This study focused on the identification problems of two-input single-output system with moving average noises based on unsupervised learning methods applied to the input signals. The input signal to the autoregressive moving average model is proposed to be arriving from a source with continuous technical and environmental changes as two separate featured input signals. These two input signals were grouped in a number of clusters using the K-means clustering algorithm. The clustered input signals were supplied to the model in an (...) orderly fashion from cluster-1 up to cluster-K. To ensure that the output signal can be best predicted from the input signal which in turn leads to selecting good enough model for its intended use, the magnitude-squared coherence measure is applied to the input/output signals in the cases of clustered and nonclustered inputs, which indicates best correlation coefficient when measured with clustered inputs. From collected input-output signals, we deduce a K-means clustering based recursive least squares method for estimating the parameter of autoregressive moving average system. The simulation results indicate that the suggested method is effective. (shrink)

Fags, Hags and Queer Sisters is a provocative account of the importance of women and cross-gender identification in "gay" male culture. It offers a range of cultural readings from Tennessee William's classic A Streetcar Named Desire and Forster's 'gay' novel Maurice through Pulp Fiction, queer lifestyle magazines, Roseanne, slash fan fiction, and Jarman's Edward II to Almodovar's camp classic Women on the Verge of a Nervous Breakdown. Theoretically sophisticated, yet passionate, accessible and opinionated, Fags, Hags and Queer Sisters takes issue (...) with many of the sacred cows of contemporary gay politics, and offers a number of new concepts in lesbian and gay theory. (shrink)

The aim of this article is to explain the transition from implicit CSR to explicit CSR that has taken place in Scandinavia over the last two decades. Matten and Moon’s distinction between implicit and explicit CSR is the point of departure for the analysis, which is based on case studies of two Norwegian companies: HÅG and Hydro. On the basis of these case studies, we identify two forces that are pushing the transition from implicit to explicit CSR in Scandinavia: Organizational (...) expressiveness and Re-legitimizing. Both of these measures are adjustments to the globalization of the economy, altering the competitive situation even in highly institutionalized, Scandinavian economies. HÅG, a midsized Norwegian manufacturer of office chairs, made CSR and environmental values an integral part of their expressive strategy in the early 1990s. Hydro, a big Norwegian aluminium producer, made CSR an explicit issue around the turn of the millennium, in an attempt to re-legitimize their business operations in a new market situation where plants in local communities in Norway were shut down and relocated to less regulated regimes in low-cost regions abroad. (shrink)

In this article, I explore, through the novels of Elena Ferrante, the role played by the ‘abject’ in mediating ageing in women, focusing on its role in the movement from a disempowered to a more powerful subject position. The article has three sections. The first describes the role of the abject in constituting the feminine, focusing on the place of temporality and ageing in this process. Represented by the symbolic figure of the hag, the old woman is a source of (...) primal fear which forms the foundation of a violently misogynistic gendered (self-)formation. However, following Barbara Creed, there are two representational forms of the hag, that of victim (hag) and that of monster (Hag), which I argue also suggest alternative subjectivities associated with ageing femininity. In the second section, I explore the movement from one form to the other by means of conceptual models drawn from Simone de Beauvoir and Margaret Morganroth Gullette, in which process a battle over the symbolic meaning of abjection is central. Moreover, ageing itself is significant in mediating the shift from an oppressed/fragmented to a powerful/integrated subject position. Whilst the structures of feeling involved in this subjectivity are emergent, fiction and imaginative literature may provide helpful early depictions and in the last section I illustrate the psychosocial domain with material drawn from two early novels by Elena Ferrante. (shrink)

In his pioneering study of Grande Dame Guignol (also referred to as hag horror or psycho-biddy), a female-centric 1960s subgenre of horror film, Peter Shelley explains that the grande dame, a stock character in this form of cinematic expression, “may pine for a lost youth and glory, or she may be trapped by idealized memories of childhood, with a trauma that haunts her past” (8). Indeed, a typical Grande Dame Guignol female protagonist/antagonist (as these two roles often merge) usually deals (...) with various kinds of traumatic experiences: loss of a child, domestic violence, childhood abuse, family conflicts or sudden end of career in the fickle artistic industry, etc. Unable to cope with her problems, but also incapable of facing the inevitable process of aging and dying, she gradually yields to mental and physical illnesses that further strengthen the trauma and lead to her social exclusion, making her life even more unbearable. Unsurprisingly, scholars such as Charles Derry choose to name psycho-biddies horrors of personality, drawing attention to the insightful psychological portrayal of their characters. Thus, it would be relevant and illuminating to discuss films such as Die! Die! My Darling! (1965) and Whoever Slew Auntie Roo? (1971) as narratives of trauma. This will be the main concern of my article. (shrink)

