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This book offers new critical approaches for the study of adaptations, abridgments, translations, parodies, and mash-ups that occur internationally in contemporary children's culture. It follows recent shifts in adaptation studies that call for a move beyond fidelity criticism, a paradigm that measures the success of an adaptation by the level of fidelity to the \"original\" text, toward a methodology that considers the adaptation to be always already in conversation with the adapted text. This book visits children's literature and culture in order to consider the generic, pedagogical, and ideological underpinnings that drive both the process and the product. Focusing on novels as well as folktales, films, graphic novels, and anime, the authors consider the challenges inherent in transforming the work of authors such as William Shakespeare, Charles Perrault, L.M. Montgomery, Laura Ingalls Wilder, and A.A. Milne into new forms that are palatable for later audiences particularly when-for perceived ideological or political reasons-the textual transformation is not only unavoidable but entirely necessary. Contributors consider the challenges inherent in transforming stories and characters from one type of text to another, across genres, languages, and time, offering a range of new models that will inform future scholarship.

Buchheit, M, Lefebvre, B, Laursen, PB, and Ahmaidi, S. Reliability, usefulness and validity of the 30-15 intermittent ice test in young elite ice hockey players. J Strength Cond Res 25(5)1457-1464, 2011-The purpose of this study was to examine the reliability, usefulness, and validity of the 30-15 Intermittent Ice Test (30-15IIT) in 17 young elite ice hockey players. For the reliability and usefulness study, players performed the 30-15IIT 7 days apart. For the validity study, data derived from the first 30-15IIT were compared with those obtained from the 30-15 Intermittent Fitness Test (30-15IFT, the running version of this test used as a reference marker for its ability to assess cardiovascular fitness in the field, that is, o2peak). Maximal speed, heart rate at exhaustion (HRpeak) and postexercise blood-lactate levels ([La]b) were collected for all tests, whereas submaximal HR was taken at stages 4 and 8 (HRstage4 and HRstage8) during the 30-15IIT. All intra-class correlation coefficients were >0.94. Coefficients of variation were 1.6% (90% CI, 1.3-2.3), 1.7% (1.3-2.8), 1.4% (1.0-2.2), and 0.7% (0.5-1.1) for maximal skating speed, HRstage4, HRstage8, and HRpeak, respectively. Correlations between maximal velocities and HRpeak obtained for the 30-15IIT vs. 30-15IFT were very large (r = 0.72) and large (r = 0.61), respectively. Maximal skating speed was also largely correlated to estimated o2peak (r = 0.71). There was however no correlation for [La]b values between both tests (r = 0.42). These results highlight the specificity of the on-ice 30-15IIT and show it to be a reliable and valid test for assessing cardiorespiratory fitness in young elite players. Coaches could interpret a change in performance of at least 2 stages, or a change in submaximal HR of more than 8% (≈8 b·min) during the eighth stage to be a meaningful change in skating fitness.

This essay brings to the forefront the work by Joy Kogawa that preceded and followed her watershed novel Obasan (1981), which privileges the perspective of a traumatized child to narrate the internment of Japanese Canadians during and after the Second World War. The objective of the essay is to address an overlooked pattern of repetition and revision that can be traced across these multiple texts—a sequel, Itsuka / Emily Kato; a revision for children, Naomi’s Road; and a thematic follow-up, The Rain Ascends—all of which were revisited by Kogawa after their initial publication. Drawing on pivotal work on trauma and memory, the essay considers to what extent Kogawa’s larger story of oppression, dispersal, and forgetting is unconcludable.

Purpose The range of motion achieved after a total knee arthroplasty (TKA) affects many daily activities and overall patients’ satisfaction. This study aims to define the determinants affecting post-operative midterm active flexion according to a specific cruciate-sacrificing prosthesis, the rotating concave–convex (ROCC ® ) TKA. Method Four hundred and eighty-four consecutive patients (584 TKAs) were prospectively followed. After baseline patient demographics and anatomical characteristics, clinical and radiological post-operative assessments were periodically recorded. The rotational alignment of the femoral component was additionally reported for 120 patients. Eligibility for final inclusion was a minimum of 5-year follow-up. Univariate analyses followed by a multivariate model were fitted to determine the independent predictors of midterm active knee flexion. Results Thirty-four TKA (5.8 %) were excluded for a secondary surgery before their 50 years, 69 patients died (11.8 %), and 21 (3.6 %) were lost to follow-up. Overall, 460 TKAs were included. The post-operative mean knee flexion angle was measured at 127.7° ± 9.3°. Significant factors affecting final flexion under univariate analyses were the patient height and body mass index, the absence of previous surgery, a depressive state, the preoperative flexion angle, a preoperative flexion contracture, a patellar residual subluxation, the reconstructed patellar height, and the rotation of the femoral component. The multivariate model confirmed the patient’s height, a depression, the preoperative flexion angle, a patellar residual subluxation, and the patellar height as statistically significant determinants. Conclusion Aside from the preoperative flexion angle, numerous predictors of flexion, both patient- and procedure-related were identified. Surgeons should take these into account both when adequately informing their patient before surgery and when performing the arthroplasty itself. Level of evidence Prognostic, Level II.

