text:
Template:Sidebar/doc

This template is a metatemplate for the creation of sidebar templates, i.e. boxes that are vertically-aligned navigation templates. Sidebars, like infoboxes, are usually positioned on the right-hand side of a page.

Sidebar with collapsible lists is a version of Sidebar that adds collapsibility to its sections, i.e. the means to show or hide sections by clicking links beside their headings.

Parameters
No parameters are mandatory. If navbar links are to function correctly (unless their appearance is suppressed; see the navbar parameter below), the parameter name needs to be set (to the name of the sidebar's page). (This does not apply if the Lua module that produces, Module:Sidebar, is being used directly.)

TemplateStyles
The TemplateStyles parameters templatestyles, child templatestyles, and grandchild templatestyles take the pagename of a TemplateStyles page and turn it into a TemplateStyles tag. The TemplateStyles tag is a much more powerful way to add styling to a sidebar.

Some rules of use:
 * 1) Always add a template-specific class in class so that the styles added to one sidebar will not "leak" into another sidebar. For example, Template:DYK tools has dyk-tools and the Template:DYK tools/styles.css page targets   for all of its added styling.
 * 2) Do not assume Template:Sidebar will continue to have a table structure (i.e., do not target   or any other table HTML in the TemplateStyles page). The table structure is soft-deprecated and will go away at some point in the future.

These tags are loaded in this order: Core templatestyles (Module:Sidebar/styles.css), templatestyles, child, and then grandchild, which can be used to 'cascade' the styles.

 * templatestyles
 * This parameter is intended for a template or module calling sidebar directly.

 * child templatestyles
 * This parameter is intended for a template or module which calls a sidebar with templatestyles.

 * grandchild templatestyles
 * This parameter is intended for a template or module which calls a sidebar with child templatestyles.

The canonical list of classes output with each kind of element of a sidebar (i.e. output for all contentn, or all cases of above) can be found in Module:Sidebar/configuration in the "class" table. The below is a non-authoritative but otherwise sufficient list for most generic styling:

 * The top-level sidebar class.
 * The top-level sidebar class.

 * The class associated with a outertitle.
 * The class associated with a outertitle.

 * The class associated with a topimage.
 * The class associated with a topimage.

 * The class associated with a topcaption.
 * The class associated with a topcaption.

 * The classes associated with a pretitle. Only one of these will be output per sidebar, depending on whether topimage is present.
 * The classes associated with a pretitle. Only one of these will be output per sidebar, depending on whether topimage is present.
 * The classes associated with a pretitle. Only one of these will be output per sidebar, depending on whether topimage is present.

 * The classes associated with a title. Only one of these will be output per sidebar, depending on whether pretitle is present.
 * The classes associated with a title. Only one of these will be output per sidebar, depending on whether pretitle is present.
 * The classes associated with a title. Only one of these will be output per sidebar, depending on whether pretitle is present.

 * The class associated with a image.
 * The class associated with a image.

 * The class associated with a caption.
 * The class associated with a caption.

 * The class associated with a above.
 * The class associated with a above.

 * The class associated with a headingn. Every heading will have this class.
 * The class associated with a headingn. Every heading will have this class.

 * The classes associated with contentn. Every content group will have one of these classes, depending on whether the specific content has a subgroup.
 * The classes associated with contentn. Every content group will have one of these classes, depending on whether the specific content has a subgroup.
 * The classes associated with contentn. Every content group will have one of these classes, depending on whether the specific content has a subgroup.

 * The class associated with a below.
 * The class associated with a below.

 * The class associated with a navbar.
 * The class associated with a navbar.

Example TemplateStyles parameter use
For an example of a sidebar which does not need to support children templates of its own (whether because it has no children or because it wants no children):

For an example of a sidebar which does have its own children and an example of one of the children (grandchild templates have a similar use):

Handling long links
Normalwraplink may be used to handle links that should wrap within the sidebar or otherwise need to be made to wrap, in order to prevent the sidebar from becoming too wide. Use, where longlinkname is the long link without its square brackets.

Use the true parameter to turn link wrapping off for the whole template.

Nesting
One sidebar template can be nested (embedded) into another one by using the child parameter. This feature can be used to create a modular sidebar, or to create more well-defined and logical sections.

Note in the examples above that the child sidebar is placed in a content field, not a heading field. Notice also that the section subheadings do not appear in bold if this is not explicitly specified. To obtain bold section headings, move the titles to the heading field, using

Deprecated parameters
The following parameters are deprecated in favor of TemplateStyles and templates/modules using them are categorized into Category:Sidebars with styles needing conversion. The category page has further conversion information.

A specific real conversion example is Template:DYK tools where the styles were moved to Template:DYK tools/styles.css.

title: Template:Sidebar/doc


text: Shelf:Rail transport modelling

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Shelf:Rail transport modelling


text:
Module:Sidebar

-- -- This module implements -- require('strict') local cfg = mw.loadData('Module:Sidebar/configuration')

local p = {}

local getArgs = require('Module:Arguments').getArgs

--[[ Categorizes calling templates and modules with a 'style' parameter of any sort for tracking to convert to TemplateStyles.

TODO after a long cleanup: Catch sidebars in other namespaces than Template and Module. TODO would probably want to remove /log and /archive as CS1 does ]] local function categorizeTemplatesWithInlineStyles(args) local title = mw.title.getCurrentTitle if title.namespace ~= 10 and title.namespace ~= 828 then return '' end for _, pattern in ipairs (cfg.i18n.pattern.uncategorized_conversion_titles) do		if title.text:match(pattern) then return '' end end for key, _ in pairs(args) do		if mw.ustring.find(key, cfg.i18n.pattern.style_conversion) or key == 'width' then return cfg.i18n.category.conversion end end end

-- For compatibility with the original implementation, which passed some parameters through to trim their whitespace. This also triggered the automatic newline behavior. -- See (meta:Help:Newlines and spaces) local function trimAndAddAutomaticNewline(s) s = mw.ustring.gsub(s, "^%s*(.-)%s*$", "%1") if mw.ustring.find(s, '^[#*:;]') or mw.ustring.find(s, '^{|') then return '\n' .. s	else return s	end end

-- Finds whether a sidebar has a subgroup sidebar. local function hasSubgroup(s) if mw.ustring.find(s, cfg.i18n.pattern.subgroup) then return true else return false end end

