bluuebunny/crossref_metadata_2025_split huggingface dataset:
Health Care Professionals’ Experiences of Web-Based Symptom Checkers for Triage: Cross-sectional Survey Study
Authors: Kujala Sari , Hörhammer Iiris 
Published: May 2022

Background
Web-based symptom checkers are promising tools that provide help to patients seeking guidance on health problems. Many health organizations have started using them to enhance triage. Patients use the symptom checker to report their symptoms online and submit the report to the health care center through the system. Health care professionals (registered nurse, practical nurse, general physician, physiotherapist, etc) receive patient inquiries with urgency rating, decide on actions to be taken, and communicate these to the patients. The success of the adoption, however, depends on whether the tools can efficiently support health care professionals’ workflow and achieve their support.

Objective
This study explores the factors influencing health care professionals’ support for a web-based symptom checker for triage.

Methods
Data were collected through a web-based survey of 639 health care professionals using either of the two most used web-based symptom checkers in the Finnish public primary care. Linear regression models were fitted to study the associations between the study variables and health care professionals’ support for the symptom checkers. In addition, the health care professionals’ comments collected via survey were qualitatively analyzed to elicit additional insights about the benefits and challenges of the clinical use of symptom checkers.

Results
Results show that the perceived beneficial influence of the symptom checkers on health care professionals’ work and the perceived usability of the tools were positively associated with professionals’ support. The perceived benefits to patients and organizational support for use were positively associated, and threat to professionals’ autonomy was negatively associated with health care professionals’ support. These associations were, however, not independent of other factors included in the models. The influences on professionals’ work were both positive and negative; the tools streamlined work by providing preliminary information on patients and reduced the number of phone calls, but they also created extra work as the professionals needed to call patients and ask clarifying questions. Managing time between the use of symptom checkers and other tasks was also challenging. Meanwhile, according to health care professionals’ experience, the symptom checkers benefited patients as they received help quickly with a lower threshold for care.

Conclusions
The efficient use of symptom checkers for triage requires usable solutions that support health care professionals’ work. High-quality information about the patients’ conditions and an efficient way of communicating with patients are needed. Using a new eHealth tool also requires that health organizations and teams reorganize their workflows and work distributions to support clinical processes.
An Analysis of French-Language Tweets About COVID-19 Vaccines: Supervised Learning Approach
Authors: Sauvayre Romy , Vernier Jessica , Chauvière Cédric 
Published: May 2022

Background
As the COVID-19 pandemic progressed, disinformation, fake news, and conspiracy theories spread through many parts of society. However, the disinformation spreading through social media is, according to the literature, one of the causes of increased COVID-19 vaccine hesitancy. In this context, the analysis of social media posts is particularly important, but the large amount of data exchanged on social media platforms requires specific methods. This is why machine learning and natural language processing models are increasingly applied to social media data.

Objective
The aim of this study is to examine the capability of the CamemBERT French-language model to faithfully predict the elaborated categories, with the knowledge that tweets about vaccination are often ambiguous, sarcastic, or irrelevant to the studied topic.

Methods
A total of 901,908 unique French-language tweets related to vaccination published between July 12, 2021, and August 11, 2021, were extracted using Twitter’s application programming interface (version 2; Twitter Inc). Approximately 2000 randomly selected tweets were labeled with 2 types of categorizations: (1) arguments for (pros) or against (cons) vaccination (health measures included) and (2) type of content (scientific, political, social, or vaccination status). The CamemBERT model was fine-tuned and tested for the classification of French-language tweets. The model’s performance was assessed by computing the F1-score, and confusion matrices were obtained.

Results
The accuracy of the applied machine learning reached up to 70.6% for the first classification (pro and con tweets) and up to 90% for the second classification (scientific and political tweets). Furthermore, a tweet was 1.86 times more likely to be incorrectly classified by the model if it contained fewer than 170 characters (odds ratio 1.86; 95% CI 1.20-2.86).

