Resilience or resistance? The value of subject knowledge for drama teachers

This paper reports on research undertaken by the author into what secondary school drama teachers think they need to possess in terms of subject knowledge in order to operate effectively as subject specialists. ‘Subject knowledge’ is regarded as being multi faceted and the paper reports on how drama teachers prioritise its different aspects. A discussion of what ‘subject knowledge’ may be seen to encompass reveals interesting tensions between aspects of professional knowledge that are prescribed by statutory dictate and local context, and those that are valued by individual teachers and are manifest in their construction of a professional identity. The paper proposes that making judgements that associate propositional and substantive knowledge with traditionally held academic values as ‘bad’ or ‘irrelevant’ to drama education, and what Foucault has coined as ‘subjugated knowledge’ (i.e. local, vernacular, enactive knowledge that eludes inscription) as ‘good’ and more apposite to the work of all those involved in drama education, fails to reflect the complex matrices of values that specialists appear to hold. While the reported research focused on secondary school drama teachers in England, Bourdieu’s conception of field and habitus is invoked to suggest a model which recognises how drama educators more generally may construct a professional identity that necessarily balances personal interests and beliefs with externally imposed demands.

Training drama teachers: a perspective from England

In England, drama is embedded into the National Curriculum as a part of the programmes of study for the subject of English. This means that all children aged between 5 - 16 in state funded schools have an entitlement to be taught some aspects of the subject. While the manifestation of drama in primary schools is diverse, in a great many schools for students aged between 11 – 19, drama and theatre art is taught as a discrete subject in the same way that the visual arts and music are. Students may opt for public examination courses in the subject at ages 16 and 18. In order to satisfy the specifications laid down for such examinations many schools recognise the need for specialist teachers and indeed specialist teaching rooms and equipment. This chapter outlines how drama is taught in secondary schools in England (there being subtle variations in the education systems in the other countries that make up the United Kingdom) and the theories that underpin drama’s place in the curriculum as a subject in its own right and as a vehicle for delivering other aspects of the prescribed curriculum are discussed. The paper goes on to review the way in which drama is taught articulates with the requirements and current initiatives laid down by the government. Given this context, the chapter moves on to explore what specialist subject and pedagogical knowledge secondary school drama teachers need. Furthermore, consideration is made of the tensions that may be seen to exist between the way drama teachers perceive their own identity as subject specialists and the restrictions and demands placed upon them by the education system within which they work. An insight into the backgrounds of those who become drama teachers in England is provided and the reasons for choosing such a career and the expectations and concerns that underpin their training are identified and analysed.

Nucleolin is regulated both at the level of transcription and translation

Nucleolin is a multi-functional protein that is located to the nucleolus. In tissue Culture cells, the stability of nucleolin is related to the proliferation status of the cell. During development, rat cardiomyocytes proliferate actively with increases in the mass of the heart being due to both hyperplasia and hypertrophy. The timing of this shift in the phenotype of the myocyte from one capable of undergoing hyperplasia to one that can grow only by hypertrophy occurs within 4 days of post-natal development. Thus, cardiomyocytes are an ideal model system in which to study the regulation of nucleolin during growth in vivo. Using Western blot and quantitative RT-PCR (TaqMan) we found that the amount of nucleolin is regulated both at the level of transcription and translation during the development of the cardiomyocyte. However, in cells which had exited the cell cycle and were subsequently given a hypertrophic stimulus, nucleolin was regulated post-transcriptionally. (c) 2005 Elsevier Inc. All rights reserved.

Calicivirus translation initiation requires an interaction between VPg and eIF4E

Unlike other positive-stranded RNA viruses that use either a 5'-cap structure or an internal ribosome entry site to direct translation of their messenger RNA, calicivirus translation is dependent on the presence of a protein covalently linked to the 50 end of the viral genome (VPg). We have shown a direct interaction of the calicivirus VPg with the cap-binding protein eIF4E. This interaction is required for calicivirus mRNA translation, as sequestration of eIF4E by 4E-BP1 inhibits translation. Functional analysis has shown that VPg does not interfere with the interaction between eIF4E and the cap structure or 4E-BP1, suggesting that VPg binds to eIF4E at a different site from both cap and 4E-BP1. This work lends support to the idea that calicivirus VPg acts as a novel 'cap substitute' during initiation of translation on virus mRNA.

Knowledge communication and translation- A knowledge transfer model

Purpose – The purpose of this paper is to propose a process model for knowledge transfer in using theories relating knowledge communication and knowledge translation. Design/methodology/approach – Most of what is put forward in this paper is based on a research project titled “Procurement for innovation and knowledge transfer (ProFIK)”. The project is funded by a UK government research council – The Engineering and Physical Sciences Research Council (EPSRC). The discussions are mainly grounded on a thorough review of literature accomplished as part of the research project. Findings – The process model developed in this paper has built upon the theory of knowledge transfer and the theory of communication. Knowledge transfer, per se, is not a mere transfer of knowledge. It involves different stages of knowledge transformation. Depending on the context of knowledge transfer, it can also be influenced by many factors; some positive and some negative. The developed model of knowledge transfer attempts to encapsulate all these issues in order to create a holistic framework. Originality/value of paper – An attempt has been made in the paper to combine some of the significant theories or findings relating to knowledge transfer together, making the paper an original and valuable one.

The role of drama in the teaching of speaking and listening as the basis for social capital

This paper explores how the concept of 'social capital' relates to the teaching of speaking and listening. The argument draws on Bourdieu's notion that a common language is an illusion but posits that an understanding of the grammar of speech can be productive in the development of both an understanding of what constitutes effective speech and the development of competence in speaking. It is argued that applying structuralist notions of written grammar is an inadequate approach to understanding speech acts or enhancing the creative use of speech. An analysis is made of how typical features of speech relate to dramatic dialogue and how the meaning of what is said is contingent upon aural and visual signifiers. On this basis a competent speaker is seen as being one who produces expressions appropriate for a range of situations by intentionally employing such signifiers. The paper draws on research into the way drama teachers make explicit reference to and use of semiotics and dramatic effectiveness in order to improve students' performance and by so doing empower them to increase their social capital. Ultimately, it is concluded that helping students identify, analyse and employ the aural, visual and verbal grammar of spoken English is not an adjunct to the subject of drama, but an intrinsic part of understanding the art form. What is called for is a re-appraisal by drama teachers of their own understanding of concepts relating to speech acts in order to enhance this area of their work.