Academic literature on the topic 'No More Fiction (Record label)'
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Journal articles on the topic "No More Fiction (Record label)"
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Orchard, Chloe. "What Does It Mean to be Chinese? Diasporic Literature Versus Orientalism in an Anglophone Market." Columbia Journal of Asia 2, no. 1 (May 2, 2023): 50–60. http://dx.doi.org/10.52214/cja.v2i1.11118.
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In recent years, more and more English-language literature is being published by Asian diaspora writers, mostly in the genres of fantasy and science-fiction. With the focal audience being young adults, such publications are seen by many as a form of escapism. While most of these works stem from the Sinophone diaspora communities, there remains much debate regarding how their stories and the authors themselves should be labeled. In the face of the pervasive nature of Western Orientalism, Chinese writers have struggled with the balance of inclusion and exclusion regarding both Chinese culture in their works and themselves within the Anglophone literature market. By examining the contemporary authors Andrea Stewart and Xiran Jay Zhao alongside their respective debut publications The Bone Shard Daughter (2020) and Iron Widow (2021), it becomes apparent that Sinophone authors and their works are often misinterpreted by Western audiences. This paper demonstrates how the vague and limiting labels of “Chinese Sci-Fi” and “Chinese Fantasy” are a direct result of Orientalism and do not consider the vast diversity the Sinophone diaspora communities contain. To understand this, it is crucial to lay the foundations of both the dynamic concept of the Sinophone diaspora and the record of science-fiction in Chinese history. While the field of Sinophone literary studies continues to expand, much work remains to better incorporate Sinophone diaspora writers into the Anglophone markets without being questioned, what does it mean to be Chinese?
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Aldiss, Brian W. "Oh No, Not More Sci-Fi!" PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 509–12. http://dx.doi.org/10.1632/003081204x20569.
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Klafkowski, Piotr. "Citizen of the universe. Konstantin Tsiolkovsky’s cosmic philosophy and science fiction." Studia Rossica Gedanensia, no. 4 (December 30, 2017): 335–60. http://dx.doi.org/10.26881/srg.2017.4.21.
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The paper discusses Konstantin Tsiolkovsky’s philosophy as it can be reconstructed from his writings of two kinds, the academic papers and the works generally, though not always correctly, classified as science fiction. It is stressed that Tsiolkovsky belongs to the large school of Russian philosophers known as the Cosmists, and he is placed within the group of 20th century academic-minded Cosmists. The first part of the paper reconstructs Tsiolkovsky’s cosmic philosophy on the basis of his philosophical works, which amount to half of his published works. The second part of the paper discusses all the works by Tsiolkovsky available in English under the science fiction label. The paper also contains comparisons of Tsiolkovsky’s views with the philosophicalreligious system propagated by Nicholas and Helena Roerich, known as Agni Yoga, and its ancient Indian roots. It is also mentioned that Tsiolkovsky played an important role in the development of the early Russian, or more properly Soviet, science fiction movies. The paper stresses that Tsiolkovsky always based his writings on solid scientific foundations, so that the label “science fiction” does not always apply to them.
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Galuszka, Patryk, and Katarzyna M. Wyrzykowska. "Running a record label when records don't sell anymore: empirical evidence from Poland." Popular Music 35, no. 1 (November 30, 2015): 23–40. http://dx.doi.org/10.1017/s0261143015000811.
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AbstractFrom an economic point of view, the business of record labels until recently boiled down to managing a portfolio of artists, with successful stars bringing the label enough money to recoup investments in market flops. The decline in record sales has called this model into question and forced labels to look for new sources of revenue. Employing qualitative data gathered in Poland, this paper demonstrates how labels react to adverse market conditions and what determines these reactions. The paper shows that these reactions include the monetisation of the relationship that a label has with artists through signing 360° deals, the commercial exploitation of artists’ brand names, and concentration on niche markets, either foreign or format-based (e.g. the market for vinyl). The paper concludes that record labels, regardless of which approach they choose to deal with the adverse market conditions, still think in terms of managing a portfolio of artists. What is more, there is no universal strategy which can be applied by every label to deal with declining record sales.
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Herrero-Senés, Juan. "Rosa Arciniega and the Transformations of Avant-Garde Fiction." Journal of Avant-Garde Studies 2, no. 1-2 (October 9, 2023): 74–93. http://dx.doi.org/10.1163/25896377-bja10008.
