24 results
Chapter 9 - The Automaton Detective
- from Part III - Literary Genre and Popular Fiction
- Edited by Suzy Anger, University of British Columbia, Vancouver, Thomas Vranken, University of the South Pacific
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- Victorian Automata
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- 15 March 2024
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- 28 March 2024, pp 195-207
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Summary
Early detective fiction’s anxious obsession with constructing a respectable canonical lineage ensured that texts in the genre are typically both explicit and repetitive in their intertextual referencing, and early detective fiction stories tend to link themselves back to a fairly limited set of precursor texts and tropes. This chapter argues that the automaton became one of detective fiction’s central recurring symbols in the Victorian period, a contested figure lying at the heart of a struggle over the genre and the worldview that it contained.
Antibiotic prescribing for acute respiratory infections during the coronavirus disease 2019 (COVID-19) pandemic: Patterns in a nationwide telehealth service provider
- Jeffrey A. Linder, Stephen D. Persell, Marcella A. Kelley, Mark Friedberg, Noah J. Goldstein, Tara K. Knight, Katrina M. Kaiser, Jason N. Doctor, Wendy J. Mack, Jason Tibbels, Bridget McCabe, Steve Haenchen, Daniella Meeker
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- Journal:
- Infection Control & Hospital Epidemiology , First View
- Published online by Cambridge University Press:
- 08 February 2024, pp. 1-4
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We examined 3,046,538 acute respiratory infection (ARI) encounters with 6,103 national telehealth physicians from January 2019 to October 2021. The antibiotic prescribing rates were 44% for all ARIs; 46% were antibiotic appropriate; 65% were potentially appropriate; 19% resulted from inappropriate diagnoses; and 10% were related to coronavirus disease 2019 (COVID-19) diagnosis.
4 - Chartism and Medievalism: Retrospective Radicalism in the English Nineteenth Century
- Edited by David Matthews, Michael Sanders
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- Book:
- Subaltern Medievalisms
- Published by:
- Boydell & Brewer
- Published online:
- 09 February 2021
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- 19 February 2021, pp 77-90
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IN HIS RECENT book Medievalism: A Critical History, David Matthews comments that the decade of the 1840s, notable for medievalism, was also the time of Chartism, and that ‘the Middle Ages were genuinely put forward as offering practical solutions to contemporary problems’. Some instances he cites are ‘one-nation’ arguments from people like Carlyle and Disraeli, concerned to reconnect the interests of lords and peasants, very much in favour of the former. But there were alternative medievalist positions available, including some in the context of the Robin Hood tradition as it developed after Joseph Ritson's 1795 anthology, Robin Hood: A Collection of all the Ancient Poems, Song, and Ballads, now Extant, Relative to that Celebrated English Outlaw. Ritson's reorientation of the Robin Hood tradition in his anthology allowed the development of a radical image of the Middle Ages. At the same time, a more politically conservative version of Robin Hood remained on offer. This chapter will pay particular attention to political medievalism as it featured in nineteenth-century novels and poems in the wake of Ritson's reinvention of Robin Hood, and will look in particular at the intersections between political medievalism and Chartism.
Medievalism and Radicalism
Ritson was certainly a radical – he favoured the French Revolution and liked calling his English literary colleagues ‘Citizen’: even the conservative Scott thought quite highly of Ritson, but because of his scholarship not his politics. Like Thomas Percy, Ritson saw real value in gathering the voices of the medieval past, which he regarded as an alternative to the modernity of novel-heroes and heroines, and self-aggrandising authors, whether Gothic or merely Romantic. Ritson makes a major political statement about Robin Hood, saying he ‘displayed a spirit of freedom and independence which has endeared him to the common people, whose cause he maintained’ and was especially opposed to ‘the crimes and follies of titled ruffians and sainted idiots’. Ritson's Robin Hood anthology and its introduction would remain the dominant source for the outlaw myth until J. M. Gutch's augmented edition, which appeared in 1847 with the title A Lytell Geste of Robin Hode, with other ancient & modern ballads and songs relating to this celebrated yeoman, with more historicism and some introductory criticism of Ritson.
