text:
Women's Writing Before Woolf: A Social Reference/Alexander Dyce

= Alexander Dyce =

Biography
Born on the 30th June 1798 in Edinburgh, Scotland, Alexander Dyce was a literary scholar, historian and editor. His father, also known as Alexander Dyce, was a Major in the East India Company and married Miss Frederick Meredith Mary Campbell in 1797. Whilst evidence is scarce, they are believed to have had three children, all boys. Alexander Dyce went on to become the most successful of the siblings. Keeping with military pursuits, his mother’s brother, General Sir Neil Campbell served alongside Napoleon at Elba as a British Commissioner and went on to become the Governor of Sierra Leone. Dyce was also related to the Pre-Raphaelite artist, William Dyce, although no evidence survives to suggest they were in contact with one another [3].

When his parents and their children, including Dyce himself, relocated to India in 1799, two of his father’s sisters were assigned to care for him. When Dyce returned to Edinburgh to attend high school, a lady by the name of “Mrs. Smollett” became his main caretaker. Her influence was particularly profound as he mentions her many times throughout his ‘Reminiscences’. Theatre was a big passion of Dyce’s and he writes of Mrs. Smollett’s own interest in the theatre which must have created a dear bond between the two [3]. These female influences in his life may have been the impetus for his later work with women writers.

This love of theatre, which continued throughout his whole life, is said to have interfered with Dyce’s academic achievements in high school. In 1816, Dyce commenced study at Exeter College, Oxford pursuing a Bachelor of Arts. After his studies, his father had expected him to follow in his footsteps by pursuing a position in the military particularly since military endeavours had been a part of both sides of his family. But there seems to have been some apprehension on Alexander’s part as his father ended up offering him an alternate pathway in the church. Alexander accepted this and subsequently served as an Anglican priest in churches in Cornwall and Suffolk for what is believed to be somewhere between 3-6 years before moving to London to pursue a literary career [3].

In London, Dyce mixed with some of the city’s best literary connections and talent, joining a group dubbed ‘Rogers Circle’ with English poet, Samuel Rogers. Here, he mixed with printers, poets, journalists, librarians, and even an Egyptologist. He also joined the novelist William Harrison Ainsworth’s literary circle where politicians, writers, and artists, including Prime Minister Benjamin Disraeli, Charles Dickens, William Makepeace Thackeray and the painter, Daniel Maclise, were also said to have been regular visitors. Whether they crossed paths with Dyce is unsubstantiated, but it does point to the stature Dyce eventually achieved for himself. Notably, he also formed a friendship with William Wordsworth through mail correspondence, and in these letters, Wordsworth speaks highly of Dyce’s work. Dyce was also in close literary acquaintance with many female writers including Euphrasia Fanny Haworth, Fanny Kemble and Mary Russell Mitford [3].

Works
Alexander Dyce edited and annotated the work of some of literature’s most profound novelists, poets and dramatists including William Shakespeare, Robert Greene, George Peele, Thomas Middleton and Christopher Marlowe. He was the first modern editor to work on many of these texts. Dyce is also known for his input into the biographies of Shakespeare, Alexander Pope and James Beattie [3]. His works include William Gifford’s Dramatic Works and Poems of James Shirley (1833), John Skelton (1843), as well as his own Works of John Ford (1869) [4].

As Bartels states, a literary editor was a ‘compiler, organizer and shaper of texts, and indeed of the literary market itself’ [1]. This was particularly true of Dyce in his inception of the anthology Specimens of British Poetesses (1825) in which Dyce meticulously compiled what he believed to be the best of women’s poetry up until that point.

Dyce’s work has been generally well received. As Schrader writes, “His confidence and self-satisfaction were found at times annoying, and the value of some of his work was questioned; but by and large the quality of his texts and the ultimate usefulness of his notes still command respect” [3].

Reputation/Legacy
Alexander Dyce's renewed interest in Shakespeare during the 19th century, sparked some of his best work with the texts of Shakespeare (Schrader). Dyce's reputation begins with what is perhaps his most progressive and important work is his publication of Specimens of British Poetesses (1825), an anthology of poetry by eighty-nine women writers. In the anthology’s preface Dyce writes, “the object of the present volume is to exhibit the growth and progress of our country-women in the department of poetry”, alluding to his genuine admiration of the work included in the volume and his desire to champion and uplift the work for wider recognition amongst wider society. While women writers, especially those from past centuries, were often left behind in history, Dyce’s anthology makes effort to include 29 pre-eighteenth century writers including Mary Wroth, Mary Sidney, Anne Bradstreet, Elizabeth Carew, Katherine Phillips, Gertrude Thimelby, Ann Collins, Elizabeth Melville and Anna Hume [2].

Dyce's reputation became more respectable after the anthology received a positive reception when it was released, notably by writers Leigh Hunt and William Wordsworth. In correspondence with Dyce via letters, Wordsworth explained he had wanted to compile a similar book but went on to suggest that Dyce’s work was in fact, superior to similar anthologies he had read and even offered his own help if future editions were to be compiled. The anthology’s value still continues according to Margaret Ezell in her work on nineteenth-century editions of early modern women’s writing [2].


text:
Wikibooks:Promoted shelves

Promoted shelves are shelves that contain the many of the most popular books in Wikibooks. See also featured books, for quality books that the community believes to be the best of what Wikibooks has to offer.

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

title: Wikibooks:Promoted shelves


text:
Professionalism/Vtubers and the Ethics of Synthetic Media

A Virtual YouTuber or VTuber, a term first coined by Kizuna AI, is a virtual content creator and entertainer. VTubers entertain fans in live broadcasts and usually present themselves as stylized, motion-tracked 2D or 3D characters. These performers hold the same entertainment value as streamers or Japanese pop idols, gathering large amounts of fan support for their work. As a consequence, the VTubing industry suffers from similar issues that plague the Japanese entertainment scene, such as parasocial engagement and ill-defined labor rights.

Introduction
VTuber characters are anime-inspired and have exaggerated personalities. The VTuber trend first started in Japan and increased in worldwide popularity in 2016. The trend grew greatly during the COVID-19 pandemic. YouTube reported that "views to VTuber channels grew to over 1.5 billion per month in 2020." VTubers profit by showcasing fan comments, Super Chats, during live broadcasts in exchange for money or by producing other forms of paid content. For example, Kiryu Coco made $1,455,084 in revenue in 2020 from Super Chats alone. VTubers often keep their real identities a secret for privacy, but also to uphold the illusion of their established character lore or personality. By creating a fictional narrative, VTubers benefit from keeping their real identity anonymous while establishing a strong relationship with fans. VTubers provide a form of emotional escapism by giving fans attention during livestreams.

As an extension of Japanese idol culture, agencies produce the most popular VTubers. Agencies give VTubers resources such as recording studios and collaboration opportunities with other VTubers. Agencies like Hololive Production, owned by Cover Corporation, make enough revenue to operate branches all over the world. However, many agencies have not disclosed contractual information such as salaries, VTuber earnings, and responsibility over talent.

Hololive contracts VTubers such as Akai Haato and Kiryu Coco. Akai Haato is described in her Hololive biography as "a sassy kouhai... often prickly." Fan wikis describe Haato's personality as "a classic tsundere who teases her fans" and "infamous for her ear-splitting scream." Another Hololive VTuber, Kiryu Coco describes herself as a "child dragon... fond of human culture" and an "honorable and heroic dragon who is filled with justice." Fans of Coco acknowledge that she "often employs crude humor, foul speech... and swearing." An example of her eccentric personality, Coco runs a parody morning news show called Asacoco with both English and Japanese where "she opens with 'Goooood MORNING MOTHERF@$#ERS!' for English viewers, followed by 'OKITE, OKITE! OKITE KU-DA-SA-I!' (Wake up, Wake up! WAKE UP PL-EA-SE!) in Japanese."

Cover and the Taiwan Controversy
In September 2020, two of Hololive’s VTubers, Kiryu Coco and Akai Haato, displayed confidential YouTube analytics on their streaming platforms. Cover placed a suspension on Kiryu Coco and Akai Haato in response to the display of confidential analytics and breach of contract.

Many fans, however, say that other VTubers have previously shown their analytics without facing corporate or fan backlash or suspension. Others add that Cover suspended Kiryu Coco and Akai Haato because the analytics listed Taiwan and its flag, separate from China. The display of Taiwan’s flag could implicate Coco and Haato with the contentious One China Policy. Fans who joined the stream that day recall Coco saying “Taiwan” aloud. Some believe Cover suspended the VTubers to protect them from fan backlash.

Suspension and Apologies
Kiryu Coco and Akai Haato both apologized on Twitter after the incident. Cover received criticism for posting two different apology statements. In the English statement on Twitter, Cover says Coco and Haato were suspended for divulging “confidential Youtube channel analytics information.” In a statement on Bilibili, a Chinese streaming and video-sharing website, however, Cover says it “respects China’s sovereignty and territorial integrity...and firmly supports the One-China principle.” Cover later apologized for the discrepancies in its public statements. The company further pledged to “strengthen the education and management” of its artists: to improve its system to prevent “such problems” from reoccurring.

Suspension Lifts
Cover lifted the suspension on Kiryu Coco and Akai Haato three weeks after the stream in October 2020. On their return streams, viewers recalled that Haato seemed a bit emotional and happy to be back. Coco acted unaffected by the incident, and posted an explicit message on her stream's end screen: “Don’t forget to subscribe if you loved it. If you hated…. F*CK U and never come back.” Some fans questioned the professionalism of showing this statement on her first stream after the incident and suspension. Others saw the behavior as a natural part of Coco’s eccentric personality.

Fan Reception
After the incident, some fans campaigned against Hololive. Fans posted hate messages and spammed stream chats on VTuber channels. Many VTubers, as a result, increased their content moderation and privatization; some limited their interaction with fans for a period of time.

One fan translation group boycotted Hololive and posted a list of demands on Reddit. The demands included a request for more severe punishment of Coco, the biggest target of the anti-Hololive campaign.

The Western audience, which comprises a large portion of Hololive's fanbase, either downplayed or ignored the incident. Some fans made memes about Hololive and China, and many see the incident as just something that provided further clout and fame for Coco and Haato.

Parasocial Relationships and Idol Culture
Fans and media personalities can form parasocial relationships, where fans often devote significant time and energy to the media personality. These relationships can be detrimental to both the fan and celebrity, especially when fans cross personal boundaries or become emotionally dependent on stars. Fans of all entertainment mediums can fall victim to these relationships, but the Japanese idol and VTubing industries exacerbate these ties through their rigid structure and business model.

Ethics of Japanese Idol Culture

Japanese media companies capitalize on parasocial relationships, marketing idols as products and packaging them to "maximize consumption." Fans become consumers of these products by investing time, emotional energy, and money in the idols' personal lives, albums, photos, fashion, and other merchandise. Companies intentionally release content that exposes idols' personal struggles and vulnerabilities, making fans feel a sense of understanding and relatability towards their object of desire. This bond can develop into an "intense attachment built upon the emotional dependency of the fan towards the idol."

