Publication Type: Abstract
Abstract: OBJECTIVE: Develop and evaluate a curriculum-spanning, problem-based learning activity which will integrate and strengthen basic and clinical pharmacy sciences knowledge by utilizing a patient-centered, progressive disclosure case study. METHODS: Five 1-hour discussion sessions over a 3-month period were conducted for first- (P1), second- (P2), and third-year (P3) pharmacy students. All sessions were led by two fourth-year (P4) students, and attended by the clinical faculty preceptor and a basic sciences faculty member. The presentation of the patient case was modeled on medical “morning report”, in which pertinent information is progressively disclosed by presenters in response to questions. Throughout the discussion period, the faculty members would ask the P1-P3 students to develop a differential diagnosis and a treatment plan. After the end of the discussion of valid recommendations and pharmacotherapeutic treatment plans, the P4 students concluded with a summary of the patient’s outcome for comparison. A 17-question survey was administered to the P1-P3 students to determine the effectiveness of the learning activity. RESULTS: Seventy-five percent (n=43) of the participants completed the survey. All respondents agreed the activity was a positive learning experience, with 95% and 84% agreeing that the activity helped the students apply basic sciences and clinical pharmacy sciences knowledge, respectively, in a patient case scenario. IMPLICATIONS: Adapting the medical model of “morning report” for use in a professional pharmacy curriculum allows for curriculum-wide integration of basic and clinical sciences in a problem-based learning environment. The success of this pilot program warrants further evaluation and possible integration into the pharmacy curriculum.

Publication Type: Proceeding

Publication Type: Conference Paper/Unpublished Manuscript
Review Method: Peer Reviewed
Abstract: The present study provides an update to the literature investigating sex-role stereotyping in children’s animated programs. Coder analyzed the appearances and behaviors of 268 characters from Saturday morning programs. Similar to previous studies, the current project found that animated female characters are underrepresented in general and are portrayed as more warm, attractive, slim, concerned about appearance, mature, domestic, romantic, affectionate, responsible, and more likely to wear revealing clothing than male characters. Males were portrayed as more muscular/athletic, technical, hardy, brave, more likely to threaten and interrupt others, and were more likely to get into trouble than female characters. Various media theories are used to discuss the potentially negative effects of these portrayals on young viewers.

Publication Type: Invited Paper
Abstract: Järviluoma, Moisala, and Vilkko (2003) stress that “learning gender means not only the visible aspects of those roles: we learn gender through the total sensorium” (85). Women’s presence and place within literary and media texts have often been theorized through metaphors of absence and actual silences. This recurring and figurative silence has offered a convincing argument for the production of gender through absence. This paper attempts to enhance this discussion by examining how sounds are heard as gendered and classed constructs. I argue that the medium of radio – where silence, considered “dead air” and strictly forbidden – conveys ideas of gender (and gender roles) through studio produced laugh tracks and sound effects. Using data consisting of forty hours of Spanish-language morning radio shows from two radio markets (San Francisco and Los Angeles), I analyze how gender and class are heard through commercially-produced soundscapes.
Early English-language radio consistently used studio sounds, such as steps, wind, and fire alarms, to produce acoustic scenery within popular detective, comedic, and soap opera shows. The turn to heavy musical rotations within contemporary English-language radio has slowed the incessant use of studio effects. On Spanish-language radio, however, the combination of talk radio, politics, pop-psychology, and racy humor has created a contentious and popular morning genre dependent on a series of canned studio sounds as well as group and female laugh tracks. To place this genre’s popularity within perspective, these Spanish-language radio shows consistently garner number one and two ratings in the top five radio markets in the U.S.
As a part of a larger tradition of “linguistic slapstick,” I argue that these sounds are instrumental to perpetuating the show’s gender dynamics. Radio historians have observed that linguistic slapstick was used to make up for the absence of the visual as silent films attempted to visually make up for the voice. The tradition of linguistic slapstick has been resuscitated and refashioned on Spanish-language radio and in doing so, has brought visibility to a lucrative body of working-class Latino listeners/consumers.
This paper examines how studio effects pose as stand-ins for a woman’s voice and often serve to corroborate troubling gender statements. Led by male morning radio hosts, these programs broadcast grandiose and not so subtle discursive claims of masculinity. On-air locker room chatter is often accompanied by timely sounds of horns, buzzers, water dripping, pages flipping, heavy sighs, and the ever popular noise of zippers. Popular Spanish-language morning talk radio has effectively silenced women through sound, placing women in linguistic and sonic drag.

Publication Type: Session Paper
Abstract: The group chair will facilitate brief group introductions and review the group’s procedures. Presenters will briefly describe their substantive interests, all of which focus in their different ways on applications of social and/or critical theory. Emphasis in discussion will be placed on a) how each project used Dervin’s Sense-Making Methodology in whole or part to inform the project’s metatheory, research, and/or design; and b) how each project attended to SMM’s mandated emphasis on dialogue – intrapersonal, interpersonal, group, community, organizational, and societal.