bluuebunny/crossref_metadata_2025 huggingface dataset:
Influence some chosen elements of nonverbal communication used by the doctors for patients’ satisfaction after the examination
Authors: Kozimala M
Published: June 2017

Introduction: Sending and receiving non-verbal messages between the doctor and the patient is very important and it has an influence for the quality of health care. The aim of present studies was to determine the influence of some non-verbal communication factors including modern technology using by doctors for patient’s satisfaction after the examination. Materials and methods: We have asked 597 patients. We have used NDEPT Standard Scale - (Nonverbal Communication in doctor – elderly patient transactions: Development of a tool). The authors of the scale let us use it in Poland. Results: Patients were satisfied with the examination in following situations: during the examination they could see the telephone, computer, medical items and other equipment; the distance between the doctor and the patient was less than 61 cm and there were no physical obstacles; during the examination the doctor was face to face to the patient (angle 180 or 90) and he was using gestures; the eyes of the doctor were in the same line as the eyes of the patient. Conclusions: The skill of the right communication is an important factor in medicine, but it is often underestimated. But we must know that apart from knowledge the efficiency of therapy and the efficiency of diagnostics depend on the right relation between doctors and patients. Skills which are necessary to the right interaction between the doctor and the patient are usually nonverbal.
K-RAS mutations in colorectal cancer in patients from Podlaskie region
Authors: Chomczyk M. , Czajka P.
Published: June 2017

Introduction: In Poland, colorectal cancer is the second leading cause of death. The incidence of colorectal cancer increases with age and early onset indicates and increased likelihood for genetic predisposition for this disease. The somatic genetics of tumor development in relation to patients age, gender, sex and morphological factors are unknown in Podlaskie region, Poland. Materials and methods: We investigated seventy five patients (43 men and 32 women) who underwent surgery for cancer of the colorectal in the II Department of General and Gastroenterological Surgery, Medical University of Białystok in 2002- 2007. The average age of patients was 64.8 years (the average age of women 66.7, men 63.1). All patients for the study of molecular research (absence or presence of K-RAS mutations) had histopathology confirmed adenocarcinoma. Results: There was no correlation presence or absence of mutations in K-RAS of the following clinical and morphological factors: gender, age, location, degree of tumor differentiation, tumor size and metastases to lymph nodes and other organs The gene encoding the K-Ras protein is mutated in 20- 50% of cases of colorectal cancer. Such a difference of results is influenced by several factors: differences of the techniques used for detecting mutations, differences in codon of the gene that is considered codon 12 and /or 13 and / or 61 and differences in the selection and study population. Conclusions: These data suggest the clinical and morphological factors in patients with colorectal cancer have no effect on the presence of K-RAS. mutation.
Malignancy-associated kidney disease
Authors: Kozłowska K , Małyszko J.
Published: June 2017

Malignancy or its treatment affect kidney in several ways. The most common are acute kidney injury and chronic kidney disease. Other form of kidney diseases can also be present such as nephrotic syndrome, tubulointerstitial nephritis, thrombotic microangipathy etc. In addition, electrolyte abnormalities such as hypercalcemia, hyponatremia and hypernatremia, hypokalemia and hyperkalemia, and hypomagnesemia. are observed. Treatment of malignancy associated kidney disease is usually symptomatic. Cessation of the offending agent or other supportive measures if needed i.e. renal replacement therapy are also implemented.
Mitos, percepciones y actitudes frente a los resultados combinados en Portugal: un estudio con énfasis en los árbitros y los hinchas
Authors: Moriconi Bezerra Marcelo , Teixeira-Diniz Rita
Published: June 2017

The paper presents data about opinions and perception of Portuguese football referees and supporters about manipulation of results, ones of the main problems of football worldwide. Analysts often link the problem with organized crime and sporting betting. In Portugal, however, recent scandals indicate that manipulation would be mostly connected with sporting interest, influence peddling and bribing from managers and officials. In the public opinion, referees appear as the most suspicious and denounced group. Through surveys of members of the Portuguese Football Referees Association (APAF) and supporters, the paper empirically confirms some assumptions of the official match-fixing narrative, like the existence of offers of prostitutes to referees. Nevertheless, it shows a wider perspective of the phenomenon that goes beyond the betting sphere and organized crime. In depth interviews to key informants were carried out to confirm and extend the results.
Recensão: Lisboa Multicultural [M. Margarida Marques (org.), 2014, Lisboa, Fim de Século]
Authors: Fortuna Carlos
Published: June 2017

-
Confluence does not affect the expression of miR-375 and its direct targets in rat and human insulin-secreting cell lines
Authors: Ofori Jones K. , Malm Helena A. , Mollet Ines G. , Eliasson Lena , Esguerra Jonathan Lou S.
Published: June 2017

