COMPARISON OF LANGUAGE SUBSET AND LANGUAGE EXTENSION BY SAFE RELATED INFORMATION APPROACH TO SAFE SYSTEM DEVELOPMENT

Presented contribution is dedicated to discussion of two different approaches into increase of programming language safety. They are language subset and extension of original safety mechanisms. As examples we used MISRA C/C++ subset and SPARK language builded on the base of ADA language. In the last chapters we discuss novel approaches based on application of programmable hardware which is described in VHDL language, which is also modification of ADA language. Especially SPARK and VHDL languages represents novel approaches to safe system development which are now discussed in relation to new Railway SW projects

When Opportunity Moves Off-Shore: Multiculturalism and the French Banlieue

Since the turn of this new century, problems of culture and difference, diversity and multiculturalism, have made their way into public discourse in France. Across a dizzying array of polemics that includes social unrest in the country\u27s disadvantaged suburbs, the rise of the National Front, post-colonial recriminations, and more, voices are being raised in favor of a more overt form of multiculturalist discourse as a means to think through contemporary social issues in relation to notions of race, identity, and discrimination. The integrationist French republican project, wherein racial or ethnic classifications are eschewed on the grounds that they enclose people into essentialist categories, is being outshined, some proclaim, by a more American-style focus on \u27identity,\u27 that shows up the gaps in French universalist claims. In this paper I consider the dualities expressed in this contrast as a means to inquire into the broader implications of multicultural discourse. Drawing on ethnographic research conducted in suburbs to the north and west of Paris, I push against tendencies to take these emergent identity claims at face value, to reflect rather on the interests they serve and the tensions they mediate. Situating these phenomena within the context of a globalizing economy, I argue that these trends need to be seen as efforts to grasp at readily comprehensible sources of inequality at a moment when opportunity has moved off-shore, altering the meaning of local life and politics, and diffusing the promise of social integration upon which the French republican contract depends

Design patterns for teaching type checking in a compiler construction course

A course in compiler construction seeks to develop an understanding of well-defined fundamental theory and typically involves the production of a language processor. In a graduate degree in software engineering, the development of a compiler contributes significantly to the developer's comprehension of the practical application of theoretical concepts. Different formal notations are commonly used to define type systems, and some of them are used to teach the semantic analysis phase of language processing. In the traditional approach, attribute grammars are probably the most widely used ones. This paper shows how object-oriented design patterns represented in unified modeling language (UML) can be used to both teach type systems and develop the semantic analysis phase of a compiler. The main benefit of this approach is two-fold: better comprehension of theoretical concepts because of the use of notations known by the students (UML diagrams), and improvement of software engineering skills for the development of a complete language processor

Shirley Jackson's House trilogy : domestic gothic and postwar architectural culture

