Search results

Suggests that the competitive threat faced by banks and building societies from direct banking and other technology‐driven distribution channels has serious implications for the future viability of their comprehensive branch networks. Costs associated with any significant reduction in branch networks are likely to be too high, at least in the short term. Focuses on the less radical policy of adapting branch networks to the changing needs of the marketplace. As such it attempts to identify an appropriate strategy which will increase the effectiveness of branches by delivering a wide range of relatively complicated financial products traditionally associated with financial institutions without comprehensive branch networks. These objectives are facilitated by a questionnaire which examines the attitude and behaviour of customers towards financial products.

BRIAN COOPER, until recently in Zambia for the Ministry of Overseas Development, setting up library facilities in a new teacher‐training college, has been appointed as the first ever hospital librarian at Rampton special hospital. The appointment is made jointly by Nottinghamshire County Library (K A Stockham is County Librarian) and the Department of Health and Social Security, and is a consequence of the recent government white paper on Libraries in hospitals.

In 1960, Alfred Hitchcock’s Psycho stunned both the cinema-going public and critics alike. Its tale of a young, genial, likeable and mother-fixated hotel proprietor – Norman Bates (played by Anthony Perkins) – whose psychotic tendencies and fractured personality tapped into the zeitgeist of an America changing in a post-World War II world, was very much the antithesis of rock ‘n’ roll rebels like Elvis Presley and James Dean. Norman Bates was Anthony Perkins and Anthony Perkins was Norman Bates.

In 2013, Norman resurfaced from numerous remakes in Bates Motel. With its nod to the past, and a look to the future of how Norman’s story pans out, the series’ narratives, characters and situations showed there was life for him, his mother and the motel beyond cinema.

This chapter examines how Creed’s ideas of ‘Monstrous’ can be overlaid onto Norman, his mother Norman and Bates Motel.

Brooker’s mini-series Dead Set displays numerous representations of British masculinity in crisis. Released just as the zombie narrative was regaining momentum, the series uses the threat of an apocalypse to expose British men as weak, cowardly and ultimately monstrous. Initially set within the confines of the Big Brother house, the characters have willingly come under scrutiny for the delectation of a scandal-hungry public. The men are seen to self-consciously perform their own brands of masculinity. However, when people quickly descend from figuratively devouring each other into actually devouring each other, these masculine ideals are left in tatters, and without them, the surviving men are in constant peril.

For the purposes of this chapter, I will look specifically at three characters within the series and how their representations adhere to the ideas put forward by Anthony Clare, among others – that contemporary masculinity is in a period of crisis. I also wish to uncover how representations of masculinity within the series reflect contemporary social and political concerns within British society – a distrust of state apparatus and the rise of a particularly malicious, right wing ideology are both prevalent here. The zombie has long been acknowledged as an allegory for society’s ills – but this chapter asks: what can those fighting (or failing) against the zombie threat tell us?

In early 2017 I was watching YouTube, and being bounced around by its algorithmic recommendations. One suggestion appearing down the side bar column of jpegs was MARROW, from Anohni’s 2016 album Hopelessness. It figures a black background and foregrounds an ageing, smiling, bejewelled woman lip-syncing to the song. She is the American artist Lorraine O’Grady. Watching it felt odd, as if something was `out of place’.

Anohni speaks through her, using ventriloquist tactics to displace her own body and O’Grady’s voice. This interested me. It was the first time I had been presented with the body of an ageing woman without knowing what she looked like in youth (unlike Madonna or Aretha Franklin for example). And it was the first time I had seen lip syncing done in such an eerie fashion. The tactic is used on other music videos for tracks taken from the album where ageing women and women of colour are centre stage.

Using the idea of a place that it is ‘out of time’, in that the music videos are set in a blank space and the lip- syncing upsets the idea of a single sutured speaking author, the chapter explores the idea of `queer temporality’ by using Judith Halberstam’s 2005 work. It suggests that the music videos are potentially transgressive in their presentation of a non-normative and fractured bodies. It uses work from ageing studies (Baars, 2012) and trans-ageing (Moglen, 2008) to suggest the transgressive potential of Anonhi’s music videos in how they position transgendered voices and ageing bodies.

