Academic literature on the topic 'Invocation sequence'

Finding an effective method for testing object-oriented software (OOS) has proven elusive in the software community due to the rapid development of object-oriented programming (OOP) technology. Although significant progress has been made by previous studies, challenges still exist in relation to the object distance measurement of OOS using Adaptive Random Testing (ART). This is partly due to the unique features of OOS such as encapsulation, inheritance and polymorphism. In a previous work, we proposed a new similarity metric called the Object and Method Invocation Sequence Similarity (OMISS) metric to facilitate multi-class level testing using ART. In this paper, we broaden the set of models in the metric (OMISS) by considering the method parameter and adding the weight in the metric to develop a new distance metric to improve unit testing of OOS. We used the new distance metric to calculate the distance between the set of objects and the distance between the method sequences of the test cases. Additionally, we integrate the new metric in unit testing with ART and applied it to six open source subject programs. The experimental result shows that the proposed method with method parameter considered in this study is better than previous methods without the method parameter in the case of the single method. Our finding further shows that the proposed unit testing approach is a promising direction for assisting software engineers who seek to improve the failure-detection effectiveness of OOS testing.

In 2016, Discourse Studies published a special issue on the ‘epistemics of epistemics’ comprising six papers, all of which took issue with a strand of my research on how knowledge claims are asserted, implemented and contested through facets of turn design and sequence organization. Apparently coordinated through some years of discussion, the critique is nonetheless somewhat confused and confusing. In this article, I take up some of more prominent elements of the critique: (a) my work is ‘cognitivist’ substituting causal psychological analysis for the classic conversation analytic (CA) focus on the normative accountability of social action, (b) my work devalues and indeed flouts basic tenets of CA methodology such as the ‘next-turn proof procedure’, (c) my analysis of epistemic stance introduces unwarranted themes of conflict and hostility into CA thinking, (d) various concepts that I have introduced involve the invocation of ‘hidden orders’ of social conduct that is inimical to the traditions of our field and (e) that my work rests on an unwarranted ‘informationism’ – the discredited idea that much of human interaction is driven by a need to traffic in information. In this rebuttal, I refute all of these commentaries and correct many other ancillary mistakes of representation and reasoning that inhabit these papers.

ABSTRACTThe stratigraphy of the Neoproterozoic Dalradian Supergroup has been formalised at group, subgroup and formation level, based largely on mapping in the SW Highlands of Scotland. Elsewhere, there has been a tendency for the lithostratigraphy to be fitted into this framework, implying that the lithostratigraphy represents basin-wide changes in depositional environment. The pitfalls of this ‘layer-cake’ approach are illustrated by interpreting the geology of the Gleann Fearnach to Glen Shee area of the Central Highlands, using the published maps of the adjacent regions. Attempts to correlate units into the Braemar area in the NE and into the Pitlochry area in the SW show considerable mismatch between the maps covering these areas, which has in the past led to invocation of geometrically unlikely arrangements of faults and slides to explain the lithostratigraphical distribution.The present study is the result of a different approach adopted during remapping of the Gleann Fearnach to Glen Shee area. Some basin-wide events, here suggested to be associated with key sequence stratigraphic surfaces, were identified. These principally relate to the deposition of Appin Quartzite, Boulder Bed and Ben Lawers Schist precursor sediments. Between these reference units the stratigraphy has been determined by detailed field mapping, and variation from the standard stratigraphy explained in terms of both the position within the depositional sequence and palaeogeography during deposition. This has led to an integrated solution which works on both sedimentological and structural grounds. There are local implications for the stratigraphy and structural geology elsewhere in the Scottish Dalradian, but, more importantly, it is an approach which must be more widely applied in order to make wider correlations beyond the British Dalradian to the rest of the Laurentian margin.

Эта статья - развёрнутый комментарий к последним двум стихам Песни песней, которые рассматриваются здесь как отдельное стихотворение и как эпилог книги. Сначала приводится еврейский текст с переводом, затем - построчный комментарий, разбитый на две части: «Примечания к переводу» и «Аппарат и комментарий к тексту». Далее идёт глава «Стихотворная форма» и ряд глав, посвящённых центральным образам стихотворения, его жанру и композиционной роли в Песни песней: «Сад как место действия и как символ», «Серенада», «Серенада и молитва», «Прочь!», «Превращение в оленя», «Песн. 8, 13-14 как эпилог Песни песней». В «Заключении» подводятся итоги и формулируются вопросы для дальнейшей дискуссии. The two final verses of the Song of Songs are read here as a separate poem, which is shown to depend largely on the tradition of paraclausithyron (ancient serenade). The topoi of this oral genre help explain some features of the poem usually considered to be difficult: the solemn invocation of the girl as «living in the gardens», the presence of the «friends» and, above all, the fact that the girl (contrary to what is said in many commentaries) does not invite the boy, but rather sends him away. Another important aspect of the poem is that it serves as an epilogue to the lyric sequence of Song of Songs. Thus the farewell of the girl to the boy corresponds, on a metapoetic level, to the farewell of the poet to the book and to the audience.