MicroRNAs are small non-coding RNAs, which negatively regulate the expression of target genes. They have emerged as important modulators in beta cell compensation upon increased metabolic demand, failure of which leads to reduced insulin secretion and type 2 diabetes. To elucidate the function of miRNAs in beta cells, insulin-secreting cell lines, such as the rat insulinoma INS-1 832/13 and the human EndoC-βH1, are widely used. Previous studies in the cancer field have suggested that miRNA expression is influenced by confluency of adherent cells. We therefore aimed to investigate whether one of the most enriched miRNAs in the pancreatic endocrine cells, miR-375, and two of its validated targets in mouse, Cav1 and Aifm1, were differentially-expressed in cell cultures with different confluences. Additionally, we measured the expression of other miRNAs, such as miR-152, miR-130a, miR-132, miR-212 and miR-200a, with known roles in beta cell function. We did not see any significant expression changes of miR-375 nor any of the two targets, in both the rat and human beta cell lines at different confluences. Interestingly, among the other miRNAs measured, the expression of miR-132 and miR-212 positively correlated with confluence, but only in the INS-1 832/13 cells. Our results show that the expression of miR-375 and other miRNAs with known roles in beta cell function is independent of, or at least minimally influenced by the density of proliferating adherent cells, especially within the confluence range optimal for functional assays to elucidate miRNA-dependent regulatory mechanisms in the beta cell.
The Mars Science Laboratory Curiosity rover Mastcam instruments: Preflight and in‐flight calibration, validation, and data archiving
Authors: Bell J. F. , Godber A. , McNair S. , Caplinger M. A. , Maki J. N. , Lemmon M. T. , Van Beek J. , Malin M. C. , Wellington D. , Kinch K. M. , Madsen M. B. , Hardgrove C. , Ravine M. A. , Jensen E. , Harker D. , Anderson R. B. , Herkenhoff K. E. , Morris R. V. , Cisneros E. , Deen R. G.
Published: June 2017

The NASA Curiosity rover Mast Camera (Mastcam) system is a pair of fixed‐focal length, multispectral, color CCD imagers mounted ~2 m above the surface on the rover's remote sensing mast, along with associated electronics and an onboard calibration target. The left Mastcam (M‐34) has a 34 mm focal length, an instantaneous field of view (IFOV) of 0.22 mrad, and a FOV of 20° × 15° over the full 1648 × 1200 pixel span of its Kodak KAI‐2020 CCD. The right Mastcam (M‐100) has a 100 mm focal length, an IFOV of 0.074 mrad, and a FOV of 6.8° × 5.1° using the same detector. The cameras are separated by 24.2 cm on the mast, allowing stereo images to be obtained at the resolution of the M‐34 camera. Each camera has an eight‐position filter wheel, enabling it to take Bayer pattern red, green, and blue (RGB) “true color” images, multispectral images in nine additional bands spanning ~400–1100 nm, and images of the Sun in two colors through neutral density‐coated filters. An associated Digital Electronics Assembly provides command and data interfaces to the rover, 8 Gb of image storage per camera, 11 bit to 8 bit companding, JPEG compression, and acquisition of high‐definition video. Here we describe the preflight and in‐flight calibration of Mastcam images, the ways that they are being archived in the NASA Planetary Data System, and the ways that calibration refinements are being developed as the investigation progresses on Mars. We also provide some examples of data sets and analyses that help to validate the accuracy and precision of the calibration.
Evolution of microphysical structure of a subtropical squall line observed by a polarimetric radar and a disdrometer during OPACC in Eastern China
Authors: Wen Jing , Zhao Kun , Huang Hao , Zhou Bowen , Yang Zhonglin , Chen Gang , Wang Mingjun , Wen Long , Dai Huaning , Xu Lili , Liu Su , Zhang Guifu , Lee Wen‐Chau
Published: June 2017

The evolution of the microphysical structures of a subtropical squall line observed during the Observation, Prediction and Analysis of Severe Convection of China (OPACC) field campaign in Eastern China is documented in this paper. The data collected from a C‐band, polarimetric Doppler radar (reflectivity Z, differential reflectivity ZDR, and specific differential phase KDP) and a disdrometer are used to investigate the variations of microphysical characteristics within the convective region during the formative, intensifying, and mature stages of the squall line. The microphysical characteristics of the squall line are noticeably different among these three stages. When the squall line develops from the formative stage to the mature stage, its radar‐derived drop size distribution (DSD) in the convective region evolves from continental‐like convection to more maritime‐like convection. Contrary to previous studies, the DSD characteristics of a convective line may not be simply locked to a geographical location but varied extensively throughout its life cycle. The polarimetric radar‐derived liquid water content below the freezing level in the convective region is 3 times higher than the ice water content above the freezing level. This, in conjunction with a low cloud base (~0.68 km) and a high freezing level (~5 km), indicates a deep warm cloud layer and the dominance of the warm rain process within this squall line.
An investigation of microphysics and subgrid‐scale variability in warm‐rain clouds using the A‐Train observations and a multiscale modeling framework
Authors: Takahashi Hanii , Lebsock Matthew , Suzuki Kentaroh , Stephens Graeme , Wang Minghuai
Published: June 2017

