Pub Date : 2023-09-01Epub Date: 2023-05-22DOI: 10.1017/BrImp.2023.10
Christy Hogan, Louise Gustafsson, Amelia Di Tommaso, Tenelle Hodson, Michelle Bissett, Camila Shirota
Background and aims: Assistive technology services and devices support the participation and inclusion of people living with disability. In Australia, the regulatory bodies, agencies and schemes that manage assistive technology provision are governed by national and / or state-based Acts and Legislation. This study examined the assistive technology sector from the perspective of the regulatory bodies, agencies and schemes.
Design and methods: Regulatory bodies, agencies and schemes that manage funding for assistive technology in Australia were identified by the research team. A website audit reviewed publicly available documents and information. Semi-structured interviews with representatives from the agencies and schemes were audio-recorded and transcribed verbatim.
Findings: The audit (n =17) found that the range and level of information publicly available was variable. The availability of assistive technology for driving and transport, design and building for access and safety, and mobility was most often promoted. The qualitative findings (n = 11) indicated variability and challenges within four themes: operationalising the legislation; internal assistive technology processes; reasonable and necessary; and risks in the assistive technology pathway.
Conclusions: Regulatory bodies, agencies and schemes are critical to the effectiveness of the sector. The findings identified opportunities for the organisations to review how internal processes are communicated publicly, and for the sector to address the perceived risks related to health professional availability, knowledge and skills, and limited accessibility to trial assistive technology. Subsequent studies explored the perspectives of the assistive technology advisors and suppliers and the recipients of assistive technology services and devices.
{"title":"Establishing the normative and comparative needs of assistive technology provision in Queensland from the agency and funding scheme perspective.","authors":"Christy Hogan, Louise Gustafsson, Amelia Di Tommaso, Tenelle Hodson, Michelle Bissett, Camila Shirota","doi":"10.1017/BrImp.2023.10","DOIUrl":"10.1017/BrImp.2023.10","url":null,"abstract":"<p><strong>Background and aims: </strong>Assistive technology services and devices support the participation and inclusion of people living with disability. In Australia, the regulatory bodies, agencies and schemes that manage assistive technology provision are governed by national and / or state-based Acts and Legislation. This study examined the assistive technology sector from the perspective of the regulatory bodies, agencies and schemes.</p><p><strong>Design and methods: </strong>Regulatory bodies, agencies and schemes that manage funding for assistive technology in Australia were identified by the research team. A website audit reviewed publicly available documents and information. Semi-structured interviews with representatives from the agencies and schemes were audio-recorded and transcribed verbatim.</p><p><strong>Findings: </strong>The audit (<i>n</i> =17) found that the range and level of information publicly available was variable. The availability of assistive technology for driving and transport, design and building for access and safety, and mobility was most often promoted. The qualitative findings (<i>n</i> = 11) indicated variability and challenges within four themes: <i>operationalising the legislation</i>; <i>internal assistive technology processes; reasonable and necessary;</i> and <i>risks in the assistive technology pathway</i>.</p><p><strong>Conclusions: </strong>Regulatory bodies, agencies and schemes are critical to the effectiveness of the sector. The findings identified opportunities for the organisations to review how internal processes are communicated publicly, and for the sector to address the perceived risks related to health professional availability, knowledge and skills, and limited accessibility to trial assistive technology. Subsequent studies explored the perspectives of the assistive technology advisors and suppliers and the recipients of assistive technology services and devices.</p>","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"2 1","pages":"204-218"},"PeriodicalIF":0.8,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88582149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1353/mod.2023.a902612
