33 results
Adaptations of paediatric cardiology practice during the COVID-19 pandemic
- Part of
- Michael A. Fremed, Talha Niaz, Kyle D. Hope, Carolyn A. Altman, Victor Y. Levy, Julie S. Glickstein, Jonathan N. Johnson
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- Journal:
- Cardiology in the Young / Volume 32 / Issue 9 / September 2022
- Published online by Cambridge University Press:
- 18 October 2021, pp. 1446-1450
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During the initial surge of the COVID-19 pandemic in the spring and summer of 2020, paediatric heart centres were forced to rapidly alter the way patient care was provided to minimise interruption to patient care as well as exposure to the virus. In this survey-based descriptive study, we characterise changes that occurred within paediatric cardiology practices across the United States and described provider experience and attitudes towards these changes during the pandemic. Common changes that were implemented included decreased numbers of procedures, limiting visitors and shifting towards telemedicine encounters. The information obtained from this survey may be useful in guiding and standardising responses to future public health crises.
9 - Digital Approaches to Shakespeare’s Language
- from Part III - New Technologies
- Edited by Lynne Magnusson, University of Toronto, David Schalkwyk, Queen Mary University of London
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- The Cambridge Companion to Shakespeare's Language
- Published online:
- 01 July 2019
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- 08 August 2019, pp 151-167
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Summary
There has never been a more exciting time to be working on Shakespeare’s language. If you have an internet connection, fire it up.
The effect of a youth mental health service model on access to secondary mental healthcare for young people aged 14–25 years
- Sarah Maxwell, Obianuju Ugochukwu, Tim Clarke, Brioney Gee, Emmet Clarke, Hope Westgate, Jonathan Wilson, Belinda R Lennox, Ian M Goodyer
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- Journal:
- BJPsych Bulletin / Volume 43 / Issue 1 / February 2019
- Published online by Cambridge University Press:
- 21 September 2018, pp. 27-31
- Print publication:
- February 2019
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Aims and method
The Norfolk Youth Service was created in 2012 in response to calls to redesign mental health services to better meet the needs of young people. The new service model transcends traditional boundaries by creating a single, ‘youth friendly’ service for young people aged 14–25 years. The aim of this study was to investigate the effect of the transition to this new model on patterns of referral, acceptance and service use. We analysed routinely collected data on young people aged 14–25 years referred for secondary mental healthcare in Norfolk before and after implementation of the youth mental health service. The number of referrals, their age and gender, proportion of referrals accepted and average number of service contacts per referral by age pre- and post-implementation were compared.
ResultsReferrals increased by 68% following implementation of the new service model, but the proportion of referrals accepted fell by 27 percentage points. Before implementation of the youth service, there was a clear discrepancy between the peak age of referral and the age of those seen by services. Following implementation, service contacts were more equitable across ages, with no marked discontinuity at age 18 years.
Clinical implicationsOur findings suggest that the transformation of services may have succeeded in reducing the ‘cliff edge’ in access to mental health services at the transition to adulthood. However, the sharp rise in referrals and reduction in the proportion of referrals accepted highlights the importance of considering possible unintended consequences of new service models.
Declaration of interestsNone.
Partially filled pipes: experiments in laminar and turbulent flow
- Henry C.-H. Ng, Hope L. F. Cregan, Jonathan M. Dodds, Robert J. Poole, David J. C. Dennis
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- Journal:
- Journal of Fluid Mechanics / Volume 848 / 10 August 2018
- Published online by Cambridge University Press:
- 05 June 2018, pp. 467-507
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Pressure-driven laminar and turbulent flow in a horizontal partially filled pipe was investigated using stereoscopic particle imaging velocimetry (S-PIV) in the cross-stream plane. Laminar flow velocity measurements are in excellent agreement with a recent theoretical solution in the literature. For turbulent flow, the flow depth was varied independently of a nominally constant Reynolds number (based on hydraulic diameter, $D_{H}$; bulk velocity, $U_{b}$ and kinematic viscosity $\unicode[STIX]{x1D708}$) of $Re_{H}=U_{b}D_{H}/\unicode[STIX]{x1D708}\approx 30\,000\pm 5\,\%$. When running partially full, the inferred friction factor is no longer a simple function of Reynolds number, but also depends on the Froude number $Fr=U_{b}/\sqrt{gD_{m}}$ where $g$ is gravitational acceleration and $D_{m}$ is hydraulic mean depth. S-PIV measurements in turbulent flow reveal the presence of secondary currents which causes the maximum streamwise velocity to occur below the free surface consistent with results reported in the literature for rectangular cross-section open channel flows. Unlike square duct and rectangular open channel flow the mean secondary motion observed here manifests only as a single pair of vortices mirrored about the vertical bisector and these rollers, which fill the half-width of the pipe, remain at a constant distance from the free surface even with decreasing flow depth for the range of depths tested. Spatial distributions of streamwise Reynolds normal stress and turbulent kinetic energy exhibit preferential arrangement rather than having the same profile around the azimuth of the pipe as in a full pipe flow. Instantaneous fields reveal the signatures of elements of canonical wall-bounded turbulent flows near the pipe wall such as large-scale and very-large-scale motions and associated hairpin packets whilst near the free surface, the signatures of free surface turbulence in the absence of imposed mean shear such as ‘upwellings’, ‘downdrafts’ and ‘whirlpools’ are present. Two-point spatio-temporal correlations of streamwise velocity fluctuation suggest that the large-scale coherent motions present in full pipe flow persist in partially filled pipes but are compressed and distorted by the presence of the free surface and mean secondary motion.
