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Is UK drug policy evidence-based?
No full textBackground All public services in the UK are expected to produce evidence-based policies. This principle was argued particularly strongly in relation to policies for tackling drug misuse. However, concerns have been expressed that commitment to this principle is not matched by the reality of policy making. In this paper, we examine the extent to which the UK drug strategy can be regarded as evidence-based. Methods Focusing on case studies of policies implemented as part of the four main strands of the strategy, evidence reported by the government as forming the basis of the policy is examined as are findings of the published sources of evidence cited. Results In most cases, the evidence was of a good quality in that it reflected the general standard of research in the area. The main problem lies in the interpretation and reporting of research results. Two of four case studies were reported as biased in terms of research study selection and in two there was some evidence that the reporting was not wholly representative of the conclusions drawn. Conclusion There are many factors that influence the generation of policy and it is unrealistic, and perhaps disingenuous, to suggest in relation to drugs policy, that evidence is its primary focus
Die Macht des Faktischen: britische Labourabgeordnete und der Mauerbau 1961
No full textThe article explains why the British Left, primarily Labour Party MPs, reacted to the building of the Berlin Wall in 1961 with resignation and a high degree of acceptance that it would stabilise the Cold War
Tele-technologies, control and sousveillance: Saddam Hussein – de-deification and the beast
No full textThis looks at the role of Web 2.0 (moblogging, in particular) on mainstream TV news coverage of Saddam Hussein’s capture and execution, thereby exploring Steve Mann’s concept of sousveillance (watching the institutional watchers)
A review of the effectiveness of neighbourhood watch
No full textThe current paper presents the results of a systematic review of evaluations of neighbourhood watch. The review was conducted as part of the Campbell Collaboration Crime and Justice Group research on the effectiveness of criminal justice interventions. The main fi nding of the review was that about half of the schemes evaluated showed that neighbourhood watch was effective in reducing crime. However, just under half showed no evidence of success. An analysis of variations in outcome by features of the study, methods used and type of scheme showed some correlations with outcome. The paper concludes that future evaluation reports of neighbourhood watch should present more information on the features of the schemes and the method of analysis used to determine the source of variations in outcome, and to enable systematic reviews and meta-analyses
“Art of this Place: Women Artists in Cameroon” Videofilm at Images of Black Women Film Festival, London
No full textResearch ContextThe research context for this project is based around a revisionist dialogue, through documentary practice, that is part of decolonising the cinematic gaze with particular reference to cultural representations of African people. It builds on a body of research that emphasises the importance of representation as both a phenomenon and a methodology for scholarly research in film production and audience hermeneutics. The film forms part of a programme of practice-based research with a wider agenda to redefine and counter cultural misrepresentations of Africa through creative documentary film practice.Research Imperatives“Women Artists in Cameroon” is an intimate documentary portrait of young women making art in contemporary Cameroon; presenting a rare glimpse into women’s diverse creative expressions in visual arts. The key concepts and thematic concerns underpinning this project include identity, subjectivity, performance, agency, (in)visibility, and the politics of representation.The research asks questions such as “ What does the African woman desire?” What is her vision?’ “How can she be perceived outside traditional roles?” and “How does she engage with her culture?” Answers to these questions transcend predominant media stereotypes and gender discourses about African women.The project aimed to explore and present another kind of visibility of African women - one that transcends predominant media stereotypes and gender discourses.The research investigates how these young artists go against the grain of negative attitudes and prejudices against women, and how such performances in documentary enhance the reality of re-presenting the self. What new meanings are created from such ‘slices of reality’, and what can such portrayals offer an audience in terms of perspectives of unimagined Africa with particular reference to women
“Hidden Country: Photographs of the Free Wales Army 1966-68"
No full textResearch ContextMost of Roberts’ curatorial work has focused on and around archives and collections; spaces and practices that help to define the values of photographs. Here he has looked to expand the possibilities of photography as ‘contained’ by those systems and institutional settings through exhibition and publication. Moving the photograph between the realms of the archive and the collection, to the gallery and the book, has resulted in cross-cultural reflections that resist a static value. At its core is dissatisfaction with restricted ideas of photography and a desire to push at the boundaries through exhibition to unpack photography’s multiplicity. Here then is active resistance to the simple containment of the photograph as art or otherwise, a desire to put photography to work, to make it ‘speak’. Research ImperativesThe work developed from a collaboration with the artist Tim Brennan, whose "English Anxieties" (2009) had selectively investigated the archives of the social research group Mass Observation, making connections between shifts in social realism and the rise of modernism in Britain and the anxieties that emerged around espionage. An essay by Roberts for English Anxieties argued for the necessity of keeping archives fluid and open to revision. Roberts’ essay and curatorial strategy expanded on Brennan's approach by looking at the ways Brennan had ‘mined’ the archive and linking this back to methods of data gathering and archival practice
COPD and coping with breathlessness at home: a review of the literature.
No full textPatients with COPD and their partners often feel isolated while trying to cope with the psychological and physical effects of their condition and the change in their quality of life. Research studies support the fact that some patients with COPD cope better with their breathlessness at home with appropriate community support. This support may be provided by nurses and other health professionals. However, there appears to be an imbalance in the provision of community support/palliative care for COPD patients who have a life limiting illness compared to other patients with a life limiting illness and a cancer diagnosis. Where ‘hospital at home’ and support in the community for COPD patients occurs it is provided in many different ways and has been shown to reduce the necessity for acute hospital admissions
The Water Table
No full textA powerful and ambiguous body of water lies at the heart of these poems, with shoals and channels that change with the forty-foot tide. Even the name is fluid – from one shore, the Bristol Channel, from the other Môr Hafren, the Severn Sea
Octave Mirbeau: Two Plays
No full textOctave Mirbeau (1848-1917), the acclaimed Decadent novelist, was also a successful dramatist whose controversial plays have been shamefully overlooked in English cultures. These first translations of Mirbeau’s drama redress this neglect and present for the first time in English one of the towering achievements of twentieth-century European theatre. The volume features Business is Business (Les Affaires sont les affaires, 1903), an extraordinarily dark comedy showing the life of the diabolical millionaire Isidore Lechat. Ruthless and unethical, he has never known failure as he pitilessly tyrannises all around him. However, Mirbeau charts what happens when fate conspires against Lechat in the space of one day. It is a meticulously crafted play of exquisitely drawn characters that journeys between hilarity and genuine pathos. The companion piece is Charity (Le Foyer, 1908), Mirbeau’s eviscerating satire on charity organisations. Baron Courtin is the very image of liberal integrity, but his charity home for girls holds appalling secrets. Another masterpiece of satire, Mirbeau’s Charity succeeds in taking the audience on a journey that can be hilarious one moment and horrifying the next. Together, these two masterpieces provide a fascinating insight into Belle Époque France and its wider European theatre context, but they also continue to have a powerful social resonance in our own time. In addition, they are both wonderful scripts for practical exploration with an array of rich characters, brilliant dialogue and theatrical potential. The preparation of this critical edition was supported by a grant from the AHRC