D. Cohen
215 through which Julie experiments with and rejects norms of white womanhood and also at times aligns herself metaphorically with the enslaved Black characters in the film. As Stern argues, this pattern concludes with Julie riding off on a cart of yellow fever victims—a different kind of “social death” than that described by Orlando Patterson, but one which illustrates the kind of “affinity” across racial lines that Stern traces across Davis’s career (50). One result of Stern’s careful readings of costume and makeup is a stunning account of whiteness in Whatever Happened to Baby Jane? As the penultimate chapter, this reading of Jane’s maniacal efforts as a clutching at white privilege and politics of resentment in the film’s present of 1962 represents a culmination of the work Stern has carefully prepared to this point. She argues, “Bette Davis’s whiteface masquerade . . . would mark an attempt to solidify her social status above the African American housekeeper. She believes Elvira has kicked her down the chain of being. As ultra-white, there can be no mistaking her station” (153). The argument of this chapter is one that will make readers want to revisit this cult classic to consider its deeper significance and perhaps teach the film rather than leaving it to late-night screenings. In addition to being an enjoyable read, it is easy to imagine this book being incorporated into classes on race and popular culture alongside other recent books such as Miriam Petty’s Stealing the Show and Alisha Gaines’s Black for a Day. Together, these books consider the way fan attachments and star turns complicate theories of cross-racial identification and the staging of racial difference. Turning to an iconic white actress and her racialized performances onscreen and off, Bette Davis Black and White offers a model for engagement with stardom that may be at once deeply personal and idiosyncratic and culturally significant.
215中，朱莉尝试并拒绝白人女性的规范，有时也会隐喻性地与电影中被奴役的黑人角色结盟。正如Stern所说，这种模式的结局是Julie骑着一车黄热病患者离开——这与Orlando Patterson所描述的“社会死亡”不同，但它说明了Stern在Davis的职业生涯中所追溯的那种跨越种族界限的“亲和力”（50）。斯特恩仔细阅读服装和妆容的一个结果是，在《简宝宝发生了什么？作为倒数第二章，这本书解读了简在1962年的电影中对白人特权和怨恨政治的疯狂努力，代表了斯特恩为此精心准备的工作的高潮。她认为，“贝蒂·戴维斯的白脸伪装……将标志着她试图巩固自己在非裔美国管家之上的社会地位。她认为埃尔维拉已经把她踢下了存在的链条。作为超白人，她的地位是毋庸置疑的”（153）。这一章的论点会让读者想重温这部邪典，思考它更深层次的意义，也许可以教这部电影，而不是让它在深夜上映。除了令人愉快的阅读之外，很容易想象这本书与米里亚姆·佩蒂的《偷秀》和艾丽莎·盖恩斯的《一天的黑人》等其他新书一起被纳入种族和流行文化课程。这些书共同考虑了粉丝依恋和明星转向如何使跨种族认同理论和种族差异的分期复杂化。贝蒂·戴维斯（Bette Davis Black and white）讲述了一位标志性的白人女演员，以及她在银幕内外的种族化表演，她为与明星的互动提供了一个模式，这可能同时具有深刻的个人、特质和文化意义。
{"title":"Diplomacy and the Modern Novel: France, Britain, and the Mission of Literature ed. by Isabelle Daunais and Allan Hepburn (review)","authors":"D. Cohen","doi":"10.1353/mod.2023.a902612","DOIUrl":"https://doi.org/10.1353/mod.2023.a902612","url":null,"abstract":"215 through which Julie experiments with and rejects norms of white womanhood and also at times aligns herself metaphorically with the enslaved Black characters in the film. As Stern argues, this pattern concludes with Julie riding off on a cart of yellow fever victims—a different kind of “social death” than that described by Orlando Patterson, but one which illustrates the kind of “affinity” across racial lines that Stern traces across Davis’s career (50). One result of Stern’s careful readings of costume and makeup is a stunning account of whiteness in Whatever Happened to Baby Jane? As the penultimate chapter, this reading of Jane’s maniacal efforts as a clutching at white privilege and politics of resentment in the film’s present of 1962 represents a culmination of the work Stern has carefully prepared to this point. She argues, “Bette Davis’s whiteface masquerade . . . would mark an attempt to solidify her social status above the African American housekeeper. She believes Elvira has kicked her down the chain of being. As ultra-white, there