Group slurs are applied to a whole category of people. Whereas slurs like jerk, creep, and hag are generally directed at individuals because of the personal traits (behavior, personality, looks, etc.), group slurs, like spic, commie, and infidel, are applied across the board to members of a category. Even when directed at a particular individual, ethnic, religious, and political slurs are applied on the basis of group membership rather than anything about the person in particular. Before asking about the meanings (...) of such terms, let’s consider their uses and effects. In general they. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 207-215 [Access article in PDF] Notes and Fragments Poetics of Sentimentality Rick Anthony Furtak IN HIS MAJOR WORK, The Passions, Robert Solomon argues that emotions are judgments. 1 Through a series of persuasive examples, he shows that emotions are best understood as mental states which involve certain beliefs about the world. This means that every emotion has an object: if I am angry at (...) John for stealing my car, the object of my anger is the fact (or what I take to be a fact) that my car has been stolen by John. If I find out that this is not the case, that my car has not even left the garage, then my anger should vanish along with its justification. 2 The key point here is that anger, like any other emotion, may be reasonable or inappropriate depending on the situation. If there is nothing to be angry about, then it would be irrational for me to cultivate anger simply because I enjoy having this particular emotion. In general, emotional responses are cognitively flawed whenever they are at odds with the properties of their objects. If we want our judgments to be realistic and not delusional, then we must avoid this kind of error.It is curious, then, that Solomon has written an essay in which he categorically declares that "there is nothing wrong with sentimentality." 3 For it would appear that his theory of emotion provides precisely the terms needed in order to specify what is wrong with it. If emotions are judgments, then "sentimentality" ought to be an important critical term to designate the habit of having emotions that involve either impaired or mistaken judgment. Nevertheless, Solomon is willing to defend any and every episode of tender emotion, of the kind associated with the [End Page 207] death of Little Nell in The Old Curiosity Shop (S, p. 240). He suggests that the more we can muster up this sort of response to literature or life, the better. What he seeks to encourage, in other words, is what Hume would call "delicacy" of (aesthetic) taste and of (ethical) passion. 4 But while Hume acknowledges that sensitivity to beauty and to ugliness are two sides of the same coin, such that anyone who is susceptible to lively enjoyments is also liable to undergo pungent sorrows, Solomon wants to promote only the tender aspect of emotion.On the principle of passionate maximization, it is good if I can be tenderly affected by a poem—any poem! The problem with such crass emotion-stoking is that it precludes the possibility of distinguishing between, for instance, the two stanzas below. Both are by Wilfred Owen: the first was written in 1914 and the second in 1918. 5 I O meet it is and passing sweet To live in peace with others, But sweeter still and far more meet To die in war for brothers. II Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of tired, outstripped Five-Nines that dropped behind. Only if emotions did not involve rational judgment could a person's passionate response to these two stanzas be a matter of indifference. But it seems that, on the contrary, an essential component of understanding them is recognizing that they express irreconcilable cognitive attitudes. The tone of the 1918 stanza is strikingly different from that of the earlier one, even though they share roughly the same topic. The latter stanza is stark and ominous, and filled with vivid detail; the one from 1914 is sweet and vague. Clearly, we might describe the earlier of the two as "sentimental"—the question is, what kind of judgment does [End Page 208] it involve? I suggest that its insipid jingles endorse the view that war is a delightful opportunity to nurture brotherhood and gain... (shrink)

D'après les textes anciens, la région dite Cynosarges, sur le territoire du dème des Dioméia ou Diomeis de la tribu Aigèis (II), peut commencer au Sud du rempart d'époque classique et doit comprendre une partie de la chaîne de collines qui s'étend du Sud-Est au Sud/ Sud-Ouest de l'Olympiéion, sur la rive gauche de l'Ilissos; le gymnase de Cynosarges était proche du rempart. Les Dioméia jouxtent au Nord le dème urbain de Collytos auquel ils sont liés par le culte d'Héraclès, (...) au Nord-Est le lieu-dit Agra(i), au Sud le dème d'Alopékè. Sauf une scholie à Démosthène, Contre Timocratès 114, rien ne dit que le gymnase et l'Héracléion étaient voisins, voire imbriqués ; au contraire, l'éventualité de deux entités distinctes et distantes l'un de l'autre est soutenue par plusieurs textes. Elle conduit à une relecture critique des hypothèses, des fouilles et de leurs interprétations successives. Dès lors, il n'y a pas d'obstacle à ce que l'Héracléion se soit trouvé dans le secteur où D. M. Robinson a trouvé l'inscription IG II2 1665 sur l'installation de trépieds à Cynosarges et le relief votif à Héraclès, Mus. Ép. inv. 3942. Les vestiges archaïques et classiques découverts en 1895-1896 près de l'église Hag. Pantéléimôn ne présentent aucune garantie d'être ceux du gymnase de Cynosarges détruit par Philippe V en 200 av. J.-C, même s'il est vraisemblable que l'édifice impérial mis au jour un peu plus loin est le gymnase d'Hadrien. Il ne serait pas contraire aux textes de chercher celui de Cynosarges dans le secteur délimité par le rempart au Nord, la rive droite de l'Ilissos au Sud, la région du Pythion à l'Est et le Mur ou la route de Phalère à l'Ouest. Selon toute vraisemblance, les portes XI, XII et XIII étaient respectivement la Porte Diomèis, les Portes Itôniai et les Halade Pulai, et le sanctuaire d'Egée se trouvait sur le dème de Collytos, le plus important de la trittyie urbaine de la tribu Aigèis (II). Trouvés ensemble par Ch. Karouzos dans le quartier Dourgouti, les quatre documents relatifs aux affaires d'Alopékè et au culte d'Antiochos n'indiquent pas la proximité de l'Héracléion de Cynosarges, mais localisent, à l'endroit même où ils ont été trouvés, le sanctuaire héroïque et tribal de la tribu Antiochis (X), sur le territoire d'Alopékè, seul dème urbain de la tribu. L'affluent le plus méridional de l'Ilissos (maintenant la rue Frantzi) devait séparer les Dioméia d'Alopékè. Enfin, la loi sacrée IG I3 257 pourrait provenir non pas de l'Héracléion de Cynosarges, mais du sanctuaire d'Héraclès Panera tes. (shrink)

