Wimpole Street Research Articles

Metadrama and Language (Language and Metadrama in Major Barbara and Pygmalion: Shavian Sisters)

Metadrama and Language (Language and Metadrama in <i>Major Barbara</i> and <i>Pygmalion:</i> Shavian Sisters)

The Robert and Lilian Lindsay Library - Part one: in search of a home.

A history of the BDA Library from its beginnings up to the move to its current home in 64 Wimpole Street. In its centenary year of 2020, this article looks back and reflects on how the library was first thought of, its inception and growth under the nurturing hand of its Honorary Librarian, Lilian Lindsay, and through its move from 23 Russell Square to 13 Hill Street and the tribulations of the Second World War. The development of the Robert and Lilian Lindsay Library is then followed post-war when its first full-time professionally qualified librarian was engaged, through the tribulations of the late 1950s into the 1960s and the safe hands of Muriel Spencer, who brought the collection to its specifically designed area at 64 Wimpole Street.

Dental workforce: Dental workforce future

Send your letters to the Editor, British Dental Journal, 64 Wimpole Street, London, W1G 8YS. bdj@bda.org. Priority will be given to letters less than 500 words long. Authors must sign the letter, which may be edited for reasons of space.

Out of hours: Someone has to do nights

Send your letters to the Editor, British Dental Journal, 64 Wimpole Street, London, W1G 8YS. bdj@bda.org. Priority will be given to letters less than 500 words long. Authors must sign the letter, which may be edited for reasons of space.

MRI safety: MRI and fixed orthodontic appliances

Send your letters to the Editor, British Dental Journal, 64 Wimpole Street, London, W1G 8YS. bdj@bda.org. Priority will be given to letters less than 500 words long. Authors must sign the letter, which may be edited for reasons of space.

Cone beam CT scan: Importance of CBCT in treatment plan

Send your letters to the Editor, British Dental Journal, 64 Wimpole Street, London, W1G 8YS. bdj@bda.org. Priority will be given to letters less than 500 words long. Authors must sign the letter, which may be edited for reasons of space.

Radiology: New regulations

Send your letters to the Editor, British Dental Journal, 64 Wimpole Street, London, W1G 8YS. Email bdj@bda.org. Priority will be given to letters less than 500 words long. Authors must sign the letter, which may be edited for reasons of space. Readers may now comment on letters via the BDJ website ( www.bdj.co.uk ). A 'Readers' Comments' section appears at the end of the full text of each letter online.

Pathetic jokes

Send your letters to the Editor, British Dental Journal, 64 Wimpole Street, London, W1G 8YS. bdj@bda.org. Priority will be given to letters less than 500 words long. Authors must sign the letter, which may be edited for reasons of space.

Case report: Oral medicine: Diagnostic overshadowing.

Send your letters to the Editor, British Dental Journal, 64 Wimpole Street, London, W1G 8YS. bdj@bda.org. Priority will be given to letters less than 500 words long. Authors must sign the letter, which may be edited for reasons of space. Readers may now comment on letters via the BDJ website ( www.bdj.co.uk ). A 'Readers' Comments' section appears at the end of the full text of each letter online.

“This Close Room”: Elizabeth Barrett’s Proximal Poetics in Sonnets from the Portuguese