A common problem in climate models is that they are likely to produce rain at a faster rate than is observed and therefore produce too much light rain (e.g., drizzle). Interestingly, the Pacific Northwest National Laboratory (PNNL) multiscale modeling framework (MMF), whose warm‐rain formation process is more realistic than other global models, has the opposite problem: the rain formation process in PNNL‐MMF is less efficient than the real world. To better understand the microphysical processes in warm cloud, this study documents the model biases in PNNL‐MMF and evaluates warm cloud properties, subgrid variability, and microphysics, using A‐Train satellite observations to identify sources of model biases in PNNL‐MMF. Like other models PNNL‐MMF underpredicts the warm cloud fraction with compensating large optical depths. Associated with these compensating errors in cloudiness are compensating errors in the precipitation process. For a given liquid water path, clouds in the PNNL‐MMF are less likely to produce rain than are real‐world clouds. However, when the model does produce rain it is able to produce stronger precipitation than reality. As a result PNNL‐MMF produces about the correct mean rain rate with an incorrect distribution of rates. The subgrid variability in PNNL‐MMF is also tested, and results are fairly consistent with observations, suggesting that the possible sources of model biases are likely to be due to errors in its microphysics or dynamics rather than errors in the subgrid‐scale variability produced by the embedded cloud resolving model.
The Mons Rümker volcanic complex of the Moon: A candidate landing site for the Chang'E‐5 mission
Authors: Zhao Jiannan , Xiao Long , Qiao Le , Glotch Timothy D. , Huang Qian
Published: June 2017

Mons Rümker is a large volcanic complex in Oceanus Procellarum on the Moon and is a candidate landing site for China's Chang'E‐5 sample return mission. We conducted a comprehensive study of the topography, geomorphology, composition, and stratigraphy of the Mons Rümker region with multisource remote sensing data in order to better understand the geology of the region and provide further support for the Chang'E‐5 mission. The results show that the Rümker plateau stands 200–1300 m above the surrounding mare surface and 75% of the plateau has a slope of less than 3° at a baseline length of 30 m. Domes are the most prominent volcanic landforms in Mons Rümker and a total of 22 domes were identified and divided into two types that may represent different stages of volcanic activity. Spectral analyses indicated that Mons Rümker is covered by low‐Ti basalt and the dominant mafic mineral is high‐calcium pyroxene, though signs of mixing of highland materials and basalt have been found. Mons Rümker has three main basalt units, and their absolute model ages are 3.71 Ga, 3.58 Ga, and 3.51 Ga, respectively. Steep‐sided domes could be the youngest volcanic features on the plateau with indications that they were active until the Eratosthenian. A new geologic map of the study region was produced and used to interpret and discuss the geologic evolution of the region. Finally, we propose two candidate landing sites for the Chang'E‐5 mission.
Electron dropout echoes induced by interplanetary shock: A statistical study
Authors: Liu Z. Y. , Zong Q.‐G. , Hao Y. X. , Zhou X.‐Z. , Ma X. H. , Liu Y.
Published: June 2017

“Electron dropout echo” as indicated by repeated moderate dropout and recovery signatures of the flux of energetic electron in the outer radiation belt region has been investigated systematically. The electron moderate dropout and its echoes are usually found for higher‐energy (>300 keV) channel fluxes, whereas the flux enhancements are obvious for lower energy electrons simultaneously after the interplanetary shock arrives at the Earth's geosynchronous orbit. The electron dropout echo events are found to be usually associated with the interplanetary shocks arrival. The 104 dropout echo events have been found from 215 interplanetary shock events from 1998 to 2007 based on the Los Alamos National Laboratory satellite data. In analogy to substorm injections, these 104 events could be naturally divided into two categories: dispersionless (49 events) or dispersive (55 events) according to the energy dispersion of the initial dropout. It is found that locations of dispersionless events are distributed mainly in the duskside magnetosphere. Further, the obtained locations derived from dispersive events with the time‐of‐flight technique of the initial dropout regions are mainly located at the duskside as well. Statistical studies have shown that the effect of shock normal, interplanetary magnetic field Bz and solar wind dynamic pressure may be insignificant to these electron dropout events. We suggest that the ∼1 min electric field impulse induced by the interplanetary shock produces a more pronounced inward migration of electrons at the duskside, resulting in the observed duskside moderate dropout of electron flux and its consequent echoes.
Can perchlorates be transformed to hydrogen peroxide (H2O2) products by cosmic rays on the Martian surface?
Authors: Crandall Parker B. , Góbi Sándor , Gillis‐Davis Jeffrey , Kaiser Ralf I.
Published: June 2017

Due to their oxidizing properties, perchlorates (ClO4−) are suggested by the planetary science community to play a vital role in the scarcity of organics on the Martian surface. However, alternative oxidation agents such as hydrogen peroxide (H2O2) have received surprisingly little attention. In this study, samples of magnesium perchlorate hexahydrate (Mg(ClO4)2 · 6H2O) were exposed to monoenergetic electrons and D2+ ions separately, sequentially, and simultaneously to probe the effects of galactic cosmic ray exposure of perchlorates and the potential incorporation of hydrogen (deuterium) into these minerals. The experiments were carried out under ultrahigh‐vacuum conditions at 50 K, after which the samples were slowly heated to 300 K while the subliming products were monitored by a quadrupole mass spectrometer. In all cases, molecular oxygen (O2) was detected upon the onset of irradiation and also during the warmup phase. In case of a simultaneous D2+‐electron exposure, deuterated water (D2O) and deuterium peroxide (D2O2) were also detected in the warmup phase, whereas only small amounts of D2O2 were found after an exclusive D2+ irradiation. These experiments yield the first data identifying hydrogen peroxide as a potential product in the interaction of cosmic rays with perchlorates in the Martian regolith revealing that perchlorates are capable of producing multiple oxidizing agents (O2 and D2O2) that may account for the destruction of organics on the Martian surface.
The gold standard
Authors: Knafo Samuel
Published: June 2017