can be no mistaking her station” (153). The argument of this chapter is one that will make readers want to revisit this cult classic to consider its deeper significance and perhaps teach the film rather than leaving it to late-night screenings. In addition to being an enjoyable read, it is easy to imagine this book being incorporated into classes on race and popular culture alongside other recent books such as Miriam Petty’s Stealing the Show and Alisha Gaines’s Black for a Day. Together, these books consider the way fan attachments and star turns complicate theories of cross-racial identification and the staging of racial difference. Turning to an iconic white actress and her racialized performances onscreen and off, Bette Davis Black and White offers a model for engagement with stardom that may be at once deeply personal and idiosyncratic and culturally significant.","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"215 - 217"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43542335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1353/mod.2023.a902613
Jonathan C. Najarian
{"title":"Dynamic Form: How Intermediality Made Modernism by Cara L. Lewis (review)","authors":"Jonathan C. Najarian","doi":"10.1353/mod.2023.a902613","DOIUrl":"https://doi.org/10.1353/mod.2023.a902613","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"221 - 223"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43388245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1353/mod.2023.a902611
Katherine Fusco
213 “Ray transitioned from a historian working with the cinematic medium to an ethnographer who registered his bafflement with the present by documenting the contemporary as deadlock in the nation’s history” (190). Majumdar also locates a crisis of masculinity within the city films. Whereas some of Ray’s previous films, such as Mahanagar (The Big City, 1963), which is also set in an urban environment, imagined the woman as the modern postcolonial subject, his later trilogy is almost solely focused on male protagonists as central figures within the milieu of urban conflict. The epilogue reflects on the possible reasons for the decline of art cinema in the 1980s and 1990s. Majumdar finds two major developments as causes for this decline: one, the reconfiguration of National Film Development Corporation from a funding entity to a one focused on procuring modernized equipment for film production and, two, the growth of the televisual sector in India that began in the 1980s and reached its full-blown potential in the 1990s post-liberalization. Majumdar concludes her book with this insightful sentence about the significance of art cinema across time: “In this, art films offer us resources with which to inhabit our own disorienting times—wracked by a global pandemic, authoritarian politics, and the tremendous might of neoliberal states challenging the conditions of being citizens and humans the world over” (229). Although Majumdar’s book as a whole is a rich secondary source of the ideas and opinions of those at the forefront of the Indian cinematic avant-garde, it is the second part of the book that proves to be the most accessible and engaging to read. Quoted extracts from archives, letters, biographies, newspaper articles, and essays in film magazines—presented in collated form in the first three chapters—function as a retelling, yet certain pertinent ideas remain unexamined or are mentioned only in passing. Questions such as the relationship of class and caste elitism to “good cinema” (a term never quite defined by the author), for instance, remain in the background even as large sections of written archives are reproduced verbatim in the book. Most important, is perhaps the question of why Majumdar’s interrogation of art cinema remains Bengal-centric and ignores the work of filmmakers such as Adoor Gopalakrishnan, Gulzar, Mani Kaul, and Sai Paranjpye, among others, who were also at the forefront of the Indian New Wave. Despite some of its thematic lacunae, Majumdar’s book is painstakingly researched and well-documented and provides a useful starting point to any researcher interested in the origins and history of the Indian New Wave.
