Artykuły w czasopismach na temat „No More Fiction (Record label)”
Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: No More Fiction (Record label).
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych artykułów w czasopismach naukowych na temat „No More Fiction (Record label)”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj artykuły w czasopismach z różnych dziedzin i twórz odpowiednie bibliografie.
1
Orchard, Chloe. "What Does It Mean to be Chinese? Diasporic Literature Versus Orientalism in an Anglophone Market". Columbia Journal of Asia 2, nr 1 (2.05.2023): 50–60. http://dx.doi.org/10.52214/cja.v2i1.11118.
Pełny tekst źródłaStreszczenie:
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?
2
Aldiss, Brian W. "Oh No, Not More Sci-Fi!" PMLA/Publications of the Modern Language Association of America 119, nr 3 (maj 2004): 509–12. http://dx.doi.org/10.1632/003081204x20569.
Pełny tekst źródła
3
Klafkowski, Piotr. "Citizen of the universe. Konstantin Tsiolkovsky’s cosmic philosophy and science fiction". Studia Rossica Gedanensia, nr 4 (30.12.2017): 335–60. http://dx.doi.org/10.26881/srg.2017.4.21.
Pełny tekst źródłaStreszczenie:
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.
4
Galuszka, Patryk, i Katarzyna M. Wyrzykowska. "Running a record label when records don't sell anymore: empirical evidence from Poland". Popular Music 35, nr 1 (30.11.2015): 23–40. http://dx.doi.org/10.1017/s0261143015000811.
Pełny tekst źródłaStreszczenie:
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.
5
Herrero-Senés, Juan. "Rosa Arciniega and the Transformations of Avant-Garde Fiction". Journal of Avant-Garde Studies 2, nr 1-2 (9.10.2023): 74–93. http://dx.doi.org/10.1163/25896377-bja10008.
Pełny tekst źródłaStreszczenie:
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.
6
HERMIDA RAMOS, BEATRIZ. "GEOGRAPHIES OF HOPE: READING BECKY CHAMBERS’ RECORD OF A SPACEBORN FEW AS UTOPIA". Revista de Estudios Norteamericanos, nr 28 (2024): 1–20. http://dx.doi.org/10.12795/ren.2024.i28.1.
Pełny tekst źródłaStreszczenie:
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.
7
Maglov, Marija. "Aspects of interaction between radio and recording industry: Example of the his master’s voice concerts on Radio Belgrade programme". Muzikologija, nr 32 (2022): 83–108. http://dx.doi.org/10.2298/muz2232083m.
Pełny tekst źródłaStreszczenie:
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.
8
Pagello, Federico. "DETECting the “noirification” of European popular narratives across film, fiction and television". On the Cultural Circulation of Contemporary European Crime Cinema, nr 22 (2.03.2022): 14–30. http://dx.doi.org/10.33178/alpha.22.01.
Pełny tekst źródłaStreszczenie:
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.
9
Matiu, Ovidiu. "Olaudah Equiano’s Biography: Fact or/and Fiction". East-West Cultural Passage 22, nr 2 (1.12.2022): 52–59. http://dx.doi.org/10.2478/ewcp-2022-0015.
Pełny tekst źródłaStreszczenie:
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.
10
Trofymenko, Tetiana. "СУЧАСНА УКРАЇНСЬКА ПРОЗА ПІСЛЯ 24 ЛЮТОГО 2022: РЕЦЕПЦІЯ ВІЙНИ". Studia Interkulturowe Europy Środkowo-Wschodniej, nr 16 (8.12.2023): 97–113. http://dx.doi.org/10.31338/2544-3143.si.2023-16.5.
Pełny tekst źródłaStreszczenie:
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.
11
Hack, Daniel. "Introduction". Victorian Literature and Culture 47, nr 1 (7.12.2018): 93–94. http://dx.doi.org/10.1017/s1060150318001328.
Pełny tekst źródłaStreszczenie:
Catherine Gallagher's importance as a scholar of nineteenth-century British culture and a historian and theorist of the novel makes the appearance of a new monograph by her an event for Victorianists (among others). This is true even when few of the materials she discusses are, strictly speaking, Victorian, as is the case with her new book, Telling It Like It Wasn't: The Counterfactual Imagination in History and Fiction. In Telling It Like It Wasn't, Gallagher traces the emergence and development of analytic and narrative discourses premised on counterfactual-historical hypotheses. As the author explains, these hypotheses are past-tense, conditional conjectures “pursued when the antecedent condition is known to be contrary to fact,” such as, to take her two major examples, What if the South won the Civil War? and What if the Nazis had invaded Britain? Bringing together what Gallagher calls “counterfactual histories,” which are more analytical than narrative and typically consider multiple unrealized possibilities; works of “alternate history,” which describe one continuous sequence of departures from the historical record but draw their dramatis personae exclusively from that record; and “the alternate-history novel, [which] invents not only alternative-historical trajectories but also fictional characters,” Telling It Like It Wasn't explores the distinctive uses and dynamic interactions of these forms over the past two centuries and considers their implications for our understanding of more conventional fiction and historiography.
12
Ilahiane, Hsaïn, i Thomas K. Park. "SOURCES FOR THE SOCIO-ECONOMIC STUDY OF RURAL MOROCCO". International Journal of Middle East Studies 33, nr 2 (maj 2001): 271–90. http://dx.doi.org/10.1017/s0020743801002057.
Pełny tekst źródłaStreszczenie:
This paper explores the utility of 19th- and 20th-century taxation and court records as tools for mapping the changing social topography of rural Morocco. Little serious work has been done with such records to date, and it is hoped that this paper will encourage more researchers to use this material.1 As a subset of the Moroccan official record, legal and tax records obviously have an epistemological character differing from that of private correspondence and even other administrative records. Yet in the post-modern era, it is obvious that this cannot be simply reduced to the official record providing us with truth while private correspondence is a mixture of fiction and possible truth. All sources need to be scrutinized both in the traditional ways of the historian and, more generally, as reflecting social forces conceived broadly.
13
Jones, Ewan, i Paul Nulty. "Quantitative measures of lexical complexity in modern prose fiction". Digital Scholarship in the Humanities 34, nr 4 (22.04.2019): 914–37. http://dx.doi.org/10.1093/llc/fqz020.
Pełny tekst źródłaStreszczenie:
Abstract The complexity of literary language proves stubbornly difficult to isolate, for reasons that we can label as both absolute and relative. On the one hand, complexity is commonly understood as an intrinsic property of literature, which distinguishes it from whatever we take to be ‘normal’ or ‘natural’ language. Literature is complexity, whether through vocabulary, metaphors, syntax, narrative structure, temporality, etc. It would be hard enough to capture any or all of these features, even were they to remain constant across time. But this is not the case. For both the quantitative nature and the qualitative effect of literary complexity change throughout history. While a reader may naturally find Homer’s Iliad or Shakespeare’s King Lear heavy going, it is really only in the 19th century—and then more powerfully still with the access of modernism—that a common perception emerges of literature, or at least a specific subset of literature, as characteristically ‘difficult’. The differing expectations that a modern reader brings to bear upon a text change the nature of that text. Faced with the dual character of complexity, even the massively more powerful computational tools that now exist can come to seem like blunt instruments. This article argues that we can usefully model literary complexity, notwithstanding these significant challenges. We do not believe that our own suggestions—which develop a new measure, and bring it into contact with existing approaches—tell the whole story; far from it. But we do believe that our methodology might usefully signpost future possible work in the field.
14
Bender, Wolfgang. "A Unique Case and Opportunity: In Favor of a Study on the UTC Label". History in Africa 31 (2004): 441–45. http://dx.doi.org/10.1017/s0361541300003594.
