Edward Hall Research Articles

Slow Death (Sovereignty, Obesity, Lateral Agency)

754 Many thanks to Dipesh Chakrabarty, Geoff Eley, Dana Luciano, Nasser Hussain, Roger Rouse, Adam Thurschwell, and Martha Umphrey for their meticulous engagements, as well as to audiences at Amherst, Johns Hopkins, the University of Wisconsin, the University of Chicago, American Political Science Association, American Studies Association, and Cleveland State. Special nostalgic thanks to Virginia Chang, my original collaborator in the Obesity and Poverty conference (2002). 1. See David Harvey, “The Body as Accumulation Strategy,” Spaces of Hope (Berkeley, 2000), pp. 97–116. To call Harvey polemical is not to devalue his profound contributions to understanding the productive destructiveness of capital; in his work, a polemic is a call for precision, not a way of drowning it out. Slow Death (Sovereignty, Obesity, Lateral Agency)

Slow Death (Sovereignty, Obesity, Lateral Agency)

Slow Death (Sovereignty, Obesity, Lateral Agency)

BSAVA Manual of Canine and Feline Gastroenterology (2nd edition)

BSAVA Manual of Canine and Feline Gastroenterology (2nd edition) Edited by Edward Hall, James Simpson and David Williams Published by Blackwell Publishing Ltd, 2005. Paperback, 320 pages. Price £75.00

Thomas More’s Richard III and Shakespeare

For his drama Richard III Shakespeare clearly relied on More’s narrative as filtered mainly through the chronicles of Edward Hall and Raphael Holinshed. The complications of transmission and authority relating to Shakespeare’s use of More’s unfinished work, and to the numerous forms each text would come to assume, uncannily replicate the very issues of authority and validation their narratives scrutinize. With his account More produced an archetype of modern, cunning individualism, an archetype that Shakespeare would popularize in Richard III.

What Daniel Really Did with the Pharsalia: The Civil Wars, Lucan, and King James

It has long been recognized that Samuel Daniel's poem The Civil Wars (15951609) is indebted to Lucan's Pharsalia. This article accepts the findings of past scholarship as to Daniel's specific borrowings from Lucan, but argues that Daniel's appropriation and development of Lucanian materials is more complex and less programmatic than has previously been suggested, testifying less to an ideologically motivated pattern of borrowing than to the broader priorities of Daniel's historiography. It is also important to read Daniel's use of Lucan in conjunction with two other factors: his use of chronicle histories for his historical matter, and the several known stages of revision to the poem. Distinguishing the Lucanian providentialism expressed in all extant versions of the poem from the very similar 'Tudor myth' providentialism derived from Edward Hall, which is expressed only in the final, 1609, edition of the poem, the article argues that Daniel's use of Lucan in 1609 is one aspect of a cautiously critical attitude towards King James in this edition, which contrasts not only with the poet's previous acclamation of Queen Elizabeth, but also with the warm praise of James in Daniel's accession poem, A Panegyrike Congratulatorie.

Ten Cultural Values of the U.S.: Communication, Behavior, and Historical Perspectives

This study aims to analyze ten American cultural values by examining how they have affected its people's communication and behavior and how their historical experiences have constructed these values. First, I examined previous scholars' search for American identities, such as T. Parsons, Florence Kluckhon, Fredrick Strodtbeck, Geert Hofstede, Edward Hall, and Martin J. Gannon. Referring to their findings and adding a few more elements to them, then, I present ten values of the United States. They are individualism, love of freedom, equalitarianism, reverence of laws, multiculturalism, Puritanism, frontier spirit, pragmatism, respect of science and technology, and belief in the future. These values have molded independent, informal, practical, optimistic, naive, tolerant, dynamic, straightforward, assertive, aggressive, and progressive American characteristics in their way of communication and behavior.

The Dance of Life (Digital Remix)

This paper studies how the time perceptions and lifestyles of Singaporeans have been influenced by the growing ubiquity of the mobile phone. It also examines the impact of mobile communication on the norms and attitudes pertaining to time management and social interaction in Singapore. In so doing, this paper explores the continued relevance of the monochronic / polychronic conception of time proposed in Edward Hall’s The Dance of Life (1983). It suggests that a hybrid, “mobilechronic” temporality appears to be emerging, where people in predominantly monochronic cultures are engaging in more polychronic behaviour facilitated by mobile communication, and have to nimbly navigate between two temporal modes.

