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The property is on the market at £650,000 and those who would like to arrange a visit should contact Pygott and Crone by emailing sleaford@pygott-crone,com or calling 01529 414333.


text:
#include <boost/phoenix/function.hpp>
int main() {}

redpajama_set_name: RedPajamaGithub


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text:
Definition Of Ontological Aging
What is age stratification theory? Definition of age stratification theory in a sociology dictionary. Sample sentence with age stratification theory. What is age stratification theory? Definition of age stratification theory in a sociology dictionary. Sample sentence with age stratification theory.
ontological and ethical, connected to what I am and to what I must become. Spirituality is partially something to strive for" (p. 44). Spirituality has also been equated with spiritual well-being or spiritual health. According to the National Interfaith Coalition on Aging in 1975, spiritual well-being is
Discrimination Against Women Professors Of Color They weren't staying in the best hotel rooms," says Eileen Narcotta-Welp, an assistant professor. the U.S. women's. Ashlee Reevely, 22, an HR consultant from Washington D.C., told Glamour she feels uncomfortable shopping for products geared toward women of color at most mass big-box chains. It's especially. According to researchers at the Harris Poll, who conducted
Ontological individualism is the thesis that facts about individuals exhaustively. the Senate, the average age of the freshman class, and the incidence of. non- natural or socially defined, and also with its being employed for social purposes.
Social Models of Aging La Revue canadienne du vieillissement 13 hegemonic in contemporar y theorizin g abou t aging, but it is seen as itself embracing diverse models. One looks in vain for a definition of agin g in the Encyclopedia of Aging (Mad-dox, 1987), althoug h such nouns as ageism, aging.
Aquinas objected to the whole idea of a deductive ontological argument for God because this type of argument starts with a definition which can then be analysed – something which is not possible.
Aging is the aggregate of irreversible structural, physiological, and biochemical changes that are due to a decrease in protein biosynthesis and in all physiological functions. It ultimately results in death of the organism. Ontogeny is characterized by the close interaction of several aspects of a single process.
Jul 28, 2018. anatomic pathology descriptions from a major study of aging mice. given phenotype class in the ontology is defined as the negative log of its.
Apr 10, 2018. The study cohort comprised of 1.2 million individuals aged 18 years and over. Finding cases of CKD from primary care data using an ontological. a systematic and transparent basis for clinical case definition and can be.
What kind of apocalypse announces itself in the prospect of the so-called "post-humanity" opened up by a direct link between.
Sjsu Academic Calendar 2019 The Class of 2019 will be officially enshrined during Homecoming weekend—at the September 21 football game versus Central Arkansas and at the 3rd Annual Green & White Celebration, September 22 at the. Jun 25, 2018. SJSU ACADEMIC YEAR CALENDAR. 2018/19*. Academic Year Begins – Fall Semester Begins. Friday and. SPRING 2019. Tuesday. Sep 26, 2018.
Apr 15, 2019. Like other medieval examples of its kind, the ontological argument was not intended to simply argue for the existence of 'God' in the usual.
Term: aging. Synonyms: ageing. Definition: A developmental process that is a deterioration and loss of function over time. Aging includes loss of functions such.
5/25/2019 · The central task in social phenomenology is to explain the reciprocal interactions that take place during human action, situational structuring, and reality construction. That it, phenomenologists seek to make sense of the relationships between action, situation, and reality that take place in society.
is defined as a structured set of terms and concepts represent-. meaning of ontology, taking in consideration 7 senses of the. age. Computers and Graphics, 36(3), 178–184, 2012. [25] Y. Liu, M. Zhang, F. Tang, Y. Jiang, Z. Pan, G. Liu et al.
Tillich pursues an ontology of anxiety, starting with an analysis of nonbeing, of fate and death (ontological); that of emptiness and loss of meaning (spiritual);. of the human condition seems specific to the white, middle-aged Western male.
Nov 28, 2014. our Education ontology, followed by a demonstration of how the ISO. Following is the ISO 37120 definition of percentage of school-aged.
Start studying Gerontological Nursing & Healthy Aging: Chapter 1-Introduction to Healthy Aging. Learn vocabulary, terms, and more with flashcards, games, and other study tools.
lexicon, the ontological domain model and a text meaning representation. For example, the English word old may involve a range (> 0.8) of the AGE attribute.
The third theory is that there are no objective ontological differences among. to have a precise definition of the word "time," the most common noun on the. A much better estimate for a lower limit on the age of the universe as a whole.
8/26/2014 · This article is a critique of the successful aging (SA) paradigm as described in the Rowe and Kahn book, Successful Aging (1998). The major point of this article is that two key ideas in the book may be understood as consonant with neoliberalism, a social perspective that came into international prominence at the same time the SA paradigm was initially promoted.
(My definition of God—or the way I relate to this term—is. When we die, we don't go to another ontological place; we.
Buy Ancient Greek Lyre To revive the first and only ancient Greek Lyre of Apollo that dates back to the | Check out 'The recreation of ancient Greek Lyre of Apollo' on Indiegogo. Nau College Of Social And Behavioral Sciences College of Social and Behavioral Sciences. School of Communication. EMF 426C. Senior Capstone Experience in Electronic Media Production and
Qualitative and quantitative research methods are underpinned by different ontological or epistemological assumptions; these are assumptions that are made about the nature of social reality and how we acquire these assumptions to be true, respectively. (The Canadian Study of Health and Aging, 1994) to find causality, effects, and.
Definitions have interested philosophers since ancient times. Plato's early dialogues portray Socrates raising questions about definitions (e.g., in the Euthyphro, "What is piety?")—questions that seem at once profound and elusive.The key step in Anselm's "Ontological Proof" for the existence of God is the definition of "God," and the same holds of Descartes's version of.
Jul 12, 2017. Ontological thinking––which today means ontological accounting, or finding ways. Digital Stockholm Syndrome in the Post-Ontological Age.
Philosophical Ethics Of Risk 2019-01-24 · Immanuel Kant (1724-1804) is, by common consent, one of the most profound and original philosophers who ever lived. He is equally well known for his metaphysics–the subject of his Critique of Pure Reason-and for his moral philosophy which is set out in his Groundwork to the Metaphysics of Morals and the Critique of Practical
Define phenomenological. phenomenological synonyms, phenomenological pronunciation, phenomenological translation, English dictionary definition of phenomenological. English dictionary definition of phenomenological. ) n. 1. A philosophy or method of inquiry concerned with the perception and experience of objects and events as the basis for.
This atlas set consists of 19 pediatric cases with an age range of 8 – 12 years. The list of the defined structures is in the Appendix, and their ontology-based.
aging [āj´ing] the gradual changes in the structure of any organism that occur with the passage of time, that do not result from disease or other gross accidents, and that eventually lead to the increased probability of death as the individual grows older. See also aged and senescence, and see the Atlas on Aging. ger·on·tol·o·gy (jer'on-tol'ŏ-jē.
Thus, if I say tables are real, as an ontological realist, I might reasonably be. A Less Simplistic Metaphysics: Peirce's Layered Theory of Meaning as a.
Guba & Lincoln made a significant contribution in articulating four differing worldviews of research – positivist, post positivist, critical, and constructivist- based on their ontological, epistemological and methodological assumptions (Hills and Mullet, 2000). These.
Philosophy of education analyzes the definition and content of education, as well as the goals and challenges of educators. Feminist philosophy explores questions surrounding gender, sexuality and the body including the nature of feminism itself as a social and philosophical movement.
Death, thus, gives a true meaning to our existence. As a result, death is linked with happiness. The human being as a "being" is described as ontological.
Aging cited frailty assessment as a key priority in the perioperative approach to cardiac surgery [13]. Assessing frailty is done by intuitive estimates or ap-praisals, counting comorbid conditions, and the use of formal assessment instruments [2, 18, 19]. Frailty can in-clude physical disability, deficits in mood, sensorium,
Academic Festival Overture Johannes Brahms The concert begins at 3 p.m. • At 3 p.m. Oct 28, the orchestra returns to UNA's Norton Auditorium for "Reformation," which will feature Johannes Brahms "Academic Festival Overture," Felix. Sjsu Academic Calendar 2019 The Class of 2019 will be officially enshrined during Homecoming weekend—at the September 21 football game versus Central Arkansas and at
Museum Studies Graduate Programs Abroad Philosophical Ethics Of Risk 2019-01-24 · Immanuel Kant (1724-1804) is, by common consent, one of the most profound and original philosophers who ever lived. He is equally well known for his metaphysics–the subject of his Critique of Pure Reason-and for his moral philosophy which is set out in his Groundwork to the Metaphysics of Morals and
Ontology and medical diagnosis. The main objective of this study is to propose an ontological representation which takes into account the diagnostic criteria on which specific patient.
Ontological security, according to Giddens, "sustains trust in continuity of past, present, and future, and connects such trust to routinised social practices" (Giddens, 1990, p. 105). In the concept of ontological security, there is an inbuilt assumption that it is an essentially good thing.
It also develops a new theory of ontological categories which implies that there will be no unique system, and. II Attempted definitions of 'ontological category'.
As a current student on this bumpy collegiate pathway, I stumbled upon Course Hero, where I can find study resources for nearly all my courses, get online help from tutors 24/7, and even share my old projects, papers, and lecture notes with other students.
Others such as Kant reject this kind of 'ontological' argument on the grounds that. Anselm defined God "aliquid quo nihil maius cogitari possit", or that than. stop her from aging, having PMT and occasionally nagging about leaving the loo.
Phenomenology as a discipline is distinct from but related to other key disciplines in philosophy, such as ontology, epistemology, logic, and ethics. Phenomenology has been practiced in various guises for centuries, but it came into its own in the early 20th century in the works of Husserl, Heidegger, Sartre, Merleau-Ponty and others.
Mar 16, 2018. One of the most widely used definitions of an ontology reads:. of tools to power two of the most important activities in our information age:.
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redpajama_set_name: RedPajamaCommonCrawl