Chapter 4 - ‘Not know my voice?’
- from Part II - Books and language
- Edited by Ruth Morse, Helen Cooper, University of Cambridge, Peter Holland, University of Notre Dame, Indiana
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- Medieval Shakespeare
- Published online:
- 05 February 2013
- Print publication:
- 07 February 2013, pp 78-97
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Notes on contributors
- Edited by Ruth Morse, Helen Cooper, University of Cambridge, Peter Holland, University of Notre Dame, Indiana
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- Medieval Shakespeare
- Published online:
- 05 February 2013
- Print publication:
- 07 February 2013, pp ix-xii
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Intention and Foresight—From Ethics to Law and Back Again: A Reply to McGee
- CHARLES FOSTER, JONATHAN HERRING, KAREN MELHAM, TONY HOPE
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- Cambridge Quarterly of Healthcare Ethics / Volume 22 / Issue 1 / January 2013
- Published online by Cambridge University Press:
- 04 December 2012, pp. 86-91
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The Double Effect Effect
- CHARLES FOSTER, JONATHAN HERRING, KAREN MELHAM, TONY HOPE
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- Cambridge Quarterly of Healthcare Ethics / Volume 20 / Issue 1 / January 2011
- Published online by Cambridge University Press:
- 11 January 2011, pp. 56-72
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The “doctrine of double effect” has a pleasing ring to it. It is regarded by some as the cornerstone of any sound approach to end-of-life issues and by others as religious mumbo jumbo. Discussions about “the doctrine” often generate more heat than light. They are often conducted at cross-purposes and laced with footnotes from Leviticus.
Contributors
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- By Rose Teteki Abbey, K. C. Abraham, David Tuesday Adamo, LeRoy H. Aden, Efrain Agosto, Victor Aguilan, Gillian T. W. Ahlgren, Charanjit Kaur AjitSingh, Dorothy B E A Akoto, Giuseppe Alberigo, Daniel E. Albrecht, Ruth Albrecht, Daniel O. Aleshire, Urs Altermatt, Anand Amaladass, Michael Amaladoss, James N. Amanze, Lesley G. Anderson, Thomas C. Anderson, Victor Anderson, Hope S. Antone, María Pilar Aquino, Paula Arai, Victorio Araya Guillén, S. Wesley Ariarajah, Ellen T. Armour, Brett Gregory Armstrong, Atsuhiro Asano, Naim Stifan Ateek, Mahmoud Ayoub, John Alembillah Azumah, Mercedes L. García Bachmann, Irena Backus, J. Wayne Baker, Mieke Bal, Lewis V. Baldwin, William Barbieri, António Barbosa da Silva, David Basinger, Bolaji Olukemi Bateye, Oswald Bayer, Daniel H. Bays, Rosalie Beck, Nancy Elizabeth Bedford, Guy-Thomas Bedouelle, Chorbishop Seely Beggiani, Wolfgang Behringer, Christopher M. Bellitto, Byard Bennett, Harold V. Bennett, Teresa Berger, Miguel A. Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. Chapman, James H. Charlesworth, Kenneth R. Chase, Chen Zemin, Luciano Chianeque, Philip Chia Phin Yin, Francisca H. Chimhanda, Daniel Chiquete, John T. Chirban, Soobin Choi, Robert Choquette, Mita Choudhury, Gerald Christianson, John Chryssavgis, Sejong Chun, Esther Chung-Kim, Charles M. A. Clark, Elizabeth A. Clark, Sathianathan Clarke, Fred Cloud, John B. Cobb, W. Owen Cole, John A Coleman, John J. Collins, Sylvia Collins-Mayo, Paul K. Conkin, Beth A. Conklin, Sean Connolly, Demetrios J. Constantelos, Michael A. Conway, Paula M. Cooey, Austin Cooper, Michael L. Cooper-White, Pamela Cooper-White, L. William Countryman, Sérgio Coutinho, Pamela Couture, Shannon Craigo-Snell, James L. Crenshaw, David Crowner, Humberto Horacio Cucchetti, Lawrence S. Cunningham, Elizabeth Mason Currier, Emmanuel Cutrone, Mary L. Daniel, David D. Daniels, Robert Darden, Rolf Darge, Isaiah Dau, Jeffry C. Davis, Jane Dawson, Valentin Dedji, John W. de Gruchy, Paul DeHart, Wendy J. Deichmann Edwards, Miguel A. De La Torre, George E. Demacopoulos, Thomas de Mayo, Leah DeVun, Beatriz de Vasconcellos Dias, Dennis C. Dickerson, John M. Dillon, Luis Miguel Donatello, Igor Dorfmann-Lazarev, Susanna Drake, Jonathan A. Draper, N. Dreher Martin, Otto Dreydoppel, Angelyn Dries, A. J. Droge, Francis X. D'Sa, Marilyn Dunn, Nicole Wilkinson Duran, Rifaat Ebied, Mark J. Edwards, William H. Edwards, Leonard H. Ehrlich, Nancy L. Eiesland, Martin Elbel, J. Harold Ellens, Stephen Ellingson, Marvin M. Ellison, Robert Ellsberg, Jean Bethke Elshtain, Eldon Jay Epp, Peter C. Erb, Tassilo Erhardt, Maria Erling, Noel Leo Erskine, Gillian R. Evans, Virginia Fabella, Michael A. Fahey, Edward Farley, Margaret A. Farley, Wendy Farley, Robert Fastiggi, Seena Fazel, Duncan S. Ferguson, Helwar Figueroa, Paul Corby Finney, Kyriaki Karidoyanes FitzGerald, Thomas E. FitzGerald, John R. Fitzmier, Marie Therese Flanagan, Sabina Flanagan, Claude Flipo, Ronald B. Flowers, Carole Fontaine, David Ford, Mary Ford, Stephanie A. Ford, Jim Forest, William Franke, Robert M. Franklin, Ruth Franzén, Edward H. Friedman, Samuel Frouisou, Lorelei F. Fuchs, Jojo M. Fung, Inger Furseth, Richard R. Gaillardetz, Brandon Gallaher, China Galland, Mark Galli, Ismael García, Tharscisse Gatwa, Jean-Marie Gaudeul, Luis María Gavilanes del Castillo, Pavel L. Gavrilyuk, Volney P. Gay, Metropolitan Athanasios Geevargis, Kondothra M. George, Mary Gerhart, Simon Gikandi, Maurice Gilbert, Michael J. Gillgannon, Verónica Giménez Beliveau, Terryl Givens, Beth Glazier-McDonald, Philip Gleason, Menghun Goh, Brian Golding, Bishop Hilario M. Gomez, Michelle A. Gonzalez, Donald K. Gorrell, Roy Gottfried, Tamara Grdzelidze, Joel B. Green, Niels Henrik Gregersen, Cristina Grenholm, Herbert Griffiths, Eric W. Gritsch, Erich S. Gruen, Christoffer H. Grundmann, Paul H. Gundani, Jon P. Gunnemann, Petre Guran, Vidar L. Haanes, Jeremiah M. Hackett, Getatchew Haile, Douglas John Hall, Nicholas Hammond, Daphne Hampson, Jehu J. Hanciles, Barry Hankins, Jennifer Haraguchi, Stanley S. Harakas, Anthony John Harding, Conrad L. Harkins, J. William Harmless, Marjory Harper, Amir Harrak, Joel F. Harrington, Mark W. Harris, Susan Ashbrook Harvey, Van A. Harvey, R. Chris Hassel, Jione Havea, Daniel Hawk, Diana L. Hayes, Leslie Hayes, Priscilla Hayner, S. Mark Heim, Simo Heininen, Richard P. Heitzenrater, Eila Helander, David Hempton, Scott H. Hendrix, Jan-Olav Henriksen, Gina Hens-Piazza, Carter Heyward, Nicholas J. Higham, David Hilliard, Norman A. Hjelm, Peter C. Hodgson, Arthur Holder, M. Jan Holton, Dwight N. Hopkins, Ronnie Po-chia Hsia, Po-Ho Huang, James Hudnut-Beumler, Jennifer S. Hughes, Leonard M. Hummel, Mary E. Hunt, Laennec Hurbon, Mark Hutchinson, Susan E. Hylen, Mary Beth Ingham, H. Larry Ingle, Dale T. Irvin, Jon Isaak, Paul John Isaak, Ada María Isasi-Díaz, Hans Raun Iversen, Margaret C. Jacob, Arthur James, Maria Jansdotter-Samuelsson, David Jasper, Werner G. Jeanrond, Renée Jeffery, David Lyle Jeffrey, Theodore W. Jennings, David H. Jensen, Robin Margaret Jensen, David Jobling, Dale A. Johnson, Elizabeth A. Johnson, Maxwell E. Johnson, Sarah Johnson, Mark D. Johnston, F. Stanley Jones, James William Jones, John R. Jones, Alissa Jones Nelson, Inge Jonsson, Jan Joosten, Elizabeth Judd, Mulambya Peggy Kabonde, Robert Kaggwa, Sylvester Kahakwa, Isaac Kalimi, Ogbu U. Kalu, Eunice Kamaara, Wayne C. Kannaday, Musimbi Kanyoro, Veli-Matti Kärkkäinen, Frank Kaufmann, Léon Nguapitshi Kayongo, Richard Kearney, Alice A. Keefe, Ralph Keen, Catherine Keller, Anthony J. Kelly, Karen Kennelly, Kathi Lynn Kern, Fergus Kerr, Edward Kessler, George Kilcourse, Heup Young Kim, Kim Sung-Hae, Kim Yong-Bock, Kim Yung Suk, Richard King, Thomas M. King, Robert M. Kingdon, Ross Kinsler, Hans G. Kippenberg, Cheryl A. Kirk-Duggan, Clifton Kirkpatrick, Leonid Kishkovsky, Nadieszda Kizenko, Jeffrey Klaiber, Hans-Josef Klauck, Sidney Knight, Samuel Kobia, Robert Kolb, Karla Ann Koll, Heikki Kotila, Donald Kraybill, Philip D. W. Krey, Yves Krumenacker, Jeffrey Kah-Jin Kuan, Simanga R. Kumalo, Peter Kuzmic, Simon Shui-Man Kwan, Kwok Pui-lan, André LaCocque, Stephen E. Lahey, John Tsz Pang Lai, Emiel Lamberts, Armando Lampe, Craig Lampe, Beverly J. Lanzetta, Eve LaPlante, Lizette Larson-Miller, Ariel Bybee Laughton, Leonard Lawlor, Bentley Layton, Robin A. Leaver, Karen Lebacqz, Archie Chi Chung Lee, Marilyn J. Legge, Hervé LeGrand, D. L. LeMahieu, Raymond Lemieux, Bill J. Leonard, Ellen M. Leonard, Outi Leppä, Jean Lesaulnier, Nantawan Boonprasat Lewis, Henrietta Leyser, Alexei Lidov, Bernard Lightman, Paul Chang-Ha Lim, Carter Lindberg, Mark R. Lindsay, James R. Linville, James C. Livingston, Ann Loades, David Loades, Jean-Claude Loba-Mkole, Lo Lung Kwong, Wati Longchar, Eleazar López, David W. Lotz, Andrew Louth, Robin W. Lovin, William Luis, Frank D. Macchia, Diarmaid N. J. MacCulloch, Kirk R. MacGregor, Marjory A. MacLean, Donald MacLeod, Tomas S. Maddela, Inge Mager, Laurenti Magesa, David G. Maillu, Fortunato Mallimaci, Philip Mamalakis, Kä Mana, Ukachukwu Chris Manus, Herbert Robinson Marbury, Reuel Norman Marigza, Jacqueline Mariña, Antti Marjanen, Luiz C. L. Marques, Madipoane Masenya (ngwan'a Mphahlele), Caleb J. D. Maskell, Steve Mason, Thomas Massaro, Fernando Matamoros Ponce, András Máté-Tóth, Odair Pedroso Mateus, Dinis Matsolo, Fumitaka Matsuoka, John D'Arcy May, Yelena Mazour-Matusevich, Theodore Mbazumutima, John S. McClure, Christian McConnell, Lee Martin McDonald, Gary B. McGee, Thomas McGowan, Alister E. McGrath, Richard J. McGregor, John A. McGuckin, Maud Burnett McInerney, Elsie Anne McKee, Mary B. McKinley, James F. McMillan, Ernan McMullin, Kathleen E. McVey, M. Douglas Meeks, Monica Jyotsna Melanchthon, Ilie Melniciuc-Puica, Everett Mendoza, Raymond A. Mentzer, William W. Menzies, Ina Merdjanova, Franziska Metzger, Constant J. Mews, Marvin Meyer, Carol Meyers, Vasile Mihoc, Gunner Bjerg Mikkelsen, Maria Inêz de Castro Millen, Clyde Lee Miller, Bonnie J. Miller-McLemore, Alexander Mirkovic, Paul Misner, Nozomu Miyahira, R. W. L. Moberly, Gerald Moede, Aloo Osotsi Mojola, Sunanda Mongia, Rebeca Montemayor, James Moore, Roger E. Moore, Craig E. Morrison O.Carm, Jeffry H. Morrison, Keith Morrison, Wilson J. Moses, Tefetso Henry Mothibe, Mokgethi Motlhabi, Fulata Moyo, Henry Mugabe, Jesse Ndwiga Kanyua Mugambi, Peggy Mulambya-Kabonde, Robert Bruce Mullin, Pamela Mullins Reaves, Saskia Murk Jansen, Heleen L. Murre-Van den Berg, Augustine Musopole, Isaac M. T. Mwase, Philomena Mwaura, Cecilia Nahnfeldt, Anne Nasimiyu Wasike, Carmiña Navia Velasco, Thulani Ndlazi, Alexander Negrov, James B. Nelson, David G. Newcombe, Carol Newsom, Helen J. Nicholson, George W. E. Nickelsburg, Tatyana Nikolskaya, Damayanthi M. A. Niles, Bertil Nilsson, Nyambura Njoroge, Fidelis Nkomazana, Mary Beth Norton, Christian Nottmeier, Sonene Nyawo, Anthère Nzabatsinda, Edward T. Oakes, Gerald O'Collins, Daniel O'Connell, David W. Odell-Scott, Mercy Amba Oduyoye, Kathleen O'Grady, Oyeronke Olajubu, Thomas O'Loughlin, Dennis T. Olson, J. Steven O'Malley, Cephas N. Omenyo, Muriel Orevillo-Montenegro, César Augusto Ornellas Ramos, Agbonkhianmeghe E. Orobator, Kenan B. Osborne, Carolyn Osiek, Javier Otaola Montagne, Douglas F. Ottati, Anna May Say Pa, Irina Paert, Jerry G. Pankhurst, Aristotle Papanikolaou, Samuele F. Pardini, Stefano Parenti, Peter Paris, Sung Bae Park, Cristián G. Parker, Raquel Pastor, Joseph Pathrapankal, Daniel Patte, W. Brown Patterson, Clive Pearson, Keith F. Pecklers, Nancy Cardoso Pereira, David Horace Perkins, Pheme Perkins, Edward N. Peters, Rebecca Todd Peters, Bishop Yeznik Petrossian, Raymond Pfister, Peter C. Phan, Isabel Apawo Phiri, William S. F. Pickering, Derrick G. Pitard, William Elvis Plata, Zlatko Plese, John Plummer, James Newton Poling, Ronald Popivchak, Andrew Porter, Ute Possekel, James M. Powell, Enos Das Pradhan, Devadasan Premnath, Jaime Adrían Prieto Valladares, Anne Primavesi, Randall Prior, María Alicia Puente Lutteroth, Eduardo Guzmão Quadros, Albert Rabil, Laurent William Ramambason, Apolonio M. Ranche, Vololona Randriamanantena Andriamitandrina, Lawrence R. Rast, Paul L. Redditt, Adele Reinhartz, Rolf Rendtorff, Pål Repstad, James N. Rhodes, John K. Riches, Joerg Rieger, Sharon H. Ringe, Sandra Rios, Tyler Roberts, David M. Robinson, James M. Robinson, Joanne Maguire Robinson, Richard A. H. Robinson, Roy R. Robson, Jack B. Rogers, Maria Roginska, Sidney Rooy, Rev. Garnett Roper, Maria José Fontelas Rosado-Nunes, Andrew C. Ross, Stefan Rossbach, François Rossier, John D. Roth, John K. Roth, Phillip Rothwell, Richard E. Rubenstein, Rosemary Radford Ruether, Markku Ruotsila, John E. Rybolt, Risto Saarinen, John Saillant, Juan Sanchez, Wagner Lopes Sanchez, Hugo N. Santos, Gerhard Sauter, Gloria L. Schaab, Sandra M. Schneiders, Quentin J. Schultze, Fernando F. Segovia, Turid Karlsen Seim, Carsten Selch Jensen, Alan P. F. Sell, Frank C. Senn, Kent Davis Sensenig, Damían Setton, Bal Krishna Sharma, Carolyn J. Sharp, Thomas Sheehan, N. Gerald Shenk, Christian Sheppard, Charles Sherlock, Tabona Shoko, Walter B. Shurden, Marguerite Shuster, B. Mark Sietsema, Batara Sihombing, Neil Silberman, Clodomiro Siller, Samuel Silva-Gotay, Heikki Silvet, John K. Simmons, Hagith Sivan, James C. Skedros, Abraham Smith, Ashley A. Smith, Ted A. Smith, Daud Soesilo, Pia Søltoft, Choan-Seng (C. S.) Song, Kathryn Spink, Bryan Spinks, Eric O. Springsted, Nicolas Standaert, Brian Stanley, Glen H. Stassen, Karel Steenbrink, Stephen J. Stein, Andrea Sterk, Gregory E. Sterling, Columba Stewart, Jacques Stewart, Robert B. Stewart, Cynthia Stokes Brown, Ken Stone, Anne Stott, Elizabeth Stuart, Monya Stubbs, Marjorie Hewitt Suchocki, David Kwang-sun Suh, Scott W. Sunquist, Keith Suter, Douglas Sweeney, Charles H. Talbert, Shawqi N. Talia, Elsa Tamez, Joseph B. Tamney, Jonathan Y. Tan, Yak-Hwee Tan, Kathryn Tanner, Feiya Tao, Elizabeth S. Tapia, Aquiline Tarimo, Claire Taylor, Mark Lewis Taylor, Bishop Abba Samuel Wolde Tekestebirhan, Eugene TeSelle, M. Thomas Thangaraj, David R. Thomas, Andrew Thornley, Scott Thumma, Marcelo Timotheo da Costa, George E. “Tink” Tinker, Ola Tjørhom, Karen Jo Torjesen, Iain R. Torrance, Fernando Torres-Londoño, Archbishop Demetrios [Trakatellis], Marit Trelstad, Christine Trevett, Phyllis Trible, Johannes Tromp, Paul Turner, Robert G. Tuttle, Archbishop Desmond Tutu, Peter Tyler, Anders Tyrberg, Justin Ukpong, Javier Ulloa, Camillus Umoh, Kristi Upson-Saia, Martina Urban, Monica Uribe, Elochukwu Eugene Uzukwu, Richard Vaggione, Gabriel Vahanian, Paul Valliere, T. J. Van Bavel, Steven Vanderputten, Peter Van der Veer, Huub Van de Sandt, Louis Van Tongeren, Luke A. Veronis, Noel Villalba, Ramón Vinke, Tim Vivian, David Voas, Elena Volkova, Katharina von Kellenbach, Elina Vuola, Timothy Wadkins, Elaine M. Wainwright, Randi Jones Walker, Dewey D. Wallace, Jerry Walls, Michael J. Walsh, Philip Walters, Janet Walton, Jonathan L. Walton, Wang Xiaochao, Patricia A. Ward, David Harrington Watt, Herold D. Weiss, Laurence L. Welborn, Sharon D. Welch, Timothy Wengert, Traci C. West, Merold Westphal, David Wetherell, Barbara Wheeler, Carolinne White, Jean-Paul Wiest, Frans Wijsen, Terry L. Wilder, Felix Wilfred, Rebecca Wilkin, Daniel H. Williams, D. Newell Williams, Michael A. Williams, Vincent L. Wimbush, Gabriele Winkler, Anders Winroth, Lauri Emílio Wirth, James A. Wiseman, Ebba Witt-Brattström, Teofil Wojciechowski, John Wolffe, Kenman L. Wong, Wong Wai Ching, Linda Woodhead, Wendy M. Wright, Rose Wu, Keith E. Yandell, Gale A. Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
- Edited by Daniel Patte, Vanderbilt University, Tennessee
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- Book:
- The Cambridge Dictionary of Christianity
- Published online:
- 05 August 2012
- Print publication:
- 20 September 2010, pp xi-xliv
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6 - Shakespeare and language
- Edited by Margreta De Grazia, University of Pennsylvania, Stanley Wells
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- The New Cambridge Companion to Shakespeare
- Published online:
- 28 January 2011
- Print publication:
- 25 March 2010, pp 77-90
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Summary
When Shakespeare and his contemporaries thought about language, they thought of speech: breathy, ephemeral sounds cast into the air. This very ethereality was taken as a proof of one of the key Renaissance ideas about language: inasmuch as it allowed humans to make evident their ability to reason, it was a divine gift, distinguishing humanity from, and elevating it above, the rest of creation. The gift of language could raise the monstrous to the level of the human, as it does Caliban, and the voluntary abandonment of language suggested a descent: as when the arrogant Ajax, swollen with pride at the prospect of single combat with Hector, loses his ability to distinguish social rank, along with his humanity, to a mumbling silence:
thersites The man's undone for ever, for if Hector break not his neck i'th'combat he'll break't himself in vainglory. He knows not me. I said, 'Good morrow, Ajax', and he replies, 'Thanks, Agamemnon'. What think you of this man that takes me for the General? He's grown a very land-fish, languageless, a monster . . . he'll answer nobody. He professes not answering. Speaking is for beggars . . . He wears his tongue in's arms.
(Troilus and Cressida , 3.3.249-60)Language is social in the Renaissance in a formal, public sense we no longer quite appreciate: there is a clear link here between Ajax’s loss of language and his mistaking the lowly Thersites for the highest of the Greek generals. His loss of language is not complete: Ajax can still manage a dismissive ‘Thanks, Agamemnon’, and he can proudly declare that speaking is for beggars – but he has lost his reason, and therefore his membership of society. He is instead its laughing-stock.
9 - Shakespeare by the Numbers: On the Linguistic Texture of the Late Plays
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- By Michael Witmore, Carnegie Mellon University, Jonathan Hope, Strathclyde University, Glasgow
- Edited by Subha Mukherji, Raphael Lyne
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- Book:
- Early Modern Tragicomedy
- Published by:
- Boydell & Brewer
- Published online:
- 12 September 2012
- Print publication:
- 15 November 2007, pp 133-153
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Summary
If I could write the beauty of your eyes And in fresh numbers number all your graces, The age to come would say ‘This poet lies: Such heavenly touches ne'er touch'd earthly faces’ … Sonnet 17
Return, forgetful Muse, and straight redeem In gentle numbers time so idly spent … Sonnet 50
SINCE THE late nineteenth century, critics have tried to group some or all of the plays Shakespeare wrote late in his career – Coriolanus, Cymbeline, The Winter's Tale, The Tempest, Pericles (co-authored with George Wilkins), Henry VIII and The Two Noble Kinsmen (both co-authored with John Fletcher) – into a single critical category, usually on the basis of thematic, dramaturgical, or linguistic similarities among members of the group. While there is no consensus on which category is most appropriate for such a grouping (designations such as ‘late plays’, ‘romances’, and ‘tragicomedies’ have been proposed), there is nevertheless a persistent feeling among Shakespeare's readers that something distinguishes several of these plays from the others and that this ‘something’ ought to be the object of critical analysis. At times the perception of such a similarity has been so strong that it has led to categorical declarations of the sort made by Gerard Eades Bentley in the mid twentieth century, who asserted that ‘no competent critic who has read carefully through the Shakespeare canon has failed to notice that there is something different [about these plays]’.
1 - Shakespeare and language: an introduction
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- By Jonathan Hope, University of Strathclyde
- Edited by Catherine M. S. Alexander, Shakespeare Institute, University of Birmingham
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- Book:
- Shakespeare and Language
- Published online:
- 15 December 2009
- Print publication:
- 30 September 2004, pp 1-17
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Summary
TONGUE
In ‘Shakespeare's talking animals’, Terence Hawkes makes a fundamental claim about language and Shakespeare's work. The plays, he says, contain ‘ideas about language’ which we neglect ‘because we are anaethetized to them by our own literacy’ (Hawkes: p. 69, this volume). Nothing could be more important in seeking to understand Early Modern ideas about language and use of language than becoming aware of our own narcotic unawareness of them. We are used to historicizing Shakespeare in every respect except his language, and, as Hawkes implies, our ignorance is matched only by our ignorance of our ignorance. But I would go further than Hawkes: as I will try to show in this introduction, there are not only ideas about language we miss; there are usages of language we misinterpret because we mistake the nature of language in the Early Modern period.
From the point of view of linguistics, and taken as a product of human cognition, language can be assumed to be the same thing in all cultures, and at all times in attested human history. However, taken as a cultural entity, within literary or cultural criticism, language changes radically between the Early Modern period and our own – as radically as other cultural entities such as government, religion, and duty change. In the first part of this introduction, I will try to make language strange, to give an idea of its different cultural status in the Early Modern period; in the second, I will examine the curious reality our culture has bestowed on ‘wordes’, and what this does to our readings of Shakespeare.
3 - Rats, bats, sparrows and dogs: biology, linguistics and the nature of Standard English
- Edited by Laura Wright, University of Cambridge
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- The Development of Standard English, 1300–1800
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- 30 September 2009
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- 14 September 2000, pp 49-56
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Summary
Introduction
Linguistic historians of English like to claim that they have the nature and origin of Standard English nailed. The standard, as any fule kno, is a non-regional, multifunctional, written variety, historically based on the educated English used within a triangle drawn with its apexes at London, Cambridge and Oxford. Even more specifically, the propagation of this ‘incipient’ standard can be linked to a particular branch of the late medieval bureaucracy: the court of Chancery.
At least, that is the standard account of the rise of Standard English in most classrooms and textbooks. In a series of articles on business texts, however, Laura Wright has now challenged the second part of this account, pointing out that the central governmental bureaucracy is not the only place where the necessary conditions for standardisation obtained; and other chapters in this book offer further evidence of a growing unease with the status of ‘Chancery Standard’ as the simple and sole source of Standard English. In this chapter, I want to question the first part of the standard account – and in particular the general theoretical basis of the hypothesis, which I take to be the evolutionary, family-tree model of language change. I claim that linguists have tended to accept what I will call the ‘single ancestor-dialect’ hypothesis (the SAD hypothesis), not because the linguistic data supports it (in fact it does the opposite), but because the family-tree metaphor demands it.
Index
- Jonathan Hope
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- The Authorship of Shakespeare's Plays
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- 17 August 2009
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- 14 July 1994, pp 186-188
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1 - Introduction
- Jonathan Hope
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- The Authorship of Shakespeare's Plays
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- 14 July 1994, pp 3-10
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Authorship studies in the early Modern period
There is a great number of Elizabethan and Jacobean plays which are either anonymous, wrongly ascribed, or thought to be the work of more than one writer. This situation is a result of the particular context in which early Modern plays were written, acted, and published – and an understanding of this context explains many of the most common authorship problems which arise (Bentley 1971, and Wells et al. 1987:1–68 provide excellent accounts of these issues in more detail than can be given here). Such an understanding can also help in explaining the shortcomings and limitations of much previous authorship work.
The single most important factor in this context is that early Modern plays were only very rarely regarded as ‘literature’ in a sense recognisable today. They are better regarded as raw material fuelling the profitable entertainment industry of early Modern London, much as film scripts are the raw material of today's film industry. Like film scripts, they were bought from writers by acting companies and, just as today, once a script was sold, the writer lost control over it.
The demand of the theatres for new material, especially in the later sixteenth and early seventeenth centuries, was insatiable, and, again as often in the film industry, this favoured collaboration as a means of producing material of the required standard in as short a time as possible. Writers might specialise in certain types of writing – opening scenes, closing scenes, comic scenes, love scenes; and unsatisfactory scripts might be touted round various authors who would add to and cut the script in the hope of producing something playable.
Frontmatter
- Jonathan Hope
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- The Authorship of Shakespeare's Plays
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- 14 July 1994, pp i-viii
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Preface
- Jonathan Hope
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- The Authorship of Shakespeare's Plays
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- 14 July 1994, pp xv-xvi
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In this book, I introduce a new method for determining the authorship of renaissance plays. This method relies on what I term socio-historical linguistic evidence. Simply put, the use of socio-historical linguistic evidence involves the determination and comparison of linguistic usages of renaissance dramatic authors: at this time the English language is changing so rapidly that it is possible to distinguish between the grammatical usages of certain writers, even though they are writing in the same place (London), and at the same time (c. 1590–1625).
The methodology I use to determine and compare linguistic usages is based on theories of language variation and change developed in the fields of socio-linguistics and socio-historical linguistics by William Labov and Suzanne Romaine (see Labov 1972, Romaine 1982). As I argue in the Introduction, the use of socio-historical linguistic evidence offers a more reliable means of resolving authorship debates surrounding Elizabethan and Jacobean plays than has previously been available.
This book is divided into three parts. The first part concerns the methodology of socio-historical linguistic evidence, and the grammatical features investigated in this particular study. It should be of particular interest to historical linguists and authorship scholars who want to understand the precise basis of the method. One of the strengths of socio-historical linguistic evidence as opposed to other current approaches to authorship, is that its basis should be readily appreciable by anyone familiar with the language or literature of the period: no statistical background is required.
PART II - APPLICATIONS
- Jonathan Hope
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- The Authorship of Shakespeare's Plays
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7 - Summary of findings
- Jonathan Hope
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- The Authorship of Shakespeare's Plays
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The use and limitations of socio-historical linguistic evidence
This book has shown that it is possible to use the varying rates of standardisation in the work of early Modern dramatists as evidence in authorship studies. Socio-historical linguistic evidence can be used to its fullest effect in cases where the investigator wishes to divide a play between two named candidates, for each of whom there exists a group of non-controversial plays suitable for use as a comparison sample. This is the case in the Shakespeare–Fletcher collaborations, where marked differences in linguistic usage between Shakespeare and Fletcher allow detailed comments on the likely authorship of individual scenes to be made. In such cases, knowledge of the minimum significant sample size, gained from tests on plays of known authorship, allows an assessment of the relative certainty of any ascription to be made. In some cases however, the linguistic usages of collaborators may be so similar as to preclude the use of this type of evidence in authorship work.
Even where specific candidates for authorship have not been agreed upon, or where there are not comparison samples available for all candidates, it is still possible for this type of evidence to make limited contributions to the authorship debates surrounding texts. Where suitable comparison samples exist for only one suggested collaborator in a play, for example, it may be possible to rule that writer out of certain portions of the play, or indicate the relative likelihood of their having written other sections.
List of tables and graphs
- Jonathan Hope
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- The Authorship of Shakespeare's Plays
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- 17 August 2009
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- 14 July 1994, pp x-xiv
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