Recent Submissions

  • Swimming in the ‘fishpond’ or solidarity with the ‘Beresfordian Syndicate’: An analysis of the inquiry by the subcommittee of imperial defence into Naval policy, 1909

    McLay, Keith; Canterbury Christ Church University (IJN, 2015-01-15)
    Modern histories of the army and navy have long recognised that these institutions are in respect of their external and internal relationships, sui generis, political. The former relations, typically manifest in a competition for resources and prominence in campaign, have retained headline currency but it is arguably the latter associations which have proved more pointed and historically significant. 1 For the Royal Navy, the Edwardian period was especially divisive with the high command, and the officer corps more generally, split into two groups. A dominant collection of officers coalesced around the First Sea Lord, 1904-11, Sir John Arbuthnot Fisher, thereby forming the ‘Fishpond’, while the opposition faction was known as the ‘Syndicate of Discontent’ and fostered by Admiral Lord Charles Beresford, who between 1903 and 1909 served successively as Commander-in-Chief of the Channel Squadron and the Mediterranean and Channel Fleets.
  • Patient and clinician engagement with health information in the primary care waiting room: A mixed methods case study

    Penry Williams, Cara; Elliott, Kristine; Gall, Jane; Woodward-Kron, Robyn; University of Melbourne (Victoria, Australia) (Page Press, 2019-03-11)
    Background. Primary care waiting rooms can be sites of health promotion and health literacy development through the provision of readily accessible health information. To date, few studies have considered patient engagement with televised health messages in the waiting room, nor have studies investigated whether patients ask their clinicians about this information. The aim of this study was therefore to examine patient (or accompanying person) and clinician engagement with waiting room health information, including televised health messages. Design and methods. The mixed methods case study was undertaken in a regional general practice in Victoria, Australia, utilising patient questionnaires, waiting room observations, and clinician logbooks and interviews. The qualitative data were analysed by content analysis; the questionnaire data were analysed using descriptive statistics. Results. Patients engaged with a range of health information in the waiting room and reportedly received health messages from this information. 44% of the questionnaire respondents (33 of 74) reported watching the television health program, and half of these reported receiving a take home health message from this source. Only one of the clinicians (N=9) recalled a patient asking about the televised health program. Conclusions. The general practice waiting room remains a site where people engage with the available health information, with a televised health ‘infotainment’ program receiving most attention from patients. Our study showed that consumption of health information was primarily passive and tended not to activate patient discussions with clinicians. Future studies could investigate any link between the health infotainment program and behaviour change.
  • 'But now we float': Cowper, air-balloons, and the poetics of flight

    Lafford, Erin; University of Oxford (The Cowper and Newton Museum, 2018-06)
  • Clare's mutterings, murmurings, and ramblings: the sounds of health

    Lafford, Erin; University of Oxford (The John Clare Society, 2014-07)
    Clare is valued as a poet of direct communication. His poems are filled with Northamptonshire dialect that fosters an instantaneous connection to his local environment, creating an immediate sense of place though sound. Likewise, Clare’s representations of natural sounds, such as the ‘whewing’ of the pewit, the ‘swop’ of the jay bird as it flies, and the ‘chickering crickets’, have a mimetic quality that creates a direct experience of what he hears.1 Seamus Heaney grouped Clare with what he called ‘monoglot geniuses’, meaning that he had a gift for conveying through poetry a ‘univocal homeplace’ that his readers could understand without necessarily belonging to that place themselves.2 However, this idea of Clare as a poet of such direct coherency is complicated by his madness or, specifically, by his repeated usage of a vocalisation which carries connotations of madness. This essay will consider the ways that Clare represents health and madness at the level of sound, by bringing them into relationship with a mode of speaking that recurs throughout his poetry and prose: his use of muttering. It will suggest that Clare’s poetic investment in muttering and the sub-vocal register as both a personalised, therapeutic mode of self-address, and a way to foster a deep poetic relationship with his natural surroundings, comes to complicate his formal representation of health as a clear ‘strong voice’.
  • The Dangerous Rise of Therapeutic Education