-- Main sidebar function. Takes the frame, args, and an optional collapsibleClass. The collapsibleClass is and should be used only for sidebars with collapsible lists, as in p.collapsible. function p.sidebar(frame, args, collapsibleClass) if not args then args = getArgs(frame) end local root = mw.html.create local child = args.child and mw.text.trim(args.child) == cfg.i18n.child_yes

root = root:tag('table') if not child then root :addClass(cfg.i18n.class.sidebar) -- force collapsibleclass to be sidebar-collapse otherwise output nothing :addClass(collapsibleClass == cfg.i18n.class.collapse and cfg.i18n.class.collapse or nil) :addClass('nomobile') :addClass(args.float == cfg.i18n.float_none and cfg.i18n.class.float_none or nil) :addClass(args.float == cfg.i18n.float_left and cfg.i18n.class.float_left or nil) :addClass(args.wraplinks ~= cfg.i18n.wrap_true and cfg.i18n.class.wraplinks or nil) :addClass(args.bodyclass or args.class) :css('width', args.width or nil) :cssText(args.bodystyle or args.style)

if args.outertitle then root :tag('caption') :addClass(cfg.i18n.class.outer_title) :addClass(args.outertitleclass) :cssText(args.outertitlestyle) :wikitext(args.outertitle) end

if args.topimage then local imageCell = root:tag('tr'):tag('td')

imageCell :addClass(cfg.i18n.class.top_image) :addClass(args.topimageclass) :cssText(args.topimagestyle) :wikitext(args.topimage)

if args.topcaption then imageCell :tag('div') :addClass(cfg.i18n.class.top_caption) :cssText(args.topcaptionstyle) :wikitext(args.topcaption) end end

if args.pretitle then root :tag('tr') :tag('td') :addClass(args.topimage and cfg.i18n.class.pretitle_with_top_image							or cfg.i18n.class.pretitle) :addClass(args.pretitleclass) :cssText(args.basestyle) :cssText(args.pretitlestyle) :wikitext(args.pretitle) end else root :addClass(cfg.i18n.class.subgroup) :addClass(args.bodyclass or args.class) :cssText(args.bodystyle or args.style) end

if args.title then if child then root :wikitext(args.title) else root :tag('tr') :tag('th') :addClass(args.pretitle and cfg.i18n.class.title_with_pretitle							or cfg.i18n.class.title) :addClass(args.titleclass) :cssText(args.basestyle) :cssText(args.titlestyle) :wikitext(args.title) end end

if args.image then local imageCell = root:tag('tr'):tag('td')

imageCell :addClass(cfg.i18n.class.image) :addClass(args.imageclass) :cssText(args.imagestyle) :wikitext(args.image)

if args.caption then imageCell :tag('div') :addClass(cfg.i18n.class.caption) :cssText(args.captionstyle) :wikitext(args.caption) end end

if args.above then root :tag('tr') :tag('td') :addClass(cfg.i18n.class.above) :addClass(args.aboveclass) :cssText(args.abovestyle) :newline -- newline required for bullet-points to work :wikitext(args.above) end

local rowNums = {} for k, v in pairs(args) do k = '' .. k		local num = k:match('^heading(%d+)$') or k:match('^content(%d+)$') if num then table.insert(rowNums, tonumber(num)) end end table.sort(rowNums) -- remove duplicates from the list (e.g. 3 will be duplicated if both heading3	-- and content3 are specified) for i = #rowNums, 1, -1 do		if rowNums[i] == rowNums[i - 1] then table.remove(rowNums, i)		end end

for i, num in ipairs(rowNums) do local heading = args['heading' .. num] if heading then root :tag('tr') :tag('th') :addClass(cfg.i18n.class.heading) :addClass(args.headingclass) :addClass(args['heading' .. num .. 'class']) :cssText(args.basestyle) :cssText(args.headingstyle) :cssText(args['heading' .. num .. 'style']) :newline :wikitext(heading) end

local content = args['content' .. num] if content then root :tag('tr') :tag('td') :addClass(hasSubgroup(content) and cfg.i18n.class.content_with_subgroup							or cfg.i18n.class.content) :addClass(args.contentclass) :addClass(args['content' .. num .. 'class']) :cssText(args.contentstyle) :cssText(args['content' .. num .. 'style']) :newline :wikitext(content) :done -- Without a linebreak after the, a nested list like -- "* ..." doesn't parse correctly. :newline end end

if args.below then root :tag('tr') :tag('td') :addClass(cfg.i18n.class.below) :addClass(args.belowclass) :cssText(args.belowstyle) :newline :wikitext(args.below) end

if not child then if args.navbar ~= cfg.i18n.navbar_none and args.navbar ~= cfg.i18n.navbar_off and (args.name or frame:getParent:getTitle:gsub(cfg.i18n.pattern.sandbox, '') ~=			cfg.i18n.title_not_to_add_navbar) then root :tag('tr') :tag('td') :addClass(cfg.i18n.class.navbar) :cssText(args.navbarstyle) :wikitext(require('Module:Navbar')._navbar{							args.name,							mini = 1,							fontstyle = args.navbarfontstyle						}) end end local base_templatestyles = frame:extensionTag{ name = 'templatestyles', args = { src = cfg.i18n.templatestyles } }	local templatestyles = '' if args['templatestyles'] and args['templatestyles'] ~= '' then templatestyles = frame:extensionTag{ name = 'templatestyles', args = { src = args['templatestyles'] } }	end local child_templatestyles = '' if args['child templatestyles'] and args['child templatestyles'] ~= '' then child_templatestyles = frame:extensionTag{ name = 'templatestyles', args = { src = args['child templatestyles'] } }	end local grandchild_templatestyles = '' if args['grandchild templatestyles'] and args['grandchild templatestyles'] ~= '' then grandchild_templatestyles = frame:extensionTag{ name = 'templatestyles', args = { src = args['grandchild templatestyles'] } }	end

return table.concat({		base_templatestyles,		templatestyles,		child_templatestyles,		grandchild_templatestyles,		tostring(root),		(child and cfg.i18n.category.child or ''),		categorizeTemplatesWithInlineStyles(args)	}) end

local function list_title(args, is_centered_list_titles, num) local title_text = trimAndAddAutomaticNewline(args['list' .. num .. 'title']		or cfg.i18n.default_list_title)

local title if is_centered_list_titles then -- collapsible can be finicky, so provide some CSS/HTML to support title = mw.html.create('div') :addClass(cfg.i18n.class.list_title_centered) :wikitext(title_text) else title = mw.html.create :wikitext(title_text) end local title_container = mw.html.create('div') :addClass(cfg.i18n.class.list_title) -- don't /need/ a listnumtitleclass because you can do		-- .templateclass .listnumclass .sidebar-list-title :addClass(args.listtitleclass) :cssText(args.basestyle) :cssText(args.listtitlestyle) :cssText(args['list' .. num .. 'titlestyle']) :node(title) :done return title_container end

