290 research outputs found
Knowledge Type Identification in API Documentation
No full text<p>This release contains the source code and instruction on how to obtain the dataset to reproduce the results presented in the following paper</p>
<pre><code>@inproceedings{FMM19,
title={On Using Machine Learning to Identify Knowledge in API Reference Documentation},
author={Fucci, Davide and M. Alizadeh B., Alireza and Maalej, Walid},
booktitle={27th ACM Joint European Software Engineering Conference and Symposium on the Foundations of Software Engineering},
pages={103--112},
year={2019},
doi={10.1145/3338906.3338943}
organization={IEEE}
}
</code></pre>
The formation of the classical tafsīr tradition : the Qurʼān commentary of al-Thaʻlabī (d. 427/1035) by Walid A. Saleh.
No full text"This work is both an introduction to the genre of classical tafsir and a detailed study of one of its major architects, al-Thalabi (d. 427/1035). The book offers a detailed study of the hermeneutical principles that governed al-Thalabi's approach to the Quran, principles which became the norm in later exegetical works. It is divided into three main sections: the first outlines the life and times of the author; the second is a detailed study of his major exegetical work, al-Kashf; the third charts a brief history of the genre of tafsir through documenting the reactions of later exegetes to al-Kashf. This work brings together material never examined before and tries to offer anew way of understanding the history of classical Quran exegesis."--Jacket.Includes bibliographical references (pages 251-259) and indexes."This work is both an introduction to the genre of classical tafsir and a detailed study of one of its major architects, al-Thalabi (d. 427/1035). The book offers a detailed study of the hermeneutical principles that governed al-Thalabi's approach to the Quran, principles which became the norm in later exegetical works. It is divided into three main sections: the first outlines the life and times of the author; the second is a detailed study of his major exegetical work, al-Kashf; the third charts a brief history of the genre of tafsir through documenting the reactions of later exegetes to al-Kashf. This work brings together material never examined before and tries to offer anew way of understanding the history of classical Quran exegesis."--Jacket
Exploring Author Context for Detecting Intended vs Perceived Sarcasm
No full textWe investigate the impact of using author context on textual sarcasm detection. We define author context as the embedded representation of their historical posts on Twitter and suggest neural models that extract these representations. We experiment with two tweet datasets, one labelled manually for sarcasm, and the other via tag-based distant supervision. We achieve state-of-the-art performance on the second dataset, but not on the one labelled manually, indicating a difference between intended sarcasm, captured by distant supervision, and perceived sarcasm, captured by manual labelling.<br/
Exploring Author Context for Detecting Intended vs Perceived Sarcasm
No full textWe investigate the impact of using author context on textual sarcasm detection. We define author context as the embedded representation of their historical posts on Twitter and suggest neural models that extract these representations. We experiment with two tweet datasets, one labelled manually for sarcasm, and the other via tag-based distant supervision. We achieve state-of-the-art performance on the second dataset, but not on the one labelled manually, indicating a difference between intended sarcasm, captured by distant supervision, and perceived sarcasm, captured by manual labelling.<br/
Flaubert lecteur de l'Histoire naturelle de Pline
No full textThis article questions the relationship between flaubertian writing and the latin text that represents one of the major sources of Salammbo’s composition. It intends more specifically to examine the way in which the details taken from Pliny’s Natural History and which were diversely used by Flaubert during the composition of the “ roman carthaginois” were processed. In fact, various methods and techniques were implemented in the genesis : – combining data stemming from the author''s reading with issues of his own experience – condensating data – deliberately pursuing strangeness and seeking inaccuracy – description serving narration. With Flaubert, the ancient works lose their exemplary nature and become sources of documentation and the Ancients cease being the ideals they were during the renaissance and the classical periods. Analyzing these methods and processes can bring us to reflect on the poetic aspect of Flaubert’s writing largely based on documentation.Cet article s’interroge sur la relation qu’entretient l’écriture flaubertienne avec le texte latin et qui constitue l’un des ressorts clefs de la composition de Salammbô : il se propose plus précisément d’examiner la façon dont sont transformés les détails empruntés à l’Histoire naturelle de Pline, et qui sont diversement exploités par Flaubert pendant la composition du roman carthaginois. En effet, différentes méthodes et