Pełny tekst źródłaStreszczenie:
I want to concentrate on three broad themes in responding to the papers by Arlt and Collins. The first one is about archives and collecting and what I call the dilemmas of discography. Connected to these dilemmas is the question of the place of popular music within academia and the implications thereof for the distribution of funds. The second one is more concerned with concepts and ideas. And the third one relates to the position of Christianity in the African cultures and history we study and with its position in our academic field. Starting with the first theme, I want to direct our attention to the UTC record collection. For the study of popular African music the UTC series of over 700 shellac discs is of immense importance with regard to discography and content.For anyone who has done any detailed analysis of discographic research in African music, the existence of one complete set, as it might be the case with the UTC recordings, is the ideal. Such a complete set would be a resource without precedent. In the case of most record companies or series, we do not know how many records were edited and published. Lists or catalogs rarely exist and, if they do, they may cover only a particular period. Far too often we are left to speculate. If, for example, we come across a record that carries the number 104, does it mean, this is the 104th record, or is it number 4 of a series labeled with three digits? Is record number 104 the last out of these four records, or will hundreds follow? There is no obvious rationality in numbering records. A series may begin with 101 and end with 104, but it may continue with another label color and a letter added such as B101. Sometimes a complete set—or only a selection of titles—is taken over by another company and this may be recognizable by a certain letter preceding the numbers, for instance, the letter “J” for Jeronimides, the Greek owners of the NGOMA label in Léopoldville.
15
Han, Huirui, Mengxing Huang, Yu Zhang i Jing Liu. "Decision Support System for Medical Diagnosis Utilizing Imbalanced Clinical Data". Applied Sciences 8, nr 9 (9.09.2018): 1597. http://dx.doi.org/10.3390/app8091597.
Pełny tekst źródłaStreszczenie:
The clinical decision support system provides an automatic diagnosis of human diseases using machine learning techniques to analyze features of patients and classify patients according to different diseases. An analysis of real-world electronic health record (EHR) data has revealed that a patient could be diagnosed as having more than one disease simultaneously. Therefore, to suggest a list of possible diseases, the task of classifying patients is transferred into a multi-label learning task. For most multi-label learning techniques, the class imbalance that exists in EHR data may bring about performance degradation. Cross-Coupling Aggregation (COCOA) is a typical multi-label learning approach that is aimed at leveraging label correlation and exploring class imbalance. For each label, COCOA aggregates the predictive result of a binary-class imbalance classifier corresponding to this label as well as the predictive results of some multi-class imbalance classifiers corresponding to the pairs of this label and other labels. However, class imbalance may still affect a multi-class imbalance learner when the number of a coupling label is too small. To improve the performance of COCOA, a regularized ensemble approach integrated into a multi-class classification process of COCOA named as COCOA-RE is presented in this paper. To provide disease diagnosis, COCOA-RE learns from the available laboratory test reports and essential information of patients and produces a multi-label predictive model. Experiments were performed to validate the effectiveness of the proposed multi-label learning approach, and the proposed approach was implemented in a developed system prototype.
16
Park, J. P. "Art-Historical Fiction or Fictional Art History?" Archives of Asian Art 72, nr 2 (1.10.2022): 181–219. http://dx.doi.org/10.1215/00666637-9953432.
Pełny tekst źródłaStreszczenie:
Abstract In 1634 Zhang Taijie (b. 1588) published a woodblock edition of Baohuilu (A Record of Treasured Paintings), an extensive catalog of a massive painting collection he claimed to have built. This work would seem to be a useful resource for historians of Chinese art since it provides accounts of paintings by artists whose works are no longer extant. But there is one major problem: the book is a forgery. What is more, Zhang also forged paintings to match the documentation he created, so he could also profit from trading in them. Interestingly, the book also echoes unfounded claims registered in art-historical writings of the time, wherein leading critics and connoisseurs, including Dong Qichang (1555–1636), propounded completely contrived arguments by which they tried to establish legitimate lineages in Chinese art. Such propositions represent, borrowing from Eric Hobsbawm's insight, a kind of “invented tradition,” a fictional history of practice and artifact that runs as some thought it ought to have, rather than as it did. By looking into all the three major components of forgeries in early modern China that are referenced throughout Zhang Taijie's catalog—(1) fabricated texts, (2) forged paintings, and (3) fake histories/theories—this paper aims to explain how Baohuilu facilitated Zhang's candid desire for fame and profit in the booming art market of the time, while unveiling certain cultural, social, and genealogical anxieties and tensions negotiated in the form of art-historical theories.
17
Petroski, Karen. "Legal fictions and the limits of legal language". International Journal of Law in Context 9, nr 4 (grudzień 2013): 485–505. http://dx.doi.org/10.1017/s1744552313000268.
Pełny tekst źródłaStreszczenie:
AbstractSince Lon Fuller published his 1930 trilogy of essays on the topic, students of the legal fiction have focused on identifying additional examples of fictions or challenging Fuller's classic taxonomy. But Fuller did more in these essays than propose a definition and a classification system; he also argued that legal fictions are examples of a more general phenomenon found in many systems of specialised language usage. Drawing on work done in the intervening decades on related issues outside the law, this paper develops this insight in new directions, seeking to understand in more detail one of Fuller's principal concerns: the points at which legal language stops communicating, points that may shift over time but will never completely disappear. The analysis indicates that the currently prevailing understanding of legal fictions as, in essence, consciously counterfactual propositions is historically contingent and incomplete; that legal writers have generally used the ‘legal fiction’ label to signal those writers' sense of the futility of further justification to a non-legal audience (even when they are using the term in a justification likely to be read only by a legal audience); and, contrary to the assumptions of many post-Fuller theorists, that the boundaries of the legal vocabularies recognised as self-justifying may have become less distinct over the past century.
18
S, Sengol Mery. "Alternative History Creation in Su Venkatesan's Police Line". International Research Journal of Tamil 4, S-7 (30.07.2022): 367–70. http://dx.doi.org/10.34256/irjt22s757.
Pełny tekst źródłaStreszczenie:
The form of the novel is a historical record based on the fact that it is a reflection of the records of the past. Efforts to recreate the lifestyle of the ancestors through creation by gathering historical information from various fields such as archeology have increased in recent times. When the information thus collected becomes fiction, it becomes fiction or a program of historical events at the discretion of the creator. Novels written in a historical setting can be divided into two categories: direct historical novels and novels that prioritize history and fiction. Novels like Su Venkatesan's Kaval Kottam, Bhoomani's Anjnadi and M. Rajendran's 1081 have given more importance to history. After the release of the novel Kaval Kottam in 2009, works that recreate history in Tamil literature became very influential. Based in Madurai, this copy is created with the background of the Malikapur invasion, Nayakar's rule, the life of Kallarat who was involved in the field and guard during his rule, and the intrigues of the British. This review article examines the nature of writing in an attempt to reconstruct the history of this piece.
19
Pynn, Tom. "Topin, Ed., Oliver Stone'S U.S.A - Film, History, And Controversy". Teaching History: A Journal of Methods 26, nr 1 (1.04.2001): 45–47. http://dx.doi.org/10.33043/th.26.1.45-47.
Pełny tekst źródłaStreszczenie:
Oliver Stone, more consistently than any other director, has presented moviegoers, film critics, and historians-amateur and professional-with radical and challenging perspectives on pivotal events and themes in post-World War II American history. Avowedly not a "cinematic historian," a point Stone makes several times in this edited volume of essays about his work, he is intent on setting the record straight about the role of history in his films. As an historical dramatist, the films, he writes, are "fiction . . . based on a combination of research, intuition, and my private conscience."
20
I Gede Sujana Eka Putra i Ni Luh Putu Labasariyani. "Automation identifier approach for library management information system". Global Journal of Engineering and Technology Advances 12, nr 1 (30.07.2022): 110–19. http://dx.doi.org/10.30574/gjeta.2022.12.1.0115.
