Beachy Head Research Articles

Beachy Head, Ancient Barrows and the ‘Alembic’ of Romantic Archaeological Poetics

This article identifies for the first time the ‘lone antiquary’, which Charlotte Smith refers to in her poem Beachy Head, as Rev. James Douglas, one of the most significant and interesting early archaeological writers. My contention is that not only do Douglas’s specific findings and theories about stratigraphy, fossilisation and the culture of Britain’s earliest inhabitants contribute to the historical, antiquarian background to Smith’s poem but also that the transformative nature of his poetics informs her work. In particular, both Douglas and Smith are concerned with the relationships between facts and fancy, rubble and aura, scepticism and belief. I argue that the barrows, which Douglas excavated and upon which Smith mused, were an important site for the development of the Romantic archaeological imagination and, as such, represent a suggestive contribution to the new Material Romanticism critical turn.

CHARLOTTE SMITH’S “BEACHY HEAD” AS A SPACE OF CONTRASTS

This study concerns itself with the analysis of “Beachy Head” by Smith from the respect of prevalent contradicting forces such as Nature and culture or the historical time and the mythical past in the poem. The long narrative structure of the poem enables to present different voices reflecting the poet’s ideological stance towards the contemporary issues in her time and exemplifies the excluding attitude of the ones representing the Neoclassical values. The study, in this regard, tries to clarify the functionality of the contrasts in the poem and their influence on the possible meanings of the text. The tension and the Sublime in the poem appear in the way that the speaker observes Nature and her surroundings in order to grasp the circulations in the natural world and her private sphere. Accordingly, the concepts of time and place lead to alternative spatial and temporal experiences for the poetic persona. Then, the text also turns into a space in which the persona confronts not only the bloody history of humanity but also the consoling past experiences she has lost by integrating into the cultural world. The study concludes that “Beachy Head” goes beyond its geographical and natural qualities by offering both a corporeal journey and visionary progress for the poetic persona through certain dichotomies constructed and deconstructed throughout the text.

Interruption and Stasis in Charlotte Smith's Beachy Head

Abstract: This article suggests that Charlotte Smith's Beachy Head (1807) operates as a rejoinder to a larger medico-poetic discourse during the Romantic period, one that claimed poetry could move and thereby return its readers to health. Romantic-era poets and physicians regularly claimed that poetry can stimulate measured bodily motions, but the form and contents of Smith's poem are instead productive of interruption and stasis. Ruminating on the causes of rather than the cures for immobility, Smith's Beachy Head ultimately severs connections between poetry and healthfulness in favor of providing a record of chronic pain—of lives held in suspense.

Tracing the Earth: Narratives of Personal and Geological History in Charlotte Smith's Beachy Head

This essay explores how Charlotte Smith transports lines and themes from her Elegiac Sonnets (1784–1800) to transform her narrative of personal history in her final poem, Beachy Head (1807). While her personal history is inextricably connected to her relationship with the land in both works, Beachy Head offers a version of her history that is embedded in a much wider context of the geological history of the landscape. This prompts a reflection on the telling and reading of histories that complicates and recasts Smith's representation of both herself and the land, as she recognizes both to be dynamic.

Interfusing Living and Nonliving in Charlotte Smith’s “Beachy Head”

“Beachy Head” invites readers to attend to the ideological and cultural conflicts among customary modes of history writing, just as it invites them to recognize the customary aesthetic categories of the picturesque and the sublime. But here again, as in the case of the picturesque, shifting one’s attention from these potentially “flattening” mappings of time on the pages of history to the poem’s rendering of the earth as spatially and temporally “deep” permits an alternative reading. In the terms of the poem, we are turning our attention from the epitaph to the grave. Even as the poem invokes varieties of formal human histories, it insistently arrives at deaths, human and otherwise, graves and bones marked and unmarked, linked but not always legibly traceable to those discursive histories. The fifty or so lines immediately following the fossil passage provide a particularly rich trove of such graves and bones: the “remains of men” resting “deep beneath” the “turfy knoll” on which a “herdsman of the hill … idly recline[s]” (399–402, quotations out of order); the “half-obliterated mounds / And half fill’d trenches” in which the hopeful antiquarian imagines Roman fortifications; the narrator’s piling up of the bodies of “the pirate Dane,” “the savage native,” and “the centurion,” “All, with the lapse of Time … passed away” and interred in the earth (426, 430, 432, 434); and the “huge unwieldy Elephant” whose “enormous bones” are later taken by “wondering hinds” as evidence that giant men once walked the earth (412, 417). With allusions pointing in every direction, with historical and scientific speculations competing with landscape description and lyrical recollection, the heterogeneous matter of “Beachy Head” nonetheless can be understood as threaded through by conceptions of a deep earth, of deep time, and of continual exchanges of energy and form through these containing spatial-temporal structures. Living becomes not-living and then living again, animals now petrified are taken for (very large) humans, and the piled-up earth is riddled with the bodies of people becoming earth.

