scholarly journals Transit, Transition: Excavating J641 VUJ

2009 ◽  
Vol 19 (1) ◽  
pp. 1-28 ◽  
Author(s):  
Greg Bailey ◽  
Cassie Newland ◽  
Anna Nilsson ◽  
John Schofield ◽  
Steve Davis ◽  
...  

In July 2006 archaeologists from the University of Bristol and Atkins Heritage embarked on a contemporary archaeology project with a difference. We ‘excavated’ an old (1991) Ford Transit van, used by archaeologists and later by works and maintenance teams at the Ironbridge Museum. The object: to see what can be learnt from a very particular, common and characteristic type of contemporary place; to establish what archaeologists and archaeology can contribute to understanding the way society, and specifically we as archaeologists, use and inhabit these places; and to challenge and critique archaeologies of the contemporary past. In this report we describe our excavation and situate it within a wider debate about research practice in contemporary archaeology.

Author(s):  
Rachael Kiddey

I was explicitly clear with everyone who became involved in the Homeless Heritage project that the intention was to present our findings publically in a number of ways. We did this by co-publishing articles in popular magazines and peer-reviewed journals, speaking at public meetings and academic conferences, and through co-curating two interactive public exhibitions on the heritage of homelessness. It was important to spread the ways in which our findings were presented across a variety of platforms so that our results reached diverse audiences; for example, John Schofield, my homeless colleagues, and I published co-authored articles in The Big Issue, and in British Archaeology, in the hope that our work might reach people outside academia. That said, we were equally keen to demonstrate that the Homeless Heritage project was just as valid as archaeological investigations into any other marginalized culture or period so we also published co-authored peer-reviewed papers in Public Archaeology, Post-Medieval Archaeology, and created, in collaboration with artist Mats Brate, a comic based on fieldwork for the Journal of Contemporary Archaeology. Further to this, various book chapters were co-produced for academic books,6 and I have since published a paper for the International Journal of Heritage Studies, which focused on how cultural heritage methodologies can function as tools for empowerment. I encouraged my homeless colleagues to co-present papers at a variety of conferences and public talks. Jane, Danny, Deano, and Whistler co-presented a paper entitled ‘Punks and Drunks: Counter Mapping Homeless Heritage’ at the conference of the Theoretical Archaeology Group (TAG) at the University of Bristol in 2010, while Andrew, Jane, Dan, and Mark co-presented a paper called ‘Stories from the Street: Contemporary Homelessness as Heritage’ at the Postgraduate Conference in Historical Archaeology at the University of Leicester Centre for Historical Archaeology in 2011. To me, it was essential that those homeless colleagues who wanted to remain involved with the project once fieldwork had been completed were given real opportunities to do so.


1985 ◽  
Vol 1 (4) ◽  
pp. 346-358 ◽  
Author(s):  
David Hornbrook

Drama-in-education is a subject – or a set of theories – which became an educational discipline almost by historical accident, and about which strong feelings can still be aroused. That the arguments are too often confined to educationalists is symptomatic of the way the problems raised have seldom been shared with or considered by people working in professional theatre – and this in turn reflects the way that the subject has tended to be taught, with the emphasis strongly on its ‘educational’ rather than its ‘theatrical’ potential. Back in 1973. David Clegg's article ‘The Dilemma of Drama in Education’, in TQ9, caused a briefly wider flurry of interest, and in the present article David Hornbrook also attempts to put the subject into a contemporary critical perspective, looking here at what children are supposed to ‘learn’ and ‘experience’ through drama, and in the second part of his article, to follow in NTQ 5, examining present and future prospects for the subject. A repertory actor in the 1960s. David Hornbrook has himself taught drama in a large comprehensive school, and is currently Head of Performing Arts at the City of Bath College of Further Education, and Special Lecturer in Drama in the University of Bristol.


2020 ◽  
Vol 24 ◽  
Author(s):  
Bridget Grogan

This article reports on and discusses the experience of a contrapuntal approach to teaching poetry, explored during 2016 and 2017 in a series of introductory poetry lectures in the English 1 course at the University of Johannesburg. Drawing together two poems—Warsan Shire’s “Home” and W.H. Auden’s “Refugee Blues”—in a week of teaching in each year provided an opportunity for a comparison that encouraged students’ observations on poetic voice, racial identity, transhistorical and transcultural human experience, trauma and empathy. It also provided an opportunity to reflect on teaching practice within the context of decoloniality and to acknowledge the need for ongoing change and review in relation to it. In describing the contrapuntal teaching and study of these poems, and the different methods employed in the respective years of teaching them, I tentatively suggest that canonical Western and contemporary postcolonial poems may reflect on each other in unique and transformative ways. I further posit that poets and poems that engage students may open the way into initially “less relevant” yet ultimately rewarding poems, while remaining important objects of study in themselves.


2020 ◽  
Vol 36 (4) ◽  
pp. 369-383
Author(s):  
Rachel Clements ◽  
Sarah Frankcom

Sarah Frankcom worked at the Royal Exchange Theatre in Manchester between 2000 and 2019, and was the venue’s first sole Artistic Director from 2014. In this interview conducted in summer 2019, she discusses her time at the theatre and what she has learned from leading a major cultural organization and working with it. She reflects on a number of her own productions at this institution, including Hamlet, The Skriker, Our Town, and Death of a Salesman, and discusses the way the theatre world has changed since the beginning of her career as she looks forward to being the director of LAMDA. Rachel Clements lectures on theatre at the University of Manchester. She has published on playwrights Caryl Churchill and Martin Crimp, among others, and has edited Methuen student editions of Lucy Prebble’s Enron and Joe Penhall’s Blue/Orange. She is Book Reviews editor of NTQ.


Author(s):  
John D. Evans ◽  
Christopher Bang

The authors introduce the EFAB™ manufacturing process originally invented at the University of Southern California and currently being commercialized by MEMGen Corporation. They discuss its significant recent evolution as an alternative to conventional microdevice manufacturing technologies, suggest a range of geometries and applications that are enabled by this process, and develop the case that EFAB represents a fundamental shift in the way the microdevices are manufactured.


Author(s):  
A Gonzalez-Buelga ◽  
I Renaud-Assemat ◽  
B Selwyn ◽  
J Ross ◽  
I Lazar

This paper focuses on the development, delivery and preliminary impact analysis of an engineering Work Experience Week (WEW) programme for KS4 students in the School of Civil, Aerospace and Mechanical Engineering (CAME) at the University of Bristol, UK. Key stage 4, is the legal term for the two years of school education which incorporate GCSEs in England, age 15–16. The programme aims to promote the engineering profession among secondary school pupils. During the WEW, participants worked as engineering researchers: working in teams, they had to tackle a challenging engineering design problem. The experience included hands-on activities and the use of state-of-the-art rapid prototyping and advanced testing equipment. The students were supervised by a group of team leaders, a diverse group of undergraduate and postgraduate engineering students, technical staff, and academics at the School of CAME. The vision of the WEW programme is to transmit the message that everybody can be an engineer, that there are plenty of different routes into engineering that can be taken depending on pupils’ strengths and interests and that there are a vast amount of different engineering careers and challenges to be tackled by the engineers of the future. Feedback from the participants in the scheme has been overwhelmingly positive.


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