title: Cardigan: deploying a distributed routing fabric

authors: Stringer, Jonathan Philip

subjects: computer science

abstract: SDN is an active area for network research, with many organisations exploring the opportunities provided by the de-coupling of network control from packet forwarding. Previous work has suggested that a hybrid networking model will pave the way for migration towards SDN, through interoperability with legacy devices. However, questions remain over the operation of such systems in production environments. In order to build operational confidence, we built a simple distributed router using OpenFlow and deployed it at a public Internet exchange. This implementation provides insights into the challenges involved with using these technologies, and suggests the viability of mixed device environments despite the limitations of early OpenFlow implementations.

text: Cardigan: deploying a distributed routing fabric SDN is an active area for network research, with many organisations exploring the opportunities provided by the de-coupling of network control from packet forwarding. Previous work has suggested that a hybrid networking model will pave the way for migration towards SDN, through interoperability with legacy devices. However, questions remain over the operation of such systems in production environments. In order to build operational confidence, we built a simple distributed router using OpenFlow and deployed it at a public Internet exchange. This implementation provides insights into the challenges involved with using these technologies, and suggests the viability of mixed device environments despite the limitations of early OpenFlow implementations.

year: 2013

title: Grotesque Inversions On Stage, In Film: Horrid Yet Curious, Fascinating Yet Alarming

authors: Dellow, Delwyn Rae

subjects: Grotesque Theatre

abstract: Grotesque theatre is not a genre but a style of theatre made up of many strands which has been employed over many centuries beginning in Ancient Greece, particularly with Aristophanes and moving through time to the present.  François Rabelais recognised the grotesque in Church Feasts, Festivals, Guild performances, sotties and farces.  This thesis investigates through theatre and film the seven strands Bakhtin identifies:  grotesque image, abusive language, grotesque madness, scatalogical humour, light, reversals and the lower bodily stratum (1984, pp. 24-41).  In particular the thesis traces inversions in both theatre and film.  These two mediums have been selected to compare and contrast the use of the grotesque in each, as they share two strong commonalities in acting and the requirement of scripts.  

	Each chapter of this thesis deals with a script, and the last two chapters  incorporate the use of a movie for contrast.  The Introduction introduces the grotesque, offering an explanation of the styles of the grotesque as defined by Mikhail Bakhtin and Philip Thomson.  Examples are shown in pictures.  Chapter one explores two plays written by Eugene Ionesco:   Amedée or How to Get Rid of It, and Rhinoceros.  Chapter two moves back through time to Aristophanes' Lysistrata and explores the power women's bodies might have when men are in need.  The third chapter investigates The Roaring Girl, written by Middleton and Dekker.  This delves into the life of the character Moll Cutpurse and shows why Moll chose to dress as a man.  Chapters four and five deal with the fantasy and the gothic elements in Frankenstein and Dracula respectively:  focusing on bodily transformations; as well as the treatment of the monster and Dracula by society,  and their treatment in turn of society.  

	The grotesque is an intriguing style of theatre because it deals essentially with human nature and the human body in its imperfect and ever-changing form.  The grotesque therefore lends itself to horror, comedy and exaggeration making it a style which does not have to be limited by strict parameters.  The grotesque can be successfully woven into other genres such as the gothic or the absurd giving it even greater dimensions in storytelling, staging and special effects.  Human beings are often torn between the gory or visually disturbing whilst needing the safety of the normal and acceptable.  The grotesque offers both, which can make a scintillating piece of entertainment by fulfilling our needs at both ends of the emotional spectrum.  Grotesque theatre therefore by its very nature is a style which will continue to exist so long as it keeps its patrons in suspense.

text: Grotesque Inversions On Stage, In Film: Horrid Yet Curious, Fascinating Yet Alarming Grotesque theatre is not a genre but a style of theatre made up of many strands which has been employed over many centuries beginning in Ancient Greece, particularly with Aristophanes and moving through time to the present.  François Rabelais recognised the grotesque in Church Feasts, Festivals, Guild performances, sotties and farces.  This thesis investigates through theatre and film the seven strands Bakhtin identifies:  grotesque image, abusive language, grotesque madness, scatalogical humour, light, reversals and the lower bodily stratum (1984, pp. 24-41).  In particular the thesis traces inversions in both theatre and film.  These two mediums have been selected to compare and contrast the use of the grotesque in each, as they share two strong commonalities in acting and the requirement of scripts.  