Science, footnotes and the margins of poetry in Percy B. Shelley’s Queen Mab and Charlotte Smith’s Beachy Head

ABSTRACTThis essay is concerned with the functions of the scientific and philosophical prose notes in Percy B. Shelley’s Queen Mab and Charlotte Smith’s Beachy Head. It argues that, in both cases, the use of notes is a way of connecting the verse text to what seems to be outside of, but might well be woven into, it. Thus, by means of these annotations, the work of poetry involves itself in a field under construction, the boundaries of which, rather than being predefined, are subject to continual extension and reconsideration. The annotated poem, on this reading, gives form to a world in which poetic and scientific practices are not confined to mutually exclusive spheres, such as text and context, but take place alongside each other and evolve together, from within the same web of works. Explicating some of the ontological premises that inform, and are formed by, Shelley’s and Smith’s texts, this essay seeks to elucidate the composition of that web. The writings of Queen Mab and Beachy Head, it shows, participate in a gathering of generative activities − poetic, scientific and otherwise − that tend to prolong themselves towards, and inscribe themselves into, each other.

The Norman's Bay Shipwreck, East Sussex, UK: a possible 17th‐century Dutch ship from the Battle of Beachy Head

This report explores a hypothesis that the Norman's Bay shipwreck is the Wapen van Utrecht, a 64-gun Dutch ship lost during the Battle of Beachy Head in 1690. The shipwreck, found off the Sussex coast, was designated by the Protection of Wrecks Act (1973) in 2006, when it was speculated that the wreck was the English 70-gun ship Resolution, lost in the Great Storm of 1703. Dendrochronology dates the vessel after the middle of the 17th century AD, however, with timbers from Germany or the Low Countries. Initiatives by the Nautical Archaeology Society to bring the protected wreck to a wide public are also discussed. 英国东萨塞克斯郡诺曼湾沉船:一艘可能参与比奇角海战的17世纪荷舰 本文着重探讨诺曼湾沉船即为乌德勒支武器号 (Wapen van Utrecht) 的这一假说。乌德勒支武器号是一艘拥有64门火炮的荷兰战舰, 1690年在比奇角海战中沉没。该沉船发现于萨塞克斯海岸。2006年, 由于此船被认为是在1703年大风暴中覆没的带有70门火炮的英船决心号 (Resolution) 而被纳入《沉船保护法案 (1973) 》。树木年轮测量将此船年代定为公元17世纪后半叶, 而且其船材来自于德国或其他低地国家。本文还会就海洋考古学会提出的将受保护的沉船介绍给更广泛的大众的倡议加以讨论。 本文著重探討諾曼灣沈船即爲烏德勒支武器號 (Wapen van Utrecht) 的這一假說。烏德勒支武器號是一艘擁有64門火炮的荷蘭戰艦, 1690年在比奇角海戰中沉沒。該沉船發現于薩塞克斯海岸。2006年, 由于此船被認爲是在1703年大風暴中覆沒的帶有70門火炮的英船決心號 (Resolution) 而被納入《沉船保護法案 (1973) 》。樹木年輪測量將此船年代定爲公元17世紀後半葉, 而且其船材來自于德國或其他低地國家。本文還會就海洋考古學會提出的將受保護的沉船介紹給更廣泛的大衆的倡議加以討論。 El Pecio de la Bahía de Norman, Sussex Oriental, Reino Unido: un posible barco holandés del siglo XVII de la Batalla de Beachy Head Este reporte explora la hipótesis de que el pecio de la Bahía de Norman es el Wapen van Utrecht, un buque holandés de 64 cañones perdido durante la Batalla de Beachy Head en 1690. El pecio, hallado en la costa de Sussex, fue designado por el ‘Protection of Wrecks Act (1973)’ en 2006, cuándo se especulaba que era el Resolution, buque inglés de 70 cañones que se perdió en la Gran Tormenta de 1703. Los estudios dendrocronológicos datan el pecio después de mediados del siglo XVII d.C., no obstante, sus maderas proceden de Alemania y los Países Bajos. También se discute la iniciativa de la Nautical Archaeology Society de llevar el pecio protegido a un público amplio. Traducción: Ricardo Borrero

