East Midlands strategic distribution study

This study assesses the importance of the logistics sector to the economy of the East Midlands and provides an understanding of land requirements and demand for sites from logistics companies in the region in the short, medium and long term

Perilous Boundaries: Affective Experience in Three Scottish Women Writers’ Short Fiction

Cet article se concentre sur la négociation de la perte dans les nouvelles des écrivaines écossaises Lynsey May, Janice Galloway et A. L. Kennedy. Au lieu d’orienter la perte vers des préoccupations nationalistes, elles la déterritorialisent et la reterritorialisent en déplaçant l’attention vers les affects partagés. A travers le corps du texte, Lynsey May, Janice Galloway et A. L. Kennedy proposent le corps — la bouche de leurs protagonistes — comme source de l’exploration d’une expérience sans limite. Dans chacune des nouvelles, l’utilisation d’un objet métonymique met en lumière le danger qu’un affect partagé peut constituer. Dans la nouvelle de Lynsey May « The Gull », les sentiments de violence que Joni éprouve à l’égard de l’oiseau témoignent indirectement de la violence de son rejet de son ancien petit ami. Dans la nouvelle de Janice Galloway intitulée « A Week with Uncle Felix », l’impossibilité qu’éprouve Senga à mettre en mots la perte témoigne de la complexité de sa relation avec Félix. Un collier, offert en guise de souvenir, est utilisé pour construire artificiellement une narration familiale mais surtout pour créer un attachement émotionnel à une lignée. La narratrice d’A. L. Kennedy dans « Story of My Life », recherche une rencontre affective avec le lecteur à travers la relation de son trauma oral chez le dentiste mais en dernière analyse utilise la forme de la nouvelle pour reconfigurer l’expérience de la perte

Shuar People’s Healing Practices in the Ecuadorian Amazon as a Guide to State Interculturality: An Epistemic Case for Indigenous Institutions

What do we understand by the principle of state interculturality? What would be the full implications of making Latin American states culturally representative, rather than agents of modernisation on the European model? Could the state reflect the distinctive local cultures within the various particular regions of its sovereign territory? This project takes the example of state healthcare in Ecuador, an ‘intercultural state’ according to its 2008 constitution, as a point of entry to answering these questions. By presenting an epistemological critique of biomedicine as culturally specific and historically contingent, it argues for intercultural health as a break with taking western knowledge systems as the universal arbiters for social policy. Instead, it proposes that the health-seeking preferences of indigenous minority groups–working with the example of the Shuar nationality in the south-eastern Amazonian province of Zamora-Chinchipe–become the basis for culturally representative state healthcare within their territory. I argue that this is a question of indigenous justice, in light of the evident dramatic disconnects in meaning and disappointed expectations of many Shuar people in their engagement with clinical healthcare. However for non-indigenous society, too, intercultural health would lead to the further development of health practices founded on distinct epistemological and ontological assumptions from those of western biomedicine, thereby bringing a new diversity of approaches with which intercultural societies could address universal social problems. Yet the effort to put forward a medical ethnographic representation of Shuar culture understood as a set of present-day practices and preferences, rather than a body of essentialised tradition, raises the question of how meaningful it is today to speak of cultural groups, when these are inevitably cross-cut by transnational economic, religious and political-discursive forces to different extents in different locations. The thesis thus concludes with a suggestion for what we mean when we say we value cultural diversity

¿Interculturalidad o ‘cultura’ a lo occidental? El rechazo indígena hacia la educación intercultural bilingüe

A pesar de ser un principio constitucional, la interculturalidad se encuentra en crisis en Ecuador. Un síntoma de esta crisis es el rechazo o indiferencia hacia la educación intercultural bilingüe (EIB) por parte de varios pueblos indígenas. A través de un estudio de caso de esta actitud por parte del pueblo shuar que reside en la provincia Zamora Chinchipe, Ecuador, propongo que esta tiene sus orígenes en las políticas eurocéntricas de interculturalidad, en las que presumen en qué consiste la diferencia cultural y a qué aspira la familia indígena en cuanto educación, desatendiendo la lucha para la movilidad social en contextos de desigualdad material como parte central de las culturas actuales. Concluyo que resulta indispensable llevar a cabo una descentralización de las políticas públicas para lograr una verdadera interculturalización del Estado desde las experiencias contemporáneas y a partir de las necesidades reales de las comunidades indígenas

Representations of War and Conflict in the Painting of Gustave Doré

The project, using the working title Representations of War and Conflict in the Painting of Gustave Doré, proposes to explore one of Gustave Doré’s little-known, but extensive oeuvres in painting. That is, the artist’s representation of conflict through the modes of history painting and allegory. With an initial chapter, Doré’s successful debut as a politicised painter and pamphleteer during the Crimean War will be outlined, contextualising the focus of the two following chapters, which cover his artistic output during the Franco-Prussian War of 1870 – 71. The exploration of this largely unaccounted-for aspect of Doré’s career is to the greatest extent facilitated by a new engagement with his earliest, and only contemporary French biographer, René Delorme. Delorme’s text, part-biography, part-catalogue raisonné and part-invitation for the purchase of his art, will be incorporated as an invaluable primary source from both an art biographer, and one of the very few native commentaries on Doré

Perilous Boundaries: Affective Experience in Three Scottish Women Writers’ Short Fiction