text:
=head1 This Week on perl5-porters (24-30 November 2003)

A quiet week for the Perl 5 porters, but some threads are worth noting.
Notably, I have now a reason to mention Leon Brocard in the summary
without appealing to any running joke.

=head2 New Pumpking crowned

Leon Brocard is now the pumpking for the 5.005xx maintainance branch of
perl. The plan for 5.00504 is roughly the same than the plan for 5.6.2 :
build fixes for new platforms.

    http://groups.google.com/groups?threadm=20031126145110.GA28063%40perlsupport.com

=head2 sprintf and long doubles

Ilya Zakharevich's patch to speed up C<sprintf()> with floating point
values and a fixed number of digits was found to cause a different
result than perl's regular C<sprintf()> with a perl configured with long
doubles. Rafael disabled part of the optimization in this case.

    http://groups.google.com/groups?threadm=20031124070834.GA1658%40ratsnest.hole

=head2 DynaLoader and PAR

Edward S. Peschko proposed a patch to C<DynaLoader> to store the names of
the shared object files loaded by perl. As he says, it's I<intended for
use with PAR (for run time detection of shared objects rather than compile
time analysis)>.

Rafael points out a little problem -- the array storing file names should
be C<:shared> among threads -- an another one, due to the fact that the
shared object files loaded via C<XSLoader> aren't recorded here either.
Nick Ing-Simmons gives an alternative way to get the file names from the
module names given in C<@DynaLoader::dl_modules>.

    http://groups.google.com/groups?threadm=20031125041718.GB15868%40mdssdev05.comp.pge.com

=head2 Exporter::import

A patch by Fergal Daly to implement

    use Exporter ´import';

was applied ; this allows a package to get Exporter's import() method
without all the fuss of inheriting from Exporter.

=head2 Clarifications about closures

Glenn Linderman asked some questions about lexical variables, pragmas,
eval() and closures. Dave Mitchell, while noting that the current
documentation needs to be completed, provided some insight.

    http://groups.google.com/groups?threadm=3FC3D338.606%40nevcal.com

=head2 In Brief

Mike Pomraning proposed a patch to add a new, optional second parameter to
C<threads::shared::cond_wait()>, to be used as a separate lock variable.

    http://groups.google.com/groups?threadm=Pine.LNX.4.58.0311232311320.5397%40localhost.localdomain

Shlomi Fish finds that perl's core documentation is of poor quality,
compared to the online documentation for other languages. He wants to
start a project to improve them. This starts a long thread, probably due
to the irritating manner he sometimes has to state things.

    http://groups.google.com/groups?threadm=Pine.LNX.4.56.0311271106250.29160%40vipe.technion.ac.il

Test::Harness 2.38 was integrated in bleadperl. It provides a new
standalone C<prove> utility, to run tests against Test::Harness.

    http://search.cpan.org/~petdance/Test-Harness-2.38/bin/prove

Just in time for the summary, Nicholas Clark released a snapshot of
maintperl, Sunday at 23:59 +0000.

    http://groups.google.com/groups?threadm=20031130235945.GB23801%40plum.flirble.org

POSIX::isalpha(undef) (and the other isXXX() functions) segfault, as of
perl 5.8.2 (bug #24554). Sadahiro Tomoyuki provided a fix.

=head2 Christmas in advance for the bug admins

Thanks to Robert Spier, perlbug has been updated to the latest version of
Request Tracker, RT 3.

=head2 About this summary

This summary was brought to you by Rafael Garcia-Suarez. Weekly summaries
are available on L<http://use.perl.org/> and via a mailing list, which
subscription address is L<perl5-summary-subscribe@perl.org>. Feedback (and
patches) welcome.


text:
<!DOCTYPE html>

	    <meta charset="UTF-8">
	    <title>Gallery</title>
        <link href="./css/normalize.css" rel="stylesheet">
        <link href="//maxcdn.bootstrapcdn.com/bootstrap/3.2.0/css/bootstrap.min.css" rel="stylesheet">

        <link href='http://fonts.googleapis.com/css?family=Changa+One' rel='stylesheet' type='text/css'>
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© 2014 NeLk.


For detailed information about The Graduate School at MSU, please visit their webpage. The master's, doctoral, and certificate offerings are listed below, along with links to each academic department's webpage. To find out more about a specific graduate program, please contact the department.
In September of 2005, MSU received approval from the Montana Board of Regents to institute a Post-Baccalaureate Pre-Medical Certificate Program, through which students who have completed their bachelor's degree may take the science and mathematics courses traditionally required for application to medical, dental, or other health professional schools. Ideally, this program begins in the first 4-week session of Summer.
Education for Educators consists of Master's Degree Programs and Non-Degree and Certification Programs geared toward those in the education field.
Addiction Counseling Certificate Program: The MSU Addiction Counseling certificate represents 12 addiction specific coursework credits. These credits may be counted toward the Montana Licensed Addiction Counselor credential.
Educational Leadership-Superintendent Certification: The purpose of this program is to provide the minimum skills and knowledge required for the position of district superintendent. In addition to improving skill and knowledge, it is the goal of the program to create strong networks among students to support effective practices. To that end, classes are generally offered in a blended format which combines face-to-face delivery and distance delivery. An appropriate balance of theory and practice is designed into the content of the coursework. For more information, please visit their webpage.
National Teachers Enhancement Network (NTEN): The National Teachers Enhancement Network (NTEN) is one of the country's most-established online professional development programs for teachers. Courses are designed to help elementary, secondary and community college teachers develop a deeper understanding of science concepts while interacting with and learning new techniques from other teachers and researchers around the globe.
School Library Media Certificate Program: This program is geared toward licensed teachers who want to obtain the school library media endorsement. This certification program/endorsement can only be added to an existing teaching license.
Summer Session 2018 also offers the following series of science and mathematics courses designed to meet the special academic needs of students who plan to apply to medical, dental, or other health professional schools. The scheduling for this series of courses has been developed to allow students to enroll in one of the Chemistry courses and one of the Physics, Mathematics, or Statistics courses during each of MSU's three four-week summer sessions, thus enabling students to earn up to 16 science and mathematics credits in only 12 weeks. Other courses available to pre-med students this summer are SOCI 101IIS - Introduction to Sociology for 3 cr, MEDS 440 - Clinical Observation for 2 cr, PSYX100 - Introduction to Psychology for 4 cr. Please visit an academic advisor for more detailed information.