Could it be that heart & life were devastated to make for you? --Elizabeth Barrett Barrett to Robert Browning, November 17, 1845 (1) At the end of Sonnets from the Portuguese Elizabeth Barrett likens her thoughts to flowers that have grown into verse, both seeming if they grew / In room (Works 2: 44, ll. 3-4). (2) In that phrase, this she points to two different, though not entirely separate, spaces: the she occupies in her father's house, where she has lived, written, and been reawakened by an unexpected love; and the lyric that is the sonnet itself, the fourteen-line stanza. Her on Wimpole Street does not merely provide the poet with a space in which to write her sonnets but also becomes an integral part of their construction and an influential force in any experience of reading them; in addition, the experiences these sonnets record is often governed by that physical space. The poet dwells within a that is figuratively represented as a bower, but the poetic production taking place in that makes the figurative bower both a literary and a literal one. Speaking within both the literal and figurative rooms, she proposes that the enclosed and solipsistic space of a traditionally strict verse form need not preclude intimacy with a beloved. Even though her sonnets are written in private as reflections upon her intimate meetings with Robert Browning in a close she imagines the lyric space as another in which she may not only test out terms of proximity and distance but also create an alternate space in which they may meet. Yet, Barrett's Euclidian sense of space clashes with an abstract one whereby the logic of the rooms she occupies and draws in verse comes into conflict with the illogic of the metaphysical spaces she has occupied in literature. The endeavor to reconcile the man standing beside her and the man in the imagined space of the text plays out in sonnet rooms that exemplify tension between the physical reality of place and the unconventional spatial logic of figurative settings. Barrett's particular relationship to space and her spatial imagination, evident in her letters to Browning, inform nor only the dynamics of enclosure and accommodation in Sonnets from the Portuguese hut also its idiomatic poetics. Specifically, Barrett negotiates concerns with spatial configurations and relationships within a literary and literal space using what I call a proximal poetics whereby prepositional play, enjambment, and deictics create a linguistic topos of distance and intimacy. This article focuses on how Sonnets from the Portuguese builds, and builds upon, a multi-dimensional language of space: the space between a female speaker and her beloved, the enclosed space of the sonnet room, and the real space in which those sonnets were written. Consideration of all three categories of space must attend to the complex dynamics of the Petrarchan tradition in which Barrett writes. (3) Unlike the speakers in traditional amatory sonnet sequences by Petrarch and Dante who maintain a distance from their object of affection, Barrett speaks from a position in which consummation is a viable option. While we cannot locate moments in Petrarch's sonnets where lovers meet, share intimate spaces, hold hands, or kiss, such physical proximity is the characteristic crux of Sonnets from the Portuguese. Indeed, traditional amatory verse depends upon maintaining a breach between subject and object because such unfulfilled desires generate the necessary tension for poetic production. In contrast, the tension in Barrett's sonnet sequence arises precisely from the fact that the distance between subject and object cannot be sustained and, indeed, has already collapsed; the speaker cannot hold the beloved at a distance because he places himself to her. Consequently, Sonnets from the Portuguese challenges putative understandings of lyric subjectivity and address, particularly as it relates to a Petrarchan tradition of sonnet writing, in the way it turns a self-oriented space into a discursive one. …

Back to the future: republishing Bradford Hill and more from our archive

We look ahead to 2015 by looking back 50 years. Any historian will tell you that the answers to our current problems can be found in events of the past. The pace of medical advance makes this concept difficult to apply to current clinical practice but last month's JRSM gave the example of the relevance of John Haygarth's work in the 18th century to our present difficulties in dealing with Ebola.1 The Journal of the Royal Society of Medicine has been continuously published in various guises since 1809. It was a journal before The BMJ and The Lancet came into existence. The journal has had other names. It began as Medico-Chirurgical Transactions, and with the formation of the Royal Society of Medicine in 1907 changed name to Proceedings of the Royal Society of Medicine. This name better reflected the role of the journal in reporting on momentous presentations at the RSM. The focus of Proceedings was very much on the clinical debates and lectures at the society. But medicine changed. International meetings are now the forum for announcing clinical breakthroughs. The RSM has a different role, focused on education, updating specialists on the latest developments in the world of medicine and not just events at Wimpole Street. The journal has changed accordingly, and as the Journal of the Royal Society of Medicine it seeks to educate and inform a multispecialty readership, and publish important new research of relevance to its readers. As such, the articles in JRSM don't often arise from meetings at RSM, although such articles are happily considered for publication. Historical pieces were once a mainstay of this journal. When I started as editor I made the decision to cover less medical history to leave space for content of more direct relevance to current clinical practice and health policy. There is still room though for interesting historical pieces, as a quick browse through last year's issues will confirm. Indeed, our regular section from the James Lind Library is a treasure trove of historical developments in clinical research.2 Last year, the complete back archive of JRSM dating back to 1809 was made available on the journal's website.3 Thanks to our access policy, the vast majority of this rich content is free. The pages of the journal tell the story of the major events in medicine and allow us to reflect on the challenges faced by our clinical colleagues from a different age. We might learn from their experiences. In appreciation of this history we start a new feature that will each month republish a piece from the JRSM of 50 years ago. We begin with a landmark article by Austin Bradford Hill on association and causation in epidemiology.4 An accompanying editorial by Richard Wakeford explains its importance.5 Wakeford argues that Bradford Hill's article remains of relevance today, perhaps more so than ever, and proposes that it should be required reading for the medical profession and beyond.

