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Prevalence of Incivility and Bullying in Occupational Therapy Fieldwork
Get PDFThe prevalence of incivility and bullying in the domain of occupational therapy warrants attention. The long-term effects of incivility and bullying can be profound and multifaceted. These may include job dissatisfaction, depressive symptoms, heightened hostility, and an increased likelihood of malpractice. Despite the implications of such behavior, there remains a noticeable gap in existing literature. This study investigated the prevalence of incivility and bullying occurring during occupational therapy (OT) fieldwork. The Negative Acts Questionnaire-Revised (NAQ-R) was completed by 702 occupational therapists, occupational therapy assistants, and students regarding their fieldwork experiences. Over 80% of participants reported being exposed to bullying or incivility during their fieldwork experience, with 48.2% reported being a “victim of bullying.”
Follow-up interviews (N = 86) identified common themes including excessive monitoring of work, persistent criticism, and being ignored. Occupational therapists and occupational therapy assistants with fewer years of experience reported higher levels of micro-aggressive behaviors than more direct forms of bullying. This study provides valuable insight into the prevalence, experiences, and consequences of incivility in OT, highlighting the need for reform
From Whether to Why: Preparing for the 2025 York Plays
No full textThe real work of performance-as-research in early drama, intellectually and emotionally, begins in the earliest planning stages -- especially when the event is so large that drama historians continue to wonder whether it could ever really have been done and, if so, why they would do such a thing. In this paper, the head organizer for the upcoming York 2025 all-day production in Toronto (June 7, 2025) positions and defends his work in relation to ongoing debates about feasibility, to a thorough assessment of extant records, and to comparably impossible modern performances at which the emotions and enjoyment of participants seem to have been thoroughly engaged
60th International Congress on Medieval Studies
Get PDFThe printed program of the 60th International Congress on Medieval Studies (May 8–10, 2025), together with the Corrigenda
Interior Design and Queenly Display in the Household of Isabella of France
No full textIsabella of France, daughter of King Philip IV of France, widow of King Edward II of England, and mother of King Edward III, has been remembered primarily for her role in the deposition and murder of her husband in 1327 and her subsequent brief reign before Edward III took control of his crown in 1330. Many scholarly and popular publications on the history of fourteenth-century England have depicted her as a dramatic figure, wronged by her husband’s proclivities and responsible for his murder. A different picture emerges when we consider Queen Isabella’s material environment as it was recorded in a half-century of documents, from the record of the trousseau that accompanied her to her marriage in 1308, to the post-mortem inventory of her moveable goods in 1358. The items that accompanied this complex woman across the decades – or were purchased at the very end of her years – included the tapestries and hangings that surrounded her, and the jewels and clothing that moved with her body. While all of Isabella’s contemporaries moved in these sumptuous spaces, and wore rich clothing and jewels, the role of a queenly body as a “matrix of future kings” provided additional meaning to such wealth. This article considers such issues in the context of recent research into the material holdings of Isabella’s elite contemporaries, like her fellow queens Marie of Brabant, Clementia of Hungary, and Jeanne of Evreux, who were all part of her familial and social networks. While I cannot argue that Isabella personally selected each of the objects that surrounded her, they all worked together to reflect the royal lineage of her past and the elite connections of her present, and to solidify her memory in the royal lineages of the future
Courtly and Queer: Deconstruction, Desire, and Medieval French Literature, by Charlie Samuelson
Get PDFLooking at Language in a Multilingual Environment: Sephardic Art between the Domestic and the Communal
No full textIn the multilingual environment of the Iberian Peninsula in the Middle and Late Middle Ages, Latin, Arabic, Hebrew, and various Romance dialects coexisted. This article aims to uncover the meanings of this linguistic diversity in Sephardic works of art for artists, viewers, and readers of different faiths and genders. Special attention is given to women, both as subjects of illustration and as companions in the process of reception. Two fourteenth-century works, one manuscript and the other monumental, are at the center of our discussion: the Kaufmann Haggadah, probably of Catalan origin, and the synagogue of Samuel ha-Levi Abulafia in Toledo. Through these two examples, produced around the same time for elite patrons, our discourse encompasses both the intimate scale of the illuminated manuscript and the broader scale of monumental art, as well as two different settings of reception—the mixed-gender domestic family sphere and the communal liturgical space—where women were confined to a gallery above the main hall where the service was conducted by men. Despite the inferior status of women, they, like their male counterparts, experienced the ritual visual realm through the lens of the multilingual Iberian context in their own distinctive ways
Demonic to Divine: The Centaur as a Christianizing Figure in Benedetto di Montagna’s St. Anthony and the Centaur
No full textBenedetto di Montagna’s painting St. Anthony and the Centaur features the unprecedented image of a centaur clothed in monastic robes, while handling a set of rosary beads and engaging in a dialogue with the hermit. This study is the first to explore the iconographic intricacies of the painting, diverging from prior connoisseurship-focused discussions. The “Christianizing” centaur represents a significant departure from the traditional portrayals of such hybrid creatures. By depicting the pagan beast as a Christian convert, the painting introduces a novel iconographic theme within Renaissance art. This essay pursues two key aspects of the iconography: the centaur’s monkish appearance, and his dialogue with St. Anthony. Through a five-part analysis, including a review of the historical context of centaurs in art, examination of relevant hagiographic accounts, and comparison with other depictions of the episode, this article situates Benedetto’s work within the broader tradition of Renaissance iconography. Benedetto’s interventions humanize the hybrid beast, usually portrayed as an unruly, even demonic pagan figure. In doing so, Benedetto signals a turn in attitudes towards the pagan world