text:
Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. Bc4/3...Nf6/4. Ng5/4...Bc5/5. Nxf7/5...Bxf2/6. Kf1/6...Qe7/7. Nxh8/7...d5/8. exd5

8. exd5
This is the best way for White to maintain a slight advantage. However, they must play the precise, correct moves in order to deter Black's many threats. This is because despite White's huge material advantage, they have barely any pieces developed while Black has space for both of their bishops, knights, and queen.

The first of Black's threats comes after 8...Nd4, giving the White queen no safe squares to move to.


text:
Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. Bc4/3...Nf6/4. Ng5/4...Bc5/5. Nxf7/5...Bxf2/6. Kf1/6...Qe7/7. Nxh8/7...d5/8. exd5/8...Nd4

8... Nd4
If it were Black's turn right now, they would love to play Bg4 to effectively trap White's queen.

There are two common mistakes when dealing with this threat. One is 9. Kxf2, but Black still has 9...Bg4!. If 10. Qe1, Black has 10...Nxc2 forking the rook and queen. If 10. Qf1, Black has the devastating Ne4+; Kg1 is White's best response and Ne2+ loses the queen. 10. Qg1 is somehow worse, giving Black checkmate in 4 moves.

The other mistake is 9. c3, still allowing 9...Bg4! because after 10. Qa4+ Nd7 11. cxd4 Bxd4, White faces the unavoidable Qf6+, with too many threats to deal with. 11. Kxf2 similarly deals with the same issue of Qh4+. In fact, White's only advantageous move is the clever 9. d6, deflecting the Black queen away from the knight.

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


text:
Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. Bc4/3...Nf6/4. Ng5/4...Bc5/5. Nxf7/5...Bxf2/6. Kf1/6...Qe7/7. Nxh8/7...d5/8. exd5/8...Nd4/9. d6

9. d6
Taking with 9...cxd6 blocks Black's queen in and White can safely play 10. Kxf2. Thus 9...Qxd6 is the stronger move.


text:
Chess Opening Theory/1. e4/1...e5/2. Nf3/2...Nc6/3. Bc4/3...Nf6/4. Ng5/4...Bc5/5. Nxf7/5...Bxf2/6. Kf1/6...Qe7/7. Nxh8/7...d5/8. exd5/8...Nd4/9. d6/9...Qxd6

9... Qxd6
At this point, White often prefers to play 10. Nf7. After 10...Qc5 11. d3, Black will be able to launch a strong attack on the White king, especially with an activated bishop pair after Bg4. White's strategy involves moving their king to safety on g1 at one point and trading off material. With perfect defense, Black can regain their disadvantage in material, but there is no forced checkmate.

10. c3 can also be played first with 10...Bg4 11. Nf7 but this is less concrete and likely favors Black. Additionally, 10...Bg4 11.Qa4+ leads to a perpetual check and draw with best play (see below).


text:
User talk:Inner Focus

Welcome, Inner Focus!

If you have any questions, you can ask in the assistance reading room or possibly contact me personally.

--Xania   talk 02:41, 20 October 2022 (UTC)

title: User talk:Inner Focus


text:
User talk:Ripbullnetworks01

You cannot edit indefinitely due to disruptive editing. You may appeal this action with a reasonable argument by adding the text below.

--Xania   talk 02:51, 20 October 2022 (UTC)

title: User talk:Ripbullnetworks01


text:
Women's Writing Before Woolf: A Social Reference/Jane Stevenson

= Jane Stevenson = Jane Stevenson is a scholar, writer, and researcher based in the United Kingdom. She is a Senior Research Fellow at Campion Hall, University of Oxford where she specialises in literature and history, particularly related to Latin and the classics, women’s history, social recusants, and British transnational writers.

She has published numerous articles, as well as producing six books of scholarship on subjects from early modern women’s poetry to the presence of a Baroque mindset in interwar European culture. Stevenson is also an accomplished fiction author.

