White Raven Research Articles

Changes in the representation of heroes in contemporary Ukrainian cinema

This article examines current trends in the changing concept of the hero in recent Ukrainian cinema and the related tendency to neglect authentic Ukrainian culture on account of the pervasive influence of Western traditions in cinema. The article employs various, academic methods of art criticism: literary and film analysis, comparison, synthesis, analogy and typologisation. Analysing several films from the period of independent Ukraine, Cyborgs: Heroes Never Die (2017, dir. Akhtem Seitablayev), Sniper. The White Raven (2022, dir. Marian Bushan) and Klondike (2022, dir. Maryna Er Gorbach), the authors show that the depiction of Ukrainian film heroes depends on contemporary local events. The contemporary hero of Ukrainian cinema emerges as an ambiguous figure.

War drama as a living reality


 
 
 Since 2014, the Russian aggression in Ukraine has prompted filmmakers to master a new genre of war drama to tell the stories of those who serve in the Ukrainian army or the territorial defense, as well as those who contribute to the war effort as volunteers. The article discusses Ukrainian war drama films: Cyborgs. Heroes Don’t Die, Call Sign Banderas, Mother of Apostles, Ilovaysk 2014. Donbas Battalion, Sniper. The White Raven. These films integrate war drama with other genres such as detective stories, adventure films, and psychological drama. They also refer to some archetypal themes and conflicts in order to frame the current experience of the war. However, it will be argued that these films do not simply reuse the existing genre models, but complicate them. They refresh war drama by prioritizing the concrete experience of the ongoing war against Russian aggression over the genre conventions. Ukrainian war drama shows not a game of war but the truth of war. It tells the real stories of the bravery of ordinary people who fight against Russian aggression.
 
 

New stories from the Mabinogion and Pedeir Keinc y Mabinogi: Texts, Narratives and Tradition1

Abstract This paper aims to explore the migration of narrative elements from four medieval Welsh tales known as the Four Branches of the Mabinogi into four recent Englishlanguage novels which are part of Welsh publisher Seren’s series New Stories from the Mabinogion. Russel Celyn Jones’s The Ninth Wave, Owen Sheers’s White Ravens, Lloyd Jones’s See How They Run, and Gwyneth Lewis’s The Meat Tree bear an explicit textual relationship to the Four Branches of the Mabinogi, a textual whole of unknown authorship. This affords an opportunity to examine the workings of what constitutes a textual tradition, both diachronically and synchronically. The article relies on Dutch cultural theorist Mieke Bal’s structuralist theory of narrative, on Welsh philologist Sioned Davies’s analyses of the medieval tales, and on Slovak literary scholar Anton Popovič’s view of tradition in terms of prototexts and metatexts. The methodology chosen consists of identifying textual variables and invariables in order to capture possible ways of examining relationships between related texts of different periods and languages within a corpus of linguistically encoded messages of a geographically defined community.

“I have always been a white raven and a black sheep”

People with disabilities in post-Soviet Russia number about 12 million. However, academic research dedicated to many problems of this large segment of Russian society, among them issues of stigmatization and self-stigmatization, is still scant. The autobiographical material written by people with disabilities in the 1990s-2000s constitutes an invaluable source for comprehending life experiences of disabled individuals in post-Soviet Russia. These texts reflect main life strategies of persons with congenital and acquired disabilities. The medical diagnosis of disability is a life-changing event for people with impairments as it radically changes their status in society and their way of life. This paper treats the diagnosis as the first step in the ordeal that could legitimately be described as a “rite of passage” to another world, the world of living with disability, their “netherworld.” By analyzing the autobiographies of disabled individuals this paper exposes how labels and notions applied to disability in contemporary Russian society are rooted in a wider Russian culture, and in Soviet attitudes towards disability and people with impairments.