9 - From Vidocq to the Locked Room: International Connections in Nineteenth-Century Crime Fiction
- Edited by Jesper Gulddal, University of Newcastle, New South Wales, Alistair Rolls, University of Newcastle, New South Wales, Stewart King, Monash University, Victoria
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- Book:
- Criminal Moves
- Published by:
- Liverpool University Press
- Published online:
- 09 July 2020
- Print publication:
- 26 November 2019, pp 163-178
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International Criminography
The international status of crime fiction was itself fictionalized in the suggestions by Régis Messac and Dorothy L. Sayers that the form could be traced back to the Old Testament, the classics or, more recently, Voltaire (Messac 1929: 47–99; Sayers 1972: 71–109). They were inventing a dignified antiquity for their own interests by seeing the genre as primarily detective fiction, linked to clever solutions to problems through many places and times, and solved by what Messac calls ‘princes subtils’ (89–99). However, a genuine internationality arose in collections of true-crime stories that emerged in the eighteenth century, gathering previously separate contemporary pamphlets or ballads. The French ‘Pitaval’ genre was the first: François de Pitaval, a courtroom lawyer, published several volumes of Causes célèbres et intéressantes between 1733 and 1743. In England The Newgate Calendar was a series of anonymous crime anthologies, first published in 1773, taking its name from the London jail but by no means only set in that city. Germany followed suit when the legal scholar Paul von Feuerbach published Merkwürdige Rechstfalle (1808, Noteworthy Legal Cases). America did not have an early anthology of crime stories, but many separate accounts appeared there in the same period.
Equally international were the fictional accounts of crime deployed by some Romantic-period writers as ways of imagining how an individual might dissent from social forces that seemed almost criminal. It is common to see the English William Godwin's Things as They Are (1794) – which came to be known by its sub-title Caleb Williams – and the American Charles Brockden Brown's Edgar Huntly (1799) as archetypes, both investigating a puzzling murder in the context of social critique, but these were preceded in Germany by Friedrich Schiller's Die Räuber (1781), which celebrates heroic criminality, and his unfinished Der Geisterseher (1786–87) has an aristocrat examining mysterious events. In E.T.A. Hoffman's Das Fräulein von Scuderi (1819) an elderly lady explains mysterious crimes in eighteenth-century Paris. In the same city Honoré de Balzac published two novels focusing on the deeds and qualities, both good and bad, of the pirate Argow in Le Vicaire des Ardennes (1823) and Annette et le criminel (1824), both of which were inspired by international sources, such as Godwin and the Romantics Scott and Byron (Mannironi 2015: 145–60).
4 - Doyle, Holmes and London
- from Part I - Contexts
- Edited by Janice M. Allan, University of Salford, Christopher Pittard, University of Portsmouth
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- The Cambridge Companion to Sherlock Holmes
- Published online:
- 29 April 2019
- Print publication:
- 02 May 2019, pp 42-54
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20 - Industrial Fiction
- from Part IV - The Transition to Modernity
- Edited by Geraint Evans, Swansea University, Helen Fulton, University of Bristol
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- The Cambridge History of Welsh Literature
- Published online:
- 12 April 2019
- Print publication:
- 18 April 2019, pp 388-404
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Landform modification by palaeo-ice streams in east-central Ireland
- Jasper Knight, G. McCarron Stephen, A. Marshall McCabe
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- Journal:
- Annals of Glaciology / Volume 28 / 1999
- Published online by Cambridge University Press:
- 14 September 2017, pp. 161-167
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In eastern Ireland, subglacial bedforms including drumlins and Rogen moraines were modified by headward erosion along two ice streams which had overlapping flow tracks. The ice streams, which had tidewater termini, are dated by geochronometric and morphostratigraphic methods to <15.014 C kyr BP (Castleblaney ice stream) and ~13.814C kyr BP (Armagh ice stream). Bedforms along ice-stream tracks show a morphological continuum which reflects a down-ice increase in the degree of modification by ice-stream activity (i.e. resulting in unmodified →remoulded/overprinted →crosscut →streamlined bedforms). The down-ice changes in bedform types are inferred to relate to changes in subglacial drainage and sediment-transport mechanisms. Bedform and sedimentary evidence suggest that discrete subglacial meltwater channels which developed up- ice changed in a down-ice direction to unchannelized flows which deepened towards the ice margin. Meltwater release from subglacial cavities, and produced by strain heating at sheared ice-stream margins, probably helped support ice-stream flow, which ended as the volume of subglacial meltwater discharge decreased. Dated millennial-scale cycles of ice activity may be related to instability at tidewater margins, followed by complex thermal and hydraulic responses within the ice mass.
