Names in the News

Introducing Lisa K. Bernhardt , who now heads her LKB Strategies, which lobbies for public health organizations. For many, she needs no introduction: She has a long history on Capitol Hill and in the Department of Health and Human Services (HHS). Nobody on the Hill knows more about the Substance Abuse Prevention and Treatment block grant (SAPT BG). From 2010 until last fall, she was the top staffer at the Senate Appropriations Committee, Subcommittee on Labor, HHS, Education & Related Agencies. Prior to that, she was a budget analyst at HHS for eight years and interned there for two years previously. She knows how things work. When she left Capitol Hill last October, she did so because she felt she could do more good as an advocate helping public health navigate the appropriations process. We have known her for years as a source. Now she is out there helping people work through the systems she knows inside and out. When she worked for the great Sen. Tom Harkin (D‐Iowa), with whom she was in lockstep on policy, legislative language was clear and to the point. The Substance Abuse and Mental Health Services Administration, which had been hankering to get SAPT BG money into mental health, was put in its place more than once. There was no tinkering with the law. Thank you for your years of service, Lisa, and welcome to the exciting world of the private sector. To reach her, email Lisa.Bernhardt@LKBStrategies.com .     

Portraits and collaborations: a reflection on the work of Wendy Ewald

This reflection on the work of Wendy Ewald as a photographer, storyteller and teacher highlights Ewald's methodology, her manner of presenting work and her images. First, in describing Ewald's artistic practice, I discuss the innovative ways she collaborates with children, sharing control over the process of visually representing children's lives, their stories and their faces. I also describe her influence as an educator and suggest that researchers as well may benefit from Ewald's approach to exploring individuals' social realities. Next, I propose that Ewald's body of work provides a rich source of material for those interested in the analysis of visual culture. As an example, I focus on Ewald's American Alphabets, which presents four visual alphabets and deals with questions of identity and language. The collaborative images simultaneously address and raise sociological questions and offer a compelling visual example of the confluence of gender, race and social class. I finish with a discussion of Ewald's two latest collaborations—In Peace and Harmony: Carver Portraits in Richmond, Virginia and Towards a Promised Land from Margate, England. In these new works, Ewald places larger‐than‐life portraits in symbolically meaningful public spaces. Her public art involves a complicated and conceptual exploration of context.     

Challenging cultural constraints: a personal testimony

DISHA is one of the oldest Oxfam project partners in Uttar Pradesh, India. DISHA works with rural women and rope-makers; it encourages village-level women's organizations to fight against obstacles to women's empowerment and to institute income-producing activities; and it provides legal, educational, and health care services. In this article, a Muslim woman tells the story of her involvement with DISHA and how that involvement gave her the courage to reject the restrictions of purdah and of the wearing of the bourkha. This woman was married at age 13. She suffered ill treatment at the house of her in-laws and returned to her father's home with her 3 daughters. Her husband eventually joined her at her father's house. She was approached by a coordinator of DISHA and asked to apply for a job. She was offered the job, which she accepted. When she started going into the villages, she felt that the restrictive dress of the bourkha interfered with her ability to work. With the permission of her father and her husband, she set aside the bourkha. She had to endure criticism and censure for this action, but eventually people have been won over to her position as they have seen the positive results of her work on behalf of society. After having 5 daughters, she finally had a son. Now she is determined that her daughters will never wear the bourkha, even if they must remain single as a result of this resolve. She feels that DISHA has given her the power to overcome oppression in her own life, in the life of her family, and in society.     

Fetish: A Graphic Essay

This paper explores the realm of the patient's intuitive knowledge of the analyst and its expression in the matrix of tranference–countertransference through dreams, enactments, and other sometimes uncanny phenomena first observed by Ferenzci, who referred to psychoanalysis as a “dialogue of unconsciouses.” Such phenomena are discussed in historical perspective and in the context of Suchet's case study of her work with a patient whose dreams appeared to reveal direct intuitive knowledge of her analyst's inner world.     

