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Current evidence underscores a need to transform how we do clinical research, shifting from academic-driven priorities to co-led community partnership focused programs, accessible and relevant career pathway programs that expand opportunities for career development, and design of trainings and practices to develop cultural competence among research teams. Failures of equitable research translation contribute to health disparities. Drivers of this failed translation include lack of diversity in both researchers and participants, lack of alignment between research institutions and the communities they serve, and lack of attention to structural sources of inequity and drivers of mistrust for science and research. The Duke University Research Equity and Diversity Initiative (READI) is a program designed to better align clinical research programs with community health priorities through community engagement. Organized around three specific aims, READI-supported programs targeting increased workforce diversity, workforce training in community engagement and cultural competence, inclusive research engagement principles, and development of trustworthy partnerships.
Maladaptive daydreaming is a distinct syndrome in which the main symptom is excessive vivid fantasising that causes clinically significant distress and functional impairment in academic, vocational and social domains. Unlike normal daydreaming, maladaptive daydreaming is persistent, compulsive and detrimental to one’s life. It involves detachment from reality in favour of intense emotional engagement with alternative realities and often includes specific features such as psychomotor stereotypies (e.g. pacing in circles, jumping or shaking one’s hands), mouthing dialogues, facial gestures or enacting fantasy events. Comorbidity is common, but existing disorders do not account for the phenomenology of the symptoms. Whereas non-specific therapy is ineffective, targeted treatment seems promising. Thus, we propose that maladaptive daydreaming be considered a formal syndrome in psychiatric taxonomies, positioned within the dissociative disorders category. Maladaptive daydreaming satisfactorily meets criteria for conceptualisation as a psychiatric syndrome, including reliable discrimination from other disorders and solid interrater agreement. It involves significant dissociative aspects, such as disconnection from perception, behaviour and sense of self, and has some commonalities with but is not subsumed under existing dissociative disorders. Formal recognition of maladaptive daydreaming as a dissociative disorder will encourage awareness of a growing problem and spur theoretical, research and clinical developments.
This chapter considers the role of advance directives in Malaysia, beginning with a discussion of the legal principles that are likely to apply in the end-of-life decision-making context. We then examine the professional guidance on advance directives published by the Malaysian Medical Council and the Ministry of Health, and highlight points of concern that such guidance has failed to address. The chapter then turns to consideration of the limited empirical data on advance directive awareness in Malaysia, followed by a discussion of the various sociocultural factors that may influence the acceptance of advance directives, with a particular focus on the significant roles played by the family and physicians. Religion as a key influence is also explored in relation to Malaysian attitudes towards advance directives.
Quantitative plant biology is an interdisciplinary field that builds on a long history of biomathematics and biophysics. Today, thanks to high spatiotemporal resolution tools and computational modelling, it sets a new standard in plant science. Acquired data, whether molecular, geometric or mechanical, are quantified, statistically assessed and integrated at multiple scales and across fields. They feed testable predictions that, in turn, guide further experimental tests. Quantitative features such as variability, noise, robustness, delays or feedback loops are included to account for the inner dynamics of plants and their interactions with the environment. Here, we present the main features of this ongoing revolution, through new questions around signalling networks, tissue topology, shape plasticity, biomechanics, bioenergetics, ecology and engineering. In the end, quantitative plant biology allows us to question and better understand our interactions with plants. In turn, this field opens the door to transdisciplinary projects with the society, notably through citizen science.
Many snow models have been developed for various applications such as hydrology, global atmospheric circulation models and avalanche forecasting. The degree of complexity of these models is highly variable, ranging from simple index methods to multi-layer models that simulate snow-cover stratigraphy and texture. In the framework of the Snow Model Intercomparison Project (SnowMIP), 23 models were compared using observed meteorological parameters from two mountainous alpine sites. The analysis here focuses on validation of snow energy-budget simulations. Albedo and snow surface temperature observations allow identification of the more realistic simulations and quantification of errors for two components of the energy budget: the net short- and longwave radiation. In particular, the different albedo parameterizations are evaluated for different snowpack states (in winter and spring). Analysis of results during the melting period allows an investigation of the different ways of partitioning the energy fluxes and reveals the complex feedbacks which occur when simulating the snow energy budget. Particular attention is paid to the impact of model complexity on the energy-budget components. The model complexity has a major role for the net longwave radiation calculation, whereas the albedo parameterization is the most significant factor explaining the accuracy of the net shortwave radiation simulation.
At some point during our inaugural research team workshop we started to generate many different ideas about how to increase participation in heritage decision-making. We tried to keep track as the questions flowed by writing recurring words on pieces of paper, to be linked, connected and ordered at some later point. The words were in some ways not surprising. Heritage, of course. Stewardship. Custodianship. Expert. Leadership. Institutions. Ownership. Differences/Tensions. Scale. Personal. Values. Voice (‘+ not heard’, was added in another hand in biro). So far, so predictable. These words, after all, index the big conceptual challenges that have been identified to a greater or lesser extent in heritage policy, practice and its research for the last four decades. Yet as we spoke, each of these terms started to change in dimension. As the different people around the table gave examples, and checked they understood each other's contributions, the familiar words were in the process of gathering new uncertainties and ambiguities as well as new colours, textures, shapes and potentials.
We were brought together by a funding scheme that supported not just collaborative research, but also its collaborative design. While we did have a shared interest in our overall question ‘how should heritage decisions be made?’, we – as you will see by how we describe ourselves – came to this question, and our first workshop, from quite different places and different trajectories. To frame it in the language implied by this book, we carried with us different inheritances – legacies – from our disciplines, professional backgrounds, organisations and places. As such, the other crucial thing we had in common was an interest in the potential for rethinking ‘heritage’ offered by drawing on many different perspectives and working across hierarchies and institutional boundaries. We used both these shared commitments and our different perspectives to collaboratively design our project.