Beatrice Alemagna: “A Painter and a Writer of Stories”

Beatrice Alemagna: “A Painter and a Writer of Stories” Anna Becchi (bio) Beatrice Alemagna was born in Bologna in 1973. Her cultured family put her in touch with many stories since she was a little child and encouraged her and her sister Veronica in their creativity. So, by the time she was eight she had already decided that, whatever the cost, once grown up she would become “a painter and a writer of stories,” which is how she likes to describe herself. Essentially a self-made artist, she perfected her graphic style at the ISIA in Urbino. When she started her career, however, the market in Italy wasn’t ready for her experimental and sophisticated illustrations; it was only later that little independent publishing houses like Topipittori, based in Milan, opened up to Alemagna’s work, and this is where most of her Italian books are still published. Click for larger view View full resolution Winning the first-prize Figures Futures at the Salon du Livre et de la Presse Jeunesse in Montreuil in 1996, she got her self- confidence boosted and realized that in France her art would be better understood. This was the reason that, one year later, Alemagna decided to move to Paris. She wanted to stay for a few months, but this land—like she said in an interview—welcomed her “with open arms” and in the end she grew roots there. She still lives in the French capital with her husband and two daughters. After working for advertisement companies, illustrating adult book covers, and designing posters for the Centre Pompidou, she specialized mainly in creating artistic picturebooks using techniques that are suited at the same time for children and adults. She has written and illustrated dozens of books for Albin Michel, Topipittori, Harper Collins, Tate Publisher, Thames & Hudson, Enchanted Lion, Frances Lincoln, Mondadori, Hélium, MoMA, Seuil, Autrement, Gallimard, Les grandes personnes, Donzelli, Didier jeunesse, Phaïdon, Mirando Bok, Rabén & Sjögren, Einaudi Edizioni, and Walker Books. Her books have received numerous awards and have been translated into multiple languages. Several of them have been selected for the White Ravens list by the International Youth Library in Munich. She has been repeatedly nominated for the Astrid Lindgren Memorial Award and the Hans Christian Andersen Award. Her artwork has been the subject of many solo exhibitions and has also been featured in group exhibitions at major museums. Alemagna always works by hand using diverse colors and media (pencils, crayons, oil color, watercolor, gouache, ink), but she often returns to the potency of mixed-media collage and experiments with other unusual stylistic means like embroidery (My Friend, 2002) or felting (Bugs in a Blanket, 2009, [End Page 67] and all her following books about bugs). She plays with perspective and composes her images in wonderful ways. She loves to mix techniques and to create hybrid forms. In her illustrations, she doesn’t like to be restricted by anything; she defies boundaries of age, time, aesthetic canons, and established conventions. She is not limited by the size of the page and so her books are often oversized, but they still talk about little things that she discovers in nature or in people’s facial expressions and emotions. Beatrice Alemagna regards herself mainly as a storytelller. For her, words are an instrument, just like a pencil or a brush. And if she doesn’t find the exact words she is looking for, she doesn’t even conceive the picture she wants to draw, so everything actually starts from the text. She explains, “To draw is to tell. Everyone who feels emotion has something to tell. Emotions keep on changing, growing, as children do. My drawings and stories change with them.” While drawing comes naturally to her, creating a book with a narrative rhythm can be difficult or even painful. When the finished book is in her hands, however, her joy and satisfaction are great. Perhaps one of her most accomplished books is Un lion à Paris (A Lion in Paris; 2006). It tells the story of a lion who, bored by his rural life in the savanna, seeks excitement and opportunity in the City of Light. Upon arriving...

Mężczyzna między matriarchatem i sadyzmem

The Polish culture suggests to the men two stances: subjugation to the (real or imaginary) female power or, to the contrary, aggressive elimination of “femineity.” The article analyzes these stances as presented in certain works of fiction and their worlds. Femineity is eliminated under the model of homosocial sadism, which must be distinguished both from the traditional patriarchy and from – denied or sublimed – homosexuality. The issue is first discussed based on Wzgórze psów by Jakub Żulczyk; then it is tracked back to the works displaying similar psychosocial structures, even though they may not obviously belong to the same historical literary community (despite their chronological proximity). These works are: Zwał by Sławomir Shuty, Ciało obce by Rafał Ziemkiewicz, White Raven by Andrzej Stasiuk, Morfina by Szczepan Twardoch and His Current Woman by Jerzy Pilich. The theoretical tools applied come from politicized versions of the late psychoanalysis and schizoanalysis (along the Lacan – Deleuze – Theweleit line).

Cosplay Adolescent Community in Padang City(Case Study: White Raven Community)

Individuals become part of the community by following the rules in the community so that it is inherent inthemselves. One of the popular cultural communities in the city of Padang is a Cosplay community whose members consist of teenagers. One of them is the White Raven Cosplay community. The research aims to describe the Cosplay community in Padang City (Case study: White Raven Community). Data in this study were conducted and collected through interviews, observations and document studies. This study found that adolescents who joined in the community, despite having a busy schedule both at home and school, but they remained actively in this community. Moreover this cosplay community is a place to carve achievements and make many new friends, become the center of attention, increase self-confidence, and become an arena of creativity for them.

