The Gothic's novel's liberal nourishment from a range of foreign, domestic, literary, aesthetic and scientific sources has been acknowledged by both its authors and critics since its first apologetic beginnings in the 1760s. Horace Walpole inaugurated this confessional tradition with his Preface to the second edition of The Castle of Otranto (1765). There, in a bid to excuse the literary hoax established in the first Preface, where he had posed as the putative translator of the text, William Marshall, Gent., Walpole adopted a more considered literary approach to his novel. Citing 'diffidence of his own abilities' as the reason for his initial disguise, he proceeded to defend Otranto as 'an attempt to blend the two kinds of romance, the ancient and the modern'. He justified his new hybrid creation by acknowledging his indebtedness to Shakespeare: The result of all I have said is to shelter my own daring under the cannon of the brightest genius this country, at least, has produced. I might have pleaded, that having created a new species of romance, I was at liberty to lay down what rules I thought fit for the conduct of it: but I should be more proud of having imitated, however faintly, weakly, and at a distance, so masterly a pattern, than to enjoy the entire merit of invention, unless I could have marked my work with genius as well as originality.

This article classifies colour emotions for single colours and develops colour-science-based colour emotion models. In a psychophysical experiment, 31 observers, including 14 British and 17 Chinese subjects assessed 20 colours on 10 colour-emotion scales: warm-cool., heavy-light, modern-classical, clean-dirty, active-passive, hardsoft, tense-relaxed, fresh-stale, masculine-feminine, and like-dislike. Experimental results show no significant difference between male and female data, whereas different results were found between British and Chinese observers for the tense-relaxed and like-dislike scales. The factor analysis identified three colour-emotion factors: colour activity, colour weight, and colour heat. The three factors agreed well with those found by Kobayashi and Sato et al. Four colour-emotion models were developed, including warm-cool, heavy-light, active-passive, and hard-soft. These models were compared with those developed by Sato et al. and Xin and Cheng. The results show that for each colour emotion the models of the three studies agreed with each other, suggesting that the four colour emotions are culture-independent across countries. (C) 2004 Wiley Periodicals, Inc.

In this study three colour preference models for single colours were developed. The first model was developed on the basis of the colour emotions, clean-dirty, tense-relaxed, and heavy-light. In this model colour preference was found affected most by the emotional feeling "clean." The second model was developed on the basis of the three colour-emotion factors identified in Part I, colour activity, colour weight, and colour heat. By combining this model with the colour-science-based formulae of these three factors, which have been developed in Part I, one can predict colour preference of a test colour from its colour-appearance attributes. The third colour preference model was directly developed from colour-appearance attributes. In this model colour preference is determined by the colour difference between a test colour and the reference colour (L*, a*, b*) = (50, -8, 30). The above approaches to modeling single-colour preference were also adopted in modeling colour preference for colour combinations. The results show that it was difficult to predict colour-combination preference by colour emotions only. This study also clarifies the relationship between colour preference and colour harmony. The results show that although colour preference is strongly correlated with colour harmony, there are still colours of which the two scales disagree with each other. (C) 2004 Wiley Periodicals, Inc.

Eleven colour-emotion scales, warm-cool, heavy-light, modern-classical, clean-dirty, active-passive, hard-soft, harmonious-disharmonious, tense-relaxed, fresh-stale, masculine-feminine, and like-dislike, were investigated on 190 colour pairs with British and Chinese observers. Experimental results show that gender difference existed in masculine-feminine, whereas no significant cultural difference was found between British and Chinese observers. Three colour-emotion factors were identified by the method of factor analysis and were labeled "colour activity," "colour weight," and "colour heat. " These factors were found similar to those extracted from the single colour emotions developed in Part I. This indicates a coherent framework of colour emotion factors for single colours and two-colour combinations. An additivity relationship was found between single-colour and colour-combination emotions. This relationship predicts colour emotions for a colour pair by averaging the colour emotions of individual colours that generate the pair. However, it cannot be applied to colour preference prediction. By combining the additivity relationship with a single-colour emotion model, such as those developed in Part I, a colour-appearance-based model was established for colour-combination emotions. With this model one can predict colour emotions for a colour pair if colour-appearance attributes of the component colours in that pair are known. (C) 2004 Wiley Periodicals, Inc.

ABSTRACT:In the last decade, watershed groups (WG) established through government initiatives have become an important part of the natural resource management landscape in developed economies. In this paper, the authors reflect upon their research and experience with Landcare in Victoria, and to a lesser extent with Watershed Councils in Oregon, to identify the principles that appear fundamental to sustaining effective WG. In the first instance, these groups must be established at a local scale using social as well as biophysical boundaries. It is also critical that WG are embedded within a supportive institutional framework that identifies realistic roles for private landowners, local organizations such as WG, and regional planning bodies. Without broad stakeholder representation, the perceived benefits of participation are quickly forfeited. It is simply unrealistic to expect an effective network of WG to be sustained without substantial investment by government to provide for program management, group coordination, and cost sharing for on‐ground work. There must also be the commitment and skills within a program to establish processes that build trust and competency amongst citizens and agencies. These principles should also provide a foundation for the critical evaluation of WG programs.

Child and Adolescent Mental HealthVolume 7, Issue 3 p. 150-151 Using Story Telling as a Therapeutic Tool with Children Angela Wright, Angela Wright Head Teacher, Epping, EssexSearch for more papers by this author Angela Wright, Angela Wright Head Teacher, Epping, EssexSearch for more papers by this author First published: 06 August 2002 https://doi.org/10.1111/1475-3588.t01-10-00026Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Volume7, Issue3September 2002Pages 150-151 RelatedInformation