Late Holocene Poetics: Genre and Geohistory in Beachy Head

ABSTRACT Might we read the changing work of literary genre as a signature of the Holocene–Anthropocene transition, a symbolic parallel to the lithostratigraphic markers sought by geologists? I argue that the rise and fall of rural descriptive poetry in Britain may index an early but formative phase of this epochal transition. Charlotte Smith’s “Beachy Head” (1807) is my example of a late Holocene poetics closely attuned to the planetary forces energizing capitalism as a world ecology but largely unable to represent, except in the negative, the emergence of fossil capitalism. Internalized in the form of “Beachy Head,” I suggest, is a pre-thermodynamic conception of the intertwinement of planetary and socio-historical forces, a model of energy exchange that takes as its paradigmatic object not the steam engine but the climate system, and which takes as its source of input not the stock of subterranean coal but the flow of solar radiance. By recovering this late Holocene imaginary, we gain a different vantage on the Anthropocene, as an epoch in which climatological exigency has been not transcended but intensified by the fossil energy regime.

Suicide by jumping at beachy head in East Sussex – The impact of a suicide prevention patrol scheme

IntroductionSuicide is a major public health issue. It is the leading cause of death among younger adults in the UK. Suicide by jumping is an uncommon method. About 23 people die each year by jumping from the cliffs at beachy head, Sussex. The beachy head chaplaincy established a suicide-prevention patrol at beachy head in August 2004. To date there have been no studies evaluating the impact of a suicide patrol as a prevention strategy. This study aimed to assess the impact of this suicide-prevention patrol.MethodsData from local and national official statistics was gathered to examine the overall suicide numbers and rates of suicide by jumping vs. other methods. This included an in-depth scrutiny of coroners’ data and reports from the beachy head chaplaincy.A qualitative, phenomenological approach using in-depth interviews was used to evaluate the “lived experiences” of members of the suicide-prevention patrol.ResultsThe statistics reveal unexpected and at times, conflicting, results which will be offered for discussion.The thematic analysis of the interviews reveals insights into the motivations for volunteering; how a faith-based patrol works; the physical and psycho-social impact of the work; volunteers’ stories; the centrality of God within their work and motivation.For copyright reasons full details of the analyses cannot be made available before the conference.DiscussionWe welcome an interactive discussion of the results.Disclosure of interestThe authors have not supplied their declaration of competing interest.

“A Future to Look Forward to?”: Extinction and Evolution in Jane Austen's Persuasion

Charles Darwin's profound interest in Austen's novels—Persuasion (1817) in particular—is well known. This article offers a new interpretation of Persuasion as a pre-Darwinian novel, concerned with the processes of natural selection and evolution in human societies. Many of the discoveries and theories that Darwin drew on in developing his work on evolution came about in the late eighteenth century. We are accustomed to reading Victorian literature in a Darwinian context, but research into the impact of geological and paleontological discoveries on the literature of the romantic period is scant, despite explicit references in, for example, Shelley's Prometheus Unbound (1820) and Charlotte Smith's Beachy Head (1807). In Persuasion, Austen offers examples of successful evolution, and also of the failure of some individuals to survive in their environments. Sir Walter Elliot, Austen writes, “had not had principle or sense enough to maintain himself in the situation in which Providence had placed him.” The romantics' newly formed understanding of the process of extinction, led by a growth in the study of fossils, forms the background to this novel in which Austen radically questions the desirability of the very existence of the British landowning classes, concluding: “They were gone who deserved not to stay.” Austen's ultimate ambivalence about the survival of her culture's values and even its members takes on new significance when read in light of novels that import romantic tropes of exile in the face of ecological cataclysm.