text:
Psychology at Work
Exploring the World of Occupational Psychology
Become an EOP Mentee
Become an EOP Mentor
Careers in OP
Emerging Occ Psychs
Events in OP
Interviews and Panel Discussions
We are a small team of talented professionals with a wide range of skills and experience. We love what we do, and we do it with passion. We look forward to working with you.
Nikita Mikhailov
Nikita Mikhailov is a Psychometrician, his mission is to share the goodness of psychology. He is Business Psychologist, and a member of the British Psychological Society. His clients include Fortune 500 companies, start ups, individuals and couples. He specialises in supporting companies in recruitment and development of talent through a combination of psychometrics and coaching. His particular interest lies in how personality assessments can be used to increase self awareness and to help people make practical steps towards being more effective leaders and living more meaningful and fulfilling lives.
Dr David Biggs
David is a HCPC registered Occupational Psychologist and chartered through the British Psychological Society (BPS). David's background is in academia (lecturing and management), business development and consulting. He jointly heads up the Division of Occupational Psychology Training Committee for the British Psychological Society that accredits MSc's and doctorates in Occupational Psychology in the UK. David assesses and supervises on the Qualification in Occupational Psychology (DOP) that gives chartered status and HCPC registration for successful candidates. David's research interests are in consulting, non-traditional work and artificial intelligence.
Hardeep Virdi
Hardeep is an established Senior Learning & Development professional who has built her career working internally within organisations as a Psychologist. Specialist in Leadership Development, Talent & Succession Development, Executive 1:1 and team based coaching, and development based Psychometrics. Mainly working with Executive Boards/Senior levels in global matrix, complex and diverse organisations.
© 2021	Psychology at Work


Tiger Shroff is an Indian film actor and martial artist who works in Hindi films. Son of actor Jackie Shroff, he made his film debut in 2014 with Heropanti, which earned him a Filmfare Award for Best Male Debut nomination. He was born on March 2, 1990 in Mumbai, India as Jai Hemant Shroff.


