Point-of-care lactate and creatinine analysis for sick obstetric patients at Queen Elizabeth Central Hospital in Blantyre, Malawi: A feasibility study

Background: To achieve good outcomes in critically ill obstetric patients, it is necessary to identify organ dysfunction rapidly so that life-saving interventions can be appropriately commenced. However, timely access to clinical chemistry results is problematic, even in referral institutions, in the sub-Saharan African region. Reliable point-of-care tests licensed for clinical use are now available for lactate and creatinine. Aim: We aimed to assess whether implementation of point-of-care testing for lactate and creatinine is feasible in the obstetric unit at the Queen Elizabeth Central Hospital (QECH) in Blantyre, Malawi, by obtaining the opinions of clinical staff on the use of these tests in practice. Methods: During a two-month evaluation period nurse-midwives, medical interns, clinical officers, registrars, and consultants were given the opportunity to use StatStrip® and StatSensor® (Nova Biomedical, Waltham, USA) devices, for lactate and creatinine estimation, as part of their routine clinical practice in the obstetric unit. They were subsequently asked to complete a short questionnaire. Results: Thirty-seven questionnaires were returned by participants: 22 from nurse-midwives and the remainder from clinicians. The mean satisfaction score for the devices was 7.6/10 amongst clinicians and 8.0/10 amongst nurse-midwives. The majority of participants stated that the obstetric high dependency unit (HDU) was the most suitable location for the devices. For lactate, 31 participants strongly agreed that testing should be continued and 24 strongly agreed that it would influence patient management. For creatinine, 29 strongly agreed that testing should be continued and 28 strongly agreed that it would influence their patient management. Twenty participants strongly agreed that they trust point-of-care devices. Conclusions: Point-of-care clinical chemistry testing was feasible, practical, and well received by staff, and was considered to have a useful role to play in the clinical care of sick obstetric patients at this referral centre.

Celebrating transgressive celebrity : Sarah Bernhardt

Sarah Bernhardt (born Sara-Marie-Henriette Bernard, 1844-1923) was the most famous actress of the late nineteenth century. Celebrated for her golden voice, for her use of the spiral as the building block for movement on the theatrical stage, for an innovative use of costume and jewellery, for her patronage emerging artists, and for the business acumen that saw her fast become a household name across the globe, she was the progenitor of celebrity as we know it today. This article explores the ways in which her achievements can be considered 'dangerous' today.

Researching women in silent cinema: new findings and perspectives

This anthology exposes the richness and variety of interests that motivate feminist film research today. Exploring women’s contribution to silent cinema, scholars from across the globe address questions of performance, nationality, industry, technology, labor, and theory of feminist historiography. The volume builds on the thematic, methodological, and material diversity that characterized earlier efforts in women’s film history, and the originating context of the sixth Women and the Silent Screen conference (Bologna, 2010). Much emphasis is given to the transitional period of silent cinema (1910s to the early 1920s), which emerges as the field where feminist film scholars are beginning to claim their own theoretical and historical ‘place’. While giving a new impetus to the idea of transitional cinema, the collected essays also illuminate the importance of film’s transnational circulation. Questions of nation and nationhood, and women’s inclusion or exclusion within these terms, are examined in connection to issues of cultural globalization. How did American serial queens impact early Chinese film? How did the variety stage accommodate American films in Rio de Janeiro? Along what lines might we discuss women filmmakers who literally toured the world? These are just some of the issues that are discussed in the volume. Each investigation prompts us into distinct acts of cultural contextualization. A particular focus on acting and the agency of the actress is shared across the volume. The fundamental figure of the actress links multiple threads of scholarship, traversing different films and national cinemas. Alice Guy, Asta Nielsen, Florence Turner, Lois Weber, Mary Pickford, Esfir’ Shub, Pearl White, Vera Karalli, Aleksandra Khokhlova, Elsa Lanchester, Louise Fazenda, Sarah Bernhardt, Gemma Bellincioni, Angelina Buracci, Yin Mingzhu, Leni Riefensthal: these are but some of the names that are encountered across the essays in the collection. New findings are exposed and new research perspectives are opened through these and other figures, allowing us to uncover original ways of thinking about women’s visibility and agency on film.

The silent screen (1895-1928)

In chapter 1, Victoria Duckett introduces the silent screen years (1895–1927) by investigating the American poet Vachel Lindsay’s claim in 1915 that European stage acting was unsuited to film. This critique held sway for decades, during which commentators celebrated American, as opposed to European, contributions to the new craft of motion picture acting. European acting became associated with mannered staginess in contrast to a more subtle American style. Building on recent scholarship that questions this dichotomy, Duckett skillfully analyzes the screen performances of two women actors: the French Sarah Bernhardt, arguably the most famous late nineteenth-century actor, who electrified theater audiences but made relatively few film appearances, and the American Lillian Gish, who began her career as a child in stage melodramas but whose fame derived from her appearances in films. Duckett’s nuanced reading of Bernhardt’s performance in the film Camille (Film D’Art, 1911) and Lillian Gish’s in Broken Blossoms (D. W. Griffith, 1919) reveals that despite their differences, they both used their bodies expressively to convey meanings and emotions.