Pełny tekst źródłaStreszczenie:
Rapid technological developments provide benefits for library management. One of them is the application of automatic identifiers in library management, through RFID and QR Code implementation. Some problems that are faced by libraries at the moment, include the lack of guarantees for the safety management of books in the library, lack of services human resources library management, and book availability information has not been accurate. This research conducts the development of a library management information system to solve the problems by using automatic identifiers utilizing Near Field Communication and QR Code technology. The implementation scenario is each library member has the NFC Card and their personal information stored in the NFC card, also each book in the library is put with a QR Code label containing book code information. Transaction of book loan and book return are done by initially tapping NFC Card to record visitor returned or borrow the book and then continue to scanning QR Code label of each book borrowed or returned. In the final stage, the application tested by tapping the NFC card (RFID) on the reader/writer device, and it found the NFC Card could be read or record data from the device at a maximum of 7 cm, while testing phase conducted QR Code label could be read at a maximum distance of 40 centimeters from the device. Implementing automatic identifier help to manage transaction in library more accurate, improve services and provide added value for the library.
21
Fu, Weili, Fabian Krause i Peter Thiemann. "Label dependent lambda calculus and gradual typing". Proceedings of the ACM on Programming Languages 5, OOPSLA (20.10.2021): 1–29. http://dx.doi.org/10.1145/3485485.
Pełny tekst źródłaStreszczenie:
Dependently-typed programming languages are gaining importance, because they can guarantee a wide range of properties at compile time. Their use in practice is often hampered because programmers have to provide very precise types. Gradual typing is a means to vary the level of typing precision between program fragments and to transition smoothly towards more precisely typed programs. The combination of gradual typing and dependent types seems promising to promote the widespread use of dependent types. We investigate a gradual version of a minimalist value-dependent lambda calculus. Compile-time calculations and thus dependencies are restricted to labels, drawn from a generic enumeration type. The calculus supports the usual Pi and Sigma types as well as singleton types and subtyping. It is sufficiently powerful to provide flexible encodings of variant and record types with first-class labels. We provide type checking algorithms for the underlying label-dependent lambda calculus and its gradual extension. The gradual type checker drives the translation into a cast calculus, which extends the original language. The cast calculus comes with several innovations: refined typing for casts in the presence of singletons, type reduction in casts, and fully dependent Sigma types. Besides standard metatheoretical results, we establish the gradual guarantee for the gradual language.
22
Zipfel, Frank. "The Pleasures of Imagination. Aspects of Fictionality in the Poetics of the Age of Enlightenment and in Present-Day Theories of Fiction". Journal of Literary Theory 14, nr 2 (25.09.2020): 260–86. http://dx.doi.org/10.1515/jlt-2020-2007.
Pełny tekst źródłaStreszczenie:
AbstractInvestigations into the history of the modern practice of fiction encounter a wide range of obstacles. One of the major impediments lies in the fact that former centuries have used different concepts and terms to designate or describe phenomena or ideas that we, during the last 50 years, have been dealing with under the label of fiction/ality. Therefore, it is not easy to establish whether scholars and poets of other centuries actually do talk about what we today call fiction or fictionality and, if they do, what they say about it. Moreover, even when we detect discourses or propositions that seem to deal with aspects of fictionality we have to be careful and ask whether these propositions are actually intended to talk about phenomena that belong to the realm of fiction/ality. However, if we want to gain some knowledge about the history of fiction/ality, we have no other choice than to tackle the arduous task of trying to detect similarities (and differences) between the present-day discourse on fictionality and (allegedly) related discourses of other epochs. The goal of this paper is to make a small contribution to this task.The starting point of the paper are two observations, which also determine the approach I have chosen for my investigations. 1) In the 18th century the terms »fiction« or »fictionality« do not seem to play a significant role in the discussion of art and literature. However, some propositions of the discourse on imagination, one of the most prominent discourses of the Age of Enlightenment, seem to suggest that this discourse deals more or less explicitly with questions regarding the fictionality of literary artefacts as we conceive it today. 2) The concepts of imagination and fictionality are also closely linked in present-day theories of fiction. Naturally, the question arises how the entanglement of the concepts of fictionality and imagination can be understood in a historical perspective. Can it function as a common ground between 18th-century and present-day conceptions of fiction/ality? Is imagination still used in the same ways to explain phenomena of fictionality or have the approaches evolved over the last 250 years and if yes, then how? These kinds of questions inevitably lead to one major question: What do 18th-century and present-day conceptions of fiction/ality have in common, how much and in what ways do they differ?For heuristic reasons, the article is subdivided according to what I consider the three salient features of today’s institutional theories of fiction (i. e. theories which try to explain fictionality as an institutional practice that is determined and ruled by specific conventions): fictive utterance (aspects concerning the production of fictional texts), fictional content (aspects concerning the narrated story in fictional texts) and fictive stance (aspects concerning the reader’s response to fictional texts). The article focusses on the English, French and German-speaking debates of the long 18th century and within these discourses on the most central and, therefore, for the development of the concept of fiction/ality most influential figures. These are, most notably, Madame de Staël, Voltaire, Joseph Addison, Georg Friedrich Meier, Christian Wolff, the duo Johann Jakob Bodmer and Johann Jakob Breitinger as well as their adversary Johann Christoph Gottsched.The relevance of the article for a historical approach to the theory of fiction lies in the following aspects. By means of a tentative reconstruction of some carefully chosen propositions of 18th-century discourse on imagination I want to show that these propositions deal in some way or other with literary phenomena and theoretical concepts that in present-day theory are addressed under the label of fiction/ality. By comparing propositions stemming from 18th-century discourse on imagination with some major assertions of present-day theories of fiction I try to lay bare the similarities and the differences of the respective approaches to literary fiction and its conceptualisations. One of the major questions is to what extent these similarities and differences stem from the differing theoretical paradigms that are used to explain literary phenomena in both epochs. I venture some hypotheses about the influence of the respective theoretical backgrounds on the conceptions of fictionality then and today. An even more intriguing question seems to be whether the practice of fictional storytelling as we know and conceive it today had already been established during the 18th century or whether it was only in the process of being established.
23
Santamaría-Delgado, Carolina. "Disqueras intermedias, categorías de mercado y cultura institucional de las disqueras en Colombia: el caso de Discos Ondina". IASPM Journal 13, nr 1 (28.07.2023): 238–60. http://dx.doi.org/10.5429/2079-3871(2023)v13i1.13sp.
Pełny tekst źródłaStreszczenie:
Through the analysis of the institutional culture of a local record company, the article explores the role of medium-size record companies in the consolidation of market categories around musical genres and styles in mid-20th century Colombia. Starting from the questioning of the pertinence of using the concept of independent label in the Latin American context, specific aspects of Ondina Fonográfica's business are explored, such as technological independence, commercial strategies, the search for local artists, the opening of markets and the establishment of niches, and the organization of the catalog and the target audiences. The exercise highlights important differences with the majors/indies model extensively used to study the record industries in the Anglo-American context, such as unimportant role of talent scouts and a conservative tendency towards the creation of new market niches in small record labels. At the end, new routes are proposed to explore more complex systems than the classic binary model, using less deterministic concepts to study the richness of sound exchanges fostered by the recording industries in Latin America throughout the 20th century.
24
Furnish, Shearle. "Thematic Structure and Symbolic Motif in the Middle English Breton Lays". Traditio 62 (2007): 83–118. http://dx.doi.org/10.1017/s0362152900000544.
