Academic literature on the topic 'Edith Johnstone'

The history of the Dunham family goes back to the researches of Kingsley Dunham's grandfather, Rev. Charles Dunham (1848–1942), a Methodist Minister and diarist who, at the age of 72, brought together facts and recollections of the Dunham family. Apparently the family migrated from East Anglia and settled in the Bedford area for 200 years, centred on the village of Shillington. By the middle of the nineteenth century the family were bootmakers and shoemakers and moved to north London. Kingsley Dunham's father, Ernest Pedder Dunham, was trained in estate management at the Duke of Bedford's office in Trafalgar Square, and in 1904 he was given a position in the Pitt-Rivers estate office at Hinton St Mary, Dorset. To here he brought his bride, Edith Agnes Humphreys, to live at Newton House, Sturminster Newton. The first child, Kingsley Charles Dunham, was born on 2 January 1910. The family's time in Dorset was short, because Ernest Dunham's post came to an end in 1913 and be obtained a new appointment at Lord Boyne's estate office at Brancepeth near Durham. Although this estate was later sold to the Duke of Westminster, Ernest Dunham stayed on as agent throughout his career. Kingsley Dunham's mother Edith was a trained schoolteacher and chapel organist, and she gave him the foundations of his education and an introduction to music. Aged seven years he joined the school on the estate, Brancepeth Village School. Here he was well prepared to sit for a County Scholarship in the spring of 1921, when he was 11 years old. Dunham won the scholarship and entrance to the Durham Johnston School, a notable secondary school in the district. The teaching at the Johnston School was extremely efficient and he flourished, developing a particular interest in physical science and mathematics. His hobby was music and he was taught the organ at Durham Cathedral by the Canon Precentor, A.D. Culley. He was also a chorister at St Brandon's Church, Brancepeth, for five years, where, despite his Methodist background, the liturgy of the Anglican prayerbook made a deep and lasting impression. He was head of school in 1927 and sat for a Durham University Open Foundation Scholarship, winning a junior award. Thus, early in October 1927, aged 171/2, Dunham went up to Hatfield College, University of Durham, a scholar and later organ scholar. He was advised to read honours in chemistry with two auxiliary subjects, for which he chose physics and geology. The chemistry course was enjoyable, but the real joy was the geology course, with lectures on physical fundamentals given by Professor Arthur Holmes (FRS 1942) and practical work and fieldwork with Dr William Hopkins. The geology course and particularly the fieldwork proved to be life changing. At the end of the first year, Dunham was encouraged to continue with geology and found himself the only honours candidate in geology in his year, with almost individual attention from Professor Holmes and Dr Hopkins.

The prevalence of ADHD children increases every year. Some researchers have shown that psychosocial behavior therapy (antecedents-consequences modification) was effective to decrease hyperactivity and increase attention to ADHD children. This study aims to find out the effectiveness of antecedents-consequences modification by parents and teachers to decrease hyperactivity and increase attention to a 6 years old boy with ADHD. The study was a single case experimental design. Psychosocial behavior therapy has been used with antecedents-consequences modification. The antecedents-consequences modification was applied by teacher at school and parents at home. Data were analyzed using Wilcoxon Signed Rank Test. Results showed that there’s a significant decrease of hyperactivity behavior and significant increase of doing his assignment both at school and also at home. Not only about the content of behavior therapy itself, but how to give the therapy is important. Parents and teacher should do the therapy consistently, immediately, specifically and saliency to reach the target of intervention. Keywords: ADHD Children, Antecedents, Consequences, Modification Reference: (APA), A. A. P. (2013). Diagnostic and Manual of Mental Disorder (5th ed.). Arlington: American Psychiatric Association. Amalia, R. (2018). Intervensi terhadap Anak Usia Dini yang Mengalami Gangguan ADHD Melalui Pendekatan Kognitif Perilaku dan Alderian Play Therapy. Jurnal Obsesi : Jurnal Pendidikan Anak Usia Dini, 2(1), 27. https://doi.org/10.31004/obsesi.v2i1.4 Anastopoulos, A.D; Farley, S. . (2003). A Cognitive Behavioural Training Program for Parents of Children with Attention-Deficit/Hyperactivity Disorder. In W. J. Kazdin, Alan E (Ed.), Evidence-based psychotherapies for children and adolescents (pp. 187–203). New York: Guildford Press. Barkley, Russell A; DuPaul, G.L ; McMurray, M. . (1990). A comprehensive evaluation of attention deficit disorder with and without hyperactivity. Journal of Consulting and Clinical Psychology, 58, 775–789. Barkley, R. A. (2006). Attention-deficit hyperactivity disorder : A handbook for diagnosis and treatment (3rd ed.). New York City: Guildford Press. Barlow, D.H ; Hersen, M. (1984). Single case experimental design : Strategies for studying behavior change (2nd ed.). New York: Pergamon Press. Baumeister, S., Wolf, I., Holz, N., Boecker-Schlier, R., Adamo, N., Holtmann, M., … Brandeis, D. (2018). Neurofeedback Training Effects on Inhibitory Brain Activation in ADHD: A Matter of Learning? Neuroscience, 378, 89–99. https://doi.org/10.1016/j.neuroscience.2016.09.025 Cantwell, D. P., & Baker, L. (1991). Association between attention deficit-hyperactivity disorder and learning disorders. Journal of Learning Disabilities, 24(2), 88–95. https://doi.org/10.1177/002221949102400205 Center for Children and Families. (2019). Evidence-based Psychosocial Treatment for ADHD Children and Adolescents. Retrieved from http://ccf.fiu.edu Davidson, G. C. (2010). Abnormal Psychology. New Jersey: Wiley. DuPaul, George; Stoner, G. (2003). ADHD in the schools. New York: Guildford Press. DuPaul, G., & Weyandt, L. (2006). School-based intervention for children with attention deficit hyperactivity disorder: Effects on academic, social, and behavioural functioning. International Journal of Disability, Development and Education, 53(2), 161–176. https://doi.org/10.1080/10349120600716141 Erinta, D. B. M. S. (2012). Efektivitas penerapan terapi permainan sosialisasi untuk menurunkan perilaku impulsif pada anak dengan attention deficit hyperactive disorder (ADHD). Jurnal Psikologi : Teori & Terapan, 3(1). Evans, Steven W; Owens, Julie; Bunford, M. N. (2014). Evidence-Based Psychosocial Treatments for Children and Adolescents with Attention-Deficit/Hyperactivity Disorder. Journal Clinical Child Adolescence Psychology, 43(4), 527–551. https://doi.org/10.1038/jid.2014.371 Fabiano, G. A., Pelham, W. E., Coles, E. K., Gnagy, E. M., Chronis-Tuscano, A., & O’Connor, B. C. (2009). A meta-analysis of behavioral treatments for attention-deficit/hyperactivity disorder. Clinical Psychology Review, 29(2), 129–140. https://doi.org/10.1016/j.cpr.2008.11.001 Gerdes, A. C., Hoza, B., & Pelham, W. E. (2003). Attention-deficit/hyperactivity disordered boys’ relationships with their mothers and fathers: Child, mother, and father perceptions. Development and Psychopathology, 15(2), 363–382. https://doi.org/10.1017/S0954579403000208 Haas, S. M., Waschbusch, D. A., Pelham, W. E., King, S., Andrade, B. F., & Carrey, N. J. (2011). Treatment response in CP/ADHD children with callous/unemotional traits. Journal of Abnormal Child Psychology, 39(4), 541–552. https://doi.org/10.1007/s10802-010-9480-4 Helseth, S. A., Waschbusch, D. A., Gnagy, E. M., Onyango, A. N., Burrows-MacLean, L., Fabiano, G. A., … Pelham, W. E. (2015). Effects of behavioral and pharmacological therapies on peer reinforcement of deviancy in children with ADHD-Only, ADHD and conduct problems, and controls. Journal of Consulting and Clinical Psychology, 83(2), 280–292. https://doi.org/10.1037/a0038505 Hidayati, DM Ria ; Purwandari, E. (2010). Time Out : Alternatif Modifikasi Perilaku Anak ADHD (Attention Deficit/ Hyperacitivity Disorder). Indigenous, Jurnal Ilmiah Berkala Psikologi, 12(2), 101–114. Hinshaw, S. P., Owens, E. B., Wells, K. C., Kraemer, H. C., Abikoff, H. B., Arnold, L. E., … Wigal, T. (2000). Family processes and treatment outcome in the MTA: Negative/ineffective parenting practices in relation to multimodal treatment. Journal of Abnormal Child Psychology, 28(6), 555–568. https://doi.org/10.1023/A:1005183115230 Hinshaw, Stephen P., Owens, E. B., Zalecki, C., Huggins, S. P., Montenegro-Nevado, A. J., Schrodek, E., & Swanson, E. N. (2012). Prospective follow-up of girls with attention-deficit/hyperactivity disorder into early adulthood: Continuing impairment includes elevated risk for suicide attempts and self-injury. Journal of Consulting and Clinical Psychology,80(6), 1041–1051. https://doi.org/10.1037/a0029451 Jackson, N. A. (2003). A Survey of Music Therapy Methods and Their Role in the Treatment of Early Elementary School Children with ADHD. Journal of Music Therapy, 40(4), 302–323. https://doi.org/10.1093/jmt/40.4.302 Johnston, Charlotte; Mash, E. J. (2001). Families of Children With Attention-Deficit/Hyperactivity Disorder : Review and Recommendations for Future Research. Clinical Child and Family Psychology Review, 4(3), 183–207. Jr, W. E. P., Fabiano, G. A., & Pelham, W. E. (2008). Evidence-Based Psychosocial Treatments for Attention- Deficit / Hyperactivity Disorder (Vol. 4416). https://doi.org/10.1080/15374410701818681 Kaiser, N. M., McBurnett, K., & Pfiffner, L. J. (2011). 