Conclusions
The accuracy of the model is affected by the classification chosen and the topic of the message examined. When the vaccine debate is jostled by contested political decisions, tweet content becomes so heterogeneous that the accuracy of the model drops for less differentiated classes. However, our tests showed that it is possible to improve the accuracy by selecting tweets using a new method based on tweet length.
Milton's Rhetoric: Satan and the ‘Unjust Discourse’
Authors: Steadman John M. 
Published: May 2022

ABSTRACT
Satan's role in Paradise Lost reflects the Socratic-Aristophanic contrast between Just and Unjust Discourse, or true and false eloquence. Through such devices as verbal echoes, explicit rebuttals, and inherent contradictions, Milton portrays in Satan the character of the arch-sophist. In most of Satan's speeches there is a fundamental difference between passages that reveal character (ethos) and those that display a specious character or intent through rhetorical skill or “thought” (dianoia). Neglect of this difference has caused critics (Waldock especially) to confuse Satan's real character with his feigned character and to claim that Milton's “level of commentary” clashes with his “level of demonstration.” The alleged “degradation” of Satan actually consists in the increasing prominence of his role as deceiver. The extent to which he consciously and unconsciously deceives both himself and others can be seen when each speech is examined in relation to its particular circumstances, its function in furthering the plot, and the role of the person addressed. Milton emphasizes dianoia more than other elements of epic because his prime subject is the development of spiritual values through the testing of both reason and will.
“Lycidas”: The Swain's Paideia
Authors: Friedman Donald M. 
Published: May 2022

ABSTRACT
Lycidas is an embodiment of the long process of education Milton underwent for the task of writing epic. The experience of its speaker, the “uncouth swain,” is primarily that of struggle. Milton believed that man fails to see truth partly because he fights actively against it. The swain tries to shield himself against the pain of reality by casting his experience in the modes of pastoral convention. But each attempt to substitute idealized memory or symbolic analogy for actuality is defeated, in part because the language of pastoral itself points toward a transcendent redefinition of its meaning. The swain's view of his poetic vocation changes during the poem, and when he at last abandons his attempts to surround Lycidas’ death with literary artifice, he is granted a vision of Lycidas’ true state. In the “consolation passage” the poet speaks for the first time to a human audience, and takes on the double burden of knowledge and pastoral responsibility. The psychological pattern of resistance and acceptance is reflected in the recurrent conflict Milton records between his eagerness to attain and use full poetic powers and his willed submission to God's providence. In Lycidas this battle is fought out in the form of discovery of the true meaning of “shepherd” the language of the passage of consolation leads directly to the new shepherd who prays for inspiration at the beginning of Paradise Lost.
Milton's use of Color and Light
Authors: Koehler G. Stanley 
Published: May 2022

ABSTRACT
In the use of color Milton's poetry shows the workings of two influences other than the purposes of description and the dictates of personal taste. One is the influence of emblematic tradition in the meaning of individual colors; the other is the practice of classical literatures. Many of Milton's terms are derived from the color usage of Homer or Virgil rather than from the direct observation of nature. Where emblematic meanings enter, the interpretation is at times complicated by the ambivalence of color symbolism, which shifts meanings with variations of hue and context. It would appear, however, that both in using and in avoiding certain colors, especially in the areas of red and yellow, Milton is affected by emblematic connotations which such colors have had, in both the secular and the religious spheres of meaning. Where Milton's own taste may be thought to govern, there is a marked preference for richness of texture rather than brightness of hue, a preference that is seen in his tendency to favor colors from the midspectrum. As Milton grew older, he inclined toward the use of light and dark rather than effects of color, a development which should be attributed to his own increasingly baroque temper rather than to any physical limitations in vision.
Iterative Figures and Images in “Paradise Lost”, XI–XII
Authors: Durkin Sister Mary Brian 
Published: May 2022