Pełny tekst źródłaStreszczenie:
The Breton Lays in Middle English is an enigmatic label customarily used to designate eight or nine brief narratives: Sir Orfeo, Sir Degaré, Lay le Freine, “The Franklin's Tale,” Sir Launfal, The Earl of Toulouse, Emaré, and Sir Gowther. The label is awkward because it may seem to suggest that the poems are consistently derived from or inspired by Breton or Old French sources and thus are a sort of stepchildren, little more than translations or, worse, misunderstandings of a multi-media heritage. Most scholars have seen the grouping as traditional and artificial, passed along in uncritical reception, not resting on substantial generic similarities that distinguish the poems from other literary forms. John Finlayson, for instance, concludes, “In fact, considered coldly, shortness and adventure or ordeal would seem to be the only things that can really be isolated as universal characteristics.” Some scholars have accounted for the poems as a set. The distinctions they discuss commonly include the lays' close relation to the conventions of the folk-tale, relationship to provincial audiences, and a growing sophistication of the craft of fiction.
25
Chamberlin, Reed. "Hi-Fi, Middle Brow? Frederick Fennell, Mercury Records, and the Eastman Wind Ensemble From 1952 to 1962". SAGE Open 10, nr 4 (październik 2020): 215824402095492. http://dx.doi.org/10.1177/2158244020954926.
Pełny tekst źródłaStreszczenie:
Frederick Fennell, founder of the internationally acclaimed Eastman Wind Ensemble (EWE), is considered by many to be the catalyst for the modern wind-band movement, often credited with revolutionizing thought and practice within the discipline. While this perception remains valid, evidence suggests that Fennell was much less serious (or “high-brow”) than many believe. Derived from original research in the Fennell Archive at the Eastman School of Music, this article seeks to highlight tensions between Fennell’s desire to record serious wind-band music and the demands of Mercury Records (EWE record label, 1952–1964) to record populist repertoire. Fennell’s archival material suggests that his philosophy was directly influenced by Mercury’s bottom line with the objective of selling records to the masses. Surprisingly, this synthesized a dynamic approach to programming for Fennell and the EWE—one that remains a tradition to this day. The influence of recorded media’s populist objective fused an approach for Fennell that is much more “middle-brow” than many may have believed.
26
Askar Ali, M. "Islamic ‘Bakhirs’". Shanlax International Journal of Tamil Research 6, nr 4 (1.04.2022): 121–25. http://dx.doi.org/10.34293/tamil.v6i4.4834.
Pełny tekst źródłaStreszczenie:
The lives of Islamists around the world are fundamentally religious. More than that, it is subject to the rules taught by that “religious community.” In such a religious life, the duality of being centered and marginalized becomes inevitable. Thoppil Mohammad Meeran and Keeranur Jagirrajah are the creator of the myths about the marginalized community in the creative field. The lives of various marginalized people as a result of the central political attitude are portrayed as diverse in their fiction. They have written about the marginalized mantras of sex workers, homosexuals, mercenaries, brokers, thieves, drunkards, psychiatrists, beggars, etc., unfamiliar with most Islamic myths. His works also record non-seafaring fishing Islamists, Bakhirs (wanderers), Osaks (sailors), and Motinars (front-line servants in mosques). In this context, this article examines in detail how Keeranur Zakir Raja translated into literature the record of Bakhirs living a nomadic life in the Islamic community.
27
Wang, Shuhong, Runchuan Li, Xu Wang, Shengya Shen, Bing Zhou i Zongmin Wang. "Multiscale Residual Network Based on Channel Spatial Attention Mechanism for Multilabel ECG Classification". Journal of Healthcare Engineering 2021 (3.05.2021): 1–13. http://dx.doi.org/10.1155/2021/6630643.
Pełny tekst źródłaStreszczenie:
Automatic classification of ECG is very important for early prevention and auxiliary diagnosis of cardiovascular disease patients. In recent years, many studies based on ECG have achieved good results, most of which are based on single-label problems; one record corresponds to one label. However, in actual clinical applications, an ECG record may contain multiple diseases at the same time. Therefore, it is very important to study the multilabel ECG classification. In this paper, a multiscale residual deep neural network CSA-MResNet model based on the channel spatial attention mechanism is proposed. Firstly, the residual network is integrated into a multiscale manner to obtain the characteristics of ECG data at different scales and then increase the channel spatial attention mechanism to better focus on more important channels and more important ECG data fragments. Finally, the model is used to classify multilabel in large databases. The experimental results on the multilabel CCDD show that the CSA-MResNet model has an average F1 score of 88.2% when the multilabel classification of 9 ECGs is performed. Compared with the benchmark model, the F1 score of CSA-MResNet in the multilabel ECG classification increased by up to 1.7%. And, in the model verification on another database HF-challenge, the final average F1 score is 85.8%. Compared with the state-of-the-art methods, CSA-MResNet can help cardiologists perform early-stage rapid screening of ECG and has a certain generalization performance, providing a feasible analysis method for multilabel ECG classification.
28
Tangri, Daniel. "Popular Fiction and the Zimbabwe Controversy". History in Africa 17 (styczeń 1990): 293–304. http://dx.doi.org/10.2307/3171818.
Pełny tekst źródłaStreszczenie:
The “Zimbabwe controversy” is a name by which disputes over the origins of the people who produced stone ruins and mines in southern Africa are known. Those disputes occurred between informed and lay opinion; informed opinion being represented by archeologists, and lay opinion by local cult archeologists and, at the turn of the century, explorers and excavators. One aspect of lay opinion that has seldom been discussed is the role of popular fiction. Popular novels are often mentioned in works on the Zimbabwe controversy as representing particular viewpoints, but there have been no detailed analyses of their role in that controversy. This paper will set popular novels into the context of the ideologies that influenced them, and gauge their influence on lay opinion and the degree to which they reflected viewpoints that were expressed in political disagreements over the site of Great Zimbabwe.There are four major nineteenth-century novels that are pertinent to the Zimbabwe controversy: H. M. Walmsley's The Ruined Cities of Zululand, and three works by H. Rider Haggard—King Solomon's Mines, She, and Elissa? The first novel was published in time to incorporate knowledge of recently-reported stone ruins and gold mines. In the 1820s and 1830s stone kraals were known to have been built by black people. By the 1860s, however, when other explorers “discovered” stone ruins, they argued that black people could not have built them. Their arguments were based on prevalent systems of classifying humanity. It was generally believed that races were tied to discrete levels of culture by their average intelligence and their blood. Consequently, races could be characterised in terms of a set number of items of culture. It was also generally accepted that the overall record of humanity was one of cultural progress, or step-by-step advancement toward ever better and more complex cultures. Racial characters were thought to set a limit on the level that each race could reach. It was argued, for instance, that black Africans had reached the limit of their potential progress, whereas Europeans were still undergoing advancement. Consequently, Europeans were seen to belong to the most advanced races in the world; other races were ranked below them, and were thought to represent primitive stages through which Europeans had already passed.
29
Beaumont, Peter. "Pandora's Dreams". After Dinner Conversation 2, nr 2 (2021): 23–31. http://dx.doi.org/10.5840/adc20212212.
Pełny tekst źródłaStreszczenie:
Should we be held accountable for what we imagine, but choose not to actually do? Does wrong thought always lead to wrong action? In this work of philosophical short story fiction, scientists have discovered a way to record dreams and make them available for playback. This quickly gives rise to the bootleg sale of horrible and wonderful dreams to a general public interested in ever-more spectacle. It also creates a market for buying and watching the dreams of celebrities. Finally, it brings about the government subpoenaing dreams to use as evidence in trials and, later, in helping it discover crimes that have not, but might, happen in the future.
30
Beaumont, Peter. "Pandora’s Dreams". After Dinner Conversation 4, nr 7 (2023): 67–77. http://dx.doi.org/10.5840/adc20234767.