The gold standard represents in the eyes of many the quintessential institution of nineteenth‐century liberal economic governance. It is often seen as the first modern monetary system because of its emphasis on stabilizing the value of money, a feat it achieved by pegging national monetary systems to gold. More specifically, it rested on the commitment of central banks to redeem their respective banknotes into gold at a preestablished rate. In this way, gold could serve as a standard, not only to guarantee the value of banknotes, but also to fix the exchange ratio between different currencies.
The Holocaust
Authors: Gross Magdalena H.
Published: June 2017

The Holocaust, or Shoah in the Hebrew language, is a term denoting systematic destruction of six million of Europe's Jews during World War II (1939–1945). The extermination of the Jewish population took place in German‐occupied Europe. The main architects and perpetrators of the Holocaust were German state authorities and their agents at the time when Germany was ruled by the NSDAP (National Socialist German Workers’ Party, known in shorthand as the Nazi party, or the Nazis), whose supreme leader was Adolf Hitler.
Abjection
Authors: Bronfen Elisabeth
Published: June 2017

As an adjective, “abject” qualifies contemptible actions (such as cowardice), wretched emotional states (such as grief or poverty), and self‐abasing attitudes (such as apologies). Derived from the Latin past participle of
abicere
, the word has come into use within Gothic studies primarily to discuss processes by which something or someone belonging to the domain of the degrading, miserable, or extremely submissive is cast off. Julia Kristeva's
Powers of Horror
(1982) first introduced abjection as a critical term. Picking up on the anthropological study of initiation rites discussed by Mary Douglas in her book
Purity and Danger
(1966), Kristeva addresses the acts of separation necessary for setting up and preserving social identity. Her debt to Sigmund Freud's
Totem and Taboo
(1913), in turn, consists of drawing attention to the psychic implications of such processes of differentiation, even though foregrounding that abjection involves both collective and individual identity formations. Pointedly, Kristeva refigures the murder of the father, so seminal to Freud's notion of the Oedipus scenario, by foregrounding instead the manner in which psychosocial identity is determined as much by an act of separation from the maternal body. While, according to Freud, mythic narratives bring back the murdered primordial father in the shape of an awe‐inspiring agency of guilt, the repressed figure of maternal authority returns either as an embodiment of the Holy Mary's sublime femininity or as a monstrous body of procreation, out to devour us and transform us into the site for further grotesque breeding. By drawing attention to the manner in which a cultural fear regarding the uncontrollability of feminine reproduction has consistently served as a source of horror, abjection has proven a particularly resonant term for a study of Gothic culture.
A
byss, The
Authors: Edwards Justin D.
Published: June 2017

In “This Abyss,” a song by The Gothic Archies, the haunting voice of Stephin Merritt drones the lyrics, “This abyss, this lightless void / This abyss, of world destroyed …/ This abyss, of night unbound / This abyss, without a sound.” Drawing on a fashionable Goth aesthetic (see
goth
), this song attempts to convey a symbolic and psychological state of darkness through the spatial terms of an abyss, an endless chasm. “This abyss, of black increased / This abyss, without surcease,” the song continues, gesturing toward the literary definition of the term: a bottomless or unfathomed depth or gulf, a bottomless pit. The
OED
also defines the abyss as having the figurative meaning of a catastrophic situation seen as likely to occur, or the term can be used to refer to intellectual, ethical, or moral depths.
A
frican
A
merican
G
othic
Authors: Davison Carol Margaret
Published: June 2017

Although the Gothic has been overlooked or downplayed by critics of African American literature, and resisted by some of its writers wary of the genre's tendency to dematerialize the horrors of African American experience, it has nonetheless pervaded that canon from the early slave narratives through to contemporary writing. Although no sustained examination exists of African American investments in the Gothic to date, certain observations have been made. The Gothic's popular use of the “sins of the fathers” theme that engages with grievous historical transgressions and unspeakable trauma makes it an exceptionally suitable mode for taking up African American issues and debates. Deploying Gothic strategies has also enabled African American writers to contest the rationalist discourses that undergird racist ideology and to dialogue with the white American literary tradition that, according to Leslie Fiedler, is “bewilderingly and embarrassingly […] gothic” (1960: 9) in its exposure of the hidden “blackness” of the American soul, especially in relation to that nation's two “special guilts” – “the slaughter of the Indians” and “the abominations of the slave trade” (Fiedler 1960: 130).
A
ngel

(1999–2004)
Authors: Ruddell Caroline
Published: June 2017

Angel
is an American fantasy‐based television series created by Joss Whedon. The series is a “spin‐off” of the popular
Buffy the Vampire Slayer
, and ran from 1999 to 2004, totaling five seasons (see