In this chapter we tell the story of our project with the aim of showing how our research emerged through dynamic connections between know-how generated through practitioner reflections, dialogue, characterised by conversations between us as a project team and conceptual innovation, in terms of the way this allowed us to think about heritage and decision making differently.
We have conducted a LABOCA 870 μm follow-up of ten massive lensing clusters of the Herschel Lensing Survey (HLS, Egami et al. 2010) aiming at unveiling the yet hidden part of dusty star formation in the distant Universe. Among these clusters, A2744 and AS1063 are part of the Frontier Fields HST program. We also obtained 2 mm bolometer observations of A2744 and A370 with the GISMO array at the IRAM 30 m. We detected sources that are undetected with Herschel (PACS and SPIRE) implying either a very high redshift (z > 4) or a very low dust temperature (T<25 K). Their flux also imply a low intrinsic luminosity, LFIR < 1012L⊙. Some of them are extended and could correspond to multiple sources or to multiple images of a lensed source. Substructures in the Sunyaev-Zeldovich effect could also contribute this very red submm emission. An ALMA program is ongoing to unveil the nature of these sources.
To extend the molecular gas measurements to typical L* star-forming galaxies (SFGs) at z ∼ 1.5 − 3, we have observed CO emission for five strongly-lensed galaxies selected from the Herschel Lensing Survey. The combined sample of our L* SFGs with CO-detected SFGs at z >1 from the literature shows a large spread in star formation efficiency (SFE). We find that this spread in SFE is due to variations of several physical parameters, primarily the specific star formation rate, but also stellar mass and redshift. An increase of the molecular gas fraction (fgas) is observed from z ∼ 0.2 to z ∼ 1.2, followed by a quasi non-evolution toward higher redshifts, as found in earlier studies. We provide the first measure of fgas of z >1 SFGs at the low-stellar mass end between 109.4 < M∗/M⊙ < 109.9, which shows a clear fgas upturn.
Theatre, in a variety of forms and contexts, can make, and indeed has made, positive political and social interventions in a range of developing cultures across the world. In this book a distinguished team of theatre historians and dramatists explores how theatre has a dynamic and often difficult relationship with societies and states, arguing positively that theatrical activity can make a difference. The collection begins with a foreword by Wole Soyinka and, through the volume, specially chosen plays, projects and movements are examined, embracing a variety of theatrical forms from conventional text to on-site developmental work. The communities addressed range from the national to the local, from middle-class elites to the economically dispossessed in countries such as Brazil and Argentina, Nigeria, Eritrea and South Africa, and India and the Caribbean countries.
Theatre and Empowerment examines the ability of drama, theatre, dance and performance to empower communities of very different kinds, and it does so from a multi-cultural perspective. The communities involved include poverty-stricken children in Ethiopia and the Indian sub-continent, disenfranchised Native Americans in the USA and young black men in Britain, victims of violence in South Africa and Northern Ireland, and a threatened agricultural town in Italy. The book asserts the value of performance as a vital agent of necessary social change, and makes its arguments through the close examination, from 'inside' practice, of the success - not always complete - of specific projects in their practical and cultural contexts. Practitioners and commentators ask how performance in its widest sense can play a part in community activism on a scale larger than the individual, 'one-off' project by helping communities find their own liberating and creative voices.
David Hare is one of the most important playwrights to have emerged in the UK in the last forty years. This volume examines his stage plays, television plays and cinematic films, and is the first book of its kind to offer such comprehensive and up-to-date critical treatment. Contributions from leading academics in the study of modern British theatre sit alongside those from practitioners who have worked closely with Hare throughout his career, including former Director of the National Theatre Sir Richard Eyre. Uniquely, the volume also includes a chapter on Hare's work as journalist and public speaker; a personal memoir by Tony Bicât, co-founder with Hare of the enormously influential Portable Theatre; and an interview with Hare himself in which he offers a personal retrospective of his career as a film maker which is his fullest and clearest account of that work to date.
Hare’s career on film effectively began with Wetherby in 1985, though, as John Bull points out in Chapter 10, 1983’s Saigon: Year of the Cat blurs somewhat the distinction between cinematic and television work. Hare wrote and directed Wetherby, as well as Paris by Night (1988) and Strapless (1988). Two other screenplays, Damage (1992) and The Hours (2002), were directed by Louis Malle and Stephen Daldry respectively. In addition, the author adapted two of his most successful stage plays for film: Plenty (1985; directed by Fred Schepisi) and The Secret Rapture (1993; directed by Howard Davies). The interview took place in Hampstead in January 2007.
I began by asking him about the relationship between his television and film work, and whether there was any significance in the fact that his attention turned so much to film in the mid-to-late 1980s.
What happened was that it became commercially possible for me to be a film director because of David Rose and Jeremy Isaacs and their patronage when they started Channel 4 in 1982. Isaacs was the Chief Executive, and Rose headed the film department. Their brief was that 'We're starting a new television channel and we want to make British films; we want to make films that look out toward British life, and which are contemporary.' I did it for as long as I could. More or less everything that was interesting on the screen in the 1970s was on television. It was not practical for us to make work for the cinema then, because there was no framework available: big British films - which were essentially aimed at the American market - had died. And then, quite simply, it was down to the genius of Isaacs and Rose, who set out to make a link between the distinguished tradition of British television plays and the cinema by nurturing writing and directing talent within the relative safety of television, then moving it on. My feeling has always been that the reason people left television was because of censorship. In the 1970s, problems of BBC censorship were very intense. The BBC was then run by establishment villains. So we all moved out to the cinema but, by and large, when I was making feature films I was working for the same person - DavidRose - who had been my producer at BBC Birmingham.