VTubers embody the idolatry engrained into Japanese pop culture. As internet stars, they foster personal connections with their fans through livestreams and chats. This format supposedly creates the authentic social connection that fans wish to have with their virtual idols, despite the anonymity and secrecy surrounding the industry. Due to this culture of secrecy, the VTubing industry does not set clear company responsibilities and expectations when dealing with its talent, which can easily hide many labor issues. Strict contracts and regulations bar VTubers from sharing details about their personal lives and working conditions with the press.

Applications to the Taiwan Controversy
Intense parasocial relationships enable fans to cross boundaries and lead to a feeling of betrayal when idols display a negative aspect of their lives or beliefs. In the case of Coco and Haato, the recognition of Taiwan angered Chinese fans and compromised their close relationships with the idols. The harassment of both VTubers can be attributed to Cover's exploitation of parasocial relationships and fans' susceptibility to idol culture. Agencies mold fans into customers, giving them idols, products, and merchandise to feed their desires. Fans buy into this model, which is evident in the amount of money and time they give to their favorite VTubers.

Cover's conflicting apology statements reiterated its position as a money-making entity that only wished to preserve a brand. If its business is to create marketable characters, then the statements are an attempt to mend shaky relations with a large customer base rather than a genuine effort to protect its talent. Only when its performers' marketable images were threatened by fans' anger did it feel the need to implement measures to protect talent from harassment. These include taking legal action against harassers and creating a reporting system. Media critics argue that Cover was unprepared to take responsibility in this scenario, despite running a business where "parasocial relationships from fans can turn into targeted campaigns." This brings into question what responsibilities Cover has over its talent. Since VTubers are Cover's main source of income, what will the agency do to manage and protect these global personas moving forward?

Conclusion
Future work may investigate other idol agencies such as the NIJISANJI project or 774 Inc., and the relationships to their contracted talents. Professional ethics related to VTubers may also apply to traditional live streamers on Twitch and YouTube. Twitch is known to mishandle and neglect sexual harassment claims against other streamers or Twitch employees, such as the situation with Samantha Wong. How much responsibility do agencies and companies have when protecting their talent? Since streaming is a job that carries "long hours and little pay," "requires oversight," and incurs "tons of risks," what power do companies have in the face of controversy?

One risk is the development of parasocial relationships, which can be harmful to media consumers. Content creators and agencies have an unhealthy amount of influence over their fans, selling them a product that induces addictive habits and causes them to spend large amounts of money. VTubers, like other forms of media and entertainment, have the ability to influence thoughts, feelings, and actions towards the world and others. Should agencies acknowledge their social power and ensure that entertainment is a positive experience for consumers and not solely for monetary gain?

=References=


text: Template:Cladex

title: Template:Cladex


text:
Module:Clade

--[[NOTE: this module contains functions for generating the table structure of the clade tree:

The main function is called by the template using the instruction; the three main functions are: p.main(frame) - opens and closes table, loops through the children of node, main is invoked once and controls the rest, calling ... p.addTaxon(childNumber, nodeLeaf) - the nuts and bolts; code dealing with each child node p.addLabel(childNumber) - adds the label text now uses templatestyles ]] require('strict') local p = {} local pargs = {} -- parent arguments local lastNode=0 local nodeCount=0 local cladeCount=0 local leafCount=0 local templateStylesCount=0 local infoOutput local reverseClade = false

--[[============================== main function =========================== -- main function, which will generate the table structure of the tree

Test version: Usage: Template:CladeN

Release version: Usage: Template:Clade ]]

function p.main(frame)

local cladeString = "" local maxChildren = 20 -- was 17 in the clade/cladex templates local childNumber = 0 local childCount = 0 -- number of leaves in the clade (can use to set bottom of bracket in addTaxon	local totalCount = 0	pargs = frame:getParent.args -- parent arguments   infoOutput = p.getCladeTreeInfo -- get info about clade structure, e.g. lastNode (last |N= child number)    -- add the templatestyles tag  conditionally to reduce expansion size (currently diabled)        when added to every clade table, it increases post‐expand include size significantly           e.g. the Neosuchia page (or test version) is increase by about 8% (672 bytes each)                if template styles added to all pages there are 133 stripmarkers                 with cladeCount==1 condition, this is reduced to 34        however cladeCount==1 condition interfers with fix for additional line due to parser bug T18700        killing the strip markers also removes backlinks to references using citation templates     -- --cladeString =mw.text.killMarkers( cladeString ) -- also kills off strip markers using citation templates --cladeString = mw.text.unstrip(cladeString) --if cladeCount==1 then local src = "Template:Clade/styles.css" cladeString = cladeString .. p.templateStyle( frame, src ) .. '\n' --end local tableStyle = frame.args.style or ""

if tableStyle ~= "" then tableStyle = ' style="' .. tableStyle .. '"' -- include style= in string to suppress empty style elements end reverseClade =frame.args.reverse or pargs.reverse or false -- a global --ENFORCE GLOBAL FOR DEVELOPMENT --reverseClade = true

local captionName = pargs['caption'] or "" local captionStyle = pargs['captionstyle'] or ""

-- add an element to mimick nowiki WORKS BUT DISABLE FOR DEMO PURPOSES --cladeString = ' \n' -- open table -- (border-collapse causes problems (see talk) -- cladeString = cladeString .. '{| style="border-collapse:collapse;border-spacing:0;margin:0;' .. tableStyle .. '"'   -- (before CSS styling) -- cladeString = cladeString .. '{| style="border-spacing:0;margin:0;' .. tableStyle .. '"'    cladeString = cladeString .. '{|class="clade"' .. tableStyle

-- add caption if captionName ~= "" then cladeString = cladeString .. '\n|+ style="' .. captionStyle .. '"|' .. captionName end local moreNeeded = true childNumber = 0 --lastNode = 0

--get child elements (add more rows for each child of node; each child is two rows)	   the function addTaxon is called to add the rows for each child element;	    each child add two rows: the first cell of each row contains the label or sublabel (below the line label), respectively;	    the second cell spans both rows and contains the leaf name or a new clade structure	    a third cell on the top row is sometimes added to contain a group  to the right -- main loop while 	childNumber < lastNode do -- use the last number determined in the preprocessing

childNumber = childNumber + 1 -- so we start with 1 local nodeLeaf = pargs[tostring(childNumber)] or "" -- get data from |N= local nodeLabel = pargs['label'..tostring(childNumber)] or "" -- get data from |labelN= local newickString = pargs['newick'..tostring(childNumber)] or "" -- get data from |labelN= local listString  = pargs['list'..tostring(childNumber)] or "" if listString ~= "" then cladeString = cladeString .. '\n' .. p.addTaxon(childNumber, p.list(0, listString), nodeLabel, lastNode) elseif newickString ~= "" then -- if using a newick string instead of a clade structure newickString = p.processNewickString(newickString,childNumber) if nodeLabel == "" then -- use labelN by default, otherwise use root name from Newick string nodeLabel = p.getNewickOuterterm(newickString) -- need to use terminal part of newick string for label end cladeString = cladeString .. '\n' .. p.addTaxon(childNumber, p.newick(0, newickString), nodeLabel, lastNode) --lastNode=lastNode+1 -- there is a counting problem with the newickstring elseif nodeLeaf ~= "" then -- if the node contains a leaf name or clade structue --if reverseClade2 then --	cladeString = cladeString .. '\n' .. p.addTaxonReverse(childNumber, nodeLeaf, nodeLabel, lastNode) --else cladeString = cladeString .. '\n' .. p.addTaxon(childNumber, nodeLeaf, nodeLabel, lastNode) --end end end

local footerText = pargs['footer'] or "" local footerStyle = pargs['footerstyle'] or ""

if footerText ~= "" then cladeString = cladeString .. '\n|-style="' .. footerStyle .. '"\n|colspan="2"| ' .. footerText .. ' ||'	  -- note the footer causes a problem with tr:last-child so need either -- (1) use but it is not allowed or incompatable --          cladeString = cladeString .. '  ' .. footerText .. '  '	   -- (2) always add footer and use nth:last-child(2) but is this backwards compatible -- (3) if footer= set the style inline for the last sublabel row (more a temp fix) -- (4) set class for first and last element (DONE. Also works well with reverse class) end

-- close table (wikitext to close table) cladeString = cladeString .. '\n|}' cladeString = p.addSubTrees(cladeString) -- add subtrees return cladeString --return ' \n' .. cladeString .. ' ' end

-- =============================function to add subtrees ==========================================

function p.addSubTrees(cladeString) --local pargs = mw.getCurrentFrame:getParent.args local suffix = { [1]="A", [2]="B", [3]="C", [4]="D", [5]="E", [6]="F", [7]="G", [8]="H", [9]="I", [10]="J", [11]="K", [12]="L", [13]="M", [14]="N", [15]="O", [16]="P", [17]="Q", [18]="R", [19]="S", [20]="T", [21]="U", [22]="V", [23]="W", [24]="X", [25]="Y", [26]="Z"} for i=1, 26, 1 do		local subclade = pargs['subclade'..suffix[i]] local target = pargs['target'..suffix[i]] or "SUBCLADE_" .. suffix[i] if subclade then if string.find(cladeString, target) then cladeString = string.gsub(cladeString,target,subclade) end end end return cladeString end --2, |3 ...) use a left border to create the vertical line of the bracket	    the first child element doesn't use a left border for the first cell in the top row (as it is above the bracket)	     the last child doesn't use a left border for the first cell in the second row (as it is below the bracket) function p.addTaxon(childNumber, nodeLeaf, nodeLabel, lastNode)

--colorN, |thicknessN, |stateN	   	the node parameters have no number, e.g. |color, |thickness, |state local nodeColor = pargs['color'] or ""                -- don't set default to allow green on black gadget local nodeThickness = tonumber(pargs['thickness']) or 1 local nodeState = pargs['state'] or "solid" -- get border formating parameters for branch (default to global nodeParameters) local branchColor = pargs['color'..tostring(childNumber)] or nodeColor local branchThickness = tonumber(pargs['thickness'..tostring(childNumber)]) or nodeThickness local branchState = pargs['state'..tostring(childNumber)] or nodeState if branchState == 'double' then if branchThickness < 2 then branchThickness = 3 end -- need thick line for double end local branchStyle = pargs['style'..tostring(childNumber)] or "" local branchLength = pargs['length'] or pargs['length'..tostring(childNumber)] or ""