-- Main entry point for sidebar with collapsible lists. Does the work of creating the collapsible lists themselves and including them into the args. function p.collapsible(frame) local args = getArgs(frame) if not args.name and frame:getParent:getTitle:gsub(cfg.i18n.pattern.collapse_sandbox, '') == cfg.i18n.collapse_title_not_to_add_navbar then args.navbar = cfg.i18n.navbar_none end

local contentArgs = {} local is_centered_list_titles if args['centered list titles'] and args['centered list titles'] ~= '' then is_centered_list_titles = true else is_centered_list_titles = false end

for k, v in pairs(args) do		local num = string.match(k, '^list(%d+)$') if num then local expand = args.expanded and (args.expanded == 'all' or args.expanded == args['list' .. num .. 'name']) local row = mw.html.create('div') row :addClass(cfg.i18n.class.list) :addClass('mw-collapsible') :addClass((not expand) and 'mw-collapsed' or nil) :addClass(args['list' .. num .. 'class']) :cssText(args.listframestyle) :cssText(args['list' .. num .. 'framestyle']) :node(list_title(args, is_centered_list_titles, num)) :tag('div') :addClass(cfg.i18n.class.list_content) :addClass('mw-collapsible-content') -- don't /need/ a listnumstyleclass because you can do					-- .templatename .listnumclass .sidebar-list :addClass(args.listclass) :cssText(args.liststyle) :cssText(args['list' .. num .. 'style']) :wikitext(trimAndAddAutomaticNewline(args['list' .. num]))

contentArgs['content' .. num] = tostring(row) end end

for k, v in pairs(contentArgs) do		args[k] = v	end

return p.sidebar(frame, args, cfg.i18n.class.collapse) end

return p

title: Module:Sidebar


text: Subject:Rail transport modelling

title: Subject:Rail transport modelling


text:
Module:Sidebar/configuration

return { i18n = { child_yes = 'yes', float_none = 'none', float_left = 'left', wrap_true = 'true', navbar_none = 'none', navbar_off = 'off', default_list_title = 'List', title_not_to_add_navbar = 'Template:Sidebar', collapse_title_not_to_add_navbar = 'Template:Sidebar with collapsible lists', templatestyles = 'Module:Sidebar/styles.css', hlist_templatestyles = 'Hlist/styles.css', plainlist_templatestyles = 'Plainlist/styles.css', category = { child = '', conversion = '' },		pattern = { collapse_sandbox = '/sandbox$', sandbox = '/sandbox$', subgroup = 'sidebar%-subgroup', style_conversion = 'style$', uncategorized_conversion_titles = { '/[Ss]andbox', '/[Tt]estcases', '/[Dd]oc$' }		},		class = { sidebar = 'sidebar', subgroup = 'sidebar-subgroup', collapse = 'sidebar-collapse', float_none = 'sidebar-none', float_left = 'sidebar-left', wraplinks = 'nowraplinks', outer_title = 'sidebar-outer-title', top_image = 'sidebar-top-image', top_caption = 'sidebar-top-caption', pretitle = 'sidebar-pretitle', pretitle_with_top_image = 'sidebar-pretitle-with-top-image', title = 'sidebar-title', title_with_pretitle = 'sidebar-title-with-pretitle', image = 'sidebar-image', caption = 'sidebar-caption', above = 'sidebar-above', heading = 'sidebar-heading', content = 'sidebar-content', content_with_subgroup = 'sidebar-content-with-subgroup', below = 'sidebar-below', navbar = 'sidebar-navbar', list = 'sidebar-list', list_title = 'sidebar-list-title', list_title_centered = 'sidebar-list-title-c', list_content = 'sidebar-list-content' }	} }

title: Module:Sidebar/configuration


text: Category:Subject:Rail transport modelling


text: Category:Subject:Rail transport modelling/all books


text:
Module:Navbar

local p = {} local cfg = mw.loadData('Module:Navbar/configuration')

local function get_title_arg(is_collapsible, template) local title_arg = 1 if is_collapsible then title_arg = 2 end if template then title_arg = 'template' end return title_arg end

local function choose_links(template, args) -- The show table indicates the default displayed items. -- view, talk, edit, hist, move, watch -- TODO: Move to configuration. local show = {true, true, true, false, false, false} if template then show[2] = false show[3] = false local index = {t = 2, d = 2, e = 3, h = 4, m = 5, w = 6, talk = 2, edit = 3, hist = 4, move = 5, watch = 6} -- TODO: Consider removing TableTools dependency. for _, v in ipairs(require ('Module:TableTools').compressSparseArray(args)) do			local num = index[v] if num then show[num] = true end end end

local remove_edit_link = args.noedit if remove_edit_link then show[3] = false end return show end

local function add_link(link_description, ul, is_mini, font_style) local l	if link_description.url then l = {'[', '', ']'} else l = {, } end ul:tag('li') :addClass('nv-' .. link_description.full) :wikitext(l[1] .. link_description.link .. l[2]) :tag(is_mini and 'abbr' or 'span') :attr('title', link_description.html_title) :cssText(font_style) :wikitext(is_mini and link_description.mini or link_description.full) :done :wikitext(l[3]) :done end

