How does the radio enhancement of broad absorption line quasars relate to colour and accretion rate?

The origin of radio emission in different populations of radio-quiet quasars is relatively unknown, but recent work has uncovered various drivers of increased radio-detection fraction. In this work, we pull together three known factors: optical colour (g - i), C IV distance (a proxy for L/LEdd), and whether or not the quasar contains broad absorption lines (BALQSOs) which signify an outflow. We use SDSS (Sloan Digital Sky Survey) DR14 spectra along with the LOFAR Two Metre Sky Survey Data Release 2 and find that each of these properties have an independent effect. BALQSOs are marginally more likely to be radio-detected than non-BALQSOs at similar colours and L/LEdd, moderate reddening significantly increases the radio-detection fraction and the radio detection increases with L/LEdd above a threshold for all populations. We test a widely used simple model for radio wind shock emission and calculate energetic efficiencies that would be required to reproduce the observed radio properties. We discuss interpretations of these results concerning radio-quiet quasars more generally. We suggest that radio emission in BALQSOs is connected to a different physical origin than the general quasar population since they show different radio properties independent of colour and C IV distance

'It's a film' : medium specificity as textual gesture in Red road and The unloved

British cinema has long been intertwined with television. The buzzwords of the transition to digital media, 'convergence' and 'multi-platform delivery', have particular histories in the British context which can be grasped only through an understanding of the cultural, historical and institutional peculiarities of the British film and television industries. Central to this understanding must be two comparisons: first, the relative stability of television in the duopoly period (at its core, the licence-funded BBC) in contrast to the repeated boom and bust of the many different financial/industrial combinations which have comprised the film industry; and second, the cultural and historical connotations of 'film' and 'television'. All readers of this journal will be familiar – possibly over-familiar – with the notion that 'British cinema is alive and well and living on television'. At the end of the first decade of the twenty-first century, when 'the end of medium specificity' is much trumpeted, it might be useful to return to the historical imbrication of British film and television, to explore both the possibility that medium specificity may be more nationally specific than much contemporary theorisation suggests, and to consider some of the relationships between film and television manifest at a textual level in two recent films, Red Road (2006) and The Unloved (2009)

Gluttony, excess, and the fall of the planter class in the British Caribbean

Food and rituals around eating are a fundamental part of human existence. They can also be heavily politicized and socially significant. In the British Caribbean, white slaveholders were renowned for their hospitality towards one another and towards white visitors. This was no simple quirk of local character. Hospitality and sociability played a crucial role in binding the white minority together. This solidarity helped a small number of whites to dominate and control the enslaved majority. By the end of the eighteenth century, British metropolitan observers had an entrenched opinion of Caribbean whites as gluttons. Travelers reported on the sumptuous meals and excessive drinking of the planter class. Abolitionists associated these features of local society with the corrupting influences of slavery. Excessive consumption and lack of self-control were seen as symptoms of white creole failure. This article explores how local cuisine and white creole eating rituals developed as part of slave societies and examines the ways in which ideas about hospitality and gluttony fed into the debates over slavery that led to the dismantling of slavery and the fall of the planter class

"Sorting stones": monuments, memory and resistance in the Scottish Highlands

First paragraph:  Alan: Well after we sort the stone we'll sort that one.  Duncan: Aye, we’ll sort our stone and then we’ll sort that stone.  These enigmatic yet forceful statements are taken from an interview carried out in 2001 with two men in their mid 40s and 30s respectively. Both live in Hilton of Cadboll, a small village on the seaboard of Easter Ross in north-east Scotland. This was my first interview in Hilton and I was nervous about how effective I would be. Rightly so, it turned out. My main aim was to explore the meanings and values attached to the celebrated Hilton of Cadboll cross-slab. 2 Yet Alan and Duncan were primarily concerned with its future destiny, which triggered heated discussion of a variety of seemingly unrelated issues and injustices. I struggled to structure the interview with little success, and at one point Alan interjected with his uncompromising statement about sorting stones, vehemently reinforced by Duncan. Admittedly a few drinks had been consumed during the course of the evening interview. Nevertheless, the anger which simmered underneath was unsettling and I was confused by the connections they seemed to be makin