Description:
Chapter 8 reports qualitative interviews with older women, drawing from the concepts of biographical work-life balance and portfolio careers. It focuses on older women who were in part-time work but who self-identified as having made a transition to retirement. Many had longstanding careers and stable networks, accrued skills and financial resources, supported a well-endowed quality of portfolio lives, whereas those who experienced ‘unbalanced’ portfolio retirement were more likely to be lacking resources from their working lives. The analysis reinforces the notion that retirement should be viewed as a process and not an event and that it is impossible to tell a single story of women's post-work transitions.
Demographic trends and reproductive patterns in the northern hairy-nosed wombat (Lasiorhinus krefftii) at Epping Forest National Park (Scientific), central Queensland
Description:
Background Although chiropractic has 125 years as an established profession, scrutiny of the literature proves that few studies have examined the clinical education of chiropractic students with a call for research from academics. This thesis is significant as it develops knowledge that can inform chiropractic bodies and help them improve an essential component of chiropractic education: clinical skill development. Research Purpose and Aims The purpose of this study was to identify elements of best practices in clinical education by critically examining, exploring and describing the aspects of an exemplar chiropractic clinical program that develops students’ clinical practice skills for transition into practice. This study explored the innovative clinical program of a reputable American chiropractic institution providing a scaffolded clinical program across varied clinical settings, patient populations and amongst other health disciplines. Research Design A six-phase exploratory descriptive qualitative design (EDQD) study was conducted to explore and describe the phenomenon being examined (Flick, 2014). This design enabled the collection of information about perceptions and lived experiences of three stakeholder cohorts: clinical faculty members, students and new graduates. Methods Purposive sampling (of students and clinical faculty members) and snowball sampling techniques (of new graduates) were used to derive the sample. Data were collected in three cycles across a two-year period using in-depth, semi-structured interviews. Interviews were conducted with 15 clinical faculty members and eight new graduates, and semi-structured focus groups were conducted with 20 students. All data were audio recorded, transcribed and thematically analysed using an inductive approach. Findings Chiropractic clinical education programs ought to be developed within a framework that incorporates adult learner principles; situated, social and experiential learning theories. Valued was a student-centred learning experience that includes authentic and diverse clinical placements, supervision and mentoring from multiple clinical educators which enhances students’ access to varied perspectives of clinical practices that contributes to developing clinical skills and professional identity. Business knowledge and entrepreneurial skills was an area of deficiency, which is problematic when the objective is to build graduates’ independence in clinical practice and professional prospects are predominantly private practice (NBCE, 2020). Embedding evidence-based practice within curricula and clinical training for educators and students are necessary to ensure this becomes a part of clinical practice. Conclusion This thesis posits best practice in chiropractic clinical education consists of the following: (a) using a scaffolded longitudinal clinical program, (b) varying clinical placements and case mix, (c) supervision and mentoring from multiple clinical educators, (d) educating the clinical educator, (e) curricula designed around industry standards and desired graduate attributes and capabilities, (f) an evidence-based practice approach in the curricula and clinical context, (g) aligning business skills, knowledge and practices with the professional context and (h) interprofessional learning and practice opportunities. Although this study has made a contribution to scholarly discourse, there remain many gaps in our knowledge where further studies are needed.
Description:
Background Although chiropractic has 125 years as an established profession, scrutiny of the literature proves that few studies have examined the clinical education of chiropractic students with a call for research from academics. This thesis is significant as it develops knowledge that can inform chiropractic bodies and help them improve an essential component of chiropractic education: clinical skill development. Research Purpose and Aims The purpose of this study was to identify elements of best practices in clinical education by critically examining, exploring and describing the aspects of an exemplar chiropractic clinical program that develops students’ clinical practice skills for transition into practice. This study explored the innovative clinical program of a reputable American chiropractic institution providing a scaffolded clinical program across varied clinical settings, patient populations and amongst other health disciplines. Research Design A six-phase exploratory descriptive qualitative design (EDQD) study was conducted to explore and describe the phenomenon being examined (Flick, 2014). This design enabled the collection of information about perceptions and lived experiences of three stakeholder cohorts: clinical faculty members, students and new graduates. Methods Purposive sampling (of students and clinical faculty members) and snowball sampling techniques (of new graduates) were used to derive the sample. Data were collected in three cycles across a two-year period using in-depth, semi-structured interviews. Interviews were conducted with 15 clinical faculty members and eight new graduates, and semi-structured focus groups were conducted with 20 students. All data were audio recorded, transcribed and thematically analysed using an inductive approach. Findings Chiropractic clinical education programs ought to be developed within a framework that incorporates adult learner principles; situated, social and experiential learning theories. Valued was a student-centred learning experience that includes authentic and diverse clinical placements, supervision and mentoring from multiple clinical educators which enhances students’ access to varied perspectives of clinical practices that contributes to developing clinical skills and professional identity. Business knowledge and entrepreneurial skills was an area of deficiency, which is problematic when the objective is to build graduates’ independence in clinical practice and professional prospects are predominantly private practice (NBCE, 2020). Embedding evidence-based practice within curricula and clinical training for educators and students are necessary to ensure this becomes a part of clinical practice. Conclusion This thesis posits best practice in chiropractic clinical education consists of the following: (a) using a scaffolded longitudinal clinical program, (b) varying clinical placements and case mix, (c) supervision and mentoring from multiple clinical educators, (d) educating the clinical educator, (e) curricula designed around industry standards and desired graduate attributes and capabilities, (f) an evidence-based practice approach in the curricula and clinical context, (g) aligning business skills, knowledge and practices with the professional context and (h) interprofessional learning and practice opportunities. Although this study has made a contribution to scholarly discourse, there remain many gaps in our knowledge where further studies are needed.
