Unspoken Words Research Articles

A Study of “Unspoken Words” in School Administration

A Study of “Unspoken Words” in School Administration

Unseen Scars, Unspoken Words: The Perks of Addressing Mental Health in Stephen Chbosky’s The Perks of Being a Wallflower

In the novel The Perks of Being a Wallflower by Stephen Chbosky, the theme of mental health takes center stage, offering a poignant and sensitive exploration of the challenges faced by adolescents struggling with emotional turmoil. The protagonist, Charlie, grapples with past traumas, depression and social anxiety, which profoundly impacts his daily life and relationships. Through Charlie’s candid and introspective narrative, the novel delves into the complexities of mental health, portraying the importance of seeking help and forming supportive connections. This study uses qualitative methodology, employing close textual analysis to examine the mental health challenges faced by the protagonist Charlie, as well as other characters such as Patrick's suppressed pain and Brad’s fear of accepting his identity. The study aims to identify the underlying themes and psychological aspects associated with mental health that are depicted in the novel through an analysis of key passages and character interactions including subtle nuances and implicit meanings by conducting a thorough analysis of the text from a psychoanalytic perspective. Through Chbosky's novel, this research offers a compassionate and authentic depiction of mental health, highlighting the importance of understanding, empathy and personal growth in navigating the challenges of adolescence.

Beyond the Label Itself: Latent Labels Enhance Semi-supervised Point Cloud Panoptic Segmentation

As the exorbitant expense of labeling autopilot datasets and the growing trend of utilizing unlabeled data, semi-supervised segmentation on point clouds becomes increasingly imperative. Intuitively, finding out more ``unspoken words'' (i.e., latent instance information) beyond the label itself should be helpful to improve performance. In this paper, we discover two types of latent labels behind the displayed label embedded in LiDAR and image data. First, in the LiDAR Branch, we propose a novel augmentation, Cylinder-Mix, which is able to augment more yet reliable samples for training. Second, in the Image Branch, we propose the Instance Position-scale Learning (IPSL) Module to learn and fuse the information of instance position and scale, which is from a 2D pre-trained detector and a type of latent label obtained from 3D to 2D projection. Finally, the two latent labels are embedded into the multi-modal panoptic segmentation network. The ablation of the IPSL module demonstrates its robust adaptability, and the experiments evaluated on SemanticKITTI and nuScenes demonstrate that our model outperforms the state-of-the-art method, LaserMix.

Building a Bridge Among Unspoken Words: The Use of Drawing According to the IARA Model to Trigger Communication in Children and Adolescents Who Stutter

Stuttering is a speech disorder characterized by frequent and significant problems with normal fluency and flow of speech. People who stutter perceive themselves as poor communicators and develop negative speech attitudes. This development of a negative communicative attitude could be related to the expectations and high demands made by their parents about fluency. When these expectations exceed the stuttering individual’s abilities to produce fluent verbal communication, a stuttering episode occurs. This is perceived by the individual as a communicative performance not adequately meeting the requests. Consequently, these individuals often resort to various avoidance and escape behaviors and generally avoid discussing their experiences and feelings related to stuttering. Therefore, stimulating communication is essential during speech therapy sessions to expose experiences otherwise kept hidden both from children/adolescents and their parents. However, encouraging communication is far from simple. In an attempt to facilitate communication and foster a more effective relationship between persons who stutter and their parents, we implemented the so-called awareness drawing according to the IARA model at the opening of the stuttering assessment session. Fourteen children (M=10; F=4; mean age=10.42; SD=1.65) and eight adolescents (M=6; F=2; mean age = 15.25; SD=1.03) diagnosed with stuttering were involved in this study, along with their relatives (28 parents; M=10; F=18; mean age=31.14; SD=4.66 years). The results of the study revealed that the drawings and comments of children and adolescents with stuttering, along with their parents, can offer valuable insights into their experiences and perceptions of stuttering. Children and adolescents expressed a desire for acceptance and a wish to be recognized beyond their stuttering. They depicted solutions that encompass the involvement of both parents and speech therapists. The utilization of awareness drawing can have a substantial impact on speech therapists. During the stuttering assessment session, it can provide valuable insights into the emotions, thoughts of person who stutter, as well as the experiences of their parents. This, in turn, can enhance the design of therapeutic intervention.

When the wounds heal but the soul bleeds-A lived experience narrative.

