Literatura científica selecionada sobre o tema "Central Board of Scottish Dissenters"

By assessing the Central Board of Dissenters, arguably the most influential liberal-voluntary group of the mid-nineteenth century and the political wing of Scottish dissent, this article questions whether the Liberal party in Edinburgh was indeed built on ‘bigotry alone’, and asks whether the groups that would later form the backbone of Scottish Liberalism until the Great War were, as John Brown claimed, the enemies of all oppressions and monopolies, or simply the products of sectarian strife. The Central Board of Dissenters acted as the conduit for ecclesiastical and political organisation for Edinburgh's radical voluntaries during the bitter conflict of the pre-Disruption period, and utilised this organisational strength after 1843 to create a pan-dissenting alliance based on the anti-Maynooth campaign. Despite their foundations in the intra-Presbyterian strife of Victorian Scotland, the electoral successes of this period created a base both in Edinburgh and across Scotland for a Liberal party, once it threw off the ideological shackles of these denominational struggles, which would dominate Scottish politics until the Great War.

A resolution recognising the need to address the Covenant carefully and prayerfully was passed after considerable discussion on the final draft of the Covenant; it was remitted to the Faith and Order Board to be given careful consideration. Questions were raised as to whether the Covenant was a reasonable and necessary instrument to strengthen the cohesion of a diverse Communion and whether it was helpful to attempt to define a single view and substitute a central authority for Anglican co-responsibility. The difficulties being faced by the Anglican Communion were being faced by every Church across the world. It was now for the Faith and Order Board to advise on what process or processes might be appropriate to be followed by the Synod to enable due consideration of the final version of the Covenant by the Scottish Episcopal Church. Questions were also asked as to whether a loose arrangement might be better suited to taking the strain and it was suggested that the Scottish Church should not be afraid of breaking with the Anglican Communion. The Primus pointed out that the process as a whole would take a considerable amount of time and it was not a process on which the Church should feel rushed.

Objective: To audit the use of home nebulisers in children with asthma. Design: Postal questionnaire. Setting: Two Health Board Areas in Central Scotland-one large industrialised city, one mixed urban and rural. Subjects: 297 children with asthma. Measures evaluated: Initial supply and technical support for the compressor. Education: Pattern of drug usage. Symptom control: Monitoring and treatment of acute attacks. Results: The full burden of the home nebulised therapy is not being met by the NHS. Supply and servicing arrangements for home nebuliser therapy were poorly organised. Chronic asthma symptoms did not appear to be optimally controlled on present medication, with 61% reporting sleep disturbance in the previous three months. About 20% of parents admitted that they would give nebulised bronchodilator therapy more frequently than the recommended 3 to 4 hourly. Conclusion: Re-organisation of resources and arrangements could improve the service and bring it in line with recognised standards of care.

The idea initiating the birth of the journal APSTRACT was initiated by András Nábrádi, during a 2005 AGRIMBA1 executive board meeting held in Aberdeen, UK. AGRIMBA is an open international network of academics and professionals from universities and related institutions dealing with education and research in agribusiness (Csapó et al., 2010). Currently, the Network is especially active in Central and Eastern Europe (Heijman, 2015). The main objective of the Network is to set standards based on best practices for programmes it oversees and to accredit them on the basis of these standards. The International MBA Network was established in 1995, by founding members from Wageningen University, Scottish Agricultural College, the Czech University of Life Sciences in Prague, Warsaw Agricultural University, University College Cork and the University of Wolverhampton. Between 2000 and 2009, the following universities joined the Network: Humboldt University Berlin, the University of Debrecen, Arkansas State University, the Agricultural University of Ukraine, the Timiryazev Academy in Moscow, the University of Belgrade and the University of Zagreb (Heijman, 2015). The Universities of Belgorod (Russia) and Kazan (Russia) has also joined the network last year. JEL code: A10

Background Diabetes-related foot ulcers give rise to considerable morbidity, generate a high monetary cost for health and social care services and precede the majority of diabetes-related lower extremity amputations. There are many clinical prediction rules in existence to assess risk of foot ulceration but few have been subject to validation. Objectives Our objectives were to produce an evidence-based clinical pathway for risk assessment and management of the foot in people with diabetes mellitus to estimate cost-effective monitoring intervals and to perform cost-effectiveness analyses and a value-of-information analysis. Design We developed and validated a prognostic model using predictive modelling, calibration and discrimination techniques. An overview of systematic reviews already completed was followed by a review of randomised controlled trials of interventions to prevent foot ulceration in diabetes mellitus. A review of the health economic literature was followed by the construction of an economic model, an analysis of the transitional probability of moving from one foot risk state to another, an assessment of cost-effectiveness and a value-of-information analysis. Interventions The effects of simple and complex interventions and different monitoring intervals for the clinical prediction rules were evaluated. Main outcome measure The main outcome was the incidence of foot ulceration. We compared the new clinical prediction rules in conjunction with the most effective preventative interventions at different monitoring intervals with a ‘treat-all’ strategy. Data sources Data from an electronic health record for 26,154 people with diabetes mellitus in one Scottish health board were used to estimate the monitoring interval. The Prediction Of Diabetic foot UlcerationS (PODUS) data set was used to develop and validate the clinical prediction rule. Review methods We searched for eligible randomised controlled trials of interventions using search strategies created for Ovid® (Wolters Kluwer, Alphen aan den Rijn, the Netherlands), MEDLINE, EMBASE and the Cochrane Central Register of Controlled Trials. Randomised controlled trials in progress were identified via the International Standard Randomised Controlled Trial Number Registry and systematic reviews were identified via PROSPERO. Databases were searched from inception to February 2019. Results The clinical prediction rule was found to accurately assess the risk of foot ulceration. Digital infrared thermometry, complex interventions and therapeutic footwear with offloading devices were found to be effective in preventing foot ulcers. The risk of developing a foot ulcer did not change over time for most people. We found that interventions to prevent foot ulceration may be cost-effective but there is uncertainty about this. Digital infrared thermometry and therapeutic footwear with offloading devices may be cost-effective when used to treat all people with diabetes mellitus regardless of their ulcer risk. Limitations The threats to the validity of the results in some randomised controlled trials in the review and the large number of missing data in the electronic health record mean that there is uncertainty in our estimates. Conclusions There is evidence that interventions to prevent foot ulceration are effective but it is not clear who would benefit most from receiving the interventions. The ulceration risk does not change over an 8-year period for most people with diabetes mellitus. A change in the monitoring interval from annually to every 2 years for those at low risk would be acceptable. Future work recommendations Improving the completeness of electronic health records and sharing data would help improve our knowledge about the most clinically effective and cost-effective approaches to prevent foot ulceration in diabetes mellitus. Study registration This study is registered as PROSPERO CRD42016052324. Funding This project was funded by the National Institute for Health Research (NIHR) Health Technology Assessment programme and will be published in full in Health Technology Assessment; Vol. 24, No. 62. See the NIHR Journals Library website for further project information.

