Human figure segmentation using independent component analysis

In this paper, we present a Statistical Shape Model for Human Figure Segmentation in gait sequences. Point Distribution Models (PDM) generally use Principal Component analysis (PCA) to describe the main directions of variation in the training set. However, PCA assumes a number of restrictions on the data that do not always hold. In this work, we explore the potential of Independent Component Analysis (ICA) as an alternative shape decomposition to the PDM-based Human Figure Segmentation. The shape model obtained enables accurate estimation of human figures despite segmentation errors in the input silhouettes and has really good convergence qualities.

Sex, Politics and Religion: The Transformation of the Figure of the Fairy Queen from Thomas off Ersseldoune to ‘‘Thomas Rymer’’

Our earliest version of the Thomas Rymer story is the medieval romance Thomas off Ersseldoune (c.1430). There is a four hundred year lacuna before the ballad “Thomas Rymer”, our next surviving version, is recorded in the early 1800s. In the intervening time the narrative changed very little but the dynamic of the piece, radically. The romance transformed into the highly subversive ballad, “Thomas Rymer”. Central to this transformation is the reconceptualization of the romance's heroine. Referred to simply as the “lufly lady” and caught between her husband, the fay King, and a mere mortal, Thomas, she becomes in the ballad the powerful Queen of the Fairies. The ballad is structured around a series of revelations in which the enigmatic Queen assumes the roles of Eve and Mary, and finally Christ Himself. I will explore the implications of this extraordinary ballad. Moreover, I suggest that it is Queen Elizabeth herself who, ironically, enables the heroine's transformation. “Ironically” because it appears that it was Elizabeth's own restrictions, designed to suppress heretical, seditious or radical literature, which forced Thomas off Ersseldoune (and many other romances which employed religious imagery or figures) out of the written domain and into the oral tradition. And yet, it is Elizabeth who, in creating the image of herself as a female prince, as the Faerie Queen, inspires a new literary vocabulary designed to describe female executive power, without which it would have been impossible to imagine a figure such as the ballad's Queen of the Fairies.

The Greek Debt Crisis and Southern Europe: Majoritarian Pitfalls?

Although widely debated in broader socioeconomic terms, the Eurozone crisis has not received adequate scholarly attention with regards to the impact of alternative political systems. This article revisits the debate on majoritarian and consensus democracies drawing on recent evidence from the Eurozone debacle. Greece is particularly interesting both with regards to its potential ‘global spillover effects’ and choice of political system. Despite facing comparable challenges as Portugal and Spain, the country has become polarized socially and politically, seeing a record number of MP defections, electoral volatility and the rise of the militant extreme right. The article explains why Greece, the country that relied most extensively on majoritarian institutions, entered the global financial crisis in the most vulnerable position while subsequently faced insurmountable political and institutional obstacles in its management. The article points to the paradox of majoritarianism: in times of economic stress, the first ‘casualties’ are its strongest elements – centrist parties (bi-partisanship) and cabinet stability.

Fragmentos de Soto de Rojas: a ‘new’ mythological fable of the Spanish Baroque

The twentieth-century poet Gerardo Diego’s commitment to the recovery of a ‘sub-genre’, the mythological fable, evident in his Fábula de Equis y Zeda (1930) has been acknowledged by Peinado Elliot (2006), among others. However a recent discovery in his archive has revealed a hitherto unknown aspect of the poet’s scholarly commitment to this endeavour. A transcription of a previously unpublished, and until recently, unknown Baroque mythological fable with the title ‘Fábula de Alfeo y Aretusa’ was recently found by his daughter Elena, alongside an unpublished study by the young poet of said fable entitled ‘Un poema manuscrito del siglo XVII de la biblioteca Menéndez Pelayo’. Rosa Navarro Durán (2012) is convinced that the correspondences with Soto de Rojas’ 'Los fragmentos de Adonis' and the clear imprint of Góngora’s 'Soledades' and his 'Fábula de Píramo y Tisbe' permit us to attribute it, with some confidence, to Pedro Soto de Rojas. This essay will consider the significance of this exciting discovery for our reading of Soto de Rojas’ existing corpus, exploring in particular the poem’s links with the dark eroticism of the Fragmentos de Adonis, (1652) and the early Fábula de la Naya.(1623)