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Abstract The objective of this article is to provide a reevaluation of Rosa Arciniega’s (1903–1999) literary work in Spain throughout the 1930s. While her work is currently labelled as ‘social literature’, the present study will argue that this label is reductive and does not take into account the complexities, contradictions and transformations of her work. As this article will show, Arciniega sought to represent and express modernity in its most varied facets by focusing on three different areas: social denunciation, renewal of literary expression, and an appeal to romantic sentimentality. This study seeks to shed light on Arciniega’s immersion in time and the consequent grim diagnosis of modernity which led her from left-wing radicalism to more conservative positions. Formal experimentation will be seen as a key part of her literary trajectory.
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HERMIDA RAMOS, BEATRIZ. "GEOGRAPHIES OF HOPE: READING BECKY CHAMBERS’ RECORD OF A SPACEBORN FEW AS UTOPIA." Revista de Estudios Norteamericanos, no. 28 (2024): 1–20. http://dx.doi.org/10.12795/ren.2024.i28.1.
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American author Becky Chambers has become well-known for her science fiction works that denounce social inequality while still enunciating kinder and more hopeful worlds. This research paper is centered around her third novel, Record of a Spaceborn Few (2018), which follows the Exodus Fleet, a group of spaceships that harbors the descendants of the last humans to leave Earth after a series of environmental catastrophes. The Fleet is presented as a somewhat literal vehicle of hope, as life inside the starships is organized according to Marxist principles of mutual support, solidarity and horizontal care. The aim of this paper is to examine Chambers’ alternative worlds as a site of hope, both physical and metaphorical, while exploring how Chambers hopeful speculation exemplifies the potential of science fiction as a genre to imagine different realities that not only question the nature of what is normal and possible, but also go beyond capitalist and neoliberal imaginaries.
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Maglov, Marija. "Aspects of interaction between radio and recording industry: Example of the his master’s voice concerts on Radio Belgrade programme." Muzikologija, no. 32 (2022): 83–108. http://dx.doi.org/10.2298/muz2232083m.
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A significant part of the Radio Belgrade programme, especially in the years before the establishment of instrumental and choral ensembles within this institution, was comprised of music recordings. Although gramophone record concerts were presented within the programme announcements, they were not considered in more detail in existing studies of music on Radio Belgrade. One of the reasons for this could be limited access to the data on the gramophone record concerts. Thus, for the first analysis of this segment of the music programme, the author has focused on the first year in which weekly radio programme announcements were printed in Radio Beograd: nedeljni ilustrovani casopis. The announcements contained data about music numbers, recordings companies, and serial numbers of the records played. More precisely, the series of His Master?s Voice concerts, named after the label of records exclusively broadcast in the programme, were examined in the period from October 1930 to October 1931. This particular series was chosen because of the importance of the label in both the global and local mu?sic industry and the continual broadcasted of His Master?s Voice records on Radio Belgrade. Furthermore, the diversity of programme conceptions of concerts within the series indicates the particular ways in which gramophone record concerts were designed. Based on the series of His Master?s Voice concerts, three methods of categorising gramophone record concerts are suggested. In addition, the paper offers little known archival data on gramophone record distributors who borrowed records to Radio Belgrade for marketing purposes.
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Pagello, Federico. "DETECting the “noirification” of European popular narratives across film, fiction and television." On the Cultural Circulation of Contemporary European Crime Cinema, no. 22 (March 2, 2022): 14–30. http://dx.doi.org/10.33178/alpha.22.01.
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The article explores the transcultural dimension of European crime narratives by looking at the specific role of cinema in this context. Building on the research conducted by DETECt scholars in different areas of contemporary popular culture—especially literature and television—it first discusses the link between the more and more widespread use of the “noir” label and the increasing cultural legitimation of the crime genre. The article then argues that this phenomenon echoes the emergence of a new “European quality crime film” in recent years. While stressing the potential contribution of the genre to the circulation of European cinema, the evident limits of its impact in this field are also examined. Finally, it looks more closely at the transnational circulation of contemporary Italian crime films to assess to what extent they have been able to find a transnational audience on a continental level. In this context, the importance to look beyond theatrical distribution and the centrality of intermedial exchanges are highlighted, indicating new directions for research.
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Matiu, Ovidiu. "Olaudah Equiano’s Biography: Fact or/and Fiction." East-West Cultural Passage 22, no. 2 (December 1, 2022): 52–59. http://dx.doi.org/10.2478/ewcp-2022-0015.
