Scientists in the MIST: Simplifying Interface Design for End Users

We are building a Malleable Interactive Software Toolkit (MIST), a tool set and infrastructure to simplify the design and construction of dynamically-reconfigurable (malleable) interactive software. Malleable software offers the end-user powerful tools to reshape their interactive environment on the fly. We aim to make the construction of such software straightforward, and to make reconfiguration of the resulting systems approachable and manageable to an educated, but non-specialist, user. To do so, we draw on a diverse body of existing research on alternative approaches to user interface (UI) and interactive software construction, including declarative UI languages, constraint-based programming and UI management, reflection and data-driven programming, and visual programming techniques

Hello Work, Sayonara "Koyō"? : Less Secure Employment and the "Zeitgeist" of Japan\u27s Lost Decade

Globalization, Localization, and Japanese Studies in the Asia-Pacific Region : Past, Present, Future, シンガポール Orchard Parade Hotel, 2004年10月28日-31

With All Eyes on You: Distantiation Through Multiple Perspectives in As I Lay Dying

In the novel As I Lay Dying William Faulkner portrays the Bundrens, a Southern family that has decided to travel to Jefferson, Mississippi in order to bury their matriarch. The novel gives an account of the modern American family on the verge of collapse and is told from the eyes of fifteen different narrators, seven are the Bundrens while the other eight are made up of citizens from either the rural land or city. Although novel centers on the Bundrens, the majority of the chapters are allotted to non-Bundren narrators. One of the main purposes of emphasizing non-family narrators is to create what this paper refers to as distantiation- a distancing effect, which illuminates how different forms of space, whether they are geographical, social, or personal, play into lives of individuals. Through an examination of the characters in the novel, this paper considers how, through the different forms of distantiation used by both Faulkner, and the characters he creates, it becomes possible to see how the Bundrens self-destruc

tert-Butyl 6-methyl-2-oxo-4-[4-(trifluoro­meth­oxy)anilino]cyclo­hex-3-ene-1-carboxyl­ate

In the title compound, C19H22F3NO4, the dihedral angle between the benzene ring and the conjugated part of the enaminone ring is 42.5 (1)°. The ester substituent makes a dihedral angle of 81.3 (2)° with this latter moiety. The crystal structure is held together by strong N—H⋯O and weak C—H⋯O inter­molecular inter­actions. The enaminone ring is disordered over two orientations with relative occupancies of 0.794 (4) and 0.206 (4)

Rethinking King Cotton: George W. Lee, Zora Neale Hurston, and Global/Local Revisions of the South and the Nation

In the 1930s and 1940s, Zora Neale Hurston and George W. Lee tell compelling and competing stories of the "Negro" in agriculture. To be sure, each narrates "impressive achievements" as well as "great misery and need." Lee's River George (1937) describes the record-setting cotton crop that protagonist Aaron George produces when he returns to his late father's shares, for example, while Hurston's novels and stories present black communities that, despite the racist and classist pogrom of early twentieth-century agriculture, affirm and sustain its members. At the same time, each narrates "great misery and need": River George ends in Aaron's graphic lynching, while Hurston's work tends toward wholesale African American rejection of American agriculture: as she asks in Dust Tracks on a Road (1942), "Why must I chop cotton at all?" (345). What's more, their works defy the relegation of "the status of the Negro farmer" within a regional or national circuit, for they contest American agriculture as solely national or local and instead acknowledge its global dimensions. While Aaron does not recognize that he is victim of the plantation, a transnational system far greater than he and fundamental in refusing him agency or equity, Hurston's works embrace global consciousness, repudiating emplacement in and fealty to a world order that denies her characters autonomy and equity