Buffy the Vampire Slayer

(1997–2003);
vampire fiction
).
Angel
is steeped in the Gothic in several ways: first, the series focuses on the supernatural in the form of vampires and demons; second, it makes use of the macabre and the conventions of horror (as well as those of film noir and the detective story); and third, its representation of the city of Los Angeles as labyrinthine in nature connotes a distinctly Gothic aesthetic (see
film
;
urban gothic
). In a more localized way, the long empty corridors, cracked walls, and peeling wallpaper of the dilapidated hotel that forms the base for the central characters' business of private investigation, can be seen as a stand‐in for the more traditional Gothic castle or house.
B
raddon,
M
ary
E
lizabeth
Authors: Fisher Benjamin F.
Published: June 2017

Although Mary Elizabeth Braddon (1835–1915) is far better known for her Sensation novels (see
sensation fiction
), her supernatural and weird fiction has gained greater attention since the 1970s, despite the fact that an unevenness in quality marks her supernatural fiction, with that in short‐story form being the superior. Like Poe (see
poe, edgar allan
) Braddon's finest efforts in supernatural fiction are short stories and novellas, as if brevity makes the otherworldly more convincing. Braddon experimented with varied themes in these works, often reminding readers of antecedent Gothic tradition. “The Dreaded Guest” (
Belgravia Christmas Annual
, 1871) and “The True Story of Don Juan” (
Belgravia Christmas Annual
, 1869) evoke themes of premature burial and, in the former, a supposedly dead man's ironic return to life. Braddon mutes gruesome details of burial alive, avoiding extended melodramatics. These stories neatly balance the supernatural or seeming supernatural with elements of utter reality. The latter story may allude to the Don Juan legend as filtered through Byron's fashioning of that lore, and both stories may also acknowledge Braddon's gratitude to Bulwer Lytton's advice and fiction (see
bulwer lytton, edward
).
C
abell,
J
ames Branch
Authors: Freeman Nick
Published: June 2017

Regarded primarily as a composer of ironic fantasies, the American novelist James Branch Cabell (1879–1958) treated the Gothic as a rich reservoir of characters, situations, and tropes to be subverted, undermined, and satirized. The highly imaginative novels that he corralled into the loose sequence “Biography of the Life of Manuel” between 1927 and 1930 continually refine and reconfigure Gothic characteristics, delighting in torturous genealogies and improbable encounters. As a fantasist, Cabell is ultimately more akin to writers such as Fritz Leiber (especially his “Lankhmar” novels) and Michael Moorcock than to the determinedly comic Terry Pratchett, his trademark devices being wordplay (especially anagrams), irony, and a fascination with the mechanics and transmission of narrative. Cabell combines stylistic archaism (one reason why his work quickly fell from fashion) with intertextuality and narrative legerdemain that anticipates the methods of later postmodernists (and partially explains Cabell's brief resurgence during the late 1960s and early 1970s) (see
contemporary gothic
).
Campus Gothic
Authors: Stephanou Aspasia
Published: June 2017

Campus Gothic refers to slasher movies that are set in the locale of a college or high school campus (seeslasher movies). One of the reasons for the location of these slasher movies is the circulation of legends about serial killers on college campuses since the mid‐1960s (Tucker 2005: 177). As the most prolific category of all slasher movies, campus Gothic thrived during the 1980s in Reagan's America. In the 1990s there was a slasher revival with Wes Craven'sScream(1996), and other non‐campus‐based slashers such asI Know What you Did Last Summer(1997). Characterized by its low‐budget productions, campus Gothic invited teenage viewers to enjoy nudity, blood, and gore. Manipulating the “body‐count” film that structures its progression around the growing number of horrific murders and the teen exploitation picture, campus Gothic addressed teenagers with cautionary tales. The transgressions of the teen protagonists that the viewer was invited to enjoy voyeuristically were also the prerequisite for their punishment by adult authority, symbolized in the identity of the killer. While these movies superficially called for the enjoyment of transgressive behavior, of violence and sexuality, they were actually constructed as conservative fairy tales warning Red Riding Hoods about the dangers of the lurking wolf. They expressed Republican ideas about sin and punishment and the nation's social and political anxieties about Reagan's policies during the 1980s. President Reagan's illusory promises to the people were fundamentally disparate from what he actually managed to deliver in reality (Muir 2007: 11). This double mentality, of a deceptive happiness and order and an uncertain, fearful reality reflects the attitude of the campus slasher movies: underneath the seemingly secure, lustrous, and peaceful surface of the campuses lay a different reality that was about to violently erupt on screen.
C
ollins,
W
ilkie
Authors: Talairach‐Vielmas Laurence
Published: June 2017

Born in London, William Collins (1824–89) became known to the reading public as Wilkie Collins, his middle name having been given to him as a compliment to his godfather, the painter Sir David Wilkie. Novelist, essayist, and playwright, Collins was anticonformist and unconventional – physically, socially, and morally. Short, with small hands and feet, disproportionally large head and shoulders, and a bulge on the right side of his forehead, he constantly revolted against bourgeois codes and morals, living with two women – Caroline Graves and Martha Rudd – neither of whom he ever married. As a child he traveled to France and Italy and grew up in an artistic environment.
Environment
Authors: Garrard Greg
Published: June 2017