	Each chapter of this thesis deals with a script, and the last two chapters  incorporate the use of a movie for contrast.  The Introduction introduces the grotesque, offering an explanation of the styles of the grotesque as defined by Mikhail Bakhtin and Philip Thomson.  Examples are shown in pictures.  Chapter one explores two plays written by Eugene Ionesco:   Amedée or How to Get Rid of It, and Rhinoceros.  Chapter two moves back through time to Aristophanes' Lysistrata and explores the power women's bodies might have when men are in need.  The third chapter investigates The Roaring Girl, written by Middleton and Dekker.  This delves into the life of the character Moll Cutpurse and shows why Moll chose to dress as a man.  Chapters four and five deal with the fantasy and the gothic elements in Frankenstein and Dracula respectively:  focusing on bodily transformations; as well as the treatment of the monster and Dracula by society,  and their treatment in turn of society.  

	The grotesque is an intriguing style of theatre because it deals essentially with human nature and the human body in its imperfect and ever-changing form.  The grotesque therefore lends itself to horror, comedy and exaggeration making it a style which does not have to be limited by strict parameters.  The grotesque can be successfully woven into other genres such as the gothic or the absurd giving it even greater dimensions in storytelling, staging and special effects.  Human beings are often torn between the gory or visually disturbing whilst needing the safety of the normal and acceptable.  The grotesque offers both, which can make a scintillating piece of entertainment by fulfilling our needs at both ends of the emotional spectrum.  Grotesque theatre therefore by its very nature is a style which will continue to exist so long as it keeps its patrons in suspense.

year: 2012

title: Indigenous fertility in Aotearoa New Zealand: How does ethnic identity affect birth spacing and timing?

authors: Rarere, Moana

abstract: The survival of Indigenous peoples in the CANZUS states of Canada, Australia, Aotearoa New Zealand, and the United States is nothing short of remarkable. Not only have Indigenous peoples thwarted colonial tropes of the vanishing native but, for decades, Indigenous population growth rates have significantly outpaced those of the dominant settler populations. The future survival of Indigenous peoples fundamentally rests on continued natural increase, and understanding the causes and consequences of fertility behaviour is critical. While total fertility rates for Indigenous women in CANZUS countries are relatively low, childbearing tends to be concentrated at younger ages in contrast to the dominant white populations. The fertility transitions of both settler and Indigenous populations in the CANZUS states are well documented, however, a significant gap remains: how cultural factors shape contemporary Indigenous fertility behaviours. Using Aotearoa as a case study, we explore the relationship between Māori cultural identity, birth timing, and the duration of birth intervals. We use the 1995 New Zealand Women: Family, Employment and Education survey data to further test the impact of cultural identity on birth transition rates using the piecewise exponential model and Kaplan-Meier estimates. We find that women who identify Mainly Māori (exclusively or primarily) are at greater risk of bearing much earlier to first birth but not necessarily subsequent births. However, because of the earlier start, Māori have a longer reproductive window to bear more children, and at higher birth orders still bear earlier than non-Māori. The empirical evidence strengthens our case to suggest that cultural orientation has some influence on Indigenous fertility and contributes to the development of Indigenous-centred theories of fertility and demography more broadly.

text: Indigenous fertility in Aotearoa New Zealand: How does ethnic identity affect birth spacing and timing? The survival of Indigenous peoples in the CANZUS states of Canada, Australia, Aotearoa New Zealand, and the United States is nothing short of remarkable. Not only have Indigenous peoples thwarted colonial tropes of the vanishing native but, for decades, Indigenous population growth rates have significantly outpaced those of the dominant settler populations. The future survival of Indigenous peoples fundamentally rests on continued natural increase, and understanding the causes and consequences of fertility behaviour is critical. While total fertility rates for Indigenous women in CANZUS countries are relatively low, childbearing tends to be concentrated at younger ages in contrast to the dominant white populations. The fertility transitions of both settler and Indigenous populations in the CANZUS states are well documented, however, a significant gap remains: how cultural factors shape contemporary Indigenous fertility behaviours. Using Aotearoa as a case study, we explore the relationship between Māori cultural identity, birth timing, and the duration of birth intervals. We use the 1995 New Zealand Women: Family, Employment and Education survey data to further test the impact of cultural identity on birth transition rates using the piecewise exponential model and Kaplan-Meier estimates. We find that women who identify Mainly Māori (exclusively or primarily) are at greater risk of bearing much earlier to first birth but not necessarily subsequent births. However, because of the earlier start, Māori have a longer reproductive window to bear more children, and at higher birth orders still bear earlier than non-Māori. The empirical evidence strengthens our case to suggest that cultural orientation has some influence on Indigenous fertility and contributes to the development of Indigenous-centred theories of fertility and demography more broadly.

year: 2023