FROM PRINTS TO POSTERS: THE PRODUCTION OF ARTISTIC VALUE IN A POPULAR ART WORLD

The activity of a gallery in an art world is centered not only on the distribution of works, but also on the development of a clientele. This involves convincing potential customers that works have both artistic and economic value. The traditional path of valuation of works is through the gatekeepers of the high art world. There are, however, art worlds whose works have not passed through these high art gatekeepers, but which are nevertheless successful in maintaining a clientele. This article examines the process by which this popular art world establishes a positive value for its art when it has no access to the legitimating institutions of the high art world. Data were gathered primarily through interviews with gallery directors, employees, and artists, both from the popular and high-art worlds. The sample includes 18 popular galleries and 10 high art galleries in the Chicago area. “Popular galleries” are defined as those galleries located in the shopping districts of cities or in suburban shopping malls. Many are part of larger chains, and all carry prints by well-known artists, works of lesser known artists, and some posters.     

Passionate Gods and Desiring Women: Jeanette Winterson, Faith, and Sexuality

Throughout her literary works, Jeanette Winterson describes sexual passion in the language and with the understanding of a parallel and informing spiritual faith and compassion. Winterson's narratives of romantic love and sexual passion seek in a different form the experience of perfect union with another demonstrated in the ecstatic practices of charismatic Christianity. From her first book, Oranges Are Not the Only Fruit (1985), to her most recent fictions, Winterson has consistently drawn on Biblical language and religious experience to produce her own exalted discourse of passion. In drawing on Biblical language to express erotic passion, Winterson resists the popular cultural image of perfect rapprochement, the merging of self and other typically ascribed to the lesbian couple. Rather, she emphasizes the challenge of union in love, using the language of faith to indicate the elusive qualities of passionate connection. The language she borrows from her Pentecostal childhood allows her to describe a kind of charismatic experience of meeting between self and lover while recognizing the essential difference between partners, the foreignness of the beloved.     

Occupation as therapy for trauma recovery: a case study

In this case study, a young women who has chronic verbal, emotional, and physical abuse and was exposed to repetitive adult acts of abuse as a child initially presented with Posttraumatic Stress Disorder (PTSD) marked by constriction and disconnection, which resulted in her feeling passive and tortured. As part of her occupational therapy intervention, based on the occupational adaptation, psychoanalytic, and recovery frames of reference, she was able to use her skills as a musician and lyricist to work through her trauma by performing heavy metal music. She used work to express emotions and tell and retell her story to audiences eager to hear her. Work helped her develop an identity that allowed her to be active in the world and reach out to others through her music. This case study focuses on the intervention - how music and occupation functioned as a foundation for relieving her PTSD.     

“触摸”盲人的命运

雕塑艺术家李秀勤有过一段近乎失明的经历,这场危机令她认识到盲人这个群体一直以来被视觉艺术彻底排斥在外。此后,她将盲文中的“点”作为自己的艺术符号,通过创作盲文系列雕塑作品,让盲人触摸艺术,让普通人走进盲人的世界。     

Managing metaphorically

While the relevance of metaphor to management and organizational analysis is now accepted in theory, if not by managers themselves, the way metaphor organizes us is not as well understood. This is because accounts of metaphor and organization neglect the embodied working of metaphor and of language in general. Metaphor works by enacting the relational quality of the world within our embodied experience. A metaphoric capacity is a capacity for organization. Poets develop this capacity through language; a good manager develops it through organization of themselves, other people and the material world. Such managing requires an openness to experience that allows organization to develop within a situation, rather than being imposed from outside or on top of it.     

Unlocking Diane Arbus

In these five short reviews, the photographic work of Diane Arbus is illuminated from different personal and professional perspectives, ranging from interpreting her photographs as a sort of theft—taking something away from the individuals she photographed—to an intense desire to partake in a world of human beings living on the edge of society. The question occupying all reviewers is how Arbus's personality and style allowed her to enter into the worlds of demimondes, nudist camps, and dominatrixes without necessarily exploiting the privileged position she earned to occupy vis-á-vis her subjects.     