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Alex Abou-Chebl, MD Michael Abraham, MD Joseph E. Acker, III, EMT-P, MPH Robert Adams, MD, MS, FAHA Eric Adelman, MD Opeolu Adeoye, MD DeAnna L. Adkins, PhD Maria Aguilar, MD Absar Ahmed, MD Naveed Akhtar, MD Rufus Akinyemi, MBBS, MSc, MWACP, FMCP(Nig) Karen C. Albright, DO, MPH Felipe Albuquerque, MD Andrei V. Alexandrov, MD Abdulnasser Alhajeri, MD Latisha Ali, MD Nabil J. Alkayed, MD, PhD, FAHA Amer Alshekhlee, MD, MSc Irfan Altafullah, MD Arun Paul Amar, MD Pierre Amarenco, MD, FAHA, FAAN Sepideh Amin-Hanjani, MD, FAANS, FACS, FAHA Catherine Amlie-Lefond, MD Aaron M. Anderson, MD David C. Anderson, MD, FAHA Sameer A. Ansari, MD, PhD Ken Arai, PhD Agnieszka Ardelt, MD, PhD Juan Arenillas, MD PhD William Armstead, PhD, FAHA Jennifer L. Armstrong-Wells, MD, MPH Negar Asdaghi, MD, MSc, FRCPC Nancy D. Ashley, APRN,BC, CEN,CCRN,CNRN Stephen Ashwal, MD Andrew Asimos, MD Rand Askalan, MD, PhD Kjell Asplund, MD Richard P. Atkinson, MD, FAHA Issam A. 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IntroductionNew digital technologies hold promise for equalising access to information and communication for the Deaf community. SMS technology, for example, has helped to equalise deaf peoples’ access to information and made it easier to communicate with both deaf and hearing people (Tane Akamatsu et al.; Power and Power; Power, Power, and Horstmanshof; Valentine and Skelton, "Changing", "Umbilical"; Harper). A wealth of anecdotal evidence and some recent academic work suggests that new media technology is also reshaping deaf peoples’ sense of local and global community (Breivik "Deaf"; Breivik, Deaf; Brueggeman). One focus of research on new media technologies has been on technologies used for point to point communication, including communication (and interpretation) via video (Tane Akamatsu et al.; Power and Power; Power, Power, and Horstmanshof). Another has been the use of multimedia technologies in formal educational setting for pedagogical purposes, particularly English language literacy (e.g. Marshall Gentry et al.; Tane Akamatsu et al.; Vogel et al.). An emphasis on the role of multimedia in deaf education is understandable, considering the on-going highly politicised contest over whether to educate young deaf people in a bilingual environment using a signed language (Swanwick & Gregory). However, the increasing significance of social and participatory media in the leisure time of Westerners suggests that such uses of Web 2.0 are also worth exploring. There have begun to be some academic accounts of the enthusiastic adoption of vlogging by sign language users (e.g. Leigh; Cavander and Ladner) and this paper seeks to add to this important work. Web 2.0 has been defined by its ability to, in Denise Woods’ word, “harness collective intelligence” (19.2) by providing opportunities for users to make, adapt, “mash up” and share text, photos and video. As well as its well-documented participatory possibilities (Bruns), its re-emphasis on visual (as opposed to textual) communication is of particular interest for Deaf communities. It has been suggested that deaf people are a ‘visual variety of the human race’ (Bahan), and the visually rich presents new opportunities for visually rich forms of communication, most importantly via signed languages. The central importance of signed languages for Deaf identity suggests that the visual aspects of interactive multimedia might offer possibilities of maintenance, enhancement and shifts in those identities (Hyde, Power and Lloyd). At the same time, the visual aspects of the Web 2.0 are often audio-visual, such that the increasingly rich resources of the net offer potential barriers as well as routes to inclusion and community (see Woods; Ellis; Cavander and Ladner). In particular, lack of captioning or use of Auslan in video resources emerges as a key limit to the accessibility of the visual Web to deaf users (Cahill and Hollier). In this paper we ask to what extent contemporary digital media might create moments of permeability in what Krentz has called “the hearing line, that invisible boundary separating deaf and hearing people”( 2)”. To provide tentative answers to these questions, this paper will explore the use of participatory digital media by a group of young Deaf people taking part in a small-scale digital moviemaking project in Sydney in 2009. The ProjectAs a starting point, the interdisciplinary research team conducted a video-making course for young deaf sign language users within the Department of Media, Music and Cultural Studies at Macquarie University. The research team was comprised of one deaf and four hearing researchers, with expertise in media and cultural studies, information technology, sign language linguistics/ deaf studies, and signed language interpreting. The course was advertised through the newsletter of partner organization the NSW Deaf