Background Life expectancy in Glasgow is lower than other Scottish cities and comparable English cities. One explanation for this excess mortality is selective migration, specifically policy from the late 1940s onwards to move younger, more skilled workers and their families from Glasgow to five Scottish New Towns, established between 1948 and 1966, leaving behind those who are more deprived and unhealthy. Aim To examine the impact of migration to New Towns on premature mortality in Glasgow using linked Scottish Mental Survey 1947 and NHS Central Register data. Methods This is a new data linkage using historical data for health board moves dating back to 1948. The Scottish Mental Survey 1947 encompasses a cohort born in 1936 that had cognitive ability assessed at age 11. This cohort were of young working age at the time of New Towns policy. The cohort has been linked to NHS Central Register data, which contains information on current and previous health board location dating back to the late 1940s, as well as date of death. A time-appropriate move to the relevant health board area is used as a proxy for New Town migration. We can put people “back” to their starting geography to see what impact this has on premature mortality in Glasgow. We will examine factors associated with geographical mobility. Logistic regression and cox regression models will be used to analyse the association between migration status and early mortality. Results Preliminary results suggest that, as hypothesised, those who have migrated out of Glasgow to new Towns have lower likelihood of premature mortality than those who remain. Analysis is ongoing and we will present our final findings. Conclusion With New Towns being re-considered as an answer to the current acute UK housing shortage, it is useful to understand the, perhaps unexpected, consequences of such policies.

Welcome to the inaugural issue of PORTAL On behalf of the Executive Editorial Committee of PORTAL Journal of Multidisciplinary International Studies, it is a great pleasure to announce the virtual birth of this fully peer-reviewed journal under the auspices of UTSePress, the exciting new electronic publishing enterprise housed at the central library at the University of Technology, Sydney (UTS), Australia. PORTAL itself is edited by staff from the Institute for International Studies, a dynamic research and teaching centre at UTS. The launch of PORTAL's inaugural issue will take place simultaneously in Sydney, Australia, and Guadalajara, México, on January 28 (Sydney) / 27 (Guadalajara) 2004. The trans-Pacific axial enabling this twin launch is emblematic of the many axes of dialogue that, it is to be hoped, will characterize the content and reception of this and future issues of Portal. We are grateful to the many people at the Center for Social Sciences and Humanities at la Universidad de Guadalajara, México, for their provision of the technologies and tequila that will facilitate Portal's digital launch in a different space and timezone to its 'homebirth' in Sydney, Australia. As PORTAL's 'Focus and Scope' statement indicates, the journal is dedicated to publishing scholarship by practitioners of-and dissenters from-international, regional, area, migration, and ethnic studies. PORTAL is also committed to providing a space for cultural producers interested in the internationalization of cultures. With these aims in mind we have conceived PORTAL as a "multidisciplinary venture," to use Michel Chaouli's words. That is, PORTAL signifies "a place where researchers [and cultural producers] are exposed to different ways of posing questions and proffering answers, without creating out of their differing disciplinary languages a common theoretical or methodological pidgin" (2003, p. 57). Our hope is that scholars working in the humanities, social sciences, and potentially other disciplinary areas, will encounter in PORTAL a range of critical and creative scenarios about contemporary societies and cultures and their material and imaginative relation to processes of transnationalization, polyculturation, transmigration, globalization, and anti-globalization. Our use of scenario here is drawn from Néstor García Canclini, for whom the term designates "a place where a story is staged" (1995, p. 273). García Canclini's interest lies in comprehending the staging of stories at "the intercrossings on the borders between countries, in the fluid networks that interconnect towns, ethnic groups, and classes, … the popular and the cultured, the national and the foreign" (1995, p. 273). Such stories indicate some of the many possible international scenarios that PORTAL will stage in the future. A key to our ambitions for PORTAL is an editorial commitment to facilitating dialogue between international studies practitioners working anywhere in the world, and not simply or exclusively in the "North," "the West," or the "First World." This fundamental policy is reflected in our Editorial Board, with members drawn from respected academic and research institutions in many countries and continents. We would like to extend our warmest thanks to the many people across the globe who, site unseen, graciously agreed to support this publishing and intellectual endeavour by joining the Editorial Board and wholeheartedly endorsing the journal's editorial brief. PORTAL's commitment to fashioning a genuinely "international" studies rubric is also reflected in our willingness to accept critical and creative work in English as well as in a number of other languages: Bahasa Indonesia, Chinese, Croatian, English, French, German, Italian, Japanese, Spanish, and Serbian. We anticipate that this list will grow. Portal is also committed to the timely and constructive provision of feedback to submitted work. There will be two issues per year: one in January, the other in July. These editorial protocols make PORTAL a uniquely "international" publishing venture. Immense gratitude is due to the team at UTSePress for their dedication to, and faith in, this project. In particular, we would like to thank Alex Byrne, Fides Lawton, Richard Buggy, and Shannon Elbourne, for their hard work, support, and understanding. Thanks go to all the members of the PORTAL Editorial Committee for their contributions. Finally, special thanks to our Editorial Assistant Wayne Peake, Research Assistant John McPhillips and Editorial Committee member Kate Barclay who did so much to ensure the appearance of this inaugural issue. Paul Allatson, Chair, PORTAL Editorial Committee