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How a Utah mom has created a home-based, personalized plan for her three kids to go to school at home
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text:
Archive Seasons 1-6, Career and Lifestyle, Guest, Live Audience, Q&A, Season 04, Theory and Technique
Writing Excuses 4.22: Q&A with L.E. Modesitt, Jr
June 6, 2010 Writing Excuses	29 Comments
Recorded live at CONduit with the inestimably valuable help of our friends at Dungeon Crawlers Radio, here's an episode full of the randomness that is "questions from the audience." These include:
What do people get wrong when they write military science-fiction?
How do you develop action sequences?
What makes a good foil character?
How do you schedule your time as a writer?
How do you write good, true-to-character dialog for each of your characters?
Our podcasters for this episode were Brandon Sanderson, Dan Wells, L.E. Modessit Jr., and Robison Wells.
Audiobook Pick-of-the-Week: Haze by L.E. Modessit, Jr.
Writing Prompt: Why does she NOT sound like the guy she's interested in?
This episode of Writing Excuses has been brought to you by Audible.
Visit http://AudiblePodcast.com/excuse for a free trial membership*.
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Get your first 14 days of the AudibleListener® Gold membership plan free, which includes one audiobook credit. After your 14 day trial, your membership will renew each month for just $14.95 per month so you can continue to receive one audiobook credit per month plus members-only discounts on all audio purchases. A very small number of titles are more than one credit. Cancel your membership before your free trial period is up and you will not be charged. Thereafter, cancel anytime, effective the next billing cycle. Any unused audiobook credits will be lost at cancellation.
CharactersDialogFoilsJoe HaldemanL.E. ModesittLifestyleMilitary SFMotivationQ&ARobison Wells
Previous PostWriting Excuses 4.21: Writing Practical FantasyNext PostA Clarification For Mary Robinette Kowal
29 thoughts on "Writing Excuses 4.22: Q&A with L.E. Modesitt, Jr"
Rafael says:
Talking about the military, one thing that popped into mind is that as a general rule, almost no one inside a vehicle (land transport, ship or aircraft) uses the word "fire: for any reason. Why? Because it has a very specific meaning, that is, whatever your on or in is on fire, not as we would like to think off firing something at the enemy. It's sort of the same thing yelling FIRE in a crowded theater. That's why pilots say, "Fox 1" when shooting a missile (or the equivalent code for that weapon system), tank commanders will order gunner to fire by saying "SHOOT!" etc.
Artillery men, who usually do their job in the open (even if it's a self-propelled piece) can yell FIRE! all they want, because they are not in a confined space, per say.
Also, getting the acronyms right is important. Military personnel want to convey the most information in the shortest and most accurate form possible. It's the same reason why someone would say "Tango" and not the letter T, which over the radio or in the noise of battle (and corresponding rush of adrenaline) could sound like a D or a C.
Raethe says:
What Modessit said about the length of actions scenes is completely true. It's actually a bit of a pet peeve of mine.
RA Salvatore, for example, writes these really long, detailed battle scenes. And they're not just long because of the descriptions; the battles he writes go on for an awfully long time. They're a ton of fun to read, but I don't care HOW good you are; fighting hand to hand (or sword to sword, or whatever) just doesn't last that long.
I'm a hobby boxer, and we spar fairly often. It's one of the most physically and mentally exhausting things that I've ever done. Notice that a lot of professional fights happen in three minute rounds. Trust me, there's a reason for that. It'll be the longest three minutes of your life. At least until they call you up for round 2. ;)
AJWM says:
Speaking of military language, "repeat" also has a very specific meaning — it's what to tell the artillery when you want them to shoot again. So nobody trained in military radio procedure will use the word "repeat" in any other context. If you want someone to say something again, you tell them "say again", and the person repeating (ahem) himself will use "I say again", not "I repeat".
I don't think I've seen error in books, but it does crop up in movies.
Rashkavar says:
Excellent podcast, and lots of useful information.
Raethe: I always found a fair bit of Salvatore's fight sequences to be fairly short as compared to some others. He describes every single move intricately, but many of the battles are exchanges of maybe a dozen strikes and counterstrikes, which is a reasonable amount for highly talented swordsmen.
Robert Jordan, on the other hand, used to fill up an entire page or more with cryptically named sword forms which could be a shift in stance, a change in position, a single thrust or slash, or any combination thereof. I seem to recall Rand's battle with a Seanchan swordmaster near the end of The Great Hunt being particularly long, and at this point, Rand had been wielding a sword for…6 months, including the little time warp issue with his use of the interdimensional transport stones? (As I recall, Eye of the World started in the beginning of spring, and they commented that when they reached the peninsula that the leaves were starting to turn color, and it was disastrous because of how long the "instantaneous" transport method had actually taken)
Besides, you have to admit that anything based in the Forgotten Realms is going to be somewhat unrealistic no matter how good the author is. I'm not saying the setting is inherently bad, but anything that bordered on realism in that setting would feel out of place, in my opinion.
tymcon says:
Talking about the military terms I think its good to be realistic, but its alot more satisfying when building up tension to say Fire! instead of fox 1. Lol its just more dramatic. And fight scene lenghts. Yeah i kind of agree about that. In a book called Empire In Black and Gold their's this warrior who is literally going through the majority of the castle and meeting alot of enemies. He dosn't really get tired. But i must admit he had a preturnatural advantage so yeah.
Oh and i think the fight scene at the end of the great hunt only lasted a minute. They were moving very quickly and robert jordan was describing rands feelings at the time. I could be wrong. But its still one of my most favourite scenes in the series.
bobman says:
I like the point that fight/action scenes are generally brief in reality (although in some stories they go on and on and…). I find most enjoyment in the build up and aftermath of an action scene rather than the scene itself (though I do like that too).
That's why I don't watch too many movies anymore. They don't really "do" short action scenes. And if they can't afford to do a long action scene, they'll cut it up and interleave other action so that particular scene feels longer than they could even film.
I also like the points made about military insubordination. In my job (very non-military) management wouldn't put up with the level of insubordination I see in so many military stories (especially military sci-fi). I can only imagine what the military would do to someone as insubordinate as the characters in some of those stories.
Brad R. Torgersen says:
We probably could have gotten Lee to talk for an hour about everything that writers usually get wrong, when writing military. I'm just glad Brandon gave me a chance to get up to the mic for the second CONduit in a row.
My own thoughts…
1) All militaries are beauracracies. It's been my experience that the beauracratic stupidity of the military — as an organization — is ever-present and awesomely annoying. I think a lot of writers either skim over or leave out this aspect when constructing their alternate or future militaries. It's certainly tempting to "fix" this in my own fiction, because it drives me nuts in my own career, but this limits realism.
2) I mentioned at the LTUE panel on the military that one of the things writers need to do is not forget the "long tail" of any military operation. You don't just drop combat troops into an area and turn them loose. Those combat troops are at the "tip" of a lengthy spear, the shaft of which is composed of logistics, medical personal, transportation, food and water people, etc, etc. And especially in an irregular fighting environment — like Afghanistan — the shaft can find itself in the fight just as easily as the blade.
3) Rank is one of the most often confused aspects of the military. People mix traditional naval rank with traditional land-force rank, jump characters from enlisted to officer at the drop of a hat, and otherwise misunderstand how rank works in actual day-to-day operation. Most important thing to know — about modern U.S. military structure — is that all rank above Private/Seaman/Airman has formalized schooling attached to it, as well as a points competition system. People who don't complete the schools and can't accrue the points, don't get promoted. Even battlefield promotion must be backed up with a character attending some kind of school.
Pingback: Writing SF&F military: rank and rank systems « Brad R. Torgersen
Because I didn't want to suck up a lot of space here at the WE blog, I did up my own blog on one particular item that too many writers get wrong too often: rank. (click here for the article!) In a nutshell: pay attention to rank, how it works in your fiction, what its for, and in particular how rank works in the real world, and how it has worked historically. I can't tell you how many times my suspension of disbelief has been terminated, because it's become clear to me that a writer doing a military-esq story or scenario, doesn't understand rank.
AlanHorne says:
The action scenes in my books don't involve large armies charging each other in ranks. Most of my combat is one on one. I think that in a fight between just two people, you should be allowed to make it a little longer, because there are no commanding officers or other infrastructure to command a retreat or regroup. And if the two people are fighting to the death, then both are going to be very cautious, only attacking when an opening reveals itself and not letting themselves get caught off guard. This makes for a much longer fight sequence, with a lot less action happening at any given time, but still taking much longer overall.
Justice1337 says:
Great Podcast. I resonated with Lee's comments a lot.
As a former infantryman from the Iraq War myself, I can see what he's saying, especially with regards to discipline. I think too many people want to write a character who is both Han Solo and Luke Skywalker at the same time. It doesn't work, and in my opinion, Han Solo was really only believable because the Rebellion was supposedly in such dire straits that it ceased to be a political organization and became a purely military one. Too many officers would've been jealous/resentful of a character like Han Solo.
As for action sequences, what shocked me as a grunt on the ground is how undramatic combat was. It wasn't necessarily brief. It may have lasted as long as ten or so minutes, and in terms of any sort of scene in a novel, that's quite a long time. But it was staggeringly undramatic, just like the rest of real life. There's no rising and falling action. There's just a few minutes at a time of "hey, everything might be ok" punctuated by moments of sheer confusion that transform the battlefield. Most authors are content if they can evoke the emotion of combat, to say nothing of the physical particulars.
That said, not everyone is going for realism, and not everyone is writing modern infantry combat or dogfighting. Sometimes physical conflict is simply the pinnacle in drama when you raise the stakes over and over. In that case, you can skip because you promised drama with your work, not action.
Other times, you might want to describe what used to happen in combat, in the Roman Legion or in fantasy or something. In hand to hand combat, I can see physical fatigue and weariness of the mind becoming much more concrete issues. Especially when you throw in suits of armor and swords that are more or less blunt, meant for their crushing power alone. Most European-style Fantasy is going to fit here. But still, I imagine when ranks of swordsmen hold or retreat, it's mostly an issue of mental resolve, and just how much utter hell each side is willing to put up with before breaking ranks seldom would lead to battles that last more than an hour or so. But we can only imagine, and so each individual's imagination is as good as anyone else's.
Conyngham says:
@Brad R. Torgersen –
Comments from an Army PFC's wife: I'm fairly certain that in the Army at least, you can get above Private without needing any points/extra schools. A Specialist is above Private First Class but beneath a Staff Sergeant, which, correct me if I'm wrong, is the first rank you need points for (or whatever sergeant an E5 is). You probably just mistyped, though, because in your blog post you say anything above an E4 pay grade requires the extra schools and the points, and Specialist is E4.
Redstarsix says:
When writing dialogue, I picture the characters having a conversation and write it down without any dialogue attributions.
If I can come back later and I know who said what, I know I have the voices right.
Great comments, Justice! I think it helps writers enormously to hear that kind of first-hand perspective on what the infantry combat experience is really like, versus movie folklore.
Conyngham, regarding enlisted grades, points and schools: pay grades E-1 through E-4 — PV1, PV2, PFC and SPC — do not require any points. You simply need required time in service (TIS) and time in grade (TIG) along with your commander's sign-off on a zone list, or an individualized DA Form 4187. The rank of Corporal is also E-4 but is considered the first step on the NCO ladder, and is generally reserved for infantry or direct-combat slots in line units. A soldier who is a Corporal and is re-assigned to a non-line unit can and often is directed to pin Specialist instead of CPL, though pay is not affected. Points and schools come into play once a soldier wants to get above E-4.
Generally, it's advised that Army soldiers attend Warrior Leader Course (used to be called Primary Leadership Development Course, or PLDC) prior to making SGT — which is E-5 — though a soldier can make SGT without it; they're just stuck at SGT until they've completed WLC, as the Army frowns on Sergeants going a long time without attending the school. A SGT might even get kicked back down to SPC if (s)he goes too long without attending, though this is rare.
You get points for doing WLC and other schools, points for awards and medals, points for how well you do on rifle qualification, points for how well you do on the Army Physical Fitness Test — called APFT for short — and administrative points based on how much your commander values you in your unit. There are also points for skill badges and qualifications, like Air Assault (helicopter badge w/ wings) or the much-coveted Combat Infantry Badge — CIB. All of these points get rolled into a promotion packet which goes before a board — in Active Component, the soldier too stands before the board — at which time final points are assigned.
At the end of the day, if the soldier has enough total points to make the cut-off, (s)he will be placed on the promotion list for the next highest grade above E-4. Point scales and requirements are different from Reserve/Guard and Active Component, and fluctuate based on manning requirements and MOS (job specialty) for Active.
Sorry, that's a very pedantic and wordy explanation. I wanted to make sure everyone reading this understands how it works. Feel free to ping me with any more questions. If I don't have the answer, I can certainly get it!
–Chief T.
Rashkavar: I think most of Salvatore's battles did take up more pages than they did time, but I seem to recall a couple of Drizzt-Entreri battles in the later books that ran pretty long time-wise too. I could be mistaken; I haven't read the books in quite a while. I'm sure there are worse offenders, too–names are just escaping me right now.
Awesome–Brad's now the go-to guy for military matters. Thanks, Chief! ;)
I usually tend to give writers a lot of leeway when it comes to rank. Mostly because the military ranking system in the US itself is archaic, bearing only a distant resemblance to the societal structure it's based on.
There used to be a marked distinction, in ethos, culture and circumstance, between noble and common. Hence, officer and enlisted. Other societal roots include concepts like distinguishing those nobles who have a "divine right" versus those appointed by the King, and the closest thing I can think of in our bureaucracy that matches this is civilian-side DoD and executive branch personnel v. commissioned military officers. Boring stuff, I know.
In speculative fiction, and even modern-setting fiction, rank is going to seem like a very hollow thing without the societal structure to back it up. Too much focus on the former, and it will drone on. On the other hand, focusing on the latter in itself often puts the former into place.
Raethe, I have to admit the Drizzt-Entreri battles were a little excessive…but they kinda had to be. Both characters were set up as being obscenely good with their chosen set of weapons – making the scenes between them short would be breaking that promise, at least to the majority of readers who don't realize that in a hand-to-hand battle between opponents of similar skill level it's not who's better that day, or who has a slight edge, but who's better over the few minutes (at most) of the fight. And, given that it's a Forgotten Realms book, discarding realism in favor of fulfilling a long-since established promise to one's readers is certainly forgivable (and it's probably even forgivable in a more strictly realistic setting, too).
Mike Barker says:
Get your words here! Get 'em while they're hot! Transcripts for everyone…
http://mbarker.livejournal.com/159822.html
One thing a military friend tells me that writers always get wrong is that, in fiction, in a large operation, nothing ever breaks down. With something huge involving equipment, something is going to break and need repairs. And with something huge involving many people, someone's going to mess up, particularly if communication from above isn't clear. Neither incident need to be big, though the consequences could be.
These are, of course, not confined to the military. ;-)
@ Laurie
Sounds like my life. :)
Characters in fiction never go to the bathroom either, and while I can imagine plenty of opportunities for plot development there, I never finish a book thinking to myself how painful it must have been for them to hold it this whole time.
So, does a military need maintenance/mess/medical/personnel/legal/laundry support? To be cost-effective and sustainable, yes. But try writing fiction where the primary conflict is a struggle to keep a military cost-effective and sustainable.
My point is, realism is not the be-all, end-all. Good writing is.
Howard Tayler says:
