bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Surveillance of Physical Activity, Sedentary Behavior, and Sleep: Protocol for the Development and Feasibility Evaluation of a Novel Measurement System
Authors: Crowley Patrick , Ikeda Erika , Islam Sheikh Mohammed Shariful , Kildedal Rasmus , Schade Jacobsen Sandra , Roslyng Larsen Jon , Johansson Peter J , Hettiarachchi Pasan , Aadahl Mette , Mork Paul Jarle , Straker Leon , Stamatakis Emmanuel , Holtermann Andreas , Gupta Nidhi 
Published: May 2022

Background
There is increasing recognition of the need for more comprehensive surveillance data, including information on physical activity of all intensities, sedentary behavior, and sleep. However, meeting this need poses significant challenges for current surveillance systems, which are mainly reliant on self-report.

Objective
The primary objective of this project is to develop and evaluate the feasibility of a sensor-based system for use in the surveillance of physical activity, sedentary behavior, and sleep (SurPASS) at a national level in Denmark.

Methods
The SurPASS project involves an international, multidisciplinary team of researchers collaborating with an industrial partner. The SurPASS system consists of (1) a thigh-worn accelerometer with Bluetooth connectivity, (2) a smartphone app, (3) an integrated back end, facilitating the automated upload, analysis, storage, and provision of individualized feedback in a manner compliant with European Union regulations on data privacy, and (4) an administrator web interface (web application) to monitor progress. The system development and evaluation will be performed in 3 phases. These phases will include gathering user input and specifications (phase 1), the iterative development, evaluation, and refinement of the system (phase 2), and the feasibility evaluation (phase 3).

Results
The project started in September 2020 and completed phase 2 in February 2022. Phase 3 began in March 2022 and results will be made available in 2023.

Conclusions
If feasible, the SurPASS system could be a catalyst toward large-scale, sensor-based surveillance of physical activity, sedentary behavior, and sleep. It could also be adapted for cohort and interventional research, thus contributing to the generation of evidence for both interventions and public health policies and recommendations.

International Registered Report Identifier (IRRID)
DERR1-10.2196/35697
Mobile Health App for Tuberculosis Screening and Compliance to Undergo Chest X-ray Examination Among Presumptive Cases Detected by the App in Myanmar: Usability Study
Authors: Htet Kyaw Ko Ko , Phyu Aye Nyein , Thwin Thandar , Chongsuvivatwong Virasakdi 
Published: May 2022

Background
In Myanmar, the use of a mobile app for tuberculosis (TB) screening and its operational effect on seeking TB health care have not been evaluated yet.

Objective
This study aims to report the usability of a simple mobile app to screen TB and comply with chest X-ray (CXR) examination of presumptive cases detected by the app.

Methods
A new “TB-screen” app was developed from a Google Sheet based on a previously published algorithm. The app calculates a TB risk propensity score from an individual’s sociodemographic characteristics and TB clinical history and suggests whether the individual should undergo a CXR. The screening program was launched in urban slum areas soon after the COVID-19 outbreak subsided. A standard questionnaire was used to assess the app’s usability rated by presumptive cases. Compliance to undergo CXR was confirmed by scanning the referral quick response (QR) code via the app.

Results
Raters were 453 presumptive cases detected by the app. The mean usability rating score was 4.1 out of 5. Compliance to undergo CXR examination was 71.1% (n=322). Active TB case detection among CXR compliances was 7.5% (n=24). One standard deviation (SD) increase in the app usability score was significantly associated with a 59% increase in the odds to comply with CXR (β=.464) after adjusting for other variables (P<.001).

Conclusions
This simple mobile app got a high usability score rated by 453 users. The mobile app usability score successfully predicted compliance to undergo CXR examination. Eventually, 24 (7.5%) of 322 users who were suspected of having TB by the mobile app were detected as active TB cases by CXR. The system should be upscaled for a large trial.
Multi-operator Self-exclusion as a Harm Reduction Measure in Problem Gambling: Retrospective Clinical Study on Gambling Relapse Despite Self-exclusion
Authors: Håkansson Anders , Åkesson Gunny 
Published: May 2022

Background
Voluntary self-exclusion from gambling is a common harm reduction option for individuals with gambling problems. Multi-operator, nationwide self-exclusion services are rare, and a system introduced in the highly web-based gambling market of Sweden is a rare and recent example. However, where web-based casino gambling and web-based betting are the predominate gambling types in those seeking treatment, the risk of breaching one’s own self-exclusion through overseas web-based operators may also be high.