-- the left border takes node parameters, the bottom border takes branch parameters -- this has coding on the colours for green on black local bottomBorder = tostring(branchThickness) ..'px ' .. branchState .. (branchColor~="" and ' ' .. branchColor or '') local leftBorder  =  tostring(nodeThickness)   ..'px ' .. nodeState .. (nodeColor~="" and ' ' .. nodeColor or '') --The default border styles are in the CSS (styles.css) --   the inline styling is applied when thickness, color or state are change local useInlineStyle = false -- use inline styling non-default color, line thickness or state have been set if branchColor ~= "" or branchThickness ~= 1 or branchState ~= "solid"  then useInlineStyle = true end -- variables for right hand bar or bracket --local barColor = "" local barRight = pargs['bar'..tostring(childNumber)] or "0" local barBottom = pargs['barend'..tostring(childNumber)] or "0" local barTop   = pargs['barbegin'..tostring(childNumber)] or "0" local barLabel = pargs['barlabel'..tostring(childNumber)] or "" local groupLabel     = pargs['grouplabel'..tostring(childNumber)] or "" local groupLabelStyle = pargs['grouplabelstyle'..tostring(childNumber)] or "" local labelStyle     = pargs['labelstyle'..tostring(childNumber)] or "" local sublabelStyle  = pargs['sublabelstyle'..tostring(childNumber)] or ""

--replace colours with format string; need right bar for all three options if barRight ~= "0" then barRight  = "2px solid " .. barRight end if barTop   ~= "0" then barRight  = "2px solid " .. barTop   end if barBottom ~= "0" then barRight = "2px solid " .. barBottom end if barTop   ~= "0" then barTop    = "2px solid " .. barTop   end if barBottom ~= "0" then barBottom = "2px solid " .. barBottom end -- now construct wikitext local cladeString = '' local styleString = '' local borderStyle = '' -- will be used if border color, thickness or state is to be changed local classString = '' local reverseClass = '' local widthClass = '' -- class to add if using reverse (rtl) cladogram; if reverseClade then reverseClass = ' reverse' end -- (1) wikitext for new row --cladeString = cladeString .. '\n|-'

-- (2) now add cell with label if useInlineStyle then if childNumber == 1 then borderStyle = 'border-left:none;border-right:none;border-bottom:' .. bottomBorder .. ';' 	       --borderStyle = 'border-bottom:' .. bottomBorder .. ';' 	 	else -- for 2-17 if reverseClade then borderStyle = 'border-left:none;border-right:' .. leftBorder .. ';border-bottom:' .. bottomBorder .. ';' 	 	   else borderStyle = 'border-left:' .. leftBorder .. ';border-bottom:' .. bottomBorder .. ';' 	   	end end end if useInlineStyle or branchStyle ~= '' or branchLength ~= "" or labelStyle ~= "" then local branchLengthStyle = "" if branchLength ~= "" then if childNumber == 1 then branchLengthStyle = 'width:' .. branchLength .. ';' -- add width to first element end --if childNumber > 1 then prefix = 'max-' end branchLengthStyle = branchLengthStyle --= prefix .. 'width:' .. branchLength .. ';'   										.. 'max-width:' .. branchLength ..';' .. 'padding:0em;'        -- remove padding to make calculation easier -- following moved to styles.css --				.. 'white-space:nowrap' --				.. 'overflow:hidden;'   -- clip labels longer than the max-width --				.. 'text-overflow:clip;' -- ellipsis;' widthClass = " clade-fixed-width" end styleString = 'style="' .. borderStyle .. branchLengthStyle .. branchStyle .. labelStyle .. '"' end

if childNumber == 1 then classString= 'class="clade-label first'.. widthClass .. '" '                 -- add class "first" for top row else classString = 'class="clade-label' .. reverseClass .. widthClass .. '" ' -- add "reverse" class if ltr cladogram end

-- wikitext for cell with label local labelCellString = '\n|' .. classString .. styleString .. '|' .. p.addLabel(childNumber,nodeLabel) -- p.addLabel(nodeLabel) --cladeString = cladeString .. labelCellString

-	-- (3) add cell with leaf (which may be a table with transluded clade content) if barRight ~= "0"  then if reverseClade then -- we want the bar on the left styleString = ' style="border-left:' .. barRight .. ';border-bottom:' .. barBottom .. ';border-top:' .. barTop .. ';' .. branchStyle .. '"' else styleString = ' style="border-right:' .. barRight .. ';border-bottom:' .. barBottom .. ';border-top:' .. barTop .. ';' .. branchStyle .. '"' end else if (branchStyle ~= '') then styleString = ' style="' .. branchStyle .. '"' else styleString = '' -- use defaults in styles.css end end classString = 'class="clade-leaf' .. reverseClass .. '"'

--note: the \n causes plain leaf elements get wrapped in with style="margin:0.4em 0 0.5em 0;"    	       this adds spacing to rows, but is set by defaults rather than the clade template    	       it also means there are two newlines when it is a clade structure (which might explain some past issues) local content = '\n' .. nodeLeaf -- the newline is not necessary, but keep for backward compatibility

-- test using image parameter local image = pargs['image'..tostring(childNumber)] or ""

if image ~= "" then --content = content .. image -- basic version content = '\n{| class="clade" style="width:auto;"' --defaults to width:100% because of class "clade" .. '\n| class="clade-leaf" ' .. '|\n' .. nodeLeaf .. '\n| class="clade-leaf" ' .. '|\n' .. image .. '\n|}' -- note: the classes interfere with the node counter, so try simpler version with style content = '\n{| style="width:100%;border-spacing:0;" ' --width:auto is "tight"; 100% needed for image alignment .. '\n| style="border:0;padding:0;" ' .. '|\n' .. nodeLeaf .. '\n| style="border:0;padding:0;" ' .. '|\n' .. image .. '\n|}' end

-- wikitext for leaf cell (note: nodeLeaf needs to be on newline if new wikitable) --                        but that is no longer the case (newline is now forced) --                        the newline wraps plain leaf terminals in  with vertical padding (see above)

--local leafCellString = '\n|rowspan=2 ' .. classString .. styleString .. ' |\n' .. content -- the new line causes wrapping for plain leaf terminals local leafCellString = '\n|rowspan=2 ' .. classString .. styleString .. ' |' .. content --cladeString = cladeString .. leafCellString

---   -- (4) stuff for right-hand bracket labels

classString='class="clade-bar' .. reverseClass .. '"' local barLabelCellString = '' if barRight ~= "0"  and barLabel ~= "" then barLabelCellString = '\n|rowspan=2 ' .. classString .. ' |' .. barLabel else -- uncomment following line to see the cell structure --barLabelCellString = '\n|rowspan=2 ' .. classString .. ' |' .. 'BL' end if groupLabel ~= "" then barLabelCellString = barLabelCellString .. '\n|rowspan=2 ' .. classString .. ' style="'.. groupLabelStyle .. '" |' .. groupLabel else -- uncomment following line to see the cell structure --barLabelCellString = barLabelCellString .. '\n|rowspan=2 ' .. classString .. '" |' .. 'GL'   end

--cladeString = cladeString .. barLabelCellString -	-- (5) add second row (only one cell needed for sublabel because of rowspan=2); --    note: earlier versions applied branch style to row rather than cell --          for consistency, it is applied to the sublabel cell as with the label cell --cladeString = cladeString .. '\n|-' ---	-- (6) add cell containing sublabel local subLabel = pargs['sublabel'..tostring(childNumber)] or "" -- request in addLabel -- FOR TESTING: use subLabel for annotating the clade structues to use structure information (DEBUGGIING ONLY) --if childNumber==lastNode then subLabel= infoOutput end -- END TESTING borderStyle = '' styleString = '' if useInlineStyle then if childNumber==lastNode then 		-- if childNumber==lastNode we don't want left border, otherwise we do			borderStyle = 'border-right:none;border-left:none;' else if reverseClade then borderStyle = 'border-left:none;border-right:' .. leftBorder .. ';' 	 	   else borderStyle = 'border-right:none;border-left:' .. leftBorder .. ';' 	    	end end end if borderStyle ~=  or branchStyle ~=  or  branchLength ~= '' or sublabelStyle ~= "" then local branchLengthStyle = "" if branchLength ~= "" then if childNumber == 1 then branchLengthStyle = 'width:' .. branchLength .. ';' -- add width to first element end --if childNumber > 1 then prefix = 'max-' end branchLengthStyle = branchLengthStyle --= prefix .. 'width:' .. branchLength .. ';'   										.. 'max-width:' .. branchLength ..';' .. 'padding:0em;'        -- remove padding to make calculation easier end styleString = 'style="' .. borderStyle .. branchLengthStyle .. branchStyle .. sublabelStyle .. '"' --styleString = ' style="' .. borderStyle .. branchStyle .. sublabelStyle .. '"' end

--local sublabel = p.addLabel(childNumber,subLabel)

if childNumber == lastNode then classString = 'class="clade-slabel last' .. widthClass .. '" ' else classString = 'class="clade-slabel' .. reverseClass .. widthClass .. '" ' end local sublabelCellString = '\n|' .. classString .. styleString .. '|' .. p.addLabel(childNumber,subLabel) --cladeString = cladeString .. sublabelCellString

-- constuct child element wikitext if reverseClade then cladeString = cladeString .. '\n|-' cladeString = cladeString .. barLabelCellString cladeString = cladeString .. leafCellString cladeString = cladeString .. labelCellString cladeString = cladeString .. '\n|-' cladeString = cladeString .. sublabelCellString else cladeString = cladeString .. '\n|-' cladeString = cladeString .. labelCellString cladeString = cladeString .. leafCellString cladeString = cladeString .. barLabelCellString cladeString = cladeString .. '\n|-'    -- add second row (only one cell needed for sublabel because of rowspan=2); cladeString = cladeString .. sublabelCellString end return cladeString end

-- adds text for label or sublabel to a cell function p.addLabel(childNumber,nodeLabel) --local nodeLabel = mw.getCurrentFrame:getParent.args['label'..tostring(childNumber)] or ""

--local firstChars = string.sub(nodeLabel, 1,2) -- get first two characters; will be {{ if no parameter (for Old method?) --if firstChars == "{{{" or nodeLabel == "" then if nodeLabel == "" then --return ' ' --' ' -- remove space to reduce post-expand include size (the width=1.5em handles spacing) --return ' ' -- must return something; this is critical for clade structure return ' ' --     (thin nbsp) else -- spaces can cause wrapping and can break tree structure, hence use span with nowrap class --return ' ' .. nodeLabel .. ' '		-- a better method for template expansion size is to replace spaces with nonbreaking spaces -- however, there is a problem if labels have a styling element (e.g. ") then stylingElementDetected = true end if stylingElementDetected == true then return ' ' .. nodeLabel .. ' '   	else local nowrapString = string.gsub(nodeLabel," ", " ")  -- replace spaces with non-breaking space if not nowrapString:find("UNIQ.-QINU") and not nowrapString:find("%[%[.-%]%]") then                -- unless a strip marker nowrapString = string.gsub(nowrapString,"-", "‑") -- replace hyphen with non-breaking hyphen (‑) end return nowrapString end end end