Listening to the Otherness of the Other: Envisioning Listening Based on a Hermeneutical Reading of Lévinas

The aim of this article is to elucidate the essence of listening through a hermeneutical reading of the works of philosopher Emmanuel Lévinas. This research is grounded in the human scientific caring tradition that is founded on an ethical order and explicitly theoretical framework. Listening as an ethical bearing is interpreted as a desire to follow the inner essential decision to take human responsibility seriously, to put oneself at risk, and as a promise to serve the vulnerable and unique Other in his or her otherness. Listening invites the individual to see and to respond to the Other's address and thereby to welcome the holy and the infinite in a world where all human beings are tied together into a common humanity.     

Selling art to the world in Chelsea

This paper explores the dynamic interaction that occurs between large-scale social processes, urban development and the production of artistic expression and meaning through an analysis of art and urban change in the West Chelsea district of New York City. I begin my analysis with a discussion of specific works of art and expand to the local and global context to which these works respond and help to construct. Both urban space and artistic production, consumption and the social meaning attached to art by artists, critics, audiences and other art world actors have felt the impact of the turn to free market policies and ideology that have attended global economic restructuring and the rapid pace of globalisation. At the same time, art's new role as an engine of urban commerce and the accompanying expansion of the art market have helped to shape city districts like West Chelsea and have left their mark on the work that is exhibited and sold there. My analysis integrates a close study of two works of art exhibited in West Chelsea, interviews and other ethnographic data and recent literature on the arts and urban restructuring and the perspective of critical theory. I also provide photographic documentation of social interaction and the built environment of West Chelsea as it evolved in response to the expansion of the art worlds there. A secondary aim of this research is to contribute to a larger discussion about the social role and critical capacities of art in today's social, economic and political climate.     

The vicissitudes of adoption for parents and children

This paper attempts to illustrate how adoption is understood by children according to their developmental stages within the context of their families. Illustrations of children's thought processes and inner fantasies are presented in the form of interviews and observations. The inner thoughts and experiences of adoptive parents are also presented, from the time of the application process through infancy, toddlerhood, school age and adolescence. A major thesis is that adoptive parents who are comfortable with their own feelings about the birthparents and the child's specific history are more able to provide an atmosphere where the child feels valued when she asks questions or communicates fantasies about her story. In this manner adoption is integrated into the child's growing self-esteem and, as time goes on, the adoption becomes less important.The author wishes to thank Lynn Borenstein, L.C.S.W. for her helpful suggestions. Marilyn Silin, M.A. is on the faculty of The Institute for Clinical Social Work.     

THE WORK OF (CREATING) ART

While engaging the process of artistic creation at the Creative Growth Art Center (CGAC) in San Francisco, California, Judith Scott produced numerous enigmatic three-dimensional fiber and mixed media sculpture pieces that subsequently received international attention. Approaching Scott's life and art from the perspective of Disability Studies – understood as an expressly political project – takes us beyond the limitations of the label of Art Brut/Outsider Art and of questions of artistic communication to properly situate her activities at the CGAC as work in both a social and economic sense. Judith's story – and her representation in a recent Spanish documentary film by directors Lola Barrera and Iñaki Peñafiel – suggests that in aspiring to achieve greater social and economic inclusion for such marginalized populations we must challenge the pervasive clinical paradigm that frames disability as lack and go further by cultivating sustainable, meaningful work experiences, such as that offered by the CGAC to people with developmental disabilities. Ultimately, creating art has the potential to be such a form of meaningful work.     

A Disillusioned College Professor

In this article, the author discusses the double-bind situation of being an educator in a college setting, but reluctant to disclose that which could enlighten her social work students the most—at 14 years old she experienced a complete psychotic break (catatonic-type), but completely recovered within a few months and largely without medication. Here the author acknowledges the shameful nature of contemporary controversial issues in mental health some 37 years after her own experience and includes an excerpt from “An Absence of Concern,” a work in progress, to illustrate the dynamic inner processes that remain intact during a break, but largely denied by an ignorant society.     