Pełny tekst źródłaStreszczenie:
Should we be held accountable for what we imagine, but choose not to actually do? Does wrong thought always lead to wrong action? In this work of philosophical short story fiction, scientists have discovered a way to record dreams and make them available for playback. This quickly gives rise to the bootleg sale of horrible and wonderful dreams to a general public interested in ever-more spectacle. It also creates a market for buying and watching the dreams of celebrities. Finally, it brings about the government subpoenaing dreams to use as evidence in trials and, later, in helping it discover crimes that have not but might, happen in the future.
31
Greenwood, Kate. "The Ban on “Off-Label” Pharmaceutical Promotion: Constitutionally Permissible Prophylaxis against False or Misleading Commercial Speech?" American Journal of Law & Medicine 37, nr 2-3 (czerwiec 2011): 278–98. http://dx.doi.org/10.1177/009885881103700204.
Pełny tekst źródłaStreszczenie:
Critics of the Food & Drug Administration's ban on off-label promotion often claim that it violates the First Amendment because it suppresses pharmaceutical manufacturers' truthful speech about their legal—and beneficial—products. Characterizing the ban on off-label promotion in this way has more than rhetorical significance. Bans on truthful, non-misleading speech elicit special skepticism because of the belief that they “usually rest solely on the offensive assumption that the public will respond ‘irrationally’ to the truth.” The legislative history of the provisions of the Food Drug and Cosmetic Act that underlie the ban on off-label promotion, however, reveals that Congress was concerned that physicians were responding rationally to false and misleading promotional claims. In this Article, I explore the doctrinal questions raised by conceiving of the ban on off-label promotion not as a ban on “truthful speech to physicians” but instead as a prophylaxis against false and misleading pharmaceutical promotion. I review the evidence that false and misleading claims were commonplace before the ban's adoption and persist today, along with the enforcement challenges the FDA confronted at that time and would confront were the ban lifted, and conclude the government likely could develop the factual record necessary to establish that Congress' rejection of an after-the-fact case-by-case approach to combating false and misleading prescription drug promotion is constitutional.
32
Hossain, Prommy Sultana, Kyungsup Kim, Jia Uddin, Md Abdus Samad i Kwonhue Choi. "Enhancing Taxonomic Categorization of DNA Sequences with Deep Learning: A Multi-Label Approach". Bioengineering 10, nr 11 (8.11.2023): 1293. http://dx.doi.org/10.3390/bioengineering10111293.
Pełny tekst źródłaStreszczenie:
The application of deep learning for taxonomic categorization of DNA sequences is investigated in this study. Two deep learning architectures, namely the Stacked Convolutional Autoencoder (SCAE) with Multilabel Extreme Learning Machine (MLELM) and the Variational Convolutional Autoencoder (VCAE) with MLELM, have been proposed. These designs provide precise feature maps for individual and inter-label interactions within DNA sequences, capturing their spatial and temporal properties. The collected features are subsequently fed into MLELM networks, which yield soft classification scores and hard labels. The proposed algorithms underwent thorough training and testing on unsupervised data, whereby one or more labels were concurrently taken into account. The introduction of the clade label resulted in improved accuracy for both models compared to the class or genus labels, probably owing to the occurrence of large clusters of similar nucleotides inside a DNA strand. In all circumstances, the VCAE-MLELM model consistently outperformed the SCAE-MLELM model. The best accuracy attained by the VCAE-MLELM model when the clade and family labels were combined was 94%. However, accuracy ratings for single-label categorization using either approach were less than 65%. The approach’s effectiveness is based on MLELM networks, which record connected patterns across classes for accurate label categorization. This study advances deep learning in biological taxonomy by emphasizing the significance of combining numerous labels for increased classification accuracy.
33
Davis, John R. "I want something new: Limp Records and the birth of DC punk, 1976‐80". Punk & Post Punk 9, nr 2 (1.06.2020): 177–204. http://dx.doi.org/10.1386/punk_00030_1.
Pełny tekst źródłaStreszczenie:
Recountings of the Washington, DC punk rock scene’s history often start with the founding of Dischord Records in 1980 and focus on the subsequent ascent of Dischord co-owner Ian MacKaye’s bands like Minor Threat and Fugazi. As seminal as Dischord remains in the narrative of DC punk ‐ a community still thriving today ‐ the years just prior to the label’s founding generated the scene’s true incunabula. Beginning with the self-released debut EP from the Slickee Boys in 1976, this first wave of DC bands ‐ also including Razz, Nurses, White Boy and others ‐ combined elements of art rock, surf, proto-punk, pub rock and power pop together to craft a protean version of punk that embraced eccentricity and humour, serving as the city’s own defiant rebuke of the staid state of 1970s rock music. No record label was more central to the nascent punk scene in DC than Limp Records. Operated by Skip Groff, Limp provided the punk community with its first proper record label. Rather than a label that centred around the efforts of a single band ‐ as most other new DC punk labels did ‐ Limp issued singles for several groups, collaborating with the fledgling Dacoit and O’Rourke labels to co-release defining singles for the Slickee Boys and Razz. DC punk would not have taken shape the way it did without Groff’s efforts, particularly considering his connections with bands like Bad Brains and the Slickee Boys and his musical and entrepreneurial influence on local teenage punks like MacKaye, Jeff Nelson and Henry Rollins. This article is a history of DC punk record labels from 1976 to 1980 and seeks to establish this overshadowed era of the scene as one of the most critical in the community’s 43-year existence. Considering the outsize influence the DC scene ultimately had on punk culture ‐ whether through the eponymous clean living philosophy inspired by the Minor Threat song ‘Straight Edge’, the unwaveringly independent business model of Dischord or the pacesetting music reliably turned out each decade by participants in the scene ‐ the impact of Groff and his first wave DC punk peers must be acknowledged.
34
Ratsoy, Ginny. "Dramatic Discourse at Talonbooks: Narratives on the Publisher-Author Relationship". Canadian Theatre Review 101 (styczeń 2000): 25–28. http://dx.doi.org/10.3138/ctr.101.005.
Pełny tekst źródłaStreszczenie:
The emergent interest in Canadian literary studies in the role of publishing can be seen as a reflection of confidence in the value of Canadian literature. It can also be seen as a continuation of an ongoing attention to the complex dynamics involved in creation, production and readership of text. Both the Spring 1997 issue of Open Letter, devoted to an examination of Coach House Press, and Sam Solecki’s 1998 Imagining Canadian Literature: The Selected Letters of Jack McClelland, for example, by the very act of chronicling the histories of their respective presses, assume the validity of the fiction, non-fiction and poetry whose publication they record, pay tribute to those responsible for making that work public and provide insight into publishing processes. A more recent study, the Spring 1999 issue of Canadian Theatre Review, themed “Publishing Canadian Theatre,” acknowledges and examines the contributions of such drama publishers as Playwrights Canada Press and Talonbooks, but functions primarily – and significantly – to generate interrogation into the distinct nature of drama publication. As editor Ann Wilson writes, “this issue is only the beginning – raising questions and offering insights with no definitive analyses” (3).
35
Di Stefano, Eugenio. "The Rules of the Game in Carlos Reygadas’s “Serenghetti”". Praktyka Teoretyczna, nr 4(50) (28.03.2024): 75–108. http://dx.doi.org/10.19195/prt.2023.4.4.
Pełny tekst źródłaStreszczenie:
At first glance, Mexican filmmaker Carlos Reygadas’ Serenghetti (2009) appears to be a documentary, capturing nothing more than an amateur women’s soccer match filmed in Santo Domingo Ocotitlán (Morelos, Mexico). Commentary on the film has focused on social issues such as urban development, anthropocentrism, and sport as spectacle. This essay, however, argues that Serenghetti is much more interested in examining the aesthetic dimension of cinema, or what Reygadas calls the film’s “fiction.” In some respects, Serenghetti recalls Douglas Gordon and Philippe Parreno’s Zidane: A 21st Century Portrait (2006), as both movies record complete soccer matches. But where Gordon and Parreno’s film engages, as Michael Fried contends, with the issue of absorption in contemporary art, this essay suggests that Reygadas’s film is concerned with contesting an anti-representational account of cinema, particularly the question of time, which has been central to how slow cinema scholarship has understood his work. Indeed, since his Cannes award-winning film Japón (2001), Reygadas’ films have been labeled as slow cinema—films that are understood less as a representation of time than as what Thiago de Luca calls “duration itself.” This essay proposes that through the concept of the soccer game, Serenghetti not only asserts itself as fiction but also, in doing so, provides a reading of cinematic time that challenges many political and aesthetic fantasies endorsed by contemporary cultural criticism.
36
Pardue, Derek. "Scars in the soil". Crossings: Journal of Migration & Culture 13, nr 1 (1.04.2022): 123–39. http://dx.doi.org/10.1386/cjmc_00060_1.
Pełny tekst źródłaStreszczenie:
The city of Lisbon has scar tissue, a reminder of pain and trauma that administrations often gloss over as urbanization. The demolition of dozens of neighbourhoods has been documented in cinema, both documentaries and feature-length conventional films. Even more stark is the footage from grassroots archivists, who have accompanied since the beginning the raw despair of displacement, an internal uprooting after a generation or more of Luso-African migrants making place in the Lisbon area, especially in the adjacent municipality of Amadora. Over a decade ago, I followed a few of the displaced former residents of Fontaínhas to Casal da Boba, a social neighbourhood, to inquire and record memories about such scars. In late 2020, I reconnected with these interlocutors and discovered more storytellers who have a curious relationship with the former improvised neighbourhood of Bairro de Santo Filomena. This article is a piece of ethnographic fiction based on those experiences.
37
Cline, Emily. "‘The bloody fingers … bear witness’: Sign Language and the Mute Detective in Susan Hopley and The Trail of the Serpent". Crime Fiction Studies 5, nr 1 (marzec 2024): 1–17. http://dx.doi.org/10.3366/cfs.2024.0107.
Pełny tekst źródłaStreszczenie:
In her examination of signing characters in works of Charles Dickens and Wilkie Collins, Jennifer Esmail highlights deaf characters’ absence in Victorian fiction. Mutism is more common, for example, in the character of Mary Elizabeth Braddon's working-class, fingerspelling Detective Peters (70, 10n24). Even so, sign language – seen as ‘primitive’ and ‘lacking [in] intellectual […] rigor’ – was rarely represented (Esmail 3). Dickens, Collins and Braddon, proto-detective novelists themselves, were preceded by Catherine Crowe, whose 1841 novel Susan Hopley features Julie le Moine, a female, cross-dressing sleuth whose mutism does not prevent her from testifying using ‘signs’ and ‘the finger alphabet’ (III.100, 125). Julie's undercover work not only crosses class, gender, and genre boundaries, but her non-verbal evidence challenges women's exclusion from ‘“masculine” systems of representation’ symbolised by legal parlance (Irigaray 85). When detective fiction pits the private eye against traditional jurisprudential structures, the courtroom becomes a space where classed and gendered hierarchies inform testimonial evidence, reinforcing exclusionary principles that disenfranchise the ‘Other’. The sign language, fingerspelling and lip-reading of Julie le Moine, Joseph Peters and Richard Marsh's Judith Lee expose ableist and sexist barriers that seek to expunge the detectives from the legal record by excluding them from public speech.
38
Elia, Gina. "Looking Beyond the Social: Religion as a Solution to Alienation in Xu Dishan’s, Bing Xin’s, and Su Xuelin’s Republican Era Literature". Religions 10, nr 12 (6.12.2019): 664. http://dx.doi.org/10.3390/rel10120664.
Pełny tekst źródłaStreszczenie:
I argue that by participating in religious cultural phenomena, the protagonists of Xu Dishan’s and Su Xuelin’s fiction cultivate values that allow them to overcome their sense of social alienation by making them feel more confident about their ability to strengthen their relationships with others. These values include selflessness in the literature of both authors, as well as compassion in Su Xuelin’s literature. I further argue that these two authors’ literary narratives use the category of religion to label these values as existing outside of the space of human social interactions. This then allows protagonists to view the cultivation of these values as an ostensibly perfected resolution to their feeling of social alienation, which in the first place is caused by the imperfect sphere of human social interactions. The two case studies upon which this study draws to exemplify the argument include Yuguan from Xu Dishan’s Yuguan and Xingqiu from Su Xuelin’s Thorny Heart.
39
Persson, Asha, Christy E. Newman, Pene Manolas, Martin Holt, Denton Callander, Tina Gordon i John de Wit. "Challenging Perceptions of “Straight”: Heterosexual Men Who Have Sex with Men and the Cultural Politics of Sexual Identity Categories". Men and Masculinities 22, nr 4 (17.07.2017): 694–715. http://dx.doi.org/10.1177/1097184x17718586.
Pełny tekst źródłaStreszczenie:
Research shows that some heterosexually identified men engage in sex with men; however, they remain largely hidden and little understood. Despite long-standing scholarly recognition that sexual identity and orientation do not always neatly coincide, the culturally normative heterosexual/homosexual binary tends to shape mainstream perceptions of such men as well as render them invisible in sexual health systems reliant on stable sexual identity categories. This invisibility, in turn, perpetuates the fiction of the binary. We explore perspectives on heterosexually identified men who have sex with men, drawing on recent research literature and on qualitative interviews with “key informants” in the Australian sexual health field who have frontline knowledge of these men. We consider the limitations of inventing a label to “encapsulate” these diverse men but also the significance of finding a language that meaningfully acknowledges their sexual realities and highlights heterosexuality as more varied and fluid than social attitudes and traditional sexual identity categories permit.
40
Salahuddin, Maria, Aram Yaqoob, Rabia Islam, Man o. Salwa Khan, Faria Naveed i Rabia Hayat. "COMPARING SELF WITH TRAVEL - A MULTIDIMENSIONAL ANALYSIS OF FIRST PERSON NARRATIVE". Inception - Journal of Languages and Literature 1, nr 1 (1.06.2021): 31–50. http://dx.doi.org/10.36755/ijll.v1i1.21.
Pełny tekst źródłaStreszczenie:
The present research aims to present comparative analysis of two genres of non-fiction: autobiographies and travelogues. Autobiographies are personal narratives or firsthand accounts of unique or dramatic events of an individual’s life while travelogue is record of a person’s journey to another place and the author’s traveling experiences. The present study explores functional variations that exist in these genres based on the multidimensional analysis approach presented by Biber (1988). This corpus-based research employs triangulation methods to quantitatively analyze statistical techniques and to qualitatively interpret the function of co-occurring linguistic features. Statistical evidence suggests that significant variation exists between two genres with travelogues are more informational, more explicit and less persuasive than autobiographies. Nouns and prepositions are the major constituents of both these first person narratives. This research can be further extended to compare the functional dimensions of autobiographies and travelogues with other first-person narratives. A contrastive genre analysis can also be conducted to explore variations in native and non-native writings.
41
Maria Salahuddin, Aram Yaqoob, Rabia Islam, Man o Salwa Khan, Faria Naveed i Rabia Hayat. "COMPARING SELF WITH TRAVEL - A MULTIDIMENSIONAL ANALYSIS OF FIRST PERSON NARRATIVE". Inception - Journal of Languages and Literature 1, nr 1 (30.06.2021): 31–49. http://dx.doi.org/10.36755/ijll.v1i1.14.