Objective
This study aims to assess the prevalence of a nationwide Spelpaus (“gambling break”) self-exclusion and the prevalence of gambling despite self-exclusion in patients seeking treatment for gambling disorder in 2021.

Methods
Health care documentation of recent treatment seekers (January 1 through September 1, 2021, N=85) in a Swedish treatment facility was reviewed for data regarding problematic gambling types reported, history of self-exclusion, and history of breaching of that self-exclusion.

Results
Common problem gambling types were web-based casino gambling (49/74, 66%) and sports betting (19/74, 26%). The majority who participated in this study (62/85, 73%) were men. All women reported web-based casino gambling. Self-exclusion through Spelpaus was common (60/74, 81%). Among self-excluders, gambling despite self-exclusion was common (41/60, 68%), most commonly on unlicensed gambling websites.

Conclusions
The nationwide, multi-operator self-exclusion service of Sweden appears to reach many patients with a gambling disorder. However, the remaining gambling options in an web-based gambling setting present a major challenge despite self-exclusion. The recent data calls for further treatment efforts and potential improvements in services aiming to help voluntary self-excluders abstain from gambling.
Tasso's Il Mondo Creato: Providence and the Created Universe
Authors: Cirillo Albert R. 
Published: May 2022

ABSTRACT
Torquato Tasso's Il Mondo Creato is a theological-contemplative poem which attempts to look at the created world as a way of picturing the synthesis of earth and heaven described by Raphael in Milton's Paradise Lost (VII, 154–61). It is a meditation on the function of the created universe in the providential scheme. The central character of the poem is the human soul for whom God's creation is the ladder by which it returns to eternity. The light which infuses and illuminates all being—and which attracts the soul—is inherent in creation and leads the soul to God. This view of the world—that light, by infusing creation, leads man to God—is similar to Milton's in Paradise Lost, as articulated in Raphael's description of the scale of created nature “whereon / In contemplation of created things / By steps we may ascend to God” (V, 510–12).
Self-Knowledge in Paradise Lost: Conscience and Contemplation
Authors: Jacobus Lee A. 
Published: May 2022

ABSTRACT
The relationship between self-knowledge and the knowledge of God is very carefully developed in Paradise Lost. Milton supports Calvin by treating the two forms of knowledge as wholly reliant on one another and as being forms of conscience and of contemplation. Satan's self-knowledge suffers in direct proportion to his dimming knowledge of God. The war in heaven can be seen as a result of the failure of both these knowledges. Eve's failure of self-knowledge in the pool scene compares with Adam's growth into knowledge. After he is created, he lifts his eyes to heaven for knowledge of who made him; Eve looks down at a liquid plain she thinks is the sky. Unlike Satan, who feels he is self-created, Adam, by knowing God and himself “aright,” knows he did not create himself. Eve's pausing at the pool can also be seen as part of a tradition, developed by the Cambridge Platonists, of the soul's contemplation of itself in search of divinity. Eve is entranced by herself because, as Sterry says, she is looking at a beatifical vision.
Milton's God in Council and War
Authors: Cohen Kitty 
Published: May 2022

ABSTRACT
Milton's presentation of God and Heaven is poetically convincing if various Hebraic elements in the books describing Heaven are closely examined. Hebraic allusions convey the religious and moral justification of God in council and in war and provide the conceptual link between the various scenes in Heaven. The counterpoise of justice and mercy in the dialogue between God and the Son is expressed through verbal echoes from the dialogues of Abraham and Moses with their God. Milton's ironic use of Psalm ii and other Old Testament references enhances the liveliness and dramatic power of the council scene in Book V, and his use of Hebraic figures like the Son's chariot and the angel Abdiel expresses the poet's conception of the war between the heavenly host and the rebel angels in Book VI as a battle in which spirit overcomes force.
The Narrator as Interpreter in “Paradise Regained”
Authors: Sundell Roger H. 
Published: May 2022