[...]my response to pressures to conform more readily to most fashion trends is a paraphrase of past ESC readers' forums: \"Why Do I Have to Dress Like That?\" Conversely, when I think about trends and fashion within the discipline in a less literal way, my mind's eye is drawn to the possibilities of cutting-edge interdisciplinary research currently in vogue within English studies, a field that continues to widen the boundaries of what is worthy of academic study in order to include not just literature but life writing, video games, periodicals, mainstream television, archival and legal documents, online communities, and the cultural production and reception of virtually everything. [...]a job would ask for applicants with primary specialization in a traditional category-say, British literature of the long eighteenth century-and then offer a long list of eclectic topics as desirable secondary areas of specialization: everything from children's literature, narrative theory, creative writing, and cultural studies to African American women's writing, Medieval Studies, and the Judeo-Christian Bible. Here, then, is another quagmire: someone trained at, say, McMaster University's Department of English and Cultural Studies, as I did, may be at a disadvantage when applying to a job at, say, Wilfrid Laurier University's Department of English and Film Studies, given that Cultural Studies at Laurier is its own department and cross-appointments are not always possible for administrative or budgetary reasons. [...]someone trained at an institution with discipline-specific departments may not be seen as a right fit for a hiring committee looking for interdisciplinarity, and vice versa. Since English departments across Canada and beyond are broadening their mandate at different paces and in different directions, being the right fit for a particular job has become even more unpredictable.

Despite the implied shift from negative to positive connotations in his mother's corrective, Travis's different identity remains undefined, and this adds to the complexity of the resolution: he relocates to the city after a nearly fatal act of violence and attends an alternative high school where \"no one seems to mind how different you are\" (196). Because \"difference\" ultimately remains an abstract concept (as does the norm against which difference is measured), it remains unclear precisely what kind of agency sixteen-year-old Travis gains by leaving: he does find a place within the nation where he can be himself (whatever the identity refers to), but the fact that his tiny apartment is located in an impoverished neighbourhood hardly guarantees that acts of violence could never recur.

\"Fragmentation, angst, and disillusionment were the vogue, and Montgomery's novels, set in pre-war Prince Edward Island, appeared to be works of nostalgia and sentimentalism to the Modernist critical eye,\" they write. [...]her books \"were about domestic women at a time when the heroes of 'serious fiction' were mostly male, and suffering males at that, carrying the mysterious wounds of a generalized psychic disturbance\" (xxiii). [...]in most of her novels in which wedding bells appear to be the \"natural\" resolution for her title heroines-Anne of the Island, Rilla of Ingleside (1921), Emily's Quest (1927), and Mistress Pat (1935)-Montgomery avoids the romantic tension altogether for most of the narrative and delays the \"inevitable\" dénouement as long as possible, making her \"happy\" endings appear unconvincing and contrived. Montgomery had addressed the \"romantic\" aspect of war in Rilla of Ingleside a decade earlier, but Donna is an example of the limits imposed on women in the war's aftermath. Because she neither is a \"failed\" spinster (like Margaret Penhallow) nor has the social sanction of a married woman, her status as war widow now involves playing a public role that has long since spiraled into stagnation. In light of her self-assured comment that her slipping sales were caused in part by the continued popularity of her earlier books, Montgomery may have felt she had little to lose financially if she took a bit of a chance late in 1928. Because of the absence of a more substantial record of the writing process of this book, it is completely conjectural whether the stock market crash of October 1929, which badly damaged that financial security and which interrupted the drafting of Ë Tangled Web, made her reconsider whether or not this was the best moment for such a creative move. 6 Although Montgomery only occasionally offered detailed discussions of her own writing in her journals and letters, the absence of any substantial mention of the writing process of A Tangled Web is indicative of Montgomery's silencing of \"her immersion into an imagined life,\" as Rubio and Waterston note (Introduction xx).