As the year draws to a close, it is traditional for an Editorial to reflect on the past 12 months, including some up-beat comments to lift the usual Winter gloom. In a year which began with the MTAS recruitment debacle and ended with a series of sporting disappointments, it may be hard to find too many positive messages on this occasion. It has been a year when bird flu and bio-terrorism disappeared from the tabloid front pages, to be replaced by hospital-acquired ‘superbugs’. In response to the media frenzy and a new set of government targets, hospitals adopted ‘nothing below the elbow’ policies: consultants were spotted entering wards without the customary Saville Row suit and tie, with a fob-watch becoming the new ‘must have’ fashion accessory. Gone are the days when a jacket was considered a ‘badge of office’ for any doctor at registrar level or above. It remains to be seen how patients will recognise ‘seniority’ when MMC produces its first 29 year-old consultant: a certificate of completed training may not have the same therapeutic effect as pin-stripes or padded shoulders… Acute Medicine’s arrival in the ‘big league’ was announced by the first International meeting of the Society for Acute Medicine, in Glasgow this autumn. The success of this meeting was an enormous boost to the speciality, and a great credit to its organisers. Having been initially sceptical about the ability of our young speciality to pull off such an ambitious event, it was a great relief to have been proven wrong. The momentum built up by the autumn meeting was continued with the publication of the RCP Acute Medicine Task Force report at the end of October. The document entitled ‘Acute Medical care: the right person in the right setting, first time’ should provide a major boost to the speciality, with strong recommendations for expansion of acute medical units and the need for increase in consultant numbers. Despite these positive signs for the speciality, anxieties about the future still remain amongst some of those training in acute medicine. At the SAM meeting in October, one trainee questioned deputy First Minister of the Scottish Parliament, Nicola Sturgeon as to whether central funding for new consultant posts would be made available. Another trainee asked whether competition from non-acute medicine specialists with dual accreditation in GIM would continue in the era of the ‘Specialist Acute Physician’. The first SpRs to have undertaken Acute Medicine training programmes will acquire their CCTs in the next few months, with many more to follow in 2008. It is essential that the existing consultants in acute medicine act quickly to develop business cases for additional colleagues, to recognise the likely rise in the number of suitable applicants over coming months. Finally a brief word of thanks to Dr Mike Bacon who recently stood down from his role on the editorial board; his contributions will be missed by the team, but hopefully admirably replaced by those of Dr Nicola Cooper, Consultant in Acute and Elderly Care medicine at Leeds General Infirmary.

Introduction This article explores the phenomenon of the Creative City in the context of Aberdeen, Scotland’s third-largest city. The common perception of Aberdeen is likely to revolve around its status, for the last 50 years, as Europe’s Oil & Gas Capital. However, for more than a decade Aberdeen’s city planners have sought to incorporate creativity and culture in their placemaking. The most visible expression of this was the unsuccessful 2013 bid to become the UK City of Culture 2017 (CoC), which was referred to as a “reality check” by Marie Boulton (BBC), the councillor charged with the culture portfolio. This article reviews and appraises subsequent policies and actions. It looks at Aberdeen’s history and its current Cultural Strategy and how events have supported or inhibited the reimagining of Aberdeen as a Creative and Cultural City. Landry’s “Lineages of the Creative City” tracks the rise in interest around culture and creative sectors and highlights that there is more to the creative city than economic growth, positing that a creative city is a holistic environment in which “ordinary people can make the extra-ordinary happen” (2). Comunian develops Landry’s concept of hard (infrastructural) assets and soft (people and activity) assets by introducing Complexity Theory to examine the interactions between the two. Comunian argues that a city should be understood as a complex adaptive system (CAS) and that the interconnectivity of consumption and production, micro and macro, and networks of actors must be incorporated into policy thinking. Creating physical assets without regard to what happens in and around them does not build a creative city. Aberdeen: Context and History Important when considering Aberdeen is its remoteness: 66 miles north of its closest city neighbour Dundee, 90 miles north of Edinburgh and 125 miles north-east of Glasgow. For Aberdonians travel is a necessity to connect with other cultural centres whether in Scotland, the UK, Europe, or further afield, making Aberdeen’s nearly 900-year-old port a key asset. Sitting at the mouth of the River Dee, which marks Aberdeen’s southern boundary, this key transport hub has long been central to Aberdeen’s culture giving rise to two of the oldest established businesses in the UK: the Port of Aberdeen (1136) and the Shore Porter’s Society (1498). Fishing and trade with Europe thrived and connections with the continent led to the establishment of Aberdeen’s first university: King’s College (Scotland’s third and the UK’s fifth) in 1495. A second, Marischal College, was