The Battle of Agincourt: Sources and Interpretations

Part 1 Fifteenth-century chronicle sources: chronicles written in - the Henrici (c. 1417, Latin), Thomas Elmham, Liber Metricus de Henrico Quinto (Metrical Life of Henry V), (c. 1418, Latin), Thomas Walsingham, St Albans (c. 1420-22, Latin), Tito Livio Frulovisi, Vita Henrici Quinti (c. 1438, Latin, Pseudo Elmham, Vita et Gesta Henrici (c. 1446-53, Latin), John Capgrave, De Illustribus Henricis (c. 1446-53, Latin), John Hardyng, (1457, 1464, Middle English and Latin), the Chronicle of Peter Basset (1449, French), the Brut (1430, 1436-37, 1460-70, Middle English), the London Chronicles (later 15th century, Middle English chronicles written in - Religieux (Monk) of Saint-Denis, Histoire de Charles (c. 1415-22, Latin), Geste de nobles francois (?late 1420s, French), Pierre Cochon, Chronique normande (?early 1430s, French), Chronique anonyme du reigne de Chales VI (?early 1430s, French), Memoires de Pierre de Fenin (?1430s, French), Chronique de Perceval de Cagny (late 1430s, French), Chronique de Ruisseauville (?1420s-1430s, French), Jean Juvenal des Ursins, Histoire de Charles VI, roy de France (1430-1440s, French), Enguerran Monstrelet, Jean Waurin and Jean Le Fevre (1444-1460s), Edmond de Dynter, Chronique des ducs de Brabant (?early to mid-1440s, Latin), Journal d'un bourgeois de Paris (?1449, French), Le Heraut Berry (the Berry Herald) (?1450s, French, Chronique d'Arthur de Richemont (1458-mid-1460s, French), Chronique de Normandie (1460s, French), Thomas Basin, Histoire de Charles VII (1471-72, Latin), Chronique d'Antonio Morosini )?1430s, Italian. Part 2 Sixteenth-century historians in England: The First English Life of Henry the Fifth (1513, English) Robert Fabyan, The New Chronicles of and France (1516, English) Polydore Vergil, Anglica Historia (1513, published 1534, Latin) Edward Hall, The Union of the Two Illustre families of Lancaster and York (1542, English) John Stow, The Chronicles of England (1592, 1601, English) Raphael Holinshed, Holinshed's Chronicles of England, Scotland and Ireland (1586-87, English). Part 3 contemporary reception of the battle and development of the literary tradition: France. Part 4 Interpretations from the 18th to the 20th century. Part 5 Administartive records: English army the French army.(Part contents).

This England: The Histories (review)

Once again the Royal Shakespeare Company mounted the eight history plays concerned with the Wars of the Roses. This time the collective title is This England: The Histories. The plays opened in historical order in the RSC's three different theatres in Stratford-upon-Avon: Richard II, directed by Steven Pimlott, opened in The Other Place in March 2000; both parts of Henry IV, directed by Michael Attenborough, opened in the Swan in April and June; Henry V, directed by Edward Hall, opened in the main house, the Royal Shakespeare Theatre, in August. The three parts of Henry VI, subtitled "The War," "The Fall," and "The Chaos," which opened in November and December 2000 in the Swan and Richard III, which opened in February 2001, also in the Swan, were cast as a unit, with thirty actors and twenty-three technical staff, all under the direction of Michael Boyd, with design by Tom Piper. This tetralogy came to the Power Center of the University of Michigan for a short residency in mid-March 2001 for three cycles of the four plays--twelve sold-out performances in all.

