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Caring performance, performing care
Amanda Stuart Fisher

disciplinary contexts, such as social work, albeit in a differently nuanced way. For example, the issue of care, stress and emotional ‘burn out’ forms the focus Kate van Heugten’s book Social Work Under Pressure: How to Overcome Stress, Fatigue and Burnout in the Workplace ( 2011 ). The work of the care ethicists in the 1980s and 1990s did much to highlight the importance of care to the management and sustainability of medical and social practices. However, caring labour itself, at least in contemporary Western societies, remains as Joan Tronto aptly described it, a form

in Performing care
Open Access (free)
Alternative pasts, sustainable futures
David Calder

interaction.’8 So far, so familiar: such claims to spectatorial activity echo the rhetoric of participation that has long pervaded political theatre, immersive theatre, relational or ‘socialpractice, and minimalist and installation art.9 More significant than the mere existence of the claim is the situation from which the invitation is made and the circumstances under which one might accept. Who – and what – is acting, how, when, and to what end? In what follows I establish, first, the complex interplay of human and non-human agency that emerges from encounters with these

in Street theatre and the production of postindustrial space
James Thompson

ability to get his appointments, operations and post-operative support were all done informally for free by a private hospital after intervention with some colleagues of mine at the university. Extended care was permitted within an institution but outside the standard and more familiar constraints of institutional social practice. The questions of quality care and how it is delivered within the severely limited resources of a National Health Service and welfare state is the nexus around which debates on social care currently concentrate (see, for example, Barnes, 2006

in Performing care
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Beckett’s television plays and the idea of broadcasting
Jonathan Bignell

recognising the homogeneity of the majority of television broadcasting. This is a noble aim, but historical evidence shows that it repeatedly failed and that it was support from institutionally powerful television producers and cultural opinion-formers that brought Beckett’s dramas to the screen. Yet Beckett’s television plays cannot be dismissed because of this, since broadcasting as a concept and social practice is always predicated on transmission without the assurance of reception or response.21 Beckett’s backward-looking investigation of what the medium could do and

in Beckett and nothing
Applied drama, ‘sympathetic presence’ and person-centred nursing
Matt Jennings, Pat Deeny, and Karl Tizzard-Kleister

demonstrate their clinical skills through evaluation processes like the Objective Structured Clinical Examination (OSCE), which includes elements of simulation and role play. There has been little crossover to date between the specific practice of health care simulation and the broader social practices of applied drama. Applied drama interventions that do engage with health care training often seek to support the development of creativity and empathy in general terms, in line with the idea that the medical humanities can help to humanise medicine (White, 2009 ; Baxter

in Performing care
Open Access (free)
What lovers want
Arlyn Diamond

their honour, and the law and social practice enabled them to do so in a way we would find intolerable.25 Degrevant’s actions are never directly critiqued. As Philippa Maddern says, ‘the violent and destructive activities of fifteenth-century knights were thus surrounded by so great a cloud of laudatory adjectives – worthy, worshipful, manly, doughty, invincible, fierce – that no disapproval could touch them’.26 What makes Degrevant’s role as landholder different from his role as crusader is that the earl is not a pagan, a distant enemy, a usurper – he is a neighbour

in Pulp fictions of medieval England
James Paz

, Christianity was organised in ways that were local but nevertheless replicable anywhere: In effect, early medieval Christianity was neither centralized nor systematized. Not a single, uniform cultural package to be adopted or rejected as an entity, it comprised a repertoire of beliefs, social practices, and organizational forms that could be adopted and adapted piecemeal. Thus Christianity jumped from one cultural and political context to another, repeatedly mutating and reconstituting itself in ways that preserved its core features. Differently put, a religion with an

in Nonhuman voices in Anglo-Saxon literature and material culture
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An introduction
John J. Joughin and Simon Malpas

eighteenthcentury Enlightenment philosophers, which came to a head in the writings of Kant. He argues that modern experience has become separated into three spheres that are autonomous from one another and only formally connected, and whose interaction has become the site of intense theoretical, social and political debate. These spheres are, very briefly, scientific truth, normative rightness and beauty, which correspond to the philosophical disciplines of epistemology, ethics and aesthetics, and give rise to selfsufficient forms of social practice: the sciences and technology

in The new aestheticism
Open Access (free)
Marianne Moore
David Herd

spirit of the gift. In gift exchange no symbol of worth need be detached from the body of the gift as it is given away. Cash exchange, on the other hand, depends upon the abstraction of symbols of value from the substances of value.4 ‘Cash exchange,’ by this way of thinking, and as Hyde formulates it, ‘is to gift exchange what reason is to enthusiasm.’ Plunging us back into the postKantian landscape of Walden Pond, Hyde’s analogy between gift economics and religious enthusiasm has the intention of showing how things can be made more available, how there are social

in Enthusiast!
Open Access (free)
Geoffrey Chaucer’s Troilus and Criseyde and John Lydgate’s Troy Book
Heather Blatt

medieval literacy practices: hearing the text, as well as apprehending it with the eye, are both modes of reading. It does mean, however, that members of Lydgate’s anticipated audience may not have possessed the writing skills that enabled them to follow through with the provision of corrections. Corrections may then have been enacted more by the most Corrective reading 41 s­ ophisticated and learned of readers, such as scribes, instead. Yet the ‘see or here’ construction, in particular, emphasizes corrective reading as a social practice, in which participation

in Participatory reading in late-medieval England