Autoethnography has achieved its goal if it results in new insights and improvements in personal teaching practices, and if it promotes broader reflection amongst readers about their own teaching and learning environments. Conclusions: Researchers should consider autoethnography as an important methodology to help advance our understanding of the culture and practices of medical education. Discuss ideas arising from the article at www.mededuc.com discuss. © 2015 John Wiley

Understanding a transitional teacher education in globalized and neoliberal contexts

Many early career teachers commence their transition into the teaching profession in rural and remote schools. Separated from existing interpersonal/professional networks of support, early career teachers rely on new colleagues and school leaders in more complex ways than their peers teaching closer to home. Crucially, their emerging identities, resilience and motivations are therefore influenced and reinforced
through professional interactions. This paper explores the critical turning points and narratives of two early career rural teachers. The narratives were collected through reflect.goingok.com, a digital tool created by one of the authors; that enabled the teachers to engage in regular reflections about their transition from university to the classroom. In conclusion some of the implications of the co-narration of teacher identity, and how this informs a systemic approach that supports early career teachers in rural teaching practice is discussed.

Neojihadism and Muslim–Christian relations in the Mindanao Resistance Movement: a study of Facebook digital narratives

Religion is surely not the most important factor in explaining the conflict in the Southern Philippines. Economic, political and criminal issues also contribute to explaining the violence in the country. Yet the religious narrative influences the narration of the conflict, impacting on its frame of understanding both within the country and from the perspective of global audiences. This study presents the results of field research on three Facebook pages in English (and therefore addressed to global audiences) related to resistance movements in Southern Philippines, notably BIFF and MNLF, which openly include neojihadist symbols and contents in their narratives. How do these narratives depict and affect Christian–Muslim relations within the local movement and the local society in Mindanao? And how does the local version of the global neojihadist narrative contribute to shaping Christian–Muslim relations in the global Muslim public sphere? This article shows the potential impact of the neojihadist ideology on the narration of the resistance movement, highlighting the consequences for the negotiation of Christian and Muslim identities.

Book review: A girl is a half-formed thing

In interviews, this much-admired novelist is explicit about her debt to Beckett, Edna O’Brien, but most of all, to Joyce. Her technique does owe much to Joyce’s particular variety of stream of consciousness in the Penelope chapter of Ulysses. A Portrait of the Artist as a Young Man, with its sustained experiment with free indirect discourse, is to my mind its most direct antecedent. Both novels adopt the discipline of a limited point of view, though it mostly avoids third person. McBride registers other voices mainly as internalized in the fractured consciousness of the unnamed main protagonist, whom we follow, as we do in Portrait, from the age of three to her early twenties. There is no dialogue as such, which means that the angle of narration has an unrelenting quality, compared with Joyce who is always at pains to ironise Stephen and to offer counterfoils.