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Abstract This article analyzes the documentation available in an attempt to settle the controversy over the “true” date and place of birth of Olaudah Equiano, or Gustavo Vassa, the African. Several original documents are analyzed, and the data is compared to the information provided by the author himself in his The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African. Written by Himself, first published in London, in 1789. According to these documents (a baptismal record and a muster book), he was not born in Africa, in Igboland (in today’s Nigeria) as he argued in his autobiography, but in South Carolina, as he declared before those who recorded the information in the official documents. The issue of authenticity is more relevant for historical research than for literary criticism; in the case of the latter, the accuracy of the data does not significantly impact upon the literary value of his work. In conclusion, the dispute is pertinent only in the liminal space where the two contexts (historical research and literary analysis) overlap, and it currently operates with information whose relevance and usefulness depend on the framework against which it is judged.
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Trofymenko, Tetiana. "СУЧАСНА УКРАЇНСЬКА ПРОЗА ПІСЛЯ 24 ЛЮТОГО 2022: РЕЦЕПЦІЯ ВІЙНИ." Studia Interkulturowe Europy Środkowo-Wschodniej, no. 16 (December 8, 2023): 97–113. http://dx.doi.org/10.31338/2544-3143.si.2023-16.5.
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The article analyses Ukrainian prose works published after the Russian aggression against Ukraine on 24 February 2022. Generally, the newest Ukrainian prose gravitates more towards the non-fiction genre framework. It is represented by numerous anthologies, mainly with pieces by famous writers, literary critics, and public figures. The authors record personal experiences and reflect on the history of the Russian-Ukrainian confrontation in historical retrospect. Today, the non-fiction format is more popular because it allows essayists to talk about painful topics from a more moderate position and broadcast the situation of Ukrainians to the international community through the mobile genre of short journalistic prose. At the same time, the revaluation of values experienced currently by millions of Ukrainians is manifested in the tendency to cancel everything Russian, which affects the course of the literary process and the distribution of roles among its players, as well as causes the appearance of texts whose style is dominated by hatred of the enemy of the occupier.
Books on the topic "No More Fiction (Record label)"
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Merrington, Peter James. The zombie and the moon: More tales from the shaman's record. Auckland Park, South Africa: Jacana Media, 2011.
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Shaman, William. More EJS: Discography of the Edward J. Smith recordings : "Unique Opera Records Corporation" (1972-1977), "A.N.N.A. Record Company" (1978-1982), "special-label" issues (circa 1954-1981), and addendum to "The Golden age of opera" series. Westport, Conn: Greenwood Press, 1999.
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Hamish, Anderson. Part II United Kingdom, 7 Extended Liens. Oxford University Press, 2017. http://dx.doi.org/10.1093/law/9780198755371.003.0007.
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During the course of the Lehman insolvencies it was discovered that the Lehman companies had used a number of different standard documents to record their terms of business which included provision for a security interest over the counterparty’s property. The important distinguishing feature of some of those security interests was that the relevant Lehman entity purported to take security not only for sums due to it but also for sums due to any other Lehman entity. Such security interests came to be known as ‘extended liens’—a label which is potentially misleading for an English lawyer because the security interests in question were more likely to be correctly characterized as floating charges. ‘Lien’ in this context is merely a generic term for different types of security interest. The chapter looks at the efficacy of extended liens.
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Zak, Albin J. The Death Rattle of a Laughing Hyena. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0014.
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In 1958, record producer Mitch Miller vehemently criticized the state of Top 40 radio. He argued that DJs were pandering excessively to the tastes of teenagers and playing low-quality popular music. This criticism was aimed largely at rock and roll records produced by the low-budget, independent recording firms with whom he now found himself in competition. This chapter traces the development of the major-labels’ novel pop music production practices in the 1950s, specifically the use of overdubbing, unconventional arrangements, added reverb, and Foley effects. These techniques are compared with indie-label recording, which captured more populist genres with less expensive postproduction capabilities. Finally, the chapter traces the aesthetics of DIY (do-it-yourself) records made by amateur musicians-turned-radio-stars, and concludes with a discussion of the lasting effects of these 1950s pop music crosscurrents.
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Schmelz, Peter J. Selling Schnittke. Edited by Patricia Hall. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.5.