    Hayes, Dennis; Ecclestone, Kathryn; University of Derby; University of Sheffield (Routledge Education Classic Editions, 2019-02-07)
    The Dangerous Rise of Therapeutic Education confronts the silent ascendancy of a therapeutic ethos across the educational system and into the workplace. Controversial and compelling, Kathryn Ecclestone and Dennis Hayes’ classic text uses a wealth of examples across the education system, from primary schools to university and the workplace, to show how therapeutic education is turning children, young people and adults into anxious and self-preoccupied individuals rather than aspiring, optimistic and resilient learners who want to know everything about the world. Remaining extremely topical, the chapters illuminate the powerful effects of therapeutic education, including: How therapeutic learning is taking shape, now and in the future How therapeutic ideas from popular culture have come to govern social thought and policies How the fostering of dependence and compulsory participation in therapeutic activities that encourage the disclosing of emotions, can undermine parents’ and teachers’ confidence and authority How therapeutic forms of teacher training undermine faith in the pursuit of knowledge How political initiatives in emotional literacy, emotional wellbeing and ‘positive mental health’ propagate a diminished view of human potential throughout the education system and the workplace. The Dangerous Rise of Therapeutic Education is an eye-opening read for every teacher and leader across the field of education, and every parent and student, who is passionate about the power of knowledge to transform people’s lives. It is a call for a debate about the growing impact of therapeutic education and what it means for learning now and in the future.
  • Addressing Ill Health: Sickness and Retirement in the Victorian Post Office.

    Green, David R; Brown, Douglas H L; McIlvenna, Kathleen; University of Derby (Oxford Academic., 2018-11-15)
    This article explores ill health and retirement in the Victorian Post Office. Compared to other branches of the Civil Service, ill health was of greater importance as a cause of retirement. Post Office doctors kept careful records of sickness absence, which rose over the period for all workers. These records were also used to determine if employees should be pensioned off on grounds of ill health. Employees in different sections of the Post Office experienced varying levels of sickness depending on their place of employment and the type of work undertaken. Feminisation of the workforce also affected the prevalence of sickness absences, especially in London. Place of work was an important influence on the pattern of sickness with urban areas having higher levels of sickness than rural districts, with distinct sets of conditions linked to each.
  • Twofoldness/threefoldness: Marc Lüders' photopicturen.

    Robinson, Carl; University of Derby (Levy Gallery Hamburg and VG Bild-Kunst, Bonn., 2018-11)
    My essay 'Twofoldness/Threefoldness: Marc Lüders' Photopicturen' used as the text accompanying Marc Lüders' exhibition - 'Marc Lüders/Twofoldness' at the Levy Gallery, Hamburg in November 2018.
  • Surfaces.

    Robinson, Carl; University of Derby (2017-04)
    'Surfaces' - A solo exhibition of recent work at the New Court gallery Repton. Exploring aspects of perception related to viewing painted-on-photographs.
  • ‘I don’t make out how important it is or anything’: identity and identity formation by part-time higher education students in an English further education college.

    Esmond, Bill; Chesterfield College (Taylor & Francis, 2012-07-04)
    Policymakers in England have recently, in common with other Anglophone countries, encouraged the provision of higher education within vocational Further Education Colleges. Policy documents have emphasised the potential contribution of college-based students to widening participation: yet the same students contribute in turn to the difficulties of this provision. This article draws on a study of part-time higher education students in a college, a group whose perspectives, identities and voices have been particularly neglected by educational research. Respondents’ narratives of non-participation at 18 indicated the range of social and geographical constraints shaping their decisions and their aspirations beyond higher education; whilst they drew on vocational and adult traditions to legitimate college participation, their construction of identity was also shaped by the boundaries between further education and the university. These distinctive processes illustrate both possibilities and constraints for future higher education provision within colleges
  • Entries on the L word and true blood.