213 .“雷从一个研究电影媒介的历史学家转变为一个民族志学家，他通过记录当代国家历史上的僵局来记录他对现在的困惑”(190)。Majumdar还指出了城市电影中男性气质的危机。雷之前的一些电影，比如同样以城市为背景的《大城市》(The Big City, 1963)，把女性想象成现代后殖民的主体，而他后来的三部曲几乎只关注男性主角，作为城市冲突环境中的中心人物。结语部分反思了20世纪80年代和90年代艺术电影衰落的可能原因。Majumdar发现，造成这种下降的主要原因有两个:一是国家电影发展公司(National Film Development Corporation)的重组，从一个融资实体转变为一个专注于为电影制作采购现代化设备的实体;二是印度电视业的增长，始于20世纪80年代，并在自由化后的90年代达到了全面发展的潜力。马朱姆达在书的结尾用了这句关于艺术电影跨越时间的意义的富有洞察力的句子:“在这一点上，艺术电影为我们提供了资源，让我们栖居在我们这个迷失方向的时代——这个时代被全球流行病、威权政治和新自由主义国家的巨大力量所摧残，挑战着全世界公民和人类的条件”(229)。虽然Majumdar的书作为一个整体是印度电影先锋先锋思想和观点的丰富的次要来源，但书的第二部分被证明是最容易理解和吸引人的阅读。从档案、信件、传记、报纸文章和电影杂志上的文章中引用的节选——在前三章中以整理的形式呈现——起到了复述的作用，但某些相关的观点仍然没有得到检验，或者只是偶尔提到。例如，诸如阶级和种姓精英主义与“好电影”(一个作者从未明确定义的术语)之间的关系等问题，即使在书中逐字逐句地复制了大量书面档案，也仍然留在背景中。最重要的问题可能是，为什么马琼达尔对艺术电影的质疑仍然以孟加拉为中心，而忽视了阿多·戈帕拉克里希南、古尔扎尔、马尼·考尔和赛·帕兰吉佩等人的作品，他们也是印度新浪潮的先驱。尽管有一些主题上的空白，Majumdar的书经过了精心的研究和充分的文献记录，为任何对印度新浪潮的起源和历史感兴趣的研究者提供了一个有用的起点。
{"title":"Bette Davis Black and White by Julia A. Stern (review)","authors":"Katherine Fusco","doi":"10.1353/mod.2023.a902611","DOIUrl":"https://doi.org/10.1353/mod.2023.a902611","url":null,"abstract":"213 “Ray transitioned from a historian working with the cinematic medium to an ethnographer who registered his bafflement with the present by documenting the contemporary as deadlock in the nation’s history” (190). Majumdar also locates a crisis of masculinity within the city films. Whereas some of Ray’s previous films, such as Mahanagar (The Big City, 1963), which is also set in an urban environment, imagined the woman as the modern postcolonial subject, his later trilogy is almost solely focused on male protagonists as central figures within the milieu of urban conflict. The epilogue reflects on the possible reasons for the decline of art cinema in the 1980s and 1990s. Majumdar finds two major developments as causes for this decline: one, the reconfiguration of National Film Development Corporation from a funding entity to a one focused on procuring modernized equipment for film production and, two, the growth of the televisual sector in India that began in the 1980s and reached its full-blown potential in the 1990s post-liberalization. Majumdar concludes her book with this insightful sentence about the significance of art cinema across time: “In this, art films offer us resources with which to inhabit our own disorienting times—wracked by a global pandemic, authoritarian politics, and the tremendous might of neoliberal states challenging the conditions of being citizens and humans the world over” (229). Although Majumdar’s book as a whole is a rich secondary source of the ideas and opinions of those at the forefront of the Indian cinematic avant-garde, it is the second part of the book that proves to be the most accessible and engaging to read. Quoted extracts from archives, letters, biographies, newspaper articles, and essays in film magazines—presented in collated form in the first three chapters—function as a retelling, yet certain pertinent ideas remain unexamined or are mentioned only in passing. Questions such as the relationship of class and caste elitism to “good cinema” (a term never quite defined by the author), for instance, remain in the background even as large sections of written archives are reproduced verbatim in the book. Most important, is perhaps the question of why Majumdar’s interrogation of art cinema remains Bengal-centric and ignores the work of filmmakers such as Adoor Gopalakrishnan, Gulzar, Mani Kaul, and Sai Paranjpye, among others, who were also at the forefront of the Indian New Wave. Despite some of its thematic lacunae, Majumdar’s book is painstakingly researched and well-documented and provides a useful starting point to any researcher interested in the origins and history of the Indian New Wave.","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"63 11-14","pages":"213 - 215"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41307834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1353/mod.2023.a902610
N. Sathe
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Pub Date : 2023-01-01DOI: 10.1353/mod.2023.a902614
Louise Kane