Pełny tekst źródłaStreszczenie:
The present research aims to present comparative analysis of two genres of non-fiction: autobiographies and travelogues. Autobiographies are personal narratives or firsthand accounts of unique or dramatic events of an individual’s life while travelogue is record of a person’s journey to another place and the author’s traveling experiences. The present study explores functional variations that exist in these genres based on the multidimensional analysis approach presented by Biber (1988). This corpus-based research employs triangulation methods to quantitatively analyze statistical techniques and to qualitatively interpret the function of co-occurring linguistic features. Statistical evidence suggests that significant variation exists between two genres with travelogues are more informational, more explicit and less persuasive than autobiographies. Nouns and prepositions are the major constituents of both these first person narratives. This research can be further extended to compare the functional dimensions of autobiographies and travelogues with other first-person narratives. A contrastive genre analysis can also be conducted to explore variations in native and non-native writings.
42
Willman, Kate. "Unidentified narrative objects: Approaching instant history through experiments with literary journalism in Beppe Sebaste’s H. P. Lady Diana’s Last Driver and Frédéric Beigbeder’s Windows on the World". Journalism 21, nr 7 (19.08.2017): 1007–22. http://dx.doi.org/10.1177/1464884917722722.
Pełny tekst źródłaStreszczenie:
The subjects of the two texts analysed in this article are two highly significant recent historical events: the death of Lady Diana in a car crash after being chased by paparazzi on 31 August 1997 and the attacks on the World Trade Center in New York City on 11 September 2001, which are addressed by the Italian writer Beppe Sebaste and the French writer Frédéric Beigbeder, respectively. An analysis of each text shows that they not only examine the events in question through reportage, but they are also strongly personal and subjective. Both texts also put forward literary writers to help ‘read’ extensively mediated events, provoking reflection on how news travels and is mediated in increasingly immediate ways in today’s world, while also harking back to New Journalism. They could be called ‘unidentified narrative objects’, a label I borrow from the Italian writer Roberto Bui, alias Wu Ming 1, who has applied it to a corpus of recent Italian texts (including that of Sebaste), that combine modes of writing – such as journalism, history, detective fiction and life-writing – often blurring the boundaries between fiction and nonfiction, in order to more effectively draw their readers’ attention to the national and global issues they address. Here, I extend the term unidentified narrative objects beyond Italy’s borders to the work of Beigbeder and others, suggesting that such hybridity is connected to how we process the world around us today and a new iteration of literary journalism.
43
Kube, Tobias, Verena E. Hofmann, Julia A. Glombiewski i Irving Kirsch. "Providing open-label placebos remotely—A randomized controlled trial in allergic rhinitis". PLOS ONE 16, nr 3 (11.03.2021): e0248367. http://dx.doi.org/10.1371/journal.pone.0248367.
Pełny tekst źródłaStreszczenie:
Background Placebos can reduce physical symptoms even when provided with full honesty and disclosure. Yet, the precise mechanisms underlying the effects of “open-label placebos” (OLPs) have remained subject of debate. Furthermore, it is unclear whether OLPs are similarly effective when provided remotely, as is sometimes required e.g. in the current COVID-19 pandemic. Methods In a randomized-controlled trial, we examined the effects of OLP plus treatment as usual (TAU) compared to TAU alone on symptom reduction in people with allergic rhinitis (N = 54) over the course of two weeks. Due to the COVID-19 pandemic, OLP was provided remotely (i.e. sent via postal service). To investigate the potential influence of the clinical encounter on the effects of OLP, we manipulated the perception of the virtual clinical encounter, both with respect to verbal and nonverbal factors (augmented vs. limited encounter). Results The results of the manipulation check confirmed that the augmented clinical encounter was evaluated more positively than the limited encounter, in terms of perceived warmth of the provider. Participants from all treatment groups showed significant symptom reduction from baseline to two weeks later, but OLP had no incremental effect over TAU. Participants benefitted more from OLP when they did not take any other medication against allergic symptoms than when taking medication on demand. When controlling for baseline symptoms, a significant treatment by encounter interaction was found, pointing to greater symptom improvement in the OLP group when the encounter was augmented, whereas the control group improved more when the encounter was limited. Discussion The study demonstrates that providing OLP and enhancing the encounter remotely is possible, but their effectiveness might be lower in comparison to previous studies relying on physical patient-provider interaction. The study raises questions for future research about the potential and challenges of remote placebo studies and virtual clinical encounters. The study has been registered as a clinical trial at ISRCTN (record number: 39018).
44
de la Iglesia, Martin. "Has Akira Always Been a Cyberpunk Comic?" Arts 7, nr 3 (1.08.2018): 32. http://dx.doi.org/10.3390/arts7030032.
Pełny tekst źródłaStreszczenie:
Between the late 1980s and early 1990s, interest in the cyberpunk genre peaked in the Western world, perhaps most evidently when Terminator 2: Judgment Day became the highest-grossing film of 1991. It has been argued that the translation of Katsuhiro Ōtomo’s manga Akira into several European languages at just that time (into English beginning in 1988, into French, Italian, and Spanish beginning in 1990, and into German beginning in 1991) was no coincidence. In hindsight, cyberpunk tropes are easily identified in Akira to the extent that it is nowadays widely regarded as a classic cyberpunk comic. But has this always been the case? When Akira was first published in America and Europe, did readers see it as part of a wave of cyberpunk fiction? Did they draw the connections to previous works of the cyberpunk genre across different media that today seem obvious? In this paper, magazine reviews of Akira in English and German from the time when it first came out in these languages will be analysed in order to gauge the past readers’ genre awareness. The attribution of the cyberpunk label to Akira competed with others such as the post-apocalyptic, or science fiction in general. Alternatively, Akira was sometimes regarded as an exceptional, novel work that transcended genre boundaries. In contrast, reviewers of the Akira anime adaptation, which was released at roughly the same time as the manga in the West (1989 in Germany and the United States), more readily drew comparisons to other cyberpunk films such as Blade Runner.
45
Fenster, Mark. "Buck Owens, country music, and the struggle for discursive control". Popular Music 9, nr 3 (październik 1990): 275–90. http://dx.doi.org/10.1017/s0261143000004098.
Pełny tekst źródłaStreszczenie:
In the early- and mid-1960s, as mainstream popular music began to reach and exploit the growing youth market, the country music genre was going through a number of important transformations (see Malone 1985; Hemphill 1970). During this period the country music industry, including record companies, recording studios, managing and booking agents, music publishers and musicians, was becoming more fully consolidated in Nashville. In addition, a different kind of dominant sound was beginning to coalesce, based on a more ‘uptown’ feel and intended for a more cosmopolitan audience accustomed to mainstream, adult pop music. The beat and whine of the honky-tonk song, as epitomised by the rural twang in the music of Hank Williams, Lefty Frizzell and Webb Pierce, was being replaced as the dominant country music sound by the smooth and urbane ballad styles of Eddy Arnold, Jim Reeves and Patsy Cline. This shift was both caused by and helped to foster the development of a steady set of studio musicians who would appear on thousands of country recordings per year. The musical style that coalesced in Nashville studios through the regular collaboration of these musicians and the record label producers who loosely arranged them became known as the ‘Nashville Sound’, a marketable and identifiable name for a particular set of musical conventions. This sound, nearly as similar to Rosemary Clooney as it was to Hank Williams, called into question the generic boundaries between ‘country’ music and mainstream ‘pop’ music.
46
Yehya, Alaa, Mohammad Numan i Laila Matalqah. "No Time for Lullabies: Tracing down Pharmacological Effects & Uses of H1-Antihistamines in Children Younger than 6 Years". Global Pediatric Health 8 (styczeń 2021): 2333794X2199217. http://dx.doi.org/10.1177/2333794x21992170.