--=================== Newick string handling function ============================= function p.getNewickOuterterm(newickString) return string.gsub(newickString, "%b", "")  -- delete parenthetic term end

function p.newick(count,newickString) local cladeString = "" count = count+1 --start table --cladeString = cladeString .. '{| style="border-collapse:collapse;border-spacing:0;border:0;margin:0;'	cladeString = cladeString .. '{| class="clade" '	local j,k	j,k = string.find(newickString, '%(.*%)')                -- find location of outer parenthesised term	local innerTerm = string.sub(newickString, j+1, k-1)      -- select content in parenthesis	local outerTerm = string.gsub(newickString, "%b", "")   -- delete parenthetic term	if outerTerm == 'panthera' then outerTerm = "x" end     -- how is this set in local variable for inner nodes?	outerTerm = tostring(count)	-- need to remove commas in bracket terms before split, so temporarily replace commas between brackets    local innerTerm2 =  string.gsub(innerTerm, "%b",  function (n)                                         	return string.gsub(n, ",%s*", "XXX")  -- also strip spaces after commas here                                            end)	--cladeString = cladeString .. '\n' .. p.addTaxon(1, innerTerm2, "")

-- this needs a lastNode variable local s = p.strsplit(innerTerm2, ",") --oldLastNode=lastNode local lastNode=table.getn(s) -- number of child branches local i=1 while s[i] do local restoredString = string.gsub(s[i],"XXX", ",")  -- convert back to commas --restoredString = s[i] local outerTerm = string.gsub(restoredString, "%b", "") if string.find(restoredString, '%(.*%)') then --cladeString = cladeString .. '\n' .. p.addTaxon(i, restoredString, "x") cladeString = cladeString .. '\n' .. p.addTaxon(i, p.newick(count,restoredString), outerTerm, lastNode) -- p.addTaxon(2, p.newick(count,newickString2), "root") else cladeString = cladeString .. '\n' .. p.addTaxon(i, restoredString, "", lastNode) --count)		end		i=i+1	end  -- lastNode=oldLastNode	-- close table	--cladeString = cladeString ..  '\n' .. '| style="border: 0; padding: 0; vertical-align: top;" | \n|}'	--cladeString = cladeString ..  '\n| \n|}' -- is this legacy for extra sublabel?	cladeString = cladeString ..  '\n|}'	return cladeString end -- emulate a standard split string function -- why not use mw.text.split(s, sep)? function p.strsplit(inputstr, sep)         if sep == nil then                sep = "%s"        end        local t={}         local i=1        for str in string.gmatch(inputstr, "([^"..sep.."]+)") do                t[i] = str                i = i + 1        end        return t end

-- =================== experimental Newick to clade parser function =============================

--[[Function of convert Newick strings to clade format

Usage: {{#invoke:Module:Sandbox/Jts1882/CladeN|newickConverter|newickstring={{{NEWICK_STRING}}} }} ]] function p.newickConverter(frame) local newickString = frame.args['newickstring'] or pargs['newick'] --if newickString == '{{{newickstring}}}' then return newickString end

newickString = p.processNewickString(newickString,"") -- "childNumber")	-- show the Newick string	local cladeString = ''	local levelNumber = 1          --  for depth of iteration	local childNumber = 1           --  number of sister elements on node  (always one for root)	--  converted the newick string to the clade structure	cladeString = cladeString .. '{{clade'	cladeString = cladeString .. p.newickParseLevel(newickString, levelNumber, childNumber) 	cladeString = cladeString .. '\r}}'

local resultString = '' local option = pargs['option'] or '' if option == 'tree' then --show the transcluded clade diagram resultString =  cladeString else -- show the Newick string resultString = ' '..newickString..' ' -- show the converted clade structure resultString = resultString .. ' '.. cladeString ..' ' end --resultString = frame:expandTemplate{ title = 'clade', frame:preprocess(cladeString) }

return resultString end

--labelN=labelname     2. the left hand term in parenthesis has common delimited child nodes, each of which can be           i.  a taxon name which just needs:  |N=leafname            ii. a Newick string which needs further processing through reiteration function p.newickParseLevel(newickString,levelNumber,childNumber)

local cladeString = "" local indent = p.getIndent(levelNumber) --levelNumber=levelNumber+1 local j=0 local k=0 j,k = string.find(newickString, '%(.*%)')                -- find location of outer parenthesised term local innerTerm = string.sub(newickString, j+1, k-1)     -- select content in parenthesis local outerTerm = string.gsub(newickString, "%b", "")  -- delete parenthetic term

cladeString = cladeString .. indent .. '|label'..childNumber..'=' .. outerTerm cladeString = cladeString .. indent .. '|' .. childNumber..'=' .. '{{clade'

levelNumber=levelNumber+1 indent = p.getIndent(levelNumber) -- protect commas in inner parentheses from split; temporarily replace commas between parentheses local innerTerm2 = string.gsub(innerTerm, "%b",  function (n)	                                         	return string.gsub(n, ",%s*", "XXX")  -- also strip spaces after commas here	                                            end) local s = p.strsplit(innerTerm2, ",") local i=1 while s[i] do local restoredString = string.gsub(s[i],"XXX", ",")  -- convert back to commas local outerTerm = string.gsub(restoredString, "%b", "") if string.find(restoredString, '%(.*%)') then --cladeString = cladeString .. indent .. '|y' .. i .. '=' .. p.newickParseLevel(restoredString,levelNumber+1,i) cladeString = cladeString .. p.newickParseLevel(restoredString,levelNumber,i) else cladeString = cladeString .. indent .. '|' .. i .. '=' .. restoredString --.. '(level=' .. levelNumber .. ')' end i=i+1 end --   end -- end splitting of strings

cladeString = cladeString .. indent .. '}}'     return cladeString end

function p.getIndent(levelNumber) local indent = "\r" local extraIndent = pargs['indent'] or mw.getCurrentFrame.args['indent'] or 0 while tonumber(extraIndent) > 0 do indent = indent .. " " -- an extra indent to make aligining compound trees easier extraIndent = extraIndent - 1 end while levelNumber > 1 do indent = indent .. "  "		levelNumber = levelNumber-1 end return indent end

function p.newickstuff(newickString)

end function p.processNewickString(newickString,childNumber) local maxPatterns = 5 local i = 0 local pargs = pargs local pattern = pargs['newick'..tostring(childNumber)..'-pattern'] -- unnumbered option for i=1 local replace = pargs['newick'..tostring(childNumber)..'-replace'] while i < maxPatterns do		i=i+1 pattern = pattern or pargs['newick'..tostring(childNumber)..'-pattern'..tostring(i)] replace = replace or pargs['newick'..tostring(childNumber)..'-replace'..tostring(i)] or "" if pattern then newickString = string.gsub (newickString, pattern, replace) end pattern = nil; replace = nil end newickString = string.gsub (newickString, "_", " ") -- replace underscore with space return newickString end --

function p.test2(target) local target ="User:Jts1882/sandbox/templates/Template:Passeroidea" local result = mw.getCurrentFrame:expandTemplate{ title = target, args = {['style'] = '' } } return result end ---

---

--function getCladeTreeInfo	   this preprocessing loop gets information about the whole structure (number of nodes, leaves etc)		it makes a redundant calls to the templates through transclusion, but doen't affect the template depths; 		it provides the global lastNode that is used to limit the main while loop -- function p.getCladeTreeInfo

-- enable proprocessing loop local childNumber = 0 local childCount =0 local maxChildren =20 --info veriables (these are global for now) nodeCount=0 cladeCount=0 leafCount=0 while 	childNumber < maxChildren do -- preprocessing loop childNumber = childNumber + 1 -- so we start with 1 local nodeLeaf,data = pargs[tostring(childNumber)] or "" -- get data from |N= local newickString = pargs['newick'..tostring(childNumber)] or "" -- get data from |labelN= local listString = pargs['list'..tostring(childNumber)] or "" -- get data from |labelN= if newickString ~= "" or nodeLeaf ~= "" or listString ~= "" then --if nodeLeaf ~= "" then childCount = childCount + 1 -- this counts child elements in this clade --|rowspan") do -- count number of rows started (transclusion)  				nodeCount = nodeCount + 1     		end		    for i in string.gmatch(nodeLeaf, '{|class="clade"') do -- count number of tables started (transclusion)   				cladeCount = cladeCount + 1     		end -- count occurences of clade structure using number of classes used and add to counters local _, nClades = string.gsub(nodeLeaf, 'class="clade"', "") local _, nNodes = string.gsub(nodeLeaf, 'class="clade%-leaf"', "") cladeCount = cladeCount + nClades nodeCount = nodeCount + nNodes lastNode = childNumber -- this gets the last node with a valid entry, even when missing numbers end end --]]	   -- nodes can be either terminal leaves or a clade structure (table) --   note: should change class clade-leaf to clade-node to reflect this nodeCount = nodeCount           -- number of nodes (class clade-leaf) passed down by transduction + childCount + 1 -- plus one for current clade and one for each of its child element cladeCount = cladeCount + 1      -- number of clade structure tables passed down by transduction (plus one for current clade) leafCount = nodeCount-cladeCount  -- number of terminal leaves (equals height of cladogram) -- output for testing: number of clades / total nodes / terminal nodes (=leaves) --                    (internal nodes)                   (cladogram height) infoOutput = ' [' .. cladeCount .. '/' .. nodeCount .. '/' .. leafCount .. '] '	return infoOutput end

-- code for placing TemplateStyles from the module    source: Anomie (CC-0)  https://phabricator.wikimedia.org/T200442

function p.templateStyle( frame, src ) return frame:extensionTag( 'templatestyles', '', { src = src } ); end

function p.showClade(frame) --local code = frame.args.code or "" local code = frame:getParent.args['code2'] or "" --return code --return mw.text.unstrip(code) --local test = " Hello " --return string.sub(test,6,-7) local o1 =frame:getParent:getArgument('code2') return o1:expand --return string.sub(code,2,-1)             -- strip marker  \127'"`UNIQ--tagname-8 hex digits-QINU`"'\127 --return frame:preprocess(string.sub(code,3)) end

function p.firstToUpper(str) return (str:gsub("^%l", string.upper)) end -- function to generate cladogram from a wikitext-like list        - uses @ instead of * because we don't want wikitext processed and nowiki elements are passed as stripmarkers (?) function p.list(count,listString) local cladeString = "" --count = count+1 local list = mw.text.split(listString, "\n") local i=1 local child=1 local lastNode=0--table.getn(list) -- number of child branches (potential)

cladeString = cladeString .. '{| class="clade" ' while list[i] do		list[i]=list[i]:gsub("^@", "")               -- strip the first @ if not string.match( list[i], "^@", 1 ) then -- count children at this level (not beginning wiht @) lastNode = lastNode+1 end i=i+1 end i=1 while list[i] do