Centenary celebrations: reinterpreting acting in mothers of France on-line

How is performance on early film newly legible in the digital archive? What implication does this hold for our understanding of film history, especially for our understanding of the actress and her role in the nascent film industry? Taking Sarah Bernhardt’s 1917 film,Mothers of France, as my case study, I join the Women Film Pioneers Project in exploring the digital archive as a necessary tool in feminist film historiography. I argue that the digital archive reconfigures Sarah Bernhardt as an actress who was important not just to the nineteenth century stage but also to the development of the feature film and to its use as a propaganda tool in the Allied war effort. While digital archives such as The European Film Gateway contain a wealth of material about the Great War, Bernhardt’s film reminds us that the digital archive is also an interpretative and critical tool in the re-reading of acting in silent film.

Elizabetha Triumphans

Archer, J. and Knight, S. (2007). Elizabetha Triumphans. In J. Archer; E. Goldring; and S. Knight (Eds.), The Progresses, Pageants, and Entertainments of Queen Elizabeth I (pp.1-23). Oxford: Oxford University Press. RAE2008

Sex, Politics and Religion: The Transformation of the Figure of the Fairy Queen from Thomas off Ersseldoune to ‘‘Thomas Rymer’’

Our earliest version of the Thomas Rymer story is the medieval romance Thomas off Ersseldoune (c.1430). There is a four hundred year lacuna before the ballad “Thomas Rymer”, our next surviving version, is recorded in the early 1800s. In the intervening time the narrative changed very little but the dynamic of the piece, radically. The romance transformed into the highly subversive ballad, “Thomas Rymer”. Central to this transformation is the reconceptualization of the romance's heroine. Referred to simply as the “lufly lady” and caught between her husband, the fay King, and a mere mortal, Thomas, she becomes in the ballad the powerful Queen of the Fairies. The ballad is structured around a series of revelations in which the enigmatic Queen assumes the roles of Eve and Mary, and finally Christ Himself. I will explore the implications of this extraordinary ballad. Moreover, I suggest that it is Queen Elizabeth herself who, ironically, enables the heroine's transformation. “Ironically” because it appears that it was Elizabeth's own restrictions, designed to suppress heretical, seditious or radical literature, which forced Thomas off Ersseldoune (and many other romances which employed religious imagery or figures) out of the written domain and into the oral tradition. And yet, it is Elizabeth who, in creating the image of herself as a female prince, as the Faerie Queen, inspires a new literary vocabulary designed to describe female executive power, without which it would have been impossible to imagine a figure such as the ballad's Queen of the Fairies.

The Queen's Shilling:A collaboration with Goldin+Senneby

A performance art piece in the Centre for Contemporary Art, Derry/Londonderry as part of the City of Culture. International conceptual artists Goldin+Senneby commissioned me to write a short play inspired by their obsessions with alchemy, royalty and the financial markets. The play dramatises the suffering of Queen Elizabeth II as she confronts her own mortality in a world where she is an immortal symbol. Through a conversation with her predecessor Elizabeth I, she reveals that the whole stability of the financial system rests on the weight of her daily effluvia.

Introduction: Women and the silent screen

What are the gaps in current film histories? Who has been forgotten and why? How can we write histories of cinema that are more inclusive while not eliding processes of exclusion or other dynamics of power? This essay demonstrates the significance of gender in relation to early cinema.

Interview in Melbourne with Meg Labrum, National Film and Sound Archive of Australia, Canberra, June 16, 2015

A conversation with Meg Labrum (National Film and Sound Archive, Canberra),arguing that women have a disproportionate impact upon the programming of silent film at festivals. It asks how she works and, specifically, how the change to digital has impacted archival outreach and access today in Australia.

The history of the Puritans, or Protestant non-conformists, from the reformation under King Henry VIII, to the Act of toleration under King William and Queen Mary: with an account of their principles, their attempts for a further reformation in the church; and the lives and characters of their most considerable divines ...

Newburgh collection.

Radiocarbon dates of peatland initiation across the northern high latitudes

A compilation of basal dates of peatland initiation across the northern high latitudes, associated metadata including location, age, raw and calibrated radiocarbon ages, and associated references. Includes previously published datasets from sources below as well as 365 new data points.