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This chapter outlines how the transformation of newspaper journalism in the Netherlands at the end of the nineteenth century was very much entwined with the emergence of narrative forms of journalism. Under the influence of a group of journalistic pioneers, narrative journalism became the dominant professional ideal within Dutch newspaper journalism. This professional practice and form were strongly inspired by literary naturalism. Focusing on the lower ranks in life and portraying their everyday experiences in an evocative manner, Dutch newspaper journalism was nonetheless fused to an event-centered, fact-oriented form of reporting that had emerged in the Anglo-American world. Although the dominance of this professional ideal did not mean that every journalistic piece embodied the key characteristics of this narrative form of journalism, it was seen as the highest form of journalism to which anyone could aspire, and brought high professional esteem to the journalists who were allowed and able to practice it.

Background The number of hip and knee arthroplasties completed is expected to double over the next decade. In public hospitals, regular post-arthroplasty orthopaedic review has commonly occurred for the duration of a patient’s life, which requires substantial outpatient resources. However, there is limited evidence regarding the utility of these reviews for identifying complications. The current study investigated when and where complications requiring re-operation were identified following primary hip or knee arthroplasty. Methods The medical records of all patients requiring re-operation for complications following primary hip arthroplasty (n = 48, 2004 to 2015) or knee primary arthroplasty (n = 50, 1998 to 2015) at a large regional health service were evaluated. Data were extracted by one of four investigators using a standardised electronic data extraction tool. Variables of interest included the health setting where the complication was initially identified, how long following the original operation the complication was identified and whether the complication was symptomatic. Results Routine post-arthroplasty orthopaedic appointments identified 15 (15.3%) complications requiring re-operation; all were identified in the first-year post-surgery. For each complication identified in the first-year post-surgery, approximately 1000 orthopaedic outpatient appointments were required. After the first year, all complications were identified in Emergency Departments (n = 30, 30.6%), General Practice (n = 24, 24.5%) or non-routine orthopaedic outpatient appointments (n = 19, 19.4%). All patients with complications reported symptoms. Conclusions Routine post-arthroplasty review appointments were an inefficient mechanism for identifying complications requiring re-operation more than one year following surgery. Public health services should c

I have a rather provocative question to ask the speakers. What I am wondering is: When you apply the proper orthogonal decomposition - I know this is a procedure you use and it is probably standard - you remove the mean flow and you only look at the perturbations. Why do not you include the mean flow, because if you did you would suppress the cubic terms, and also you would be getting something that would be closer to what people call coherent structures, such as hairpin vortices.

This afternoon all of the models that we have heard fall in the same class; namely, local closures. First-order local closure (K-theory or eddy diffusivity) models the momentum fluxes as down-gradient of the mean momentum. The second-order local closure models the third moments as down-gradient of the local second moments, or local mean variables. There is another completely different class of modeling or class of closure, and that is non-local turbulence closure. I mentioned before about the transilient matrix that describes the mixing between different points separated a finite distance in space. One can parameterize this matrix in terms of mean flow state or mean flow instability. When you do that, you can then make forecasts of the mean field in a turbulent flow that takes into account this nonlocal mixing. That has been done. For the ocean, we found results as good as third-order local closure. For the atmosphere, results were as good as second-order local closure. We've used it in three-dimensional weather forecast models covering the whole United States. This is a new concept of non-local closure, which is different from all the other local closures. When would you want to consider using a non-local kind of closure? Well, if any of you are dealing with turbulent flow that has a spectrum of eddy sizes where your greatest energy is in the largest wavelengths, or if you are dealing with turbulent flow that has large structures in it that are causing non-local mixing, then you might want to consider a non-local turbulence closure.