Characters in fiction never go to the bathroom either…
Never say "never." :-)
It might not be great fodder as a primary conflict, but the "support and beauracracy" aspect of the military can be wonderful fodder for secondary or tertiary conflict. One of my favorite war novels of all time, the pulitzer-nominated A Reckoning for Kings, spends a fair amount of time exploring how the protagonists navigate through and are forced to rely upon the "long tail" to accomplish their goals. This gives the novel a depth and richness that would not exist, if the focus were entirely on the bloodshed.
One thing that bugs me about some military fic, is when the book is nothing but a strung-together series of artfully drawn and described battles. I've heard some critics of mil fic describe such books as "war porn" because they glory (too much?) in the moment of combat, with little attention paid to everything else that goes into being a soldier.
I personally think the best mil fic — the stuff that survives over time — balances between combat/fighting and the secondary and tertiary conflicts that all soldiers face: their families, spouses, kids, separation, divorce, alcoholism and PTSD, the maddening beauracracy of the military, hassling with ancillary agencies like the VA, etc. It's a "whole picture" approach to portraying the life and experiences of a soldier — be it fictional future, fictional present, or fictional past.
I love Laurie's comment, and that's exactly true. Even mundane training ops never go quite as planned. Stuff breaks, orders get misinterpreted, maps are wrong, equipment doesn't work to spec, people just plain f–k up, and while there is a temptation in mil fic to "fix" these things, especially for futuristic warfare where presumably technology and better protocol will solve so much of what goes wrong, for the sake of realism, all mil ops need an aspect of "whoops." Sometimes, the "whoops" can dramatically changed events, adding further richness and detail to a story. Maybe the entire plot goes 90 degrees and you wind up in a whole new direction that you never expected when you started the tale? Seen that happen in real life more than once. Whoops.
I'd forgotten about that strip!
…If Howard's using bathroom humour, that means it's okay that I used it in my novel too, right?
*crickets*
Aiyel says:
A good tip for writing interesting character dialog (or, rather, a method that works for me) is to first sketsch out the basic highlights of the conversation. Go through and figure out which bits of information you want to give your reader. Write your lines completely without character-voice, and then go through it once for each character, working on only their lines, according to how you feel they will speak and react.
Once you have this done for all the characters reacting to the pure guts of your conversation, go thorugh again and figure out how they react to the other characters.
It's a bit of a long process when you first start out, but in the end, you get much more natural sounding conversations.
My problem isn't so much character speech as it is filling the rest of the page with the little descriptions and stuff between the lines of speech. Any advice there?
Elin Dalstål says:
Aiyel: I give you an odd tip. Do, or at least reada book on impro theatre. Keith Johnstones book "Improv" is the one I would recommend. Or Pick up Artist books, can strange enough be helpful too since they are really good at dissecting communication in a concrete way. (Not saying that they are right or scientific but as a quick and dirty tool for analysing stuff)
The theatre is the right place to look for gestures, context etc that gives dialogue life and how i can be used.
As soon as you get some theoretical background, impro theater or roleplaying groups are excellent places to pick up bodylanguage and sub context since it a bit simplified and extravageted in the context of fiction. Yet interactive.
Yes, you will want to provide physical descriptions that associate with particular emotions. We all know what raised eyebrows, pursed lips, flushed cheeks and several other physical signs mean. Writers use these so much that some are even in danger of becoming cliche. But done well, it can really breathe life into a scene.
Another piece of advice is to make sure that you know who your viewpoint character is and try to immerse the reader. A viewpoint character who feels embarrassment can be described as "her cheeks grew warm" rather than "her cheeks flushed red", what you would feel if you had the emotion versus what you would see in another. This is one thing that writing can and should do that screen cannot – promt the reader to recall a type of emotion.
And the last thing I'll say about dialogue tags is that less is more. If the viewpoint character truly is angry, for example, then showing it or bringing it to the reader one time every half-dozen lines should be enough. The words themselves should be trusted to carry their portion of the emotion. All the rest of time you'll want to omit dialogue tags unless doing so will create confusion, and even then, you'll want to use either "said", "asked" or something else similarly inconspicuous.
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text:
罗逍然
自弹自乐
in Seattle
> 古典作品试译与解读
Horace's Thematic Development of Ode II 1 (试发表)
非文学 创作
Horace's Thematic Development of Ode II 1 Xiaoran Luo
1, Horace's attitude towards war: Ode II 1 is a kind of introduction to the rest part of Book II. This book is relatively darker than the other three books of the Odes of Horace and is a dark scherzo of the larger structural design. The dark atmosphere starts to hover over this ode from the very beginning. Horace uses motum as the first word of the ode, which is followed by the intensive use of derogatory words, all of which are indicating the evil of war (particularly the civil war, but Horace's attitude toward war will be expressed in a much more general context in the later stanzas). We have expressions like vitia(error, vice), ludum Fortunae(the game of Fortune), nondum expiatis cruoribus(bloodshed not yet expiated), periculosae aleae(dangerous pitfalls), incedis per ignis suppositos cineri doloso(you're walking over embers hidden under the treacherous ashes). We have in the beginning two whole stanzas of strong accusation against war, yet Pollio's name has to wait until its appearance much later, in line 14. Thus, we may conclude that Pollio and his works are not in the leading position of this ode; the main theme is the antipathy towards war. The first expressed and elaborated motif often becomes the principle theme of the work (we have numerous examples from the two Homeric epics down to the symphonies of the classical style of 1800s), it is also the case of this ode of Horace. This ode can be divided into two basic parts; the first nine stanzas are the first part, which can be described as a kind of compliment to Pollio, or, more accurately, the accusation towards war; the last stanza is the second part, which sheds some light on this ode of dark mood. If we compare the first three books of the Odes as a three movement concerto, the second book can be seen as a serious and dark movement (can be with either quick or slow rhythms) of minor mode between two relatively delightful and bright outer movements in major. The last stanza of this ode may let the readers think that Horace is going to quickly switch back into his usual tone. However, the later odes contain many odes of a serious tone (2, 3, 7, etc). This is the major effect of Book II: Leonard Bernstein once said about the adagio introduction of Symphony No.4 of Beethoven that it surprisingly leads to the entirely lively later part of the movement and this makes the whole later part of the movement a big surprise. I think it is the same case here when ode II 2 opens with a dark tone similar to the beginning of ode 1 and this is the actual function and meaning of the last stanza of ode 1. We can thus give the conclusion that this ode is essentially about Horace's accusation towards war. 2, Structure and Thematic Development Now, the focus point is on the serious tone of the ode II 1: our first step is to take a close look at the structure of this ode. We can further divide the first part of it into four minor parts as follows. The first minor part, being stanzas 1-2, tells us about the motives of Pollio's historical writings. These motives, which can be summarized as the accusation towards war (as I have already illustrated in the former section), are, of course, also the main theme of this ode. We have the expression ludum Fortunae in line 3 is clearly an implication of historians and of Herodotus himself. (Cf. Herodotus, 1. 32) Herodotus speaks in the tongue of Solon that the lives of mortals are all about chance, and since Herodotus also says that his historia is about the great deeds of mortal men, we may infer that a historian's job is to write down ludum Fortunae. As Herodotus himself said in the introduction of his immortal work, what he writes is how things going, both of the great cities and the small cities.(1) War is the ultimate manifestation of this idea of men being production of chance and luck. Those who were once powerful often go down suddenly (as Xerxes in the Histories and many people in the period of the civil war, such as Caesar and Antony) so it is natural that Horace picks the historian Pollio for the ode as the object of dedication. Now we can be sure about the ode's principle theme is ludus Fortunae and the parallel descriptions of war are all about it: they are the first variation or development of the major theme. The second minor part is stanzas 3-4 in which Horace gives a compliment to Pollio. This is the second development of the main theme. Note that here the theme is developed from its first development, not from its original form. If we can say that the first development of the main theme (namely, the intensive description of the evil of war) is a kind of elaboration, this second development is a transfiguration, since we now have Pollio, the writer of ludus Fortunae, as the main object of stanzas 3-4, not the war itself. Horace is now praising Pollio's political life instead of saying the things Pollio writes in his historical work. What Pollio actually did is not our concern but what should be noted is the fact that Horace is now praising Pollio's doings during the war. It is clear that Horace considers Pollio a positive figure in the period of the civil war. To Horace, Pollio did what was best for the common good, contrary to the destructive war. This is why Horace praises his political life. In this minor part the main theme is transformed into its opposite (similar to the development of a theme in a major key of a classical music work). The third minor part, stanzas 5-7, is very passionate. It is similar to the development section of a movement in sonata form of the classical music style. After the having praised Pollio both for his political doings and for his written works in the second minor part, Horace combines the thematic developments both of the first minor part (that is stanzas 1-2) and of the second minor part (stanzas 3-4). Having pointed out that war is evil (stanzas 1-2) and that Pollio should be praised for his historical works, Horace put these two thematic developments together: the historical work of Pollio is so shocking and vivid that it makes Horace recall his own experience of war which is bloody and horrible. The main effect here is to create the ambiguity between the historical work of Pollio and the actual bloody combats that many of Horace's contemporaries (including Horace himself) had participated. 'Thematically' speaking, in this minor part, Horace combines and contrasts the evil of war and the Pollio's brilliant historical work. The forth minor part, stanzas 8-9, is the passionate climax. Horace accuses every war. (qui gurges aut quae flumina lugubris ignara belli? What river or pool is ignorant of these wretched wars? Lines 33-34) In my opinion, a great work of art should has a general context, and this ode is not lacking that: it is definitely not merely about the civil war itself, but about every war. As a lyric poet, Horace doesn't use any openly moralistic or rationalistic tone; instead, he poses questions, which are in fact Horace's sigh and exclamation. This minor part is a recapitulation of the first development of the main theme, not in a more subtle way as stanzas 5-7, but in a strong tone denouncing the evil of war. I am note trying to stuff this ode into the sonata form, but every good artwork has something in common: you should straightforwardly put forth the main theme and develop it in different ways and put the climatic exclamation near the end. Why the sonata form is immortal and every musician since the 1800s has to learn it? Because it concentrates the essence of structural and thematic development of any great artwork, and the Horace ode II 1 is in common with it in this sense. note: (1) The reason of it is that those who were once strong and great are probably now weak and small, or even have vanished. It is the direct illustration of the point that mortal affairs are all ludus Fortunae. 3, An attempt to explore the motivic construction of the metre of this ode Poems are not argumentative prose writings. Although by the time of Augustus, poets more often recite their poems without instrumental accompaniment than not, there is always the musical element playing an important role in the poetic works. (2) note: (2) From Homer to Pinar, from Shakespeare to Lord Byron, from Wordsworth to T. S. Eliot, you name it, (cf. Leonard Bernstein, The Unanswered Question: Six Talks at Harvard, Chapter V, pp .375 ff.) to say nothing that there are also numerous examples in literatures all over the world. Now, we can't exactly know how these poems were recited or performed in the ancient times, but here I want to make an attempt to put out some guesses that can lead us to the knowledge of what role the metres play in Horace's poems. We take the ode II 1 as an example. The Alcaic stanza is in the following pattern: _ _ u _ _ : _ u u _ u _ _ _ u _ _ : _ u u _ u _ _ _ u _ _ _ u _ _ _ u u _ u u _ u _ _ Lines 1 and 2 are in the same pattern and they are divided into two parts: _ _ u _ _ and _ u u _ u _. The first part (_ _ u _ _) contains two spondees (_ _) and a short syllable between them (but this is going to be transformed in the later part of the ode). The second part contains a coriambus (_ u u _) followed by an iambus (u _). Line 3 (_ _ u _ _ _ u _ _) has many ways to be constructed, for example: it can be constructed by a bacchius (_ _ u), a molossus (_ _ _) and a antibacchius (u _ _). This is the case of the first two stanzas but also be changed. Line 4(_ u u _ u u _ u _ _) in the first stanza is constructed by a dactyl (_ u u), a coriambus (_ u u _) and an antibacchius (u _ _). What listed above are our basic thematic elements. Now I'll give some examples showing how these elements are functioning within the pattern of the Alcaic metre of this ode. In order to illustrate the effect of it, I will give examples from various musical works. (And these samples are packed into a .zip file sent together with this paper.) In the beginning, the _ _ u _ _ motif (I will call it motif A) has the effect of the French overture of the Baroque style. Its dotted rhythm at first was to splendidly welcome the aristocratic listener's coming, however, later it becomes the welcome and leading into the work itself. Compared to the much lighter dotted rhythm that are more often used in Baroque operas and suites (_ u_ u _), here Horace uses a darker version of the dotted rhythm (motif A, which is _ _ u _ _) to introduce his much more serious poetic expression. (3) note:(3) Compare sample 1 (_ u _ u _, Handel's overture to Alcina 0'-1'30'') and the much more serious and melancholy sample 2 (_ _ u _ _, opening theme [0'-0'25''] of Corelli's La Folia). I call the coriambus (_ u u _) motif B. Horace uses it in the opening stanza to express the evil of war (vitia) and the consulship of Metellus (consule) which makes the readers think about the dark ages of civil war. The effect of motif B is march-like, fits perfect to the introductory effect of motif A. (4) note:(4) Here, the motif B is used in a serious tone, see sample 3 (_ u u _, Beethoven's Symphony No.7 in A major, movement II, opening phrase, which is in A minor mode 0'-0'53). Line 3 is thematically symmetrical, thus it gives us rather steady effect, which proves my point that ludum Fortunae is the essential theme of the ode. Its expression in a stable or steady way points out its important function. Line 8, which is also the fourth line of the Alcaic stanza, winds up the first minor part of the ode (see section 2). The metre of this line is nearly symmetrical, but not entirely, the last three syllables are antibacchius (u _ _), not in symmetry with the first three syllables' dactyle (_ u u). This kind of almost-symmetry pushes the poetry forward and also shows the uncertainty and the 'danger' of doloso. (5) note:(5) At first I couldn't find a perfect example of the 'almost-symmetry' in a musical work, however, the perfect example is right under my nose. It is the first prelude of Bach's Well-Tempered Klavier Book I (sample 4 0'-1'36''). The steady and stable thematic pattern is interrupted by the last three bars. This not only illustrates the instability of the dominant seventh chord (in our case, doloso), but also pushes the music to the following fugue section. In this manner, there are so many ways to interpret the effect created by the use of the motives in the larger metric construction. However, I want to illustrate one more, which is worth to be noticed. In the first line of stanza 8 (line 29), Horace mentions what strikes his heart extremely: the bloodshed of the Romans. As I have said, the minor part led by this line is the emotional climax of the entire poem. Horace here breaks motif A into a kind of expression resembles to an operatic tone. He turns motif A (_ _ u _ _) into three pounding words (_ / _ / u _ _). In this way, we can almost feel the melancholy appoggiatura of the operatic singing (very much to the pounding questions of Leonora).
Figure 1: Leonora's aria from act IV of Verdi's Il Trovatore (no music sample provided)
My study of the literary way and the musical way of Horace's poetic expression is just an attempt. I am sorry that I write this paper in a hurry and I haven't done enough research, but I do believe that these two ways of expression are equally important to our understanding of Horace's poetry and by combining these two parts of interpretation together, we may have a chance to grasp the meaning of these poems more clearly and more deeply. Note: The following page is the metrical chart of the ancient rhythmic devises (Anton Reicha, Vollständiges Lehrbuch der musikalischen Composition, German trans. Carl Czerny, 4 vols. [Vienna: Diabelli & Co., n.d. 1834], vol. 2, pp. 472-73), translated by Maynard Solomon (Maynard Solomon, Late Beethoven, [California, 2003] p. 105).
Figure 2: Metrical chart
本作品版权属于作者罗逍然,并受法律保护。除非作品正文中另有声明,没有作者本人的书面许可任何人不得转载或使用整体或任何部分的内容。
2011-12-15 18:04:37 陈凭轩 (社恐中的交际花 好人里的冷碧池)
图是你自己做的?
2011-12-15 18:06:15 烛光前🌈 (小站:site.douban.com/122030)
有出处的啊
我只是好奇你怎么把他们弄成图片的,扫描?
google上有部分预览,刚好有这页。谱子在imslp上找


