title: Mining frequent closed graphs on evolving data streams

authors: Bifet, Albert

subjects: computer science

abstract: Graph mining is a challenging task by itself, and even more so when processing data streams which evolve in real-time. Data stream mining faces hard constraints regarding time and space for processing, and also needs to provide for concept drift detection. In this paper we present a framework for studying graph pattern mining on time-varying streams. Three new methods for mining frequent closed subgraphs are presented. All methods work on coresets of closed subgraphs, compressed representations of graph sets, and maintain these sets in a batch-incremental manner, but use different approaches to address potential concept drift. An evaluation study on datasets comprising up to four million graphs explores the strength and limitations of the proposed methods. To the best of our knowledge this is the first work on mining frequent closed subgraphs in non-stationary data streams.

text: Mining frequent closed graphs on evolving data streams Graph mining is a challenging task by itself, and even more so when processing data streams which evolve in real-time. Data stream mining faces hard constraints regarding time and space for processing, and also needs to provide for concept drift detection. In this paper we present a framework for studying graph pattern mining on time-varying streams. Three new methods for mining frequent closed subgraphs are presented. All methods work on coresets of closed subgraphs, compressed representations of graph sets, and maintain these sets in a batch-incremental manner, but use different approaches to address potential concept drift. An evaluation study on datasets comprising up to four million graphs explores the strength and limitations of the proposed methods. To the best of our knowledge this is the first work on mining frequent closed subgraphs in non-stationary data streams.

year: 2011

title: An appreciative view of year 9 student leadership in a New Zealand secondary school context

authors: Mackay, Janine Karen

subjects: Student Leadership

abstract: Engaging students in relevant and meaningful leadership activities in schools can prove to be a challenging task. Understanding the leadership experiences and skills that students have is an important beginning step to understanding how schools can best serve their needs. This thesis shares the details of a qualitative research project, which explored year 9 students’ perspectives and experiences of leadership. The study engaged a strengths-based approach to learning and, amongst other things, encouraged students to reflect upon past experiences of leadership. Central to the research design were the voices of the students as they examined these past experiences to find out what factors made leadership enjoyable, meaningful and useful to them. 
The findings indicated the significant difference in opportunities students were provided in year 8 (intermediate school) as compared with year 9 (secondary school). Coming from environments where students most often had significant leadership opportunities, upon entering high school students perceived few opportunities for leadership. Students shared their views about ways they could contribute to and be involved in leadership at secondary school and suggested changes that needed to occur for this to happen. The findings also highlighted the powerful influence of the school and family on students’ leadership understandings and demonstrated that leadership development for young people should not be something schools ‘do’ to them but something that encourages them to recognise their existing skills and future potential.

text: An appreciative view of year 9 student leadership in a New Zealand secondary school context Engaging students in relevant and meaningful leadership activities in schools can prove to be a challenging task. Understanding the leadership experiences and skills that students have is an important beginning step to understanding how schools can best serve their needs. This thesis shares the details of a qualitative research project, which explored year 9 students’ perspectives and experiences of leadership. The study engaged a strengths-based approach to learning and, amongst other things, encouraged students to reflect upon past experiences of leadership. Central to the research design were the voices of the students as they examined these past experiences to find out what factors made leadership enjoyable, meaningful and useful to them. 
The findings indicated the significant difference in opportunities students were provided in year 8 (intermediate school) as compared with year 9 (secondary school). Coming from environments where students most often had significant leadership opportunities, upon entering high school students perceived few opportunities for leadership. Students shared their views about ways they could contribute to and be involved in leadership at secondary school and suggested changes that needed to occur for this to happen. The findings also highlighted the powerful influence of the school and family on students’ leadership understandings and demonstrated that leadership development for young people should not be something schools ‘do’ to them but something that encourages them to recognise their existing skills and future potential.

year: 2014

title: Translating Translations: A study of Ngā Rūpaiaha o Oma Kaiama, a Māori translation of the English version of the Rubáiyát of Omar Khayyám

