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Reflecting upon his own prior experiences as Writer, PhD Student embarks on an ethnographic research project which seeks to explain the relationship between Boys' creative writing and identity. A view of identity as performance is adopted, a main cast of year 6 Boys is assembled, and the stage of the year 6 primary classroom and the secondary school is set. Undertaking participant observation, PhD Student sends his reflections as emails to PhD Supervisor but as their dialogue takes hold, questions relating to the problematic nature of research and representation proliferate. Which identity is PhD Student performing in the classroom: himself, Mr. Dobson, Writer or Tom? Is self-reflexivity enough? To what extent can the Boys' identities ever be known? Rather than silencing these problems, PhD Student looks for a form of writing which lays bare the messiness of research. He rejects the linearity of the traditional form and writes his thesis as a self-conscious fiction: a dialogue on a train between himself, a post/structuralist academic, and You, a humanist non-academic. As PhD Student's data is analysed, critiqued and deconstructed from both essentialist and interpretivist perspectives, the impossibility of objective representation is explored. Within its own frame of reference, PhD Student's analysis of the Boys' writing offers a theoretical framework for thinking about creative writing in terms of identity and agency. However, the thesis-script itself is primarily a methodological critique: one that shows that no matter what is written on pages, between the words, between the letters, there will always be the Unnamable.

Research suggests the teaching of the writing of doctoral thesis is decontextualised and that a traditional form, antithetical to a student’s paradigm or theory, has become canonized. Written to disrupt the traditional journal article form, this article explores the traditional form of theses through interviews with eight doctoral students in a School of Education. 5A’s creativity theory, where actors, audiences, actions, artifacts, and affordances combine to produce creative outputs, illuminates how students’ decisions are shaped by their apprehension of an academic audience as well as their own low positional identities as actors. A focus on contextualised teaching of writing of doctoral theses and further research into writing theses for different audiences are recommended.

Despite growing interest in the potential value of arts-based research (ABR) for educational inquiry in the UK, limited consideration exists regarding its accessibility and relevance to practice-based professional doctoral researchers in this field. In response to this, this article reports on the first phase of a study which aimed to explore the contexts, perceptions, and experiences of professional Doctorate in Education (EdD) students’ decisions to engage with aspects of ABR in their studies. Informed by narrative interviews with 9 EdD students in the UK, this article utilizes a series of short vignettes to illustrate the students’ stories, capturing the potential tensions perceived and/or experienced in relation to engagement with ABR. The findings consider: how conflicting methodological expectations may be reflected through key audiences and structures, the tensions between methodological choices and sense of self and identify, and the potential role of ABR in terms of promoting action and agency.

Despite growing interest in the potential value of arts-based research (ABR) for educational inquiry in the UK, limited consideration exists regarding its accessibility and relevance to practice-based professional doctoral researchers in this field. In response to this, this article reports on the first phase of a study which aimed to explore the contexts, perceptions, and experiences of professional Doctorate in Education (EdD) students’ decisions to engage with aspects of ABR in their studies. Informed by narrative interviews with 9 EdD students in the UK, this article utilizes a series of short vignettes to illustrate the students’ stories, capturing the potential tensions perceived and/or experienced in relation to engagement with ABR. The findings consider: how conflicting methodological expectations may be reflected through key audiences and structures, the tensions between methodological choices and sense of self and identify, and the potential role of ABR in terms of promoting action and agency.