Sometimes, life leaves us so haggard that even the act of lifting a fork to your mouth seems like a chore. It's times like these that I make this ginger chicken. It's mindlessly simple and yet the mere aroma of the chicken cooking will awaken your hunger and nourish your soul.


text:
Q: how to replace double in an array with index and value given by user and shifting each element to the right and dropping the last element I have a problem on replacing the value as I'm not sure which function to use or how to use it.
The question: Create and populate an array of 5 doubles. Ask the user to input a value 'v' and an index 'i'. Your program should replace the value at index 'i' in the array with the value 'v' while shifting each element to the right and dropping the last element.
This is what I've done so far but it hasn't worked
double[] myDoubleArray = {1, 2, 3, 4, 5};

System.Console.Write(" Please input a value:  ");
int v = Convert.ToInt32(Console.ReadLine());

System.Console.Write(" Please input an index value:  ");
int i = Convert.ToInt32(Console.ReadLine());

myDoubleArray[i] = v;

A: You are explicitly saying that this is an assignment (which, in my mind, is OK, as long as you say so).  However, I don't like doing your assignments; if I do it, you won't learn anything.  Instead, I'm going to help you figure it out.  First your code:
double[] myDoubleArray = {1, 2, 3, 4, 5};

System.Console.Write(" Please input a value:  ");
int v = Convert.ToInt32(Console.ReadLine());

System.Console.Write(" Please input an index value:  ");
int i = Convert.ToInt32(Console.ReadLine());

myDoubleArray[i] = v;

Now the assignment, more explicitly:

*

*Create and populate an array of 5 doubles.