Cosplay Adolescent Community in Padang City(Case Study: White Raven Community)

Individuals become part of the community by following the rules in the community so that it is inherent inthemselves. One of the popular cultural communities in the city of Padang is a Cosplay community whose members consist of teenagers. One of them is the White Raven Cosplay community. The research aims to describe the Cosplay community in Padang City (Case study: White Raven Community). Data in this study were conducted and collected through interviews, observations and document studies. This study found that adolescents who joined in the community, despite having a busy schedule both at home and school, but they remained actively in this community. Moreover this cosplay community is a place to carve achievements and make many new friends, become the center of attention, increase self-confidence, and become an arena of creativity for them.

Linguistic Landscapes of Bilingual Picturebooks in the White Ravens Catalogue

ABSTRACTResearch shows the power of bilingual picturebooks in classrooms which draw on the linguistic capital of multilingual children and show that the messages given to children depend on the ways in which the languages are treated. Previous research has shown that the language use within a picturebook may be considered a kind of linguistic landscape which reflects the relative status of languages within a community. In this article, eight dual language picturebooks from the White Ravens Catalogue 2015–17 are analysed in terms of which languages dominate their linguistic landscapes, and this is discussed in relation to the sociolinguistic contexts of the countries in which they are published. Results indicate that the outer and inner pages of the books are usually dominated in order, size and information by a colonial language, while in the body of the book the two languages are treated more evenly. However, one book shows the potential for bilingual picturebooks to create a non-partisan linguistic landscape.

Beyond the financial logic: Realizing valuable outcomes in public–private partnerships in Flanders and Ontario

The value of public–private partnerships has typically been sought in financial and budgetary benefits. In both research and practice, important aspects of nonfinancial value have remained under the radar. This article discusses four “white raven” public–private partnerships that have shown rather atypical results in terms of their physical outcomes—design, contextual fit, and multifunctionality. We argue that despite the increasing role of private sector actors, public sector clients fulfill a key role in delivering value. A strong sense of ambition and vision, in combination with a solid coordination on the part of the client, helps deliver projects that go beyond mere financial perks and deliver true social value. These elements have largely been overlooked in previous research, which has often focused on financial, legal, political, and managerial capacities of government actors.

Kids’ Own Publishing Partnership: Raising the Status of Children’s Voices in Ireland and Australia

Kids’ Own Publishing Partnership: Raising the Status of Children’s Voices in Ireland and Australia Orla Kenny (bio), Jo Holmwood (bio), Victoria Ryle (bio), and Simon Spain (bio) Children need love because if we didn’t have love we wouldn’t learn how to love. … The Troubles have been part of my family history. My granddad was in the Order of Malta and he was shot at on Bloody Sunday. My dad was hit by a rubber bullet and it was very painful. My mummy and daddy used to hear a lot of gunshots. I’ve never heard gunfire in real life. I don’t think my mum and dad will ever forget about the Troubles but they don’t mention it. (From Ding, Dong, Right or Wrong, Kids’ Own Publishing Partnership, Ireland, 2010) When we were living in Africa, there was a lot of fighting all around us. When my mum was born and when she was growing up, there was a lot of fighting. When I was born there was fighting and it still goes on today. We never felt safe. (“My Nice Uncle—The story of Nyakim Ruach,” Donkeys Can’t Fly on Planes, Kids’ Own Publishing, Australia 2012. Selected for the White Ravens catalogue, 2014) [End Page 60] Why should any society listen to children? How can we, as adults, support children’s individuality and their creative expression? How can we make space for children as active cultural agents within their communities and on a global level? In the words of IBBY’s founder, Jella Lepman, “Let us set this upside down world right again by starting with the children. They will show the grown-ups the way to go” (qtd. in Said). In its twenty-year history, Kids’ Own Publishing has turned the publishing paradigm upside-down to give a platform for children’s voices in two countries. Kids’ Own Publishing Partnership, established in Ireland in 1997 and then in Australia in 2003, operates from a social change model that seeks to address what we perceive as a dismissal of children’s voices and their contribution to the societies in which they live, in Ireland and Australia. Kids’ Own strives to promote and give status to children’s lives and experiences through publishing and the arts. Founded by artist and printmaker Simon Spain and educator Victoria Ryle, the organisation evolved from a workshop model developed in the 1980s that provided a unique platform for children to make hand-printed limited edition books—long before the technology revolution. The ethos was about engaging children with a meaningful creative process through which they could develop a sense of agency and ownership and be active makers in the cultural field. This process involved the children developing artwork collaboratively alongside the professional artist through an open-ended and non-directive way of working. The name “Kids’ Own” was borne out of a desire to support children in owning their own work and to celebrate a rights-based approach to children’s cultural engagement. In our view, children everywhere have very little visibility as active cultural citizens. From its inception, Kids’ Own has developed a disruptive approach to publishing by recognising children’s need to be seen and heard within Irish and Australian society and supporting the voice of children and, increasingly, marginalized communities of children in both countries. If children as citizens are overlooked and undervalued in terms of the contributions they can make as active cultural agents, those from marginalized communities have a double disadvantage—with voices that are almost completely silent to the ears of the mainstream. Through the publication of children’s voices and experiences, Kids’ Own strives to counter the perception that publishing is the reserve of an elite few and offer an egalitarian context within which the artwork and writing of children can have the same status as that of adults. The insights gathered from children through a creative and meaningful process can be tender and poetic, shocking, humorous, or sad. In I Can Taste the Rain, Aaron observes, “The tide was out. The moon drinks the tide and spits it out.” In Bouncing Away, Tony says: “When I feel angry I stop smiling...

