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The purpose of this paper is to describe the architectural design considerations and effects of moving patients from an adapted Victorian medium secure unit to a purpose built facility.

Patients and staff views of the old and new unit environments were compared in terms of homeliness, architectural features, ward atmosphere (WAS) and patient satisfaction.

The new unit was rated as more homely. The change of environment did not increase risk behaviours and was associated with a reduction in symptomatology.

Limitations of the study include the small‐sample size and choice of measure of WAS. More research is needed into the constituents of “planned” environments where the physical environment is the primary intervention.

These include the need for close collaboration among architects, clinicians and patients in order to maximise the therapeutic benefit of the built environment.

This paper contributes to a small literature that “bridges” architectural, psychiatric and environmental domains.

This chapter focuses on spy action as a way to answer the question: where can we find queer female action heroes? The chapter will identify three films – D.E.B.S. (Advocate, 2005), Atomic Blonde (David Leitch, 2017) and The Spy Who Dumped Me (Susanna Fogel, 2018) – worth attention to highlight the potential and problems of the queer female hero in spy action. This chapter examines how each of these spy action films contributes to the ongoing yet uneven development of the female hero as a queer figure in post-millennial action cinema. The chapter will consider to what extent these queer female-led action films may pose a challenge to some of the dominant standards and conventions associated with the action hero, gender roles and the representation of sexuality, but also reinforce others. Some comparisons will be made to James Bond in recognition that the Bond franchise has played an important role in the spy action genre.

Ich habe genug (I have enough) BWV 82 is one of the best known, most regularly performed and consistently recorded of J.S. Bach's approximately 200 extant sacred cantatas. ¹ In the text, by an anonymous author, the narrator repeatedly expresses their readiness to die, in faith that they will be received by their saviour in eternal life. The whole cantata expresses a fearless ‘longing for death’ (Schweitzer, 1911/1966, p. 114), coupled with a serene contentment. Bach's setting of this text for religious purposes not only supports the sentiments expressed by the narrator but colours, illuminates, vitalises and elevates it in ways that startle the ear, quicken the spirit and stir the imagination. In the third and final aria of the cantata, Bach employs an almost-jaunty dance rhythm to accompany the narrator's anticipatory delight in their own death, liberated from worldly and bodily suffering. After identifying some of the ingenious ways Bach animates the text, I offer some speculations and elaborations as to how and why this work has had such an enduring presence in the Western musical canon, for believers and non-believers alike.

Describes briefly the personal histories and important professional association of Gustav Schmoller and Friedrich Althoff emphasizing their innovatory period 1870‐1882 at Strasburg.