Ethics and Analysis: Ambiguities and Conflict

151 1 This article derives from a lecture given in Dallas, Texas, in 2007. 2 Group Analyst and Jungian Psychoanalyst (retired). Correspondence should be addressed to Meg Sharpe, 43 Wimpole Street, London, W1G 8AE, England. E-mail: mandpwim@gmail.com. This essay examines the ambiguities and tensions that can arise between the practitioner and his or her professional organization on questions of ethical practice. There is no shortage of case histories recording the results of maladministration and mistreatment from the patients’ viewpoint but very little about what going through the process is like for the practitioner and the organization, perhaps because it is too painful, or felt to be too defensive, or we think it only applies to irresponsible practitioners. This is not so. I do not intend to defend or fudge about transgressors who cross the line and violate codes. I examine some of the dynamics, primarily from the therapist’s perspective and based on my specifically U.K. experience.

Shavian Elements in the My Fair Lady Film

It seems temporally appropriate that George Cukor’s screen version of My Fair Lady should have been released in 1964, since it neatly concluded a half-century of attempts by actors, directors, and adapters alike to romanticize Bernard Shaw’s Pygmalion. From the very moment, in fact, that Herbert Beerbohm Tree and Mrs. Patrick (Stella) Campbell—in their respective roles of phonetician Henry Higgins and Cockney flower seller Eliza Doolittle—had improvised lines and stage business to imply to their opening-night London audience in 1914 that a romantic union between their two characters was inevitable, Shaw was embroiled in a perpetual struggle to control his conception of the play. To Shaw, the culminating point of Pygmalion was that Eliza achieves independence from the bullying Higgins. an Eliza-Higgins marriage, he declared, would have been “a revolting tragedy.”1 To that end, Shaw appended a prose sequel to the first (1916) English-language publication of Pygmalion in book form, in which he outlined Eliza’s married life with the youthful Freddy Eynsford Hill, a minor character in the play. However, the public, in general, “went on preferring its own version.”2 The advent of talking pictures offered Shaw an opportunity to reassert his wishes, and to this end he wrote his own screenplay adaptation in 1934 for the first ( German) film version of Pygmalion (Erich Engel, 1935), making it a contractual requirement that the filmmakers adhered to his (translated) scenario, in which any suggestion of a Higgins-Eliza romance had been carefully removed. Without having seen the resulting film, Shaw also granted screen adaptation rights on the same condition to Dutchand English-language productions (Pygmalion, Ludwig

SHAW'S LONDON THEN AND NOW

SHAW'S LONDON THEN AND NOW

RECOGNIZING AND MANAGING THE COMPLICATIONS OF PROSTATE BIOPSY

BJU InternationalVolume 108, Issue 8 p. 1233-1234 RECOGNIZING AND MANAGING THE COMPLICATIONS OF PROSTATE BIOPSY Ben Challacombe, Corresponding Author Ben Challacombe The Prostate Centre Guy's and St Thomas' Hospitals NHS Foundation TrustBen Challacombe, The Prostate Centre, 32 Wimpole Street, London, W1G 8GT, UK. e-mail: benchallacombe@hotmail.comSearch for more papers by this authorProkar Dasgupta, Prokar Dasgupta The Prostate Centre Medical Research Council (MRC) Centre for Transplantation, King's College London, King's Health Partners, Guy's Hospital, London, UKSearch for more papers by this authorUday Patel, Uday Patel The Prostate CentreSearch for more papers by this authorPeter Amoroso, Peter Amoroso The Prostate CentreSearch for more papers by this authorRoger Kirby, Roger Kirby The Prostate CentreSearch for more papers by this author Ben Challacombe, Corresponding Author Ben Challacombe The Prostate Centre Guy's and St Thomas' Hospitals NHS Foundation TrustBen Challacombe, The Prostate Centre, 32 Wimpole Street, London, W1G 8GT, UK. e-mail: benchallacombe@hotmail.comSearch for more papers by this authorProkar Dasgupta, Prokar Dasgupta The Prostate Centre Medical Research Council (MRC) Centre for Transplantation, King's College London, King's Health Partners, Guy's Hospital, London, UKSearch for more papers by this authorUday Patel, Uday Patel The Prostate CentreSearch for more papers by this authorPeter Amoroso, Peter Amoroso The Prostate CentreSearch for more papers by this authorRoger Kirby, Roger Kirby The Prostate CentreSearch for more papers by this author First published: 29 September 2011 https://doi.org/10.1111/j.1464-410X.2011.10621.xCitations: 16Read 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 No abstract is available for this article.Citing Literature Volume108, Issue8October 2011Pages 1233-1234 RelatedInformation