*Ask the user to input a value 'v' and an index 'i'.

*Your program should replace the value at index 'i' in the array with the value 'v'

*shifting each element to the right and dropping the last element.

You have done the first two parts.
What you need to do is do swap the last two pieces - first make room for the new element, and then, once there is a place for the new value, put it in.
To make room for the new value, you have two cases:

*

*The user picks the last index in the array.  In this case, you just overwrite the last element and your work is done

*The user picks any other index (0..N-2).  In that case, what you need to do is to loop over the array from the selected index to end of the array (less one), copying from the ith entry to the i+1th entry.  While you are doing this, you will likely find out why most programmers think that "off-by-one" issues are the most common bugs there are.

*

*Think about this though.  You need to loop backwards (i.e. from the end of the array back towards the selected index).  If you do it in the normal forwards direction, then you will be overwriting things before you have created any space

Once you have "created some space", then overwrite the appropriate array entry.
Some other comments:

*

*You type your array as double[], name it myDoubleArray and initialize it with ints.  All your interactions with your users use ints as well.  I realize that ints can be implicitly converted to doubles, but you should really decide what you want to do and do it consistently.  A double literal is just a number with a decimal point like 3.14152

*You need to decide if you are going to number your indexes 0..N-1 (which C# likes) or 1..N (which humans like).  Write out a hint about this right at the top of your program.  Something like:

System.Console.WriteLine($"There is an an array with {myDoubleArray.Length} doubles in it, indexed 1 to {myDoubleArray.Length}.");

*

*The way you have your code, if a user enters an incorrectly formatted value, your program will throw an exception.  A user fat-fingering data entry is hardly exceptional behavior.  Consider using int.TryParse and double.TryParse.  They allow you to test for a good value before doing the conversion.  That way if the user enters bad data, you can repeat the prompt until he/she enters good data.

Enjoy

redpajama_set_name: RedPajamaStackExchange


The fact that the creators of Zweihänder Grim & Perilous RPG have scooped more news around #WFRP4e, earlier than Cubicle 7's marketing team, has some anxious whether fans can count on release at UK Games Expo.
Are we unnecessarily worried, and can we expect more official news soon? Please show us some fan love, Cubicle 7!


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Throughout Solari's history there were men that firmly believed in an idea and knew how to develop it and make it a success.
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text:
Wilfred Owen. From "The Poems of Wilfred Owen" ed Edmund Blunden, 1931.
Wilfred Owen Remembered in 2018
October 15, 2017 10:06 pm September 1, 2018 9:41 am
Wilfred Owen 100
Shropshire-born poet and soldier Wilfred Owen is known throughout the World as one of the greatest World War I poets. He was born at Plas Wilmot near Oswestry in March 1893. His father Thomas worked on the railways and after spells at Birkenhead and Shrewsbury the family moved back to Shropshire's county town in 1907 where Wilfred was educated at Shrewsbury Technical School (later The Wakeman School). He enlisted in the army in 1915 and was killed in action in France on 4th November 1918. During a period of convalescence at Craiglockhart he met Siegfried Sassoon who influenced his poetry. Only five of Owen's poems were published in his lifetime.
In recent times Owen has been depicted on film and in TV documentaries and his poems have been set to music. Two films featuring Owen – 'Regeneration' and 'The Burying Party' will be screened during Shropshire's First World War Film Festival from 10th October to 23rd November. Details can be found here.
For a full biography visit Wilfred Owen biography
Since 2014 Shropshire communities have been working in partnership to deliver an extensive and ambitious programme of heritage and arts activities to commemorate the First World War, funded by the Heritage Lottery Fund and Arts Council, England.
The project will culminate in a large-scale commemoration in 2018 of the 100th anniversary of Wilfred Owen's death at the age of 25, in November 1918, just 7 days before the armistice. WO100 will reflect on the emotion, exhibitions, installations and projects from the 2014 – 2018 commemorative period and celebrate Shropshire's renowned son – soldier and poet, Wilfred Owen. The Wilfred Owen 100 brochure can be viewed here.
Shrewsbury Heritage, Shropshire Archives and Shropshire Arts Service aim to coordinate a county wide partnership. The production of a complementary programme of Cultural Arts activity will be published in May 2018.
The life and contribution of Wilfred Owen and all the other natives of Shropshire who were swept up into the services during the conflict will be a key element in the programme, but the wider social impact of the war on all the inhabitants of Shropshire will also be of crucial importance.
Shropshire played a key role as a location for large scale training and prisoner of war camps, as well as for over 40 hospitals, often located in country houses. Large number of women volunteered to work in hospitals and also on the land including those who were part of the Women's Land Army. The impact of the war on Shropshire women's lives cannot be over-estimated.
The project will showcase and bring to life the fantastic archive and museum holdings in Shropshire including:
Collections in Shropshire Archives, including the records of the King's Shropshire Light Infantry, and estate and family collections that tell the stories of individual Salopians of all classes and their very varied experience of the war
Collections held by Shropshire Museum Service and Shropshire Regimental Museum including weapons, trench art, clothing, photographs and souvenirs
Collections including medals, photographs and records held by local voluntary museums, local organisations and individuals, such as the significant archive collection held at Stokesay Court, which was a hospital during the First World War.
The project will also harness archives, artefacts and memories held out in the community by organisations and individuals, and secure their preservation and accessibility for the future. The ambitious aim of this partnership project is to involve every community in this large county, and to reach audiences of all ages.
Activities supported by the project will include a 100 hours event, expressing the lasting importance of Wilfred Owen in the county of his birth and upbringing and in the town where his parents received the fatal telegram as the Armistice bells were ringing in November 1918. Festivals and events for children, lectures, workshops and creative opportunities for adults, stories researched by individuals and groups across the county and the creation of educational resources for all Shropshire schools will all focus on the impact of the First World War on society and culture. Activities will take place from 2017 to 2019.
You can keep up to date with events via Twitter @WilfredOwen100, on Facebook – (search Wilfred Owen 100) and Shropshire Remembers website
Written by Tim King