Obituary ‐ Professor Edward Hall

Obituary ‐ Professor Edward Hall

Creative Collaboration: A Partial Primer for the Social Intellect

Field journal excerpt 1-2 November 2001, Sierra Tarahumara, Mexico2 Catalina invited me to stay at her house for the Day of the Dead as she prepared tesguino and killed two chickens for her husband who died six years ago. She lives with several teenaged Raramuri girls from the high school: Tonita, Ribechi, Margarita, and Rosa. It was my impression that Catalina has taken on the role of protector for adolescent girls. They clearly love her and she them. They worked together making corn tortillas. They went through huge bowls of dough in a seamlessly coordinated fashion, mushrooming round bubbles of dough off of the main mass and forming them into squashed spheres, taking these up and patting them into the desired flat shape while carefully assuring their perfect roundness by finger-tipping around the edges every several pats, walking these over to the wood stove (an oil drum, cut in half and upended with a pipe hole punched in) and composing them on the hot surface. A cast aluminum tortilla press was also in action, with two round plastic liners to keep the dough from sticking. A firm touch of a hand on a cooking tortilla told them whether it was ready to be turned, moved, or taken off the stove and flipped into a woven sotol basket lined with maseca papers. What was remarkable to me was that this was not assembly line production but a sophisticated coordination of individual action such that there seemed to be but one mind, one purpose. Each woman wove in and out of the tortilla traffic, now at one task, then another, taking up where another had just left off without a blink. My attempts to synchronize with them were clumsy. I kept seeming to be in the way, or off-timed such that I found myself waiting for an available spot on the stove only to have a more efficient Rosa or Margarita snake in and pop a raw tortilla on the next open spot. I didn't know the rules or the rhythm. My first corn tortilla was normal sized, about six inches in diameter, and then I realized every one else was patting theirs at 3 or 4 inches, especially for the dead to eat. That one ended up in the compost bucket. I managed to get a good line of tortillas for the dead going, though I was helping at the periphery of the steady whirl, doing all the steps myself instead of coordinating with the complex dance the others were in. Catalina arranged the cooked tortillas in piles of three. As she was giving the fiesta for a man, her husband, there was a tortilla for each of his three souls. A woman, having four souls, would receive them in piles of four. From an outsider's perspective, and from what I imagined to be the men's perspective as they sat playing the guitar, eating cake, drinking strawberry soda pop and pisto (cane liquor), it looked like the women of the house were simply, making tortillas. It wasn't until I tried to join in that the complex coordination required for what they were doing became apparent. I found it mentally tiring, like driving in fast freeway traffic. I thought about how one would go about learning to coordinate like that. I exited after an hour or so, excusing myself once the full moon came up over the cliff enough to see my way down the rocky slope to the candlelit church below where the matachines were dancing their way into the night punctuated by the coyote cries of the dance leaders. In the enculturation system I grew up in we are ruthlessly trained to be individuals. To go away, alone, and find or create something novel then return and present it to an audience for judgment, to be ignored or rewarded. So when I find myself among people who are highly skilled at collaboration, who have a honed awareness of the rhythms needed to work together, drink together, dance together, think together, I feel in dire need of a remedial course in how to be a social animal. Edward Hall said: we in the West have this notion that each of us is all by himself in this world-that behavior is something that originates inside the skin, isolated from the outside world and from other human beings. …

Tantalus (review)