The Edinburgh Companion to Virginia Woolf and the Arts (review)

Reviewed by: The Edinburgh Companion to Virginia Woolf and the Arts Christine Froula The Edinburgh Companion to Virginia Woolf and the Arts. Maggie Humm, ed. Edinburgh: Edinburgh University Press, 2010. Pp. xii + 500. $225.00 (cloth). On the Half-Way Landing of London's National Gallery, a visitor may find herself standing on a Clio fashioned in Woolf's unmistakable image (detail, plate 8), who, with Thalia chortling on her right, holds a quill pen toward a Clive Bell-like Bacchus while beyond him a diagonally counterpoised Melpomene/Greta Garbo gazes into the distance with her back turned, as if, even in this extraordinary company, she'd rather be alone. Boris Anrep's marble mosaic The Awakening of the Muses (1933) melds cultural capital with kitsch and overlays classical myth with glamour girls of modern print culture and the silver screen as it enshrines semibohemian Bloomsbury permanently, if ambivalently, underfoot. Woolf, who liked both fame and anonymity, had meant "to be Clio: not V.W." in Anrep's mosaic (157). In any case, throughout her life she was in direct and indirect colloquy with muses classical and modern. Centered in the metropolis of an empire on which the sun was just beginning to set; enmeshed from birth in a vast, intricate, vibrantly communicative network of writers, artists, intellectuals, politicians, editors, family, friends, acquaintances, servants, children, associates, and everyday urban and village social life; writing in many genres from public novel, essay, and biography to private diary, letter, memoir, and playscript while co-owning and -operating the Hogarth Press, Woolf left one of the richest, most extensive and resonant archives in English literary history. These twenty-five essays by various hands trawl the deep waters of "Woolf and the arts" with a broad net that catches galleries and exhibitions, domestic arts and architecture, bookmaking, publishing and broadcast technology, cinema, photography, music, theatre, dance, popular culture, gardens, entertaining, journalism, and more. They illuminate their findings with thirty-nine black-and-white figures and sixteen color plates. As befits its companionable purpose, much of this hefty book retreads familiar ground and some essays reprise established scholarship. But Maggie Humm has done welcome work in [End Page 480] gathering into one kaleidoscopic compendium these myriad sightings of Woolf at galleries and museums, in concert and music halls, hearing Parsifal at Bayreuth, comparing the Ballets Russes with Henry Tate or Shaw with Chekhov, participating in early Bloomsbury's Play Reading Society, reading Pound's memoir of Gaudier-Brzeska over tea in an A. B. C., coming home wet and tired to listen to a Mozart or Beethoven quartet on the miraculous new gramophone, writing about Vanessa Bell's or Walter Sickert's paintings, commissioning Hogarth book jackets from Vanessa or a French couture ensemble with the help of Vogue's Madge Garland, compiling homemade scrapbooks of snapshots and documents, choosing pictures of Orlando. Turn a kaleidoscope, and the same elements compose different designs; so many of these essays offer fresh discoveries, hypotheses, perspectives, and insights along with some wonderful images. Jane Goldman unearths a 1914 photograph of Millais's portrait of Carlyle in the Museum of London, its glass shattered by a suffragist (42, figure 2.1). Linden Peach proposes that Rudolf Besier's play The Barretts of Wimpole Street (which Woolf thought "rather feeble") inspired Flush. Diane F. Gillespie reproduces in black and white a remarkable 1920 painting by Vanessa Bell now titled Mrs Dalloway's Party (130, figure 7.2). Elizabeth Hirsh looks at actual and virtual portraits in Woolf's writings as an index of historical changes in representation. Ben Harvey finds that Woolf heard a lecture on the Grafton Gallery's 1905 exhibition of impressionist paintings, which she therefore must have seen (153); he probes Clio's proximity to Thalia/Lesley Jowitt on the National Gallery floor and notes Woolf's demurral from Churchill's praise of Sargent's Gassed (plate 7) as a work of "brilliant genius and painful significance" (148). Laura Marcus discusses hand printing and Russian translations at the Hogarth Press, and Tony Bradshaw explores book design from Virginia's bookbinding accomplishments to the Woolfs' library at Washington State University and, of course, the Press. Illustrating both essays...