ABSTRACT
Although lacking the epic power of the first books of Paradise Lost. Books XI and XII have significant merits. By panoramic visions and narration, Michael not only shows Adam the consequences of his disobedience, but teaches him how to live in a world unparadised; it is not the biblical events but their effect on the mind and heart of Adam that is noteworthy. Michael's terse counsels and Adam's references to him as guide, seer, and teacher emphasize the instructional importance of the books. Rhetorical figures, particularly anadiplosis, polyptoton, climax, ploce, anaphora, and epanalepsis, heighten lessons concerning aspects of life: war, peace; famine, plenty; freedom, slavery; thought and structure complement each other. Effectively employing alliteration, onomatopoeia, and assonance, Milton combines sound and sense with purpose and structure. Descriptions rich with metaphors, stated or implied, and references to color reveal the author's unimpaired aural and visual imagination.
“Paradise Lost” and the Theme of Exodus
Authors: Shawcross John T. 
Published: May 2022

ABSTRACT
The myth of exodus is distinguished from the myth of return by repetitive stages of ritual, moving linearly through time, rather than by cyclic recurrence. Exodus mythologizes the means by which man will eventually reach heaven: through successive stages of trial and purgation. The Exodus of the Israelites from the bondage of Egypt into a wilderness is a metaphor for faith in the outcome of trial and purgation; it is a type of the leading of Jesus into the desert. Paradise Lost, while frequently citing biblical accounts connected with the Exodus, presents the original mythic occurrence of exodus as Adam and Eve leave their formerly secure world to embark upon the wilderness of life. The successive exoduses of man are shown in Books XI and XII. The exodus myth exists further in the fabric of the poem in the roles played by Moses, Raphael, and Michael. The aim of successive exoduses is to transform the hardened heart into “th'upright heart and pure,” to achieve the Paradise within. The hortus conclusus out of which Adam and Eve emerge to face the world before them indicates the source of the myth: the delivery of the child from its mother's womb.
Symbolic Landscape in “Paradise Lost”
Authors: Knott John R. 
Published: May 2022

ABSTRACT
Milton reshaped the tradition of the earthly paradise in significant ways. His Eden is never static or pictorial, and its landscape is novel in its fluidity, spatial depth, and sense of order. By emphasizing the repose of Adam and Eve and their harmony with the landscape Milton made his paradise resemble a Christianized Arcadia; it has affinities with the Arcadian landscapes of such painters as Giorgione and Poussin as well as with literary Arcadias. The elegiac mood that distinguishes Eden from simpler kinds of pastoral extends to other descriptive passages in the poem. In its landscape as in other features heaven is the true image of perfection. This perfection is reflected in Eden and parodied in the grotesque distortions of the landscape of hell. The devastation that results from the Fall shows that Eden, unlike the fictional Arcadia, cannot absorb the presence of death. When Adam descends to the “subjected plain,” he must replace the otium of his life in Eden with an inner peace, self-attained and independent of the external world.
Parody of Style in Milton's Polemics
Authors: Rosenberg D. M. 
Published: May 2022

ABSTRACT
Because Milton believed language to be an external manifestation of inner spirit, he exposes his political and religious adversaries’ corruptions of style by impersonating them. By parodying their linguistic abuses, he supports his assertions about their dishonesty and ignorance. His verbal range is broad and various, shifting from mockery of High-Church grandiloquence, to burlesque of commercial jargon, to rough satire. He uses his own plain, concrete diction, however, as a moral and stylistic norm. Ridicule of Bishop Hall's peculiar diction and aphoristic phrasing plays an important part in Animadversions and An Apology. Through parody, Milton awakens his readers’ perceptions, persuading them to participate with him in the controversy over church reform and religious liberty.
Samson's Other Father: The Character of Manoa in “Samson Agonistes”
Authors: Hoffman Nancy Y. 
Published: May 2022

ABSTRACT
While not the protagonist of Milton's drama, Manoa, nevertheless, is the character who ties the action together through beginning, well-known “middle,” and ending. Milton's expansion of Manoa's role and limitations as earthly father deepens the ironies of Samson's search for some sign from his heavenly father and thus heightens the dramatic tension. The differing and developing responses of Manoa and Samson, as father and son, to the same experience intersect and interact, defining each other by contrast. Samson is the son larger than life, caught in life and reaching beyond it and beyond his physical and spiritual blindness; Manoa is the too-human father, trapped by the limitations of his own vision and by his relationship to his son. The ambiguity of the drama—whether it be tragedy or triumph or both—perhaps derives from the polarities of father and son.
Milton and the Epic Epithalamium
Authors: McCown Gary M. 
Published: May 2022