OBSIDIAN SUB-SOURCES AT THE ZARAGOZA-OYAMELES QUARRY IN PUEBLA, MEXICO: SIMILARITIES WITH ALTOTONGA AND THEIR DISTRIBUTION THROUGHOUT MESOAMERICA
- Charles L. F. Knight, Heng Hu, Michael D. Glascock, Stephen A. Nelson
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- Journal:
- Latin American Antiquity / Volume 28 / Issue 1 / March 2017
- Published online by Cambridge University Press:
- 07 March 2017, pp. 46-65
- Print publication:
- March 2017
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We present data produced through archaeological and geological survey, as well as geochemical analysis of the Zaragoza-Oyameles obsidian source area located on the northern and western flanks of the Los Humeros Caldera in eastern Puebla, Mexico. One result of the intensive archaeological surface survey of this obsidian source area was the identification of 117 obsidian flow-band exposures. Geologic samples from 40 of these were submitted for instrumental neutron activation analysis. Eighty-five projectile points collected from the surface were characterized using portable X-ray fluorescence. These analyses identified three sub-sources: Z-O1, Potreros Caldera, and Gomez Sur. The Gomez Sur sub-source appears chemically similar to the previously identified Altotonga source, located 25 km to the northeast. Results of the geological survey help elucidate the relationship of Altotonga obsidian with the Zaragoza-Oyameles source area. The data from the three sub-sources are compared to all consumer site data attributed to the Zaragoza-Oyameles source in the Missouri University Research Reactor database. Results indicate that the majority of consumer samples throughout Mesoamerica match the Z-O1 sub-source, while 4 percent match the Potreros Caldera sub-source. This information, combined with the Gomez Sur data, is discussed in terms of economic relations with the regional center of Cantona. Obsidian procurement and distribution may have been more nuanced than previously modeled. We suggest that a number of potentially independent communities in addition to Cantona may have been involved in distributing this obsidian throughout Mesoamerica.
10 - The Postcolonial Crime Novel
- Edited by Ato Quayson, University of Toronto
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- Book:
- The Cambridge Companion to the Postcolonial Novel
- Published online:
- 05 December 2015
- Print publication:
- 01 December 2015, pp 166-187
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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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11 - Classicizing Christianity in Chaucer’s Dream Poems: the Book of the Duchess, Book of Fame and Parliament of Fowls
- Edited by Helen Phillips
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- Book:
- Chaucer and Religion
- Published by:
- Boydell & Brewer
- Published online:
- 01 March 2023
- Print publication:
- 16 September 2010, pp 143-155
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Summary
The Book of the Duchess
To ask whether Chaucer's dream visions operate within a consciously and hortatively Christian context has rarely been seen as a credible procedure. Though Robertson and Huppé offered an energetic exegesis of the Book of the Duchess and the Parliament of Fowls and Koonce applied the Princeton approach to the Book of Fame, the domain of the poems has generally been seen as insistently secular. The earliest of the poems, so far always agreed to be the Book of the Duchess, initiates such a position with some determination, startlingly excluding any thoughts of afterlife for the dead duchess and finding immortality only in her literary memorial, an especially curious procedure since it seems that the underlying purpose of the text is to rationalize the duke's selection of a new wife. To feel assured that his last duchess is in heaven might have been an easy path to rationalizing a successor.
This chapter will argue that while these three dream visions are effectively secular, they recurrently raise the possibility of a spiritual domain, but where Dante and Petrarch, Chaucer's contemporary thematic influences (Boccaccio is a textual influence), transcend the secular with the spiritual, especially love, Chaucer consistently juxtaposes the secular and the spiritual, the classical and the Christian in complex tension, where the classical and the secular is the essential domain of the poetry, but is put under question by recurrent reference to the implicit, even off-stage, voice of Christianity.