Society, via a Sydney bilingual deaf school and through the dense electronic networks of Australian deaf people. The course attracted fourteen participants from NSW, Western Australia and Queensland ranging in age from 10 to 18. Twelve of the participants were male, and two female. While there was no aspiration to gather a representative group of young people, it is worth noting there was some diversity within the group: for example, one participant was a wheelchair user while another had in recent years moved to Sydney from Africa and had learned Auslan relatively recently. Students were taught a variety of storytelling techniques and video-making skills, and set loose in groups to devise, shoot and edit a number of short films. The results were shared amongst the class, posted on a private YouTube channel and made into a DVD which was distributed to participants.The classes were largely taught in Auslan by a deaf teacher, although two sessions were taught by (non-deaf) members of Macquarie faculty, including an AFI award winning director. Those sessions were interpreted into Auslan by a sign language interpreter. Participants were then allowed free creative time to shoot video in locations of their choice on campus, or to edit their footage in the computer lab. Formal teaching sessions lasted half of each day – in the afternoons, participants were free to use the facilities or participate in a range of structured activities. Participants were also interviewed in groups, and individually, and their participation in the project was observed by researchers. Our research interest was in what deaf young people would choose to do with Web 2.0 technologies, and most particularly the visually rich elements of participatory and social media, in a relatively unstructured environment. Importantly, our focus was not on evaluating the effectiveness of multimedia for teaching deaf young people, or the level of literacy deployed by deaf young people in using the applications. Rather we were interested to discover the kinds of stories participants chose to tell, the ways they used Web 2.0 applications and the modalities of communication they chose to use. Given that Auslan was the language of instruction of the course, would participants draw on the tradition of deaf jokes and storytelling and narrate stories to camera in Auslan? Would they use the format of the “mash-up”, drawing on found footage or photographs? Would they make more filmic movies using Auslan dialogue? How would they use captions and text in their movies: as subtitles for Auslan dialogue? As an alternative to signing? Or not at all? Our observations from the project point to the great significance of the visual dimensions of Web 2.0 for the deaf young people who participated in the project. Initially, this was evident in the kind of movies students chose to make. Only one group – three young people in their late teens which included both of the young women in the class - chose to make a dialogue heavy movie, a spoof of Charlie’s Angels, entitled Deaf Angels. This movie included long scenes of the Angels using Auslan to chat together, receiving instruction from “Charlie” in sign language via videophone and recruiting “extras”, again using Auslan, to sign a petition for Auslan to be made an official Australian language. In follow up interviews, one of the students involved in making this film commented “my clip is about making a political statement, while the other [students in the class] made theirs just for fun”. The next group of (three) films, all with the involvement of the youngest class member, included signed storytelling of a sort readily recognisable from signed videos on-line: direct address to camera, with the teller narrating but also taking on the roles of characters and presenting their dialogue directly via the sign language convention of “role shift” - also referred to as constructed action and constructed dialogue (Metzger). One of these movies was an interesting hybrid. The first half of the four minute film had two young actors staging a hold-up at a vending machine, with a subsequent chase and fight scene. Like most of the films made by participants in the class, it included only one line of signed dialogue, with the rest of the narrative told visually through action. However, at the end of the action sequence, with the victim safely dead, the narrative was then retold by one of the performers within a signed story, using conventions typically observed in signed storytelling - such as role shift, characterisation and spatial mapping (Mather & Winston; Rayman; Wilson).The remaining films similarly drew on action and horror genres with copious use of chase and fight scenes and melodramatic and sometimes quite beautiful climactic death tableaux. The movies included a story about revenging the death of a brother; a story about escaping from