-- pseudocode: 	        if next value begins with @ we have a subtree, 	        	which must be recombined and past iteratively	         else we have a simple leaf

-- if the next value begins with @, we have a subtree which should be recombined if list[i+1] and string.match( list[i+1], "^@", 1 ) then local label=list[i] i=i+1 local recombined = list[i] while list[i+1] and string.match( list[i+1], "^@", 1 ) do recombined = recombined .. "\n" .. list[i+1] i=i+1 end --cladeString = cladeString .. '\n' .. p.addTaxon(child, recombined, label, lastNode) cladeString = cladeString .. '\n' .. p.addTaxon(child, p.list(count,recombined), label, lastNode) else cladeString = cladeString .. '\n' .. p.addTaxon(child, list[i], "", lastNode) end i=i+1 child=child+1 end

cladeString = cladeString .. '\n|}' mw.addWarning("WARNING. This is a test feature only.") return cladeString end -- =================== experimental Newick to clade parser function =============================

--[[Function of convert Newick strings to clade format

Usage: {{#invoke:Module:Sandbox/Jts1882/CladeN|newickConverter|newickstring={{{NEWICK_STRING}}} }} ]] function p.cladeConverter(frame) end function p.listConverter(frame) local listString = frame.args['list'] or pargs['list']

-- show the list string local cladeString = '' local levelNumber = 1          --  for depth of iteration local childNumber = 1          --  number of sister elements on node  (always one for root) local indent = p.getIndent(levelNumber) -- converted the newick string to the clade structure cladeString = cladeString .. indent .. '{{clade' cladeString = cladeString .. p.listParseLevel(listString, levelNumber, childNumber) --cladeString = cladeString .. '\r}}'

local resultString = '' local option = pargs['option'] or '' if option == 'tree' then --show the transcluded clade diagram resultString =  cladeString else -- show the Newick string resultString = ' '..listString..' ' -- show the converted clade structure resultString = resultString .. ' '.. cladeString ..' ' end --resultString = frame:expandTemplate{ title = 'clade', frame:preprocess(cladeString) }

return resultString end

function p.listParseLevel(listString,levelNumber,childNumber)

local cladeString = "" local indent = p.getIndent(levelNumber) levelNumber=levelNumber+1

local list = mw.text.split(listString, "\n") local i=1 local child=1 local lastNode=0 while list[i] do		list[i]=list[i]:gsub("^@", "")               -- strip the first @ if not string.match( list[i], "^@", 1 ) then -- count children at this level (not beginning wiht @) lastNode = lastNode+1 end i=i+1 end i=1

while list[i] do

-- pseudocode: 	        if next value begins with @ we have a subtree, 	        	which must be recombined and past iteratively	         else we have a simple leaf

-- if the next value begins with @, we have a subtree which should be recombined if list[i+1] and string.match( list[i+1], "^@", 1 ) then local label=list[i] i=i+1 local recombined = list[i] while list[i+1] and string.match( list[i+1], "^@", 1 ) do recombined = recombined .. "\n" .. list[i+1] i=i+1 end cladeString = cladeString .. indent .. '|label' .. child ..'=' .. label cladeString = cladeString .. indent .. '|' .. child ..'=' .. '{{clade' .. p.listParseLevel(recombined,levelNumber,i) else cladeString = cladeString .. indent .. '|' .. child ..'=' .. list[i] end i=i+1 child=child+1 end

cladeString = cladeString .. indent .. '}}' 	return cladeString end

-- this must be at end return p

title: Module:Clade


text:
Template:Clade/styles.css

/* */ table.clade { border-spacing:0; margin:0; font-size:100%; line-height:100%; border-collapse:separate; width:auto; } table.clade table.clade { width:100%; line-height:inherit; }

table.clade td.clade-label { /* the cell with the label */ width:0.7em; /* was only used for first leaf but shouldn't matter for others */ padding:0 0.15em; vertical-align:bottom; text-align:center; border-left:1px solid;  /* don't set default colour, helps with green on black monotype skin  */ border-bottom:1px solid; white-space:nowrap; } table.clade td.clade-fixed-width { overflow:hidden; text-overflow:ellipsis; } table.clade td.clade-fixed-width:hover { overflow:visible; } table.clade td.clade-label.first { border-left:none; border-right:none; } table.clade td.clade-label.reverse { border-left:none; border-right:1px solid; } table.clade td.clade-slabel { /* the cell with the sublabel; only use if there is a label */ padding:0 0.15em; vertical-align:top; text-align:center; border-left: 1px solid; white-space:nowrap; } table.clade td.clade-slabel:hover { overflow:visible; } table.clade td.clade-slabel.last { border-left:none; border-right:none; } table.clade td.clade-slabel.reverse { border-left:none; border-right:1px solid; }

table.clade td.clade-bar { /* the cell with the bar label or group label */ vertical-align:middle; text-align:left; padding:0 0.5em; position:relative; } table.clade td.clade-bar.reverse { text-align:right; position:relative; }

table.clade td.clade-leaf { /* the cell with the leaf content (rowspan=2) */ border:0; padding:0; text-align:left; } table.clade td.clade-leafR { /* the cell with the leaf content (rowspan=2) */ border:0; padding:0; text-align:right; } table.clade td.clade-leaf.reverse { /* the cell with the leaf content (rowspan=2) */ text-align:right; }

table.clade:hover span.linkA { background-color: yellow; } table.clade:hover span.linkB { background-color: green; }

title: Template:Clade/styles.css


text: Template:Barlabel

title: Template:Barlabel


text:
Women's Writing Before Woolf: A Social Reference/Aphra Behn (1640–1689)

= Aphra Behn (1640-1689) =

Summary
Aphra Behn (1640–1689) was a pioneer in women’s literature during the seventeenth century. A Restoration era playwright, poet, novelist, and fiction writer, Behn is notable for becoming the first English woman to earn money through writing (English author). Her works are remarkable for their protofeminist (Gilbert 3-4) portrayals of politics, power, and sex (Todd), considered radical during the seventeenth century. Behn began her career as a playwright after a brief stint as a spy for Charles II (English author). Throughout her career, Behn published a large body of work in a variety of forms (Bowditch and Hobby 268-269). Though her reputation and legacy immediately succeeding her death was troubled, due to the controversial and radical nature of her works, she re-entered prominence in the twentieth century (Todd). Behn's reputation today is based upon her status as a women's writer in a patriarchal world, where it is asserted that her plays would not have been considered controversial were they written by a man. Today, Aphra Behn exists in literary history as a notable and much studied canonical figure of women’s writing.

Life
Behn’s life, particularly her early life, is a topic much speculated upon, with verified information scarce. Some scholars argue that this was perhaps Behn’s intention, to remain obscure or mysterious (English author). Much scholarship theorises an Aphra Johnson, born in 1640 to a barber Bartholomew and his wife Elizabeth (Todd), is most likely a young Behn (Britland 33). Not much is known about Aphra Johnson until she reportedly travelled to Surinam with her family in the early 1660s (Britland 36). Upon her return to England in 1664 (Britland 36), Behn was reported to have married a merchant by the name of Johann Behn (Todd). Though the relationship did not last long, with Johann Behn dying soon after (Writer and Poet). In the late 1660s, Behn was recruited as a spy by “Charles II’s intelligence officers to travel to the Low Countries” (Britland 36). There is little evidence indicating whether her missions were successful, however they are notable for causing financial problems, with Behn returning to London “unrewarded” (English author) and in debt (English author). Behn was threatened with prison, though it is unclear whether she was jailed or not. Information and scholarship about her life at this point and up until her emergence as a literary figure, again scarce.

Soon after her return to England, Behn began her career as a playwright to support herself financially. Scholar Arifa Ghani Rahman posits that Behn was open about her desire to write “for money and fame” (Rahman 2). In the years following the premiere of her first play in 1670, Behn would write and create a large body of work, though her reputation was troubled among the public.

Behn died on the 16th of April 1689 after a period of ill health (Todd). She is buried in Westminster Abbey (Writer and Poet), which had only recently become the resting place of honour for poets, despite her being politically out of favour with the monarchy at the time of her death.

Works
Behn is known for her large body of work spanning a variety of forms from plays to poems, novels, and translations (Bowditch and Hobby 268-269). She created over seventeen known plays including her first, The Forc’d Marriage (1670), which opened to great success (Bowditch and Hobby 265). Her fiction work included The Fair Jilt (1688), and her notable short novel Oroonoko (1688) (English Author). In addition to these, she published Poems upon Several Occasions (1684) and several translations (Bowditch and Hobby 268-269).

Scholarship on Behn’s work consistently makes note of the criticism she faced during her time, due to the controversial themes explored in her writing. Scholar Rahman explains that Behn’s work often examines “the possibilities of female agency in a male dominated world” (Rahman 1) and explores topics such as power, politics and sex (Todd), with an emphasis on the female experience (Rahman 1). Her play The Rover (1677), for example, examines issues such “female agency in heterosexual relationships in relation to money and parental/patriarchal authority.” (Rahman 1). These were bold issues for anyone, no less a woman, to explore in the seventeenth century. The societal expectations of female writers at the time were that their works be of “modest subject matter” (Todd) and written in a feminine manner (Todd). Behn’s work operated in direct opposition to these expectations and garnered her a reputation for being overly explicit, outspoken, and too masculine. According to scholar Janet Todd her plays were “denigrated as unladylike and bawdy” (Todd) and the only work deemed appropriate enough for consideration was Oroonoko (1688). Todd posits that Oroonoko (1688) was the work that re-entered Behn into public consciousness in the late twentieth century, as it became part of the “new literary canon” (Todd). It is noted for its exploration of slavery and imperialism, as well as its influence in developing the novel as a form (English author). With Oroonoko (1688) bringing attention to Behn and her wider work, she began to be studied by modern critics and academics as an early writer of protofeminist literature (Todd).

Behn wrote up until her death, with her final plays being The Widdow Ranter (1690) and The Younger Brother (1696), both performed posthumously (Bowditch and Hobby 265).

Legacy
Though early critics may have excluded her from literary history due to her controversial and radical writings (Todd), Aphra Behn is today regarded in much modern scholarship as a pioneer for women’s writing and a major literary figure. As a Restoration era writer, she is credited as hugely influential; a competent poet, a “major force in the development of the early British novel” (Todd), an authoritative voice in Restoration theatre and an early demonstration of the influential power of the arts (Todd).

In feminist and women’s literature scholarship, Behn is regarded by many as an important canonical figure. Scholar Nora Gilbert posits that though Behn did not explicitly state her “interest in the rights of woman” (Gilbert 3), her exploration of radical topics regarding the female experience, especially during a time in which this was frowned upon, establishes her as an important early protofeminist writer (Gilbert 3-4). Her ability to overcome the social barriers presented to her as a woman in a male dominated industry, and her significant achievements such as becoming one of the first women to be paid for her writing, further solidifies her position as “a pioneer in the fight for women’s emancipation” (Rahman 2).