local function make_list(title_text, has_brackets, displayed_links, is_mini, font_style) local title = mw.title.new(mw.text.trim(title_text), cfg.title_namespace) if not title then error(cfg.invalid_title .. title_text) end local talkpage = title.talkPageTitle and title.talkPageTitle.fullText or '' -- TODO: Get link_descriptions and show into the configuration module. -- link_descriptions should be easier... local link_descriptions = { { ['mini'] = 'v', ['full'] = 'view', ['html_title'] = 'View this template', ['link'] = title.fullText, ['url'] = false }, { ['mini'] = 't', ['full'] = 'talk', ['html_title'] = 'Discuss this template', ['link'] = talkpage, ['url'] = false }, { ['mini'] = 'e', ['full'] = 'edit', ['html_title'] = 'Edit this template', ['link'] = title:fullUrl('action=edit'), ['url'] = true }, { ['mini'] = 'h', ['full'] = 'hist', ['html_title'] = 'History of this template', ['link'] = title:fullUrl('action=history'), ['url'] = true }, { ['mini'] = 'm', ['full'] = 'move', ['html_title'] = 'Move this template', ['link'] = mw.title.new('Special:Movepage'):fullUrl('target='..title.fullText), ['url'] = true }, { ['mini'] = 'w', ['full'] = 'watch', ['html_title'] = 'Watch this template', ['link'] = title:fullUrl('action=watch'), ['url'] = true } }

local ul = mw.html.create('ul') if has_brackets then ul:addClass(cfg.classes.brackets) :cssText(font_style) end for i, _ in ipairs(displayed_links) do		if displayed_links[i] then add_link(link_descriptions[i], ul, is_mini, font_style) end end return ul:done end

function p._navbar(args) -- TODO: We probably don't need both fontstyle and fontcolor... local font_style = args.fontstyle local font_color = args.fontcolor local is_collapsible = args.collapsible local is_mini = args.mini local is_plain = args.plain local collapsible_class = nil if is_collapsible then collapsible_class = cfg.classes.collapsible if not is_plain then is_mini = 1 end if font_color then font_style = (font_style or '') .. '; color: ' .. font_color .. ';'		end end local navbar_style = args.style local div = mw.html.create:tag('div') div :addClass(cfg.classes.navbar) :addClass(cfg.classes.plainlinks) :addClass(cfg.classes.horizontal_list) :addClass(collapsible_class) -- we made the determination earlier :cssText(navbar_style)

if is_mini then div:addClass(cfg.classes.mini) end

local box_text = (args.text or cfg.box_text) .. ' '	 -- the concatenated space guarantees the box text is separated if not (is_mini or is_plain) then div :tag('span') :addClass(cfg.classes.box_text) :cssText(font_style) :wikitext(box_text) end local template = args.template local displayed_links = choose_links(template, args) local has_brackets = args.brackets local title_arg = get_title_arg(is_collapsible, template) local title_text = args[title_arg] or (':' .. mw.getCurrentFrame:getParent:getTitle) local list = make_list(title_text, has_brackets, displayed_links, is_mini, font_style) div:node(list)

if is_collapsible then local title_text_class if is_mini then title_text_class = cfg.classes.collapsible_title_mini else title_text_class = cfg.classes.collapsible_title_full end div:done :tag('div') :addClass(title_text_class) :cssText(font_style) :wikitext(args[1]) end local frame = mw.getCurrentFrame -- hlist -> navbar is best-effort to preserve old Common.css ordering. return frame:extensionTag{ name = 'templatestyles', args = { src = cfg.hlist_templatestyles } } .. frame:extensionTag{ name = 'templatestyles', args = { src = cfg.templatestyles } } .. tostring(div:done) end

function p.navbar(frame) return p._navbar(require('Module:Arguments').getArgs(frame)) end

return p

title: Module:Navbar


text:
Module:Navbar/configuration

return { ['templatestyles'] = 'Module:Navbar/styles.css', ['hlist_templatestyles'] = 'Hlist/styles.css', ['box_text'] = 'This box: ',			-- default text box when not plain or mini ['title_namespace'] = 'Template',		-- namespace to default to for title ['invalid_title'] = 'Invalid title ', ['classes'] = { -- set a line to nil if you don't want it		['navbar'] = 'navbar', ['plainlinks'] = 'plainlinks', -- plainlinks ['horizontal_list'] = 'hlist', -- horizontal list class ['mini'] = 'navbar-mini', -- class indicating small links in the navbar ['this_box'] = 'navbar-boxtext', ['brackets'] = 'navbar-brackets', -- 'collapsible' is the key for a class to indicate the navbar is		-- setting up the collapsible element in addition to the normal -- navbar. ['collapsible'] = 'navbar-collapse', ['collapsible_title_mini'] = 'navbar-ct-mini', ['collapsible_title_full'] = 'navbar-ct-full' } }

title: Module:Navbar/configuration


text: Category:Shelf:Rail transport modelling/all books


text: Category:Shelf:Rail transport modelling

title: Category:Shelf:Rail transport modelling


text: Shelf:Rail transport modelling/ancestry

title: Shelf:Rail transport modelling/ancestry


text: Levantine Arabic/Printable version

title: Levantine Arabic/Printable version


text:
Differential Programming Languages/Chapter-1-Syntactic-Differentiation

The derivative is often introduced as an operation on functions: given a function $$f : \mathbb{R} \to \mathbb{R}$$ it's derivative at a point $$a$$ is a linear function $$D(f) : \mathbb{R} \to \mathbb{R}$$. In this book, the derivative is being developed as a programming language construct, so we will need to introduce the derivative as an operation programs $$f : \mathbb{R} \to \mathbb{R}$$. We will restrict our attention to functional programs which for our purposes will mean programs that represent mathematical functions. From this restriction, we can make sense of whether the derivative is implemented correctly -- i.e. that the differentiated program corresponds to the mathematical derivative of the function that the original program represents.

While this is not meant to be an enormous change, there are a few differences to point out: 1. The objects $$\mathbb{R}$$ are types in a programming language rather than sets. Values in a set are always constructible, and we write $$a : \mathbb{A}$$ to denote that...

The immediate challenge is that a single mathematical function can be represented by syntactically different programs


text:
Cookbook:Feature requests/Random Recipe button

This might be very simple to make, but a random recipe button would be terrific. TimeEngineer (discuss • contribs) 20:06, 26 September 2021 (UTC)

Actually, I might be able to make it myself with this link: Special:RandomInCategory/Category:Recipes


text:
Differential Programming Languages/Table Of Contents

Syntactic differentiation


text: TI-Lists/Printable version

title: TI-Lists/Printable version


text: Shelf:Calculators

title: Shelf:Calculators


text: Subject:Calculators

title: Subject:Calculators


text: Shelf:Calculators/ancestry

title: Shelf:Calculators/ancestry


text: Category:Shelf:Calculators

title: Category:Shelf:Calculators


text: Category:Shelf:Calculators/all books

title: Category:Shelf:Calculators/all books


text: Category:Subject:Calculators

title: Category:Subject:Calculators


text: Category:Subject:Calculators/all books

title: Category:Subject:Calculators/all books


text:
User talk:Llakew

Hello!
Hello!

