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The introduction recounts the life and writing career of Jonathan Swift, centred on his authorship of Gulliver’s Travels (1726). It provides an overview of the action of Swift’s masterpiece, placing the adventures of Lemuel Gulliver in parallel to the events of Swift’s life: his education, early career as secretary to William Temple, forays into satire, political writings during Anne’s reign, and Irish writings in the decade before he published Gulliver. The introduction establishes the circumstances of its publication, the different states of the text (and its paratexts), and some of the main critical attitudes to the work. It summarises the chapters within the volume.
Jonathan Swift's satirical masterpiece, Gulliver's Travels, has shocked and delighted readers worldwide since its publication in 1726. At turns a humorous and harrowing indictment of human behaviour, it has been endlessly reinterpreted by critics and adapted across media by other artists. The Cambridge Companion to Gulliver's Travels comprises 17 original chapters by leading scholars, written in a theoretically-informed but accessible style. As well as providing detailed close readings of each part of the narrative, this Companion relates Gulliver's Travels to the political, religious, scientific, colonial, and intellectual debates in which Swift was engaged, and it assesses the form of the book as a novel, travel book, philosophical treatise, and satire. Finally, it explores the Travels' rich and varied afterlives: the controversies it has fuelled, the films and artworks it has inspired, and the enduring need authors have felt to 'write back' to Swift's original, disturbing, and challenging story.
The Stop the Bleed course aims to improve bystander hemorrhage control skills and may be improved with point-of-care aids. We sought to create and examine a variety of cognitive aids to identify an optimal method to augment bystander hemorrhage control skills in an emergency scenario.
Methods:
Randomized trial of 346 college students. Effects of a visual or visual-audio aid on hemorrhage control skills were assessed through randomization into groups with and without prior training or familiarization with aids compared with controls. Tourniquet placement, wound packing skills, and participant comfortability were assessed during a simulated active shooter scenario.
Results:
A total of 325 (94%) participants were included in the final analyses. Participants who had attended training (odds ratio [OR], 12.67; P = 9.3 × 10−11), were provided a visual-audio aid (OR, 1.96; P = 0.04), and were primed on their aid (OR, 2.23; P = 0.01) were superior in tourniquet placement with less errors (P < 0.05). Using an aid did not improve wound packing scores compared with bleeding control training alone (P > 0.05). Aid use improved comfortability and likelihood to intervene emergency hemorrhage scenarios (P < 0.05).
Conclusions:
Using cognitive aids can improve bystander hemorrhage control skills with the strongest effects if they were previously trained and used an aid which combined visual and audio feedback that they were previously introduced to during the course training.
At relatively high frequencies, highly sensitive grating sidelobes occur in the primary beam patterns of low frequency aperture arrays (LFAA) such as the Murchison Widefield Array (MWA). This occurs when the observing wavelength becomes comparable to the dipole separation for LFAA tiles, which for the MWA occurs at
${\sim}300$
MHz. The presence of these grating sidelobes has made calibration and image processing for 300 MHz MWA observations difficult. This work presents a new calibration and imaging strategy which employs existing techniques to process two example 300 MHz MWA observations. Observations are initially calibrated using a new 300 MHz sky-model which has been interpolated from low frequency and high frequency all-sky surveys. Using this 300 MHz model in conjunction with the accurate MWA tile primary beam model, we perform sky-model calibration for the two example observations. After initial calibration a self-calibration loop is performed by all-sky imaging each observation. We mask the main lobe of the all-sky image, and perform a sky-subtraction by estimating the masked image visibilities. We then image the main lobe of the sky-subtracted visibilities, which results in high dynamic range images of the two example observations. These images have been convolved with a Gaussian to a resolution of
$2.4$
arcminutes, with a maximum sensitivity of
${{\sim}}31\,\textrm{mJy/beam}$
. The calibration and imaging strategy demonstrated in this work opens the door to performing science at 300 MHz with the MWA, which was previously an inaccessible domain. With this paper we release the code described below and the cross-matched catalogue along with the code to produce a sky-model in the range 70–1 400 MHz.
It is hard to think of another field of cultural practice that has been as comprehensively turned upside down by the digital revolution as music. Digital instruments, recording technologies and signal processing techniques have transformed the making of music, while digital dissemination of music – through the Internet and earbuds – has transformed the way people consume it. Live music thrives and mostly relies on digital technology, but alongside it music has become integrated into the patterns of social networking and urban mobility that increasingly structure people’s lives. The digital revolution has destabilised the traditional music business, with successive technologies reconstructing it in different forms, and at present even its short-term future is unclear. (Just as this book is going to press, Apple has announced the discontinuation of iTunes, the most commercially successful response to Napster.) Meanwhile digitalisation has changed what sort of thing music is, creating a multiplicity of genres, some of which exist only online – indeed, downloads and streaming have problematised the extent to which music can reasonably be thought of as a ‘thing’ at all. Technology that is rapidly pervading the globe is re-engineering relationships between geographically removed traditions (including by removing geography from the equation). Some see this near meltdown of so many aspects of traditional musical culture as a harbinger of fundamental social change to come.