Description:
The type of horror film known as “found footage” was prominent in the 2000s and early 2010s. The term refers to films that aim to scare their audience, and which are primarily shot diegetically, with handheld and surveillance cameras that exist within the world of the film. The thesis identifies conceptual, aesthetic, and thematic links between found footage horror films and psychological trauma theory. For example, in each film the premise of the characters and viewers finding footage of a frightening event evokes the victim’s belated recollection of a traumatic experience. Additionally, the often-frantic cinematography and ambiguous formulation of the monster evokes the shocked and disoriented cognition of the trauma victim in the wake of their experience. Finally, the experience and effect of trauma on society is a recurring theme of found footage horror films. By examining 14 films, this thesis aims to answer the question: how do found footage horror films represent the relationship between individual and collective trauma? It theorises that individual trauma is conveyed through the films’ point-of-view (POV) aesthetic, while collective trauma is conveyed through their narrative themes. The thesis groups the films into four categories, each of which addresses a different aspect of trauma theory. Firstly, Remote found footage horror films, such as The Blair Witch Project (Myrick and Sánchez 1999), are examined as depictions of national historical traumas. Secondly, Urban found footage horror films, such as Cloverfield (Reeves 2008), are read as depictions of contemporary global traumas. Thirdly, Domestic found footage horror films, such as Paranormal Activity (Peli 2009), are framed as depictions of systemic domestic trauma. Fourthly, Perpetrator found footage horror films, such as Man Bites Dog (Belvaux, Bonzel and Poelvoorde 1992), are examined as depictions of perpetrator trauma. The thesis disputes the claim made by numerous critics and theorists that found footage horror films do not constitute a subgenre, but merely a cinematographic style or marketing gimmick. By demonstrating their aesthetic and thematic consistency, and the manifold ways that found footage horror can be read as representing trauma, the thesis argues that the films constitute a specific subgenre of horror cinema. The thesis makes significant contributions to knowledge by identifying, testing and demonstrating links between horror film theory, genre theory, spectator theory, and psychological and collective trauma theory. It conducts a broad survey of a recent subgenre of horror films that has, thus far, only received sporadic and insubstantial academic attention. It also presents an original theory that explains the psychological and sociological subtext of the subgenre, and the cultural insights that the films provide.
Description:
The type of horror film known as “found footage” was prominent in the 2000s and early 2010s. The term refers to films that aim to scare their audience, and which are primarily shot diegetically, with handheld and surveillance cameras that exist within the world of the film. The thesis identifies conceptual, aesthetic, and thematic links between found footage horror films and psychological trauma theory. For example, in each film the premise of the characters and viewers finding footage of a frightening event evokes the victim’s belated recollection of a traumatic experience. Additionally, the often-frantic cinematography and ambiguous formulation of the monster evokes the shocked and disoriented cognition of the trauma victim in the wake of their experience. Finally, the experience and effect of trauma on society is a recurring theme of found footage horror films. By examining 14 films, this thesis aims to answer the question: how do found footage horror films represent the relationship between individual and collective trauma? It theorises that individual trauma is conveyed through the films’ point-of-view (POV) aesthetic, while collective trauma is conveyed through their narrative themes. The thesis groups the films into four categories, each of which addresses a different aspect of trauma theory. Firstly, Remote found footage horror films, such as The Blair Witch Project (Myrick and Sánchez 1999), are examined as depictions of national historical traumas. Secondly, Urban found footage horror films, such as Cloverfield (Reeves 2008), are read as depictions of contemporary global traumas. Thirdly, Domestic found footage horror films, such as Paranormal Activity (Peli 2009), are framed as depictions of systemic domestic trauma. Fourthly, Perpetrator found footage horror films, such as Man Bites Dog (Belvaux, Bonzel and Poelvoorde 1992), are examined as depictions of perpetrator trauma. The thesis disputes the claim made by numerous critics and theorists that found footage horror films do not constitute a subgenre, but merely a cinematographic style or marketing gimmick. By demonstrating their aesthetic and thematic consistency, and the manifold ways that found footage horror can be read as representing trauma, the thesis argues that the films constitute a specific subgenre of horror cinema. The thesis makes significant contributions to knowledge by identifying, testing and demonstrating links between horror film theory, genre theory, spectator theory, and psychological and collective trauma theory. It conducts a broad survey of a recent subgenre of horror films that has, thus far, only received sporadic and insubstantial academic attention. It also presents an original theory that explains the psychological and sociological subtext of the subgenre, and the cultural insights that the films provide.