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This chapter examines censorship in the Soviet Union during the Cold War by focusing on the experience of composer Alfred Schnittke (1934–1998). More specifically, it looks at Schnittke’s evolving interactions with Soviet political and aesthetic strictures, as well as the representation and interpretation of those interactions abroad, particularly in the United States and the United Kingdom. The chapter explores the increasingly complex, globalized musical economy in which late Soviet censorship played a key role. It also discusses the “harsh censorship” that Schnittke had to endure and how it gave him prominence, and ultimately prestige, with the help of various agents such as Gidon Kremer and the Kronos Quartet, the Soviet copyright agency VAAP (All-Union Agency for the Protection of Authors’ Rights), and the BIS record label. Finally, it highlights the actors (performers, producers, impresarios, critics, and listeners) who affect the way music is shaped and received, bought and sold.
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Hess, Mickey. Is Hip Hop Dead? Praeger, 2007. http://dx.doi.org/10.5040/9798400672828.
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Hip hop is remarkably self-critical as a genre. In lyrics, rappers continue to debate the definition of hip hop and question where the line between underground artist and mainstream crossover is drawn, who owns the culture and who runs the industry, and most importantly, how to remain true to the culture's roots while also seeking fame and fortune. The tension between the desires to preserve hip hop's original culture and to create commercially successful music promotes a lyrical war of words between mainstream and underground artists that keeps hip hop very much alive today. In response to criticisms that hip hop has suffered or died in its transition to the mainstream, this book seeks to highlight and examine the ongoing dialogue among rap artists whose work describes their own careers. Proclamations of hip hop's death have flooded the airwaves. The issue may have reached its boiling point in Nas's 2006 albumHip Hop is Dead. Nas's album is driven by nostalgia for a mythically pure moment in hip hop's history, when the music was motivated by artistic passion, instead of base commercialism. In the course of this same album, however, Nas himself brags about making money for his particular record label. These and similar contradictions are emblematic of the complex forces underlying the dialogue that keeps hip hop a vital element of our culture.Is Hip Hop Dead?seeks to illuminate the origins of hip hop nostalgia and examine how artists maintain control of their music and culture in the face of corporate record companies, government censorship, and the standardization of the rap image. Many hip hop artists, both mainstream and underground, use their lyrics to engage in a complex dialogue about rhyme skills versus record sales, and commercialism versus culture. This ongoing dialogue invigorates hip hop and provides a common ground upon which we can reconsider many of the developments in the industry over the past 20 years. Building from black traditions that value knowledge gained from personal experience, rappers emphasize the importance of street knowledge and its role in forging a career in the music business. Lyrics adopt models of the self-made man narrative, yet reject the trajectories of white Americans like Benjamin Franklin who espoused values of prudence, diligence, and delayed gratification. Hip hop's narratives instead promote a more immediately viable gratification through crime and extend this criminal mentality to their work in the music business. Through the lens of hip hop, and the threats to hip hop culture, author Mickey Hess is able to confront a range of important issues, including race, class, criminality, authenticity, the media, and personal identity.
Book chapters on the topic "No More Fiction (Record label)"
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Niebur, Louis. "Sylvester’s Fantasy Comes True." In Menergy, 48–60. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197511077.003.0004.
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This chapter provides a history of Fantasy Records, a Berkeley-based jazz label that, with the arrival of Harvey Fuqua, first issued San Francisco–based disco records. Sylvester, the first San Francisco disco superstar, is discussed, including his discovery of backup singers Martha Wash and Izora Rhodes (aka Two Tons o’ Fun). Fuqua signed Sylvester to Fantasy, and his first Fantasy record was released in 1977. There were immediate problems with Sylvester's “too gay” image at Fantasy. Sylvester’s 1977 release, while relatively successful, was considered old-fashioned in 1977. The album lacked three “on trend” features: electronic sounds, as exemplified by Donna Summer and Giorgio Moroder’s Eurodisco hit “I Feel Love” (1977); science fiction–influenced topics, as exemplified by Kebekelektrik and Space’s “Magic Fly” (1977); more overt gayness, demonstrated by Village People’s first album with “San Francisco (You’ve Got Me),” “Hollywood,” and “Fire Island” (1977).
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Dibernardo, Sabatino. "Sign o’ the Times in D(Construction) Minor." In Feel My Big Guitar, 149–61. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845252.003.0009.
