Titlebook: Visuality and Identity in Post-millennial Indian Graphic Narratives; E. Dawson Varughese Book 2018 The Editor(s) (if applicable) and The A

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E. Dawson Varughesebased on the concept of stability have been proposed to estimate the reliability of each individual cluster as well as the ”optimal” number of clusters. In this conceptual framework a clustering ensemble is obtained through bootstrapping techniques, noise injection into the data or random projection

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E. Dawson Varugheseeters settings for a model is complex: the system is likely to be noisy, the data points may be sparse, and there may be many inter-related parameters. We apply computational intelligence and data mining techniques in novel ways to investigate this significant problem..We construct an original compu

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E. Dawson Varughesen of intact lipid structures onto solid surfaces in the first place. In this work, we report on the in situ investigation of the adsorption of liposomes of 1,2-dipalmitoyl-.-glycero-3-[phospho-.-(1-glycerol)] (sodium salt) (DPPG) onto a rough surface by neutron reflectivity. Rough surfaces are achie

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E. Dawson Varugheseto date by manual curation is rather than impossible. Despite the efforts in biomedical text mining, there are still challenges in extracting regulatory interactions (RIs) between transcription factors and genes from text documents. One of them is produced by text extraction from PDF files. We have

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Publishing Indian Graphic Narratives Post Millennium, are presented, with mention of how Indian graphic novels were commissioned (and nurtured) at HarperCollins India, particularly under the editorship of V. K. Karthika. The chapter concludes by discussing the specifics of post-millennial Indian graphic narratives and their invitation to ‘see’ Indianness through difficult or unsavoury depictions.

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Modes of Visuality in New India,dia is represented and thus ‘seen’ through the medium of Indian graphic narratives and how these narratives usurp erstwhile modes of representing India wherein the auspicious was invoked visually through the artwork (style, colourways, etc.). The chapter concludes by examining how graphic narratives are defined within current scholarship.

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,Visuality: ‘Seeing’ the Inauspicious,The Photo’, .), moments from Vishwajyoti Ghosh’s . and moments from two of Sarnath Banerjee’s graphic novels, this chapter considers the visual language of narrating the inauspicious and how, through such topics, established modes of seeing Indianness are usurped.

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,Identity: Representations of ‘Indianness’,on work published by Navayana (.), one graphic novel (.) and one graphic novella by Appupen (.), this chapter considers the visual language of contested Indian identities and looks at how these various identities are problematised, presented and embodied in the text-image interface of the four modes of graphic representation detailed here.

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