Charlotte Smith's Beachy Head and the Lyric Mode

This article depicts a multimodal approach to teaching Charlotte Smith's Beachy Head that has proved successful in a sophomore-level survey. As a greater romantic lyric fragment of twenty-one blank-verse paragraphs with sixty-four footnotes and two embedded rhyming poems by the “stranger” poet, Beachy Head poses many difficulties for students. Ruwe identifies student difficulties with the poem's form and content and suggests practical methods for overcoming these barriers. She provides a reading guide to the poem's various sections and suggests ways to help students experience the poem's auditory, visual, gestural, spatial, and linguistic design through a process akin to reverse engineering. The article includes student responses, handouts, and links to useful websites for a multimodal approach.

Pigeon cave: a legendary place of suicide in Lebanon.

Beirut is a geological platform 6 to 7 km long and 3 to 4 km wide. The seaside is rocky at the north and the west and forms the base of a cliff. Two rocks of great beauty loom up from the water to the west. Residents of Beirut often swim or boat over to them. We call them “Raouche,” a phonetic Arabic transformation of the French word “rocher,” meaning “rock.”Pigeons take refuge along the rock walls and in a cave, “Pigeon Cave.” Dives from the top are rare and dangerous. The 52-meter-high cliff on the shore overlooking the rocks is also known as a prime destination for desperate, suicidal people, who come to jump from it. It is simple to step over themetal railing and then go through the reeds to find oneself on the edge. It is the most common place for attempting suicide in Lebanon. Lebanese people often evoke the idea of suicide in reference to the Pigeon Cave. Clinicians commonly are told by their suicidally depressed patients, “The best way to put an end to this is to go to Raouche.” Sadly, it is thus as iconic in Lebanon as are Beachy Head on the southern coast of England and the Golden Gate Bridge in San Francisco. No active efforts to prevent suicides exist at the Pigeon Cave, unlike similar locales in other countries.

Joseph Conrad: Prefaces by Joseph Conrad

Reviewed by: Joseph Conrad: Prefaces by Joseph Conrad G.W. Stephen Brodsky (bio) Joseph Conrad. Joseph Conrad: Prefaces. Edited and Foreword by Owen Knowles. Toronto: Fire & Ash Publishers, 2016. 214 pp. ISBN: 9980994009814. THE BOOK At first sight and touch, the physical fact of the 2016 edition of Edward Garnett's 1937 collection of Conrad's prefaces, edited and with a foreword by Owen Knowles, is a bibliophile's joy. Its black hardcover binding, rich and velvety to the hand, features on its front either a brigantine or a barque. Two masts, or two with a short gaff-rigged third, we cannot say.1 If the latter, the image may evoke intimations of the trim barque Otago, Conrad's first and last command. Through a sea mist under a pale gibbous moon the vessel close-hauled with topsails furled, rides, as it were, "stormie seas," symbolic, perhaps, of Conrad's weathering his inner and outer lives before his "sleep after toyle"2 in 1924, the publication year of his collected works. On the back, an image of chalk cliffs, with no Beachy Head lighthouse apparent, yet reminiscent of Conrad's many departures and landfalls in his ships, life, and art. At the not unreasonable price of US $21.00 advertised online at time of this review, this elegant volume will add aesthetic lustre to the Conradian's book shelf. THE EDITOR We have eminent Conradian Owen Knowles, the editor of this version, to thank for this revivifying of the 1937 classic, Conrad's Prefaces to His Works, edited by Edward Garnett, Conrad's loyal friend, mentor, and benefactor. Professor Knowles's Conradian publishing history, as impressive as it is enviable, proves him exceptionally qualified for this task: research fellow at the University of Hull, author, editor, and co-editor of some fifteen books of literary scholarship, including editorship and co-editorship respectively of the Cambridge Edition's Youth, Heart of Darkness, and The End of the Tether, and The Shadow-Line,3 he is also advisory editor for The Conradian (UK). OUR REVIEW, ITS SCOPE AND LIMITS This review, then, is a consideration, not of Conrad's prefaces themselves, but of their presentation by Owen Knowles as editor of the 2016 version of Edward Garnett's original 1937 Dent edition, imputedly a revisiting but in fact a major revision. To this end, we intend to locate this 2016 version in its bibliographic [End Page 257] comparative context. Conrad's prefaces speak for themselves, and over the years many others have spoken for them, including Edward Garnett in his essay contained in the 1937, 1971, and Knowles's 2016 versions, and in his Foreword. So we shall have nothing to say about the prefaces' content. CONRAD'S PREFACES AND IMMORTALITY Twelve years after Conrad's death, Aimé Félix Tschiffely (1895–1954), adventurer and author, selected and wrote an introduction to Rodeo, a collection of stories by Conrad's fellow writer Robert Bontine Cunninghame Graham (1852–1936). After his introduction with its quotations of Conrad's admiring comments on his dear friend "Don Roberto," Tschiffely includes a brief prefatory note by Graham who died the year Rodeo was published (and the year before Conrad's Prefaces appeared). Titled "To the Incurious Reader," Graham's few words conclude dismissively of the passage itself, "That, oh, Incurious Reader, is all I have to say to you, by way of preface, foreword, prologue—or anything you choose" (Tschiffely xx). That note is not about the stories Tschiffely has chosen. It is a preface about prefaces, an essay explaining why prefaces no longer were, and ought not to be, written. Arch and macho as the argument is, it tells us "that which oft was thought, but ne'er so well expressed": Few writers nowadays [. . .] write prefaces; your best-seller, never. Possibly they do so wisely, for your preface is a snare. It breaks down all the barriers authorship raises between the writer and the man who reads the book. As long as writers strut upon the stage with the cothurnus4 and the mask impersonality affords, they hide behind their characters [. . .]. But in your preface your high-flying bird comes down to earth [. . .]. Then, he...