Early Life
Born in London on the 12th of February 1959, Steven was brought up between London, Beijing, and Bonn. Her education at Newnham College of University of Cambridge between the years 1978-1985 saw her major in Anglo-Saxon studies, Norse studies, and Celtic / English studies.

She went on to complete a PHD at Cambridge in early medieval vernacular and Latin literature. Her first research position post-graduation was as a Junior Research Fellow at the University of Cambridge in 1985, where she focused primarily on Anglo-Latin scholarship and edited a lost work by Archbishop Theodore of Tarsus.

Career
Stevenson held a position as Junior Fellow at the University of Cambridge in 1988. She went on to become a Lecturer in History at the University of Sheffield, where she stayed for seven years. Afterwards, she took up a position as Interdisciplinary Research Fellow at the University of Warwick, where she lectured in classical studies and translation studies. During this time, Stevenson began her career as a literary novelist, publishing her first work Several Depictions (1999) with publishing firm Jonathon Cape.

In 2007, Stevenson became the Regius Professor of Humanity at the University of Aberdeen, where her teaching and research responsibilities focused on the history of books, literacy, and women’s writing practices. After ten years in Aberdeen, Stevenson became Senior Research Fellow at Campion Hall, University of Oxford, where she remains to this day.

Specialisations
Stevenson’s academic specialisations range from ancient Greek prose to early 20th century culture. She has three areas of interests, two which pertain to the early middle ages, and the third which is concerned with the Renaissance and early modern periods, unified by a general interest in Latin poetry by women. Stevenson stated: “In the early period, I have also worked on issues to do with Christianisation and literacy (principally with respect to Ireland and Anglo-Saxon England), and in the later period, I have some subsidiary concerns such as court and élite culture more generally .”

Research
Stevenson’s wide range of research interests have resulted in a body of scholarship that both surveys broadly and draws attention to neglected or periphery cultures.

In 2007, Stevenson published "Still Kissing the Rod?," a research article that addressed early modern women's writing practices in an intercultural context. In this research, Stevenson countered existing perceptions that women writers were confined to their surrounding context, demonstrating that they were aware of and connected to a larger network of European women writers.

Stevenson has contributed important knowledge of Scottish women's writing practices. Her article “Reading, Writing and Gender in Early Modern Scotland (2012),” identifies obstructions to female literacy and authorship in early modern Scottish society, opposing suppositions that the Scottish literary ecosystem functioned similarly to Britain’s, and addressing contributing factors to the lack of Scottish early modern women writing. Stevenson correlates the different circumstances of production in the two writing cultures to the conditions needed to support early modern women writing practices, demonstrating the impact that context has on cultural production.

Most recently, Stevenson published "Centres and Peripheries: Early-Modern British Writers in a European Context (2020),” which built upon her previous examinations of interconnected writing networks. Stevenson’s focus on early modern recusant William Blundell revealed that, counter to the prevailing narrative of English language, writing, and publishing as dominant in the early modern period, an alternative network of supranational knowledge and publishing in pan-European languages existed. She linked this ecosystem of early modern knowledge to the English Short Catalogue Title, "one of the most important aids to early-modern scholarship," showing how they unwittingly neglect the practices of British authors who wrote in foreign languages by focusing solely on English writings, consequently upholding a narrative of the English language as the dominant centre of early modern knowledge. This is a fascinating piece of research that demonstrates how Stevenson’s interest in recusants has led to a deeper understanding of early modern literary networks and intellectual culture, and simultaneously reveals the contemporary importance of these networks for the discipline of early modern studies.

Books
Stevenson is the author of several scholarly books ranging early modern writing practices and cultural history.

Her Early Modern Women Poets (2001) was a comprehensive anthology surveying the vast practices and productions of early modern women writers: “the principal text for teaching early modern women's poetry .”