established in 1593, joining forces with King’s in 1860 to become the University of Aberdeen. The building created in 1837 to house Marischal College is the second-largest granite building in the world (VisitAberdeenshire, Marischal) and now home to Aberdeen City Council (ACC). Robert Gordon University (RGU), awarded university status in 1992, grew out of an institution established in 1729 (RGU, Our History); this period marked the dawning of the Scottish Enlightenment when Aberdeen’s Wise Club were key to an intellectual discourse that changed western thinking (RSA). Gray’s School of Art, now part of RGU, was established in 1885, at the same time as Aberdeen Art Gallery which holds a collection of national significance (ACC, Art Gallery). Aberdeen’s northern boundary is marked by its second river, the River Don, which has also contributed to the city’s history, economics, and culture. For centuries, paper and woollen mills, including the world-famous Crombie, thrived on its banks and textile production was the city’s largest employer, with one mill employing 3,000 staff (P&J, Broadford). While the city and surrounds have been home to notable creatives, including writers Lewis Grassic Gibbon and Lord Byron; musicians Annie Lennox, Dame Evelyn Glennie, and Emeli Sandé; fashion designer Bill Gibb and dancer Michael Clark, it has struggled to attract and retain creative talent, and there is a familiar exodus of art school graduates to the larger and more accepted creative cities of Glasgow, Edinburgh, and London. In 2013, at the time of the CoC bid, ACC recognised that creative industries graduates leaving the city was “a serious issue” (ACC, Cultural Mapping 1). The City of Culture Bid This recognition came at a time when ACC acknowledged that Aberdeen, with already low unemployment, required an influx of workforce. An ACC document (Cultural Mapping) cites Richard Florida’s proposal that a strong cultural offer attracts skilled workers to a city, adding that they “look for a lively cultural life in their choice of location” (7) and quoting an oil executive: “our poor city centre is often cited as a major obstacle in attracting people” (7). Changing the image of the city to attract new residents appears to have been a key motivation for the CoC bid. The CoC assessor noted this in their review of the bid, citing a report that 120,000 recruits were required in the city and agreeing that Aberdeen needed to “change perceptions of the city to retain and attract talent” (Regeneris 1). Aberdeen’s CoC bid was rejected at the first shortlisting stage, with feedback that the artistic vision “lacked depth” and “that cultural activity in the city was weaker than in several other bidding areas” (Regeneris 3). In an exploration of the bidding process, McGillivray and Turner highlight two factors which link to other concerns and feedback about the bid. Firstly, they compare Aberdeen’s choice of a Bid Manager from the business community with Paisley’s choice of one from their local arts sector in their bid for CoC 2021, which was successful in being shortlisted, highlighting different motivators behind the bids. Secondly, Aberdeen secured a bid team member from “Pafos’s bid to be 2017 European Capital of Culture (ECC), who subsequently played an important role” for Kalamata’s 2021 ECC bid (41), showing Aberdeen’s reluctance to develop local talent. A Decade of Investment ACC responded to the “reality check” with a series of investments in the hard assets of the city. Major refurbishment of two key buildings, the Music Hall and the Art Gallery, caused them both to be closed for several years, significantly diminishing the cultural offer in the city. The Music Hall re-opened in 2018 (Creative Scotland) and the Art Gallery in 2019 (McLean). In 2021, the extended and updated Art Gallery was named “Scotland’s building of the year” by the Royal Incorporation of Architects in Scotland (RIAS) (Museums Association). Concurrent with this was the development of “Europe’s largest new events complex, TECA [now P&J live] part financed through a £370 million stock market bond issue” (InvestAberdeen). Another cultural asset of the city which has been undergoing a facelift since 2019 is Union Terrace Gardens (UTG), the green heart of the city centre, gifted to the public in 1877. The development of this asset has had a chequered history. In 2008 it had been awarded “funding from Aberdeen Council (£3 million), the Scottish Arts Council (£4.3M) and Scottish Enterprise (£2 million)” (Aberdeenvoice) to realise a new multi-disciplinary contemporary art centre to be called ‘Northern Light’ and housed in a purpose-designed building (Brizac Gonzalez). The project, led by Peacock Visual arts, a printmaking centre of excellence and gallery founded in 1974, had secured planning permission. It would host Peacock Visual Arts, City Moves dance company, and the ACC arts development team. It echoed similar cultural partnership approaches, such as Dundee Contemporary Arts, although notably without involvement from the universities. Three months later, a counterbid to radically re-think UTG as a vast new city square was proposed by oil tycoon Sir Ian Wood, who backed the proposal with £50 million of his own funds, requiring matching finance by the city and ownership of the Gardens passing to private hands. Resistance to these plans came from ‘Friends of UTG’, and a public consultation was held. ACC voted to adopt Wood’s plans and drop those of Peacock, but a change of administration in the local authority overturned Wood’s plans in August 2012. A significant portion of the funding granted to the Northern Lights project was consumed in the heated public debate and the remainder was lost to the city, as was the Wood money, providing a highly charged backdrop to the CoC bid and an unfortunate divide created between the business and culture sectors that is arguably still discernible in the city today. According to the Aberdeen & Grampian Chamber of Commerce (AGCC) 2022 Investment Tracker, the nearly complete UTG transformation has cost £28.3m. The AGCC