Jonathan Taylor – författare

An Introduction to Statistical Learning provides an accessible overview of the field of statistical learning, an essential toolset for making sense of the vast and complex data sets that have emerged in fields ranging from biology to finance, marketing, and  astrophysics in the past twenty years. This book presents some of the most important modeling and prediction techniques, along with relevant applications. Topics include linear regression, classification, resampling methods, shrinkage approaches, tree-based methods, support vector machines, clustering, deep learning, survival analysis, multiple testing, and more. Color graphics and real-world examples are used to illustrate the methods presented. This book is targeted at statisticians and non-statisticians alike, who wish to use cutting-edge statistical learning techniques to analyze their data. Four of the authors co-wrote An Introduction to Statistical Learning, With Applications in R(ISLR), which has become a mainstay of undergraduate and graduate classrooms worldwide, as well as an important reference book for data scientists. One of the keys to its success was that each chapter contains a tutorial on implementing the analyses and methods presented in the R scientific computing environment. However, in recent years Python has become a popular language for data science, and there has been increasing demand for a Python-based alternative to ISLR. Hence, this book (ISLP) covers the same materials as ISLR but with labs implemented in Python. These labs will be useful both for Python novices, as well as experienced users.

This innovative volume considers the relationship between the Gothic and theories of Post-Colonialism. Contributors explore how writers such as Salman Rushdie, Arunhati Roy and Ruth Prawer Jhabvala use the Gothic for postcolonial ends. Post-Colonial theory is applied to earlier Gothic narratives in order to re-examine the ostensibly colonialist writings of William Beckford, Charlotte Dacre, H. Rider Haggard and Bram Stoker. Contributors include Gayatri Chakravorty Spivak, David Punter and Neil Cornwell.

Cuneiform script on tablets of clay is, as far as we know, the oldest form of writing in the world. The choice of clay as writing medium in ancient Mesopotamia meant that records of all kinds could survive down to modern times, preserving fascinating documents from ancient civilization, written by a variety of people and societies. From reading these tablets we can understand not only the history and economics of the time but also the beliefs, ideas and superstitions. This fascinating book will bring the world in which the cuneiform was written to life for the non-expert reader, revealing how ancient inscriptions can lead to a new way of thinking about the past. It will explain how this pre-alphabetic writing really worked and how it was possible to use cuneiform signs to record so many different languages so long ago. Richly illustrated with a wealth of fresh examples ranging from elementary school exercises to revealing private letters or beautifully calligraphic literature for the royal library, we will meet people that aren’t so very different from ourselves. We will read the work of many scribes – from mundane record keepers to state fortune tellers, using tricks from puns to cryptography. For the first time cuneiform tablets and their messages are not remote and inaccessible, but wonderfully human documents that resonate today.

In this unique collection of essays, published writers offer an intimate view of how their work has been informed, shaped and transformed by their literary, political, philosophical or personal influences. Providing models of the critical commentaries that all students of creative writing must write, each essay from contemporary authors of fiction, creative non-fiction, poetry, scripts and digital writing demonstrates how what writers write is determined by what they have read, and what they read is then determined by what they are writing. As writers reflect on their process of moving from sources of inspiration to a finished and original piece of writing, they reveal their anxieties, passions, discoveries and motivations, offering fascinating insights into the imagination’s journey. Introductory chapters explore why writers reflect on their own work, and place this practice in wider contexts, offering theoretical frameworks for understanding process, influence, and inspiration.As illuminating for aspiring writers as it is for students reflecting on their research and process as part of writing courses, Creative Writing and the Critical Commentary will change the way writers talk about and engage with other texts.

In this unique collection of essays, published writers offer an intimate view of how their work has been informed, shaped and transformed by their literary, political, philosophical or personal influences. Providing models of the critical commentaries that all students of creative writing must write, each essay from contemporary authors of fiction, creative non-fiction, poetry, scripts and digital writing demonstrates how what writers write is determined by what they have read, and what they read is then determined by what they are writing. As writers reflect on their process of moving from sources of inspiration to a finished and original piece of writing, they reveal their anxieties, passions, discoveries and motivations, offering fascinating insights into the imagination’s journey. Introductory chapters explore why writers reflect on their own work, and place this practice in wider contexts, offering theoretical frameworks for understanding process, influence, and inspiration.As illuminating for aspiring writers as it is for students reflecting on their research and process as part of writing courses, Creative Writing and the Critical Commentary will change the way writers talk about and engage with other texts.

