3,999 research outputs found

    Southern Adventist University Undergraduate Catalog 2023-2024

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    Southern Adventist University\u27s undergraduate catalog for the academic year 2023-2024.https://knowledge.e.southern.edu/undergrad_catalog/1123/thumbnail.jp

    The correlation between static and dynamic facial dysmorphology in unilateral cleft lip and palate (UCLP)

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    Objective – The objective of this study was to assess the correlation between static (3D) facial dysmorphology at both rest and maximum smile and dynamic (4D) facial dysmorphology as represented by the frame of maximum asymmetry during a maximum smile in unilateral cleft lip and palate (UCLP). When maximum asymmetry occurs during a maximum smile was also analysed. Design and setting – This study was designed as a retrospective cross-sectional study utilising quantitative methodology to assess a cohort of patients with a diagnosis of non-syndromic unilateral cleft lip and palate (UCLP). Patients had 4D imaging carried out at Glasgow Dental Hospital and School for audit purposes and as part of their routine care by the local cleft team working under the Managed Clinical Network (MCN) Cleft Care Scotland. Materials and Methods – Thirty-one (31) patients between the ages of 13 to 17 years old with a diagnosis of non-syndromic unilateral cleft lip and palate (UCLP) had 4D images based on passive stereophotogrammetry captured at 60 frames per second (fps). Each patient was captured performing a maximum smile three times over a three second window. Data processing involved the conformation of a generic mesh containing over 7000 vertices or quasi-landmarks to the facial surface before tracking all the vertices during the facial expression. Partial ordinary Procrustes analysis was utilised to calculate an asymmetry score for each frame during the expression. The rest frame (3D), frame of maximum smile (3D), and frame of maximum asymmetry (4D) were used to determine the correlation between static and dynamic facial dysmorphology. Results – Asymmetry scores were higher at maximum smile than at rest and maximum asymmetry was most frequently observed during the relaxation phase following a maximum facial expression (N=27/31; 87.1%). Asymmetry scores for maximum smile were less than but comparable to maximum asymmetry scores. Static (3D) asymmetry at rest and maximum smile was strongly correlated to dynamic (4D) facial asymmetry represented by the frame of maximum asymmetry during a maximum smile. The strongest correlation was seen with analysis using the frame of maximum smile focussing on the nasolabial region. Conclusions – The use of 4D imaging combined with mesh conformation and dense correspondence analysis provides a valid objective measure of facial asymmetry. The fact that asymmetry scores for maximum smile were less than but comparable to maximum asymmetry scores highlights that assessment of facial asymmetry at maximum smile is still a valid assessment of facial dysmorphology despite not depicting the full extent of the asymmetry. Static (3D) asymmetry at rest and maximum smile is strongly correlated to; and likely highly predictive of, dynamic (4D) facial asymmetry represented by the frame of maximum asymmetry during a maximum smile. The strongest correlation is seen with analysis using the frame of maximum smile focussing on the nasolabial region. Future research could use linear regression modelling to predict dynamic (4D) asymmetry scores using static (3D) images

    Planetary Hinterlands:Extraction, Abandonment and Care

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    This open access book considers the concept of the hinterland as a crucial tool for understanding the global and planetary present as a time defined by the lasting legacies of colonialism, increasing labor precarity under late capitalist regimes, and looming climate disasters. Traditionally seen to serve a (colonial) port or market town, the hinterland here becomes a lens to attend to the times and spaces shaped and experienced across the received categories of the urban, rural, wilderness or nature. In straddling these categories, the concept of the hinterland foregrounds the human and more-than-human lively processes and forms of care that go on even in sites defined by capitalist extraction and political abandonment. Bringing together scholars from the humanities and social sciences, the book rethinks hinterland materialities, affectivities, and ecologies across places and cultural imaginations, Global North and South, urban and rural, and land and water

    Choreographing tragedy into the twenty-first century

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    What makes a tragedy? In the fifth century BCE this question found an answer through the conjoined forms of song and dance. Since the mid-twentieth century, and the work of the Tanztheater Wuppertal Pina Bausch, tragedy has been variously articulated as form coming apart at the seams. This thesis approaches tragedy through the work of five major choreographers and a director who each, in some way, turn back to Bausch. After exploring the Tanztheater Wuppertal’s techniques for choreographing tragedy in chapter one, I dedicate a chapter each to Dimitris Papaioannou, Akram Khan, Trajal Harrell, Ivo van Hove with Wim Vandekeybus, and Gisèle Vienne. Bringing together work in Queer and Trans* studies, Performance studies, Classics, Dance, and Classical Reception studies I work towards an understanding of the ways in which these choreographers articulate tragedy through embodiment and relation. I consider how tragedy transforms into the twenty-first century, how it shapes what it might mean to live and die with(out) one another. This includes tragic acts of mythic construction, attempts to describe a sense of the world as it collapses, colonial claims to ownership over the earth, and decolonial moves to enact new ways of being human. By developing an expanded sense of both choreography and the tragic one of my main contributions is a re-theorisation of tragedy that brings together two major pre-existing schools, to understand tragedy not as an event, but as a process. Under these conditions, and the shifting conditions of the world around us, I argue that the choreography of tragedy has and might continue to allow us to think about, name, and embody ourselves outside of the ongoing catastrophes we face