trackers since 2016 provide a useful reference for a wider view of investment in the region over this period. During this period, ACC commissioned two festivals: Spectra (ACC, Culture Programme 5), a festival of light curated by a Manchester-based organisation, and NuArt (VisitAberdeenshire, Nuart), a street-art festival curated by a Stavanger-based team. Both festivals deliver large-scale public spectacles but have little impact on the development of the cultural sector in the city. The drivers of footfall, income generation, and tourism are key motivators for these festivals, supporting a prevailing narrative of cultural consumption over cultural production in the city, despite Regeneris’s concerns about “importing of cultural activity, which might not leave behind a cultural sector” (1) and ACC’s own published concerns (ACC, Cultural Mapping). It is important to note that in 2014 the oil and gas industry that brought prosperity to Aberdeen was severely impacted upon by a drop in price and revenue. Many jobs were lost, people left the city, and housing prices, previously inflated, fell dramatically. The attention of the authorities turned to economic regeneration of the city and in 2015, the Aberdeen City Region Deal (UK Gov), bringing £250m to the region, (REF) was signed between the UK Government, Scottish Government, ACC, Aberdeenshire Council, and Opportunity North East (ONE). ONE “is the private sector leader and catalyst for economic diversification in northeast Scotland” with board members from industry, enterprise, AGCC, the councils, the universities, the harbour, and NHS. ONE focuses on five ‘pillars’: Digital Technology, Energy, Life Sciences, Tourism and Food, and Drink & Agriculture. A Decade of Creativity and Cultural Development Aberdeen’s ambitious cultural capital infrastructure spending of the last decade has seen the creation or refurbishment of significant hard assets in the city. The development of people (Cohendet et al.), the soft assets that Landry and Comunian agree are essential to the complex system that is a Creative City, has also seen development over this time. In 2014, RGU commissioned a review of Creative Industries in the North East of Scotland. The report notes that: the cultural sector in the region is strong at the grass roots end, but less so the higher up the scale it goes. There is no producing theatre, and no signature events or assets, although the revitalised art gallery might provide an opportunity to address this. (Ekos 2) This was followed by an international conference at which other energy cities (Calgary, Houston, Perth, and Oslo) presented their culture strategies, providing useful comparators for Aberdeen and a second RGU report (RGU, Regenerating). A third report, (RGU, New North), set out a vision for the region’s cultural future. The reports recommend strategy, leadership, and vision in the development of the cultural and creative soft assets of the region and the need to create conditions for graduate and practitioner retention. Also in 2014, RGU initiated the Look Again Festival of Art and Design, an annual festival to address a gap in the city festival roster and meet a need arising from the closure of both Art Gallery and Music Hall for refurbishment. The first festival took place in 2015 with a weekend-long public event showcasing a series of thought-provoking installations and events which demonstrated a clear appetite amongst the public and partner organisations for more activity of this type. Between 2015 and 2019, the festivals grew from strength to strength and increased in size and ambition, “carving out a new creative community in Aberdeen” (Williams). The 2019 festival involved 119 creatives, the majority from the region, and created 62 paid opportunities. Look Again expanded and became a constant presence and vehicle for sectoral and skills development, supporting students, graduates, volunteers, and new collectives, focussing on social capital and the intangible creative community assets in the city. Creative practitioners were supported with a series of programmes such as ‘Cultivate’ (2018), funded by Creative Scotland, that provided mentoring to strengthen business sustainability and networking events to improve connectivity in the sector. Cultivate also provided an opportunity to undertake further research, and a survey of over 100 small and micro creative businesses presented a view of a tenacious sector, committed to staying in the region but lacking structured and tailored support. The project report noted consistent messages about the need for “a louder voice for the sector” and concluded that further work was needed to better profile, support, and connect the sector (Cultivate 15). Comunian’s work supports this call to give greater consideration to the interplay of the agents in the creation of a strong creative city. In 2019, Look Again’s evolving role in creative sector skills development was recognised when they became part of Gray’s School of Art. A partnership quickly formed with the newly created Entrepreneurship & Innovation Group (EIG), a team formed within RGU to drive entrepreneurial thinking across all schools of the university. Together, Look Again and EIG ran a Creative Accelerator which became a prototype for a validated Creative Entrepreneurship post-graduate short-course that has supported around 120 creative graduates and practitioners with tailored business skills, contextual thinking, and extended peer networks. Meanwhile, another Look Again collaboration with the newly re-opened Art Gallery provided pop-up design events that many of these small businesses took part in, connecting them with public-facing retail opportunities and, for some, acquisitions for the Gallery’s collection. Culture Aberdeen During this time and after a period of public consultation, a new collaborative group, ‘Culture Aberdeen’, emerged. Membership of the group includes many regional cultural and arts organisations including ACC, both universities, and Aberdeen Civic Forum, which seeks “to bring the voice and views of all communities