Reflections on Practice Learning in Northern Ireland and the Republic of Ireland: Lessons from Student Experiences

Practice learning is viewed as one of the most important components of social work education wherever in the world social work is practised. Northern Ireland and the Republic of Ireland provide an interesting case example of the educational impact on students resulting from their experience of different models of practice learning. Although sharing a common historical legacy, recent developments in policy in both jurisdictions have tended to engender greater divergences in how programmes organise and deliver social work education and practice learning. Drawing on findings from a joint-research project with students in Queen’s University, Belfast and Trinity College, Dublin, the authors highlight significant cross-border similarities as well as differences in the way practice learning is conceptualised, organised and delivered. Through comparing and contrasting student experiences, the authors reflect on how the findings might help to inform the future development of practice learning standards in both jurisdictions.

Modern management of head injuries

Management of the head-injured patient is designed to prevent secondary injury and to provide the neurosurgeon with a live patient who has some hope of recovery. This review sets out the background essentials for the non-neurosurgeon dealing with the initial care of a head-injured patient.

Factors That Impact Technology Innovation Adoption Among Irish Professional Service Sector SMEs

This paper disseminates the findings from a study into the factors impacting technological innovation adoption and diffusion specific to the deployment of electronic-commerce strategies within professional service sector SMEs in Ireland. Confirmatory factor analysis was performed and seven factors relating to a firm's external/internal environment were found to underpin adoption. These are: electronic-commerce capability; willingness to change/rate of response to new technologies; technological opportunity recognition; customer orientation; sensitivity to competitive/customer environments; perceptions of technology feasibility; and e-skills development mechanisms. t-tests revealed differences between adopters and non-adopters, and forward stepwise logistic regression is used to assess the extent to which these seven factors actually predict electronic-commerce adoption. It was found that electronic-commerce capability and the willingness to change/rate of response to new technologies are the two most important factors affecting adoption behaviours. © Imperial College Press.

Beckett and Performance

The recent interest in genealogical criticism in Beckett Studies, fuelled by the reading notes that Beckett compiled in the 1920’s and 1930’s, has led to a particular focus on Beckett’s formative years, and on the intersections between his work, especially the novels and early criticism, and his intellectual reading. While this has produced much valuable and fascinating matrial, perhaps it is time to return to the works themselves, and especially, to the theatre. Having just published a book on Performing Embodiment in Samuel Beckett’s Drama (London, Routledge, 2010), I would like to develop further the area of presence and performance in Beckett’s theatre. Performance studies and phenomenology have offered new ways of approaching the ontology of performance in Beckett’s theatre, and I intend to analyze this, with particular reference to specific productions of Beckett’s plays. Firstly, I want to look at some of Beckett’s own comments about particular performances / productions (for example in the Barbara Bray correspondence, Trinity College Dublin), and, secondly, to analyze from the perspective / experience of an audience member a number of performances by (mainly Anglophone) ‘Beckett actors’, including Billie Whitelaw and David Warrilow. Drawing on recent discussions of presence and performance (Jane Goodall, Cormac Power), I will offer some reflections on the complexity of presence (of persona and performer, of body and voice) and its haunting power in performances of Beckett’s drama.