I was wondering if you were still planning on developing the Hoover Dam Infrastructure Casebook. I think it's a good idea, and I'd be willing to help with updating formatting of the wikibook to match general Wikibooks formats if you would like.

Thanks! --Mbrickn (discuss • contribs) 23:13, 26 September 2021 (UTC)

title: User talk:Llakew


text: Category:Anatomy series

title: Category:Anatomy series


text: Chibi-Robo!/Printable version

title: Chibi-Robo!/Printable version


text: A Level Computer Science Programming Guide/Printable version


text: Super Mario 63/Printable version

title: Super Mario 63/Printable version


text:
Template:Jantai

/Templates
 * s s r r | g g | m m |
 * p p d d | n n | S S |

title: Template:Jantai


text:
Template:Jantai descent

/Templates
 * S S n n | d d | p p |
 * m m g g | r r | s s |

title: Template:Jantai descent


text: Public International Law/Immunities

title: Public International Law/Immunities


text:
Public International Law/Peaceful Settlement of Disputes/Evidence

Author: Jane Doe "Required knowledge: Link" "Learning objectives: Understanding XY."

This is where the text begins. This template follows our style guide. Please take into account our guidelines for didactics. If you're wondering how to create text in Wikibooks, feel free to check out our guide on how to write in Wikibooks.

Just replace the content above and below with your content.

Further Readings

 * Source I
 * Source II

Conclusion

 * Summary I
 * Summary II


text:
Learning anatomy/Throat

Anatomy
The pharynx is made up of the nasopharynx, oropharynx, and laryngopharynx.

Function
The pharynx brings food from the oral cavity to the esophagus. The pharynx also brings air from the nasal and oral cavities to the larynx.

Anatomy
The parts of the larynx are the epiglottis, thyroid, cricoid, arytenoids, cuniform, corniculates, infrahyoid, suprahyoid, thyrohyoid membrane, lateral thyrohyoid ligament, quadrangular membrane, cricothyroid ligament complex, and posterior cricoarytenoid ligament.

Function
The larynx helps in speech. The larynx moves air from the pharynx to the trachea. The epiglottis prevents food from entering the airway.

title: Learning anatomy/Throat


text: Isoba/Printable version

title: Isoba/Printable version


text: Template:OERlabs Openbook Navigation

title: Template:OERlabs Openbook Navigation


text:
Simi, Jonathan!/Lâfadola 2

Contents - Lâfadola 1 - Lâfadola 2

Dolala remîmi (dolala 2)
Nu li mann es in li tren. Il ne es in Munich; il es in un tren. Il viagea. Il pensa: "Nu yo viagea de Munich a Vienna. It es un bon viage. Yo ama viages."

Il pensa pri Munich. Il pensa: “Nu yo es in li tren, ma yer yo esset in Munich. E nu yo scri un jurnale in li tren, ma yer yo scrit un jurnale in Munich. E nu yo pensa in li tren, ma yer yo pensat in Munich. Yer yo pensat pri Munich in Munich, e nu yo pensa pri Vienna in li tren. Nu yo es in li tren, ne in Vienna. Ma yo pensa e scri pri Vienna.”

Esque li mann nu pensa in Munich? No, il nu ne pensa in Munich. Il pensa in li tren. Yer il pensat in Munich. Il di: “Salute, tren!”

Li mann es in li tren, e il viagea a un cité. Li cité ne es Munich; Munich es li cité de yer. Li cité es Vienna; Vienna es li cité de hodíe.

Li mann pensa pri Munich e Vienna. Il pensa: “Munich esset li cité de yer, e Munich esset bon. Nu it es hodíe, e yo es in un tren; li tren es bon. Esque Vienna va esser bon?”

Li mann pensa pri Munich: Munich esset li cité de yer. Il pensa in li tren: il es in li tren hodíe. E il pensa pri Vienna: Vienna va esser li cité de deman.

E il pensa: “Munich esset grand. Li tren es grand. Esque Vienna va esser grand?”

E il pensa: “In Munich yo scrit in un jurnale. In li tren yo scri in un jurnale. Esque in Vienna yo va scrir in un jurnale? Yes, deman in Vienna yo va scrir in un jurnale. Yo ama jurnales.” Li mann pensa mult (il pensa mult = il pensa e pensa e pensa), e il scri mult. Yes, il es un inteligent mann. Inteligent mannes scri mult, e pensa mult. Il es Jonathan; Jonathan es un inteligent mann.

Il scri: “Yo es Jonathan. Yo es in un tren. Yer yo stat in Munich; deman yo va star in Vienna.”

Il pensa, e scri: “Li tren...it es bon, ma old. It ne es nov; it es old. Esque in Munich li trenes es old? Yes, li trenes de Munich es old. Ma li trenes de Munich es bon, e yo ama li trenes de Munich. Yer yo amat li tren in Munich, e hodíe yo ama li tren nu, e deman yo va amar li tren in Vienna. Yo ama trenes!”

Jonathan scri: "Munich es un bon cité e un old cité, e Vienna es un bon cité e un old cité. Munich e Vienna ne es nov, ma es bon. Munich e Vienna es old, ma bon cités. Li cités ne es nov, ma bon. Yo ama cités!"