to every possible level of decision making”. The group subsequently published Culture Aberdeen: A Culture Strategy for the City of Aberdeen 2018-2028, which was endorsed by ACC in their first Cultural Investment Impact Report. The strategy sets out a series of cultural ambitions including a bid to become a UNESCO Creative City, establishing an Aberdeen Biennale, and becoming a national centre of excellence for an (unspecified) artform. This collaboration brings a uniting vision to Aberdeen’s creative activity and places of culture and presents a more compelling identity as a creative city. It also begins to map to Comunian’s concept of CAS and establish a framework for realising the potential of hard assets by strategically envisioning and leading the agents, activities, and development of the city’s creative sector. Challenges for Delivery of the Strategy In delivering a strategy based on collaborative efforts, it is essential to have shared goals and strong governance “based on characteristics such as trust, shared values, implicit standards, collaboration, and consultation” (Butcher et al. 77). Situations like Aberdeen’s tentative bid for UNESO Creative City status, which began in late 2018 but was halted in early 2019, suggest that shared goals and clear governance may not be in place. Wishing to join other UNESCO cities across Scotland – Edinburgh (Literature), Glasgow (Music), and Dundee (Design) –, Aberdeen had set its sights on ‘City of Craft and Folk Art’; that title subsequently went to the city of Perth in 2022, limiting Aberdeen’s future hopes of securing UNESCO Creative City status. In 2022, Aberdeen is nearly halfway through its strategy timeline; to achieve its vision by 2028, the leadership recommended in 2014 needs to be established and given proper authority and backing. Covid-19 has been particularly disruptive for the strategy, arriving early in its implementation and lasting for two years during which collaborators have, understandably, had to attend to core business and crisis management. Picking up the threads of collaborative activity at the same time as ‘returning to normal’ will be challenging. The financial impacts of Covid-19 have also hit arts organisations and local councils particularly hard, creating survival challenges that displace future investment plans. The devastation caused to city centres across the UK as shops close and retail moves online is keenly felt in Aberdeen. Yet the pandemic has also seen the growth of pockets of new activity. With falling demand for business space resulting in more ‘meanwhile spaces’ and lower rents, practitioners have been able to access or secure spaces that were previously prohibitive. Deemouth Artists’ Studios, an artist-run initiative, has provided a vital locus of support and connectivity for creatives in the city, doubling in size over the past two years. ‘We Are Here Scotland’ arrived in response to the resurgent Black Lives Matter movement in 2020, as a Community Interest Company initiated in Aberdeen to support black creatives and creatives of colour across Scotland. Initiatives such as EP Spaces that re-purpose empty offices as studios have created a resource, albeit precarious, for scores of recent creative graduates, supporting an emerging creative community. The consequences of the pandemic for the decade of cultural investment and creative development are yet to be understood, but disrupted strategies are hard to rekindle. Culture Aberdeen’s ability to resolve or influence these factors is unclear. As a voluntary network without a cohesive role or formal status in the provision of culture in the city, and little funding and few staff to advocate on its behalf, it probably lacks the strength of leadership required. Nevertheless, work is underway to refresh the strategy in response to the post-pandemic needs of the city and culture, and the Creative Industries more broadly, are, once again, beginning to be seen as part of the solution to recovery as new narratives emerge. There is a strong desire in the city’s and region’s creative communities to nurture, realise, and retain emerging talent to authentically enrich the city’s culture. Since the 2013 failed CoC bid, much has been done to rekindle confidence and shine a light on the rich creative culture that exists in Aberdeen, and creative communities are gaining a new voice for their work. Considerable investment has been made in hard cultural assets; however, continued investment in and commitment to the region’s soft assets is needed. This is the only way to ensure the sustainable local network of activity and practice that can provide the vibrant creative city atmosphere for which Aberdeen has the potential. References Aberdeen Civic Forum. 4 June 2022 <https://civicforumaberdeen.com/about/>. Aberdeen City Region Deal. 5 June 2022 <https://www.gov.uk/government/publications/city-deal-aberdeen-city-region>. Aberdeen Timelines. 24 Feb. 2022 <https://localhistories.org/a-timeline-of-aberdeen/> and <http://www.visitoruk.com/Aberdeen/13th-century-T339.html>. ACC. "Aberdeen Art Gallery." 19 Mar. 2022 <https://www.aberdeencity.gov.uk/AAGM/plan-your-visit/aberdeen-art-gallery>. ———. “Aberdeen City Council Investment in Culture; 2018/19 Impacts.” 19 Mar. 2022 <https://www.aberdeencity.gov.uk/sites/default/files/2019-12/Aberdeen%20City%20Culture%20Report%202019%20.pdf>. ———. “Aberdeen City Council Cultural Mapping of Aberdeen; Final Report, July 2013.” 3 June 2022 <https://www.aberdeencity.gov.uk/sites/default/files/2020-10/FOI-19-1479%20-%20Cultural%20Strategy.pdf>. ———. “Culture Programme 2014 – 2019.” 2014. 6 June 2022 <ABERDEEN CITY COUNCIL>. AGCC. 2022 Tracker. 3 Jun. 2022 <https://www.agcc.co.uk/images/Investment-Tracker-2022-Online-final.pdf>. ———. 2019 Tracker. 3 Jun. 2022 <https://www.agcc.co.uk/files/investment-tracker-2019.pdf>. ———. 2018 Tracker. 3 Jun. 2022 <https://www.agcc.co.uk/files/Investment-Tracker-Sep-2018.pdf>. ———. 2017 Tracker. 3 Jun. 2022 <https://www.agcc.co.uk/files/Investment-Tracker-Sep-2017.pdf>. ———. 2016 Tracker. 