Cet article se concentre sur la négociation de la perte dans les nouvelles des écrivaines écossaises Lynsey May, Janice Galloway et A. L. Kennedy. Au lieu d’orienter la perte vers des préoccupations nationalistes, elles la déterritorialisent et la reterritorialisent en déplaçant l’attention vers les affects partagés. A travers le corps du texte, Lynsey May, Janice Galloway et A. L. Kennedy proposent le corps — la bouche de leurs protagonistes — comme source de l’exploration d’une expérience sans limite. Dans chacune des nouvelles, l’utilisation d’un objet métonymique met en lumière le danger qu’un affect partagé peut constituer. Dans la nouvelle de Lynsey May « The Gull », les sentiments de violence que Joni éprouve à l’égard de l’oiseau témoignent indirectement de la violence de son rejet de son ancien petit ami. Dans la nouvelle de Janice Galloway intitulée « A Week with Uncle Felix », l’impossibilité qu’éprouve Senga à mettre en mots la perte témoigne de la complexité de sa relation avec Félix. Un collier, offert en guise de souvenir, est utilisé pour construire artificiellement une narration familiale mais surtout pour créer un attachement émotionnel à une lignée. La narratrice d’A. L. Kennedy dans « Story of My Life », recherche une rencontre affective avec le lecteur à travers la relation de son trauma oral chez le dentiste mais en dernière analyse utilise la forme de la nouvelle pour reconfigurer l’expérience de la perte

Dzieje wojska Polskich Sił Zbrojnych na Zachodzie w historiografii ostatnich trzech dekad

Artykuł poświęcony jest historiografii wojska Polskich Sił Zbrojnych na Zachodzie w ostatnich trzech dekadach. Autor omawia zmiany jakie nastąpiły w historiografii tego tematu w momencie odzyskania niepodległości przez Polskę w latach 1989–1990. Analizuje wspomnienia oraz nowe monografie poświęcone poszczególnym rodzajom broni i służb, wyższym związkom taktycznym, dywizjom i brygadom oraz pułkom, wybranym aspektom formowania i funkcjonowania wojska oraz jego udziału w działaniach wojennych, ponadto prace z zakresu biografistyki wojskowej, a także edycje źródeł. Opisuje zarówno prace historyków polskich, jak i autorów zagranicznych

Forms of memory in late twentieth and twenty-first century Scottish fiction

According to Pierre Nora, “[m]emory and history, far from being synonymous, appear now to be in fundamental opposition”. Drawing on theories of memory and psychoanalysis, my thesis examines the role of memory as a narrative of the past in late twentieth-century and twenty-first-century Scottish literature. I challenge Nora’s supposition that memory and history are fundamentally opposed and I argue that modern Scottish literature uses a variety of forms of memory to interrogate traditional forms of history. In my Introduction, I set the paradigms for my investigation of memory. I examine the perceived paradox in Scottish literature between memory and history as appropriate ways to depict the past. Tracing the origins of this debate to the work of Walter Scott, I argue that he sets the precedent for writers of modernity, where the concerns are amplified in late twentieth and twenty-first century literature and criticism. While literary criticism, such as the work of Cairns Craig and Eleanor Bell, studies the trope of history, Scottish fiction, such as the writing of Alasdair Gray, James Robertson, and John Burnside, asserts the position of memory as a useful way of studying the past. Chapter One examines the transmission of memory. Using George Mackay Brown’s Greenvoe, I consider the implications of three methods of transferring memory. Mrs McKee’s refusal to disclose her experience indicates a refusal to mourn loss and to transmit memory. Skarf’s revision of historical narratives indicates a desire to share experience. The Mystery of the Ancient Horsemen demonstrates the use of ritual in the preservation and the communication of the past for future generations. Chapter Two studies the Gothic fiction of Emma Tennant and Elspeth Barker. I examine sensory experience as indicative of the interior and non-linear structure of memory. I argue that the refusal to accept personal and familial loss reveals problematic forms of memory. Chapter Three traces unacknowledged memory in Alice Thompson’s Pharos. I use Nicolas Abraham’s theory of the transgenerational phantom to consider the effects of this undisclosed memory. I argue that the past and its deliberate suppression haunt future generations. Chapter Four considers the use of nostalgia as a form of memory. I investigate the perceptions and definitions of nostalgia, particularly its use as a representation of the Scottish national past. Using Neil Gunn’s Highland River, I identify nostalgia’s diverse functions. I examine nostalgia as a way in which, through the Scottish diaspora, memory is transferred and exhibited beyond national boundaries. Chapter Five builds on the previous chapter and extends the analysis of the ways nostalgia functions. I study nostalgia’s manifestations in the diasporic Scottish-Canadian literature of Sara Jeanette Duncan, John Buchan, Eric McCormack, and Alastair MacLeod

Computer-Aided-Design of Concert Staging

Concert stages contain many complex geometries and structural components, making their design a difficult task.  Equally difficult is the assembly of a concert stage, since proper construction of it's various components is vital to ensure structural integrity.  Computer-Aided-Design (CAD) is a necessary tool in staging design and analysis.  CAD can be used to show the overall structure of the stage, break the stage down into its various constituent components, and show how the individual stage members are connected.  Using solid modeling, the solid representations of the components and individual members assist in visualizing the complex components and their interconnection.  CAD techniques are essential in envisioning how various members of the stage fit together, and to show the step-by-step process of stage construction.  Also, the use of the CAD model is invaluable in any structural analysis.  After translating the CAD model into an IGES file, the structure can be imported into a finite-element program, which can then be used to evaluate the integrity of the stage by examining existing stresses