techniques sont utilisées au cours de la genèse de l’oeuvre : combinaison entre des données tirées des lectures de l’auteur et d’autres provenant de son expérience propre, condensation de données, recherche de l’étrangeté, imprécision volontaire, description au service de la narration. Avec Flaubert, les ouvrages anciens perdent leur exemplarité pour devenir sources de documentation et les Anciens cessent d’être des modèles comme ils l’étaient à la Renaissance et à l’époque classique. L’analyse de ces méthodes et procédés peut nous amener à réfléchir sur la poétique d''une écriture flaubertienne fondée en grande partie sur la documentation.Ezzine Walid. Flaubert lecteur de l'Histoire naturelle de Pline. In: Ktèma : civilisations de l'Orient, de la Grèce et de Rome antiques, N°35, 2010. pp. 393-401
Art and political dissent in postwar Lebanon: Walid Sadek's fi annani akbar min bikasu [bigger than picasso]
No full textTaking Walid Sadek's fi annani akbar min bikasu [bigger than picasso] as its starting point, this article examines relations of art and politics in post-civil war Lebanon. A tiny and inexpensive paperback related to Picasso unfolds into a work of art that raises questions about the place of art and political dissent. After situating bigger than picasso in the context of contemporary book art and artistic practices of the postwar generation in Lebanon, the article focuses on the juxtaposition of text and image. By placing narratives of art vandalism next to the image of a monument dedicated to the late Syrian President Hafiz al-Asad, bigger than picasso playfully and provocatively breaks with political taboos at a time when the silence about the Lebanese Civil War (1975-90) and about Lebanese-Syrian relations was met with increasing anxiety. At the same time, the work makes room for aesthetic inquiries, exploring new possibilities of art at the margins of cultural production. The article concludes that bigger than picasso brings to the fore the discrepancy between public monumentality and artistic practices, which in finding ways around political violence and censorship have recourse to ephemeral and private spheres, and holds unexpected meanings in ever-changing political circumstances. 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J., 2006, ARTFORUM, V45, P235; Donati Caroline, 2005, EXCEPTION SYRIENNE E, P109; Drucker Johanna, 2004, CENTURY ARTISTS BOOK, pxii; Enwezor Okwui, 2008, ARCH FEVER USES DOCU; Fani Michel, 1998, DICT PEINTURE LIBAN, P237; Fattouh Mayysa, 2012, FILLIP, V17, p[56, 151]; Gamboni, DESTRUCTION ART, P255; Gamboni Dario, 1997, DESTRUCTION ART, P3; Gamboni Dario, 1997, DESTRUCTION ART ICON, P25; George Alan, 2003, SYRIA NEITHER BREAD; Ghalioun Burhan, 2002, CONFLUENCES MEDITER, V44; Gonzales Yves, ART SANS FRONTIERS A; Hanf Theodor, COEXISTENCE WARTIME, p[210, 231, 237]; Haugbolle Sune, 2010, WAR MEMORY LEBANON, P64, DOI 10.1017-CBO9780511676598.006; Heffernan J. A. W., 1993, MUSEUM WORDS POETICS, P3; Hubert Judd D., 1999, CUTTING EDGE READING, P8; Husein Ali Zahra A., 2010, CRITICISM, V51, P589; Husni Ronak, 2012, BRISMES ANN C LSE 26; Husni Ronak, 1995, BRIT J MIDDLE E STUD, V22, P81, DOI 10.1080-13530199508705613; Kassir Samir, 1994, GUERRE LIBAN DISSENS, P218; Larkin Craig, 2012, MEMORY CONFLICT LEBA; Lavin Marylin Aronberg, 1992, PIERO FRANCESCA; Leenders Reinoud, 2012, SPOILS TRUTH CORRUPT; Ma'oz Moshe, 1988, ASAD SPHINX DAMASCU, P42; Maasri Zeina, 2009, WALL POLITICAL POSTE, P46; MacFarquhar Neil, 2011, NY TIMES; Makarem Amal, 2002, MEMOIRE AVENIR DHAKI; Makiya Kanan, 1991, DESTRUCTION ART, P107; Makram-Ebeid Hoda, 2012, CORPS DECOUVERT; Mandelbaum Jacques, 2012, MONDE; Marston Speight R., 1973, INT J MIDDLE E STUD, V4, P178, DOI 10.1017-S0020743800027434; Mejcher-Atassi S, 2012, ART HIST, V35, P816, DOI 10.1111-j.1467-8365.2012.00901.x; Mejcher-Atassi S, 2012, ARCHIVES, MUSEUMS AND COLLECTING PRACTICES IN THE MODERN ARAB WORLD, P1; Merewether Charles, 2006, ARCH DOCUMENTS CONT; Mitchell Timothy, COLONISING EGYPT, P33; Mitchell W. J. T., 1994, PICTURE THEORY ESSAY, P151; Mitchell W. J. T., 2005, WHAT DO PICTURES WAN, P18; Naef Silvia, 1995, IMAGE MONDE ARABE, P139; Naef Silvia, 1992, ART ECRITURE ARABE P; Naef Silvia, 1996, RECHERCHE MODERNITE, P111; Perrigaud Martha, 1983, J PALESTINE STUD, V12, P3; Picard Elizabeth, 1993, DAMAS MIROIR BRISE O, P146; Porter Venetia, 1996, WORD ART ARTISTS MOD; Porter Venetia, 2008, WORKD ART ARTISTS MO; Raad Walid, 2007, ATLAS GROUP, V3, P9; Raad Walid, 2006, ARTFORUM, V45, P244; Raphael Gaelle, 2011, JADALIYYA 0502; Reid D. M., 2002, WHOSE PHARAOHS ARCHA; Rogers, 2010, ARAB STUDIES Q, V18, P118; Rogers S, 2007, ART J, V66, P8; Rubin James H., 1997, COURBET, P4; Sadek Walid, 1999, FI ANNANI AKBAR MIN; Sadek Walid, 2001, AL ADAB, V49, P112; Saleebi Sameer, 1986, KHALIL SALEEBI; Salti Rasha, 2006, INSIGHTS SYRIAN CINE, P182; Salti Rasha, 2006, INSIGHTS SYRIAN CINE, P95; Scheid Kirsten, 2010, INT J MIDDLE E STUD; Schwedler Jilian, 2010, POLICING PRISONS MID, P223; Seale Patrick, 1988, ASAD STRUGGLE MIDDLE, P267; Stewart Susan, 1993, LONGING NARRATIVES M, P171; Strachan W. J., 1969, ARTIST BOOK FRANCE 2; Tabler Andrew, 2011, LIONS DEN EYEWITNES; The British Lebanese Association, 1989, LEB ART VIEW 200 YEA, P157; Turk Riad, 2000, MONDE; Vernay-Nouri Annie, 2002, ART LIVRE ARABE MANU, P177; Volk Lucia, 2010, MEMORIALS MARTYRS MO; Wedeen Lisa, AMBIGUITIES DOMINATI, P1; Wilson-Goldie Kaelen, 2010, ARTFORUM, V48, P270; Winegar J, 2008, ANTHROPOL QUART, V81, P651; Yaqoob Tahira, 2013, NATIONAL 03070