WHAT IS KNOWN ON THE SUBJECT?: This paper acknowledges the profound and lasting impact of childhood abuse on substance use and homelessness. WHAT THIS PAPER ADDS TO EXISTING KNOWLEDGE?: It underscores the inherent value and humanity of every individual, regardless of their struggles. That a comprehensive approach to mental health care, encompassing medication, therapy and a secure environment, is imperative. WHAT ARE THE IMPLICATIONS FOR MENTAL HEALTH NURSING?: Early intervention and recognising individuals who suffer in silence are paramount. Mental health nurses must have the courage to ask uncomfortable questions and truly hear the unspoken words. Mental health nurses should never underestimate the power of simply being present with someone during their darkest moments. This simple act can wield significant influence.

Representation of Voice: A Narrative Inquiry of Indonesian EFL Learners in Poetry Writing Experience

This study was conducted to identify the students' voices and the challenges in writing the poetry from the narratives behind their poetry writing. Since the primary source of the study data was the students' narratives, this study was conducted by following the narrative inquiry method. Fifteen EFL learners who took poetry classes were taken as the study samples. The study data were collected from the students' poems, journals, and interviews. Those three different methods were applied to ensure the data validity and reliability. To identify the voices, the researchers interpreted the voices from the dictions that the students chose to write the poetry. Then, the researchers confirmed the voice's interpretation by comparing them with the students' journals and interview results. To identify the challenges, the researchers qualitatively analyzed the students' journals and the interview results using cross-case analysis. This study found that behind the narratives of learners, there are voices that have been unheard for years, the unspoken words that are kept for themselves. The voices are trauma, anxiety, and hope. The trauma includes the trauma of paranoia, bullying, and past life, and the anxiety includes anxiety of the past, present, and future. Meanwhile, the voice of hope covers optimism and enthusiasm. Besides, this study also identified that the students found some challenges in writing poetry, and they overcame those challenges by practicing more, reading more literature, finding new words, accepting more information, being more flexible, and being open to new contexts.

I have Nothing to Say...

I Have Nothing to Say... is a poetic feminist discourse analysis that explores the feelings of an Indian woman who has been subjected to, and now struggles against, the constant familial and societal obligations of womanhood. Despite her talents, she has been repeatedly denied what she deserves – what she is owed. After having, not only her self-worth, but the very meaning of her existence repeatedly challenged by her loved ones, she eventually chooses the path of silence and unspoken words. But deep within her, she continues to fight the rising tide of emotions. The poem paints a picture of the many people who stirred these emotions – who sought to prevent the woman from pursuing her dreams, from society writ large to those who have tried to kill her, to her very family.

The Art of Listening

Patricia Carini (1932–2021) was a progressive educator and thinker who was among the key figures of open education. This article reflects on her work, illuminating its quality as an art of listening. The idea of listening has been of primary importance within the tradition of progressive education in the United States and internationally. Progressive educators have listened to the spoken and unspoken words and expressions of children, to what is called in Reggio Emilia the “hundred languages” of children, resisting the modern school institution and its principle of efficiency. Following a brief history of Carini and the Prospect School in North Bennington, Vermont, this article describes the connection of Carini’s work to the public philosophy of John Dewey and exemplifies the listening quality of her work through stories of two children. Listening, Carini was ever learning from children. As an art of listening and learning, Carini’s legacy unites with today’s progressive efforts in education, inspiring the generations of educators to come.

Texas Senate Bill 8 and Abortion Experiences in Patients With Fetal Diagnoses: A Qualitative Analysis.

To describe experiences with abortion counseling and access in patients with lethal or life-limiting fetal diagnoses in Texas after enactment of Senate Bill 8 (SB8). In this qualitative study, we interviewed patients who obtained abortions after enactment of SB8, using semi-structured interviews to explore how restrictions affected abortion care. Two researchers coded all transcripts using an inductive technique and analyzed themes in an iterative approach. We interviewed 16 participants who reported gestational durations from 13 to 29 weeks at the time of abortion. Participants described loss of the therapeutic patient-physician relationship and feelings of isolation while pursuing abortion due to the limitations imposed by SB8. For example, participants felt there was a physician "gag rule" regarding abortion ("the unspoken word of termination"), resulting in the need to find information about pregnancy options outside of the medical community and further highlighting the privilege of financial resources necessary to obtain an abortion on their own. Participants also expressed fears regarding confidentiality with their support systems and clinicians ("I would joke around and say, well don't sue me, but halfway mean it") and personal safety when self-referring for abortion ("…am I making the right choice on where I need to go? Is it safe?"). Abortion restrictions and bans such as SB8 erode the patient-physician relationship, evoking fear and safety concerns during a vulnerable time for those undergoing abortion for lethal or life-limiting fetal diagnoses. They force patients to shoulder the significant burden of understanding pregnancy options and navigating the process of abortion alone, which is likely to have greater effects on those with fewer resources.