In her famous essay, A Room of Ones Own, Virginia Woolf mentions Aphra Ben declaring that 'All women together ought to let flowers fall upon the tomb of Aphra Behn, for it was she who earned them the right to speak their minds.' Here Woolf does not make reference to her specific works, but is commenting on the fact that Behn wrote as a paid professional (Williams and O'Conner).

Though her reputation during her own time was negative, with Janet Todd positing Behn was “either ignored or vilified” (Todd), her reputation today is that of an influential Restoration writer and a ground-breaker for women’s literature.


text:
User:BrittanyTH/sandbox

=Discussion Board Discoveries= This discussion board used the context of the below cited book to spark conversation on the issues.

Component 1: Overview of the Sonoran Desert
The readings imply that we as humans tend to not connect to nature or even realize that there is more to nature than what most realize and that our ignorance to it has effected and harmed nature. Even they mentioned in their first books they also misjudged nature and did not find it to be as wonderful as they do now, but now they realize that humans blind relationship with nature is killing it.

Component 2: Developing a Sense of Place
Many people would say that hunting for sport should be banned. I also don't understand the purpose of trophy hunting, I personally find it unethical and cruel. But I do know that in some parts of the world, regulated trophy hunting is actually an attempt at protecting the wild animals that are being hunted. Which sounds very counter intuitive, but people who go trophy hunting in Africa pay large sums of money to the conservation group who then allows them to hunt but with some restrictions. The money they pay go towards efforts to safeguard the animals from poaching, and also provides the resources needed to care for animals and make sure they don't go extinct. It sounds horrible, but with all the money that is made from trophy hunting, the conservationists are able to maintain the balance of nature.

Component 3: Geology/Geography
The book mentions the Sonoran desert may have evolved throughout time with transition periods from Tropical deciduous forest (Grandmother) to thorn bush (Mother) then into the Sonoran desert we know today. Then it mentions climate change which makes me think that this transition may be due to change in climate over the years (Global warming), along with the extinction of certain animals. Which this would make sense, but also be concerning because if this pattern continues the land here would be just as desolate as people think it already is.

Component 4: Water (Gregory McNamee and the Gila River)
This type of writing style is helpful in creating awareness on these topics where many people may not be informed or educated on. Writing more of a narrative of the history of nature and current events makes it easier for most to understand what exactly is going on rather than pushing facts and data on people. Although being too poetic is also a deterrent for those searching to understand the environment because poetry can be too creative and wont depict a consistent message to everyone and come off as subjective rather than objective.

Component 5: Water Continued
McNamee mentions the dams as one of the things that need to be removed slowly, my guess is that that is one of the things people have done to nature that is for selfish reasons and not an intention to preserve. I don't know much of any destruction upon the the Sonoran, maybe when people build communities here there is some removal of nature. But there are plenty of examples in the world where we alter nature but not to benefit the environment, like the removal of pests or any animal completely. Or when dams are built to supply water and energy for us but it drains water away from another place.

Component 6: Sevigny and the Rights of Rivers
Sustainability which would mean we are trying to preserve what we have and continue to use our resources without losing them further. I think we could potentially raise our goals to try and reverse some of the damage we have done on the environment but that it kind of sounds like we are at a stalemate in this sense since we cant just tear down everything, the whole population wouldn't go for that, but we could at least incorporate more environmentally friendly aspects into our infrastructure.

Component 7: Human ecology of the Sonoran Desert
This issue is probably one of the harder issues to solve about earth conservation, once you tear apart the ground you disrupt nature, and the supplies we harvest cant be returned, but in addition to this mining also uses an incredible amount of water. This adds to the ongoing desertification of the Sonoran desert.

Component 8: Conservation Practices
I think restoring the desert here is way more complicated than just "replacing it" with so many people traveling in and out of areas and taking with them varying plants and animals, you would have to flat out ban such transportation. We do regulate what we can take across states, but I think they are usually only worried about invasive species. This desert seems to be full of life and sustains many different plants and animals, and That in my eyes doesn't describe a desert. Again, like we've said in previous discussions, I think people perception of desert is bare land and little life. but this bioregion is not lacking life.

Component 9: Salton Sea
I think at some point the farms getting more access to the water and dumping into it is what started the snowballing issue here. And one of the problems with it drying up is the toxicity the salty dirt leaves behind. Fixing this would cost a lot of money that government in California doesn’t want to pay, and especially with a pandemic they aren’t going to focus on this and focus their money elsewhere like they have been doing anyways. The pandemic just makes it worse. Along with more and more people abandoning the place it is essentially becoming desolate and toxic. This is a prime example of human arrogance, or maybe just ignorance at first and then arrogance amongst the local government not wanting to spend the money to recover it even though it poses a huge health risk to locals. Though the difference between this and the pandemic is that there is much more media attention on the pandemic than this. I have never heard of this issue and i even used to live in the Bay Area in California.

Component 10: History/Culture
She talks extensively about Yuccas, which just are the genus term for all the different shrubs and such of the desert, and how they "need space" which I thought was kind of a cute way of thinking about it, one interpretation of that could just simply be another way to think about a desert, not in a way where you think that plants are so spread out because of lack of water or inability to thrive, but rather just that they need space. The other way of interpreting that could also be just the opposite meaning there is so little water that they need such a larger area of soil to extract that little sum of water which explains why they are so spread out. Literature like this is slightly up to interpretation when its written like this I feel. She also mentions humming birds, and lizards, various other types of birds species which our book also mentions that there are a ton of different species of birds and fish apparently.

title: User:BrittanyTH/sandbox


text:
Women's Writing Before Woolf: A Social Reference/Mary Prince (1788–1833)

= Mary Prince (1788-1833) =

Biography:
Born in Bermuda circa 1 October 1788, Mary Prince was a black women who spent a large portion of her life in slavery (Museum of the African Diaspora). She was born into enslavement and when the house-servant of her mother died, Prince, her mother and her siblings were sold separately as slaves (Prince, 4). Prince was just 12 at the time and was first sold to Captain John Ingham, the first of four enslavers that she was to answer to in her life (Prince 5). She was then sold in 1806 to her next enslaver, Mr D. in the Grand Turk where she worked in the salt ponds (Prince 10). She eventually retuned to Bermuda in 1810 and then was sold again in 1815 to John Adam Wood under whom she worked as a household slave (Prince 10). During this time, she also met her husband, Daniel James, at the Moravian Church, who was a free man (Prince 17).

Prince was treated very poorly and experienced emotional and physical abuse, including beatings, throughout her time as a slave. In her account, The History of Mary Prince she states that “There was scarcely any punishment more dreadful than the blows I received on my face and head from her hard heavy fist” (Prince 6). She also witnessed the confronting and graphic abuse of others. She states that “My master flew into a terrible passion, and ordered the poor creature (Hetty) to be stripped quite naked, notwithstanding her pregnancy, and to be tied to a tree in the yard” (Prince 7).

In 1828, Prince travelled to England with her fourth enslaver, Wood, upon her request (Prince 18). As it was illegal to transport slaves out of England, after expressing her desires to be free Mary was given a letter to leave but it suggested that she should not be hired for work (Prince 20). Wood refused to emancipate her which meant that she could not return to Antigua to her husband without being enslaved there (Prince 20). She began to work for Thomas Pringle, the secretary to the Anti-slave society (Prince 22). He attempted to assist her to be free of Wood so she could return back home to Antigua (Prince 22). In December of 1829 Pringle encouraged Prince to have her life narrative transcribed which she was happy to do (Sharpe 129). Susanna Strickland, a friend of Pringle, then transcribed her story and a book was published in 1832, The History of Mary Prince (Sharpe 129). It is unclear whether she ever went made it back to Antigua and her family (Sharpe 129).

Works:
Prince’s only book The History of Mary Prince gives a raw and honest account of her experiences as a black female slave during this time. Pringle suggested and enabled her to have her work published, which is important to note when thinking about her text (Sharpe 128). Abolitionists like Pringle hope to address the issue of freedom of slaves in England despite the continued ownership by masters in the West Indies (Sharpe 128). Prince’s work is an autobiographical account that tales her life as a slave up until she is living in the Pringle household. It includes Christian themes and viewings on life as well as a clear representation of the need for freedom and justice. Prince’s inequality as a black women is clearly evidenced through her honest recount of her life. Some concepts are also omitted from the tale, whether through Prince’s wishes or the process of transcribing and publishing her story, including the nature of sexual misconduct by Mr D. (Sharpe 134).

Her work also demonstrates her speaking out against her enslavers. After running away to her Mother, she states to Captain I that she “could not stand the floggings no longer; that I was weary of my life” and it is noted that he did not flog her that day (Prince 9). This is an important example of these oppressed slave women speaking out against their masters. Prince’s work is the first autobiographical account of a black slave women, and is an essential text in demonstrating the nature of slavery and the possibility of freedom.

Reputation/ Legacy:
Upon publication of Prince’s autobiography, the work was immediately publicly recognised and met with both support from anti-slavers but also a significant amount of criticism. Three editions of the text were printed within the first year of publication. James MacQueen presents a particularly long and harsh critiquing response to the book. MacQueen wrote his piece as a letter to Earl Grey, First Lord of the Treasury, and expresses his disagreement with the ways in which Prince left her enslaver in England and criticises her character as a person (Centre for the Study of Women in Society). He writes that “It is clear that her master and mistress have been most previously imposed upon, and most cruelly deceived by this women” (Centre for the Study of Women in Society). In his letter he raises the further point of his issue with the emancipation of slaves in British colonies (Centre for the Study of Women in Society). Thomas Cadell, the editor, was as such sued by Pringle for publishing these articles against Prince (Thomas 114). Wood, one of her enslavers, also sued Pringle for libel on the grounds that he was misrepresented in Prince’s work (Thomas 114). He won this court case but was only given 35 pounds in damages (Thomas 114).

The legacy of Prince’s work is continuing and is presented through a variety of contemporary viewpoints. Modern scholars have critiqued the authenticity and veracity of the text as it was transcribed by a white women and influenced by Pringle who was a white male. It is argued that this influence may have tainted the lens through which Prince’s story was told. Banner (298) argues that Prince’s life in the story is ‘framed’ through the influence of Pringle and suggests that racial inequality caused a suppression of the actual voice of Prince. Rauwerda (399-400) further asserts that the various modern editions and reprinting with accompanying introductions, appendixes, edits and footnotes further remove Prince’s voice from the narrative and make it much more of a reflection of the editors. She suggests that the text is very much constructed by the views of others including Pringle (Rauwerda 400). Martin (310) argues contrastingly that despite these critical perspectives, it should be acknowledged that Prince was able to fight against her enslavers and gradually make her way to external and internal freedom. This is an essential ideology especially for such early writing. He raises the idea that Prince, in remembrance of her conversation with Mrs Wood, expresses her gradual understanding of her need for inner freedom despite the reality of her circumstances (Martin 314). These perspectives illustrate the idea that Prince’s text, despite it being possibly flawed, is still continually studied and referred to as an important reference for black female slave history.