ABSTRACT
The speaker of Paradise Regained not only relates but interprets as well the speeches and events of the poem. This interpretive commentary begins in the single prologue, where the speaker explicitly introduces elements of plot, character, and theme, and where he identifies himself, declares the divine authority by which he speaks, and thus establishes with his reader an appropriate mode of communication. His methods of guiding the reader through the intricate events and arguments of the poem vary according to the nature of individual episodes. Those methods range, as in the opening episodes of Book I, from overt judgment of character to the most subtle intimation of theme, and they include the provision of multiple perspectives on major events. Another significant method of internal commentary involves the presentation of the Son of God as the definitive interpreter of demonic temptation and, more generally, of the human condition. In the temptation episodes, then, the narrator shares with the hero the role of interpreter.
Language and the Seal of Silence in “Samson Agonistes”
Authors: Landy Marcia 
Published: May 2022

ABSTRACT
Milton's preoccupation with the nature of language in Samson Agonistes becomes itself a major vehicle for describing psychic processes. He examines language nondiscursively through metaphors relating to words, hearing, seeing, sounds, and silence. By means of these metaphors, he portrays the nature of psychic disintegration and reintegration. He dramatizes this recovery of self in an internalized landscape rather than in the externalized metaphors of time and space found in Paradise Lost. In the various verbal encounters between the characters, who are themselves preoccupied with words, the different levels of discourse symbolize different levels of reality. In the transformation of Samson, the metaphor of hearing rises to prime importance, antecedent even to the ever-important Miltonic metaphor of light. Only after Samson works through the problem of self-definition on a verbal level does he attain insight. When he finally listens with his inner ear, there is no more language, but there is illumination. Paradoxically Milton shows the limitations and the creative possibilities of language for conveying the nature of nonverbal experiences.
Flower, Fruit, and Seed: A Reading of “Paradise Lost”
Authors: Swaim Kathleen M. 
Published: May 2022

ABSTRACT
Milton's predominantly floral prelapsarian cosmos employs imagery relating flowers to character, place, and theme (especially Eve = Eden = flowers). The poem's action and poetry hinge on changes in the meaning of fruit (especially in Book IX); seed and the anticipation of harvest dominate the final books. The postlapsarian cosmos employs metaphor, offering time, history, and human transmutation and fallen potentiality as paradoxical fruit. Diabolical effects center on storms and insects, apparently malign processes by which flowers give way to fruit. Eve is deflowered (IX, 901) to become fruitful. The fall marks the initiation into paradox, metaphor, and potentiality. Prelapsarian praise shifts to postlapsarian prayer. Metaphor's imaginative leap linking apparently disparate realms of experience replaces imagery's wholeness and coherence. Edenic imagery is characteristically lovely, sensuous, physical; postlapsarian metaphor requires interpretation through faith and the reader's greater creative energy. Psychological Imagination corresponds to theological Grace; Christ is the agency of both, teaching Adam and us to read the language of mystery, paradox, and metaphor through faith. Milton's poetry like his fiction shifts from floral to fruitful, from paradise without to paradise within, from innocence to experience, from praise to prayer, from discursive to intuitive apprehension.
Self and Language in the Fall
Authors: Harada Jun 
Published: May 2022

ABSTRACT
Paradise Lost provides for the reader a built-in reading device which, through saving him from a single uncritical reading of the epic, stimulates his self-knowledge as an ignorant sinner. This is fully observed in the function of the form of soliloquy uttered first by Eve and echoed by Adam at the Fall, the traditionally defined epic crisis in the poem. By beguiling the speaker into a selfhood which is nothing but a Satanic appetence, the form of soliloquy betrays itself as the form of self-tempting. Only the reader can fully understand what is taking place in the speaker's mind. As for Adam's fall the need of soliloquy is more crucial because of his conscious self-temptation from the start. The reader witnesses that Edenic language deteriorates into fallen language that is enacted by, and acts on, the speaker who is falling. The once harmonious dialogue ceases to make the couple happy but drives them to face the shame of their nakedness and set them in enmity against each other. The fate of the honest language of their quarrel illustrates Milton's critical attitude toward the contemporary problem of the so-called improvement of the language for the secularistic sake of utility.
“My Native Element”: Milton's Paradise and English Gardens
Authors: Otten Charlotte F. 
Published: May 2022

