Tracing Inspiration in Proverbial Material: From 'The Royal Dictionary' (1699 & 1729) of Abel Boyer to 'The English-Irish Dictionary' (1732) of Begley-McCurtin.

This metalexicographic study examines the relationship between the proverbial material in The English-Irish Dictionary (1732) of Begley and McCurtin, Abel Boyer’s The Royal Dictionary (First edition 1699, second edition 1729), and Nathaniel Bailey’s An Universal Etymological English Dictionary (1721). It will show, for the first time, that both the English macrostructure and microstructure of the proverbial entries in Begley and McCurtin (1732) were reproduced directly from Boyer’s dictionary and, in spite of claims to the contrary, the impact of Bailey’s (1721) dictionary was negligible. Furthermore, empirical data gleaned from a comparative linguistic analysis of the various editions of The Royal Dictionary prior to 1732, will prove that it was the second official edition (1729) that was used as the framework for The English-Irish Dictionary. A quantitative and qualitative analysis of the nature of the proverbial entries will also outline the various translation strategies that were used to compose the Irish material— particularly literal translation—and show that there are extremely high-levels of borrowings from Boyer (1729), both in terms of the English entries under the lemma, and the French entries in the comment.

Comparative tracing experiments to investigate epikarst structural and compositional heterogeneity

Comparative tracer testing may be used to evaluate the vulnerability of groundwater to specific contaminants by comparing reactive tracer response to that of a simultaneously injected non-reactive “conservative” substance. Conversely, knowledge of tracer reaction with specific materials permits information about subsurface heterogeneity to be inferred. A series of tests completed in the vadose zone overlying a limestone aquifer employed a cocktail of particles along with reactive and non-reactive solute tracers to investigate transport rates between the ground surface and monitoring points approximately 10 m below ground. Short pulse tests revealed both solutes and particulate contaminants could travel at rates of over 10 m/h. Comparison of particle (microorganisms) and non-reactive solute tracer breakthrough revealed that particle tracers experience pore exclusion resulting in higher peak relative concentrations which arrive earlier than those of the solute. Prolonged tracer injection during subsequent experiments confirmed the response observed and illustrated that over 40 % of flow paths between injection and monitoring points were inaccessible to particles, but could allow solutes to pass through them. Similarly, the difference in response between various reactive tracers demonstrated tracers reached monitoring points via multiple flow paths and suggests geochemical heterogeneity plays an important role in influencing tracer behaviour. The results of this investigation highlight the complexity of water flow through the epikarst and the vulnerability of groundwater in karst aquifers to contamination when soil cover is thin to absent.

Tracing emotion: an overview

Computational research with continuous representations depends on obtaining continuous representations from human labellers. The main method used for that purpose is tracing. Tracing raises a range of challenging issues, both psychological and statistical. Naive assumptions about these issues are easy to make, and can lead to inappropriate requirements and uses. The natural function of traces is to capture perceived affect, and as such they belong in long traditions of research on both perception and emotion. Experiments on several types of material provide information about their characteristics, particularly the ratings on which people tend to agree. Disagreement is not necessarily a problem in the technique. It may correctly show that people’s impressions of emotion diverge more than commonly thought. A new system, Gtrace, is designed to let rating studies capitalise on a decade of experience and address the research questions that are opened up by the data now available.

ArchiBabel: Tracing the Writing Architecture Project in Architectural Education

Though much recent scholarship has investigated the potential of writing in creative practice (including visual arts, drama, even choreography), there are few models in the literature which discuss writing in the context of architectural education. The paper presented here aims to address this dearth of pedagogical research, analysing the cross-disciplinary Writing Architecture Project based in the undergraduate course of the School of Architecture at QUB. Over the course of four years, teaching staff, in partnership with the university's Learning Development Service, technicians and specialist librarians, have addressed an unfortunately persistent struggle for both architecture students and professionals alike to research and construct argument in written form. The paper examines the current problem as identified in the literature before analysing the efficacy of the variety of teaching methods used in the Writing Architecture Project, with conclusions about the project’s success and continuing challenges.