The prefix “eco‐” seems to repel the word “Gothic”: it implies green, healthy, progressive, virile, and natural where the Gothic is queer and diseased, transfixed by archaic beliefs and practices, and darkly tinted like blood and bruise and tomb. Ecocriticism, or environmentalist literary criticism, once preferred Romantic epiphany to supernatural melodrama, but has now shifted its attention to the environ‐mentality of Gothic writers from Mary Shelley to Margaret Atwood. At the same time, a queer/ deconstructive turn in ecocriticism has illuminated – or, better, adumbrated – what Timothy Morton (2007) has called “dark ecology.”
Fate
Authors: Hartnell‐Mottram Elaine
Published: June 2017

Fate is an imprecise and hence problematic term used to describe the predetermined future of both individuals and groups. The related word “fatal” indicates the connection of the term with death, the ultimate fate of all humanity. Fatalism is the belief that all events are predetermined and inevitable. However, the concept of fate is denoted by a number of different terms, each with its own nuances, because this concept exists within a variety of philosophical systems. Fate may also, therefore, be glossed as determinism, providence, retribution, predestination, destiny, fortune, doom, wyrd (or weird), and chance (though this latter is actually an antonym – it denotes chaos rather than order). Fate necessarily works in dialectic with notions of free will.
Film
Authors: Carver Stephen
Published: June 2017

Gothic films are at once very easy and very difficult to categorize. Within the wider context of the “horror” genre, Gothic films are linked directly to the literary Gothic of the eighteenth and nineteenth centuries, often adapting the original novels – for example: F. W. Murnau'sNosferatu(Germany, 1922), Tod Browning'sDracula(US, 1931), James Whale'sFrankenstein(US, 1931), and pretty much everything made by Hammer films followingThe Curse of Frankenstein(UK, 1957) (seeshelley, mary wollstonecraft;stoker, bram).
Ghost Stories
Authors: Freeman Nick
Published: June 2017

Tales in which the spirits of the dead encounter the living emerge from almost every culture, but it was not until the second half of the eighteenth century that Europeans began to construct ghost stories as they would be categorized today. These fictions were designed to be pleasurably frightening in themselves, rather than using ghosts to warn, to counsel, to instigate vengeance, or to guard or reveal treasure, and placed the encounter with the ghost, and the experience of haunting, at the center of their narratives. Since then, ghost stories have remained enduringly popular, and their writers have often displayed a sophisticated awareness of the genre's conventions, history, and key texts.
Gothic 1950 to the Present
Authors: Spooner Catherine
Published: June 2017

“We live in Gothic times,” asserted Angela Carter in 1974, a much‐quoted statement that has come to define the postwar era (Carter 1995: 460). Gothic has become incrementally more prevalent in Western culture as the twentieth and twenty‐first centuries have gone on. By the end of the twentieth century it was arguably more popular, and certainly more diverse, than it had ever been since the peak of the Gothic novel's production in the 1790s. As a result it is difficult to impose a single narrative on postwar Gothic: rather, it has developed in a multitude of different and sometimes overlapping directions. The main distinguishing features of Gothic in the second half of the twentieth century and beyond, however, are extreme generic hybridity, hermeneutical self‐awareness, and globalization.
Imperial
G
othic
Authors: Warwick Alexandra
Published: June 2017

The term “imperial Gothic” is first explored by Patrick Brantlinger in his
Rule of Darkness: British Literature and Imperialism, 1830–1914
, published in 1988. He suggests that the span of the genre might be from Henry Rider Haggard's
King Solomon's Mines
(1885) to at least John Buchan's
Greenmantle
(1916), and that it is marked by a combination of Darwinism, imperialism, and an interest in the occult. In unpacking the idea, he indicates the functions of both imperialism and occultism as partial substitutes for declining religious faith, and asserts that it is also possible to distinguish clear concerns about questions of civilization and progress that make imperial Gothic specific to the culture of late‐Victorian and early‐Edwardian Britain. Brantlinger identifies the three principal themes of imperial Gothic as an individual regression, or what was called “going native;” an invasion of civilization by the forces of barbarism or demonism; and the diminution of opportunities for adventure and heroism in the modern world. Subsequent critical works on the Gothic and the fin de siècle have largely confirmed Brantlinger's assertion that there is an identifiable knot of issues in late‐nineteenth century and prewar fiction, the representations of which can be read in relation to the production of an imperialist national identity (see
fin‐de‐siècle gothic
).
I
nternational
G
othic
A
ssociation, The
Authors: Horner Avril , Zlosnik Sue
Published: June 2017

The International Gothic Association (IGA) brings together teachers, scholars, students, artists, writers, and performers from around the world who are interested in any aspect of Gothic culture: fiction, drama, poetry, art, film, music, dance, architecture, popular culture, and technology. It promotes the study and dissemination of information on Gothic culture from the mid‐eighteenth century to the contemporary moment. Its purpose is to exchange and expand knowledge of and research into the Gothic as widely and effectively as possible. It also aims to encourage and support new and young scholars in the area of Gothic studies.
J
ames,
M
.
R
. (Montague Rhodes)
Authors: Smith Andrew
Published: June 2017

The tales of M. R. James (1862–1936) are characterized by a scholarly ambience which is in keeping with his academic background as a medievalist historian and his respective positions as Provost of Eton and Provost of King's College, Cambridge. His first collection of tales,
Ghost Stories of an Antiquary
, was published in 1904 and this was followed by
More Ghost Stories of an Antiquary
in 1911. Three further collections were published:
A Thin Ghost and Others
(1919),
A Warning to the Curious
(1925), and
Wailing Well
(1928), before a collected edition was published in 1931.
L
emoine,
A
nn
Authors: Potter Franz J.
Published: June 2017

