To send content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about sending content to .
To send content items to your Kindle, first ensure firstname.lastname@example.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about sending to your Kindle.
Note you can select to send to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
The move to a more digital, more mobile, and more platform-dominated media environment represents a change to the institutions and infrastructures of free expression and a form of “democratic creative destruction” that challenges incumbent institutions, creates new ones, and in many ways empowers individual citizens, even as this change also leaves both individuals and institutions increasingly dependent on a few large US-based technology companies and subjects many historically disadvantaged groups to more abuse and harassment online. This chapter aims to step away from assessing the democratic implications of the internet on the basis of individual cases, countries, or outcomes, but rather to focus on how structural changes in the media are intertwined with changes in democratic politics.
What happened when creative biographers took on especially creative subjects (poets, artists and others) in Greek and Roman antiquity? Creative Lives in Classical Antiquity examines how the biographical traditions of ancient poets and artists parallel the creative processes of biographers themselves, both within antiquity and beyond. Each chapter explores a range of biographical material that highlights the complexity of how readers and viewers imagine the lives of ancient creator-figures. Work in the last decades has emphasized the likely fictionality of nearly all of the ancient evidence about the lives of poets, as well as of other artists and intellectuals; this book now sets out to show what we might nevertheless still do with the rich surviving testimony for 'creative lives' - and the evidence that those traditions still shape how we narrate modern lives too.
Mourning: not a crushing oppression, a jamming (which would suppose a ‘refill’), but a painful availability: I am vigilant, expectant, awaiting the onset of a ‘sense of life’.
The deaths of Roland Barthes: his deaths, that is, those of his relatives, those deaths that must have inhabited him, situating places and solemn moments, orienting tombs in his inner space (ending – and probably even beginning – with his mother's death). His deaths, those he lived in the plural, those he must have linked together, trying in vain to ‘dialectize’ them before the ‘total’ and ‘undialectical’ death; those deaths that always form in our lives a terrifying and endless series.
Diogenes Laertius’ Lives and Opinions of the Eminent Philosophers shares something vital with both Roland Barthes’ mourning diary and Jacques Derrida's work of mourning. These texts all dwell on how the singular reaction to and narrative account of a singular death (of mother, friend or philosopher) is inevitably part of a series of deaths (of relatives, friends or philosophers). Furthermore, the challenge for Diogenes, Barthes and Derrida is to explain how death in its singular and plural forms is an intrinsic part of a life and living. Yet what separates Diogenes’ work of mourning from that of Barthes and Derrida is his uncannily deadpan humour when facing the dying philosophers he writes about, specifically employed through the medium of the poetic form of the epigram as epitaph.
It is precisely this conception of the work of mourning that I want to explore in my reading of the ill-fated poetic output of Diogenes Laertius, which consists in the selections from his collection (or collections) called Epigrammata or Pammetros (‘Epigrams or In Various Metres’), interspersed throughout his monumental Lives and Opinions of the Eminent Philosophers. It has been well-documented that Diogenes’ work emphasizes the deaths, as much as the lives, of Greek philosophers. Central to any discussion of Diogenes and death is the role played by his poetic works scattered throughout his biographical narratives, works which I will dub his biographical death-poems. Since the work of Friedrich Nietzsche, these poems have been generally criticized, either as bad poetry or tasteless or, perhaps worst of all, as a flimsy rationale for the composition of the work as a whole. Nietzsche also called them ‘burial inscriptions’ (Sepucralinschriften) and dubbed Diogenes the clumsy night watchman of philosophy.
In Tom Stoppard's 1997 play The Invention of Love, the character of Oscar Wilde offers A.E. Housman this reflection on the power and primacy of biographical fiction:
Art cannot be subordinate to its subject, otherwise it is not art but biography, and biography is the mesh through which our real life escapes. I was said to have walked down Piccadilly with a lily in my hand. There was no need. To do it is nothing, to be said to have done it is everything. It is the truth about me.
In reimagining Housman, Wilde and their interactions, The Invention of Love creates and participates in the very sort of potent biographical fiction upon which ‘Wilde’ here reflects. This is a brand of fiction that has been in currency since antiquity: like other creative spirits, poets have always inspired their audiences to tell stories about them. But they have also long been prone to provoking especially ‘creative’ forms of biography – biography that takes bold and fantastical license with a life and so transforms that life into an artistic object in its own right. This volume, rather than attempt to reconstruct the ‘real’ lives of any ancient poets, artists or creators, takes as its subject precisely the mesh of fictional biography as described by, and exemplified through, Stoppard's Wilde. Though the barest facts about the lives of ancient artists and intellectuals may have irrevocably slipped from our grasp, each of the contributions here begins from the shared premise that fictional biographies are often themselves finely wrought, and worthy of examination as telling receptions of creative work. Our case studies here thus aim to shed light upon how, even from its earliest days, the act of producing biography about creative individuals often constituted a self-consciously creative act in itself.
In recent years the various fields of literary studies have seen an explosion of general interest in the study of biography and ‘life writing’ (a more comprehensive term that extends to all manner of life narratives). The practice of biography is also thriving in literature, film and on the stage. Tony Harrison's Fram (2008) and Alan Bennett's The Habit of Art (2009) mark but two further examples of plays that engage in their own brands of ‘creative’ biography, taking dramatic impetus from the life-stories of people known for their accomplishments in art and ideas.
Well-being and various forms of agitation in people with dementia can be improved in a person-centered long-term care setting. Data obtained during the Person-Centered Dementia Care and Environment (PerCEN) randomized controlled trial shed light on the factors that influenced the adoption and outcomes of person-centered interventions in long-term care from the perspective of study participants.
Data were obtained from PerCEN participants: individual semi-structured interviews with care managers (29), nurses and care staff (70); telephone surveys with family members (73); staff reports of care approaches; and 131 field note entries recorded by the person-centered care and environment facilitators. Data were interpreted inductively using content analysis, code building, theme development, and synthesis of findings.
All data sources confirmed that, when adopted, the person-centered model increased the number and variety of opportunities for resident interaction, improved flexibility in care regimens, enhanced staff's attention to resident needs, reduced resident agitation, and improved their well-being. Barriers and enablers for the person-centered model related to leadership, manager, staff and family appreciation of the model, staff's capacity, effective communication and team work among direct care staff, care service flexibility, and staff education on how to focus care on the person's well-being.
Successful knowledge translation of the person-centered model starts with managerial leadership and support; it is sustained when staff are educated and assisted to apply the model, and, along with families, come to appreciate the benefits of flexible care services and teamwork in achieving resident well-being. The Australian New Zealand Clinical Trials Registry number is ACTRN 12608000095369.