Further reading:
Museum of the African Diaspora. “Mary Prince.” Museum of the African Diaspora Smithsonian Affiliate, accessed April 25 2021, https://www.moadsf.org/slavery-narratives/2855-2/.

Sharpe, Jenny. Ghosts of Slavery: A Literary Archaeology of Black Women’s Lives. University of Minnesota Press, Minneapolis, 2003. ProQuest Ebook Central, https://ebookcentral-proquest-com.ezproxy.newcastle.edu.au/lib/newcastle/reader.action?docID=310607.

Works Cited:
Banner, Rachel. "Surface and Stasis: Re-reading Slave Narrative via The History of Mary Prince." Callaloo, vol. 36, no. 2, 2013, pp. 298-311. Project MUSE, doi:10.1353/cal.2013.0112.

Centre for the Study of Women in Society. “Women and Slavery in the British Caribbean: The History of Mary Prince (1831).” Feminist Humanities Project, Centre for the Study of Women in Society University of Oregon, ttp://server.fhp.uoregon.edu/dtu/sites/prince/texts/empire.html. Accessed April 25 2021.

Martin, Dyanne. "Island Squalls of Indignation: The Rhetoric of Freedom in the History of Mary Prince." CEA Critic, vol. 79, no. 3, 2017, pp. 309-315. ProQuest Ebook Central, doi:10.1353/cea.2017.0029.

Museum of the African Diaspora. “Mary Prince.” Museum of the African Diaspora Smithsonian Affiliate, accessed April 25 2021, https://www.moadsf.org/slavery-narratives/2855-2/.

Prince, Mary. The History of Mary Prince, A West Indian Slave. Edited by Shell, Suzanne Shell, Sanker Viswanathan and the Online Distributed Proofreading Team, F. Westley and A.H.Davis and Waugh & Innes, Edinburgh, 1831. Project Gutenberg, https://gutenberg.org/files/17851/17851-h/17851-h.htm.

Rauwerda, A. M. "Naming, Agency, and “a Tissue of Falsehoods” in the History of Mary Prince." Victorian Literature and Culture, vol. 29, no. 2, 2001, pp. 397-411. JSTOR, doi:10.1017/S106015030100208X.

Sharpe, Jenny. Ghosts of Slavery: A Literary Archaeology of Black Women’s Lives. University of Minnesota Press, Minneapolis, 2003. ProQuest Ebook Central, https://ebookcentral-proquest-com.ezproxy.newcastle.edu.au/lib/newcastle/reader.action?docID=310607.

Thomas, Sue. "Pringle v. Cadell and Wood v. Pringle: The Libel Cases Over the History of Mary Prince." Journal of Commonwealth Literature, vol. 40, no. 1, 2005, pp. 113-135. Sage Journals, doi:10.1177/0021989405050668. ==


text:
Women's Writing Before Woolf: A Social Reference/Eliza Haywood (c. 1693–1756)

= Eliza Haywood (c. 1693- 1756) = Eliza Haywood was a transgressive writer of the 18th century in England, who, whilst having little conclusive documentation regarding her life, contributed richly to the fabric of women's writing during the time, as her works often being described as amorous and satirical, which was largely uncommon accolades for women writers of her time. During her lifetime, Haywood wrote many novels, periodicals and non-fiction works, as well as being involved in the writings and productions of plays. Haywood is a significant figure in the history of women’s writing before the 1900s, due to her works in various genres subverting contemporary gender conventions. Haywood is also an interesting female writer to discuss in relation to women writers as so much is unknown about this women, in both her personal and private life, which in turn opens up many interesting conversations around the importance of placing these women in women's writing history and whether or not it matters knowing so little about someone of notoriety and contributing to the rise of the novel in England.

Biography
Eliza Haywood’s personal life and marriage is somewhat unknown to modern day scholars, due to a combination of a lack of surviving or known documentation and contesting accounts of her life. The following is Haywood’s own writing in 1729 to an unidentified patron in (as accounted for in Blouch’s Eliza Haywood and the Romance of Obscurity :"My maiden name is Fowler, and [I] am nearly related to Sir Richard of the Grange; an unfortunate marriage has reduc’d me to the melancholly necessity of depending on my Pen for the support of myself and two children, the eldest of whom no more than 7 years of age."

Early Life
Haywood was most likely born in 1693 in Shropshire or London, England- a contested date and place due to lack of records. Haywood’s parentage and education are also speculated. It is known that her maiden name was Fowler. Blouch (1991) gives a detailed account of the perspectives of scholars such as Whicher, Baker, Priestley, Spender in relation to the parentage of Haywood on pages 536 to 538 in Eliza Haywood and the Romance of Obscurity. It is evident that Haywood was educated in literature and not just in the domestic sphere, as was common for women in the 17th and 18th century. As Haywood herself wrote in an edition of her periodical The Female Spectator, she had “an education more liberal than is ordinarily allowed to a persons of my sex” (Haywood, The Female Spectator- a periodical between 1744 and 1746).

Marriage
Although Haywood wrote extensively about her marriage throughout her work, little is known about who she was married to. From Haywood’s own account, stated above, it is evident that she was once married and had two children.

Due to Haywood’s own accounts of her marriage being ambiguous and her husband remaining unidentified, some scholars have speculated that she was widowed, whereas others have conjectured that her husband may have left her. For example, Whicher (1915) conclusively states that Haywood was married to Valentine Haywood which has since been disproved.

Haywood had two children which in her time where rumoured to be illegitimate, which modern day scholars also believe. In Alexander Pope’s second book of Dunciad,

line 157 and 158, 1728, he used rhetoric and wrote “... Eliza placed/ Two babes of love”, a metaphor for illegitimate children. As Backscheider writes “Haywood's first child appears to have been fathered by Richard Savage and her second by William Hatchett”.

Career
During Haywood’s lifetime she was an avid actress and playwright, as well as author and publisher of books and periodicals, highlighting her clear and respected career in many areas in women's writing and literature.

Haywood is first known to enter the theatrical sphere in 1715 in Dublin, Ireland, performing in Thomas Shadwell's Shakespeare adaptation, Timon of Athens. She was regularly known to perform in plays at Lincoln's Inn Fields. Haywood then continued to appear in plays and wrote her first play Fair Captive in 1721. Haywood continued her playwright career sporadically until her death.

Haywood’s literary career supposedly began in 1719 with her first known publication Love in Excess. This book was of amatory fiction and her subsequent novels, such as Idalia (1723) and Fantomina (1724), solidified her reputation as a prolific and licentious writer. These works of Haywood’s explored women’s sexuality and intelligence and subverted contemporary gender conventions.

From 1720 to 1724 Haywood was involved in the ‘Hillarian’ coterie, having a complex relationship with its members Aaron Hill and Martha Fowke. This group focused on the language of passions in their prose and fiction.

Haywood also wrote seven (known) periodicals in her lifetime from 1744 with The Female Spectator in 1744 to The Husband in 1756. Her periodicals featured essays, social and political commentary, and The Wife (1755), The Young Lady (1756) and The Husband (1756) can be seen as conduct books.

During the peak of her career, Haywood was also a publisher at a time when females in the publishing industry was unheard of. Perhaps due to this, little is known today about her publishing career.

Death
Haywood wrote until her death on the February 25th, 1756 and was buried on the March 3rd 1756 in St Margaret’s parish churchyard. Although the reason is unknown, Haywood's burial was delayed for more than a week and her inheritance tax was never paid.

Works
Eliza Haywood is attributed as “the author of more than seventy pieces in six genres over four decades”, however the full extent of her publications is unknown, again due to a lack of records as well as Haywood using pseudonyms for some of her works. In 2004, Patrick Spedding, on page four of his biography of Eliza Haywood, composed a list of 72 works that were “certainly by Haywood” (17); however, this list has been contested by Orr in 2011 where she states that 29 works on this list are “based on less than satisfactory evidence”. Haywood herself stated in 1729, she “[I depend] on my Pen for the support of myself and two children”.

After Haywood became famous for her debut novel, Love in Excess, which was published in 1719, soon becoming a bestseller, she then published many short novels throughout the next decade. These novels were different than typical novels today, where it was a romantic story short enough to be read all at once.

Below are some of Haywood’s more popular and universally attributed works.

Fiction

 * Love in Excess (1719)
 * Idalia (1723)
 * Fantomina (1724)
 * The Mercenary Lover (1726)

Plays

 * Fair Captive (1721)
 * A Wife to Be Lett (1724)
 * Frederick, Duke of Brunswick-Lunenburgh (1729)

Periodicals

 * The Female Spectator, twenty-four volumes (1744- 1746)
 * The Wife (1755)
 * The Husband (1756)
 * The Young Lady (1756)

Reputation and Legacy
During her lifetime, Haywood’s works were quite popular in reception. The intent and subject of her early works aroused the passions and intrigue of her readers due to their amorous nature ; however, many people criticized and ridiculed Haywood for her works because of this. This is evident in Pope and Savage’s depictions of her. It is thought that Haywood’s reputation as a licentious writer somewhat recovered just before her death with her more “moralistic” work, such as The Female Spectator (1744- 46) and The Invisible Spy (1754). Haywood herself encouraged this narrative in 1744 in the first volume of The Female Spectator saying:"I never was a beauty, and am now very far from being young; . . . I shall also acknowledge, that I have run through as many scenes of vanity and folly as the greatest coquet of them all.—Dress, equipage, and flattery, were the idols of my heart. . . . My life, for some years, was a continued round of what I then called pleasure, and my whole time engrossed by a hurry of promiscuous diversions. But whatever inconveniencies such a manner of conduct has brought upon myself, I have this consolation, to think that the public may reap some benefit from it."Haywood became more popular among modern-day scholars from the 1980s. Many scholars have taken on the debate of Haywood’s biography and thoroughly researched her works and their reception. The rise in Haywood’s rediscovered popularity nowadays is evident in the many editions of her works in recent years and the accessibility of them. Additionally, in 2017 the Chawton House, Hampshire England, had a two-month long exhibition on Eliza Haywood.

During her own period, Haywood was not typically successful in context, as she was not able to produce her texts at a large scale, likely due to her class, status and position as a woman in the literature world. Despite this, she is well-regarded by scholars today.

While many scholars debate the facts behind Eliza Haywood’s life and works, she is an important part of women literacy history. There is no consensus on Haywood’s legacy, yet it is evident that she made an impact on her society in the 17th and 18th century through her amorous fictions, political statements and satire and is a significant women writer of her time.

