Classification and individualization of black ballpoint pen inks using principal component analysis of UV-vis absorption spectra

The technique of principal component analysis has been applied to the UV-vis spectra of inks obtained from a wide range of black ballpoint pens available in the UK market. Both the pen ink and material extracted from the ink line on paper have been examined. Here, principal component analysis characterised each spectrum within a group through the numerical loadings attached to the first few principal components. Analysis of the spectra from multiple measurements on the same brand of pen showed excellent reproducibility and clear discrimination between inks that was supported by statistical analysis. Indeed it was possible to discriminate between the pen ink and the ink line from all brands examined in this way, suggesting that the solvent extraction process may have an influence on these results. For the complete set of 25 pens, interpretation of the loadings for the first few principal components showed that both the pen inks and the extracted ink lines may be classified in an objective manner and in agreement with the results of parallel thin layer chromatography studies. Within each class almost all inks could be individualised. Further work has shown that principal component analysis may be used to identify a particular ink from a database of reference UV-vis spectra and a strategy for developing this approach is suggested.     

Fatal attacks of zoo animals on humans--a case report

Media reports about fatal work accidents in zoos caused by zoo animals seem to appear in increasing numbers all around the world. In many cases the cause of such an accident can only be clarified by a detailed reconstruction of the event in combination with the autopsy results. This applies particularly in cases where no eyewitnesses were present. This report is about the case of a musk ox that killed its keeper, in which the fatal accident could be completely reconstructed.     

The Female Student on Trial, 1910–1915: Dorothy M. Gladish versus University College Nottingham versus Oscar Wilde

This article examines the student career of Dorothy M. Gladish at University College Nottingham from 1910–1915. By drawing on little-studied archives, a range of narratives about Gladish's multiple embodiments of the female student are analysed. In particular, these narratives are situated within the representational contexts of the Gong student magazine, which are marked by re-writings of Victorian literary texts that re-invent the contemporary female student. In the case of Gladish, the symbolic and literal ‘trial’ was also a feature of her student career. A ‘Mock Trial’ of Gladish is read alongside accounts of the college council’s examination of Professor R. G. F. Dolley, following a complaint by the Gladish family, and their responses to the trial of Oscar Wilde in 1895, contained in a hitherto restricted archive. Consideration is given to how this case study extends our knowledge about women’s roles in civic universities at this period.     

‘The Woman was a Stranger’: childbirth and community in eighteenth-century England*

On 17 December 1766 James Field stood accused at the Old Bailey of the ‘wilful murder of a new born child, by casting it into a tub of water’. The case was exceptional in many ways—not only was the accused male but he and his family had removed themselves from the network of neighbourly interactions that characterised lower status life in this period. As a result, the court's deposition statements record ideas of belonging and community with unusual clarity. Using Field as a case study, this article explores the involvement of the local community in the experience of childbirth in the eighteenth century. It will argue that childbirth had an active role in the creation of neighbourhood, and momentarily captured shifting eighteenth-century understandings of community.     

Art,Cold War Diplomacy and Commonwealth: Australian and Canadian Art at the Tate Gallery 1962–1964

This article analyses the formation, presentation and reception of two seminal exhibitions: Australian Painting: Colonial, Impressionist, Contemporary (1962–1963) and Canadian Painting 1939–1963 (1964). The presentation of these exhibitions at London’s Tate Gallery reflected the institution’s support for “old dominion” Commonwealth members. The exhibitions also highlight the differing visions of the Canadian and Australian governments concerning the relationship between art, diplomacy and politics during the Cold War. In Canada, Vincent Massey (Governor General 1952–1959) played a key role in ensuring that all forms of Canadian art were promoted internationally. Massey wanted to connect with the European and American avant-garde and to be part of a multiracial Commonwealth. This contrasted with the rather “old-fashioned” views of the Australian prime minister, Robert Menzies, and the Commonwealth Art Advisory Board. They supported a Commonwealth dominated by the “white dominions” and the initial exhibition plan for Australian Painting recalled previous British Empire art shows. The British response to the Canadian and Australian exhibitions is also discussed. British critics preferred the nationally identifiable “exotic” art found in Australian art to the transnational forms of international abstraction in Canadian art. Eventually, Australia “caught up” with Canadian cultural policy following the establishment of the Australia Council.