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This chapter provides a “lyrico-philosophical” examination of Prince's name change. It argues that in an implied performative act of renaming himself, Prince successfully carried out an inaudible speech act that sought to undo the legal copyright to his musical production and performance of labor. His enigmatic semiotic gesture sought to sever “Prince” per se from himself and his record label without destroying the artist-subject Prince. Although this nominal renunciation/renaming has often been reduced simply to a marketing or legal stunt by some eccentric musician who, perhaps, took himself way too seriously, this act of attempted self-erasure had the momentous effect of decomposing the “self”-identity of a composer by a non-musical composition that “deconstructed” this constructed subject-identity as a legal fiction that could be controlled, maintained, trademarked, and owned by a record label. Indeed, through this act, Prince would abandon his elite status as a first-name-only celebrity in favor of an unpronounceable symbol that would serve as the signifying mark of a subject that could only be named somewhat “improperly” ex post facto by what he had ceased to be: S (“The Artist Formerly Known as Prince”).
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"“To Capture That Special Feeling”." In Live Dead, 30–59. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478027614-002.
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Despite the musical and lyrical eclecticism, innovative formal designs, and unconventional recording and production techniques of the Grateful Dead’s earliest studio albums, many fans and critics were skeptical that the Dead were capable of capturing the energy of their live concerts on record. The Dead were finally able to produce a distinctive form of recorded liveness with the release of Live/Dead in 1969, an artistic achievement and a critical success made possible by 16-track recording and mixing technologies. Subsequent live recordings reveal how, by the early 1970s, the Grateful Dead were content to produce live albums as a way of satisfying the material demands of the record industry. As purported documents of liveness, however, the band’s official releases owe more to the production techniques and editing processes more commonly associated with studio recordings. Consequently, a growing number of fans and critics were beginning to question the perceived authenticity of the form of recorded liveness that the Dead were promoting on their major label releases.
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Cook, Richard. "So What? 1958–9." In It’s About That Time, 105–22. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195322668.003.0006.
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Abstract On 9 September 1958, the sextet was obliged to play at what amounted to a promotional concert for Columbia’s jazz division. With artists such as Davis and Brubeck helping to dominate jazz record sales, and with Duke Ellington (who had returned to the label after a period away), Billie Holiday and Jimmy Rushing on board, Columbia may not have had the hardcore credibility of such a leading independent as Blue Note, but they were selling many more records. The label decided to celebrate their position at the head of the market with a gala concert at New York’s Plaza Hotel, featuring Ellington, Holiday and Rushing as well as the Davis band. While there seems to have been no imperative to get a record out of the event, the sextet’s set was recorded anyway, and was eventually released for the first time in 1973 as Jazz At The Plaza Vol. 1 [1]. Jimmy Cobb recalled: ‘I remember having to play Sam Woodyard’s drums [Woodyard was Ellington’s drummer], which were set up in his configuration. Miles and the rest of the band were set up, it seemed, a long way away from me, like on the other side of the room.’ The inauspicious circumstances seemed to extend to the recording, which starts with Davis so close up in the mix that his first notes are shocking, and then finds him some way from the microphones on both ‘If I Were A Bell’ and ‘Oleo’.
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Ferguson, Rex. "Applications." In Identification Practices in Twentieth-Century Fiction, 159–98. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198865568.003.0005.
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Chapter Four asks what happens when the physical markers of identity are rendered in the language of digital code. In the contemporary moment, fingerprints and DNA profiles are stored and matched through networked databases rather than paper records, while iris scans and facial recognition technology have produced radically new modes of reading identity in the body. This digitization of identification is accentuated still further when the more mundane means of identifying oneself in the contemporary period (through the use of credit cards or in ‘checking in’ to a workplace) are considered. Taking place within an essentially surveillant contemporary culture, these validations of identity create a retrievable record of one’s movements and activities and place the citizen’s body in the ‘non-place’ of networked databases in which a direct checking of what Haggerty and Ericson describe as ‘data doubles’ takes place. As with Chapter Three, much of the significance that is attached to this development in recent identificatory practice will be developed via Powers’s The Gold Bug Variations. This explication will cede into a more thorough analysis of Don DeLillo’s White Noise (1984) and Cosmopolis (2003) and Jennifer Egan’s Look at Me (2001). While DeLillo’s earlier text represents some of the archetypal modes of contemporary surveillance, both Cosmopolis and Look at Me depict a complete internalization of its logic. Thus, just as DeLillo and Egan’s central characters voluntarily place themselves under surveillant monitoring, so too their representation as, in effect, data doubles requires a decidedly anti-realist form of narration.