John Barton's Tantalus bills itself repeatedly as "leftovers from the epic cycle." 1 Although his cycle of plays--nine in the stage performance and ten, with prologue and epilogue, in the published script--also remakes some late Euripidean plays, the spirit of the piece as a whole is far more reminiscent of what we know of cyclic epic than tragedy or even the Iliad and Odyssey themselves, which, as Aristotle's Poetics points out, are plotted in a distinctively tragic manner with a single unifying action. Sir Peter Hall and Edward Hall's performance version, which premiered in fall 2000 at the Denver Center for the Performing Arts and then traveled to England, is conveniently divided into hour-long segments with intermissions and meal breaks that cater to the sensibilities and attention spans of viewers accustomed to televised series like Masterpiece Theater. Any attempt to recapture the tight plotting, intensity, complexity, and tension of tragedy would inevitably fail in a performance of this scale. Instead, the viewer is drawn into a long and varied narrative replete with surprising shifts in tone, ranging from ironic to lyrical, from painful to comic; episodes drawn from obscure mythological sources or, occasionally, invented, take center stage, while episodes familiar from Homer and tragedy are deliberately deleted. Viewers can follow characters and children of characters over the series of plays and see the traits of siblings and parents emerge with variation in close relatives--an effect enhanced onstage by the fact that these relatives are often played by the same actors. Like cyclic epic, Tantalus fills in the gaps left by Homer [End Page 427] in the Trojan saga and aspires to tantalize its viewers with the possibi415lity of multiple and unstable versions of mythic truth. In addition, although the play repeatedly evokes the image of the rock of Tantalus poised to crash with finality on everyone's head, it largely espouses a cyclic and inconclusive view of history, in which events and human errors relentlessly repeat themselves without acquiring accessible meaning. "Until the great rock falls / What has happened already / Will happen again: / That is god-law, Agamemnon, / As it's man-law on earth. / Epikou Kuklou leipsana" (362). Playwright Barton and the directors fell out during the rehearsal process; the Irish playwright Colin Teevan shortened, revised, and in some critical ways transformed and trivialized Barton's original script. The stage version retains Barton's concern with the futility of war and human action but radically revises the major point of the original. Barton's script above all engages its audience in the myth-making process and the elusive truth of stories: "Who is to Blame? What is the Truth? Could it be Otherwise?" His script opens with a group of twelve "girls" (Barton's term) sleeping on barren ground. Nine (in the performance, ten) of the girls become a chorus, and the remaining ones (the script says four, though the total of twelve demands three, so there may be an error in the script here) play various female parts throughout the cycle. The group has missed the (real or mythical) boat and begins to tell one another conflicting myths about the origin of the world. The chorus, which claims to know all the traditional Greek myths, wants to know which version is true. It debates whether to drink from the nearby oracular streams of Trophonius. (One stream makes one forget the present moment; the other makes one remember even things one does not consciously know.) A poet (and tutor to Dionysus) enters with a wine bag. The skeptical chorus, which at first prefers its own stories and one truth, is lured into testing out the poet's bag of masks and engaging with multiple conflicting stories. "If you want to know the future / You must go into the past" (511). The poet and the four women don new roles and reenact story fragments for the increasingly engaged chorus. The chorus women toss stones over their shoulders in imitation of the Greek creation...

Mumpsimus and Sumpsimus: The Intellectual Origins of a Henrician Bon Mot

Henry VIII's appearance before the assembled houses of parliament on Christmas Eve 1545 was perhaps his finest hour. In what has been called a ‘pioneer royal Christmas broadcast’, the king delivered an impassioned and eloquent speech lamenting the religious divisions that afflicted his kingdom, and urging his subjects towards unity and charity.The phrase is Diarmaid MacCulloch's: Thomas Cranmer: a life, New Haven–London 1996, 348. According to William Petre, the king himself wept as he recounted how ‘charity between man and man is so refrigerate’, and few of his audience could restrain themselves from doing likewise.PRO, SP 1/212, fos 110v–11r (Letters and papers, foreign and domestic, of the reign of Henry VIII, ed. J. S. Brewer, J. Gairdner and R. H. Brodie, London 1862–1910 [hereinafter cited as LP], xx/2, 1030). Another eye-witness, the chronicler Edward Hall, wrote down the speech ‘worde for worde, as near as I was able to report it’. This account gives details of how Henry illustrated the breakdown of fraternal love among his people: ‘the one calleth the other Hereticke and Anabaptist, and he calleth hym again, Papist, Yypocrite and Pharisey’; rival preachers inveighed against each other ‘without charity or discrecion’. To the king's mind, the blame for this deserved to be apportioned to all sides, and, to reinforce the point, Henry brought forward one of the more curious metaphors of contemporary religious discourse: ‘some be to styff in their old Mumpsimus, other be to busy and curious in their newe Sumpsimus’.E. Hall, Hall's Chronicle, ed. H. Ellis, London 1809, 864–5. The charge of religious name-calling was hardly new in 1545. In an earlier exhortation to unity and charity, Thomas Starkey had lamented the fact that ‘eche one in hart iugeth other to be eyther pharisee or heretyke, papist or schismatike’: An exhortation to the people instructynge them to unitie and obedience, London ?1536, fo. 27v.Recent historians of the reign have understandably devoted considerable attention to his speech, arguably the most famous of all Henry VIII's public pronouncements, and most have quoted the mumpsimus–sumpsimus idiom, with varying degrees of wry amusement.J. J. Scarisbrick, Henry VIII, London 1968, 470–1; S. E. Lehmberg, The later parliaments of Henry VIII 1536–1547, Cambridge 1977, 229–31; S. Brigden, London and the Reformation, Oxford 1989, 378; G. R. Elton, England under the Tudors, 3rd edn, London 1991, 200; C. Haigh, English reformations: religion, politics, and society under the Tudors, Oxford 1993, 164; R. Rex, Henry VIII and the English Reformation, Basingstoke 1993, 172; MacCulloch, Cranmer, 348; G. W. Bernard, ‘The making of religious policy, 1533–1546: Henry VIII and the search for the middle way’, Historical Journal xli (1998), 348. Yet there has been little attempt to explain why the king should use precisely these words to epitomise the polarisation of religious positions in the early 1540s.The exception here is Lehmberg, Later parliaments, 231, which notes that the phrase was derived from a 1517 treatise by Richard Pace. As I shall show, this does not give the complete picture. It is not always apparent from modern accounts that the terms ‘mumpsimus’ and ‘sumpsimus’ did not represent the king's own assay at faux-bucolic neologism, but were an established (though not long-established) literary trope. In the following short discussion, I hope to demonstrate how an investigation of the derivation and precedents of the phraseology employed by Henry in his Christmas speech can throw some revealing light on the processes by which religious typologies were constructed and utilised in the course of the Henrician Reformation, as well as providing some points of orientation in that most formidable of terrae incognitae, the mind of Henry VIII himself.For two recent stimulating, though contrasting, attempts to locate Henry's religious centre of gravity see Bernard, ‘The making of religious policy’; D. MacCulloch, ‘Henry VIII and the reform of the Church’, in D. MacCulloch (ed.), The reign of Henry VIII: politics, policy and piety, Basingstoke 1995, 159–80.