Purpose There is little research into how teachers think about and teach creative writing and its redrafting and how this might differ depending upon the age of the pupils being taught. This paper aims to compare the creative writing conceptualisations and practices of primary school teachers (5–11-year olds) and secondary school teachers (11–18-year-olds) in England through a qualitative survey. This comparison enables to think about the influence of policy on creative writing in primary and secondary schools as well as what professional development could look like for these teachers to improve the teaching of creative writing. Design/methodology/approach A qualitative survey exploring the creative writing and redrafting pedagogies and conceptualisations was responded to by primary school teachers (n = 18) and secondary school teachers (n = 19). Taking an ecological view of creative writing and teacher identity, the authors undertake a comparative analysis of the survey data using the 5A’s theory of creativity (Glaveanu, 2013) and a view of professional identity existing within “landscapes of practice” (Wenger-Trayner, Wenger-Trayner, 2015). This enables to illuminate how and why creative writing is contextually afforded, or otherwise, in primary and secondary landscapes of practice. Findings This analysis demonstrates how the redrafting of creative writing is marginalised in both landscapes of practice and how redrafting is largely conceptualised as a technical rather than critical or creative action. The authors show how teachers, particularly in primary school, aim for their pupils to produce “products” rather than engaging in the “process” of creative writing. This analysis also shows that whilst creative writing is overall more marginalised in the secondary school landscape, it is often taught through process approaches. In both landscapes of practice, the re-drafting of creative writing is largely taught through product approaches. Research limitations/implications This research is potentially skewed by the fact that we recruited our participants through networks relating the teaching of English, including creative writing. What is worrying about this limitation, however, is that the picture of creative writing in schools in England probably leans more to a product approach than the picture this research has uncovered. Practical implications Professional development for teachers in both landscapes is needed in relation to pedagogical actions for creative writing and its redrafting. Some of the key differences we have outlined in conceptualisations and practices between primary and secondary schools landscapes, notably the overuse of product-based teaching actions in primary landscapes, and some of the differences we have outlined within discrete landscapes of practice, notably how some primary school teachers feel more confident to challenge the product-based approach, with one conceptualising redrafting as “creative”, indicate that professional development should involve teachers working across schools. Social implications Policy needs to be reformed to move away from the technicist view of creative writing held in both landscapes of practice. Linked to this, the way creative writing is assessed as a product in secondary schools needs to change – the re-introduction of portfolio-based coursework (Bishop, 1990) would provide the affordance of redrafting as an action central to creative writing processes. Originality/value To the best of the authors’ knowledge, this is a rare piece of research which compares primary and secondary school teachers’ approaches to teaching creative writing. It shows that primary school teachers can be formulaic in the way they teach creative writing, using product approaches. However, in secondary schools the picture is different: teachers, particularly those, who are writers themselves, give students more agency in redrafting and shaping their writing. This indicates how professional development should involve primary and secondary school teachers in dialogue with one another to cross boundaries of practice.

Purpose Forensic mental health programs (FMHPs) in Ontario, Canada provide rehabilitation and supervision services. However, models available to guide their delivery are primarily adapted from fields outside of forensic mental health. To partially fill this gap, this paper aims to provide a general review of the process a multi-professional team took to develop the Integrated Forensic Program [IFP]-Ottawa Model of Risk Management & Recovery. Design/methodology/approach Working groups were initiated to identify the needs of patients in their local setting, conduct a literature review on care delivery models in forensic mental health and build a service delivery model specific to forensic mental health. Findings The resulting model places patient engagement at its centre and encompasses eight domains of need that contribute towards the patient’s recovery and the management of the safety risk they pose to the public, namely, the basic needs, diversity and spirituality, social, occupational, psychological, substance use, physical health and mental health domains. Practical implications The IFP-Ottawa Model of Risk Management & Recovery provides a framework to which therapeutic group services for persons in FMHPs can be aligned. Originality/value The leadership teams in FMHPs could use this framework and the method used for its development to ensure group services provided at their FMHPs are evidence-informed and coincide with their patients’ specific needs.

Whether a landlord is entitled to recoup, through the service charge, the legal costs which it has incurred in tribunal proceedings will depend on the true construction of the relevant service charge clause. [...]a landlord who can only point to general wording is likely to run into problems: see Union Pension Trustees Ltd v Slavin [2015] UKUT103 (LC); [2015] PLSCS150 and Sinclair Gardens Investments (Kensington) Ltd v Avon Estates (London) Ltd [2016] UKUT 317 (LT); [2016] PLSCS 227.

Question: as landlord, to ensure we did not lose the right to recover the costs of works through the service charge, we served notices on tenants by first-class post under section 20B of the Landlord and Tenant Act 1985.In Southwark London Borough Council v Akhtar [2017] UKUT 150 (LC); [2017] PLSCS 95, the UT considered whether service of a section 20B notice by ordinary post was valid when the lease contained a provision that section 196 applied to notices served \"under the lease\".The purpose of the notice was related to the lease as its purpose was to ensure recovery of the service charge and section 196 therefore applied.

[...]the price will take into account “marriage value” — essentially the change in the market value of the property once the lease has been extended — which can make things significantly more expensive. Usually, the lessee is responsible for repair and maintenance of the property, and landlords have corresponding obligations to maintain the common parts and “service media” (such as pipes which serve the property but fall outside of its demise). Once the landlord carries out the works, you might also be able to challenge the service charge costs if its delay has caused the repair costs to be higher than reasonable.

What we do know is that, at the Tory party conference, housing secretary Robert Jenrick announced that the government would be extending permitted development rights — these are the existing rights property owners have to change the use and appearance of their buildings without a lengthy process of applying for permission. There are other permitted development rights you could take advantage of, such as for loft extensions and outward extensions which might add some space, but again these have particular matters requiring prior approval and may be restricted depending on the area. In the circumstances, you might consider making a complaint to the Legal Ombudsman, a free and impartial scheme established to help resolve legal service disputes.