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Lornell, Kip. "Country Gentlemen and the Folk Music Revival (1957–1966)." In Capital Bluegrass, 85–149. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199863112.003.0003.
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The Country Gentlemen (perhaps the most nationally acclaimed of the bluegrass genre’s second-generation bands) are at the core of this chapter. During this period record labels across the United States took a greater interest in local bands and more of them appeared on 45 rpm discs and, secondarily, albums. The most important local label, Rebel Records, started the same year (1960) that weekend bluegrass festivals debuted in nearby Berryville, Virginia. An increasing number of local venues were booking live local and regional bluegrass bands as well as national acts. Spurred by the folk music revival, among other factors like increased radio airplay, the general interest in bluegrass was clearly on the rise.
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Forter, Greg. "Colonial Trauma, Utopian Carnality, Modernist Form." In Critique and Utopia in Postcolonial Historical Fiction, 65–95. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198830436.003.0002.
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Understandings of trauma in the colonial context fall largely into two strands. A therapeutic strand endorses the potential for “healing” from colonial trauma in the present, postcolonial era but fails to grasp how much this era reprises the toxins of colonialism itself. This view implicitly encourages the once-colonized to align themselves with the purported “health” of postcolonial modernity. An anti-therapeutic strand grants the need for a critique of the postcolonial but generalizes the historically specific toxins of that era to any and all social orders—hence making it difficult to imagine social change. Toni Morrison’s Beloved and Arundhati Roy’s The God of Small Things provide more historically astute and dialectical accounts than the theoretical models offer. These examples of postcolonial historical fiction are modernist in form; they explore distinct yet homologous types of domination (slavery and the slave trade on one hand, exploitation colonialism in India on the other) through a similar set of representational techniques. These techniques are crucial to the novels’ political astuteness. The books’ temporally disordered forms at once record the fragmentations and devastations visited on the colonial body and provide intimations of an alternative, erotic futurity in which those bodies will have been made whole.
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Doleys, Daniel M., and Nicholas D. Doleys. "An All-Consuming Problem." In Psychological and Psychiatric Issues in Patients with Chronic Pain, edited by Daniel M. Doleys and Nicholas D. Doleys, 61–70. Oxford University Press, 2021. http://dx.doi.org/10.1093/med/9780197544631.003.0008.
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This case is particularly relevant in the chronic pain setting. Patients seeking medical management, especially if they specify a particular opioid, are viewed with great suspicion. Caution is useful, but a proper assessment is necessary. A targeted prescreening can be beneficial to both the clinician and patient. It is critical to understand the difference between abnormal (aberrant) drug behavior, substance (opioid) use disorder, and addiction. All too often, a label, especially addiction, is applied inappropriately but becomes part of the medical record and follows the patient, creating a bias. Addiction has come to be regarded as a disease. There are some aspects of treatment, such as medically assisted therapies, that can be carried out by any trained clinician. However, meaningful treatment is more complicated and involves more than just trying to suppress urges. There is a tendency to take a draconian approach when addressing even the slightest vitiation of a medical agreement.
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Beek, Kimberly. "Buddhism and American Literature." In The Oxford Handbook of American Buddhism, 499–516. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197539033.013.25.
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Abstract Buddhism has long been a source of inspiration for American writers, and its teachings and principles have played a meaningful role in shaping the landscape of American fiction and poetry. From the Transcendentalists of the nineteenth century to the Beat poets of the mid-twentieth century, from Asian American authors and poets to postmodernist writers of the twenty-first century, this chapter explores the intersection of Buddhism and American fiction and poetry. Offering a concise, chronological survey, the author highlights key examples of Buddhism in American literature that illustrate the trajectory of Buddhist narratives in fiction and poetry from transnational stories about Buddhism in Asia rendered for an American audience, through mid-century narratives that portray Buddhism as a lived religion and describe how to live as a Buddhist in a diversity of ways, to contemporary Buddhist American literature that has embedded Buddhism into the American social imaginary. In doing so, the author suggests that the umbrella category label “Buddhism and American literature” is more accurately expressed as “Buddhist American literature.”