From occupation to independence: contemporary East Timorese history and identity in Portuguese picturebooks

In Portugal, the suffering and struggle of the East Timorese people for independence started a social movement of solidarity with strong repercussions in the arts, namely music and literature. Children’s Literature depicted the theme of this period of oppression in East Timor, as well as the recognition of its independence and its right to freedom, in a picturebook selected for the White Ravens List in 2003 called East Timor – Island of the Rising Sun (2001), by João Pedro Mésseder and André Letria. This unusual picturebook, characterised by a very simple and sparse, almost poetic, text combined with large-format pictures, depicts this chapter of the contemporary history of East Timor in very specific way, resembling fairy tales or legends. The text and images are combined in order to promote symbolic readings, suggesting a magical/mystical environment that impresses readers. More than a decade later, recent struggles and stories from East Timor are still present in Portuguese picturebooks such as Lya/Lia (2014), by Margarida Botelho. The social change, path to democracy and educational development, as well as daily life and children’s pastimes are now the centre of a narrative that establishes the similarities and differences between modern-day Portugal and East Timor. Our aim is to analyse both the political and ideological perspectives present in these picturebooks aimed at very young readers, offering a broad vision of different realities and contexts, even when they deal with war, death and suffering, as was the case of the East Timorese fight for independence.

A white raven detected by imaging.

The purpose of this case report is to describe a rare case of a patient with a phaeochromocytoma with several cardiovascular complications, which can be attributed to the tumour. Detection of a phaeochromocytoma sometimes needs a ‘Sherlock Holmes spirit’ or simply time.

Black Dove, White Raven by Elizabeth Wein (review)

Black Dove, White Raven by Elizabeth Wein (review)

Bologna: Fifty Years of Children’s Books from Around the World ed. by Giorgia Grilli (review)