One of the most prominent female publishers in the Gothic industry, Ann Lemoine (born Ann Swires, dates unknown) specialized exclusively in short tales of terror known as bluebooks (see
bluebooks
) or chapbooks. Lemoine is a conspicuous character in this Gothic bluebook trade, not just as a female in a male‐dominated field, but also as an innovator in the dissemination and marketing of short Gothic tales. Her publications were found in the most prominent circulating libraries, usually listed under the heading of pamphlets and available for a mere penny a night.
M
arsh,
R
ichard
Authors: Daly Nicholas
Published: June 2017

Richard Marsh (1857–1915) was the pseudonym under which Richard Bernard Heldmann published most of his work. While he is best known for his supernatural thriller of 1897,
The Beetle
, he was a prolific author of fiction in various popular modes, including school stories and novels of mystery and crime. Heldmann's own life story is not without its own enigmas and plot‐twists. It was not until Robert Aickman, his grandson, published his autobiography in 1966 that it became widely known that Heldmann and Marsh were the same man. (Aickman himself also wrote supernatural fiction, and was the editor of the several editions of the
Fontana Book of Great Ghost Stories
). It is only in the last few years with the availability of state records and other resources online that it has emerged that the most likely reason for Heldmann's adoption of a pseudonym in 1892 was that he had been convicted of obtaining goods and money by false pretences at the Quarter Sessions at Maidstone, Kent on April 9, 1884, and sentenced to eighteen months in prison (Capture of a Forger at Tenby, 1884). (As late as 2004, when the Broadview edition of
The Beetle
appeared, the motivation for his second career under the name Marsh was obscure.) Heldmann was imprisoned for a minor crime spree that saw him use assumed names to live lavishly in various parts of the country. From 1880–3 he had also been writing school stories and novels, and his shorter works appeared in the boys' magazine,
Union Jack
, where he was also associate editor (with G. A Henty) from 1882. Upon his release he resumed his writing career, but did not publish his first novel under his new name,
The Devil's Diamond
, until 1893. From this period he began to churn out short and longer fiction at an impressive rate, sometimes publishing several novels a year: for example, in the same year that
The Beetle
appeared (1897) he also published three other novels. His short novels were well‐suited to the changing publishing market, in which people were buying single‐volume novels rather than renting three‐deckers. Published in colorful pictorial boards by such firms as Ward Lock, his “shilling shockers” were calculated to appeal to the browsing eye. Like other Victorian authors, Marsh made his work pay by serializing the novels before volume publication;
Tom Ossington's Ghost
(1898), for example, was serialized earlier that year in the
Ipswich Journal
as the
Ossington Mystery
. His shorter fiction was tailored to the proliferating light‐reading magazines of the period, such as the
Strand
, the
Windsor
, and the
Idler
, and he republished some of this work in such collections as
Curios
(1899) and
Marvels and Mysteries
(1900).
McC
arthy,
C
ormac
Authors: Monk Nicholas
Published: June 2017

Cormac McCarthy (1933–) is one of the most important representatives of the Southern Gothic tradition in recent literature; this tradition informs not only the work he chooses to set in the South but also his Western novels (see
southern gothic
). Born in Rhode Island on July 20, 1933, McCarthy's family moved to Knoxville, Tennessee in 1937. McCarthy attended the University of Tennessee initially in 1951–2 and returned in 1957, staying until 1959. During this period he published two short stories, “A Drowning Incident” and “A Wake for Susan,” in the student literary magazine
Phoenix
.
1
Both stories hinted at the themes of death and loss that would dominate his future work. McCarthy is responsible for ten published novels, two published plays (
The Stonemason
, 1995;
The Sunset Limited
, 2005), a screenplay (
The Gardener's Son
, 1976), and a number of unpublished works that now reside in the Wittliff Collection at Texas State University, San Marcos. McCarthy's novels divide neatly into the “Southern” and the “Western,” with the
Orchard Keeper
(1965),
Outer Dark
(1968),
Child of God
(1973), and
Suttree
(1979) falling into the first category and
Blood Meridian
(1985),
All the Pretty Horses
(1992),
The Crossing
(1994), and
Cities of the Plain
(1998) occupying the second. His two most recent novels, both of which have been filmed, also fall loosely into the categories of Western (
No Country for Old Men
, 2005) and Southern (
The Road
, 2006).
Modernism
Authors: Smith Andrew
Published: June 2017

The relationship between modernism, a culturally elite form, and the popular idiom of the Gothic novel might seem an unlikely one. However, modernism's representation of shattered versions of subjectivity (which has its roots in a response to Word War I) rework familiar Gothic images of fractured or fragile conceptions of the self. Writers such as T. S. Eliot, Virginia Woolf, and May Sinclair utilized, at different levels of explicitness, the Gothic in order to account for a 1920s cultural malaise. The relationship between modernism and popular writing is evidenced in T. S. Eliot's working title forThe Waste Land(1922), “He do the police in different voices,” which refers to the moment in Dickens'Our Mutual Friend(1865) when Betty Higden notes of Sloppy, her adoptive son, that “Sloppy is a beautiful reader of a newspaper. He do the police in different voices” (Dickens 1978: 204), which reflects upon the different voices which seemingly inhabit Eliot's poem. However, Eliot's reference to Dickens suggests an engagement with popular culture that is also manifested in the poem's explicit reference toDracula(1897):
Music
Authors: McEvoy Emma
Published: June 2017