Referencing
Backscheider, Paula R. “Introduction.” Selected Fictions and Drama of Eliza Haywood, 1999, pp. xiii- xliv. https://genotypeinczgrxr.onion.ly/LG/0398/50cd4bd75651162f2a0cecfdb7cadc6b

Blouch, Christine. “Eliza Haywood and the Romance of Obscurity.” Studies in English Literature, 1500-1900, vol. 31, no. 3, 1991, pp. 535–552. JSTOR, www.jstor.org/stable/450861. Accessed 28 Apr. 2021.

Orr, Leah. "The Basis for Attribution in the Canon of Eliza Haywood." Library, vol. 12, no. 4, 2011, pp. 335-375.

Powell, Manushag N. "Eliza Haywood, Periodicalist(?)." Journal for Early Modern Cultural Studies, vol. 14, no. 4, 2014, pp. 163-186.

Wilputte, Earla A., 1959, and Palgrave Connect Literature Collection 2014. Passion and Language in Eighteenth-Century Literature: The Aesthetic Sublime in the Work of Eliza Haywood, Aaron Hill, and Martha Fowke. Palgrave Macmillan, New York, NY, 2014, doi:10.1057/9781137442055.

For academic research about Eliza Haywood and her works:

 * Bowers, Toni. Politics of Motherhood: British Writing and Culture, 1680-1720. Cambridge: Cambridge UP, 1996, pp. 124-47.
 * Blouch, Christine. “Eliza Haywood and the Romance of Obscurity.” Studies in English Literature, 1500-1900, vol. 31, no. 3, 1991, pp. 535–552. JSTOR, www.jstor.org/stable/450861.
 * Orr, Leah. "The Basis for Attribution in the Canon of Eliza Haywood." Library, vol. 12, no. 4, 2011, pp. 335-375.
 * Powell, Manushag N. "Eliza Haywood, Periodicalist(?)." Journal for Early Modern Cultural Studies, vol. 14, no. 4, 2014, pp. 163-186.
 * Wilputte, Earla A., 1959, and Palgrave Connect Literature Collection 2014. Passion and Language in Eighteenth-Century Literature: The Aesthetic Sublime in the Work of Eliza Haywood, Aaron Hill, and Martha Fowke. Palgrave Macmillan, New York, NY, 2014, doi:10.1057/9781137442055.

For some of Eliza Haywood’s works:

 * Selected Fiction and Drama of Eliza Haywood, edited by Paula R. Backscheider (1999) provides a “representative selection of most of the forms she used and from every decade of her career” (Backscheider, 1999, xxxvi) and an in depth introduction on the life of Eliza Haywood. https://genotypeinczgrxr.onion.ly/LG/0398/50cd4bd75651162f2a0cecfdb7cadc6b
 * Women Writers Online has a collection of Eliza Haywood’s works available. https://www.wwp.northeastern.edu/wwo/texts/textlist.author.html You need a subscription to view them ($50 a year for an individual; you can get a month’s free trial)
 * A link to where you can buy many of Eliza Haywood’s works https://www.amazon.ca/s?i=stripbooks&rh=p_27%3AEliza+Haywood&s=relevancerank&text=Eliza+Haywood&ref=dp_byline_sr_book_1

For some interesting internet articles on Eliza Haywood:

 * A comprehensive biography and study on the life and works of Eliza Haywood, based off the 2017 exhibition "Naming, Shaming, Reclaiming: The “Incomparable” Eliza Haywood" at the Chawton House http://jasna.org/publications-2/persuasions-online/vol38no1/dow-simpson-seth-intro/exhibit-1-article/
 * https://www.notablebiographies.com/supp/Supplement-Fl-Ka/Haywood-Eliza.html
 * https://www.britannica.com/biography/Eliza-Haywood
 * https://chawtonhouse.org/2017/03/woman-writer-month-eliza-haywood/


text:
Applied Programming/Modules and Classes

Modular Programming
Modular programming is an approach to programming that breaks down and compartmentalizes portions of code into independent, specialized functions. Ideally, these functions should be reusable and each function should only perform one specific, focused task. You can think of these essentially as "mini programs" within a given sample of code. Modularity also makes it easier to perform maintenance, as everything is self-contained. You can often update, modify, or outright replace functions without the need to adjust much of the remaining body of code. Modularity helps add structure to the project and often tends to make the code more readable.

Object-Oriented Programming (OOP)
In a similar way that Modular Programming aims to separate and organize segments of a program, the object-oriented approach to programming groups and quantifies similar variables together into classes and objects. A class can be thought of as the type of variable you are working with. Strings, Integers, and Booleans are examples of classes intrinsic to many programming languages. You can also add customized classes to programs, so long as you follow the languages syntax; such as Employees or Foods. A single Employee or Food would be an object in this analogy. Objects are merely individual instances of a class.

When you create an object you also provide attributes for that object. For example, if you were to create an object for employee you would probably include the individual's name, payrate, some contact information, and title or rank within the company. These traits can be specific to the object (instance variables) or the entire class (class variables) and a combination of both (member variables). John, Mary, and Mike are all employees. John is the is Manager, while Mike and Mary would be Shift Leads.

Objects are accessed somewhat like variables with complex internal structure, and in many languages are effectively pointers, serving as actual references to a single instance of said object in memory within a heap or stack. They provide a layer of abstraction which can be used to separate internal from external code. External code can use an object by calling a specific instance method with a certain set of input parameters, read an instance variable, or write to an instance variable. Objects are created by calling a special type of method in the class known as a constructor. A program may create many instances of the same class as it runs, which operate independently. This is an easy way for the same procedures to be used on different sets of data.

It's important to understand that objects aren't merely a complex list or dictionary. They are codified and provide specific functionality much like modules. When an object contains a function, or can execute an action, it is referred to as a method.

Keywords

 * Class- A blueprint for constructing an object—a set of variables and methods that defines an entity.
 * Class Diagram- A graphical representation of the structure of an object-oriented system that displays their attributes and relationships
 * Class Methods- belong to the class as a whole and have access only to class variables and inputs from the procedure call.
 * Class Variable- A variable that belongs to an entire class; there is only one such variable shared between all objects.
 * Encapsulation- The act of hiding implementation details, either to protect internal data or for the purpose of abstraction.
 * instance Methods- belong to individual objects, and have access to instance variables for the specific object they are called on, inputs, and class variables.
 * Instance Variable- A variable that is unique and belongs to each instance of a class.
 * Library- When a program invokes a library, it gains the behavior implemented inside that library without having to implement that behavior itself. Libraries encourage the sharing of code in a modular fashion, and ease the distribution of the code.
 * Me, Self, This- A keyword that refers to the current object of focus.
 * Member Variable- A variable that is either a class or instance variable.
 * Method- A function that is defined inside a class.
 * Object- A particular instance of a class.
 * Object composition- describes objects that can contain other objects in their instance variables.
 * Property- An intermediary between a variable and a method, providing the functionality of both.
 * Variables- Store information formatted in a small number of built-in data types like integers and alphanumeric characters

title: Applied Programming/Modules and Classes


text:
Women's Writing Before Woolf: A Social Reference/Women’s Early Modern Letters Online

Women’s Early Modern Letters Online, also known by its acronym WEMLO, is a project created to provide a meeting place for researchers of early modern women letter writers. It was launched on 6 July 2016 within Oxford’s Early Modern Letters Online union catalogue. It is known as a "resource and discussion forum for all the early modern women’s correspondence held within the EMLO catalogue." The project was initially created with British Academy/Leverhulme funding and is supported by the Cultures of Knowledge project.

After a series of WEMLO workshops held in 2013 and 2014, they created two principal aims for the project. Firstly, they needed to create a scholarly meeting space that would cater specifically to the needs of researchers of early modern women. Secondly, while researchers wanted the letter written by women to be more discoverable amongst historical records, they did not want them to be confined to a female-only digital space. Scholars instead wanted to be able to search for letters alongside their male counterparts.

People
The current co-directors for the project are Kim McLean-Fiander, a professor at the University of Victoria in Canada and James Daybell, a professor, and Associate Dean at the University of Plymouth in England. The idea behind the project was inspired by a collaboration between both co-directors, however, the majority of the metadata on woman's correspondence was collated independently by James Daybell, from the research he conducted on early modern women’s writing all around the world, which was then curated to create WEMLO catalogue and archives. WEMLO continues to collaborate with experts in particular correspondences to enhance and expand the project's archive.

The launch of the project was also accredited to Professor Howard Hotson (Project Director at Cultures of Knowledge), Miranda Lewis (Digital Editor of EMLO), Arno Bosse (Digital Project Manager at Cultures of Knowledge), Mat Milcoxson (EMLO Developer) and Dobrochna Futro (Projects Administrator at Cultures of Knowledge).

James Daybell
James Daybell is an Oxford-educated and award winning historian. His career as a leading historian of early modern British history was established after the publication of his book Women Letter-Writers in Tudor England. He currently has fourteen published books with two more currently in the works, and over 50 essays and written aritcles focused on his area of study in early modern British history, women and gender, and renaissance literature. Daybell worked to create WEMLO in order to not simply just create an online replacement for a printing finding aid or to create an archive of correspondence, but "rather it aims to build and improve upon older archival infrastuctures in order to provide greater access to primary source materials and to offer analytical tools that will allow its community of users to identify patterns in."

He is also co-writes and co-presents the Histories of the Unexpected weekly podcast alongside the television historian and writer Dr. Sam Willis.

Works
The project is held within the EMLO catalogue, but the Women’s Early Modern Letters Online sections of the website contain women’s correspondences from the 1400-1700s. Each author has their own individual page containing details on the author's name, along with any titles or roles they may have held, their date of birth, and date of death (if known). It also contains catalogue statistics including how many letters were written by this author, letters received and any letters they may be mentioned in. Each statistic category contains links to individual pages for each letter. Each individual page for the letters contains information on the dates, the author of the letter and its recipient. It also contains its place of origin, the language the content is in and where the original copies (or digital versions) of the letter are held.

The metadata consists of approximately 2,300 early modern women’s letters and is sorted into two collection types within EMLO. The first type is a general women’s correspondence collection, which includes an array of female letter writers from whom less than twenty letters are known to currently exist. The second type is a rapidly growing collection of individual women’s correspondences from figures for whom more than twenty letters are known to currently exist.

Reputation/Legacy
WELMO was well received amongst scholars and researchers, and they continue to improve upon the resources provided with new material from collaborators. However, some criticized that the “Themes” category could be improved as it categorised the letters under titles of things that were not so easily accessible by early modern women. It was suggested they should instead broaden some of these “Themes” to allow users to easily find the letters and emphasise the interests of the writers.

WEMLO has a Facebook group where they advertise upcoming lectures and workshops held by their collaborators. They also showcase works and related content such as books and essays related to the topic of women’s early modern writing.