Book review: shadows of the holy land - Fred Halliday reviews more chapters in a long saga
No full textAuthor reviews: Nicholas Bethell, "The Palestine triangle"; Nathan Weinstock, "Zionism: false Messiah"; Jacob Landau, "Abdul-Hamid's Palestine"; I.F. Stone, "Underground to Palestine"; Walid Kazzila, "Palestine in the Arab dilemma"; Molly Izzard, "The Gulf
Second ever reported case of central cause of unilateral foot drop due to cervical disc herniation : Case report and review of literature
No full textBackground: Foot drop is defined as a weakness in the ankle and foot dorsiflexors. A disruption of the neural pathway starting from the motor prefrontal cortex and ending in the peroneal nerve can lead to foot drop. Foot drop due to lower motor neuron injury is well documented. However, foot drop due to a central cause of cervical disc prolapse is very rare. Case presentation: A 55-year-old male presenting with neck pain, right and left arms radicular pain and numbness, and unilateral right foot drop following cervical disc prolapse. The patient presented with upper motor neuron lesion signs. MRI showed cervical disc prolapse at two levels, confirming central cause of foot drop. The patient underwent anterior cervical decompression and fusion surgery. Discussion: Following decompression and fusion of involved cervical spine disc pathology, the patient had complete recovery of his right foot drop. Conclusions: Central causes, although rare, should be considered in the differential diagnosis of foot drop. Causes could be due to the compression effect of the cortico-spinal tract of the cervical spinal cord. Satisfactory results can be achieved upon correcting the causative lesion. CC BY 4.0© 2021 The Author(s)Guarantor Prof Dr. Walid El Ansari: [email protected]</p
Capacity Management and ITIL in datacenter services
No full textThis thesis deals with the process of Capacity Management. The main objective of the process is to ensure sufficient capacity of existing infrastructure to support daily business operations and projections of future capacity based on the requirements of the business. In the first part the author focuses on the basic performance characteristics of the Capacity Management coming within the Information Technology Infrastructure Library (ITIL). Also, the author analyzes the process of Capacity Management in an unnamed company and compares it with the best practices of ITIL. The second part is derived from the first, where the author discusses the Business Capacity Management and management of the capacity of IS/ICT. The last part of thesis is about Cloud Computing technologies from the Capacity Management point of view, as well as the introduction of such technologies in selected company. Each part consists of both theoretical backgrounds from diverse sources, as well as practical experience of the author
Obtuse, Flitting by, and Nevertheless There – Image Archives in Practice
No full textOver the past thirty years, the status of the archive as well as the state of what we call “documentary” have dominated discussions in and around photography. Although it is now commonplace to presume the objectifying gesture of documentary photography, the complex question of how, as a working artist/photographer, to approach the archive has not yet been adequately addressed. The purpose of this research is to raise questions about how, after the critique of the documentary image, the artist/photographer addresses, indeed, finds the archive. I am starting with the assumption that the archive is not only a place of storage but also a place of production, where our relation to the past is materialised and where our present writes itself into the future; thus, accordingly, I understand the archive as a place of negotiation and writing.
After the problems of the archive have been identified theoretically, the practice in the archive still encounters challenges and contradictions. This project explores those difficulties that remain within the practice in and around the archive, even after the critique has been stated. It is not about simply extending the critique, but finding an archive and the practice with it.
I am approaching these questions as a practitioner. As an artist and photographer, I am concerned with two practices in relation to archives: working with existing archives, and making work that will itself be archived. The point raised by those two activities is not to find or create another institutional archive per se, but to develop an archival practice in which the set of problems that the archives produce is in fact part of the process one engages in. Hence the work is a theoretical and practical set of experiments that may never be complete and conclusive
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