The term “Gothic music” may cover a range of phenomena – from the music of the Goth bands of the late 1970s and 1980s to the scores composed for horror films and thrillers. It may also include music not originally composed for Gothic film but that, by its use in that genre, becomes Gothicized. Significantly, what all these Gothic musics have in common is a relation to film (seefilm).
Necromancy
Authors: Lippert Conny
Published: June 2017

The term “necromancy” originally signified a method of divination through communication with the dead, and is derived from the Greek words
necros
(dead body) and
manteia
(divination). There is more than one form in which interaction with the deceased could take place. First and most commonly, necromancy was the art of summoning the disembodied spirits of the dead for questioning and to make them “reveal the secrets of the future which they must have learned during their stay in the other world” (Givry 1931: 167), with differing opinions on whether the dead had limited or unlimited knowledge. A second, more macabre method of utilizing the dead for necromantic magic involved the exhumation of corpses, often for purposes of revivification, use of body parts for divination rituals, or, most notoriously, human consumption.
Opera
Authors: Hoeveler Diane Long
Published: June 2017

“Gothic opera” can best be understood as what came to be known as “rescue operas.” Very similar in plot to the earliest Gothic novels – and, in fact, frequently borrowing the Gothic's settings, characters, and themes – these operas are “sung Gothic,” or an oral and performative transmission of the Gothic mode. They most frequently focus on two themes: the domestic ritual sacrifice of a woman and/or the unlawful political imprisonment of innocent victims of tyranny (see Charlton 2000). In both cases, the rescue operas stage elaborate releases of these victims only after the victims' heroic efforts have allowed them to prove their worth; hence, the operas collaborated in promoting a secularizing bourgeois agenda of earning one's salvation through one's own efforts. Extremely popular throughout Europe from roughly 1780 to 1840, Gothic operas deserve to be recognized as important performative ideological markers of the Gothic imaginary.
Phobia
Authors: Mandal Anthony
Published: June 2017

The concept of “phobia” suggests something more than “fear,” conveying instead an intensely anxious reaction to a specific stimulus that verges on the excessive. The term was first recorded in the post‐classical Latin formulation “hydrophobia,” which designated rabies through its sufferers' typical display of fear in proximity to water. This supplied the model for later formations in English, which occurred in fairly limited instances during the seventeenth and eighteenth centuries before appearing in abundance from the nineteenth century onward. In particular, it has been observed that “the last three decades of the nineteenth century were phobia's
belle époque
” (Trotter 2004: 463). Whereas fear is an instinctual part of our brain physiology, a life‐preserving process rooted in the amygdala's function in processing negative emotions, a sufferer of phobia “experiences a marked, persistent, and excessive or unreasonable fear when in the presence of, or when anticipating an encounter with, the specific object or situation” (APA 1994: 444). In an almost Gothic moment of possession, phobia invades and engulfs the body, infiltrating the mind and disrupting normal mental associations – a process acutely captured in William James' description of the response of an agoraphobic, who “is seized with palpitation and terror at the sight of any open place or broad street […] He trembles, his knees bend, he may even faint at the idea” (1890: ii. 421). Over a quarter of a century later, Sigmund Freud's
Introductory Lectures on Psychoanalysis
(1916) pointed out the disproportion between the triviality of stimulus and the immensity of response in the phobic sufferer.
P
oe,
E
dgar
A
llan
Authors: Fisher Benjamin F.
Published: June 2017

Often mistakenly credited with inventing the literary Gothic, Edgar Allan Poe (1809–49) contributed significantly to the continuance and sophistication of the Gothic tradition. In the majority of his tales, in several poems, and in a novel,
The Narrative of Arthur Gordon Pym
(1838), Poe demonstrates important modifications of Gothicism, principally in imparting psychological realism to his characters and credibility to the situations that affect them. What is often forgotten amid the mythologizing that frequently makes Poe's works attractive is that he deliberately turned to the writing of fiction to make money after his initial three books of verse attracted little attention and less remuneration.
Radio
Authors: Hand Richard J.
Published: June 2017

Perhaps the most marginalized cultural form in academic study, radio drama yields riches for scholars of the Gothic. From its inauguration in the 1920s, radio grew in popularity at a phenomenal rate and would soon develop broadcasting formats and genres that remain recognizable (including in the visual media) to this day. Alongside the sitcoms and soap operas, radio had a particular interest in horror. In our screen‐dominated culture, radio has tended to be belittled as a “blind” medium and yet, paradoxically, it is this quality that makes it such an effective form, not least where the Gothic is concerned. The complex poetics of radio mean that it has the potential to give the listener an intensive experience. Nothing can capture the uncanny experience of utter darkness as effectively as radio. Similarly, the interplay between script, sound effects, music, and the performer can be highly evocative in the creation of locale, mood, and atmosphere.