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Betarte, Gustavo, and Alvaro Tasistro. "Extension of Martin-Löf’s type theory with record types and subtyping." In Twenty Five Years of Constructive Type Theory. Oxford University Press, 1998. http://dx.doi.org/10.1093/oso/9780198501275.003.0004.
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Our starting point, to which we refer hereafter as type theory, is the formulation of Martin-Löf’s set theory using the theory of types as a logical framework (Martin-Löf 1987; Nordström et al. 1990). The question that we address is that of the representation of systems of structures such as algebraic systems or abstract data types. In order to provide a general means to this end, we extend type theory with a new mechanism of type formation, namely that of dependent record types. This allows us to form types of tuples in such a manner as to allow any arbitrary set (i.e. not restricted to be among those generated by a fixed repertoire of set forming operations) to be used as a component of tuples of those types. Such types of tuples cannot be formed in the original theory. Moreover, as is well known from the theory of programming languages, a natural notion of inclusion arises between record types. Given two record types p and p′, if p contains every label declared in p′ (and possibly more) and the types of the common labels are in the inclusion relation then p is included in p′ in symbols, p ⊑ p′. This is justified because then every object of type p is also an object of type p’, since it contains components of appropriate types for all the fields specified in p′. Our extension contains the form of judgement α ⊑ β expressing that the type α is included in the type β and corresponding proof rules, which generalize record type inclusion to dependent record types and propagate it to the rest of the types of the language. In the present formulation, no proper inclusion between ground types is allowed. Having type inclusion represents a considerable advantage for the formalization of the types of structures in which we are interested. In particular, systems of algebras will be represented as record types and, according to the subtyping rule explained above, any algebraic system obtained by enriching another with additional structure will be a subtype of the original system.
Conference papers on the topic "No More Fiction (Record label)"
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Grosu, Corina, and Marta Grosu. "HIT BY WEIBULL: PLAY TO LEARN NOW!" In eLSE 2019. Carol I National Defence University Publishing House, 2019. http://dx.doi.org/10.12753/2066-026x-19-012.
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A major goal of today's teaching pedagogy is to fine-tune the acquired theoretical Mathematics models in order to address hands-on problems. More specifically, among the probability distribution laws which students are supposed to know, the Weibull distribution plays a very important role, due to its versatility and wide range of real-life applications. In order to stress the importance of the specific scientific uses of the Weibull distribution, we have designed an e-learning game which confronts students with some of the real life problems to which this distribution law can be successfully applied. In fact, the player's role in applying the Weibull distribution is to correctly determine the parameters which correspond to the recorded data of an observed system. Since this distribution law characterizes issues associated to the reliability and survival rate of the components of a system, we have imagined a game scenario featuring a catastrophic computer virus attack. The challenge of the unresponsive software systems and the failure of all performant antivirus programs, demands the urgent intervention of a competent student team. The fictional second year Politehnica students' team steps in and analyzes the situation by making use of their acquired Mathematical statistics skills. The students' team discovers, by means of the Weibull distribution law, that there is a hidden batch file which infected the PCs, a file associated with the visualization of a certain web page. The malign website is meant to hack personal data out of end users' computers. This aggression, in turn, is needed in order to determine users to move their files in a newly launched cloud storage app. The aim of the cloud storage app is unlawful data mining in order to serve the ambitious marketing purposes of a big fashion label.
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Fu, Tianfan, Trong Nghia Hoang, Cao Xiao, and Jimeng Sun. "DDL: Deep Dictionary Learning for Predictive Phenotyping." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/812.
Full textAbstract:
Predictive phenotyping is about accurately predicting what phenotypes will occur in the next clinical visit based on longitudinal Electronic Health Record (EHR) data. Several deep learning (DL) models have demonstrated great performance in predictive phenotyping. However, these DL-based phenotyping models requires access to a large amount of labeled data, which are often expensive to acquire. To address this label-insufficient challenge, we propose a deep dictionary learning framework (DDL) for phenotyping, which utilizes unlabeled data as a complementary source of information to generate a better, more succinct data representation. With extensive experiments on multiple real-world EHR datasets, we demonstrated DDL can outperform the state of the art predictive phenotyping methods on a wide variety of clinical tasks that require patient phenotyping such as heart failure classification, mortality prediction, and sequential prediction. All empirical results consistently show that unlabeled data can indeed be used to generate better data representation, which helps improve DDL's phenotyping performance over existing baseline methods that only uses labeled data.