P040“You're on your own”: A qualitative analysis of texas senate bill 8 on abortion care in patients with lethal or life-limiting fetal diagnoses

<h3>Objectives</h3> To describe experiences with abortion counseling and access to care among patients with lethal or life-limiting fetal diagnoses in Texas following enactment of Senate Bill 8 (SB8). <h3>Methods</h3> In this qualitative study, we recruited patients who had an abortion after the enactment of SB8 and used semi-structured interviews to explore how SB8 impacted abortion care. Two researchers coded all transcripts using an inductive technique and analyzed themes in an iterative approach. <h3>Results</h3> We interviewed 14 participants who reported gestational ages at the time of abortion from 13 to 29 weeks. Participants described a loss of the therapeutic physician-patient relationship and feelings of isolation while pursuing abortion due to the limitations imposed by SB8. For example, participants felt there was a physician "gag rule" regarding abortion ("the unspoken word of termination"), resulting in a greater need to initiate their own research and invest personal resources (eg, finances, knowledge) into understanding their pregnancy options and obtaining an abortion. Participants also expressed fears regarding confidentiality with clinicians and their support system ("I would joke around and say, ‘Well, don't sue me,' but halfway mean it.") and need to assess personal safety when self-referring for abortion ("‘You're on your own…go find somebody that can do this…'"). <h3>Conclusions</h3> Bounty hunter abortion restrictions like SB8 erode the physician-patient relationship. These restrictions evoke fear and safety concerns during a vulnerable time for those undergoing abortion for fetal diagnoses. Patients shoulder a significant burden of understanding pregnancy options and navigating the process of abortion alone, which could result in further disparities.

There are no uninstantiated words

ABSTRACT Kaplan ([1990]. “Words.” Proceedings of the Aristotelian Society 64: 93–119; [2011]. “Words on Words.” The Journal of Philosophy 108 (9): 504–529) argues that there are no unspoken words. Hawthorne and Lepore ([2011]. “On Words.” The Journal of Philosophy 108 (9): 447–485) put forward examples that purport to show that there can be such words. Here, I argue that Kaplan is correct, if we grant him a minor variation. While Hawthorne and Lepore might be right that there can be unspoken words, I will argue that they fail to show that there can be uninstantiated words.

Wording Mute Posthumanism in Alexis Wright's The Swan Book

Abstract: Alexis Wright's critically acclaimed third novel, The Swan Book (2013), has been analyzed profusely by scholars around the world. No matter how manifold these interpretative nets may be, they always refer to the character Oblivion Ethyl(ene), aka Oblivia. What is particularly telling in that regard is that Oblivia as the novel's protagonist and focalizer is a speechless child. As the article shows, Wright's so-called total novel constructs Oblivia and the virus in her brain as the novel's narrator(s), enabling her to fill her speechless world with words and meaning. Hence, as a mute narrator, Oblivia becomes one of the most unreliable but equally one of the most honest, life-affirming storytellers in contemporary fiction. The universe of her unspoken words reveals Oblivia's ability to communicate with the nonhuman and other-than-human, offering readers who are receptive a story about what it means to be posthuman in a world that defies posthumanism.

Embracing Darkness and Silence: A Cognitive Reading of Trauma in A Small Silence, by Jumoke Verissimo

The purpose of the present article is to discuss how A Small Silence (2019), by the Nigerian author Jumoke Verissimo, conjures up a provocative approach to traumatic memories. The tropes of silence and darkness—closely bound to the Nigerian context where power outages are frequent—are sensuously explored in evocative prose. Darkness is offered as a refuge against the blinding effect of light, and silence is oftentimes preferred to healing through narrativisation. Desire and Prof, the two main fictional characters, devise a peculiar dialogue of half-uttered and unspoken words—and reminiscences—that are arguably in tune with cognitive literary approaches to individual trauma. In addition, in this article an Oriental aesthetics is deployed to delineate the novel’s use of shadows and isolation. In contrast to classical trauma fiction, A Small Silence presents a less experimental literary narrative of individual trauma. At the same time, the novel rejects simplistic binaries such as trauma-health, dark-light, forgetfulness-memory and mind-body. Rather, it lingers in a space between individual healing and Nigeria’s intricate neocolonial circumstances.