authors: Roa, Hariru Te Aroha

subjects: Translation

abstract: Omar Khayyám, a Persian poet who died in 1131, wrote a number of quatrains in Farsi which are regarded by some as representing the very summit of Sufism (that is, of the mystical dimension of Islamic thought) and by others as being essentially agnostic and hedonistic in nature. Those who are of the latter view are often strongly influenced by the ‘translation’ into English of some of these quatrains by Edward Fitzgerald, a British poet and writer whose first edition of the Rubáiyát of Omar Khayyám appeared in 1859, at the height of the Victorian era. Although there have been several other translations of Khayyám’s quatrains, none has been as popular or, perhaps, as highly regarded as an artistic work as that of Fitzgerald. It has rarely, however, been regarded as a work that is faithful to the intent of the original. In deciding to translate into Māori Fitzgerald’s rendering into English of some of Khayyám’s Farsi quatrains (5th version), Pei Jones was faced with a peculiarly complex set of problems (linguistic, literary, cultural and religious). Pei Jones’ translation, a translation of a translation, is generally regarded as being faithful to Fitzgerald’s version of the Rubáiyát. It would appear, therefore, that he decided to treat Fitzgeralds’s text, in spite of the reference in its title to the original text, as his source text. This gives rise to a number of questions, including questions about what it means for a translator to be faithful or unfaithful to a source text. With particular reference to Pei Jones’ translation of Fitzgerald’s Rubáiyát of Omar Khayyám, this thesis explores the concept of ‘fidelity’, a concept that, it is argued here (see Chapter 3), is often treated in the literature on translation in a way that belies its extremely complex nature. The thesis proposes a new approach to the concept of fidelity, one that is based on nine fidelity types: grammatical, lexical, informational, metrical, imagistic, rhetorical, historical, didactic and functional fidelity. In terms of this nonagonal analytical model, twenty-five of Pei Jones’ quatrains are analysed in relation to the equivalent quatrains in Fitzgerald’s version (Chapter 4). The analysis indicates that Pei Jones’ translation has neither metrical fidelity (a consequence of the very different nature of the source and target languages) nor functional fidelity (a consequence of the very different expectations and sensibilities that a Māori audience has in relation to the verbal arts). Metre and function are both, however, fundamental to the enduring appeal of Fitzgerald’s quatrains. The overall conclusion is that since it is often impossible to achieve all nine types of fidelity, translators need to carefully consider what their primary aim is in undertaking the translation of artistic works and be prepared to sacrifice certain types of fidelity (e.g. historical and informational fidelity) in order to create a work that fulfils the aesthetic expectations of the target audience. Pei Jones was undeniably successful in achieving those types of fidelity that were possible. However, the work may have had more widespread appeal if he had sacrificed some of them in order to create a work that was more closely aligned with the aesthetic expectations of Māori readers.

text: Translating Translations: A study of Ngā Rūpaiaha o Oma Kaiama, a Māori translation of the English version of the Rubáiyát of Omar Khayyám Omar Khayyám, a Persian poet who died in 1131, wrote a number of quatrains in Farsi which are regarded by some as representing the very summit of Sufism (that is, of the mystical dimension of Islamic thought) and by others as being essentially agnostic and hedonistic in nature. Those who are of the latter view are often strongly influenced by the ‘translation’ into English of some of these quatrains by Edward Fitzgerald, a British poet and writer whose first edition of the Rubáiyát of Omar Khayyám appeared in 1859, at the height of the Victorian era. Although there have been several other translations of Khayyám’s quatrains, none has been as popular or, perhaps, as highly regarded as an artistic work as that of Fitzgerald. It has rarely, however, been regarded as a work that is faithful to the intent of the original. In deciding to translate into Māori Fitzgerald’s rendering into English of some of Khayyám’s Farsi quatrains (5th version), Pei Jones was faced with a peculiarly complex set of problems (linguistic, literary, cultural and religious). Pei Jones’ translation, a translation of a translation, is generally regarded as being faithful to Fitzgerald’s version of the Rubáiyát. It would appear, therefore, that he decided to treat Fitzgeralds’s text, in spite of the reference in its title to the original text, as his source text. This gives rise to a number of questions, including questions about what it means for a translator to be faithful or unfaithful to a source text. With particular reference to Pei Jones’ translation of Fitzgerald’s Rubáiyát of Omar Khayyám, this thesis explores the concept of ‘fidelity’, a concept that, it is argued here (see Chapter 3), is often treated in the literature on translation in a way that belies its extremely complex nature. The thesis proposes a new approach to the concept of fidelity, one that is based on nine fidelity types: grammatical, lexical, informational, metrical, imagistic, rhetorical, historical, didactic and functional fidelity. In terms of this nonagonal analytical model, twenty-five of Pei Jones’ quatrains are analysed in relation to the equivalent quatrains in Fitzgerald’s version (Chapter 4). The analysis indicates that Pei Jones’ translation has neither metrical fidelity (a consequence of the very different nature of the source and target languages) nor functional fidelity (a consequence of the very different expectations and sensibilities that a Māori audience has in relation to the verbal arts). Metre and function are both, however, fundamental to the enduring appeal of Fitzgerald’s quatrains. The overall conclusion is that since it is often impossible to achieve all nine types of fidelity, translators need to carefully consider what their primary aim is in undertaking the translation of artistic works and be prepared to sacrifice certain types of fidelity (e.g. historical and informational fidelity) in order to create a work that fulfils the aesthetic expectations of the target audience. Pei Jones was undeniably successful in achieving those types of fidelity that were possible. However, the work may have had more widespread appeal if he had sacrificed some of them in order to create a work that was more closely aligned with the aesthetic expectations of Māori readers.

year: 2013