Pharmacy-related research for health in the Arab region: An analysis informed by WHO's global strategy on research for health

Most of the research on stressors is in the medical field, and there are few analysis of athletes’ stressors, so it can not provide reference for the analysis of athletes’ stressors. Based on this, this study combines machine learning algorithms to analyze the pressure source of athletes’ stadium. In terms of data collection, it is mainly obtained through questionnaire survey and interview form, and it is used as experimental data after passing the test. In order to improve the performance of the algorithm, this paper combines the known K-Means algorithm with the layering algorithm to form a new improved layered K-Means algorithm. At the same time, this paper analyzes the performance of the improved hierarchical K-Means algorithm through experimental comparison and compares the clustering results. In addition, the analysis system corresponding to the algorithm is constructed based on the actual situation, the algorithm is applied to practice, and the user preference model is constructed. Finally, this article helps athletes find stressors and find ways to reduce stressors through personalized recommendations. The research shows that the algorithm of this study is reliable and has certain practical effects and can provide theoretical reference for subsequent related research.

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Transforming the Economic Conversation in the Arab Region

Al-Raida Journal ◽

10.32380/alrj.v0i0.17 ◽

1970 ◽

pp. 8-16

Author(s):

Mansour Omeira

Keyword(s):

Arab Region ◽

Arab Uprisings ◽

Development Paradigm

The Arab uprisings have laid bare the abyss between the rhetoric and reality of the dominant development paradigm in the region. It is widely agreed that socioeconomic discontent was a major cause of the uprisings. An early slogan raised at the start of the uprising in Tunisia was “employment is a right, you gang of thieves”. The slogan contrasted the denied universal right to employment with the actual accumulation of illicit privileges by a narrow minority.

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Becoming a Global Producer: Creative and Industrial Change at Post-Studiocanal RED

Journal of British Cinema and Television ◽

10.3366/jbctv.2019.0479 ◽

2019 ◽

Vol 16 (3) ◽

pp. 305-326

Author(s):

Christopher Meir

Keyword(s):

Video On Demand ◽

Global Strategy ◽

Industrial Change ◽

Export Markets ◽

Literary Adaptation ◽

The North ◽

Industrial Landscape ◽

Production And Distribution ◽

Critical Scrutiny ◽

The Uk

Up until late 2013, RED Production was considered one of the UK's premier independent producers. In December of that year, 51 per cent of the company was sold to Studiocanal, the production and distribution arm of France's Canal+, a pay-television provider with an increasingly global orientation. Although the UK trade press has continued to label RED as an ‘indie’, this article argues that the investment by a much larger multinational corporation marks a watershed moment in RED's history. While the company's trajectory since the takeover shows many artistic continuities with the previous fifteen years – including continuing collaboration with key writers and a dedication to shooting and setting stories in the north of England – there have also been significant changes to some of the company's long-standing practices that require critical scrutiny. The article will document and analyse a number of these, taking as case studies the series created after the investment and distributed by Studiocanal as well as a number of projects reported to be in development since that point. Collectively these changes have seen RED shift from what Andrew Spicer and Steve Presence have called its ‘rooted regionalism’ to being a more globally oriented producer, a change apparent in the settings of some of its shows. It has also seen the company embrace artistic practices – such as literary adaptation and the remaking of existing series and films – that it had long eschewed. The article seeks to explore what has been gained and lost by RED as it has embarked on this global strategy, a strategy that becomes all the more urgent as the industrial landscape of British television is transformed by the importance of international export markets and the growing power of subscription video on demand (SVOD) services such as Amazon Prime and Netflix.

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