The discovery of frequent patterns is a famous problem in data mining. While plenty of algorithms have been proposed during the last decade, only a few contributions have tried to understand the influence of datasets on the algorithms behavior. Being able to explain why certain algorithms are likely to perform very well or very poorly on some datasets is still an open question.In this setting, we describe a thorough experimental study of datasets with respect to frequent itemsets. We study the distribution of frequent itemsets with respect to itemsets size together with the distribution of three concise representations: frequent closed, frequent free and frequent essential itemsets. For each of them, we also study the distribution of their positive and negative borders whenever possible.From this analysis, we exhibit a new characterization of datasets and some invariants allowing to better predict the behavior of well known algorithms.The main perspective of this work is to devise adaptive algorithms with respect to dataset characteristics.
International audienceThis article considers two relatively new European Shakespeare festivals, Nice and York, both of which had their first season in 2015. The annual Nice Festival owes its birth to Irina Brook, appointed as director of the Théâtre national de Nice in September 2014, and has just held its second edition. The biennial York International Shakespeare Festival celebrated its first season in 2015, with its next season planned for 2017. Both festivals are members of the European Shakespeare Festivals Network (ESFN).Cet article analyse deux festivals Shakespeare européens créés récemment, en 2015, à Nice et York. Fondé par Irina Brook, directrice du Théâtre national de Nice depuis septembre 2014, le festival annuel Shake Nice! a connu sa deuxième édition en janvier dernier. Bisannuel, le York International Shakespeare Festival a programmé sa prochaine manifestation en mai 2017. Tous deux sont membres à part entière du réseau européen des festivals Shakespeare (ESFN)
Montpellier 3, IRCL 'T riumph, my Britaine, thou hast one to showe, / To whom all Scenes of Europe homage owe', wrote Ben Jonson in his poem 'To the memory of my beloved, The author Mr. William Shakespeare: and what he hath left us'. 1 As we celebrate the four hundredth anniversary of Shakespeare's death, Jonson's lines strike us as both true and untrue. Shakespeare is performed everywhere today in Europe and while he is recognized as one of the best authors Britain has produced, he has become far more than a national poet. In fact, one could argue now that his 'triumph' is due to the fact that he has grown to be not only a European but also a global author. Thus, it is fitting that the essays in this special anniversary issue should stem for the most part from a congress of the European Shakespeare Research Association (ESRA), which gathered European scholars, but also colleagues from all over the world, around the theme of 'Shakespeare and Myth'. 2 The congress proposed a rich journey into Shakespeare's kaleidoscopic 'mythscape' in two main directions. The first direction, that we shall term an 'upstream' direction (amont), considered myth in Shakespeare, exploring how classical mythology pervades the work of Shakespeare and his European contemporaries and to what extent other mythological influences are also present in his work,
in the world that he has helped to create. The use of video projections on the back wall of the theatre helped the audience to explore the inner world of the central character. But it was the performance of Bica, illustrating a slow dissolution of anger, to bewilderment, to acceptance, that provided the moving heart of the play. The minimal set, props and costumes gained power over the course of the performance. The great coat that Lear wore throughout was a symbol of his power to begin with and then gradually became a burden but also a blanket, his only shelter from the elements. Similarly, the bowl which he banged to alert the audience and his absent daughters to his needs, rang louder but more hollowly, as the performance progressed and his calls were not answered. In some ways, the most powerful symbol on stage was the dead fox fur (with head intact), a symbol of a time when his daughters were able to wear 'what thou gorgeous wear'st' (2.2.443) but now a lifeless memory, devoid of spirit or even muscle and bone that might have sustained the aging Lear. The empty drained shell of a once living creature lay across the back of the chair that acted as his throne, as a reminder that this was all that was left of his retinue. The King who could command armies and family members alike was forced to beg for forgiveness from the audience, since no one else remained. The final lines of the adapted text '"Lord Jesus Christ, Son of God, have mercy on me, a sinner" I thank you' presented both a prayer and an entreaty. After such a long line of stagings of the play in the Romanian theatre, Bica's Lear managed to draw the traditions together, entering the play a king and exiting it a man, having purified himself of suffering, and cleansed his soul of human guilt, he exorcized his mortal sins and came to a place of healing his inner universal conflict. The audience forgave this sweet and bitter fool everything. The performance provided a cathartic portrait of paternal care and old age for those lucky enough to be gathered in the Studio Theatre in Craiova that day.
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