A new partnership between Acta Radiologica and Royal Society of Medicine Press

A new partnership between <i>Acta Radiologica</i> and Royal Society of Medicine Press

JRSM and society meetings

Medical journals have interesting relationships with their owners. The Lancet is owned by Elsevier, the BMJ by the British Medical Association, and the JRSM, of course, belongs to the Royal Society of Medicine. Ownership by such powerful organizations has its benefits. These journals have security in our financially troubled times. They have access to sales and marketing support to help promote and grow their readerships. They can even venture into international markets. Benevolent ownership that allows the journal editorial freedom is every editor's dream. Unfortunately, the reality is never so idyllic. Powerful commercial organizations such as Elsevier have stringent business targets, which include objectives for the journal. It is hard for even the most independent editor not to be mindful of a journal's commercial performance. Powerful medical associations, like the BMA, have large memberships to placate. They will be conscious of the political ramifications of what is published in their house journal. The editor will be mindful of sensibilities within the organization. In addition, commercial pressures are increasingly influencing the strategies and the objectives of medical associations. Is it possible for an editor to be truly independent when dealing with the real politik of any organization? Probably not, but any decent editor will fight for the independence of their journal. A scientific society, like the RSM, is much different to a commercial organization or a political medical association. The principles of scientific freedom are easily extended to the journal, allowing it to operate autonomously. This is certainly the case with the JRSM, where I have never experienced any attempt to interfere with the editorial decision-making of the journal. RSM members can be proud that the society's officers are upholding the highest principles of governance in relation to the JRSM. Of course, authors and readers might not always agree with the decisions of the journal but that is the way with any publication. Journals are about debate and debating the decisions of the editorial team are a legitimate exercise. Ownership by societies, however, comes with an added complication, as the letter by Geoffrey Walker highlights (JRSM 2010;103:346). Should society journals publish the proceedings of society meetings? I welcome your views. JRSM did once publish proceedings but no longer does as a routine. A simple fact is that there are too many meetings at the society and not sufficient pages in the journal to cover them. In addition, all authors should have an equal chance of publishing in the JRSM, provided that their articles are of relevance to JRSM readers. JRSM already receives far more articles than it can publish, which is why the new sister journal, JRSM Short Reports, has been launched. Many meetings are wonderful to attend but difficult to recount in the form of a journal article. Indeed, a direct report of a meeting makes for dull reading and is unlikely to be published. It is another form of vanity publishing. The RSM's new video lectures service on the RSM website now broadcasts the best of the lectures delivered at the RSM. We would broadcast and publish every lecture or meeting held at the RSM if both the demand and the resources existed. There isn't the demand and there aren't the resources. The JRSM's objective is to become the leading clinical journal on UK medicine and healthcare. To that end, the journal has to reach out to RSM members but also reach beyond them. The RSM is a society that engages in the wider debate on medicine and healthcare outside the walls of 1 Wimpole Street. JRSM's editorial policy reflects that positioning. If JRSM is to grow and flourish, provide a valuable service for members, as well as attract new ones, then it must continue with its current approach. But that doesn't mean that members enthusiastic to write up a meeting should not consider the JRSM. There are two ways to be published. First, you consider writing a clinical review, essay or editorial based on the most interesting theme of the meeting. You will need to submit via the online submission system and your paper will be considered equally with other submissions if it is judged to be appropriate for the JRSM's readership it will be published. Second, if you have several potential articles you might want to offer the journal a series or – if the theme of the meeting was too narrow for general readers – you could consider a supplement to JRSM, although supplements will require additional funding. At the very least, I am happy to discuss potential articles. The route to JRSM is not closed for meeting organizers and speakers but there is certainly no automatic entry.

Antitheatricality Seen in Virginia Woolf&apos;s Fiction : Flush and The Barretts of Wimpole Street

Antitheatricality Seen in Virginia Woolf&apos;s Fiction : Flush and The Barretts of Wimpole Street

British HIV Association, BASHH and FSRH guidelines for the management of the sexual and reproductive health of people living with HIV infection 2008

A Fakoya, H Lamba, N Mackie, R Nandwani, A Brown, EJ Bernard, C Gilling-Smith, C Lacey, L Sherr, P Claydon, S Wallage and B Gazzard British HIV Association (BHIVA), BHIVA Secretariat, Mediscript Ltd, 1 Mountview Court, 310 Friern Barnet Lane, London N20 OLD, British Association for Sexual Health and HIV (BASHH), Royal Society of Medicine, 1 Wimpole Street, London W1G OAE and Faculty of Sexual and Reproductive Health of the Royal College of Obstetricians and Gynaecologists (FSRH), 27 Sussex Place, Regent’s Park, London NW1 4RG, UK