Major gaps exist in the documented history of occupational therapy in Ireland. The purpose of this paper is to contribute to filling these gaps by providing an overview of three major transitions in Irish occupational therapy in the century preceding the opening of St. Joseph?s College of Occupational Therapy in 1963. Research on occupational therapy’s past is valuable not only for recording and commemorating key events and individuals but also for allowing reflection on and questioning of contemporary practice and assumptions.

This descriptive paper draws on multiple documentary sources to present an overview of the first 100 years of the use of occupation as therapy/occupational therapy in Ireland from 1863 to 1963.

Three major transitions in occupational therapy in Ireland are presented: from moral treatment and the use of occupation as therapy to medical patronage of occupational therapy, from medical patronage to the early/pre-professional era and finally from the pre-professional era to the era of professionally qualified occupational therapists. To illustrate these transitions, a small number of individuals and their contributions are discussed including Dr Eamon O’Sullivan, Dr Ada English, Donal Kelly, Olga Gale and Ann Beckett.

This paper charts the foundations upon which the currently thriving profession of occupational therapy are built. The Association of Occupational Therapists of Ireland recently celebrated their 50th anniversary (AOTI, 2015a), and in 2017, it is 100 years since occupational therapy was formalised in Clifton Springs, New York, USA. Occupational therapy is a relatively young profession, and great opportunities exist to research its history in Ireland to capture the memories and experiences of the pioneers who laid the foundation of the profession as well as to situate the development of the profession in the broader social, cultural and scientific contexts within which it developed.

Communication ethics, this paper argues, is a discipline ready for application to communication management and is particularly relevant as we enter an “age of information”. With a moral foundation firmly set in the social and human sciences, communication ethics offers managers a means to face unpredictable futures with greater certainty and purpose. This paper outlines an approach in which all decision making and its communication are understood as having an ethical grounding. Such an application empowers managers to act with integrity across the spectrum of their varied communication roles: through management and internal communications, public affairs and marketing; in advertising, media and publishing, and in the use of information technology. Positioned independently from the professional bodies of communication, an interdisciplinary ethics offers practitioners skills and moral frameworks that can be shared across professions and used to compare and evaluate their practice. This paper concludes by presenting a model of communication ethics that individual managers can use to prescribe a more sensitive and dynamic human‐ethical environment.

Across the Americas, public discussions of crime and penal practices have become increasingly punitive even as political struggles have resulted in a broad shift toward Constitutional democracy. In this chapter, we suggest that the spread of tough anti-crime talk and practice is, paradoxically, a response to efforts to expand and deepen democracy. Punitive crime talk is useful to political actors seeking to limit formal and social citizenship rights for several reasons. First, it ostensibly targets problematic behavior rather than particular social groups, and thus appears to be consistent with democratic norms. At the same time, crime talk often acquires coded meanings that enable those who mobilize it to tap into inter-group hostility, anxieties, and fear. In addition, the emphasis on the threat of crime and disorder offers those seeking to limit democratic expansion a way to legitimate truncated visions of the rights and entitlements of citizenship. Tough anti-crime rhetoric often resonates with those who have experienced or fear the loss of symbolic and/or material benefits as a result of democratic reform. In short, the broad shift toward hyper-penality is, at least in part, a consequence of struggles over political democracy, citizenship and governance across the Americas.

In 2013, the television programme Hannibal debuted on television. Taking characters and narrative from three novels by Thomas Harris (Red Dragon (1981), Silence of the Lambs (1989) and Hannibal (1999)) over three seasons, the audience got to spend time with Dr Hannibal Lecter. Appearing 32 years after the first book and 27 years after Hannibal’s first screen appearance, much has changed in Dr Lecter’s world and the most interesting of these changes is the gender of characters.

In Red Dragon, Dr Alan Bloom and Freddy Lounds are men, and in the television series, they are women. This chapter argues that another change in genders occurs as Will Graham replaces Clarice Starling as the person Lecter seduces. It also introduces a female psychiatrist for Dr Lecter. These changes alter the presentation of the specific characters but also that of the overall narrative arc of the television series.

This chapter will identify and evaluate these shifts in gender and consider how these changes impact the viewer experience. The change of the familiar to the unfamiliar is uncanny, and it is this argument that adds to the presentation of Will and Hannibal as figures of horror and increases audience anxiety and fear.