Shirley Jackson’s House Trilogy: Domestic Gothic and Postwar Architectural Culture traite de la série de romans gothiques écrits par Shirley Jackson entre 1957 et 1962, de The Sundial à The Haunting of Hill House en passant par We Have Always Lived in the Castle. L’ouvrage situe son rapport au style gothique domestique dans le contexte du discours contemporain sur l’architecture et les formes de l’après-guerre. En particulier, cette étude fait valoir que sa trilogie « House » est une véritable intervention dans l’histoire de l’architecture et le discours domestique, Shirley Jackson utilisant une poétique gothique de l’espace pour évoquer la répétition spectrale des structures de pouvoir et de l’imaginaire idéologique liés à l’architecture. Grâce à son symbolisme architectural approfondi, elle explore la maison américaine et ses racines à travers les mythes et croyances les plus tenaces et les plus discordants du pays, suggérant que la maison elle-même, à la fois structure physique et symbole structurel, est un « fantôme » sociologique qui hante le projet domestique américain. L’auteure nous rappelle que l’architecture et la culture domestiques ne sont jamais neutres et que, bien plus qu’on ne l’a reconnu, sa fiction met en lumière les caractéristiques particulières des formes, des mouvements, des guerres de style et des discours architecturaux ayant activement contribué aux structures culturelles des genres, des classes et des races en Amérique. La carrière de Shirley Jackson, qui s’inscrit dans les deux décennies suivant la Seconde Guerre mondiale, coïncide avec le plus grand boom immobilier de l’histoire américaine, ainsi qu’avec l’une des périodes les plus expérimentales et les plus fébriles de l’architecture américaine. Pourtant, malgré les belles promesses et visions utopiques de cette époque, son architecture et sa culture domestique ont plutôt eu tendance à reproduire les structures de pouvoir oppressives du passé, qu’il s’agisse des normes de genre étouffantes de la maison familiale des années 1950 ou de la ségrégation dans les banlieues. Les maisons de madame Jackson se veulent des allégories gothiques de ce milieu et de sa structure temporelle « fantomatique », marquées par la routine et les revirements angoissants. Chacune des maisons de sa trilogie témoigne de ce que l’on pourrait appeler une « historicité hybride », évoluant à la fois vers le passé et vers l’avenir à travers l’architecture et le discours domestique américains. Dans les manoirs des années glorieuses et les constructions gothiques victoriennes de ses romans, l’auteure satirise l’architecture d’après-guerre et son futur nostalgique, suggérant que les maisons du présent restent hantées par les fantômes du passé. Contrairement à l’architecture de son époque, qui prétendait avoir banni ces fantômes, Shirley Jackson ne cherche pas à échapper aussi facilement aux spectres de l’histoire américaine et de l’assujettissement qui s’y rattache. Plutôt, elle entreprend de les affronter. Pour ce faire, elle pénètre dans la « maison hantée » de l’architecture et de la domesticité américaine : elle l’explore, l’examine, l’interroge et, finalement, la brûle, la met en pièces et la reconstruit.Shirley Jackson’s House Trilogy: Domestic Gothic and Postwar Architectural Culture considers Shirley Jackson’s suite of gothic novels written between 1957 and 1962, from The Sundial to The Haunting of Hill House to We Have Always Lived in the Castle. It places her treatment of the Domestic Gothic alongside the actual architecture and design discourse of her postwar moment. In particular, it argues that her House Trilogy constitutes an intervention within architectural history and domestic discourse, with Jackson using a gothic poetics of space to suggest the spectral repetition of architecture’s structures of power and ideological imaginary. Through her extensive architectural symbolism, she probes the American house and its roots within the country’s most abiding myths and divisive beliefs, suggesting that the house itself, as both a physical structure and structuring symbol, is a sociological “ghost” that haunts the American domestic project. Jackson reminds us that domestic architecture and culture are never neutral and that, much more so than has been acknowledged, her fiction excavates the specific design features, movements, style wars, and architectural discourses which actively participated in the cultural constructions of gender, class, and race in America. Her writing career — from her first major publication in 1943 to her untimely death in 1965 — coincides with the largest housing boom in American history, as well as one of the most experimental and anxious periods in American architecture. And yet despite the era’s broad promises and utopian visions, its architecture and domestic culture tended to reproduce the oppressive power structures of the past, from the stifling gender norms of the 1950s family home to the segregated suburb. Jackson’s houses are gothic allegories of this milieu and its “ghostly” time structure of uncanny repetition and return. Each of the houses in her trilogy exhibits what might be called a “hybrid historicity,” gesturing at once backwards and forwards through American architecture and domestic discourse. Inside the Gilded Age mansions and Victorian Gothic piles of her novels, Jackson satirizes postwar architecture and its nostalgic futures, suggesting how the houses of the present remain haunted by the ghosts of the past. Unlike the architecture of her time, which claimed to have banished these ghosts, Jackson does not seek to escape the spectres of American history and subjecthood so easily. Instead, she endeavours to face them. In order to do so, she enters the “haunted house” of American architecture and domesticity itself — exploring it, examining it, interrogating it, and, eventually, burning it down, tearing it apart, and remaking it

Central Florida Future, Vol. 28 No. 22, November 7, 1995

Coolio and Tommy Davidson rock an enthusiastic crowd at the Arena; Skit night packs them in; Removed art draws strong response.https://stars.library.ucf.edu/centralfloridafuture/2334/thumbnail.jp