Jonathan pensa, que li duesim die de viage es bon. Il di: “Hodíe esset un bon duesim die de viage. Yo ama viages!”

yer, hodíe, deman

 * yer = unesim may (05.01)
 * hodíe = duesim may (05.02)
 * deman = triesim may (05.03)

-t

 * scri: hodíe yo scri, yer yo scrit
 * pensa: hodíe yo pensa, yer yo pensat
 * vide: hodíe yo vide, yer yo videt

va -r

 * scri: hodíe yo scri, deman yo va scrir
 * pensa: hodíe yo pensa, deman yo va pensar
 * vide: hodíe yo vide, deman yo va vider

esser

 * verbes in i: scri, scrit, va scrir
 * verbes in e: vide, videt, va vider
 * verbes in a: pensa, pensat, va pensar
 * verbe esser: es, esset, va esser

de, a

 * De Munich a Vienna:
 * Munich → Vienna
 * De Vienna a Munich:
 * Munich ← Vienna

Solrêla

 * ama
 * deman (yer → hodíe → deman)
 * hodíe (yer → hodíe → deman)
 * mult
 * nov
 * nu
 * old
 * va
 * viage
 * viagea
 * yer ↔ (yer → hodíe → deman)

Di:

 * g = g
 * grand: grand
 * grammatica: grammatica
 * gi, ge: ji, je
 * viage: viaje
 * inteligent: intelijent

|2

title: Simi, Jonathan!/Lâfadola 2


text: Flux Database/Printable version

title: Flux Database/Printable version


text: History of Western Theatre: Greeks to Elizabethans/Printable version


text:
History of Western Theatre: 17th Century to Now/Introduction

Goals
The main purpose of the present textbook is to encourage the reading and writing of plays. The plays are presented in a way to emphasize why scholarly and public attention have been continuously paid to them. There is also another goal: helping to make better known plays too much ignored, especially in the non-English literature. A particular emphasis is laid on action, what are the characters doing, or not doing.

Definition of drama
"A drama is the imitation of a complete action, adapted to the sympathetic attention of man, developed in a succession of continuously interesting and continuously related incidents, acted and expressed by means of speech and the symbols, actualities, and conditions of life. No definition in a paragraph, however comprehensive in terms, of what a drama is, can more than indicate its limitations and proportions. For the unskilled in particular, large elucidation is necessary to bring out the hidden meaning of the above descriptive phrases...As stated by Aristotle, a complete action is one that has a beginning, a middle, and an end; or, as it may be put, it contains a premise, an argument, and a conclusion. The premise or the beginning is a fact or state of facts, undisputed, accepted; for the action must have a sure starting-point. No antecedents, at least in the way of action, are required to explain it. Shakespeare tells, for example, in 'Romeo and Juliet' nothing of the causes or former incidents of quarrel between the Montagues and the Capulets. It is a sufficient beginning that the two houses are at deadly enmity" (Price, 1913 pp 1-3).

Drama and the world
“Consider all the different pursuits and employments of men, and you will find half their actions tend to nothing else but disguise and imposture; and all that is done which proceeds not from a man’s very self is the action of a player. For this reason it is that I make so frequent mention of the stage: it is, with me, a matter of the highest consideration what parts are well or ill performed, what passions or sentiments are indulged or cultivated, and consequently what manners and customs are transfused from the stage to the world, which reciprocally imitate each other” (Steele, 1712 The Spectator, no 370, May 5).

Pleasure in drama
“It may possibly be imagined by severe men, that I am too frequent in the mention of the theatrical representations, but who is not excessive in the discourse of what he extremely likes? Eugenio can lead you to a gallery of fine pictures, which collection he is always increasing, Crassus through woods and forests, to which he designs to add the neighbouring counties. These are great and noble instances of their magnificence The players are my pictures and their scenes my territories. By communicating the pleasure I take in them, it may in some measure add to men’s gratifications this way, as viewing the choice and wealth of Eugenio and Crassus augments the enjoyments of those whom they entertain, with a prospect of such possessions as would not otherwise fall within the reach of their fortunes” (Steele, 1710 The Tatler no 182, June 8).

“There are no authors I am more pleased with than those who show human nature in a variety of views, and describe the several ages of the world in their different manners. A reader cannot be more rationally entertained, than by comparing the virtues and vices of his own times with those which prevailed in the times of his forefathers; and drawing a parallel in his mind between his own private character and that of other persons, whether of his own age, or of the ages that went before him. The contemplation of mankind under these changeable colours is apt to shame us out of any particular vice, or animate us to any particular virtue, to make us pleased or displeased with ourselves in the most proper points, to clear our mind of prejudice and prepossession, and to rectify that narrowness of temper which inclines us to think amiss of those who differ from ourselves” (Addison, 1711 The Spectator, no 209, October 30).

“It may be here worth our while to examine how it comes to pass that several readers, who are all acquainted with the same language, and know the meaning of the words they read, should nevertheless have a different relish of the same descriptions. We find one transported with a passage which another runs over with coldness and indifference, or finding the representation extremely natural, where another can perceive nothing of likeness and conformity. This different taste must proceed either from the perfection of imagination in one more than in another, or from the different ideas that several readers affix to the same words. For to have a true relish and form a right judgment of a description, a man should be born with a good imagination, and must have well weighed the force and energy that lie in the several words of a language, so as to be able to distinguish which are most significant and expressive of their proper ideas, and what additional strength and beauty they are capable of receiving from conjunction with others. The fancy must be warm to retain the print of those images it hath received from outward objects; and the judgment discerning, to know what expressions are most proper to clothe and adorn them to the best advantage. A man who is deficient in either of these respects, though he may receive the general notion of a description, can never see distinctly all its particular beauties; as a person with a weak sight may have the confused prospect of a place that lies before him, without entering into its several parts, or discerning the variety of its colours in their full glory and perfection” (Addison, 1712 The Spectator, no 416, June 27).

Reporting conversations
“Method is not less requisite in ordinary conversation than in writing, provided a man would talk to make himself understood. I, who hear a thousand coffee-house debates every day, am very sensible of this want of method in the thoughts of my honest countrymen. There is not one dispute in ten which is managed in those schools of politics where, after the three first sentences, the question is not entirely lost. Our disputants put me in mind of the cuttle-fish, that when he is unable to extricate himself, blackens all the water about him till he becomes invisible. The man who does not know how to methodise his thoughts has always, to borrow a phrase from the Dispensary, ‘a barren superfluity of words’; the fruit is lost amidst the exuberance of leaves” (Addison, 1712 The Spectator, no 476, September 5).