    Fictocritical Cyberfeminism: A Paralogical Model for Post-Internet Communication

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    This dissertation positions the understudied and experimental writing practice of fictocriticism as an analog for the convergent and indeterminate nature of “post-Internet” communication as well a cyberfeminist technology for interfering and in-tervening in metanarratives of technoscience and technocapitalism that structure contemporary media. Significant theoretical valences are established between twen-tieth century literary works of fictocriticism and the hybrid and ephemeral modes of writing endemic to emergent, twenty-first century forms of networked communica-tion such as social media. Through a critical theoretical understanding of paralogy, or that countercultural logic of deploying language outside legitimate discourses, in-volving various tactics of multivocity, mimesis and metagraphy, fictocriticism is ex-plored as a self-referencing linguistic machine which exists intentionally to occupy those liminal territories “somewhere in among/between criticism, autobiography and fiction” (Hunter qtd. in Kerr 1996). Additionally, as a writing practice that orig-inated in Canada and yet remains marginal to national and international literary scholarship, this dissertation elevates the origins and ongoing relevance of fictocriti-cism by mapping its shared aims and concerns onto proximal discourses of post-structuralism, cyberfeminism, network ecology, media art, the avant-garde, glitch feminism, and radical self-authorship in online environments. Theorized in such a matrix, I argue that fictocriticism represents a capacious framework for writing and reading media that embodies the self-reflexive politics of second-order cybernetic theory while disrupting the rhetoric of technoscientific and neoliberal economic forc-es with speech acts of calculated incoherence. Additionally, through the inclusion of my own fictocritical writing as works of research-creation that interpolate the more traditional chapters and subchapters, I theorize and demonstrate praxis of this dis-tinctively indeterminate form of criticism to empirically and meaningfully juxtapose different modes of knowing and speaking about entangled matters of language, bod-ies, and technologies. In its conclusion, this dissertation contends that the “creative paranoia” engendered by fictocritical cyberfeminism in both print and digital media environments offers a pathway towards a more paralogical media literacy that can transform the terms and expectations of our future media ecology

    2023-2024 Catalog

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    The 2023-2024 Governors State University Undergraduate and Graduate Catalog is a comprehensive listing of current information regarding:Degree RequirementsCourse OfferingsUndergraduate and Graduate Rules and Regulation

    Supporting Safety Analysis of Deep Neural Networks with Automated Debugging and Repair

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    Under construction: infrastructure and modern fiction

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    In this dissertation, I argue that infrastructural development, with its technological promises but widening geographic disparities and social and environmental consequences, informs both the narrative content and aesthetic forms of modernist and contemporary Anglophone fiction. Despite its prevalent material forms—roads, rails, pipes, and wires—infrastructure poses particular formal and narrative problems, often receding into the background as mere setting. To address how literary fiction theorizes the experience of infrastructure requires reading “infrastructurally”: that is, paying attention to the seemingly mundane interactions between characters and their built environments. The writers central to this project—James Joyce, William Faulkner, Karen Tei Yamashita, and Mohsin Hamid—take up the representational challenges posed by infrastructure by bringing transit networks, sanitation systems, and electrical grids and the histories of their development and use into the foreground. These writers call attention to the political dimensions of built environments, revealing the ways infrastructures produce, reinforce, and perpetuate racial and socioeconomic fault lines. They also attempt to formalize the material relations of power inscribed by and within infrastructure; the novel itself becomes an imaginary counterpart to the technologies of infrastructure, a form that shapes and constrains what types of social action and affiliation are possible

    Subtitling Francophone World Cinema: Narratives of Identity, Alterity and Power in Audiovisual Translation

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    Cinematic representations of multilingualism raise questions about communication and mutual understanding not only between characters in films but also between films and their audiences, for whom it is typically necessary to facilitate access to foreign dialogues through different forms of translation. Where languages are pitted against one another, however, or juxtaposed in ways that serve to reveal and explore tensions and hierarchies between different linguistic, cultural and social groups, translation becomes entangled in issues of identity, alterity and power. This thesis untangles and explores these complex interactions between languages and translation as they arise in the practice of subtitling. Specifically, it asks questions about how subtitling can play an active part in the shaping of identity by mediating differences between the local, the national and the global, and how subtitles intersect with the relations of power that exist between different cultures. In turn, the thesis exposes the semiotic and narrative dynamics that subtitles add to films and considers the implications of these findings for the ways we think of audiovisual translation and of its relationship with creative processes and accessibility practices. These questions are considered in the context of multilingualism, not only because issues of language, identity and power relations are inextricably involved in discussions thereof, but because multilingualism is an increasingly common experience for many subtitlers and film audiences alike. This is particularly true of francophone world cinema, from whose corpus the thesis analyses six films across three case studies: Bienvenue chez les Ch’tis (Dany Boon 2008), L’esquive (Abdellatif Kechiche 2003), Inch’Allah dimanche (Yamina Benguigui 2001), Dheepan (Jacques Audiard 2015), Le grand voyage (Ismaël Ferroukhi 2004) and Exils (Tony Gatlif 2004). Methodologically, the thesis combines semiotic, narrative, and linguistic analysis of the subtitled audiovisual texts, drawing on a range of perspectives within Audiovisual Translation Studies, Postcolonial Translation Studies, Film Studies, French and Francophone Studies and Cultural Studies
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