ABSTRACT
In Paradise Lost Milton alludes to conventions of the classical epithalamium both to praise the wedding of Adam and Eve and, ironically, to adumbrate its desecration. Book IV shows his positive imitation of images and plot from Catullus 61, undoubtedly the most influential lyric epithalamium revived in the Renaissance. For his epideictic style, however, Milton draws upon traditions of the epic epithalamium whose topics of “proemium,” “praise of the love that rules the world,” and “praise of the nuptial couple” he develops to elevate proper marital virtues. Comparison of Milton's epithalamium for Adam and Eve with others composed by hexameral poets such as Du Bartas, Andrew Ramsey, and Jacob Cats reveals how Milton's version follows Christian humanists’ qualification of certain topics found in secular epithalamia. Especially significant is the humanists’ dispraise of material splendor and their substitution of a new topic glorifying the natural simplicity manifested in the Edenic setting for Adam and Eve's wedding. A final qualification of the pagan genre is located in Michael's presentation of the fallen world in Book XI. Here Adam is shown a pagan wedding in progress so that he may learn how it desecrates Christian marital virtues.
Paradises Lost and Found: The Meaning and Function of the “Paradise Within” in “Paradise Lost”
Authors: Blackburn Thomas H. 
Published: May 2022

ABSTRACT
Michael, in Book XII of John Milton's Paradise Lost, promises Adam that the woeful consequences of his Fall may be mitigated by the achievement of a “Paradise within.” This inner paradise differs both from the irrecoverably lost paradise of Eden and from the “perfect glorification” of the faithful in an actual eternal paradise at the end of the world. The paradise promised Adam and his progeny in this world is that “imperfect glorification” characterized in Christian Doctrine Bk. II, ch. 25, as “the state wherein... we are filled with a consciousness of present grace and excellency, as well as with an expectation of future glory, inasmuch that our blessedness is in a manner already begun.” To partake of this blessedness one must participate in the divine vision of time as a single moment. For Adam, Michael in the last two books of Paradise Lost makes possible such participation. Through style and structure the epic as a whole encompasses in a single poetic unity both the temporal reality of the loss occasioned by the Fall and the eternal actuality of God's glorification of the faithful. It thus not only embodies the poet's participation in the eternal vision, but also allows a reader to share in it, and thereby discern the possible paradise within himself.
The Style and Structure of Milton's “Readie and Easie Way”
Authors: Stavely Keith W. 
Published: May 2022

ABSTRACT
The second edition of The Readie and Easie Way was published when all politically conscious Englishmen knew that a restoration was imminent. A recognition of this fact, and its near-tragic implications for Milton's cause, governs the style and structure of the pamphlet. When Milton contemplates the forces leading England to the Restoration, his coordinate, linear style implies that the situation is beyond rational control. When he proposes his ready and easy way, his more structured style generates an image of the politics of pure reason. These two styles alternate throughout the tract and create a pattern of futile but heroic political struggle. Periodically, Milton makes his serenely rational plan more detailed and socially comprehensive, but the intervals between these propositions are filled with denunciations of political reality, insinuations that no republican solutions are feasible at the moment. As this pattern unfolds, suggestions of political fantasy, suggestions that Milton realizes his plan is all too ready and easy, become more and more prominent in the positive or rational sections. The tract concludes with a sentence in which the style of reasoned presentation is gradually replaced by the style of futility. Realism defeats the fulfillment of wishes, but does not quite extinguish political commitment.
WHAT IT'S LIKE TO READ "L'ALLEGRO" AND "IL PENSEROSO"
Authors: Fish Stanley E. 
Published: May 2022

