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As soon as the corpse became central to medical education, and as a growing number of private medical schools opened throughout Great Britain, involving the rise of the demand for dead bodies, the literary field played a significant part in the popularisation of medical knowledge, offering insights into the debates around medical practice and education. As this paper will show, the literary field dealt with medical practitioners treatment of the corpse through playing upon a Gothic rhetoric, dramatizing the tension between the cutting up, preservation and exhibition of human remains in medical collections and the objectification of the patient on the one hand, and the central part played by anatomy in medical knowledge and the therapeutic applications of dissection, on the other. Through exploring how literary texts capitalizing on the Gothic paraphernalia recorded cultural responses to medical practice in the long nineteenth century, this paper will ultimately underline the role that nineteenth-century literature played, not merely in the dissemination of medical knowledge but also in the public engagement of medicine.
–1980 , PhD thesis (History) Guelph, https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/iqhk7l/cdi_uoguelph_ir_oai_atrium_lib_uoguelph_ca_10214_14676 (accessed 21 January 2021 ). Cogan , T. ( 2019 ), ‘ Building a Base: The Growth of Public Engagement with Canadian Foreign Aid Policy, 1950–1980 ’, in Donaghy , G. and Webster , D. (eds), A Samaritan State Revisited: Historical Perspectives on Canadian Foreign Aid ( Calgary : University of Calgary Press ), pp. 191 – 221 . Corbeil , P. , Saint-Germain , M
At the turn of the nineteenth century, museums in Europe and North America were at their largest and most powerful. New buildings were bigger; objects flooded into them, and more people visited them than ever before. The Manchester Museum is an ideal candidate for understanding cultures of display in twentieth-century Britain. It is a treasure trove of some four million priceless objects that are irreplaceable and unique. Like many large European collections, the origins of the Manchester Museum are to be found in a private cabinet: that of John Leigh Philips. This book traces the fate of his cabinet from his death in 1814. The establishment of the Manchester Natural History Society (MNHS) allowed naturalists to carve out a space in Manchester's cultural landscape. The Manchester Museum's development was profoundly affected by the history of the University in which it operated. In January 1868, the Natural History Society formally dissolved, and an interim commission took control of its collections; the Manchester Geological Society transferred its collections the following year. The new collection was to be purely scientific, comprising geology, zoology and botany, with no place for some of the more exotic specimens of the Society. The objects in the collection became part of Manchester's civic identity, bringing with them traces of science, empire and the exotic. Other museological changes were afoot in the 1990s. Natural history collections became key sites for public engagement with environmental issues and biodiversity and more recently as sites for exhibiting art.
Irish women writers entered the international publishing scene in unprecedented numbers in the period between 1878 and 1922. This collection of new essays explores how Irish women, officially disenfranchised through much of that era, felt inclined and at liberty to exercise their political influence through the unofficial channels of their literary output. By challenging existing and often narrowly-defined conceptions of what constitutes ‘politics’, the chapters investigate Irish women writers’ responses to, expressions of, and dialogue with a contemporary political landscape that included not only the debates surrounding nationalism and unionism, but also those concerning education, cosmopolitanism, language, Empire, economics, philanthropy, socialism, the marriage ‘market’, the publishing industry, the commercial market, and employment. The volume demonstrates how women from a variety of religious, social, and regional backgrounds – including Emily Lawless, L. T. Meade, Katharine Tynan, Lady Gregory, Rosa Mulholland, and the Ulster writers Ella Young, Beatrice Grimshaw, and F. E. Crichton – used their work to advance their own private and public political concerns through astute manoeuvrings both in the expanding publishing industry and against the partisan expectations of an ever-growing readership. Close readings of individual texts are framed by new archival research and detailed historical contextualisation. Offering fresh critical perspectives by internationally-renowned scholars including Lauren Arrington, Heidi Hansson, Margaret Kelleher, Patrick Maume, James H. Murphy, and Eve Patten, Irish Women’s Writing, 1878-1922: Advancing the Cause of Liberty is an innovative and essential contribution to the study of Irish literature as well as women’s writing at the turn of the twentieth century.
Internationally, public engagement and communication has become an important aspect of research and policymaking, allowing research establishments, and their researchers, to explore public perspectives on their work as well as providing access to research findings to wider publics. Alongside this, a considerable research communication and public engagement community has emerged, who are interested not only in the design, techniques and methods for research communication and engagement but also approaches to communicating creatively and evaluating the
This book analyses the oratorical and rhetorical techniques of twelve leading orators who have affected the evolution of Labour Party politics in the post-war period, and demonstrates the important role of oratory. The twelve leading orators are Aneurin Bevan, Hugh Gaitskell, Tony Benn, Harold Wilson, James Callaghan, Barbara Castle, Michael Foot, Neil Kinnock, John Smith, Tony Blair, Gordon Brown and Ed Miliband. The book considers how the politician in question used their oratorical skills in relation to three key audiences: the Parliamentary Party; the wider party membership; and the electorate. These audiences relate to three important oratorical arenas, namely Parliament; party conference; public and media engagement (the electoral arena). The book assesses how political rhetoric has been deployed in an effort to advance competing ideological positions within the party, and the role of oratory in communicating Labour's ideology to a wider audience. It argues that oratory remains a significant feature of Labour politics in Britain, and analyses how it has changed over time and in different contexts. A small (but growing) number of scholars have energised the study of rhetoric in British politics, and brought it more mainstream attention in the discipline. The academic study of the art of oratory has received relatively little attention from scholars interested in British politics.
accepted as a concept within policy and public engagement communities (Schäfer, 2009 ; Trench, 2008 ). The lack of a more fixed definition has led to some criticism that it allows for interpretations which effectively permit public relations in disguise (Powell and Colin, 2009 ), or do not reflect a more multifarious process which can be occurring, especially around complex areas of policymaking that relate to emerging areas of research (Irwin, 2009 ; Irwin and Michael, 2003 ). In the context of research and engagement within policy or political settings
how the data walk process operates to articulate data to other concerns, employing many of these interdisciplinary elements. It charts my unfolding engagement with art practice and the insights that this provided to social scientific and public engagement work and identifies how these processes help to move beyond a focus on ‘data subjectivity’ as the primary way that datafication is experienced. It reflects on the data walk process as a means of surfacing the everyday experiences and reflections that many people have in relation to data by involving people with
The Mansions in the Orchard project, funded by a Wellcome Trust People Award for Public Engagement, ran from September 2013 to March 2015. On behalf of the Bethlem Museum of the Mind, the authors carried out new historical research and documentation, alongside public engagement activities. The project addressed the largely undocumented twentieth-century history of inpatient mental health care in Britain through the
projects that seek to combine research communication with arts and craft activities, and there is a history of using these approaches in health education, to give one example, which could usefully inform the design and development of such activities. In the context of research communication, then, craft offers an opportunity to engage people with science which can align well with discussions around public engagement with science and technology ( Chapter 8 ), and projects are emerging, such as MS: The Big Knit, that involve participants in a crafting activity (in