In this unique collection of essays, published writers offer an intimate view of how their work has been informed, shaped and transformed by their literary, political, philosophical or personal influences. Providing models of the critical commentaries that all students of creative writing must write, each essay from contemporary authors of fiction, creative non-fiction, poetry, scripts and digital writing demonstrates how what writers write is determined by what they have read, and what they read is then determined by what they are writing. As writers reflect on their process of moving from sources of inspiration to a finished and original piece of writing, they reveal their anxieties, passions, discoveries and motivations, offering fascinating insights into the imagination's journey. Introductory chapters explore why writers reflect on their own work, and place this practice in wider contexts, offering theoretical frameworks for understanding process, influence, and inspiration. As illuminating for aspiring writers as it is for students reflecting on their research and process as part of writing courses, Creative Writing and the Critical Commentary will change the way writers talk about and engage with other texts.

In this unique collection of essays, published writers offer an intimate view of how their work has been informed, shaped and transformed by their literary, political, philosophical or personal influences. Providing models of the critical commentaries that all students of creative writing must write, each essay from contemporary authors of fiction, creative non-fiction, poetry, scripts and digital writing demonstrates how what writers write is determined by what they have read, and what they read is then determined by what they are writing. As writers reflect on their process of moving from sources of inspiration to a finished and original piece of writing, they reveal their anxieties, passions, discoveries and motivations, offering fascinating insights into the imagination's journey. Introductory chapters explore why writers reflect on their own work, and place this practice in wider contexts, offering theoretical frameworks for understanding process, influence, and inspiration. As illuminating for aspiring writers as it is for students reflecting on their research and process as part of writing courses, Creative Writing and the Critical Commentary will change the way writers talk about and engage with other texts.

En avez-vous assez des traditionnels hamburgers produits de façon industrielle par les chaînes de restauration rapide ?Cherchez-vous l’inspiration pour créer les plus excitants burgers de la Terre ?Les hamburgers sont une façon agréable de se faire plaisir en mangeant, c’est pourquoi ils sont si populaires. Dans ce livre de recettes, vous allez apprendre à cuisiner de somptueux et délicieux hamburgers. Il y en a pour tous les goûts : pour les amateurs de viande ou les végétariens, classiques ou créatifs, simples ou élaborés.Parcourez le site et achetez-le maintenant ! Votre famille et vos amis vous en remercieront !

Winner of the 2025 Arnold Bennett Book PrizeThese are tales from the post-industrial scablands – stories of austerity, poverty, masochism and migration. The people here are sick, lonely, lost, half-living in the aftermath of upheaval or trauma. A teacher obsessively canes himself. A neurologist forgets where home is. A starving woman sells hugs in an abandoned kiosk. Yet sometimes, even in the twilit scablands, there’s also beauty, music, laughter. Sometimes a town square is filled with bubbles. Sometimes sisters dream they can fly. Sometimes an old man plays Bach to an empty street, two ailing actors see animal shapes in clouds, a cancer survivor searches for a winning lottery ticket in her rundown flat. And sometimes Gustav Mahler lives just round the corner, hoarding rare records in a Stoke terrace.

God is dead,' Nietzsche famously declared in The Gay Science; but this book will investigate God's surprising persistence and resurrection in the works of even the most seemingly atheistic of writers, who continue to deploy Judaic and Christian narratives and tropes even as they radically rewrite them in the face of new cultural, political and scientific imperatives. Contributors explore the range, power and implication of Christian and Jewish heresies in canonical Anglo-American writers -- including Edgar Allan Poe, Thomas Hardy, Robert Louis Stevenson, T S Eliot, John Steinbeck and Jim Crace -- as well as in some less familiar texts: the Mormon Scriptures of Joseph Smith and various Victorian rewritings of the Book of Esther. A polemical essay by Michelene Wandor reflects on conceptions of Jewishness, which she finds in need of heretical renewal. Valentine Cunningham's provocative introduction argues that the acts of literary writing and reading are necessarily heretical. A coda to the book, Between Heresy and Superstition', takes as its motto Thomas Huxley's observation in 1881 that It is the customary fate of new truths to begin as heresies and to end as superstitions.' Contributions offer readers a rare opportunity of witnessing an extended academic exchange -- exploring the process by which former heresies may indeed risk ossification as new kinds of doctrinal conformity. Bryan Cheyette's critique of the Christian Albums' of Bob Dylan is answered by Kevin Mills's essay which uncovers heretical possibility even in this most seemingly orthodox part of Dylan's work. The revitalisation of heresy in literary interpretations, as well as in our religious thinking, forms the guiding objective of this exciting critical book.