    Forde, Teresa; University of Derby (Syracuse University Press., 2018-11-13)
    Entires on the finales of television series: The L word and True Blood as part of a collection on finales.
  • Criminal Lives 1780-1925: Punishing Old Bailey Convicts

    Larissa Allwork; Robert Shoemaker; Tim Hitchcock; AHRC Digital Panopticon (London Metropolitan Archives, 2017-12-11)
    Between 1700 and 1900 the British government stopped punishing the bodies of London’s convicts and increasingly sought to exile them and/or reform their minds. From hanging, branding and whipping the response to crime shifted to transportation and imprisonment. By the nineteenth century, judges chose between two contrasting forms of punishments: exile and forced labour in Australia, or incarceration in strictly controlled ‘reformatory’ prisons at home. This exhibition, based on material from London Metropolitan Archives and the AHRC funded Digital Panopticon research project, traces the impact of punishments on individual lives. It follows the men, women and children convicted in London from their crimes and trials through to their experiences of punishment and their subsequent lives.
  • Hunt, A. (2015) Acting Alone: Performance and the Political. Presented and performed at Performance, Politics, Protest, UCC, 4 September..

    Hunt, Ava; University of Derby (2015)
    Acting Alone is an artistic research project that has resulted in creating a solo performance funded by Arts Council England and University of Derby. This performance piece builds on five years of practice as research and unique enquiry using Applied Theatre techniques based on Hunt’s experiences in Palestine. The focus of this research will be to extend and develop the interaction between performer and audience extending the boundaries of performance as a political act of protest. Acting Alone invites the audience to interact: to cross the dramaturgical divide that explores political action and provokes questions around what is our responsibility to conflict as an international community? The structure places the audience in a powerful participatory position without confronting or exposing them. Acting Alone has performed at five showcase venues throughout the East Midlands receiving positive responses from audiences and also some controversial protestations. For some audiences, the piece was verging on being anti-Semitic. Heckling as well as heated challenges was experienced. However, Acting Alone presents a wide range of characters – Israeli, Palestinian and European all of whom offer powerful counter narratives. There is a rich musical soundtrack only—this is theatre stripped back, to draw the audience into a world that has to be created in its entirety in front of their eyes. The play is a personal story, at times heart-breaking and at times funny, that asks questions of theatre makers and audiences –what risks should we take? Can one person make a difference?
  • The Alternative Document

    Bartram, Angela; University of Derby (Taylor & Francis, 2018-11)
    A guest edited volume by Angela Bartram. Contents: Introduction, by Angela Bartram; Absence makes the heart grow fonder: rethinking intentional material loss in temporary art, by Sophie C. Kromholz; The Italic I – between liveness and the lens, by Emma Cocker and Clare Thornton; I am here – you are there: let’s meet sometime, by Andrew Pepper; HOW – Heathrow Orchard Walks, observations and explorations of vibrant land, by Kate Corder; Documentation with the result of its own performing, by Una Lee; Constructions of the moving body: drawing and dancing, by Rochelle Haley; WRITING/ PAINTING/READING/DRAWING: something not yet, and yet, still something, by Steve Dutton; (Mythologies of) diving, flying and in-between, by Louise K. Wilson; A sense of becoming and alienation: the retrospective in the work of Jordan McKenzie, by Angela Bartram.
  • Opening up the debate: Irish radio, Facebook, and the creation of transnational cultural public spheres.

    McMahon, Daithi; University of Derby (Transcript Verlag, 2018-10-02)
    Radio has become an increasingly digitised medium in recent years with a growing online presence becoming ever more integral to the medium’s output and identity. Furthermore, it has become integral to radio stations’ audience recruitment and retention strategies. While radio has long been a platform for on-air public debate and discourse, the limitations of technology always meant that only a limited number of listeners could take part. The largest social network site, Facebook, now provides the infrastructure for public spheres to exist online which means a much wider audience can participate and contribute to discussions and debates including the extensive Irish diaspora – which has grown significantly as a cohort since 2008 due to mass emigration – making it a transnational phenomenon. Using the Irish radio industry and Radio Kerry as a case study this research found that although some instances of traditional Habermasian public spheres exist on radio station Facebook pages, such instances were very limited. Instead audiences are participating in what closely resemble cultural public spheres (McGuigan 2005) where the topics of discussion are of a cultural, social or emotional nature, eschewing debates on current affairs/public issues. This chapter looks at the use of Facebook for audience recruitment and retention from an Irish context and within that is focused on the local commercial radio station Radio Kerry. The methodology included textual analysis of Facebook page content, interviews with industry professionals, an audience survey and one in-depth interview with an audience member.
  • Unsatisfactory devices: legacy and the undocumentable in art.