ABSTRACT
Although Milton's Paradise has classical and pastoral antecedents, it contains many native English elements. The herbals, gardening manuals, and “Paradise” gardens of Milton's day feed his epic, making his Garden more real than the “feigned” gardens of mythology. It is Milton's willingness to incorporate in his “delicious Paradise” some of the features of the actual gardens of his day and the practices of contemporary gardeners that makes him able to bridge the gap between the mythical and the real, between Art and Nature. The comparison of eight horticultural features of Milton's Garden with English garden materials (location, pure air, trees, flowers, furnishings, walks and alleys, bower, gardening) brings out the vitality of his Paradise and shows his epic couple participating in a thoroughly human experience.
Milton's “Comus”: Skill, Virtue, and Henry Lawes
Authors: Baruch Franklin R. 
Published: May 2022

ABSTRACT
In Comus, Milton uses the great tradition of the vir bonus dicendi peritus (“a good man skilled in speaking”) both to pay a masquing compliment to Henry Lawes and to provide central roles for all three Egerton children. He does this by restricting the possession of virtue and both moral and physical skills to the Attendant Spirit and his dramatic extension, Sabrina. The gradations of virtueless skill and unskilled virtue figure forth patterns of both image and meaning, especially when we remember the perceptions and assumptions of the first viewers and readers. As a result, we see Milton fulfilling and using the demands of the masque genre through his complex use of Lawes as both the actual teacher and the dramatic guide of the children. The long dialogue of the brothers has added thematic and dramatic cogency; and the final scene between Comus and the Lady emerges in a new perspective, in which the Lady ultimately becomes Comus’ teacher. This blend of masquing lesson, compliment, and decoration continues in the epilogue: here, the supposedly arcane references help to complete the vision of virtue and skill, and thus offer the final gesture to Lawes.
Milton and Tacitus
Authors: Benjamin Edwin B. 
Published: May 2022

ABSTRACT
The political and historical literature of the seventeenth century was greatly influenced by the study of Tacitus. Milton, though not the Tacitean that some professed to be, drew frequently on this material. In the antiepiscopal and antimonarchical tracts, he presents the Stuart government as trying to establish a repressive and enervating tyranny in England, and consistently draws parallels (not all from Tacitus) with the process by which Roman liberty was extinguished under the empire. In the First Defence, he objects to Salmasius’ interpretation of Tacitus, calling Tacitus much more the republican than the friend of kings. The recovery of Tacitus had increased knowledge of Roman Britain, and, like other English Renaissance historians, Milton uses him in his History of Britain. Milton also appears to have been influenced by the much discussed Tacitean style. His adaptations of passages from Tacitus in the History seem at times to imitate directly the wit and concision of the Latin, and it is likely that some of these features are carried over into the style of the epics.
Milton's Rabbinical Readings and Fletcher
Authors: Stollman Samuel S. 
Published: May 2022

ABSTRACT
Harris Francis Fletcher's pioneering work Milton's Rabbinical Readings has encouraged Milton scholars to seek Milton's primary sources for his rabbinical references and allusions. However, Fletcher's thesis that Milton used the Buxtorf Rabbinical Bible (1619) is without substantiation since almost half of the rabbinical glosses cited by Fletcher have been mistranslated. The mistranslations occur in Fletcher's material purporting to establish the Buxtorf Bible thesis, in the rabbinical hexaemeral parallels for Paradise Lost, and in certain esoteric angelological sources cited by Fletcher. While Milton's knowledge of biblical Hebrew is not disputed and his references to rabbinical literature are a matter of record, it is clear that rabbinical Hebrew, with its unique script, syntax, vocabulary, idiom, and absence of pointing and punctuation, is so different from biblical Hebrew that Fletcher was unable to cope with its complexities and that Milton himself utilized secondary sources for rabbinical citations or read the primary sources with limited comprehension.
THE EPIC AS PSEUDOMORPH: METHODOLOGY IN MILTON STUDIES
Authors: Steadman John M. 
Published: May 2022