Conjectures on Beachy Head: Charlotte Smith’s Geological Poetics and the Ground of the Present

How does one understand present experience as part of a larger historical totality? As she represents the contested ground of the Channel coast during the Revolutionary and Napoleonic wars, that question underlies Charlotte Smith’s complex engagement with contemporary geology, then an emerging science for discerning the system of the globe’s operations – their absent but “actual causes,” as James Hutton put it, in their “perceived effects.” In the ground’s mixture of natural and human history, local with global matter, and past processes in their present traces, Smith also finds inspiration for a poetics that can hold together, without resolving, the particular phenomena of individual experience, the forces that structure and shape them from a distance, and the gap in between. The resulting heterogeneous verse practice differs pointedly from the better-known, contemporary ideal of organic form.

Timothy Saunders, Charles Martindale, Ralph Pite, and Mathilde Skoie Romans and RomanticsRomans and Romantics. Edited by Timothy Saunders, Charles Martindale, Ralph Pite, and Mathilde Skoie. Classical Presences. Oxford: Oxford University Press, 2012. Pp. vi+431.

<i>Timothy Saunders, Charles Martindale, Ralph Pite,</i> and <i>Mathilde Skoie</i> Romans and Romantics<i>Romans and Romantics</i>. Edited by Timothy Saunders, Charles Martindale, Ralph Pite, and Mathilde Skoie. Classical Presences. Oxford: Oxford University Press, 2012. Pp. vi+431.

Charlotte Smith's Beachy Head: Science and the Dual Affliction of Minute Sympathy

Greatly illustrative of Adam Smith’s statement in his Theory of Moral Sentiments that the sympathizer must “adopt the whole case of his companion with all its minutest incidents; and strive to render as perfect as possible that imaginary change of situation upon which his sympathy is founded”––while also complementing notions of feeling from the work of Anna Barbauld––Beachy Head and its minutiae “renders” an utterly sympathetic argument, one void of gender conventions, that comments on nature's inhuman and human condition.