    Bartram, Angela; University of Derby (Palgrave Macmillan, 2018)
    Regarding perception of ephemeral artwork when lost to the fractures of time Peggy Phelan states “you have to be there.” For Phelan ephemera, specifically performance “become[s] itself through disappearance,” which draws empathy with Walter Benjamin’s notion of the “aura of the original.” In practice this a less than pragmatic account of the reality of experiencing such artworks, for how can they exist beyond the moment of making if not recorded, in order to map their histories? This essay interrogates the critical, sensitive and individualized distance necessary to archive transient artworks. Moving beyond the disciplinary ghettos of event and documentation, it interrogates how divergent and sympathetic modes of practice allow for a greater level of sustainable critique. This complex and problematic terrain is analysed in response to The Alternative Document, an exhibition I curated on the subject in 2016, and suggests archival possibilities beyond formal academic, artistic and museological conventions.
  • Dogs and the elderly: the significance of end of life interspecies companionship.

    Bartram, Angela; University of Derby (2018-11-05)
    We seek comfort from other beings, which in the absence of opportunities to communicate with other humans often finds a solution in relationships with the dogs. Walter Benjamin said “…no single dog is physically or temperamentally like another,” and they bring this individuality to the co-dependence that is living with humans, an interspecies domesticity based on mutual physical and emotional need. The positivity for health of a life with dogs is particularly relevant to the elderly, those who may feel isolated and emotionally vulnerable due to illness, infirmity or being housebound. Their canine companion becomes the energy for life alleviating depression and isolation, creating instead a sense of usefulness to another. Although sharing one’s life with a dog gives purpose and comfort, it also brings anxieties regarding care and separation should that relationship change or cease. For the elderly, this specifically concerns being mindful and worried of the dog’s fate should they enter managed housing or care facilities, or if separated by illness or death. The ‘burden’ they would leave in this situation often sees the elderly intentionally deny homing another dog should theirs die, thus inflicting a self-imposed loneliness. This decision increases sadness and isolation, often with elevated levels of depression becoming a consequence. This illustrated presentation discusses this dilemma through the lens of the social art project ‘Dogs and the Elderly,’ which analyses the significance and benefit of companion relationships towards the end of life. Working with participants from the Alzheimer’s Society’s Memory Café’s in Nottingham, the project analyses the importance of the interspecies relationships for physical and emotional health and wellbeing. Participants, who are interviewed and photographed in their homes with their dogs, discuss their current and past interspecies companions, offering equally heart-warming and heart-breaking accounts as discussions move to a lonelier and dog-free life when their current companion becomes their last. The fear of burden and lack of being able to ensure safe care of a beloved dog once they cannot prescribes a self-imposed loneliness, one where it seems better to know they will not commit a dog to an unknown future than to benefit from their friendship now. The presentation was delivered as part of ARC Artistic Research Forum, De Nieuwe Regentes, The Hague, 5th November 2018.
  • Literature 1780–1830: the Romantic Period.

    Branagh-Miscampbell, Maxine; Leonardi, Barbara; Whickman, Paul; Ward, Matthew; Halsey, Katie; University of Derby (Oxford University Press, 2018-10-29)
  • Here and there: two works, ten countries.

