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This study compares print media representations of refugees and asylum seekers with representations in short stories and poems written by refugees and asylum seekers themselves, within the frames of creative writing workshops. The primary research question guiding the study reads: How do (self-)representations in texts written by refugees and asylum seekers, within the frames of creative writing workshops, differ from representations of refugees and asylum seekers in print media.As a theoretical foundation for the study serves the social constructionist assumption that language, rather than reflect, constructs reality, and that the way the world is understood affects policies, practices and actions – in this case concerning refugees, asylum seekers, refugee relief, refugee/asylum seeker reception systems, integration etc. Starting out from the notion that print media representations of refugees and asylum seekers follow certain recurring patterns – not only resulting in rather simplistic portrayals, but, also, almost systematically leaving out refugee and asylum seeker voices, views and opinions – the study, following Dorothy Smiths suggestion that individuals somehow excluded from a particular discourse may offer perspectives undermining it, turns to the refugees and asylum seekers’ own texts as a possible source of alternative representations. Using Ernesto Laclau and Chantal Mouffe’s discourse theory, complemented by semiotic analysis, (self-)representations in three anthologies with refugee and asylum seeker texts are compared to the results of a meta analysis of earlier research of representations of refugees and asylum seekers in print media.The findings of the study suggests that there are similarities, but also significant differences in how refugees and asylum seekers are represented in their own texts when compared to print media. Consequently, it is argued that there is a potential worth fostering in the creative writing workshops for refugees and asylum seekers, as well as similar initiatives. They may be seen as a step towards increasing refugees and asylum seekers’ opportunities to voice their opinion in matters that concern them; as answering to the post colonial call for bringing in new voices to the (social) development debate; and as contributing to the realisation of an agonistic democracy/pluralism.

In the project Weave me through a dream I explore how textile craft, specifically tapestry weaving, can help create a more creative environment when caring for elders with dementia, and what the benefits with this can be. The research was done in collaboration with a nursing home in Stockholm, where I previously worked as a care assistant. This paper discusses and examines gathered research material combined with experiences from the care assistant job. In the process the project transformed from the therapeutic aspect of craft towards caring through craft in social engagement. The exhibited physical work is an interpretation of interactions at the nursing home. The tapestry can be used as discussion material concerning dementia care. My research concludes that weaving in dementia care was beneficial for the residents I met. My conclusion is also that a more creative environment within dementia care can strengthen staff and relatives affecting the residents in a positive way. The project Weave me through a dream hopes to open up the image of dementia and strengthen the relationship between residents, staff and relatives through creative care.

No poet, no artist of any art, has his complete meaning alone. The progress of an artist is a continual self-sacrifice a continual extinction of personality. We shall often find that not only the best. But the most individual part of an artist's work may be those in which his ancestors assert their immortality most vigorously. Tradition is a matter of great significance. It cannot be inherited, and if you want it you must obtain it by great labor. It involves in the first place the historical sense. A sense of the timeless as well as of the temporal and of the timeless and the temporal together. This is what makes the artist most acutely conscious of his place in time, of his own contemporaneity. The difference between the present and the past is that the conscious present is an awareness of the past in a way and to an extent which the past's awareness of itself cannot show. Fragments from 'Tradition and the Individual Talent' by T.S. Eliot. / Master of Architecture

Yes / The You Are What You Ate project is a collaboration between historians, archaeologists, museum officers, medieval re-enactors and food scientists. We aim to encourage public debate and personal reflection on modern eating habits through exploration of the dietary choices of the medieval and early modern period. This paper will discuss our osteology workshops, aimed at adults or at school children. We use archaeological examples of diet-related conditions, including dental disease, scurvy, rickets and gout, plus those associated with obesity such as osteoarthritis and DISH, to help the public visualise how dietary choices can affect the body. This information is delivered via an introductory talk and carefully monitored bone handling sessions – and, for the children, includes the analysis of a plastic skeleton modified to display pathological conditions. Evaluation data shows that the majority of adults and all children feel they have learnt something new during the sessions, and that this has led them to think about healthy eating. The inclusion of examples of dental pathology has promoted dental hygiene to school children, although it was not one of our primary aims. It is difficult to assess if these short-term experiences translate to long-term knowledge gain or to changes in behaviour.

