The Primrose Project has been developed, as part of the Dangerous People with Severe Personality Disorder (DSPD) programme in England and Wales, to specifically address the…
Abstract
The Primrose Project has been developed, as part of the Dangerous People with Severe Personality Disorder (DSPD) programme in England and Wales, to specifically address the complex needs of women prisoners who pose a significant danger to the public. It has been recognised that the needs of these women prisoners may differ from those of men in the DSPD programme. The Primrose project therefore aims to deliver more effective prison‐based healthcare interventions to these dangerous women prisoners to reduce risk to self and others. The Primrose Project expects to initially support up to 12 women prisoners in HMP Low Newton, Durham. These women prisoners will be placed with other ‘non‐DSPD’ women prisoners in the prison and will receive a variety of therapeutic interventions. Overall, the Primrose Project aims to develop into a comprehensive assessment, treatment and management facility and the proposed evaluation aims to facilitate this development. The evaluation will look at the project as a whole, identifying strengths and limitations to overall improve the service for these women prisoners, who have not previously been provided for. The research is based on a list of comprehensive questions, which form the basis of evaluation of the existing four male DSPD sites in England and Wales, which will prove useful when comparisons are later made with the Primrose Project.
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Anatomy of a Murder, a beloved, highly influential, seemingly liberal 1959 classic law-film seems to appropriate some of the fading western genre’s features and social functions…
Abstract
Anatomy of a Murder, a beloved, highly influential, seemingly liberal 1959 classic law-film seems to appropriate some of the fading western genre’s features and social functions, intertwining the professional-plot western formula with a hero-lawyer variation on the classic western hero character, America’s 19th century archetypal True Man. In so doing, Anatomy revives the western genre’s honor code, embracing it into the hero-lawyer law-film. Concurrently, it accommodates the development of cinematic imagery of the emerging, professional elite groups, offering the public the notion of the professional super-lawyer, integrating legal professionalism with natural justice. In the course of establishing its Herculean lawyer, the film constitutes its female protagonist as a potential threat, subjecting her to a cinematic judgment of her sexual character and reinforcing the honor-based notion of woman’s sexual-guilt.
A series of research experiences provoked this paper. In the spring of 2003, I was asked to act as an assessor, for the Island of Ireland Seed Corn competition1. There I came…
Abstract
A series of research experiences provoked this paper. In the spring of 2003, I was asked to act as an assessor, for the Island of Ireland Seed Corn competition1. There I came across academic start-ups (ASUs), directly linked to Irish public sector science and technology (S&T) funding. Several of the competition teams consisted of young scientists, who presented business plans. Probing demonstrated that the teams appeared to possess little understanding of the business concepts these contained. Another consistent finding was that any market reference made was focused on multinational corporation (MNC) subsidiaries already located in the country. Intrigued by this, together with a colleague, we then began looking at ASUs, university-based funded S&T research centres and the activities of the newly created Science Foundation of Ireland (SFI).2
Provisional Rules and Orders dated April 8th, 1927, made by the Minister of Health for amending the Public Health (Preservatives, etc., in Food) Regulations, are as follows :—
During the second decade of the twenty-first century, the phenomenon of ‘kawaii metal’ has garnered significant attention in English-language mainstream press alongside more…
Abstract
During the second decade of the twenty-first century, the phenomenon of ‘kawaii metal’ has garnered significant attention in English-language mainstream press alongside more limited discussion in metal journalism. An ostensible fusion of metal and Japanese aidoru ‘idol’ music, kawaii metal artists frequently juxtapose the traditional aesthetics of kawaii ‘cuteness’ with those of metal, emphasising a combination of influences distinctly Eastern and Western. Prominent among kawaii metal artists, Babymetal have generated substantial press coverage in the Anglophone world. Despite emanating from the Japanese idol industry and singing almost exclusively in Japanese, touring the United States, and Europe (producing live CDs and DVDs recorded in the United States and United Kingdom) have made Babymetal one of the most visible Japanese bands in Anglo-America. This chapter explores Babymetal's fusion of idol and metal by analysing the lyrics for the band's first two albums, Babymetal (2014) and Metal Resistance (2016). Following an introduction to kawaii metal through the lens of Anglo-American press, the author elucidates Babymetal's origins as a sub-unit of the idol group Sakura Gakuin. With this background established, the author investigates the use of wordplay and themes relating to childishness and adolescence in the lyrics on Babymetal's debut album. Examining the lyrics of the band's second album illuminates a more thorough integration of idol and metal tropes, including more English-language lyrics, seemingly designed to align Babymetal with a more global metal audience, managing the interplay of Western and Eastern influences.