This article explores the interrelationships and tensions between public engagement in higher education and media discourse. It tracks the mediated trajectory of an attempt by a group of academics to connect with audiences beyond academia, comparing a magazine article in which their opinions first became public, to its recontextualisation across various UK newspapers and their Internet spin-offs. A mediated stylistic analysis reveals the discursive, rhetorical and performative techniques via which a sociologically imaginative attempt to transform a seemingly-personal-trouble into a definitively-public-issue (...) got recontextualised as if merely the public projection of personal angst. The article concludes by noting that in an era where public engagement increasingly means mediated public engagement, to take seriously the interactive, intertextual and rhetorical affordances of media discourse is to understand that and how sociologically imaginative work can – but does not always – end up circulating within public debate. (shrink)

This article charts the ways in which students negotiate an academic identity whilst pursuing academic tasks that are publicly observable precisely as ‘academic tasks’ to their peers. Previous research into aspects of student interaction that take place within university tutorial sessions has suggested that different kinds of student identity come into conflict as students interact, face-to-face. Most notably, the imperative of ‘doing education’ — as a keen proto-academic seeking a good final degree classification — is often overridden by the imperative (...) of ‘doing being a student’ — as an average and/or indifferent student who does not stand out. In this article, however, it is not the university tutorial but a slightly different and hitherto unexplored site of interaction that is foregrounded: the university library textbook. As with tutorials, the margins of library textbooks are spaces within which individually accomplished research becomes publicly observable — in the former as group work, and in the latter as student marginalia. Drawing on discourse analytic concepts such as ‘footing’ and ‘stake’ this article seeks to understand what student marginalia can tell us about the ways in which the tension between ‘doing education’ and ‘doing being a student’ is managed and negotiated in sites other than the university tutorial. (shrink)

A compilation of international humanist thought spans centuries and includes the writings of skeptics, novelists, philosophers, and religious critics.

Thomas Robert Malthus was a pioneer in demography, economics and social science more generally whose ideas prompted a new 'Malthusian' way of thinking about population and the poor. On the occasion of the two hundred and fiftieth anniversary of his birth, New Perspectives on Malthus offers an up-to-date collection of interdisciplinary essays from leading Malthus experts who reassess his work. Part one looks at Malthus's achievements in historical context, addressing not only perennial questions such as his attitude to the Poor (...) Laws, but also new topics including his response to environmental themes and his use of information about the New World. Part two then looks at the complex reception of his ideas by writers, scientists, politicians and philanthropists from the period of his own lifetime to the present day, from Charles Darwin and H. G. Wells to David Attenborough, Al Gore and Amartya Sen. (shrink)

This paper investigates the logistics of crafting and accounting for animal realities on television. Using the case of The Making of David Attenborough’s Conquest of the Skies, a behind-the-scenes documentary about how the Sky TV series David Attenborough’s Conquest of the Skies was created, it explores how the material reality of animals becomes a televisual reality. In seeking to challenge the lingering concern within many media studies critiques of wildlife TV about the constructed and manipulated nature of televisual (...) animals, we propose an approach focused on how realities are provoked. This approach draws on recent debates within STS and screen theory about the contingent elements and accountability relations that become practically operative in making something real. Equally significant is the animal performer. How do the animals, often domesticated, that are used in television to simulate wildness or scientific facts participate in and resist the television apparatus? And how do these animal performances shape distinct animal–human relations and contact zones? (shrink)

Patroni, Steve Review of: Oh! What a lovely war, directed by Richard Attenborough.

It is commonplace today to hear climate change identified as the single most important challenge facing humanity. Consider the headlines from COP24, the United Nations Climate Change Conference held in Poland in December 2018. U.N. Secretary-General António Guterres opened the proceedings by calling climate change “the most important issue we face” (PBS 2018). The Secretary-General’s remarks paraphrase the opening line of the U.N.’s climate change web page, which announces that “[c]limate Change is the defining issue of our time and we (...) are at a defining moment” (United Nations n.d.). Such statements about the singular significance of climate change—the most important, the defining issue—are often followed by proclamations about what hangs in the balance, and this was the case at COP24. There, the celebrated British naturalist Sir David Attenborough warned that “collapse of our civilizations and the extinction of much of the natural world is on the horizons,” amounting to, in his words, “disaster of global scale, our greatest threat in thousands of years” (PBS 2018). (shrink)

The article explores the potential “healing” role performance art can have when representing disabling trauma, and engaging, as part of the creative process, participants who have experienced in their lives significant trauma and physical, as well as mental health concerns arising from gender violence. It focuses on the show cicatrix macula, performed during the exhibition Speaking Out: Women Healing from the Trauma of Violence (Leicester, 2014). The exhibition involved disabled visual and creative artists, and engaged participants in the process of (...) performance making. It was held at the Attenborough Arts Centre in Leicester (UK), a pioneering arts centre designed to be inclusive and accessible. The show cicatrix macula focused on social, cultural, mental, and physical representations of trauma and disability, using three lacerated life-size puppets to illustrate these depictions. Working under the direction of the audience, two artists attempted to “repair” the bodies. The creative process was a collaborative endeavour: the decision-making process rested with the audience, whose privileged positions of witness and meaning-maker were underscored. Fayard demonstrates the significance of cicatrix macula in debunking ablist gender norms, as well as in highlighting the role played by social and cultural enablers. She calls attention to its potential for mobilizing positive identity politics, including for viewers who had experienced trauma. For example, the environment of the participatory performance space offered some opportunities for the survivor to become the author or arbiter of her own recovery. In addition, the constant physical exchange of bodies within this space of debate was well-suited to the (re)connection with the self and with others. (shrink)