This book takes as its starting point Pierre-Simon Laplace's much-cited dream in 1812 of 'a vast intelligence' which can 'embrace in the same formula the movements of the greatest bodies of the universe and those of the lightest atom' and for which the future and the past are equally calculable. Laplace sets out THE echt-Enlightenment ideal of scientific omniscience and the classic statement of a deterministic universe. The author investigates some of the ways in which Laplacian and, indeed, Newtonian models of observation and the universe are at once assimilated and complicated by Romantic and Victorian writers such as Carlyle, Burke, Abbott, Poe and Wordsworth. In particular, it aims to retrace some of the ways in which LaplacianNewtonian models of scientific 'intelligence' come to inform nineteenth-century writers' views of themselves and their own modes of observation. The author also explains how some of these literary reimaginings look forward to more modern conceptions of science in the twentieth and twenty-first centuries, such as Chaos Theory and Einsteinian Cosmology. Oddly enough, contemporary science would seem to realise Carlyle's vision of a 'Natural-Supernaturalism', fusing Laplace's mechanical vision with Romanticism. This book covers a vast array of topics, including Philosophy, Wagner's music and music in general, Jungian analysis, and ends with the 'omniscient' narrator in Charles Dickens's 'The Old Curiosity Shop', as an example of what came to be the dominant mode of narration in later Victorian fiction.

On bullying, discipline, and power in school and beyond.What does it mean to be a bully? What does it feel like to be bullied—to be a victim, a pariah, a scapegoat? What are the techniques, patterns, and languages of bullying?Intermingling memoir with literary criticism, philosophy, and sociology, A Physical Education attempts to answer these questions. A highly original examination of the uses and abuses of power in the education system, it explores how bullying and discipline function, how they differ from each other, and how they all too often overlap.  Taylor interweaves his own experiences with reflections on well-known literary representations of bullying and school discipline, alongside sociological, psychological, and philosophical theories of power. He discusses the transition from corporal punishment to psychological forms of discipline that took place in the UK in the 1980s, and he also investigates the divergences and convergences of physical, psychological, and linguistic bullying. Above all, A Physical Education sets out to understand bullying and discipline from an experiential perspective: what these things feel like from "within," rather than "above," for all those involved. There are horrors, tragedies, and cyclical traumas, certainly—but there are also absurdities, contradictions, grotesque comedies. Sometimes, beneath the Gradgrindian tyranny, there is trickery, laughter. And sometimes there are chinks in The Wall, through which other possible worlds might be glimpsed.

Laughter, Literature, Violence, 1840-1930 investigates the strange, complex, even paradoxical relationship between laughter, on the one hand, and violence, war, horror, death, on the other. It does so in relation to philosophy, politics, and key nineteenth- and twentieth-century literary texts, by Edgar Allan Poe, Edmund Gosse, Wyndham Lewis and Katherine Mansfield – texts which explore the far reaches of Schadenfreude, and so-called ‘superiority theories’ of laughter, pushing these theories to breaking point. In these literary texts, the violent superiority often ascribed to laughter is seen as radically unstable, co-existing with its opposite: an anarchic sense of equality. Laughter, humour and comedy are slippery, duplicitous, ambivalent, self-contradictory hybrids, fusing apparently discordant elements. Now and then, though, literary and philosophical texts also dream of a different kind of laughter, one which reaches beyond its alloys –a transcendent, ‘perfect’ laughter which exists only in and for itself.

Laughter, Literature, Violence, 1840-1930 investigates the strange, complex, even paradoxical relationship between laughter, on the one hand, and violence, war, horror, death, on the other. It does so in relation to philosophy, politics, and key nineteenth- and twentieth-century literary texts, by Edgar Allan Poe, Edmund Gosse, Wyndham Lewis and Katherine Mansfield – texts which explore the far reaches of Schadenfreude, and so-called ‘superiority theories’ of laughter, pushing these theories to breaking point. In these literary texts, the violent superiority often ascribed to laughter is seen as radically unstable, co-existing with its opposite: an anarchic sense of equality. Laughter, humour and comedy are slippery, duplicitous, ambivalent, self-contradictory hybrids, fusing apparently discordant elements. Now and then, though, literary and philosophical texts also dream of a different kind of laughter, one which reaches beyond its alloys –a transcendent, ‘perfect’ laughter which exists only in and for itself.

An Introduction to Statistical Learning provides an accessible overview of the field of statistical learning, an essential toolset for making sense of the vast and complex data sets that have emerged in fields ranging from biology to finance, marketing, and  astrophysics in the past twenty years. This book presents some of the most important modeling and prediction techniques, along with relevant applications. Topics include linear regression, classification, resampling methods, shrinkage approaches, tree-based methods, support vector machines, clustering, deep learning, survival analysis, multiple testing, and more. Color graphics and real-world examples are used to illustrate the methods presented. This book is targeted at statisticians and non-statisticians alike, who wish to use cutting-edge statistical learning techniques to analyze their data. Four of the authors co-wrote An Introduction to Statistical Learning, With Applications in R(ISLR), which has become a mainstay of undergraduate and graduate classrooms worldwide, as well as an important reference book for data scientists. One of the keys to its success was that each chapter contains a tutorial on implementing the analyses and methods presented in the R scientific computing environment. However, in recent years Python has become a popular language for data science, and there has been increasing demand for a Python-based alternative to ISLR. Hence, this book (ISLP) covers the same materials as ISLR but with labs implemented in Python. These labs will be useful both for Python novices, as well as experienced users.