jail; a short story about a hippo eating a vet; a similar short comprised of stills showing a sequence of executions in the computer lab; and a ghost story. Notably, most of these movies contained very little dialogue – with only one or two lines of signed dialogue in each four to five minute video (with the exception of the gun handshape used in context to represent the object liberally throughout most films). The kinds of movies made by this limited group of people on this one occasion are suggestive. While participants drew on a number of genres and communication strategies in their film making, the researchers were surprised at how few of the movies drew on traditions of signed storytelling or jokes– particularly since the course was targeted at deaf sign language users and promoted as presented in Auslan. Consequently, our group of students were largely drawn from the small number of deaf schools in which Auslan is the main language of instruction – an exceptional circumstance in an Australian setting in which most deaf young people attend mainstream schools (Byrnes et al.; Power and Hyde). Looking across the Hearing LineWe can make sense of the creative choices made by the participants in the course in a number of ways. Although methods of captioning were briefly introduced during the course, iMovie (the package which participants were using) has limited captioning functionality. Indeed, one student, who was involved in making the only clip to include captioning which contextualised the narrative, commented in follow-up interviews that he would have liked more information about captioning. It’s also possible that the compressed nature of the course prevented participants from undertaking the time-consuming task of scripting and entering captions. As well as being the most fun approach to the projects, the use of visual story telling was probably the easiest. This was perhaps exacerbated by the lack of emphasis on scriptwriting (outside of structural elements and broad narrative sweeps) in the course. Greater emphasis on that aspect of film-making would have given participants a stronger foundational literacy for caption-based projectsDespite these qualifications, both the movies made by students and our observations suggest the significance of a shared visual culture in the use of the Web by these particular young people. During an afternoon when many of the students were away swimming, one student stayed in the lab to use the computers. Rather than working on a video project, he spent time trawling through YouTube for clips purporting to show ghost sightings and other paranormal phenomena. He drew these clips to the attention of one of the research team who was present in the lab, prompting a discussion about the believability of the ghosts and supernatural apparitions in the clips. While some of the clips included (uncaptioned) off-screen dialogue and commentary, this didn’t seem to be a barrier to this student’s enjoyment. Like many other sub-genres of YouTube clips – pranks, pratfalls, cute or alarmingly dangerous incidents involving children and animals – these supernatural videos as a genre rely very little on commentary or dialogue for their meaning – just as with the action films that other students drew on so heavily in their movie making. In an E-Tech paper entitled "The Cute Cat Theory of Digital Activism", Ethan Zuckerman suggests that “web 1.0 was invented to allow physicists to share research papers and web 2.0 was created to allow people to share pictures of cute cats”. This comment points out both the Web 2.0’s vast repository of entertaining material in the ‘funny video’genre which is visually based, dialogue free, entertaining material accessible to a wide range of people, including deaf sign language users. In the realm of leisure, at least, the visually rich resources of Web 2.0’s ubiquitous images and video materials may be creating a shared culture in which the line between hearing and deaf people’s entertainment activities is less clear than it may have been in the past. The ironic tone of Zuckerman’s observation, however, alerts us to the limits of a reliance on language-free materials as a route to accessibility. The kinds of videos that the participants in the course chose to make speaks to the limitations as well as resources offered by the visual Web. There is still a limited range of captioned material on You Tube. In interviews, both young people and their teachers emphasised the central importance of access to captioned video on-line, with the young people we interviewed strongly favouring captioned video over the inclusion on-screen of simultaneous signed interpretations of text. One participant who was a regular user of a range of on-line social networking commented that if she really liked the look of a particular movie which was uncaptioned, she would sometimes contact