Voice, Collected by Bill Reynolds For Mary C. Parler Transcribed by Bill Reynolds Bung by Mr. Fred Berry Yellville, Ark. January 13, 1960 Reel 335, Item 9 Charlie Quantrell Come all you bold robbers And lend me your ears, Of Quantrell the brave fighter You quickly shall hear With his band of bold raiders In double-quick time, he came to burn Lawrence just over the line. All whooping and hollering And raising the yell, Like so manydevils Just raised up from hell. With guns all a-blazing And horse a-foam And Quantrell riding his famous big roan. They came to burn Lawrence, They came not to stay, Jim Lane he was up at the breaking of day. He saw them coming and got in a fright, He crawled in a corn-crib to get out of sight. Quantrell was a fighter, A brave hearted boy, A brave man or woman he would not annoy. He robbed from the wealthy And gave to the poor, To the brave man there was never a bolt on his door., Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation.

Voice, Collected by Bill Reynolds Sung by For Mary C. Parler Mr. Ed Higgins Transcribed by Bill Reynolds Fayetteville, Ark. January 10, 1960 Reel 335, Item 1 Frog Went A Courting Froggy went a courtin and he did ride, A-hum Froggy went a courtin and he did ride, A-hum Froggy went a courtin and he did ride Sword and pistol by his side, A-hum Froggy rode up to Miss Mousey's door, A-hum Froggy rode up to Miss Mousey's door, A-hum Froggy rode up to Miss Mousey's door A place he had never been before, A-hum He took Miss Mousey on his knee, A-hum He took Miss Mousey on his knee, A-hum He took Miss Mousey on his knee And he said Miss Mousey won't you marry me, A-hum Soon, very soon, Uncle Rat came home, A-hum Soon, very soon, Uncle Rat came home, A-hum Soon, very soon, Uncle Rat came home Who's been here since I've been gone, A-hum A very fine gentleman here has been, A-hum A very fine gentleman here has been, A-hum A very fine gentleman here has been To see if I would marry him, A-hum Uncle Rat laughed till he shook his fat side, A-hum Uncle Rat laughed till he shook his fat side, A-hum Uncle Rat laughed till he shook his fat side To think his niece was to be a bride, A-hum Where shall the wedding supper be? A-hum Where shall the wedding supper be? A-hum Where shall the wedding supper be Away down yonder in a hollow tree, A-hum What shall the wedding supper be? A-hum What shall the wedding supper be? A-hum What shall the wedding supper be Two little fish and one big pea, A-humReel 335, Item 1 Continued Frog Went A Courting (cont'd) The first came in was a Bumble Bee, A-hum The first came in was a Bumble Bee, A-hum The first came in was a Bumble Bee Fiddle and bow across his knee, A-hum Second came in was a captain flea, A-hum Second came in was a captain flea, A-hum Second came in was a captain flea To dance a jig with the bumble bee, A-hum Third came in was Madam Cat, A-hum Third came in was Madam Cat, A-hum Third came in was Madam Cat And such a splatter she did make, A-hum Mo, Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation.

Voice, Collected by Bill Reynolds Sung by For Mary C. Parler Mr. Fred Berry Transcribed by Bill Reynolds Yellville, Ark. January 13, 1960 Reel 335, Item 7 Ramblin' Gamblin' Boy Come all you ramblin' gamblin' boys And take a gambler's chair I've won the hat that's on your head Now I'm gamblin' for your hair. I took off from Harrison a couple of days ago Turning my face westward, To Eureka I aimed to go. They overtaken me to King's River And I could have killed the crowd If I had not heard those shackle chains Clankin clear and loud. They took my guns away from me And told me to hush my jaw That I'd stay awhile in the Berryville jail Carrol County, Arkansas Now I have left just one thing out In stating up my case, And that's the horse, the good old horse The horse that ran the race I hope that he is well-cared for His bed made of straw And I hope he lives to a ripe old age in Carrol County, Arkansas., Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation.

Voice, Collected by Bill Reynolds Sung by For Mary C. Parler Mr. Fred Berry Transcribed by Bill Reynolds Yellville, Ark. January 13, 1960 Reel 335, Item 8 Sam Hall My name it is Sam Hall, it is Sam Hall My name it is Sam Hall, it is Sam Hall My name it is Sam Hall, and I hate you one and all, God Damn your eyes. I shot three men dead, three men dead. I shot three men dead, shot their bodies full of lead, God Damn their eyes. The preacher he came too, he came too The preacher he came too, he came too And he looked so bloody glum, he can kiss my ruddy bum, God Damn his eyes The Sheriff he came too, he came too. The Sheriff he came too, he came too. The Sheriff he came, in his uniform of blue, God Damn his eyes Up the rope I go, up I go. Up the rope I go, up I go. Up the ripe I go, and I see my friends below, God Damn their eyes Up to heaven I go, up I go. Up to heaven I go, Up I go. And the place will be like a cell, for all the whores are down in hell, God Damn their eyes., Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation.

