The effects of lowering LDL cholesterol with simvastatin plus ezetimibe in patients with chronic kidney disease (Study of Heart and Renal Protection):a randomised placebo-controlled trial

Lowering LDL cholesterol with statin regimens reduces the risk of myocardial infarction, ischaemic stroke, and the need for coronary revascularisation in people without kidney disease, but its effects in people with moderate-to-severe kidney disease are uncertain. The SHARP trial aimed to assess the efficacy and safety of the combination of simvastatin plus ezetimibe in such patients.

Introduction Special Section on David Clarke's Archaeology: the Loss of Innocence 25 years after:with Simon Stoddart

Malone, C.A.T. and S.K.F. Stoddart, Special Section. Introduction. David Clarke's 'Archaeology: the loss of Innocence' (1973) 25 years after.

Review of: Ucko, P; Hunter, M; Clark, A; and David, A. Avebury reconsidered: from the 1660s to the 1990s. London, Unwin Hyman. 1991.

, Albion, 1993. 25(2): p. 318-9.

Botanical travel, climate and David Moore’s moral geographies of Europe

During his forty-year curatorship of the Royal Dublin Society's botanical gardens in Glasnevin (1838–1879), David Moore undertook a number of excursions to continental Europe. These served to deepen the networks of plant exchange between Dublin and other botanical institutions and allowed him to examine the relationships between climate, plant survivability and societal development. This paper focuses on two trips taken in the 1860s to Scandinavia and Iberia and charts how Moore situated his experience of these places within a climatic hermeneutic. Moore's understanding of northern and southern Europe was organized around a set of judgments about their relative backwardness or advancement with respect to his experience of home and was seen through the lens of a moral climatology. Moreover, his Scots Presbyterian background and his commitment to natural theology informed his interpretation of the landscapes he encountered in his excursions across Europe.

Reconstructing apology: David Cameron's Bloody Sunday apology in the press

While there is an acknowledgement in apology research that political apologies are highly mediated, the process of mediation itself has lacked scrutiny. This article suggests that the idea of reconstruction helps to understand how apologies are mediated and evaluated. David Cameron's apology for Bloody Sunday is examined to see how he constructs four aspects of apology: social actors, consequences, categorization, and reasons. The reconstruction of those aspects by British, Unionist, and Nationalist press along with reconstructions made by soldiers in an online forum are considered. Data analysis was informed by thematic analysis and discourse analysis which helped to explore key aspects of reconstruction and how elements of Cameron's apology are altered in subsequent mediated forms of the apology. These mediated reconstructions of the apology allowed their authors to evaluate the apology in different ways. Thus, in this article, it is suggested that the evaluation of the apology by different groups is preceded by a reconstruction of it in accordance with rhetorical goals. This illuminates the process of mediation and helps to understand divergent responses to political apologies.

Old St. David's, Cheraw, South Carolina, 1770-1947

A history of Old St. David's Church in Cheraw, SC from 1770 to 1947.

The Church of the Abandoned Christ: David Peace's 'Red Riding Quartet' and the Wreck of the White Ship

David Peace’s novel Nineteen Seventy-seven concludes with the hack journalist Jack Whitehead being granted a terrifying apocalyptic vision, seconds before he is trepanned with a Phillips screwdriver by the sinister Reverend Martin Laws. Included in this vision is a curious reference to the wreck of the White Ship, a maritime disaster in 1120 that drowned William Atheling, heir to the English throne, and ultimately doomed England to years of civil war. This article explores Peace’s strange use of the shipwreck in his “Red Riding Quartet,” particularly the way he links it—in the quartet’s final volume, Nineteen Eighty Three—to a revisionist account of the aftermath of the crucifixion that leads a wounded Christ to a tragic death in the cold waters of the English Channel.