3 Jun. 2022 <https://www.agcc.co.uk/files/Investment-Tracker-Nov-2016.pdf>. BBC. “Aberdeen City of Culture Bid ‘Lacked Vision’.” 2013. 10 May 2022 <https://www.bbc.co.uk/news/uk-scotland-north-east-orkney-shetland-23371660>. Brisac Gonzalez. 6 June 2022 <http://www.brisacgonzalez.com/aberdeen1>. Butcher, John R., David J. Gilchrist, John Phillimore, and John Wanna. “Attributes of Effective Collaboration: Insights from Five Case Studies in Australia and New Zealand.” Policy Design and Practice 2.1 (2019). 19 Mar. 2022 <https://doi.org/10.1080/25741292.2018.1561815>. Cohendet, Patrick, David Grandadam, and Laurent Simon. “The Anatomy of the Creative City.” Industry and Innovation 17.1 (2010). 19 Mar. 2022 <https://doi.org/10.1080/13662710903573869>. Comunian, Roberta. “Rethinking the Creative City: The Role of Complexity, Networks and Interactions in the Urban Creative Economy.” Urban Studies 48.6 (2011) 1157-1179. Creative Scotland. “Cultivate: Look Again’s Creative Industries Development Programme in North East Scotland.” 24 Feb. 2022 <https://www.creativescotland.com/explore/read/stories/features/2019/cultivate-look-agains-creative-industries-development-programme-in-north-east-scotland>. ———. “Restored and Re-Imagined Aberdeen Music Hall to Open to the Public in December.” 2018. 19 Mar. 2022 <https://www.creativescotland.com/what-we-do/latest-news/archive/2018/10/restored-and-re-imagined-aberdeen-music-hall-to-open-to-the-public-in-december>. Cultivate. “Cultivate: Creative Industries in the North East.” 10 May 2022 <https://static1.squarespace.com/static/5bd1cecc8155121e0614281b/t/5ef49de0036c70345dabc378/1593089519746/ CULTIVATE_project+report+2018.pdf>. Culture Aberdeen. “A Cultural Strategy for the City of Aberdeen 2018-2028.” 24 Feb. 2022 <https://www.cultureaberdeen.org/>. Deemouth Artist Studios. 5 June 2022 <https://www.deemouthartiststudios.co.uk/>. Ekos. “Creative Industries in North East Scotland.”. 2014. 10 May 2022 <https://www3.rgu.ac.uk/download.cfm?downloadfile=6117EE60-FB84-11E3-80660050568D00BF&typename=dmFile&fieldname=filename>. EP Spaces. 5 June 2022 <https://www.craftscotland.org/community/opportunity/low-cost-studio-spaces-ep-spaces--978>. First Group. The First Group Timeline. 24 Feb. 2022 <https://www.firstgroupplc.com/about-firstgroup/our-history.aspx>. Florida, Richard. The Rise of the Creative Class: And How It’s Transforming Work, Leisure, Community and Everyday Life. New York: Basic Books 2002. Investaberdeen. “The UK’s Most Sustainable Venue.” 24 Feb. 2022 <https://investaberdeen.co.uk/flagship-projects/the-event-complex-aberdeen-(teca)>. Landry, Charles. “Lineages of the Creative City.” 24 Feb. 2022 <http://charleslandry.com/panel/wp-content/uploads/downloads/2013/03/Lineages-of-the-Creative-City.pdf>. McGillivray, David, and Turner, Daniel. Event Bidding: Politics, Persuasion and Resistance. Abingdon: Routledge 2018. McLean, Pauline. “Aberdeen Art Gallery Reopens after £34.6m Revamp.” BBC News, 2019. 24 Feb. 2022 <https://www.bbc.co.uk/news/uk-scotland-north-east-orkney-shetland-50263849>. Museums Association. “Aberdeen Art Gallery Wins Architecture Award.” 24 Feb. 2022 <https://www.museumsassociation.org/museums-journal/news/2021/11/aberdeen-art-gallery-wins-architecture-award/#>. Opportunity North East (ONE). 5 June 2022 <Who We Are | ONE (opportunitynortheast.com)>. P&J. “12 Pictures Show the ‘Golden Age’ of Broadford Works.” 2015. 24 Feb. 2022 <https://www.pressandjournal.co.uk/fp/news/591034/12-memorable-pictures-rolling-back-through-the-years-of-the-broadford-works/>. ———. History. 10 May 2022 <https://www.britishnewspaperarchive.co.uk/titles/aberdeen-press-and-journal>. Peacock Visual Arts. 6 June 2022 <https://peacock.studio/>. Port of Aberdeen. 24 Feb. 2022 <http://aberdeen-harbour.co.uk/about-us/history/#:~:text=Aberdeen%20Harbour%20was%20established%20in,has%20spanned%20almost%20900%20years>. Regeneris Consulting. “Aberdeen: Initial Bid for UK City of Culture – Feedback Points: UK City of Culture 2017.” 3 June 2022 <https://www.whatdotheyknow.com/request/297184/response/736087/attach/3/2017%20pt%201.pdf>. RGU. “Creative Accelerator Programme.” 2019. 10 May 2022 <https://www.rgu.ac.uk/news/news-2019/1902-rgu-launches-accelerator-to-support-next-generation-of-creatives>. ———. "Our History." 24 Feb. 2022 <https://www.rgu.ac.uk/about/our-history>. ———. “Creating a New North.” 2014. 10 May 2022 <https://www3.rgu.ac.uk/file/creating-a-new-north-pdf-1-7-mb>. ———. “Regenerating Aberdeen: A Vision for a Thriving and Vibrant City Centre.” 2014. 10 May 2022 <https://rgu-repository.worktribe.com/output/248420/regenerating-aberdeen-a-vision-for-a-thriving-and-vibrant-city-centre>. RSA. “The Scottish Enlightenment and the Aberdeen Wise Club.” 2020. 24 Feb. 2022 <The Scottish Enlightenment and the Aberdeen Wise Club - RSA (thersa.org)>. Scottish Government. Creative Industries Policy Statement. 2019. 10 May 2022 <https://www.gov.scot/publications/policy-statement-creative-industries/>. Shore Porters Society. 24 Feb. 2022 <https://www.scotland.org/about-scotland/facts/worlds-oldest-transport-business>. UK Government. “City Deal: Aberdeen City Region.” 6 June 2022 <https://view.officeapps.live.com/op/view.aspx?src=https%3A%2F%2Fassets.publishing.service.gov.uk%2F government%2Fuploads%2Fsystem%2Fuploads%2Fattachment_data%2F file%2F576627%2FAberdeen_City_Region_Deal_.docx&wdOrigin=BROWSELINK>. University of Aberdeen. 3 June 2022 <https://www.abdn.ac.uk/about/history/our-history.php>. Visit Aberdeenshire. "Marischal College." 5 June 2022 <https://www.visitabdn.com/listing/marischal-college#:~:text=Marischal%20College%20is%20said%20to,more%20austere%20architecture%20(1837)>. Visit Aberdeenshire. "NuArt Aberdeen." 5 June 2022 <https://www.visitabdn.com/listing/nuart-aberdeen#:~:text=Originating%20in%20Norway%20in%202001,public%20art%20event%20to%20Aberdeen>. Williams, Eliza. “How the Look Again Festival Is Carving Out a New Creative Community in Aberdeen.” Creative Review (2019). 3 June 2022 <https://www.creativereview.co.uk/how-the-look-again-festival-is-carving-out-a-new-creative-community-in-aberdeen/>.