Marriage troubles
In drama, the marriage state is more often troubled than happy. “I take it to be a rule proper to be observed in all occurrences of life, but more especially in the domestic or matrimonial part of it, to preserve always a disposition to be pleased. This cannot be supported but by considering things in their right light, and as nature has formed them and not as our own fancies or appetites would have them. He then who took a young lady to his bed, with no other consideration than the expectation of scenes of dalliance, and thought of her (as I said before) only as she was to administer to the gratification of desire; as that desire flags, will, without her fault, think her charms and her merit abated: from hence must follow indifference, dislike, peevishness, and rage. But the man who brings his reason to support his passion, and beholds what he loves as liable to all the calamities of human life both in body and mind, and even at the best, what must bring upon him new cares and new relations; such a lover, I say, will form himself accordingly, and adapt his mind to the nature of his circumstances. This latter person will be prepared to be a father, a friend, an advocate, a steward for people yet unborn, and has proper affections ready for every incident in the marriage state. Such a man can hear the cries of children with pity instead of anger; and when they run over his head, he is not disturbed at their noise, but is glad of their mirth and health” (Steele, 1712 The Spectator, no 479, September 9).

Tragedy versus comedy
“As a perfect tragedy is the noblest production of human nature, so it is capable of giving the mind one of the most delightful and most improving entertainments. ' A virtuous man,' says Seneca, 'struggling with misfortunes is such a spectacle as gods might look upon with pleasure' (On providence’). And such a pleasure it is which one meets with in the representation of a well-written tragedy. Diversions of this kind wear out of our thoughts every- thing that is mean and little. They cherish and cultivate that humanity which is the ornament of our nature” (Addison, 1711 The Spectator, no 39, April 14).

“Tragedy is an imitation of life in passions; it is comedy only which imitates both passions and habits. A tragic actor, then, is to be estimated, not as he always copies nature, but as he satisfies the general opinion of life and manners. He must neither on the one hand debase his dignity by too natural a simplicity of manner, nor on the other give it a ridiculous elevation by pompousness and bombast. He cannot draw much of his knowledge from real life, because the loftier passions are rarely exhibited in the common intercourse of mankind; but nevertheless he should not indulge himself in novelties of invention, because the hearts of his audience will be unable to judge where their experience has no power. Much study should strengthen his judgment, since he must perfectly understand before he can feel his author and teach others to feel. Where there is strong natural genius, judgment will usually follow in the development of great passions, but it may fail in the minute proproprieties of the stage: where there is not a strong natural genius, the contrary will be generally found. For the common actions of great characters he must study the manner of the stage, for their passions nothing but nature” (Hunt, 1894 edition pp 2-3). “The passions of comedy are more faint than those of tragedy; they are rather emotions and inclinations for if they strengthen into a powerful character they become tragic. Thus sentimental comedy, in which the passions sometimes exert all their strength, is nothing more than an alternate compound of comedy and tragedy, just as the Orlando of Ariosto or the Lutrin of Boileau is a mixture of seriousness and pleasantry. It is more difficult to conceive passions than habits, principally because the former are less subject to common observation. In comic characters we generally recognise the manners or peculiarities of some person with whom we are acquainted, or who is at least known in the world; but of the deeper tragic passions we have only read or heard...The chief qualification of a comedian is an instantaneous perception of everything that varies from the general seriousness of human nature, or from that behaviour which is contemplated with a serious indifference. This variation must nevertheless be found in real life, or it becomes farcical; and as the actor shows his genius in the conception of humorous character, so it is in the nice division of comedy from farce that he shows his judgment. Such a division is a mark of his genius also, for however an able comedian may sometimes indulge in forced humour, a perpetual caricature is always a mark of a lesser genius: it is like bombast in tragedy; it paints to the senses not to the heart, and diverts the attention of the audience from too close an examination into the player's imitative talent” (Hunt, 1894 edition pp 23-29).

Death
"There is nothing in history which is so improving to the reader as those accounts which we meet with of the deaths of eminent persons and of their behaviour in that dreadful season. I may also add that there are no parts in history which affect and please the reader in so sensible a manner. The reason I take to be this, because there is no other single circumstance in the story of any person which can possibly be the case of every one who reads it. A battle or a triumph are conjunctures in which not one man in a million is likely to be engaged; but when we see a person at the point of death, we cannot forbear being attentive to everything he says or does, because we are sure that sometime or other we shall ourselves be in the same melancholy circumstances. The general, the statesman, or the philosopher are perhaps characters which we may never act in; but the dying man is one whom, sooner or later, we shall certainly resemble" (Addison, 1712 The Spectator, no 289, 31 January).

Murder and suicide
“Murder and suicide, which are easy devices in the hands of a capable dramatist, should be sparingly used in the theater. Physical violence loses much of its tragic impact unless it is shown to be inescapable. It is a quick way out for the playwright who doesn’t know what else to do or, with a more conscientious artist, an equally easy way of bringing his plot to a full stop...Violent death is seldom the solution of anything, in life or in fiction. It is too often a makeshift device. Do you remember Lessing’s anecdote? A spectator at a play asked his neighbor what a certain character died of. ‘Of the fifth act,’ was the reply, and Lessing adds that in ‘very truth the fifth act is an ugly disease that carries off many a one to whom the first four acts promised a longer life'” (Clark, 1947 p 81).

Heroism
A gentleman where I happened to be last night fell into a discourse which I thought showed a good discerning in him. He took notice, that whenever men have looked into their heart for the idea of true excellency in human nature, they have found it to consist in suffering after a right manner, and with a good grace. Heroes are always drawn bearing sorrows, struggling with adversities, undergoing all kinds of hardships, and having in the service of mankind a kind of appetite to difficulties and dangers.

The gentleman went on to observe, that it is from the secret sense of the high merit which there is in patience under calamities that the writers of romances, when they attempt to furnish out characters of the highest excellence, ransack nature for things terrible; they raise a new creation of monsters, dragons, and giants. Where the danger ends, the hero ceases; when he has won an empire, or gained his mistress, the rest of his story is not worth relating. My friend carried his discourse so far as to say that it was for higher beings than men to join happiness and greatness in the same idea; but that in our condition we have no conception of superlative excellence, or heroism but as it is surrounded with a shade of distress