219 Making of Americans is rooted in the morphological studies of brain tissue she conducted as a medical student at Johns Hopkins University. A brain is dissected into two-dimensional slices, from which the anatomist must then project its three-dimensional structures; similarly, “Stein’s descriptive method in The Making of Americans is almost sculptural, evoking a spatial quality similar to the sense of volume present in her descriptions of the morphology of neuronal tissues” (215). Finally, in “Clouds” we return to Robertson and her claim that “description is the imagination of matter,” a Lucretian idea by which “description does not operate representationally, as a transparent layer through which phenomena are observed; rather, it operates additively, as a mode of decoration, which elaborates the surfaces of entities” (266–67). A poetics of liveliness adds to or amplifies the phenomena it describes, communicating the activity of materiality to the reader; to return to Elizabeth Grosz’s idea about “the subsistence of the ideal in the material”: “Such a position suggests that ideality is immanent in materiality so as to provide the framing conditions for a nonreductive materialism. In other words, it seeks to ‘frame, orient, and direct material things and processes,’ allowing matter to become other than what it is in the present and to assume meaning” (274). Smailbegović’s gamble follows that of Jane Bennett, who argues that “a touch of anthropomorphism . . . can catalyze a sensibility” that reveals “‘isomorphisms’ across what had previously seemed to be ‘categorical divides’” (164). In other words, her project is to break down reified discourses of materiality by means of a poetics as lively as the nonhuman things it describes, or decorates. It is a significant, serious, yet playful account of how, in the hands of these poetnaturalists, metaphor can be used strategically to liberate readers and their reading matter alike.
{"title":"Ezra Pound and 20th-Century Theories of Language: Faith with the Word by James Dowthwaite (review)","authors":"Louise Kane","doi":"10.1353/mod.2023.a902614","DOIUrl":"https://doi.org/10.1353/mod.2023.a902614","url":null,"abstract":"219 Making of Americans is rooted in the morphological studies of brain tissue she conducted as a medical student at Johns Hopkins University. A brain is dissected into two-dimensional slices, from which the anatomist must then project its three-dimensional structures; similarly, “Stein’s descriptive method in The Making of Americans is almost sculptural, evoking a spatial quality similar to the sense of volume present in her descriptions of the morphology of neuronal tissues” (215). Finally, in “Clouds” we return to Robertson and her claim that “description is the imagination of matter,” a Lucretian idea by which “description does not operate representationally, as a transparent layer through which phenomena are observed; rather, it operates additively, as a mode of decoration, which elaborates the surfaces of entities” (266–67). A poetics of liveliness adds to or amplifies the phenomena it describes, communicating the activity of materiality to the reader; to return to Elizabeth Grosz’s idea about “the subsistence of the ideal in the material”: “Such a position suggests that ideality is immanent in materiality so as to provide the framing conditions for a nonreductive materialism. In other words, it seeks to ‘frame, orient, and direct material things and processes,’ allowing matter to become other than what it is in the present and to assume meaning” (274). Smailbegović’s gamble follows that of Jane Bennett, who argues that “a touch of anthropomorphism . . . can catalyze a sensibility” that reveals “‘isomorphisms’ across what had previously seemed to be ‘categorical divides’” (164). In other words, her project is to break down reified discourses of materiality by means of a poetics as lively as the nonhuman things it describes, or decorates. It is a significant, serious, yet playful account of how, in the hands of these poetnaturalists, metaphor can be used strategically to liberate readers and their reading matter alike.","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"219 - 221"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46427053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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