its maker and ask them to add captions to it. Interestingly, two student participants emphasised in interviews that signed video should also include captions so hearing people could have access to signed narratives. These students seemed to be drawing on ideas about “reverse discrimination”, but their concern reflected the approach of many of the student movies - using shared visual conventions that made their movies available to the widest possible audience. All the students were anxious that hearing people could understand their work, perhaps a consequence of the course’s location in the University as an overwhelmingly hearing environment. In this emphasis on captioning rather than sign as a route to making media accessible, we may be seeing a consequence of the emphasis Krentz describes as ubiquitous in deaf education “the desire to make the differences between deaf and hearing people recede” (16). Krentz suggests that his concept of the ‘hearing line’ “must be perpetually retested and re-examined. It reveals complex and shifting relationships between physical difference, cultural fabrication and identity” (7). The students’ movies and attitudes emphasised the reality of that complexity. Our research project explored how some young Deaf people attempted to create stories capable of crossing categories of deafness and ‘hearing-ness’… unstable (like other identity categories) while others constructed narratives that affirmed Deaf Culture or drew on the Deaf storytelling traditions. This is of particular interest in the Web 2.0 environment, given that its technologies are often lauded as having the politics of participation. The example of the Deaf Community asks reasonable questions about the validity of those claims, and it’s hard to escape the conclusion that there is still less than appropriate access and that some users are more equal than others.How do young people handle the continuing lack of material available to the on the Web? The answer repeatedly offered by our young male interviewees was ‘I can’t be bothered’. As distinct from “I can’t understand” or “I won’t go there” this answer, represented a disengagement from demands to identify your literacy levels, reveal your preferred means of communication; to rehearse arguments about questions of access or expose attempts to struggle to make sense of texts that fail to employ readily accessible means of communicating. Neither an admission of failure or a demand for change, CAN’T-BE-BOTHERED in this context offers a cool way out of an accessibility impasse. This easily-dismissed comment in interviews was confirmed in a whole-group discussions, when students came to a consensus that if when searching for video resources on the Net they found video that included neither signing nor captions, they would move on to find other more accessible resources. Even here, though, the ground continues to shift. YouTube recently announced that it was making its auto-captioning feature open to everybody - a machine generated system that whilst not perfect does attempt to make all YouTube videos accessible to deaf people. (Bertolucci).The importance of captioning of non-signed video is thrown into further significance by our observation from the course of the use of YouTube as a search engine by the participants. Many of the students when asked to research information on the Web bypassed text-based search engines and used the more visual results presented on YouTube directly. In research on deaf adolescents’ search strategies on the Internet, Smith points to the promise of graphical interfaces for deaf young people as a strategy for overcoming the English literacy difficulties experienced by many deaf young people (527). In the years since Smith’s research was undertaken, the graphical and audiovisual resources available on the Web have exploded and users are increasingly turning to these resources in their searches, providing new possibilities for Deaf users (see for instance Schonfeld; Fajardo et al.). Preliminary ConclusionsA number of recent writers have pointed out the ways that the internet has made everyday communication with government services, businesses, workmates and friends immeasurably easier for deaf people (Power, Power and Horstmanshof; Keating and Mirus; Valentine and Skelton, "Changing", "Umbilical"). The ready availability of information in a textual and graphical form on the Web, and ready access to direct contact with others on the move via SMS, has worked against what has been described as deaf peoples’ “information deprivation”, while everyday tasks – booking tickets, for example – are no longer a struggle to communicate face-to-face with hearing people (Valentine and Skelton, "Changing"; Bakken 169-70).The impacts of new technologies should not be seen in simple terms, however. Valentine and Skelton summarise: “the Internet is not producing