Facilities management: Tracing its development trajectory

Purpose – The purpose of this paper is to provide facilities management (FM) practitioners and researchers with a better understanding of the FM industry sector by analyzing the trend of its development.
Design/methodology/approach – Semi-structured interview is adopted in this research as the main methodology. In total, 30 FM professionals in the UK were interviewed to explore the past, present and future of FM. The analysis of interview results helps to identify the key areas in which FM has changed, is changing and will change. It also helps to explain the implications of FM development in each key area.
Findings – FM evolves and matures continuously. It is important for FM organizations and practitioners to recognize the dynamic nature of this industry sector, based on which they can develop appropriate strategies to adapt to changing circumstances. This is probably the only way for them to
keep pace with the times.
Originality/value – Both backward looking and forward looking are crucial to the development of an industry sector. However, existing studies on FM development are conducted through either review or outlook. On the other hand, most of these studies focus on one particular management area or one particular industry sector. Based on 30 expert interviews, this research attempts to bridge the knowledge gap and analyze the trend of FM development in a systematic way. A better understanding of the trend provides a possibility and a guide for FM organizations and practitioners to pursue best practice.

Tracing coastal organic enrichment: stable isotopes and biotic indices

Neste trabalho foi efectuada uma avaliação integrada usando descritores sedimentares e biológicos ao nível da espécie e da comunidade e índices bióticos de síntese para o traçamento do enriquecimento orgânico numa região, com características dispersivas, da costa Oeste de Portugal. Na área estudada existem gradientes ambientais e biológicos relacionados com a heterogeneidade da paisagem sedimentar, a qual inclui sedimentos desde areias finas limpas a vasas. Contudo, na área próxima do emissário, esta paisagem é mais homogénea e constituída por areia fina com baixo teor em finos. Nesta região, alguns dos descritores estudados deram uma indicação coerente de alterações ambientais associadas ao enriquecimento orgânico. O potencial de oxidação - redução mostrou valores negativos até 250 m do emissário, o que indicia que a degradação da matéria orgânica que entra no sistema cria condições reduzidas no sedimento. Os isótopos estáveis de carbono e azoto no sedimento diferenciam a área mais próxima do emissário, que apresenta uma depleção de acordo com uma origem terrestre da matéria orgânica naquela parte da plataforma. Uma imagem similar foi obtida pela análise dos isótopos estáveis na macrofauna que diagnosticou a origem terrestre da matéria orgânica consumida. A composição específica e a abundância das comunidades bentónicas também são significativamente diferentes junto ao emissário, onde são dominadas por espécies oportunistas, tolerantes ao enriquecimento orgânico. No entanto, os índices bióticos em validação no âmbito da implementação da Directiva Quadro da Água, não foram eficientes a mostrar as alterações bentónicas associadas ao enriquecimento orgânico apesar de alguns índices se basearem nos limiares de tolerância/sensibilidade a este tipo de perturbação. Apesar deste caso de estudo reflectir um enriquecimento orgânico moderado, uma vez que não foram detectadas alterações sedimentares ou acumulação de matéria orgânica, nem um significativo empobrecimento das comunidades biológicas junto ao emissário, a análise ao nível dos índices bióticos de síntese pode levar à perda de informação essencial e, portanto, prejudicar a nossa capacidade de diagnóstico devendo ser usados com cuidado. A análise do conjunto de dados da composição específica forneceu uma imagem mais precisa da perturbação ambiental e descritores específicos, tais como os isótopos estáveis, permitiram uma melhor compreensão da extensão espacial do enriquecimento orgânico.