Reviewed by: Bologna: Fifty Years of Children’s Books from Around the World ed. by Giorgia Grilli Valerie Coghlan Bologna: Fifty Years of Children’s Books from Around the World. By Giorgia Grilli (ed.). Bologna: Bononia UP, 2013. 2 vols. 535 pages; 147 pages. ISBN 978-88-7395-814-7; ISBN 978-88-7395-830-7. The Bologna Children’s Book Fair was first held in 1964, a significant decade in 20th century history, and also a significant time in the creation and publication of books for children. In the ensuing years, the fair has become a landmark event for all with a professional interest in children’s books. Publishers dominate, as Bologna is primarily a trade fair. The halls are packed with stands displaying books from countries and regions across the globe. Most are commercial: publishers are there to promote their wares, and especially to sell international rights. But it is more than that. The fair has developed into a space where people from many countries and disciplines all get together to talk about their passion for children’s books. Aspiring illustrators and students wander the halls with portfolios under their arms, hoping to meet some publisher who will recognize their talents. Established authors, picture book creators, critics, academics, librarians, media people, all come to take part in or to listen to discussions at the many events during the Fair. There are stands sponsored by national and international organizations and agencies, all featuring books from different regions. The IBBY stand is a core part of the fair, and a place where people come to see some of the best books from around the world in displays such as the Hans Christian Andersen Award nominees, the IBBY Honour Books and books for children with disabilities. The International Youth Library from Munich also represents international aspects of children’s books with their displays of publications, which have received the accolade of the Youth Library’s White Ravens. The Nami Island Illustration Concours stand and presentations are an increasingly attractive and important showcase for the best in illustration from around the world, and the winners of two internationally prestigious awards, IBBY’s Hans Christian Andersen Awards for writing and for illustration, and the Astrid Lindgren Memorial Award (ALMA) are announced at the Fair. The Fair’s own Bologna Ragazzi awards recognize talented authors and illustrators, and each year a specific country is featured at the Fair as a “guest of honour” in the exhibition space. To mark the 50 years since the Bologna Book Fair’s inception, a handsome two-volume publication in a slipcase has been produced. The slimmer volume (it is still substantial) is a photographic record of the Fair and its participants over the years. This complements the section at the back of the second volume in which many of those who regularly attend the Fair talk about what the Fair means, or has meant, to them. It is rather a pity that these two sections are not together, because it would have made the volume of articles lighter! The articles of the second volume are divided into two sections: one charting the development of the Fair, and the second containing essays based on presentations at a conference held in 2013 to mark the Fair’s [End Page 94] anniversary. One of the remarkable features demonstrated in the opening articles is the extent to which the Book Fair is so evidently part of the city of Bologna; for Bologna, this is no ordinary trade fair, but a cultural event of note. The second and longer group of articles—ambitiously titled 1964-2013: A World History of Children’s Books—discusses books from around the world. The focus is on picturebooks, understandably, as the language of the “picturebook” is an international one, and exposure to so much visual content is a very evident and exciting part of the Fair. The articles are replete with information charting the history of book-production in countries or regions around the globe. Scandinavia, Eastern Europe, and the Arab countries are all dealt with as regions, rather than in articles featuring individual countries, although some of the most exciting developments are emerging in these areas...

How evidence becomes authoritative in public policy implementation. Lessons from three Dutch white ravens

Policy scientists and public policymakers are continuously struggling with the troublesome relationship between knowledge and policy. On the one hand, policy and policy processes are generally recognized as having a political nature because they prioritize the generation of will rather than knowledge. On the other hand, it is difficult to accept that knowledge is being wasted or used strategically. One of the main challenges for public policymakers is to reconcile the political rationality of policy processes with the scientific rationality of knowledge and research, for instance by intelligent organization of knowledge generation and knowledge use. This article aims to contribute to the debate on this topic by comparing three policy implementation processes in which knowledge played an authoritative role. On the basis of this analysis of these three ‘white ravens,’ lessons are drawn regarding the conditions under which knowledge becomes authoritative in policy implementation practices.

THE ROLE OF CHILDREN’S LIBRARIES IN DEVELOPING A MULTICULTURAL DIALOGUE

ABSTRACTInternationale Jungendbibliothek München – International Youth Library in Munich has been collecting books for children and youth in all languages since its foundation in 1949 and it is the biggest library of this kind in the world. The intercultural dialogue encourages a number of different activities: lending children’s and youth literature in 14 different languages, early literacy programmes for pre-school children in nationally mixed groups and programmes for school children and youth, English language courses, wide programme of exhibitions and scholarships for authors and publishers of children’s and youth literature as well as for educators. The library publishes the annual catalogue »The White Ravens«, bringing the selection of the best children’s and youth literature in the world. It has turned out to be a reference tool for all dealing with literature for these two age groups.