Pełny tekst źródłaStreszczenie:
Objectives. To provide a qualitative and a quantitative analysis of H1-antihistamines pharmacological uses pattern among children (<6 years old) and to evaluate the parental-related awareness. Methods. A cross-sectional study was carried out at 5 retail pharmacies in Jordan over 5 months (October/2019-February/2020). Parents who requested any of H1-antihistmine agent for a child (<6 years) were invited to participate. Results. A total of 516 children, most of them were toddlers (1-3) years, received at least 1 H1-antihistamine. More than half of the cases received H1-antihistamine as self-medication (56.3%). Sedating antihistamine agents were the most frequently used among children (<6 years old) (77.9%) among which Chlorpheniramine maleate was the most commonly used agent (62.9%). About half of the children (47.0%) received H1-antihistamine to induce sleep. Whereas, 21.7% and 12.9% received them to manage flu, and allergic rhinitis (AR), respectively. Around 66.6% of the cases were classified as off-label use. Most of the parents (80.5%) were aware of the sedative adverse effects of H1-antihistamines, whereas a fewer number (31.9%) were aware of their cognitive effects. Finally, more than two thirds of parents (79.7%) were unfamiliar with off-label drug use in children. Conclusion. Despite the availability of less-sedating H1-antihistamines with a wide safety and efficacy record, the use of sedating H1-antihistamines remains popular in children.
47
Rait, Greta, Kate Walters, Mark Griffin, Marta Buszewicz, Irene Petersen i Irwin Nazareth. "Recent trends in the incidence of recorded depression in primary care". British Journal of Psychiatry 195, nr 6 (grudzień 2009): 520–24. http://dx.doi.org/10.1192/bjp.bp.108.058636.
Pełny tekst źródłaStreszczenie:
BackgroundThere is a paucity of data describing how general practitioners (GPs) label or record depression.AimsTo determine incidence and sociodemographic variation in GP-recorded depression diagnoses and depressive symptoms.MethodAnnual incidence rates calculated using data from 298 UK general practices between 1996 and 2006, adjusted for year of diagnosis, gender, age and deprivation.ResultsIncidence of diagnosed depression fell from 22.5 to 14.0 per 1000 person-years at risk (PYAR) from 1996 to 2006. The incidence of depressive symptoms rose threefold from 5.1 to 15.5 per 1000 PYAR. Combined incidence of diagnoses and symptoms remained stable. Diagnosed depression and symptoms were more common in women and in more deprived areas.ConclusionsDepression recorded by general practitioners has lower incidence rates than depression recorded in epidemiological studies, although there are similar associations with gender and deprivation. General practitioners increasingly use symptoms rather than diagnostic labels to categorise people's illnesses. Studies using standardised diagnostic instruments may not be easily comparable with clinical practice.
48
Wyllie, Thomas. "P17 Licensed, unlicensed or off-label? A snapshot of medicines used in neonatal intensive care". Archives of Disease in Childhood 108, nr 5 (19.04.2023): 9.2–10. http://dx.doi.org/10.1136/archdischild-2023-nppg.16.
Pełny tekst źródłaStreszczenie:
BackgroundMedicines in the UK are licensed for use by the MHRA. The term ‘unlicensed’ describes medicines without a marketing authorisation in the UK.1whereas an off-label medicine is a licensed product used outside of the terms of its licensing, i.e., for a different age/population, dose or route.1The use of unlicensed medicines presents many challenges, including inconsistent supply, high cost and lack of information together with increased risk of medication errors and adverse drug reactions.1 2Despite these significant drawbacks, the dearth of products licensed for the neonatal population necessitates the routine use of these medicines.1Various studies have shown that the use of unlicensed and off-label medicines is common in a neonatal intensive care setting: in the UK in 1999,2and more recently in Brazil3and Norway.4AimProspectively record the license status of medicines prescribed on a tertiary neonatal unit to determine the relative numbers of licensed, off-label and unlicensed medicines administered.MethodMedication prescription charts were reviewed for a four-week period on a tertiary regional neonatal unit. Each medicine prescribed was recorded and the license status determined, taking into account the indication, patient characteristics and formulation used. Information was gathered on the number of different drugs used and the number of patients that they were prescribed for.ResultsOver the study period a total of 72 distinct medications were prescribed 404 times for 68 patients. Of the 404 prescriptions analysed during the study period, just over half (53%) were licensed medicines being used within their licensed indication. 31% were licensed medicines being used off-label and 15% were unlicensed medicines. 43% of the 72 medicines used were licensed but being used off-label. 36% were licensed medicines being used within their licensed indication and 21% of medicines were unlicensed. Of the licensed medicines being used off-label, the most common reason was that the indication/age was not covered by the summary of product characteristics (SPC). However, the detail given in the SPCs varied greatly and it was often challenging to determine whether specific uses were within the license. The top 3 most commonly prescribed medicines (gentamicin, benzylpenicillin and caffeine citrate) accounted for 29% of all prescriptions recorded and were all being used within their license.ConclusionThis study found that the majority (64%) of medicines used in neonatal intensive care during the study period were unlicensed or off-label, similar to other recent work in neonates.3However, when analysed by the number of prescription events, the majority of these (53%) were licensed. This was mainly due to a small number of licensed drugs which are used often, including antibiotics and caffeine citrate. A licensed form of caffeine citrate was released in 2012, which may partly explain why the proportion is higher in this study than Conroy et al in 19992who found only 35.4% of prescriptions were licensed. While this is a trend in the right direction, more work is needed to license medicines specifically for this vulnerable group of patients.ReferencesRawlence E, Lowey A, Tomlin S,et al. Is the provision of paediatric oral liquid unlicensed medicines safe?.Arch Dis Child Educ Pract Ed2018;103:310.Conroy S, McIntyre J, Choonara I. Unlicensed and off label drug use in neonates.Arch Dis Child Fetal Neonatal Ed1999;80:F142–145.Costa HT, Costa TX, Martins RR,et al. Use of off-label and unlicensed medicines in neonatal intensive care.PloS One2018;13:e0204427.Teigen A, Wang S, Truong BT,et al. Off-label and unlicensed medicines to hospitalised children in Norway.J Pharm Pharmacol2017;69:432–438.
49
Nordgård, Daniel. "Views from the boundaries". MedieKultur: Journal of media and communication research 37, nr 70 (22.06.2021): 032–49. http://dx.doi.org/10.7146/mediekultur.v37i70.122399.
Pełny tekst źródłaStreszczenie:
This article explores how Norwegian record label managers understand their current positions and future possibilities in a market that is increasingly driven by on-demand subscription-based streaming. It adds to a growing body of research by adopting a qualitative approach, seeking to describe issues at a personal or company level, and provide nuance and dynamics in a discourse that is often described in dichotomies and on aggregate levels. The article argues that stakeholders have more varied attitudes than simply being for or against the innovation, the new economic models and their eff ects on their own business, and the market in general. It also demonstrates that perceptions change as markets develop, and stakeholders and their businesses adjust. The article uses four in-depth interviews to assess a 2013 government-initiated project, and provides insights into differing positions and changes over time.
50
Lee, Joel. "Who is the true Halalkhor? Genealogy and ethics in dalit Muslim oral traditions". Contributions to Indian Sociology 52, nr 1 (26.12.2017): 1–27. http://dx.doi.org/10.1177/0069966717742223.
Pełny tekst źródłaStreszczenie:
The social worlds that dalit Muslims in North India daily negotiate are pervaded by contradictions between caste practices and Islamic ethics. Dalit Muslims engaged in manual scavenging and related forms of sanitation labour experience these contradictions acutely in the distinctive spatial and affective conditions of this labour, which I characterise as ‘intimate untouchability’. Grounded in historical and ethnographic research in eastern Uttar Pradesh and Bihar, this article demonstrates how dalit Muslims use narratives mobilising the genealogical and ethical concept of the Halalkhor—a caste label that also denotes ‘one who earns an honest living’—to critique their higher status co-religionists and to engender a more egalitarian Islamic community. The category of the Halalkhor is tracked in the historical record and in its deployment in dalit Muslim oral traditions about the origin of the community and its association with sanitation work.