ABSTRACT
Rosemond Tuve has written that the pleasures enumerated in L'Allegro all have "the flat absence of any relationship to responsibility which we sometimes call innocence." This paper argues that the experience of reading the poem is itself such a pleasure, involving just that absence. L'Allegro is so structured that at no point is the reader held responsible for an action or an image or a unit of thought beyond the moment of its fleeting appearance in a line or couplet. Rather than compelling attention, the verse operates to diffuse attention, and, as a result, we move from linguistic event to linguistic event with almost no hostages from our previous experiences and therefore with no obligation to relate what we are reading to what we have read. In the act of reading the poem, we experience as a gift (from Milton) the care-less freedom which is its subject. In contrast, the activities required of us in the act of reading Il Penseroso are consistently and self-consciously strenuous. Rather than permitting us to move from one discrete unit to another, the verse of the second poem binds us to the cares of consecutive thought—the care of attending to implications, the care of carrying into one line or couplet the syntax or sense of previous lines and couplets, the care of rendering judgments and drawing conclusions. Here, then, is a new answer to an old question: who or what are L'Allegro and Il Penseroso? L'Allegro and Il Penseroso are the reader: that is, they stand for modes of being which the reader realizes in his response to the poems bearing their names. This analysis can be supported by the previous criticism if it is regarded as a disguised report of what readers have all the while been doing as they negotiate these poems.
The Dissolution of Satan in “Paradise Lost”: A Study of Milton's Heretical Eschatology
Authors: Brodwin Leonora Leet 
Published: May 2022

ABSTRACT
The heretical eschatology of Paradise Lost has never before been recognized because it deviates from the orthodox position on eternal torment expressed in De Doctrina Christiana. Though masked by a consistent strategy of ambiguity and omission, the apocalyptic passages in the epic suggest the heretical belief in the final dissolution of Satan, of the men and angels he perverted, and of hell itself, as contrasted with the exclusive resurrection of the just to eternal life. Other passages which seem to support a belief in eternal torment are seen to embody two special strategies: the identification of this belief as a Satanic doctrine, or the suggestion of its questionable effectiveness as a deterrent to sin. A study of the Enoch reference (XI, 701–10) reveals scriptural and pseudepigraphal sources of this heresy, but a closer source is the eschatology of the Socinian sect and its Italian Anabaptist antecedents. Milton's knowledge of Socinian works and agreement with other Socinian heresies has long been established. His further agreement with Socinian eschatology in Paradise Lost, though covertly expressed because of the peculiar social dangers thought to attend dissemination of this heresy, had many parallels in Interregnum England, including not only Hobbes, as previously recognized, but also Overton; and it illuminates the ethical contrast between Adam's reverent choice of life and Satan's “heroic” choice of death, an end which informs Milton's critique of conventional heroism.
Speech in “Paradise Lost”
Authors: Sherry Beverley 
Published: May 2022

ABSTRACT
In the sixteenth and seventeenth centuries several treatises (religious, philosophical, and rhetorical) discussed the Fall of Man as involving a corruption of mankind's speech. In Paradise Lost we witness a dramatization of that corruption. Adam and Eve lose what Thomas Wilson, in his Arte of Rhetorique (1560), calls the “Eloquence first giuen by God”; their speech is confounded in the way Godfrey Goodman describes fallen man's speech in The Fall of Man (1616). This confounding of their utterance is particularly noticeable in Adam and Eve's speech rhythms, which in the context of Paradise Lost are transformed from a celestial to an infernal resemblance. Adam and Eve's conversation also suffers an impairment, so that by the close of the poem they have inaugurated what Richard Allestree in The Government of the Tongue (1675) calls “our rusty drossy Converse.” Their conversation with each other has been changed and limited, their converse with God and the angels virtually lost. The poem itself, however, curiously makes up for this fall in Adam and Eve's speech. The poet projects himself as a fallen man, a son of Adam and Eve, but as a man conversing freely with God and graced with an eloquence given by God. The poem itself is in fact the result of the poet's converse with God.