The function of imagery in Antony and Cleopatra

The modern scholar attempting any detailed analysis of imagery in the poetry of Shakespeare may well proceed with caution. The lack of a clear and definite statement of terms, the unwillingness to come first to grips with the problem of definition before proceeding with that of analysis may produce pitfalls for the unwary; and although modern studies - especially those of Miss Caroline Spurgeon and her followers - have cast much light upon Shakespeare’s use of imagery, they do not altogether escape the charge of carelessness. Much work remains to be donel and the need for a reconsideration of the work already accomplished, together with a careful re-analysis of the function of imagery in the text of Shakespeare itself, is unquestionable. Herein, then, we have the purpose as well as the justification of the present study. The method of the study will involve: (A) the careful counting and listing of all the images in a mature Shakespearean tragedy; and, (B) the classification of these images according to what appears to be their technical function in the drama itself

Effects of clumped resources on den use by male raccoons at Baskett Wildlife Area

Abstract only availableThe objective of this study is to determine the effects of an experimentally manipulated clumped resource on den use by male raccoons. Male raccoons typically exhibit solitary foraging strategies and den selection. Telemetry was used to locate den sites for eight radio-collared male raccoons distributed across two study sites. Baskett Wildlife Area was divided into an experimental site (North Baskett) containing a centralized food plot, and a control site (South Baskett) without a centralized food plot. GIS computer software was used plot, analyze and compare potential differences in den site use between the experimental and control sites. Data was collected 4-5 consecutive days per week over a two month period between June 1, 2008 and July 31, 2008.NSF Undergraduate Mentoring in Environmental Biolog

The Legacy of Space Shuttle Flight Software

The initial goals of the Space Shuttle Program required that the avionics and software systems blaze new trails in advancing avionics system technology. Many of the requirements placed on avionics and software were accomplished for the first time on this program. Examples include comprehensive digital fly-by-wire technology, use of a digital databus for flight critical functions, fail operational/fail safe requirements, complex automated redundancy management, and the use of a high-order software language for flight software development. In order to meet the operational and safety goals of the program, the Space Shuttle software had to be extremely high quality, reliable, robust, reconfigurable and maintainable. To achieve this, the software development team evolved a software process focused on continuous process improvement and defect elimination that consistently produced highly predictable and top quality results, providing software managers the confidence needed to sign each Certificate of Flight Readiness (COFR). This process, which has been appraised at Capability Maturity Model (CMM)/Capability Maturity Model Integration (CMMI) Level 5, has resulted in one of the lowest software defect rates in the industry. This paper will present an overview of the evolution of the Primary Avionics Software System (PASS) project and processes over thirty years, an argument for strong statistical control of software processes with examples, an overview of the success story for identifying and driving out errors before flight, a case study of the few significant software issues and how they were either identified before flight or slipped through the process onto a flight vehicle, and identification of the valuable lessons learned over the life of the project

The function of imagery in Antony and Cleopatra

The modern scholar attempting any detailed analysis of imagery in the poetry of Shakespeare may well proceed with caution. The lack of a clear and definite statement of terms, the unwillingness to come first to grips with the problem of definition before proceeding with that of analysis may produce pitfalls for the unwary; and although modern studies - especially those of Miss Caroline Spurgeon and her followers - have cast much light upon Shakespeare’s use of imagery, they do not altogether escape the charge of carelessness. Much work remains to be donel and the need for a reconsideration of the work already accomplished, together with a careful re-analysis of the function of imagery in the text of Shakespeare itself, is unquestionable. Herein, then, we have the purpose as well as the justification of the present study. The method of the study will involve: (A) the careful counting and listing of all the images in a mature Shakespearean tragedy; and, (B) the classification of these images according to what appears to be their technical function in the drama itself