    Bartram, Angela; O'Neill, Mary; University of Lincoln (Vilnius Academy of Arts, 2016)
    The presence of the performing body is central to the experience of live art. It is this distinctive quality that enables an audience to engage with an unmediated work that incorporates contingencies of site and response. Here we will discuss two works by Bartram O’Neill (the authors’ collaborative name) that address the myth of presence through an interrogation of ‘liveness’ and what it constitutes in art practice when reliant on technological means. This specifically relates to the performance using remote and scripted bodies at The Body: Out of Time and Without a Place conference in Vilnius 2016. In 2013 Bartram O’Neill performed "I, I am, I am here, I am speaking here" as part of Performa 1, Art Basel Miami (USA). This was performed remotely, from the U.K. though two ‘bodies’ in Miami. Unlike the theatrical tradition of script, rehearsal, interpretation etc. this work required these ‘bodies’ to act as channels and ‘puppets’ for the performers in the UK. Using text messaging and Skype, the UK based ‘performers’ and authors of the work communicated to the audience in Miami through their Miami based translators. Meanwhile the UK authors listened to the performance through a telephone connection with an audience member, and thereby being both performers and audience of their work. Bartram O’Neill participated in “O/R” in the streamed Low Lives 4 Networked Performance Festival. From an empty gallery in Nottingham, UK, the pair performed at 2am GMT to an open laptop on the floor, reaching audiences in the USA, Japan, Trinidad & Tobago, Australia, France, Colombia, Norway, and Aruba, between 8- 9pm the calendar day before, depending on location. These works incorporated not just distance, but also time difference - in the former the performers where in a living room surrounded by their diurnal domestic trappings and in the latter they performed in the middle of the night having walked through deserted streets to occupy a gallery devoid of life. Both works distanced the body of the performer, who were in fact ‘present’. This text offers the script for the performance, which opened up and explored the possibilities, complexities and contingencies of the dynamic of present and absent bodies and artistic agencies, thus seeking to analyse what it is to be presented as ‘live’ when geographically distant.
  • Why use mimeograph?

    Cheeseman, Matthew; University of Derby (2016)
  • Documents, Alternatives #3

    Bartram, Angela; University of Derby (Bath School of Art and Design, Bath, 2018-04)
    The documentation of ephemeral artwork, works made to be transient, changeable and un- fixed, is often problematic for the intent and premise of creation as it aligns itself with a particular moment, place and viewpoint in time. Lens-based methods are mostly relied upon to communicate actuality and happening and to fix the un-fixed memory of the artwork, and this is part of that problem. Effectively, this type of documentary device works in opposition to the concept of the artwork, cementing into a fragmentary history when all it wants is to be fleeting in its temporarality. The lens-made recording tends to generalise vision and, by extension, it does not fully communicate the experience of ‘being there’ and present. Experience is difficult to replicate through a lens. This is problematic for artwork whose very premise is to be transient and time-based, and for which direct experience is a priority. ‘Documents, Alternatives’ is a collection of interlinked exhibitions that include time-based works reliant on performative process and created experience for understanding, which aim to resolve this issue by making the document and artwork reflexive. In doing this they acknowledge their need for change so to remain continuous and in process through staging a practical and thought provoking dialogue across venues. Positioned to operate at the intersection of artistic and academic domains, the project is as creatively stimulating and progressively invigorating as theoretically interrogatory and analytical. This is an experimental, discursive curatorial strategy whereby the document becomes a new artwork and the artwork becomes a new document to keep the ephemeral evolving and in transition. This is exhibition number 3 in the series. To be true to the nature of ephemera, the discursive environment that is ‘Documents Alternatives’ is curated to map a staging that is in ‘motion’ and responsive to artistic meaning and intention. Here, the artworks learn from their prior incarnations, and respond to a re- grouping with the others in the collection of ‘conversational’ exhibitions, of which they are now becoming familiar, and their own concepts to be kept very much in the present. Moving beyond traditional unsympathetic means used as sole mode of translation, it offers a more effective way of communicating the artwork by keeping it current and active, and by denying its relegation to the historic past. To do this it positions the artwork as document and new work simultaneously thereby creating a generating loop of reflexive and developing activity. The exhibitions foreground fluidity and diversity of translation and includes multiple art voices and modes of output, and the work is significantly adapted for this version from those previously staged at Airspace Gallery (Stoke on Trent, 2017) and Verge Gallery (Sydney, 2018). Artists include: Tim Etchells, Andrew Pepper, Emma Cocker and Clare Thornton, Rochelle Haley, Kate Corder, Steve Dutton, Luce Choules, Morrad + McArthur, Brazier and Free, Andrew Bracey, Louise K. Wilson, and Angela Bartram.

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