A BIST (Built-In Self-Test) methodology that uses the circular BIST technique to perform a random test of sequential logic circuits is presented. The fault coverage obtained using this technique is supplemented by deterministic tests that are presented to the CUT (Circuit Under Test) by configuring the circular path as a partial scan chain. A CAD (Computer-Aided Design) tool for automating this methodology is described, a variety of heuristics for picking which flip-flops should be included in the circular path are evaluated and experimental results are presented.
This article was a fabricated pastiche of contemporary theoretical jargon, which suggested that, among other things, the teaching of science and mathematics should be "purged of its authoritarian and elitist characteristics, and the content of these subjects enriched by incorporating the insights of the feminist, queer, multiculturalist and ecological critiques 1 ". Sokal later collaborated with Jean Bricmont, Professor of Mathematics at the University of Louvain in Belgium, in a book-length critique of what they termed "postmodern philosophers' abuse of science", published in French in 1997, in English a year later. Entitled Intellectual Impostures 2 , this book contained only a very brief discussion of Lyotard, whole chapters on Lacan, Kristeva, Irigaray, Baudrillard, Deleuze and Guattari, but nothing substantial on Lévi-Strauss or Barthes, Foucault or Derrida. Sokal and Bricmont's main target was the supposedly widespread notion among English-speaking devotees of French theory that "modern science is nothing more than a 'myth', a 'narration'or a 'social construction', among many others 3 ". By citing these postmodern theorists as intellectual imposters, these writers were making the point that there were correct and, in their view, incorrect ways of commenting on contemporary socio-political and cultural events, and whether one agrees with this or not, what is taken for granted by Sokal and Bricmont is that there is a need to define and analyse the contribution of these intellectual imposters and to demonstrate why they are imposters. The core point seems to be that by transposing the disciplinary and hermeneutical modes from literary analysis to that of science, these intellectuals are imposters as their level of knowledge is not commensurate with the disciplines involved. It is an attempt to regulate the contributions of intellectuals within the French public sphere, and to analyse the role of the intellectual therein.
This essay deals with two of Heaney"s major translations, Sweeney Astray and The Cure at Troy, are connected in terms of their ability to enunciate the voice of the other as well as to convey increasingly more complex notions of selfhood and identity. Heaney"s notion of translation is transformative in that meaning is rendered as a process of interpretation as opposed to a fixed essence. This creative concept of translation allows him to engage with the matter of the past while at the same time taking up a form of critical distance from that past. _________________________________________________________________________________ Seamus Heaney has been variously accused of not speaking directly enough about the politics of Northern Ireland: "his poetry says nothing, plainly or figuratively, about the war" (Fennel, 16), 1 while at the same time he has also been described as a "laureate of violence" (Carson, 183). His translations of The Cure at Troy and Beowulf demonstrate that both of these readings are onedimensional in that they do not recognize the complexity of perspective in Heaney"s work. The transformations of language and thought that are central to the process of translation become templates for a process of constructive dialogue between the nationalist-republican-Catholic tradition and that of the unionist-loyalist-Protestant communities, a dialogue that is broached in aesthetic terms but which also embraces strong ethical and political components. Stanislaw Baranczak, who collaborated with Seamus Heaney on the latter"s translation of Kochanowski"s Laments, has made the point that Heaney"s aesthetics could well be termed an "ethics
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