Fr. Victor White, O.P.: The Story of Jung’s “White Raven.” (review)

Fr. Victor White, O.P.: The Story of Jung’s “White Raven.” (review)

Postcards

Postcards Ma José Gómez-Navarro and Alicia Muñoz Álvarez Juan Clemente Gómez Quiquiricosas/Thingummies Illus. Emilio Urberuaga Valencia, Spain: Diálogo, 2008. 38 pp. ISBN: 978-84-96976-08-5 (picture book, poetry, 3+) Quiquiricosas / Thingummies features ten poems by Juan Clemente Gómez, well-known novelist and teacher, integrated in a lovely picture book with marvelous double-page illustrations. The author draws his inspiration from the rich Castilian oral tradition and from English nonsense verse; he uses patterns from folk nursery rhymes and street games, as well as every poetical figure that can inject musicality into a text for children. The work of top-rated illustrator Emilio Urberuaga is published in over nine countries and regularly appears on the White Ravens list. This time, using a mixed-media technique, he achieves clean luminous brilliant colors that fill all the available space, making the real life and nonsensical or surrealistic characters come to life and emphasizing the fantastic and humorous atmosphere created by the poems. Here is an ideal book for children to hear read aloud in the voices of their loved ones. They will thus discover, even before they can read, the beauty of poetic images and the sonorous power of a sequence of words and rhymes, while they simultaneously enjoy Emilio Urberuaga's eloquent panoramic illustrations. Ma José Gómez-Navarro Fran Alonso La araña y yo/The Spider and I Illus. Manuel G. Vicente Sevilla, Spain: Kalandraka Ediciones Andalucía, 2009. 40 pp. ISBN: 978-84-96388-45-1 (picture book, 3+) Alonso and Vicente have produced a picture book of great artistic beauty. The authors evoke similarities between the shapes and textures of fruit and parts of the human body. They have also created a simple yet daring storyline: a young girl describes the walk a spider takes along the child's body, at the same time initiating a friendship between them. The writing and images radiate gentleness and sensitivity, and they succeed in blending seemingly contrary concepts such as beauty and ugliness. The combination of photography and drawings that illustrate this story help the reader understand the literary and descriptive aspects of the book. The authors, Fran Alonso and Manuel González Vicente, have participated together in several diverse publishing projects. Their pursuits, both literary and graphical, have been cultivated primarily in Galicia. Alonso has won the Blanco Amor Award for writing and Vicente has presented expositions and created monographic works, particularly those related to the Way of St. James. Alicia Muñoz Álvarez [End Page iv] Vicente Muñoz Puelles Óscar y el río Amazonas / Oscar and the Amazon River Illus. Noemí Villamuza Madrid, Spain: Anaya, 2009. 64 pp. ISBN: 978-84-667-8447-4 (fiction, 6+) Oscar is learning to read and to swim, and he finds both difficult. This is the story of how he overcomes his difficulties. Reading a book entitled Along the Amazon (which has a picture of a swimming boy pursued by an alligator on the cover), he feels that he has two lives: one as Oscar and another as Henry, the book's hero. This makes him realize that reading and swimming are comparable activities, requiring effort and offering gratification when mastered. This simple and imaginative story is set in the boy's limited world of family and school. The book is a bridge that links Oscar's two worries and helps him feel that the prize will be worth the effort. The boy's feelings are well-portrayed in the tender and forceful illustrations by the young artist Noemí Villamuza. Oscar first appeared in Oscar and the Post Office Lion, which won the National Prize for Literature in 1999. Ma José Gómez-Navarro [End Page 8] Elia Barceló Futuros peligrosos / Dangerous Futures Zaragoza, Spain: Edelvives, 2008 166 pp. ISBN: 978-84-263-6700-6 (short stories, 14+) Under a revealing title, this book gathers seven short stories of different genres: fantasy, science fiction, utopian literature, etc. Set in recognizable places for Spanish readers, and in a time very near the present, these stories speak about current subjects of a personal and social nature: the excess of violence and unscrupulous...

JUNG'S ‘WHITE RAVEN’: The Jung–White Letters – Edited by Ann Conrad Lammers and Adrian Cunningham

British Journal of PsychotherapyVolume 24, Issue 3 p. 365-379 JUNG'S ‘WHITE RAVEN’: The Jung–White Letters – Edited by Ann Conrad Lammers and Adrian Cunningham Christopher MacKenna, Christopher MacKenna British Association of Psychotherapists, London[cmackenna@stmarylebone.org]Search for more papers by this author Christopher MacKenna, Christopher MacKenna British Association of Psychotherapists, London[cmackenna@stmarylebone.org]Search for more papers by this author First published: 11 July 2008 https://doi.org/10.1111/j.1752-0118.2008.00091.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 Share a linkShare onFacebookTwitterLinked InRedditWechat Volume24, Issue3August 2008Pages 365-379 RelatedInformation