Criticism
"It is in criticism as in all other sciences and speculations; one who brings with him any implicit notions and observations which he has made in his reading of the poets will find his own reflections methodised and explained, and perhaps several little hints that had passed in his mind perfected and improved in the works of a good critic; whereas one who has not these previous lights is very often an utter stranger to what he reads and apt to put a wrong interpretation upon it" (Addison, 1712 The Spectator no 291, February 2). “The ancient critics are full of the praises of their contemporaries; they discover beauties which escaped the observation of the vulgar, and very often find out reasons for palliating and excusing such little slips and oversights as were committed in the writings of eminent authors. On the contrary, most of the smatterers in criticism who appear among us, make it their business to vilify and depreciate every new production that gains applause, to descry imaginary blemishes, and to prove by far-fetched arguments that what pass for beauties in any celebrated piece are faults and errors. In short, the writings of these critics compared with those of the ancients, are like the works of the Sophists compared with those of the old philosophers. Envy and cavil are the natural fruits of laziness and ignorance; which was probably the reason that in the heathen mythology Momus is said to be the son of Nox and Somnus, of darkness and sleep. Idle men, who have not been at the pains to accomplish or distinguish themselves, are very apt to detract from others; as ignorant men are very subject to decry those beauties in a celebrated work which they have not eyes to discover. Many of our sons of Momus, who dignify themselves by the name of critics, are the genuine descendants of these two illustrious ancestors. They are often led into those numerous absurdities, in which they daily instruct the people, by not considering that, firstly, there is sometimes a greater judgment shown in deviating from the rules of art than in adhering to them, and, secondly, that there is more beauty in the works of a great genius who is ignorant of all the rules of art than in the works of a little genius, who not only knows but scrupulously observes them” (Addison, 1714 The Spectator, no 592, September 10).

Plays on the Internet
Links on the Internet are provided to the complete version of the plays, with modern spelling. A more complete list of plays in English on the Internet is given in the "Added material" subsection presented below.

Chronology of plays
The dating of the plays is referenced according to the year first published or presented on stage, whichever came first, more rarely the year it was written in cases when neither the one nor the other occurred until much later. Included in Pre-World War (WW) II plays are plays up to 1945, as the main difference in style in 20th century plays occurs before and after that date.

Boulevard theatre
A separate French section during 19th and 20th centuries is given to Boulevard theatre in view of its prominence over other countries.


text:
User talk:68.195.157.16

Spelling
Hi there, I noticed you changed the spelling variety in Special:Diff/3991664. Please don't do that. Wikibooks prefers no major variety of spelling, and to add onto that, France generally uses British spelling because the EU does. SHB2000 (discuss • contribs) 01:43, 28 September 2021 (UTC)

title: User talk:68.195.157.16


text:
Canadian Refugee Procedure/103-104 - Suspension or Termination of Consideration of Claim

IRPA Sections 103-104
Sections 103-104 of the Immigration and Refugee Protection Act read: Suspension or Termination of Consideration of Claim

Suspension 103 (1) Proceedings of the Refugee Protection Division in respect of a claim for refugee protection are suspended on notice by an officer that (a) the matter has been referred to the Immigration Division to determine whether the claimant is inadmissible on grounds of security, violating human or international rights, serious criminality or organized criminality; or (b) an officer considers it necessary to wait for a decision of a court with respect to a claimant who is charged with an offence under an Act of Parliament that may be punished by a maximum term of imprisonment of at least 10 years.

Continuation (2) On notice by an officer that the suspended claim was determined to be eligible, proceedings of the Refugee Protection Division must continue.

Notice of ineligible claim 104 (1) An officer may, with respect to a claim that is before the Refugee Protection Division or, in the case of paragraph (a.1) or (d), that is before or has been determined by the Refugee Protection Division or the Refugee Appeal Division, give notice that an officer has determined that (a) the claim is ineligible under paragraphs 101(1)(a) to (e), other than paragraph 101(1)(c.1); (a.1) the claim is ineligible under paragraph 101(1)(c.1); (b) the claim is ineligible under paragraph 101(1)(f); (c) the claim was referred as a result of directly or indirectly misrepresenting or withholding material facts relating to a relevant matter and that the claim was not otherwise eligible to be referred to that Division; or (d) the claim is not the first claim that was received by an officer in respect of the claimant.

Termination and nullification (2) A notice given under the following provisions has the following effects: (a) if given under paragraph (1)(a), (b) or (c), it terminates pending proceedings in the Refugee Protection Division respecting the claim; (a.1) if given under paragraph (1)(a.1), it terminates pending proceedings in the Refugee Protection Division or, in the case of an appeal made by the claimant, the Refugee Appeal Division, respecting the claim; and (b) if given under paragraph (1)(d), it terminates proceedings in and nullifies any decision of the Refugee Protection Division or the Refugee Appeal Division respecting a claim other than the first claim.

IRPA s. 103(1): Proceedings of the RPD are suspended upon notice that evidence of potential inadmissibility has come to light
Section 103(1) provides that proceedings of the Refugee Protection Division in respect of a claim for refugee protection are suspended on notice by an officer that the conditions in ss. (a) or (b) are met. By its wording, this provision does not allow the Minister to suspend proceedings of the RAD.

IRPA s. 104(1): An officer may give notice that an officer has determined that the claim is ineligible or of other specified conditions, but this is not a discretion-conferring provision
IRPA s. 104(1) provides that an officer may, with respect to a claim that is before the Refugee Protection Division or, in the case of paragraph (a.1) or (d), that is before or has been determined by the Refugee Protection Division or the Refugee Appeal Division, give notice that an officer has determined that specified conditions have been met, including that the claim is ineligible. A CBSA officer does not exercise any discretion under subsection 104(1) IRPA when issuing a Notification of Ineligible Refugee Claim. The use of the word “may” in the English version of s. 104 does not find its equivalent in the French version of the section. As the Interpretation Act (R.S.C., 1985, c. I-21) states at the French version of section 11, the use of the present tense (“indicatif présent”) expresses an imperative (“une obligation”). That corresponds to the language used in the French version of s. 104 of the IRPA, which is consistent with the scheme of the Act that calls for notices to the RPD for suspending its proceedings or for lifting the suspension. Merely relying on the word “may” will fall short. Instead, the construction of the scheme as performed in the two cases leads to only one conclusion. The fact that it is a human actor, the officer, who takes notice of facts and communicates the legal consequence imposed by the Act to the affected party and to the Refugee Protection Division does not make that person a decision-maker with discretion.


text:
Talk:History of Tennessee/WWII and Post-War Tennessee (1942-present)

Battle of Athens
Would the Battle of Athens (1946) fit in here? --Mbrickn (discuss • contribs) 05:25, 28 September 2021 (UTC)


text: Costume History/Printable version

title: Costume History/Printable version