I doubt any writer can deny that each of their characters bears some small resemblance to a person or persons the author has met. I've never actually taken someone I know and plonked them into the middle of my work, but I may have mined their personality for some nuance I might bestow upon a character.
And boy, do we do meet characters in our lives? Some years ago, on a residential writing course, I kept a journal because I thought it would help the writing flow. I discovered this journal recently and have plucked from it comments I'd noted on the people joining me on the course. I'll share them with you here. Names have been changed to protect the libelled.
Kevin: I walked into the kitchen when I arrived, to find a chap sitting on the table, drinking coffee. "I'm Kevin, who are you," he said. "Rosie" I replied, after which he checked the delegate list and kindly provided me with my surname. At the group introductions, he treated us to a potted life history and précis of three novels he's written. A leading publisher has promised to publish if he can just get his hero right. Which, bearing in mind the novels are partly autobiographical, probably means we're safe.
Jolly Jim from Glasgow: "my life's a comedy drama, you'd be amazed what happens tae me!" Oh – and he's told us. He is quite entertaining – in small doses – and has plenty of charm but overly interested in talking about himself.
Anne: who Jolly Jim has christened June Whitfield. Suffice to say, when I went into the kitchen at seven o'clock this morning, for my first brew of the day, the two of them were already head to head over a pot of tea and she was sharing her life history with him. I stuck around for the death of her first husband, killed by a drunk driver (he may have jumped) through her late education and remarriage, to her early retirement due to illness. I didn't stick around for the prognosis, but no doubt I'll have it by the end of the week.
Sue: who, at breakfast, very quickly got onto the topic of what she likes to write and in some detail. I left the kitchen with a mouthful of toast. I had to stuff it in there to keep me from screaming.
Briony: offers more hope. She works as a script editor. She's funny and spare with her words of wisdom, and the only one not to bore the arse off me.
Laura: Laura is a charming lady, wheel-chair bound with multiple sclerosis and well-stocked with cannabis, apparently. She might prove rather popular as the week progresses.
By Wednesday, Kevin and Jolly Jim, had jacked it in – much to the relief of all concerned. Kevin had become weirder and Jim less Jolly. Kevin terrified Briony when he said he could read a lot about her from her retina – and proceeded to do so. Not-so-jolly Jim, who had a fund of anecdotes he was hell-bent on sharing, left because he said wasn't getting anything out of the course. He thought the tutors were all "me, me, me".
"Yes but never paid for it," they replied.
Although life is full of people who are even-tempered and possibly even a tad dull, it is essential that your characters are not; unless dullness is a trait you wish to emphasize and develop for contrast or humour.
Many books have been written about developing characters, and I've dipped into a few. I'm particularly fond of studying star sign traits to add consistency to some of my characters' personalities.
In case you might be interested, two books I often refer to when developing characters are: A Writer's Guide to the Zodiac by Giselle Green and The Character Map by Laurie Hutzler – an excellent guide for mapping a character's emotional conflicts and how those tensions lead to their transformation.
Giselle, I always like to decide on an astrological sign for my key characters and try to keep their attributes consistent with the sign. And you may be right, perhaps real writers are much too busy observing others to spew out their life history. Perhaps, even, real writers feel their own lives aren't interesting enough to share so that, in turn, drives them to create new realms to inhabit in their imagination… Oo-er, now I'm displaying my armchair psychology.
Hi Rosie – I find reality TV programmes can be useful in creating characters. They're all larger than life there but that can be an advantage when trying to create someone from nothing!
Excellent suggestion, Cara, and what a great excuse for watching all those programmes my other half refers to as 'Twaddle'. Now I can officially call it research.


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text:
TROLLING THE ARCHIVE
David Archibald of the University of Glasgow recently circulated an abstract for a paper I will be giving in March as part of their seminar series. The full abstract and details for the event can be found here.
Leo Enticknap, a Lecturer at Leeds in Visual and Communication Arts, read the abstract on the British Association of Film, Television and Screen Studies email list and wrote the following (italicized portions are excerpts from my abstract):
Quote from [Groo's] abstract (Enticknap's emphasis):
On July 1st, 2007, a consortium of Dutch archives, including the EYE Film Institute, the Netherlands Institute for Sound and Vision, and the Dutch Nationaal Archieef, launched Images for the Future, a large-scale project funded by the Dutch government and dedicated to the restoration and digitization of more than 700,000 hours of film.
A point of information: only a tiny proportion of the total material involved in the project underwent restoration (according to the generally accepted definition of the term within the archiving profession, i.e. physical intervention to mitigate damage in source elements and/or the reconstruction of an image and/or audio sequence in order to recreate a sequence that is known or believed to have existed in the past). This was essentially a mass-digitisation project, i.e. access, not preservation.
As I will argue, these archives also demand new film histories and historiographic futures: not the digital annihilation of the celluloid archive (as so many historians fear)
I can assure Dr. Groo that the deaccession and disposal of film and magnetic media elements (not just celluloid, but cellulose acetate and polyester-base film elements and analogue video and audio tapes as well) takes place on a significant scale. It usually takes the form of private sector collections wanting to pass analogue master elements to public sector archives for long-term preservation after digitisation for access (and, of course, to pass the cost of that along with it), but the problem is significant, even among FIAF and FIAT member institutions. If Dr. Groo is trying to suggest either that the loss of analogue originals after the creation of digital surrogates, or that the long-term preservation of born digital content is fundamentally not a problem (shameless plug: for the chapter and verse on why it is, see the special issue of The Moving Image I edited on this topic, 8/1, Spring 2008), then the bottom line is that her position contradicts the mainstream view both within in the audiovisual archiving profession and within branches of the IT industry concerned with long-term data preservation.
There have been literally dozens of occasions over the last decade in which I have consulted for the custodians of collections, who were in the position of having money available for digitisation for access projects, but the bodies that had made it available had done so in the belief (perpetuated by a combination of unscrupulous equipment/service vendors and others who have accepted their claims without the knowledge and/or inclination to assess them objectively) that it would remove the ongoing cost of preserving the analogue source elements and had planned for (or at least, assumed that they would be able to plan for) the disposal of those source elements at the conclusion of the project. Educating these people as to the scientific and engineering reality has been an uphill struggle for ethically motivated professionals in the field who have been trying to address this problem. This is that digital media represents a wonderful access medium but a lousy, inefficient and expensive preservation medium, and that it's only if something is born digital in the first place that anyone with any sanity and technical expertise would attempt the long-term preservation of that content in digital form. Even then, there is a notable minority of archiving professionals who advocate digital-to-film transfers for this purpose, arguing that the technical challenges of digital preservation trump the ethical undesirability of preservation on a non-original format. The bottom line is that I could build you and then maintain for a given period of time an atmpospherically controlled film vault for roughly a fifth of the cost of storing the equivalent content capacity, digitised to 4K using proven to be reliable methods.
Sorry to be blunt, but when the academy then comes along and claims that there's nothing to worry about 'cause Derrida said so, it really isn't helpful.
Leo Enticknap
Archival Media Consultant and Project Manager
flashscan8.us
Loma Linda, CA, USA
I wrote the following in response:
I will keep this brief as I know members of this list already have enough emails to read. A colleague just drew my attention to your response to my abstract. I invite you to contact me off-list if you are interested in discussing my work. I would be happy to send the paper to you and field any questions you might have. And, of course, you are welcome to attend the talk in March. That said, I suspect that you are less interested in moving the discussion forward and more interested in a public performance of outrage in the service of promoting your own work. There is a deep irony in your message. You invite members of the academic community to engage with your research as you uncharitably characterize my own. I welcome difficult questions; however, I ask only that you adhere to the very basic standards of academic discourse and actually allow me to share my ideas before you dismiss them.
I do not doubt that digitization has very real effects for film artifacts and for the profession of preservation. In my research, I am interested in drawing attention to the physicality and materiality of film artifacts. I make the case for a film historiography that attends to the particularities of celluloid, including its inevitable decay and degradation, its rips, tears, texture, etc. In the paper to which you refer, I argue that these physical qualities become more (not less) visible in the digital era.
In my view, the archivist and the academic have different tasks. On this point, I think we disagree. I do not see myself as an advocate for the archive or for any one approach to preservation. I am, instead, committed to understanding the archive, analyzing its artifacts, and reading the discourses that constitute its contemporary formation (including the rhetoric of salvage that extends all the way from the nineteenth century to your email).
I cite this exchange at length here for a couple of reasons. There's a lot that one might say about this kind of response to a paper that has yet to be published or even publicly delivered. Since sending my response, I have received several emails from grad students and junior scholars who have been treated in a similar way on the list. Shedding light on this kind of behavior might contribute in some way to a more open discussion about the treatment of junior scholars–especially women–within the academy. Enticknap refers to me at several points as "Dr Groo" in his reply, but his lack of collegiality and basic academic etiquette undermines this (performative) gesture of respect.
Setting these issues aside, what struck me most in the hours after I read this response was the throw-away line about Derrida. Derrida is such an easy target. A bit passé in film circles. Never liked by archivists. Whatever reasons one might have for rejecting him, his lack of concern for actual archives shouldn't be one of them. Derrida was deeply worried about the archive and (not coincidentally) deeply worried about scholars like Enticknap. Put plainly: Derrida worried about what happens to our lived experience–our ideas, our projects, etc.–when we die. What happens to the living present when it becomes past tense? When we can no longer speak for ourselves and present testimony on our own behalf? The archive invites others to speak in our stead, to create historical wholes out of fragments (or academic views out of abstracts). He argued (among other things) that the archive and its historians would necessarily, inevitably get it wrong. Worse, your work might just become a punchline for someone who has never taken the time to read it. In other words, Enticknap's mischaracterization of Derrida's view ("there's nothing to worry about") proves Derrida's point. Derrida thought we should worry a whole lot about archives, just not for the reasons that Enticknap thinks we should…
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