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Introduction: The use of debating as an educational tool is increasing in popularity. Students who take part in debates can develop a range of skills such as confidence and communication as well as gaining a greater understanding of the topic discussed. Within this study we have evaluated an antibiotic-resistant debate kit, assessing the ability of the debate lesson to improve student knowledge and awareness around antibiotics. Methods: The debate lesson was delivered in seven schools across South West England to 235 students aged 13-16 years. Change in student knowledge was measured using before and after knowledge questionnaires. Student and teacher feedback and suggestions for improvements for the lesson were also collected through questionnaires and interviews. Results: Quantitative questionnaires found a significant improvement in knowledge for most areas covered in the debate, particularly around the use of antibiotics to treat colds and bacteria developing resistance. Teachers felt their students engaged well with the debate session and made suggestions for minor modifications that could improve the lesson. Conclusions: The results suggest that the e-Bug antibiotic resistant debate kit is able to improve knowledge in young people around antibiotics and antibiotic resistance. Furthermore, the lesson was enjoyed by students and therefore this resource should be promoted more widely to teachers and schools. [ABSTRACT FROM AUTHOR]

This article outlines Richard Wagner's conception of music-drama during the period in which he formulated his intentions for composition of the epic Ring of the Nibelung. Attempting to renew rather than to restore the communal, political nature of Attic tragedy, he wished to transform that model from celebration of the Athenian political order into a savage critique of the contemporary political order, indeed into an incitement to and celebration of revolution. Wagner was determined to restore the dignity of art, a dignity he believed to have been lost in the pursuit of base, commercial considerations; but this determination should not be confused with the idea of art for art's sake. Instead, he wished to renew art in a socialist, even communist, sense as the paradigm of free, productive activity. The direct revolutionary experience of participation in the Dresden uprising of 1849 bolstered his conviction of the necessity of such a transformation. With his magnum opus, Wagner wrote, he intended to ‘make clear to the men of the Revolution the meaning of that Revolution, in its noblest sense’. [ABSTRACT FROM AUTHOR]