ABSTRACT
The range and variety of contemporary critical approaches to Milton's poetry are a healthy corrective to the simplistic readings and stereotyped interpretations that often result from a strictly unilateral approach and too narrow or too rigid a methodology. Although each of these approaches must necessarily be limited by the kind of evidence it can evaluate and organize with authority and probability, they complement one another and thus facilitate a multifaceted, comprehensive vision of Milton's major epic and its total meaning—even though the total meaning is accessible to none of these methods individually and necessarily achieves its fullest expression in and through the poem itself. Inherent in most of these approaches, moreover, is an inevitable (and ultimately unresolvable) tension between subjective and objective factors—between the demand for solid, demonstrable evidence and the pressures of the aesthetic imperative. Overemphasizing the former may desiccate aesthetic experience; overstressing the latter may do violence to the original meaning and value-content of the poem. For such substitute creations ("pseudomorphs") the historical method, in its various forms (history of genres, history of ideas, history of verbal and visual imagery, etc.), may be a useful corrective. It cannot guarantee absolute accuracy, however; and it must function as a complement, not as a substitute, for aesthetic intuition.
THE AESTHETICS OF SELF-DIMINUTION: CHRISTIAN ICONOGRAPHY AND "PARADISE LOST"
Authors: Labriola Albert C. 
Published: May 2022

ABSTRACT
A tree, a garden, and a tableau of figures make up the central setting for much of the action of Paradise Lost. In this setting God created and married Adam and Eve and commanded them to "Be fruitful." In this setting Adam and Eve yielded to temptation and committed sin. As these same events of the Old Testament are depicted in the iconography of the Middle Ages and the Renaissance, a similar visual context is used. Most importantly, these iconographic depictions tend to interrelate persons and events of the Old Testament with counterparts from the New Testament. In iconography the temptation of Eve, for example, is interrelated with the Annunciation, which is also depicted in a garden setting; and Eve's sinfulness is contrasted with Mary's purity. At times the tree of knowledge of good and evil is visually juxtaposed with the cross, which is often depicted to resemble a tree; and Satan's pride at the Fall of mankind is contrasted with Christ's humility at the Redemption of mankind. When adapted into the literary framework of Paradise Lost, this kind of iconographic conceptualization enables Milton to interrelate the causes and consequences of the Fall with the means and manner by which Redemption is achieved. To a very great extent iconographic conceptualization is reflected in the development of character and action in Paradise Lost, in the elaboration of central themes, and in the selection of imagery.
Poet-Priest: Vocational Tension in Milton's Early Development
Authors: Hill John Spencer 
Published: May 2022

ABSTRACT
Milton's decision to become a poet, like that to become a minister, was taken early; and the vocational streams issuing from these twin and complementary resolves run parallel until at least 1637, when he composed Lycidas. Neither Sonnet VII nor the “Letter to a Friend” (1633) will support a case for Milton's abandoning a priestly, and embracing a poetic, career in 1632; similarly, although the unsettling events of 1637 drove Milton to a reassessment of his plan to take holy orders, the available evidence suggests that he did not take this step in 1637. The combination of his Italian experience and events in England (principally the promulgation of the Laudian Canons of 1640) finally led Milton to the belief that he had been “Church-outed by the Prelats.” The most striking vocational feature of the pre-1639 poetry is its reiterated protestation of unpreparedness; after his Italian trip, however, Milton has a firm sense of poetic direction and purpose, and his recognition that poetry is an extension of the ministerial function resolves any vocational tension between poetry and the pulpit, for Milton believes himself to be a national poet-priest who will serve as God's spokesman and interpreter through poetry.