“Saved by the historic page”: Charlotte Smith’s Arun River Sonnets

THE IMPORTANCE OF HISTORY IN CHARLOTTE SMITH'S POETRY HAS ATTRACTED much attention in recent years. With discussions usually focusing on the two mature works, The Emigrants (1793) and Beachy Head (1807), a portrait has emerged of Smith as a kind of author-historian with diverse interests in natural and political histories. Scholars of her work have yet to note the topic's significance in her earliest poetry, and no sustained analysis of its initial appearance as a subject of serious interest for Smith has been offered hitherto. Although over the course of her career she would gradually depart from the restrictive sonnet form for the freedom of blank verse in order to explore ideas of greater complexity and depth, her earliest sonnets contain the genesis of her unique melding of local history and emotional inflection that she helped popularize in loco-descriptive verse. Of primary interest are her sonnets to the Arun River. First published in the third edition of Elegiac Sonnets in 1786, they memorialize locally-born poets William Collins, William Hayley, and Thomas Otway, and demonstrate that Smith was interested both in the history of her Surrey homeland and in the poet's role as chronicler of local legends. In the absence of any existing study into how Smith presents the issue of history in these poems, a brief overview of them is organized thematically at the outset of this essay and is followed by a discussion of their engagement with various poetic traditions. In the Arun River sonnets, Smith celebrates the literary history of her surroundings at Woolbeding House, an ancient stone-built home in Sussex, near Midhurst, where she resided with her family for roughly two years. (1) She and her children moved to Woolbeding in the spring of 1785, after having spent several difficult months in Normandy in an effort to flee her insolvent husband Benjamin's creditors. (2) The series consists of four poems. Sonnets xxvi and xxxn describe the poet's perception of the ghostlike presence of Thomas Otway, who was born in nearby Milland in 1652, with his father serving as rector of Woolbeding's All Hallows Church. Sonnets XXX and XXXIII pay tribute to Sussex-born poets William Collins and William Hayley, as well as Otway, and praise the region as enchanted for poetic creation. (3) Smith describes Otway, Collins, and Hayley as poets of her own sensibility, whose presence can be felt by their present-day through the land. (4) In the four sonnets, the process by which these kindred spirits preserve the life stories of their famed ancestors, particularly Otway's, is one of Smith's primary themes. In particular, the Arun sonnets focus on the endurance and fortitude of the poets' life stories. The topic of how the past is preserved--both verbally and on the historic page--also recurs in these and in the later Sonnet XLVI, Written at Penshurst in Autumn 1788. The latter work is her early poetry's most extensive and overt exploration of the artist's role as historian, but its relevance to the sequence is lost on us unless we grasp the significance of the Arun sonnets written two years earlier. In Sonnet XXVI, To the River Arun, she describes a process of verbal storytelling, in which the tale of Otway is handed down through time and becomes a kind of local lore. On thy wild banks, by frequent torrents worn, No glittering fanes, or marble domes appear, Yet shall the mournful Muse thy course adorn, And still to her thy rustic waves be dear. For with the infant Otway, lingering here, Of early woes she bade her votary dream, While thy low murmurs sooth'd his pensive ear, And still the poet--consecrates the stream. Beneath the oak and birch that fringe thy side, The first-born violets of the year shall spring; And in thy hazles, bending o'er the tide, The earliest nightingale delight to sing: While kindred spirits, pitying, shall relate Thy Otway's sorrows, and lament his fate! …

Actualizing a Spectator Like You: The Ethics of the Intrusive-Hypothetical

Abstract A stream of performance pieces over the last five years – including The Author (Tim Crouch), Tough time nice time (Ridiculusmus), Beachy Head (Analogue) and Make Better Please (Uninvited Guests) – have addressed the ethics of dramatic narrative via narratives that are presented as possible rather than actual. Mooted, proposed, quoted, imagined, these real yet hypothetical narratives court and assault their audience. Mocking our wish to make a difference while offering no genuine invitation to do so, these works script our failure to intervene. Drawing on Ganaele Langlois’s discussion of online participatory media platforms, and on Zygmunt Bauman’s ethical-existential view of ‘the liquid, modern world’ of digital, cognitive capitalism, I read these works as a distinct mode that I call intrusive-hypothetical performance. It is a mode that poses important ethical questions about the reification of the self in a digital-capitalist economy in which personality must, above all, be readable.

Teaching and Learning Guide for: Ecocriticism and Eighteenth‐Century English Studies

Teaching and Learning Guide for: Ecocriticism and Eighteenth‐Century English Studies

Justice, Dissent, and the Sublime. Mark Canuel.

Previous articleNext article No AccessJustice, Dissent, and the Sublime. Mark Canuel.Terence Allan HoagwoodTerence Allan Hoagwood Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Wordsworth Circle Volume 43, Number 4Autumn 2012 Article DOIhttps://doi.org/10.1086/TWC24065346 Views: 6Total views on this site © 2012 by The University of Chicago. All rights reserved.PDF download Crossref reports no articles citing this article.