either just positive or just negative outcomes for D/deaf people but rather is generating a complex set of paradoxical effects for different users” (Valentine and Skelton, "Umbilical" 12). They note, for example, that the ability, via text-based on-line social media to interact with other people on-line regardless of geographic location, hearing status or facility with sign language has been highly valued by some of their deaf respondents. They comment, however, that the fact that many deaf people, using the Internet, can “pass” minimises the need for hearing people in a phonocentric society to be aware of the diversity of ways communication can take place. They note, for example, that “few mainstream Websites demonstrate awareness of D/deaf peoples’ information and communication needs/preferences (eg. by incorporating sign language video clips)” ("Changing" 11). As such, many deaf people have an enhanced ability to interact with a range of others, but in a mode favoured by the dominant culture, a culture which is thus unchallenged by exposure to alternative strategies of communication. Our research, preliminary as it is, suggests a somewhat different take on these complex questions. The visually driven, image-rich approach taken to movie making, Web-searching and information sharing by our participants suggests the emergence of a certain kind of on-line culture which seems likely to be shared by deaf and hearing young people. However where Valentine and Skelton suggest deaf people, in order to participate on-line, are obliged to do so, on the terms of the hearing majority, the increasingly visual nature of Web 2.0 suggests that the terrain may be shifting – even if there is still some way to go.AcknowledgementsWe would like to thank Natalie Kull and Meg Stewart for their research assistance on this project, and participants in the course and members of the project’s steering group for their generosity with their time and ideas.ReferencesBahan, B. "Upon the Formation of a Visual Variety of the Human Race. In H-Dirksen L. Baumann (ed.), Open Your Eyes: Deaf Studies Talking. 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Canas. “Do Sign Language Videos Improve Web Navigation for Deaf Signer Users?” Journal of Deaf Studies and Deaf Education 15.3 (2009): 242-262.Harper, Phil. “Networking the Deaf Nation.” Australian Journal of Communication 30.3 (2003): 153-166.Hyde, M., D. Power, and K. Lloyd. "W(h)ither the Deaf Community? Comments on Trevor Johnston’s Population, Genetics and the Future of Australian Sign Language." Sign Language Studies 6.2 (2006): 190-201. Keating, Elizabeth, and Gene Mirus. “American Sign Language in Virtual Space: Interactions between Deaf Users of Computer-Mediated Video.” Language in Society 32.5 (Nov. 2003): 693-714.Krentz, Christopher. Writing Deafness: The Hearing Line in Nineteenth-Century Literature. Chapel Hill, NC: University of North Carolina Press, 2007.Leigh, Irene. A Lens on Deaf Identities. Oxford: Oxford UP. 2009.Marshall Gentry, M., K.M. Chinn, and R.D. 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Since the publication of Laura Mulvey's influential article 'Visual Pleasure and Narrative Cinema,' in which she identifies the pervasive presence of the male gaze in Hollywood cinema, scholars have sought to account for the female spectator in her paradigm of gendered vision. This thesis suggests that women writers have long debated the problem of the female spectator through literary depictions of the female artist. Women writers of the nineteenth and twentieth centuries'including Elizabeth Stuart Phelps, Edith Johnstone, and Virginia Woolf'recognized the power of the woman artist to undermine the trope of the male gazing subject and a passive female object. Examining Phelps's The Story of Avis (1877), Johnstone's A Sunless Heart (1894), and Woolf's To the Lighthouse (1927) illustrates how the woman artist's active vision disrupts Mulvey's 'active/male and passive/female' binary of vision. Phelps's painter-heroine Avis destabilizes the power of the male gaze not only by exerting her own vision, but also by acting as an active object to manipulate the way she is seen. Johnstone uses artist Gasparine to demonstrate the dangers of vision shaped by either aesthetic or political conventions, suggesting that even feminist idealism can promote the objectification of its heroines. Finally, Woolf redefines the terms of objectification through painter Lily Briscoe, whose vision imbues material objects with subjectivity, thereby going beyond the boundaries between male and female to blur the distinction between subject and object. Through their novels, Phelps, Johnstone, and Woolf suggest that depictions of human experience need to be radically re-thought in order to adequately represent the complexity of subjectivity.
M.A.
Department of English
Arts and Humanities
English MA