COMPARISON OF THE NOVEL “RUH ADAM” AND THE FILM “LOST HIGHWAY” WITHIN THE SCOPE OF THE INTERTEXTUALITY THEORY

The intertextuality is a theory based on the thesis “There is no unspoken word under the canopy of heaven”. Accordingly, no text of any genre whatsoever is entirely original and spoken for the first time. It certainly bears in itself the traces from texts that have previously found an expression. Although the intertextuality is a concept that dates back to old times when human starts to speak, it has been named by the postmodernism conceptualized in the 1960s. In intertextuality, every text is related to each other. The writer of the text creates his/her own text on the basis of the infrastructure created in his/her mind by those which were written before. Likewise, readers / audiences perceive different texts experienced by them by comparing with their previous experiences and establishing intertextual relations between them. In this context, the intertextuality is a multidimensional structure that includes text writers, texts and readers. In this study, Nihal Atsız’s novel, Ruh Adam (1972), and David Lynch’s film, Lost Highway, will be compared within the scope of the intertextuality theory. Common points between the both texts, one of which is from the world of literature and the other from the world of cinema, will be determined in terms of form and content. Keywords: intertextuality, Soul Man, Lost Highway, postmodernism

Un diálogo en el mundo del otro

El documento tiene como objetivo abordar las implicaciones en el diálogo entre el Otro y la Modernidad. Donde el lenguaje destaca como elemento primordial en la experiencia de la vida y que devela la historicidad de ese otro mundo, oculto en la palabra no dicha. Un lenguaje que traducido como elemento de poder ante la resistencia, siendo este, una pieza importante de enarbolar para abordar y enfrentar los mecanismos de la Modernidad. Este documento forma parte de un proyecto de investigación en curso, y entre los autores citados para apoyar este análisis se encuentra Ngugi wa Thiong'o (2015), Enrique Dussel (2008) y Ramón Grosfoguel (2007). Una vez hecho el análisis, es determinante la necesidad que existe de visualizar las subjetividades en un mundo que aúnsigue siendo negado. Debido a que, en la actualidad, el accionar ante el diálogo franco requiere canales apropiados, no vislumbrados. Es necesario pasar de inmediato, de la teoría crítica a una práctica real contundente, que drene en las capas más profundas de la periferia.

The viola in Zoltan Almashi creation: the view of the first performer

The article examines the viola works of Z. Almashi from the position of their first performer and addressee. The importance of such an approach was emphasized, since the author is not only well familiar with the presented material, but also has the opportunity to communicate directly with the composer, being in the center of the creative process. The lack of researches, devoted to the viola works of Z. Almashi and all his works in general, determine the obvious relevance and scientific novelty of the article. Its main objective is to introduce the viola part of Z. Almashi composer’s creation into musicological use, looking at it from the point of view of the practitioner, and in the case of works, presented in this article – the first performer. First of all, we were interested in the reasons, that prompted the composer to turn to the solo viola timbre for the musical and artistic concept embodiment of «Genesis» and how Z. Almashi reveals the artistic and technical capabilities of this instrument in this and other considered works. Research methodology. In the process of writing our article, we have applied a complex of various scientific methods, the main of which are: historical and biographical (when selecting information about the composer’s biography, studying the circumstances of his works creation); structural and intonational analysis (in the analytical section), as well as comparative (in various comparisons). Research results. The analytical section of the article includes the main solo viola work, which arose as a result of the collaboration of the composer with A. Tuchapets – «Genesis». The information about the history of creation and the artistic concept of the opus is provided there. The features of the structure, instrumental solutions, means of practical implementation by the composer’s artistic conception are investigated. Also the cadence, written by Z. Almashi for the second movement of the Concerto for Viola and Orchestra by J. Ch. Bach with its intonational source and the influence of this source on the artistic concept of the work are considered. The viola solos from his Concerto for two violins and orchestra «Unspoken Words» and viola parts in works for string quartet, in particular Quartet № 3 «Carols», «Carpathian Song» and «PENITA. opera» are also regarded. The conclusions emphasize the importance of collaboration of composers with performers, especially in part of development of solo viola playing. It was revealed that the uniqueness and exceptional richness of the timbre palette of this instrument, obviously, attracts Z. Almashi with exceptional opportunities for the embodiment of artistic imagery, consonant with his composing style. It is also said about the significance of this article – it can serve as a basis for further researches and draw more attention to the considered works

Writing as Inquiry During a Pandemic

Standing on a knife’s edge is to write words that cut. We can enter such spaces by witnessing and encountering the COVID 19 pandemic’s devastating impacts. The suffering that ensues may lead to an emptiness that feels as if words have abandoned us. These unspoken words may build up inside, and eventually explode like a full dam, it’s power, bursting a hole in the fabric of our lives. The release can be experienced as a loss that becomes an opening. Riding this intense wave of affect to wherever it takes us, is to write as inquiry within a pandemic.