The purpose of this thesis is to explore how differing circumstances came together to help or hinder the autonomous practice of midwives in Scotland between 1916 and 1983 when the Central Midwives Board (CMB) oversaw their training and practice. The thesis includes an examination of the records of the CMB for Scotland from 1916 to 1983 and, through oral testimonies, the work of practising midwives during the same period. The thesis is divided into two parts. Part I, comprising five chapters, explores the work of the CMB from 1916 to 1983. This includes: an examination of the issues surrounding the 1902 Midwives Act which did not apply to Scotland, and the campaign for, and opposition to, a similar Act for Scotland, passed in 1915; the constitution and early activities of the CMB which the 1915 Midwives (Scotland) Act established to oversee the enrolment, training and practice of midwives; a discussion of the national concern over the Maternal Mortality Rate in the 1920s and 1930s, subsequent Government reports and legislation and the CMB’s responses to these issues; an examination of the CMB’s work during the time of the World War II, the shortage of midwives, and the changes the National Health Service administration made to midwifery in Scotland. Finally, Part I examines the last decades of the CMB’s existence, including its response to changes in midwifery management, education, practice and statute. Part II, comprising three chapters, focuses on the practice of midwives in Scotland during the period through the aspects of antenatal, intranatal and postnatal care. Each chapter uses evidence from oral testimonies of midwives working within the framework established by relevant Acts and the CMB. Part II illuminates the contrast between the work of the CMB and the world of hands-on midwifery practice.

Chapter 1 discusses Daniel Defoe’s writings on Dissent and the Succession during the last years of Queen Anne and the opening years of the reign of George I. His relationship with his Dissenting co-religionists had always been a complicated one, especially over the issue of Occasional Conformity. Although thinking it indefensible that Dissenters be forced out of public office by the Corporation and Test Acts, Defoe believed equally firmly that no conscientious Dissenter should engage in Occasional Conformity to get round the law. In 1702 he was imprisoned for publishing The Shortest Way with the Dissenters, an ironical attack on High-Church opponents of Occasional Conformity which fooled readers on both sides. In 1713, he again risked using irony for polemical purposes, intervening dramatically in the growing public debate over who should succeed Queen Anne in the event of her death. Between February and April, he published a linked set of three ironical pamphlets putting forward (clearly spurious) arguments why it would be better if the Pretender succeeded, rather than the Elector George. The issues raised by the Protestant succession were central to Defoe’s political philosophy, as can be seen again in his Memoirs of the Church of Scotland (1717) where he argued that the principles that had animated Scottish Covenanters in their armed resistance to Charles II were the same as those which justified the Glorious Revolution and on which the Hanoverian Succession was founded.

Abstract A HURRIED declaration of post-binary higher education policy came out of the clamour of the hustings. Its scope and shape are yet to be clarified. Meanwhile, universities and polytechnics may still be thought of conventionally as the ancient and the modern in British higher education. How far these common conceptions represent historical realities can be debated. But such has been the pace of change that a unitary system is now officially in place. The immediate question in 1991 was the timing of the announcement of formal integration. It came in May. Under the aegis of the 1988 Education Reform Act, the UGC had given way to the UFC and the National Advisory Board (NAB) to the PCFC. These two short-lived funding bodies were in close interchange, though their constituents were still divided fundamentally over entitlements to research funding. The new higher-education funding councils for England, Scotland, and Wales will be the forum for a difficult allocation problem. The two sectors have been in a state of chronic reorganization virtually since 1970, when thirty polytechnics were formed and catapulted into rapid growth. Two sectors, it should be noted, was in any case a simplification of a complex arrangement of different colleges and universities. And integration oversimplified the position in Scotland where (as Scottish respondents are quick to remind one) the whole educational system is different and the Central Institutions were not strictly classifiable as polytechnics. The polytechnics had escaped the financial control of their founding local authorities and many of them had openly sought recognition as universities, in effect following the path of the Colleges of Advanced Technology which were born out of the Robbins Report and took their place in the university sector after 1966.