Eliciting Security Requirements and Tracing them to Design: An Integration of Common Criteria, Heuristics, and UMLsec

Building secure systems is difficult for many reasons. This paper deals with two of the main challenges: (i) the lack of security expertise in development teams, and (ii) the inadequacy of existing methodologies to support developers who are not security experts. The security standard ISO 14508 (Common Criteria) together with secure design techniques such as UMLsec can provide the security expertise, knowledge, and guidelines that are needed. However, security expertise and guidelines are not stated explicitly in the Common Criteria. They are rather phrased in security domain terminology and difficult to understand for developers. This means that some general security and secure design expertise are required to fully take advantage of the Common Criteria and UMLsec. In addition, there is the problem of tracing security requirements and objectives into solution design,which is needed for proof of requirements fulfilment. This paper describes a security requirements engineering methodology called SecReq. SecReq combines three techniques: the Common Criteria, the heuristic requirements editorHeRA, andUMLsec. SecReqmakes systematic use of the security engineering knowledge contained in the Common Criteria and UMLsec, as well as security-related heuristics in the HeRA tool. The integrated SecReq method supports early detection of security-related issues (HeRA), their systematic refinement guided by the Common Criteria, and the ability to trace security requirements into UML design models. A feedback loop helps reusing experiencewithin SecReq and turns the approach into an iterative process for the secure system life-cycle, also in the presence of system evolution.

Hollywood and world cinema influences: tracing intertextuality in the works of two contemporary filmmakers from Francophone Africa; Mahamat Saleh Haroun and Abderrahmane Sissako

Don’t tell me the moon is shining; show me the glint of light on broken glass Anton Chekhov Representations of Africa in cinema are almost as old as cinema itself and date back to Hollywood’s silent era. Most early examples feature the continent as a mere exotic backdrop and include The Sheik (Melford 1921), soon followed, in 1926, by George Fitzmaurice’s Son of the Sheik starring Rudolph Valentino. The next decade brought Van Dyke’s Tarzan movies, Robert Stevenson’s King Solomon’s Mines (1937), and, on the European side, Duvivier’s Pépé le Moko (1936). For representations of Francophone Africa by Africans themselves, the viewing public more or less had to wait, however, until decolonisation in the 1960s (with, for example, Sembene Ousmane’s Borom Sarret and La Noire de…, both released in 1966 and, in 1968, Mandabi). Since then Francophone African cinema has come a long way and has diversified into various strands. Between Borom Sarret and Mahamat-Saleh Haroun’s 2006 Daratt, Saison sèche - or the same director’s Un homme qui crie, almost half a century has elapsed. Over this period, films inevitably have addressed a spectrum of visual, ideological and political tropes. They range from unadorned depictions of the newly independent states and their societies to highly aestheticised productions, not to mention surreal and poetic visions as displayed for instance in Djibril Diop Mambéty’s Touki Bouki (1973). Most of the early films send an overt socio-political message which is a clear and explicit denunciation of a corrupt state of affairs (Souleymane Cissé’s Baara, 1977). They aim to trigger strong emotional and political responses from the viewer, in unambiguous support for the film-maker’s stand. Sembene himself declared: “I consider cinema a means of political action” (Murphy 2000: 221). Similarly, the Mauritanian director Med Hondo wishes to “take up this technical medium and to make it a mouthpiece on behalf of [his] fellow Africans and Arabs” (Jeffries 2002: 11). All this echoes the claims of the Fédération Panafricaine des Cinéastes (FEPACI, founded in 1969), an organisation “dedicated to the liberation of Africa”. In sharp contrast to the incipient momentum given Francophonie by Bourguiba, the Nigerien Hamani Diori and the Senegalese Senghor, who invoked a worldwide communauté organique francophone, FEPACI called for “the creation of an aesthetics of disalienation… [using] didactic... forms to denounce the alienation of countries that were politically independent but culturally and economically dependent on the West” (Diawara 1996: 40). Sembene’s Xala (1974) became the blueprint for this, to this day the best-known vein of Francophone African cinema. Thus considered, this pedigree seems a million miles from mainstream global cinema with its overriding mission to entertain. A question therefore arises: to what extent can a cinema that sprang from such beginnings be seen to interface in any meaningful way with a global film industry that, overwhelmingly and for a century, has indeed entertained the world – with Hollywood at its centre?