When the Unspoken Speaks: As Seen in Andriani Marshanda’s You Used Me and Letter to God

Repressed unresolved psychological conflicts for some people can be safely channeled into a poetical literary work as—despite its short and audio-visually framed and limited form— it could speak of bigger ideas with more freedom, and English as a medium had its own capacity to truthfully communicate the ideas. The goal of this study was to reveal the spoken and the unspoken truths behind Andriani Marshanda’s poetic expressions and their visualization in The Unspoken 1: You Used Me and The Unspoken 2: Letter to God. This research focused on how English played an important role in safely channeling the ideas and how oxymoronic metaphors used in the poems speak more of the unspoken words and worlds within the poems. It used library research by employing a textual analysis of the selected poems using Macherey’s concept of the spoken and unspoken. The additional data were also taken from the real life of the author found in printed and electronic media. The analysis will be focused on the revelation of the silence or unspoken that unconsciously infiltrates the spoken or expressed lines of the poems. It is concluded that the poems speak more bluntly of the persona’s lack of freedom, feelings of being exploited, incongruous and dilemmatic state of mentality, and a newly perceived, happily anticipated, and more truly liberated life.

Unspoken Words: Overcoming Head and Neck Silencing Tumors

Research in Medical & Engineering Sciences Unspoken Words: Overcoming Head and Neck Silencing Tumors Noura Y AlSalloum1, Balaji P Duraisamy2 and Sami A AlShammary2* 1Department of Family Medicine and Employee Health, King Fahad Medical City, Saudi Arabia 2Department of Palliative Care, King Fahad Medical City, Saudi Arabia *Corresponding author: Sami A AlShammary, Department of Palliative Care, King Fahad Medical City, Riyadh, Saudi Arabia Submission: December 18, 2017; Published: February 26, 2018 DOI: 10.31031/RMES.2018.03.000575 ISSN: 2576-8816Volume3 Issue5

Global Frequency: The Audacity of Peace

8 WLT MAY–AUGUST 2017 global frequency The Audacity of Peace by Rob Vollmar Rahim AlHaj Letters from Iraq: Oud and String Quintet Smithsonian Folkways Iraqi-born composer Rahim AlHaj’s latest album, Letters from Iraq, is his most ambitious to date. AlHaj pairs masterful oud playing with a string quintet on eight original compositions that seamlessly blend a variety of Arab and European traditions. Moreover, each composition is inspired by an actual letter from Iraq, creating a kind of conceptual collage reflecting the mass disruption that has wracked the nation since the US invasion of 2003. In his marriage of the oud with strings (and added percussion), AlHaj builds upon a musical formula first realized on selected tracks from his Little Earth album (Ur, 2010) but with a much greater sense of scope. The opening track, “Eastern Love,” draws most deeply from the Arab classical tradition: each section carefully modulating to the next; the melody, passed back and forth between the oud and the strings until they arrive together in unison and power; all expressed in ten beats to the measure even as the tempo quickens, ebbs, or disappears altogether depending on the structural demands of the section. Other tracks push harder on the listener ’s expectations as they blend the maqam (or scales) of the Arab music tradition with sections that call to mind the music of the Baroque. The string arrangements, overseen by Zack Kear, are remarkable in their chameleonic ability to shift from the powerful unisons that typify Egyptian firqah orchestras to the delicate harmonic interactions normally associated with the European chamber music tradition. The sum is breathtaking in its capacity to evoke a wide variety of emotions in the listener: the wistful sadness of lost love in tracks like “The Last Time We Will Fly Birds”; terror in “Running Boy” and “Unspoken Word”; and even hope, which emerges from the closing pieces, “Fly Home” and “Voices to Remember.” In the liner notes to the album, AlHaj declares his intention to “make music to make us realize peace.” It is a laudable goal and one that stands in stark contrast to a nonironic reading of W. H. Auden’s famous observation that “poetry makes nothing happen.” Although one might question how much of this intention may be fettered in an era when streaming provides none of the programmatic material that fuels the album, it is clear that the composer hopes to mine peace through the cultivation of empathy. Through these compositions, AlHaj scales the incomprehensible violence, the crippling instability, the wave upon unyielding wave of grief, down to the unspoken voice of the individual—an individual whose story inspired the music and lends his or her name to the track. It is on this human level that we can grapple with a small piece of what can seem to be a labyrinth of suffering and loss otherwise. It is an audacious claim in 2017 that music can help us realize peace, but, given the short supply of peace these days, perhaps the world could benefit from more audacity of a similar nature. Rob Vollmar is WLT’s book review editor. Notebook ...