Embodied Pedagogy: The Body and Teaching Theology

This essay is a reflection on my own experience of teaching undergraduates in light of research on proxemics (social and personal space) and kinesics (body language). I discuss ways to structure classroom space to encourage interaction and discussion, using Edward Hall's distinctions between three types of space (fixed feature, semi‐fixed feature, and informal). I explain the importance of body language in verbal communication and describe how I use my own body to illustrate and reinforce what I say in class. I then offer strategies to incorporate students' bodies in the learning process. I conclude by arguing that embodied pedagogy calls us to look beyond the classroom and to acknowledge the importance of our bodies in all aspects of our lives.

Mind and Body Spaces: Geographies of Illness, Impairment and Disability

Journal of Applied Research in Intellectual DisabilitiesVolume 14, Issue 2 p. 163-165 Mind and Body Spaces: Geographies of Illness, Impairment and Disability Murray K. Simpson, Murray K. Simpson Dr Department of Social Work, University of Dundee, Dundee, UKSearch for more papers by this author Murray K. Simpson, Murray K. Simpson Dr Department of Social Work, University of Dundee, Dundee, UKSearch for more papers by this author First published: 21 December 2001 https://doi.org/10.1046/j.1468-3148.2001.0044e.xRead the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Volume14, Issue2June 2001Pages 163-165 RelatedInformation