No / Challenging behaviours (behaviour difficulties) represent a problem of considerable clinical significance for learning disability nurses, and a source of much human distress. Gentle teaching is a relatively new approach to dealing with behavioural difficulties, and has been received with enthusiasm by clinicians, but has so far received little empirical support. The current study attempted to compare gentle teaching with a well-established alternative (behaviour modification) and a control group. Objectives. To examine the comparative effectiveness of gentle teaching, behaviour modification and control interventions for challenging behaviour amongst children with learning disabilities. Design. Nonrandomized controlled trial. Setting. Service users¿ homes in East Yorkshire. Participants. Seventy-seven children who presented with learning disabilities and challenging behaviour (behaviour difficulties) and their parents. Procedure. One-day workshops in were offered by recognized authorities in either behaviour modification or gentle teaching that were not otherwise involved with the research project. Forty-one participants were recruited to the gentle teaching condition; 36 to behaviour modification; 26 to the control group. Random allocation was not possible, because of the slow uptake by interested parents. Measures was preintervention, and at assessment points up until 12 months following intervention. Analysis. Quantitative analysis of pre¿post differences between the groups, using t-test. Results. In general, no significant differences were found between the treatment groups and controls. Significant improvements were found for both gentle teaching and behaviour modification children over controls on the AAMR ABS XVII (social engagement) subscale. Controls had more contact with medical practitioner (GP) services than behaviour modification children and less than gentle teaching children. Conclusion. Although very few differences were found between the three groups, those that did exist generally favoured behaviour modification. Implications for service provision and learning disability nursing practice are described.

We propose in this study to give a brief review of the workshop project as carried on at the Denton Senior High School, Denton, Texas, during the six-weeks summer session of 1940. While the purpose of this paper is not to give an evaluation of the program, we shall point out some of the best points and suggest a few items which might be improved.

published_or_final_version / Education / Master / Master of Education

Depuis le début des années 1980, les auteurs de théâtre sont sollicités pour conduire des dispositifs d’apprentissage de l’écriture théâtrale auprès de publics variés. Cette nouvelle prérogative pédagogique de l’auteur ne va pas sans poser un certain nombre de questions qui portent aussi bien sur l’organisation du dispositif pédagogique que sur les contenus de la transmission. À travers une approche historique et sectorielle, et en étayant l’enquête bibliographique de trente entretiens avec des écrivains-enseignants, nous analyserons la constitution cumulative de contenus d’enseignement ainsi que l’évolution des dispositifs pédagogiques sur la période 1984-2015. / Since the 1980s playwrights have been requested to devise learning techniques in the art of dramatic writing for a variety of audiences in France. This new educational opportunity given to a writer interrogates both adopted pedagogic strategies and the contents of the knowledge transferred. Through a historic and sectoral approach, by supporting the bibliographic research with thirty interviews of teacher-writers our analysis will evaluate the cumulative construction of the teaching material and the evolution of the pedagogic measures taken between 1984 and 2015.

Short attention spans are a growing phenomenon, impacting users in their daily interactions with technology. While there have been studies in the field of HCI on how to design for directing or maximizing user attention, few have focused on users with short attention spans and their felt experiences. To fill this research gap, this study employed a user-centered design approach involving a pre-study and a workshop concerning web design. A thematic analysis of the data revealed ten themes which, among other things, dealt with web navigation, overwhelming interfaces and distractions. The results showed that attention is an embodied experience and relying solely on quantitative data, such as eye tracking, may not provide a complete understanding of it. Therefore, involving those affected in the design process can assist designers in creating the best possible experience, aligning with the end-users’ own definition of what constitutes a good experience. Additionally, designers should adapt to minimalist design principles to meet the needs of this user group. This paper contributes to research by giving in-depth insights into the felt experiences of short attention spans, and how these experiences may be designed for. / Korta uppmärksamhetspann är ett växande fenomen som påverkar användare i deras dagliga interaktioner med teknologi. Även om det har gjorts studier inom HCI om hur man designar för att rikta eller maximera användares uppmärksamhet, har få fokuserat på användare med korta uppmärksamhetspann och deras erfarenheter. För att bidra med kunskap inom detta område, använde denna studie en användarcentrerad designmetodik som innefattade en förstudie och en workshop om webdesign. En tematisk analys av datan resulterade i tio teman som bland annat handlade om webnavigering, överväldigande gränssnitt och distraktioner. Resultatet visade att uppmärksamhet är en förkroppsligad upplevelse och att enbart förlita sig på kvantitativ data såsom eye-tracking inte nödvändigvis ger en fullständing representation. Involvera de berörda i designprocessen kan därför hjälpa designers att skapa den bästa möjliga upplevelsen, i linje med slutanvändarnas egen definition av vad som utgör en god upplevelse. Dessutom bör designers använda sig av minimalistiska designprinciper för att tillgodose behoven hos denna användargrupp. Denna artikel bidrar till forskningen genom att ge inblickar i de upplevda erfarenheterna av korta uppmärksamhetspann och hur dessa erfarenheter kan designas för.