Voice, The name of the song reflects a Civil War battle., Collected by Bill Reynolds Sung by For Mary C. Parler Mr. Fred Berry Transcribed by Bill Reynolds Yellville, Ark. January 13, 1960 Reel 335, Item 12 Battle of Shiloh Hill I was just fifteen, When I joined Andy Jackson's band, And went to fight the Indians, In Alabama's sandy land. I saw the Indians coming, And heard them give their yell, And the thoughts that then went through my mind, No mortal tongue could tell. We fought a full three hours, Before the fight was done, But them Indians all was beaten Before the set of sun., Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation.

Voice, Collected by Bill Reynolds Sung by For Mary C. Parler Mr. Gerald Harriman Transcribed by Bill Reynolds Fayetteville, Ark. January 11, 1960 Reel 335, Item 5 Moonlight and Skies Oh, come hear my story my heart aches and sighs I'm a prisoner whose lonely for moonlight and skies I have a sweetheart, who is waiting for me Back in old Oklahoma not far from Shanee. Her lips like sweet cherries her little heart sighs She said daddy don't leave me your moonlight and skies My pal's name was Blackie, a lad of true heart A robbery we planned so decided to start. I went to my darling with tears in her eyes She said daddy don't leave me your moonlight and skies. The next scene was fatal a shot through the heart Poor Blackie died sending love to his sweetheart Go tell her, go tell her I send her my love And I'll meet her in heaven with the angels above. That night I was captured out under the stars Now life is to linger behind these iron bars You can see me at my window as the day slowly dies Dreaming of my darling, my moonlight and skies. The pale moon is shining, yes shining so bright And loved ones are strolling by my window tonight. Their laughter so merry brings heartaches and sighs To a prisoner whose lonely for moonlight and skies., Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation.

Voice, Collected by Bill Reynolds Sung by For Mary C. Parler Mr. Ed Higgins Transcribed by Bill Reynolds January 10, 1960 Fayetteville, Arkansas Reel 335, Item 2 Midnight on the Ocean It was midnight on the ocean Not a street car was in sight The sun was shining brightly For it rained all day that night. It was evening and the rising sun Was setting in the West The little fishes in the trees Were cuddling in their nests. While the organ peeled potatoes Lard was rendered by the choir While the sexton rang the dish rag Some one set the church on fire. Holy smoke the preacher cried And in the rain he lost his hair Now his head resembles Heaven For there is no parting there., Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation.

Voice, Collected by Bill Reynolds For Mary C. Parler Transcribed by Bill Reynolds Soldiers Sweetheart Once I had a sweetheart A sweetheart brave and true His hair was black and curly And his eyes were loving blue He told me that he loved me And he often proved it so He often came to see me When the evening sun was low. But, they took him away to this awful German war, And when he come to say good-bye My heart did overflow He said good-bye little darling To the war I must go, He took a golden finger ring And he placed it on my hand. Said remember me little darling When I'm in no man's land. The second letter I got from him The war was just ahead. The third one wrote by his captain Said my darling dear was dead. I'll keep all of his letters And I'll keep his gold ring too, And I'll always live a single life For the soldier who was so true. Sung by Mr. Gerald Harriman Fayetteville, Ark. January 11, 1960 Reel 335, Item 4, Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation.

