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The staff from Rock Sound published a review of the album in their October 2015 issue giving the album an eight out of ten rating, where they write, "album number two finds the four man phenomenon firming up their identity and becoming their own band" and closing with the remarks "this is the New Broken Scene, it sounds good and it feels even better".[3] Kerrang! awarded it a 4/5 rating, commenting "Sounds Good Feels Good won't change the world, but it might just change your mind".

Following acknowledgement that well-being measurement is inconsistent across studies, with myriad conceptual approaches applied [12], Huppert and So [27] attempted to take a systematic approach to comprehensively measure well-being. They proposed that positive mental health or well-being can be viewed as the complete opposite to mental ill health, and therefore attempted to define mental well-being in terms of the opposite of the symptoms of common mental disorders. Using the DSM-IV and ICD-10 symptom criteria for both anxiety and depression, ten features of psychological well-being were identified from defining the opposite of common symptoms. The features encompassed both hedonic and eudaimonic aspects of well-being: competence, emotional stability, engagement, meaning, optimism, positive emotion, positive relationships, resilience, self-esteem, and vitality. From these ten features an operational definition of flourishing, or high well-being, was developed using data from Round 3 of the European Social Survey (ESS), carried out in 2006. The items used in the Huppert and So [27] study were unique to that survey, which reflects a well-being framework based on 10 dimensions of good mental health. An extensive discussion on the development and validation of these measures for the framework is provided in this initial paper [27].

To calculate the single composite score representing MPWB, a factor scoring approach was used rather than a simplistic summing of raw scores on these items. Factor scores were computed and standardized for the sample population as a whole, which make them suitable for broad comparison [8]. This technique was selected for two reasons. First, it has the ability to take into account the different response scales used for measuring the items included in the multidimensional well-being model. The CFA model, from which MPWB scores were computed, was defined such that the metric of the MPWB was fixed, which results in a standardized scale. Alternative approaches, such as sum or raw scores, would result in ignoring the differential variability across items, and biased individual group scores. Our approach, using factor scoring, resolves this issue by means of standardization of the MPWB scores. The second reason for this technique is that it could take account of how strongly each item loaded onto the MPWB factor. It should be noted that by using only two sub-factors, the weight applied to the general factor is identical within the model for each round. This model was also checked to ensure it also was a good fit for different groups based on gender, age, education and employment.

It is more concise than the two Thought Records above, and since it does not offer information about automatic thoughts, it is a good option for someone who understands the concept and is ready to start replacing their negative thoughts with positive ones.

MLR, I02.3, 2007 833 Chapter io covers words whose sources are proper nouns. InChapter i iLiberman presents coinages whose actual coiner isknown, with an interestingdiscussion of lil liputian at its core, but reminds us that even recent coinages may be obscure in this respect. Chapter I2 covers borrowing judiciously. It closes with a neat, and correct, observation that language and literature canonize theirpopular forms at the expense of earlier classical forms.Chapter I3 is a stocktaking. With Chapter 14begins the material with which other scholarsmight have opened. It is about sound-laws, but space is devoted to the obscure kind of correspondences foreshadowed inChapter 3; the reconstruction of roots has towait tillChapter i6. We look invain fordiscussion of residues, incomplete sound-changes, and motivated exceptions to sound-laws found inclassical historical sociolinguistics. Chapter I5, on semantic change, isdeeply interestingbut idiosyncratic, and we findnothing about re cent characterizations of principles underlying meaning-change. Chapters i6 and I7 reveal the thinkingbehind older scholarship now considered absurd, but not simply to dismiss it.Chapter I7 is a survey of thehistory of European etymology, assessing thecontribution of figuressuch asMenage, Kilian, and Skeat. Finally, Liberman sets out his own methodology, in thisposition better called an apologia. Liberman tends tomake remarkswhose importance does not become apparent till later,or till the second readingwhich he hopes his conclusion will stimulate. Reading the book is intended to be cyclic, and insights gained on a firstpass are supposed to prompt re-evaluation on the second pass of what may at firstseem capricious. Liberman's chief aim is toprofessionalize the thinkingof people who want definitive answers toetymological questions, without dulling the fascination of thematerial. On thewhole he succeeds. My main reservation is thatkey ideas lack adequate ground ing.Historically oriented Anglicists will feel good after reading the book; historical linguistsmay well sharemy reservations. UNIVERSITY OF SUSSEX RICHARDCOATES The Oxford History ofLiterary Translation inEnglish, vol. III: I660-I790. Ed. by STUART GILLESPIE and DAVID HOPKINS. Oxford: Oxford University Press. 2005. xi+572 pp. C85. ISBN 978-0-i9-924622-9. This book is the firstvolume toappear ofwhat isclearly going tobe amajor resource thatwill provide new insights into thedevelopment of the literarycanon. Its format will be consistent across thewhole series,with an overview of theperiod placing trans lation in the context of overall literaryproduction and publication, followed by the main body of the textdealing indetail with individual genres. Each section provides an extensive bibliography, and theamount of information contained isprodigious. This volume covers a key period when 'English literature'was just developing as a concept. It gives a salutary reminder that littledistinction was made then between translation and original creation, showing how major figures such as Dryden and Pope considered translation an integral part of their activity,which in turn fed into theirother works. Thus itprovides a necessary corrective toprevious conceptions of the canon by revealing thewhole range of influences current at the time. It seems unfair to complain when somuch is on offer,but the desire to be com prehensive threatens to obscure the overall picture. The intended history of literary translation is in factmore an encyclopaedia of translations. Translations, because in spite of the short chapter on 'Theories ofTranslation', with itsobligatory reference toDryden's distinction between metaphrase, paraphrase, and imitation (p. 56), very littleattention isgiven to individual techniques of translation. Perhaps that isoutside the purview of this book, but itwould be of interest occasionally to compare the 834 Reviews target textwith the source text to see how the act of translation influences thediction. And encyclopaedia because the separate treatment of individual subgenres inevitably leads to a fragmentation inwhich the narrative which most people associate with a history is submerged. For example, inorder togain an idea ofDryden's achievement in the translation ofLatin verse, it isnecessary to consult no fewer than fivedifferent sections,with Virgil's Aeneid (epic) separated fromhis Georgics (didactic), and Ovid, Horace, and Juvenal all segregated from one another. Thus, in spite of the overview chapters, the significance of particular translated texts or authors for the develop ment of original literaturemay easily be missed, aswith the throwaway reference to Horace's influence on theverse-letter form (p. 227). The cut-off date for this volume also obscures...

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