Though it is true that the Book of the Duchess is firmly, even obsessively, secular, it should be recalled more than is usual among Chaucerians that the source of the secular amatory vision, Le Roman de la Rose, is also a major source of Christian learning and devotion, at least as it is massively completed by Jean de Meun, and Chaucer must have been well aware from there as well as from his reading in Dante and Petrarch that secular devotion can readily be the path to an even more transcendent form of love. But the Book of the Duchess seems to set its face firmly against such heavenly recidivism.
4 - ‘Toward the Fen’: Church and Churl in Chaucer’s Fabliaux
- Edited by Helen Phillips
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- Book:
- Chaucer and Religion
- Published by:
- Boydell & Brewer
- Published online:
- 01 March 2023
- Print publication:
- 16 September 2010, pp 41-51
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Summary
Church versus Churls
The ironic dynamic of Chaucer's fabliaux is usually taken as anti-romance. The Miller is held to ‘quite’ the Knight's Tale (I 3127) by parodying his noble love-conflict, with a shared line to pin the joke (2779 and 3204), then the Reeve reverses the reversal on behalf of his trade; anti-romance can also be heard in the parodic voices and behaviour of Damian in the Merchant's Tale and Chauntecleer in the Nun's Priest's Tale. Yet the French fabliaux realized not ironic romance but louche battles between clerics and churls, and there is an insistent religious referentiality in the Oxbridge diptych, as indeed in the tales of Shipman, Friar, Summoner and Pardoner. It is a Monk whom the Miller displaces as a tale-teller, not a Knight (3118–19); Chaucer, like his French predecessors, may well be directing his humorous venom at the presumptions of the lower orders in both Church and town, with anti-romance vulgarity as only part of their general comic unacceptability.
Church on Churls
Inappropriate code-switching from Church to world is a recurrent motif in the presentation of the religious orders in the General Prologue. Loaded words like ‘curteisie’ and ‘countrefete’ (I 132, 139) position the Prioress as quasi-secular, and the language grows more cutting: neither ‘conscience’ nor ‘Amor’ have in her purview anything to do with God (142, 162). The rhymes in the Monk's description imply the disabling secularity of the man the Host will later address as ‘My lord the Monk’ (VII 1924): ‘maistrie/venerie’ (165–6), ‘able/stable’ (167–8), ‘cloystre/ oystre’ (181–2), ‘enoynt/poynt’ (199–200), and ‘estaat/prelaat‘(203–4 – it is his horse's ‘estaat’, but the word implies the lordly property that so much interests the rider). Both language and rhyme proclaim the Friar a traditional sexual and financial predator with ‘daliaunce and fair language’ (211) and spectacular sequences, almost laisses, of romance rhymes at 218–24 and 244–51. Brilliant as they are, these satiric verbal manoeuvrings are not pursued in these characters’ tales, which pose more elusive questions about the use and misuse of church discourse in saint's legend, tragedy and devil-fable.
2 - Celticity and Christianity in Medieval Romance
- Edited by Rosalind Field, Phillipa Hardman, Michelle Sweeney
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- Book:
- Christianity and Romance in Medieval England
- Published by:
- Boydell & Brewer
- Published online:
- 02 March 2023
- Print publication:
- 15 April 2010, pp 26-44
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Summary
Celtic versus Christian
It is well known that medieval romance is rich in both Celtic and Christian elements, but it is common to assume they are separate, even opposed. Yet while some texts follow a Celtic inspiration and others pursue a Christian path, in some of the finest achievements of romance, from Robert de Boron's Merlin-focused Grail story to Malory's presentation of Arthur's end, the Celtic and the Christian are potently condensed.