Feeling Northern: ‘heroic women’ in Sally Wainwright’s Happy Valley (BBC One, 2014—)

This article analyses a recent television drama written by Sally Wainwright in order to explore notions of Northernness, gender and class. I consider to what extent Wainwright is expanding and revising current perceptions of the North, and more specifically of Northern women, through an analysis of her recent television programme, Happy Valley. Wainwright’s work shares characteristics of the British social realist television drama from the late 50s, early 60s: they have themes of escape, they use location to say something about their characters and they take viewers on an emotional journey that is related to the social conditions they inhabit. And yet, she is also putting women, who were often on the periphery of social drama, in the centre. Wainwright takes her viewers on a journey that begins with the anger and injustice resonant with the male protagonists of social realism, but as women, this anger and injustice is worked through in terms of the family and eventually leads to a greater sense of commitment to community and the place she comes from, which, in Wainwright’s work, is the North. In so doing, she expands the genre and gives it a female voice. She offers us a sense of what ‘feeling’ Northern is to women, as well as men. Additionally, she is a screenwriter who is speaking from the position of the working-class North; she is intimate to these communities, not a ‘detached observer.’ And yet, despite these inroads, her work has only recently received praise from the British television Industry.     

Twenty-first century skills for students: hands-on learning after school builds school and life success

At the core of the movement for twenty-first century skills are students. The growing efforts to increase programs leveraging out-of-school time are focused on giving American youth everything they need to compete in this increasingly complex world. The author is one of many students who have been well served by initiatives imparting twenty-first century skills during after-school hours. Now a senior at Boston Latin School, the author has been helped along the way by Citizen Schools, an after-school education program focused on hands-on learning apprenticeships and homework help. While enrolled in the program as a middle school student, the author took part in projects that exemplified hands-on, inquiry-based learning that helped her develop twenty-first century skills. For example, along with dozens of other students, she advanced her data analysis skills by analyzing statistics about Boston Public high schools, which also helped her select and enroll in one of the city's premier exam schools. Also, she and her peers worked with corporate attorneys who served as writing coaches and whose expertise the author drew from in producing a published essay and greatly improving her writing skills. The author now finds that the public speaking, leadership, organizational, social, and management abilities she built through her participation in Citizen Schools are a great asset to her in high school. The confidence with which she tackles her responsibilities can also be traced back to her experiences in the program. As she looks toward college, the author reflects and realizes that being actively involved in a quality after-school program put her on track for a successful future.     

Jumping On and Off the Runaway Train of Success: Stress and Committed Intensity in an Academic Life

This story describes a seasoned professor's attempts to take stock of her academic life. The main voice is that of the professor as she lives, works, and considers what she cares about. The cacophony of other sounds comes from the questioning voices inside her head, blended with the imagined voices of her dogs Zen and Buddha, and the real voices of colleagues and her partner, Art. The author examines the ups and downs of her academic life and how stress, interruption, caring, and committed intensity play out. She provides her story as a mindful revision of how she wants to live and to stimulate readers to reflect on their own lives.     

The Downfall of Gomułka

Marina Tsvetaeva’s 1934 “Chërt” (The Devil) forms a central part of the cycle of autobiographical prose she wrote in emigration. This article assembles clues to the hidden origins of the Devil she describes in prose about her grandfathers, some of it censored in pre-1990 editions of her works. Tsvetaeva’s Devil is not simply metaphysical: it has the unusual appearance of a Great Dane. Though she goes on to trace its appearances in the literature and culture of her childhood, some of its physical features (eyes, nose, colour and posture) link it with other people in her life. The vivid details of the Devil suggest relationships, though peculiarly mediated ones, to members of her own family, especially her maternal grandfather, Aleksandr Danilovich Mein. The poet describes herself using Pushkin’s poem “Utoplennik” to camouflage her own sense of self from her mother. Much of the rest of “The Devil” describes her recognition of the Devil in varying symbolic or even phonetic guises, tracing how the poet stayed faithful to him even after he ceased to appear visibly, how she found and read his symbols in surrounding reality—e.g., card games, toys, rituals for finding lost objects—and in unexpected, otherwise respectable, parts of society, including her own grandfather. As always, Tsvetaeva creates a story that affirms her identity as a poet and illustrates the work she had to do to achieve that identity.