Voice, Collected by Bill Reynolds Sung by For Mary C. Parler Mr. Ed Higgins Transcribed by Bill Reynolds Fayetteville, Ark. January 11, 1960 Reel 335, Item 3 My Darling Nellie Gray There's a low green valley On the old Kentucky Shore Where I whiled many happy hours away. A sitting and a singing By my little cottage door While my banjo sweetly I would play. Oh, my poor Nellie Gray They have taken her away And I'll never see my darling anymore. They have taken her to Georgia For to wear her life away A toiling in the cotton and the cane. The moon climbed the mountain And the stars were shining, too Then I'd take my darling Nellie Gray. We would float down the river In my little red canoe And my banjo sweetly I would play. Oh, my eyes are getting blinded And I cannot see my way Hark! There's sone one knocking at my door. I can hear those angel voices And I see my Nellie Gray Farewell to the old Kentucky Shore., Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation.

Voice, Collected by Bill Reynolds Sung by For Mary C. Parler Mr. Gerald Harriman Transcribed by Bill Reynolds Fayetteville, Ark. January 11, 1960 Reel 335, Item 6 May I Sleep In Your Barn Tonight Mister Oh, one night it was dark and twas stormy When along came a tramp in the rain He was making his way to the station To catch a long distant train. May I sleep in your barn tonight Mister For its cold lying out on the ground And the cold North wind it is whistlin And I haven't anyplace to lie down. I have no matches nor tobacco I'm sure I will do you no harm I will tell you my story kind Mister For it runs through my heart like a storm. Just three years ago last summer Oh I never shall forget that sad day When a stranger came out from the city And he said that he wanted to stay. My wife said she'd like to be earning Some money to add to our home And the talk was finally settled. That the stranger might stay in our home. One evening as I came from my workshop I was whistlin and singing with joy Expecting a kind hearted welcome from my sweet loving wife and my boy. But what should I find but a letter That was placed in a room on the stand And the moment my eyes fell upon it I picked it right up in my hands. The note said my wife and the stranger Had left and had taken my son. I wonder if God up in heaven Only knows what the stranger has done., Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation.

Voice, Collected by Bill Reynolds Sung by For Mary C. Parler Mr. Fred Berry Transcribed by Bill Reynolds Yellville, Ark. January 13, 1960 Reel 335 Item 10 Kentucky Moonshiner I've been a moonshiner for twenty-nine years, I've spent all my money on whiskey and beers. I'll go to some holler and set up my still, I'll make you one gallon for a two-dollar bill. I'll go to some grocery and drink with my friends, No woman to follow to see what I spends. God bless those moonshiners, I wish they were mine, Their breath smells as sweet as the dew on the vine. God bless those pretty women, I wish they were mine, Their breath smells as sweet as the good old moonshine., Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation.

Voice, Collected by Bill Reynolds Sung by For Mary C. Parler Mr. Fred Berry Transcribed by Bill Reynolds Yellville, Ark. January 13, 1960 Reel 335, Item 11 Black Jack Davy Black Jack Davy came riding down the road, And he sang so loud and gaily. He made the green woods around him sing, And charmed the heart of a lady, And charmed the heart of a lady. "How old are you my pretty little miss?" "How old are you my honey?" "How old are you my pretty little miss?" "I'll be twenty-one next Monday." "I'll be twenty-one next Monday." "Come with me my pretty little miss, Oh, come with me my honey." "Come with me my pretty little miss, And you'll never want for money." "And you'll never want for money." She took off her high-heeled shoes All made of Spanish leather. She put on her riding boots, And they rode off together. In came the young landlord that night, Inquiring for his lady. "She's not here the answer was given, She's gone with Black Jack Davy." "Saddle up the iron-gray horse, The brown one's not so speedy, I'll ride all day and I'll ride all night, Till I overtake my lady." He came to the bank of a river, The water was deep and muddy, He cast his eyes on the other side And there he saw his lady.Reel 335, Item 11 Continued Black Jack Davy (cont'd) "Oh, how could you leave your house and lands, How could you leave your husband, How could you leave your three little babes, And go with Black Jack Davy And go with Black Jack Davy?" "Oh, it's I care nothing for my house and lands, It's I care nothing for my husband, It's I care nothing for my three babes, For I've gone with Black Jack Davy For I've gone with Black Jack Davy." "Oh, I'll go home and weep and wait, As I rock my babies. I'll never see my sweet wife again, She's gone with Black Jack Davy, She's gone with Black Jack Davy.", Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation.