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Abstract Background Because there are no child-friendly, validated, self-report measures of dyspnea or breathlessness, we developed, and provided initial validation, of three, 7-item, pictorial scales depicting three sub-constructs of dyspnea: throat closing, chest tightness, and effort. Methods We developed the three scales (Throat closing, Chest tightness, and Effort) using focus groups with 25 children. Subsequently, seventy-nine children (29 children with asthma, 30 children with cystic fibrosis. and 20 children who were healthy) aged 6 to 18 years rated each picture in each series, using a 0–10 scale. In addition, each child placed each picture in each series on a 100-cm long Visual Analogue Scale, with the anchors "not at all" and "a lot". Results Children aged eight years or older rated the scales in the correct order 75% to 98% correctly, but children less than 8 years of age performed unreliably. The mean distance between each consecutive item in each pictorial scale was equal. Conclusion Preliminary results revealed that children aged 8 to 18 years understood and used these three scales measuring throat closing, chest tightness, and effort appropriately. The scales appear to accurately measure the construct of breathlessness, at least at an interval level. Additional research applying these scales to clinical situations is warranted.

This article uses readings of the abject body and writing as supplement in Helen Oyeyemi’s novel, The Icarus Girl (2005) to argue against a critical trend that reads the postcolonial Bildungsroman as promising a positively transformed postcolonial identity. Through our reading of Oyeyemi’s novel, we suggest that locating the debates and tropes conventionally mobilized within postcolonial gothic in the former colonial centre complicates subject formations and constructions of alterity. The Icarus Girl weaves together a Western literary tradition of gothic with the postcolonial Bildungsroman and we suggest that the interaction of these forms produces a reading focused on the abject, both in terms of physical abjection mapped onto bodies and places, and in the way writing functions as abject supplement. When bodies, borders, and writing disintegrate, the reading of the novel becomes a difficult process, one not easily co-opted into a critical discourse that tends to value a psycho-symbolic reading of the postcolonial gothic Bildungsroman and to promise a positively transformed postcolonial identity. Accordingly, we argue that The Icarus Girl is unable to find comforting resolutions, disrupt oppositional structures, and create a utopian hybrid space or to bring about a unified sense of self, meaning that it resists a redemptive or cathartic ending. We draw upon Kristeva’s theories of the abject and Derrida’s notion of the supplement in order to establish how Oyeyemi’s novel resists the construction of a stable identity through its emphasis upon expulsion and disintegration. Unlike the majority of criticism on postcolonial gothic, which focuses on texts emanating from formerly colonized countries, this article considers what happens to postcolonial gothic when it is written within and about the former colonial centre. In The Icarus Girl the repercussions of the colonial period are experienced in the present day through experiences of racism, dislocation, and alienation within Britain. [ABSTRACT FROM AUTHOR]

Three studies were conducted to investigate people's conceptions of online trolls, particularly conceptions associated with psychological resilience to trolling. In Study 1, a factor analysis of participants' ratings of characteristics of online trolls found a replicable bifactor model of conceptions of online trolls, with a general factor of general conceptions towards online trolls being identified, but five group factors (attention-conflict seeking, low self-confidence, viciousness, uneducated, amusement) as most salient. In Study 2, participants evaluated hypothetical profiles of online trolling messages to establish the validity of the five factors. Three constructs (attention-conflict seeking, viciousness, and uneducated) were actively employed when people considered profiles of online trolling scenarios. Study 3 introduced a 20-item 'Conceptions of Online Trolls scale' to examine the extent to which the five group factors were associated with resilience to trolling. Results indicated that viewing online trolls as seeking conflict or attention was associated with a decrease in individuals' negative affect around previous trolling incidents. Overall, the findings suggest that adopting an implicit theories approach can further our understanding and measurement of conceptions towards trolling through the identification of five salient factors, of which at least one factor may act as a resilience strategy. [ABSTRACT FROM AUTHOR]

Chris Priestley's 2011 novel, Mister Creecher, promises to show 'the making of a monster ...' Set in 1818, the novel is a metafictional rewriting of Mary Shelley's Frankenstein (1818), imagining the monster's journey as he tracks his creator to Scotland. In this version, the monster is aided by London pickpocket, Billy, whose provenance, the early novels of Charles Dickens, suggests further intertexts for this contemporary novel. It is Billy, rather than the eponymous 'Creecher', who is the novel's protagonist: a sentimentalized, suffering Dickensian child, whose narrative is reconfigured through encounters with Shelley's gothic novel and a range of other intertexts. Through Billy, Mister Creecher (2011) re-imagines Dickens' children and the Dickensian bildungsroman, reconfiguring the positions of villain and innocent. Neo-Victorian texts have been characterized by a doubled relationship to their intertexts, a relationship that is parasitic on the one hand, revisiting the traumas of a past reconstructed as barbaric, and redemptive on the other hand, since these reconstructions are usually aimed at a revisionist critique. In the case of Mister Creecher (2011) the parasitic relationship of contemporary metafiction to past gothic and Victorian works is a part of the novel's active intertextual fabric. This is a novel that explores how intertextuality itself functions as a corrupting parasite, problematizing and infecting any future encounter with back-grounded works. The introduction of Shelley's creation into Dickens' landscape is a wilfully contradictory gesture. On one hand, the doubling of Billy with Shelley's monster provides a reverse bildungsroman, an account of villainy as social rather than simply essential or sensational, with reference to notions of family and childhood relevant in the contemporary moment. On the other hand, the monster's invasion of Dickensian London is an aggressive act of gothic contagion or colonization, one akin to that imagined by Frankenstein himself in his fear that he has loosed 'a race of devils ... upon the earth, who might make the very existence of the species of man a condition precarious and full of terror'. [ABSTRACT FROM AUTHOR]

The Twilight of the Gothic, Joseph Crawford (2014) Cardiff: University of Wales Press, 368 pp., ISBN-10: 1783160640; ISBN-13: 9781783160648, h/bk, £85.00 Listen in Terror: British Horror Radio from the Advent of Broadcasting to the Digital Age, Richard J. Hand (2014) Manchester: Manchester University Press, 256 pp., ISBN: 9780719081484, h/bk, £70.00 [ABSTRACT FROM AUTHOR]

Background: Because there are no child-friendly, validated, self-report measures of dyspnea or breathlessness, we developed, and provided initial validation, of three, 7-item, pictorial scales depicting three sub-constructs of dyspnea: throat closing, chest tightness, and effort. Methods: We developed the three scales (Throat closing, Chest tightness, and Effort) using focus groups with 25 children. Subsequently, seventy-nine children (29 children with asthma, 30 children with cystic fibrosis. and 20 children who were healthy) aged 6 to 18 years rated each picture in each series, using a 0-10 scale. In addition, each child placed each picture in each series on a 100-cm long Visual Analogue Scale, with the anchors "not at all" and "a lot". Results: Children aged eight years or older rated the scales in the correct order 75% to 98% correctly, but children less than 8 years of age performed unreliably. The mean distance between each consecutive item in each pictorial scale was equal. Conclusion: Preliminary results revealed that children aged 8 to 18 years understood and used these three scales measuring throat closing, chest tightness, and effort appropriately. The scales appear to accurately measure the construct of breathlessness, at least at an interval level. Additional research applying these scales to clinical situations is warranted. [ABSTRACT FROM AUTHOR]