The notional hostility of Celticity and Christianity in romance derives in part from ignorance, sometimes amounting to prejudice. Remarkably few analyses of Chrétien refer to the Welsh Mabinogion stories, and Guyer's summary is cumulatively dismissive: ‘Such faint Celtic influences as may have existed are so elusive, so difficult to establish or explain as to be negligible.’ Equally, however, the separation of Celtic and Christian origins can have a secularist origin, as in the determined efforts of R. S. Loomis to displace the religious thrust of the Grail stories in favour of Celtic mythic origins, a move taken to international lengths, and extremes, by Jessie L. Weston. This approach was criticized by J. D. Bruce, who offered a strongly Christian reading of the Grail story, but the idea of mythic substructures proved memorable, being in the spirit of modernism as well as scholarly excitement: Loomis's speculations included a prolepsis of Lévi-Straussian structuralism as well as seductive references to Irish figures far from romance like Curoi the rogue shape-shifter and Scathach the woman warrior.
But while the modernists as artists can be forgiven their distortions, Loomis's quasi-scholarly Celticism contained debilitating errors. Speaking from a transatlantic distance, he (like some modern authors of historical fiction) saw the Irish and Welsh traditions as an interchangeable pool of materials: Curoi can stride from Old Irish into the north British ambience of Yvain with no difficulties; Lancelot shares origins with Irish Lug (the alleged Celtic Apollo), Welsh Llwch (not necessarily related) as well as the French or perhaps Breton King Lac. But Welsh and Irish traditions had long been separate, especially linguistically, and the Franco-Normans had no direct contact with secular Irish story: consequently, if elements of medieval romance do not show links to Welsh or Breton tradition they can hardly be deemed Celtic at all.
6 - The Arthur of the sixteenth to nineteenth centuries
- from Part I - Evolution
- Edited by Elizabeth Archibald, University of Bristol, Ad Putter, University of Bristol
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- Book:
- The Cambridge Companion to the Arthurian Legend
- Published online:
- 28 March 2010
- Print publication:
- 10 September 2009, pp 103-119
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Summary
Great writers tend to impress and also debilitate their successors. Malory exemplifies this, with six separate editions of Le Morte Darthur by 1634 and no innovative treatment of Arthur and his world in the same period. In his case - as probably also with others like Chaucer, Shakespeare and Scott - there were more reasons for the diminuendo than mere anxiety of influence. One was focused on history. British scholars, notably the Scots, were increasingly doubtful of Geoffrey of Monmouth's account of Arthur: after Polydore Vergil's clear-headed dismissal of any historical standing in 1534, only committed Arthur loyalists like John Leland, writing in Latin in 1544 (translated into English in 1582), accepted the full story, and their numbers steadily reduced, though the position survived into the eighteenth century. Another source of Arthurian doubt was the increasing value given to classical learning over medieval tradition: Aeneas had become a more credible nation-builder than Arthur. At the same time the new style of Tudor administrative organisation (like Caxton's Le Morte Darthur stemming from 1485), with a standing army, ministers of state and the development of something like a civil service, made the idea of a king ruling through his great warriors with advice from a magical grand vizier seem both improbable and irrelevant. Protestantism itself recoiled from Arthur's Catholic ambience, especially the Grail story, and Puritan moralism found the cheerful violence and sexual awareness of romance unappealing - Roger Ascham famously summed Malory up in 1570 as 'open mans slaughter and bold bawdrye'.
Existence of Unbiased Estimators of the Black/Scholes Option Price, Other Derivatives, and Hedge Ratios
- John L Knight, Stephen E. Satchell
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- Journal:
- Econometric Theory / Volume 13 / Issue 6 / December 1997
- Published online by Cambridge University Press:
- 11 February 2009, pp. 791-807
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In this paper, we reexamine the question of statistical bias in the classic Black/Scholes option price where randomness is due to the use of the historical variance. We show that the only unbiased estimated option is an at the money option.
The Cumulant Generating Function Estimation Method: Implementation and Asymptotic Efficiency
- John L. Knight, Stephen E. Satchell
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- Journal:
- Econometric Theory / Volume 13 / Issue 2 / April 1997
- Published online by Cambridge University Press:
- 11 February 2009, pp. 170-184
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This paper deals with the use of the empirical cumulant generating function to consistently estimate the parameters of a distribution from data that are independent and identically distributed (i.i.d.). The technique is particularly suited to situations where the density function is unknown or unbounded in parameter space. We prove asymptotic equivalence of our technique to that of the empirical characteristic function and outline a six-step procedure for its implementation. Extensions of the approach to non-i.i.d. situations are considered along with a discussion of suitable applications and a worked example.
An Approximation to GARCH
- John L. Knight, Stephen E. Satchel
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- Journal:
- Econometric Theory / Volume 11 / Issue 1 / February 1995
- Published online by Cambridge University Press:
- 11 February 2009, pp. 191-192
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Developing sustainable collaboration: learning from theory and practice
- Teri Knight, Judith Smith, Stephen Cropper
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- Journal:
- Primary Health Care Research & Development / Volume 2 / Issue 3 / July 2001
- Published online by Cambridge University Press:
- 31 October 2006, pp. 139-148
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The government's health policy now demands effective collaboration between organizations, between commissioners and providers of care and between health and local authorities, the voluntary sector and the public. Making collaboration work at operational and strategic levels is a significant management challenge. This paper draws on experience and observation of two forms of strategic collaborative venture that have been established with the ultimate purpose of improving the public's health. The first concerned itself with mechanisms for commissioning health and social care services on a locality basis, while the other venture was concerned with the promotion of physical activity across a health authority district. Using a framework which identifies the forms of value attributable to collaborative working, the analysis evaluates the processes of development of the two initiatives and identifies some key lessons for developing sustainable collaborative ventures. The framework used is proposed as being appropriate for the formative evaluation of future collaborative initiatives.
5 - The golden age
- Edited by Martin Priestman, University of Surrey
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- Book:
- The Cambridge Companion to Crime Fiction
- Published online:
- 28 May 2006
- Print publication:
- 06 November 2003, pp 77-94
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Summary
The golden age of crime fiction is usually taken as the period between the two world wars, though some start it earlier, with the publication of E. C. Bentley's Trent's Last Case in 1913, and the first critic to use the term dated it from 1918 to 1930, followed by 'the Moderns'; major texts in 'golden age' style were also produced after 1940, both by new writers and by figures from the earlier period. The term 'golden age' has been criticised as being unduly homogenous and seen as inappropriately 'replete with romantic associations': in fact the types of crime fiction produced in this period were far from uniform - the psychothriller and the procedural began, there was a wide range of practice in the mystery and the stories do regularly represent types of social and personal unease which would contradict a notion of an idyllic 'golden' period.
However, while recognising variety in the period, as well as the relative uncertainty of its borders, it is still possible to identify a coherent set of practices which were shared, to a greater or lesser extent, by most of the writers then at work. Elements that were randomly present in earlier crime fiction suddenly become a norm, like multiple suspects, and some earlier tendencies largely disappear, notably the use of coincidence and historical explanations. A genre of crime fiction, best named for its central mechanism as the clue-puzzle and epitomised by Agatha Christie and ‘S. S. Van Dine’, clearly forms a recognisable entity by the mid-1920s.
DOES THE CONCEPT OF OBJECT-AFFECT FUSION REFINE COGNITIVE-BEHAVIOURAL THEORIES OF HOARDING?
- Stephen Kellett, Kaaren Knight
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- Journal:
- Behavioural and Cognitive Psychotherapy / Volume 31 / Issue 4 / October 2003
- Published online by Cambridge University Press:
- 02 February 2004, pp. 457-461
- Print publication:
- October 2003
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Hoarding has been recognized as a frequent sub-component of obsessive-compulsive disorder that can occur at lesser frequency in a primary form. The theoretical and empirical literature on hoarding is still in its infancy. The current paper attempts to expand and refine CBT theory via the identification of the specific cognitive distortion of object-affect fusion (OAF) relating to problematic emotional attachment to objects. The concept of OAF is defined and then related to sentimental saving. Two case examples are detailed in which OAF represented the main focus of the CBT intervention. The case examples illustrate how OAF recognition can be integrated into and supplement existing CBT approaches to hoarding. Future theoretical and empirical developmental tasks in relation to OAF are identified and discussed.