Dramatic Images of Kingship in Heywood and Bale

Dramatic Images of Kingship in Heywood and Bale Peter Happé (bio) This realm of England is an Empire . . . governed by one supreme head and king, having the dignity and royal estate of the imperial crown of the same. These words in the Act in Restraint of Appeals of 1553 underlie the dramatic treatment of Henry VIII in John Heywood’s The Play of the Wether and John Bale’s King Johan. 1 That the plays were written within a few years of one another may give some political insights for the period, but I am primarily concerned with the way these impersonations arise in a literary and dramatic context, and the theatrical values they embody. Though the argument for neither play is simple, I am assuming as a working hypothesis, that Heywood’s play was written not long before Shrovetide 1533, and printed later in the same year, and that one version of King Johan was in existence by about 1536, though the extant text can be dated in part as late 1538, and in another part as after 1560. While I shall deal with a number of historical events and interpretations, for which I must gratefully rely upon the work of several eminent historians, I am aiming my comments at dramatic aspects of the two characterizations which have, I think, been neglected. I. The Play of the Wether The overriding intention of Wether is reconciliation. If it was written before Shrovetide 1533, it occurs after Sir Thomas More gave up the Chancellorship in May 1532, having lost the battle for power in the third session [End Page 239] of the Reformation Parliament (January–May 1532), and before his arrest over the Oath of Succession in April 1534. This was a time when his writings against heresy were most vigorous, especially the Confutation of Tyndale Part 2: indeed it appears he had very little else to do. 2 After a period in office in which he had pursued heretics with exceptional zeal, there is every chance that he was more and more vulnerable, especially as he persisted in speaking out. It seems likely that he significantly overplayed his hand. 3 Richard Marius, his biographer, describes him as “loquacious, argumentative and righteous,” and the editors of his Collected Works note his “exasperated and savage authoritarianism” at this time. 4 Moreover, Henry VIII’s move away from Rome continued as he married Anne Boleyn in January 1533, and, through Parliament, ensured the Act in Restraint of Appeals. It might seem that More had little ability to restrain himself over heretics: “I hate that sort of men so utterly that unless they repent, I want to be as hateful to them as anyone can be since as I contend with them more and more I vehemently fear what the world will suffer from them.” 5 The tone of his condemnation of heretics was insistently vituperative, however pure the underlying faith. Thomas Hutton was described as “the dyvyl’s stynkyng martyr”; Richard Bayfield was “well and worthely burned in Smythfelde” and John Tewkesbury burned “as there was never wretche I wene better worthy.” 6 Thomas Cromwell’s scrutiny in January 1534 of William Rastell, Heywood’s brother-in-law, who printed both More’s polemical writings and also Heywood’s plays, and More’s subsequent letter to Cromwell suggest that his writings were being closely watched. Perhaps More was seen as a threat by Cromwell and the king, but equally he may have been so eminent that his opposition could not be tolerated. Either view might have led to his initial inclusion in the Act of Attainder against the Nun of Kent in February 1534. The chronicler Edward Hall described More as a “foolishe wyseman or a wise foolishman,” and added: “undoubtedly he, beside his learnyng, had a great witte, but it was so myngled with tauntyng and mockyng that it semed to them that best knew him that he thought nothing to be wel spoken except he had ministred some mocke in the communicacion.” 7 Thus More, by temperament, belief, and action was exposed because what he was and what he did would not be likely to produce safety and security in volatile...

Abstracting the Later McLuhan: Television’s Cool Role in the Creation of the Global Village

Television, for many, is still the ultimate in electric progress. If it is bringing the changes hypothesized by McLuhan, how exactly is it achieving these ends? How does participation in the medium of television effect changes in viewers, and therefore society? How does the involvement necessary to “fill in the gaps” lead to changes in behaviour at a level most are not even aware of ? This paper attempts to answer those questions as follows: first, by ascertaining how the global village may actually be developing by relying on the ideas of Joshua Meyrowitz, Erving Goffman, and Edward Hall; second, by drawing a link between watching television and interpersonal interaction; and, finally, by explaining why viewers pay attention to television in the first place.

Culture, culture and “culture” in Foreign Language Teaching

ABSTRACT “Culture,” which is taking on increasing importance in contemporary foreign language pedagogy, has also been the subject of much debate. Definitions of what culture is have proliferated, from Matthew Arnold to Levi‐Strauss to Edward Hall, and not infrequently lines of opposition have formed around them. But if we abandon an oppositional mode of thinking and address the question of culture and language learning from the perspective of the affective elements contained within both, we may be able to adopt a more ecumenical approach to the former and provide ourselves with a much more powerful tool for helping students acquire the latter.

BSAVA Congress Scientific Programme: a taste of what's on offer

There are 155 veterinary lectures and 18 Specialist Sessions on offer at the BSAVA Congress in April. Here, Edward Hall introduces what promises to be an outstanding hepatology stream, while David Shearer details some of the contributions in an extensive programme on exotic animal medicine and surgery

Handbook for Proxemic Research

Anthropology NewsVolume 36, Issue 2 p. 40-40 Handbook for Proxemic Research Edward Hall, Edward HallSearch for more papers by this author Edward Hall, Edward HallSearch for more papers by this author First published: February 1995 https://doi.org/10.1111/an.1995.36.2.40Citations: 5AboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article.Citing Literature Volume36, Issue2February 1995Pages 40-40 RelatedInformation