The vastly underrated Plutus receives at least some of its due in this paper. At its beginning, I attempt to locate Plutus within both the Hegelian discourse on comedy and within Hume's poetical and philosophical fictions. Employing the same method of close textual analysis that I employed in Philosophy and Comedy: Aristophanes, Logos, and Eros, I focus upon the thoroughgoing materialism of the poor farmer Chremylus who laments the unjust distribution of wealth, and who seeks to restore the god's sight (...) so as to obtain a large amount of the wealth he lacks. The critical section of the play occurs in an exchange with Poverty or Need, who is depicted as an ugly hag but who speaks beautifully. Aristophanic music subtly sings the glory of need as the spur to all that is good in human actions, as it mocks wealth as a standard of human worth. (shrink)

The 1984 feature film Splash initially included a scene featuring an embittered, older mermaid that was deleted before the final version premiered. Since that excision, the older mermaid and the scene she appeared in have been recreated by fans and the mer/sea-hag has come to comprise a minor element in contemporary online culture. The term “Merhag,” in particular, has also spread beyond the film, being taken up in fantasy fiction and being used—allusively and often pejoratively—to describe notional and actual female (...) characters. Drawing on Mary Daly’s 1978 exploration of supressed female experiences and perspectives, this essay first examines Splash and associated texts with regard to the general figure of the hag in western culture, before discussing the use of “Merhag” and “Sea-Hag” as allusive pejoratives and the manner in which their negative connotations have been countered. (shrink)

El texto destaca la trayectoria de H. Küng como teólogo y filósofo, a través de su concepción de la vida cristiana como una forma de ser en libertad donde la fe es la opción espiritual del hombre. También su defensa por el valor ético de la existencia compartida y la necesidad de un dialogar que hag..

Ecclesiazusae, the first surviving work of Aristophanes from the fourth centuryb.c.e., has often been dismissed as an example of Aristophanes’ declining powers and categorized as being less directly rooted in politics than its fifth-century predecessors owing to the after-effects of Athens’ defeat in the Peloponnesian War. Arguing against this perception, which was largely based on the absence of ad hominem attacks characterizing Aristophanes’ earlier works, this paper explores howEcclesiazusaeengages with contemporary post-war Athenian politics in a manner which, while different to (...) his earlier comedies, remained closely rooted in the political and cultural concerns of the 390s. By examining the figure of Praxagora, I will first consider recent suggestions thatEcclesiazusaehints at the possibility of an anti-democratic coup. I will then examine how contemporary discussions of constitutional and legal reforms (including the invocation of ‘founding fathers’ such as Solon and Lycurgus) are incorporated into both Praxagora's language and the scenes featuring the Selfish Man and Hags that follow the establishment of Praxagora's regime. Examining these final scenes, I conclude thatEcclesiasuzaedoes not suggest that the idea of democratic equality itself is fundamentally flawed, but instead argues that Athens needs a suitable leader, well suited to the rough and tumble of assembly rhetoric, in order to successfully function. In the world ofEcclesiazusae,the men of Athens have failed too often to inspire any hope, putting their own interest above the state, and the new leader must be someone different. Thus Aristophanes sets up Praxagora as a female Solon to remake the state and lead the democracy. The second half of the play demonstrates this need for a strong leader, as problems arise both from the quarter of critical bystanders (the Selfish Man and Epigenes, the Young Man in the ‘hag scene’) and from over-zealous enforcers (the Old Women). (shrink)

This article discusses haunting as a condition and strategy for Black women in their lived and literary experiences. I use the haint as a key figure for understanding Black women's liminal state as both the ones haunted and the thing haunting and focus on one of the haint's primary manifestations: the hag. Throughout the essay I unpack maligning myths of this specter and center the works of Phillis Wheatley and Lucille Clifton to refigure the hag as a spiritual and ancestral (...) presence. (shrink)