Baroque Between the Wars (2018) deviates from Stevenson primary research period to examine early 20th century culture, arguing for the presence of modern baroque and neo-classical mindsets in modernist art.

Her most recent historical non-fiction text, The Light of Italy: The Light and Times of Federico De Montefeltro, Duke of Urbino (2021) explores the history of a small and secluded Italian town, Urbino, ruled by the influential Federico de Montefeltro who “assembled a court regarded by many as representing a high point of Renaissance culture.” Here, Stevenson unifies her interest of early modern culture with periphery communities, challenging the emphasis on major cities as the exclusive centres of dominant culture and revealing the rich diversity of the early modern landscape.

Fiction
Stevenson is a fiction writer, publishing several novels between 1999 and 2005. Her fiction relates to her research, exploring themes of womanhood, culture, history, and academia, and Stevenson posits her literary career as primarily “concerned with the interaction of the past with the present.”

Stevenson’s fiction makes it evident that she enjoys finding the humanity in the historical periods of her research, as her books bring to life relationships, social dynamics, and daily realities that both reflect and revitalise the context within which they’re situated. She is represented by RCW Literary Agency.

Criticism
Stevenson has been criticised for her unorthodox writing style. Her book Edward Burra: Twentieth Century Eye (2007) drew criticism for its descriptive liberties and lack of academic style, no doubt a result of her dual scholarly and creative writing practices. However, the critic concludes that this unkosher approach to biographing Edward Burra, though “difficult to read,” shows “the world in which Burra produced his strange pictures .”


text:
User talk:85.92.184.140

--Xania   talk 04:27, 20 October 2022 (UTC)

title: User talk:85.92.184.140


text:
User talk:50.220.51.197

--Xania   talk 04:32, 20 October 2022 (UTC)

title: User talk:50.220.51.197


text:
User talk:41.35.216.233

You cannot edit for 1 day due to disruptive editing. You are welcome to contribute constructively when editing privileges are restored. You may appeal this action with a reasonable argument by adding the text below.

--Xania   talk 07:50, 20 October 2022 (UTC)

title: User talk:41.35.216.233


text:
Saluto, Jonathan! (Ido)

Saluto, Jonathan! (Hello, Jonathan!) is the story of a young Englishman who goes to visit his friend in another European country. This edition is written entirely in Ido. It begins with very simple language. The words the reader knows are repeated and new words are added slowly and in context, so that no dictionary is required to read it. This is a method used also by other books such as English by the Nature Method, Le français par la méthode nature, and L’italiano secondo il metodo natura, as well as Hans Ørberg's Lingua Latina per se Illustrata.

The original Salute, Jonathan! is a book written in Occidental, and first published by Dave MacLeod on Wikibooks in 2019. The text is available under the CC BY-SA 3.0 licence. As such, the text of this translation into Ido is also available under the same terms.

The original Salute, Jonathan! consists of 100 chapters. As you can see, right at this moment this translation consists only of a small portion of it. Nonetheless, the further you get into the book, the language becomes more and more complex and an actual story begins to form. Salute, Jonathan! is in fact a full translation of a classic book that you are likely very familiar with. Go read it, in Occidental, if you’d like to know more.

Chapters
Chapitro 1 – Chapitro 2 – Chapitro 3 – Chapitro 4 – Chapitro 5 – Chapitro 6 – Chapitro 7 – Chapitro 8 – Chapitro 9 – Chapitro 10 – Chapitro 11 – Chapitro 12 – Chapitro 13 – Chapitro 14 – Chapitro 15

title: Saluto, Jonathan! (Ido)


text:
Saluto, Jonathan! (Ido)/Chapitro 1

Iniciala pagino – Chapitro 1 – Chapitro 2

Unesma mayo (1 mayo)
'''Viro stacas en urbo. La viro skribas jurnalo. La viro vidas urbo.'''

Ka la viro stacas en urbo? Yes, lu stacas en urbo.

Ka la viro stacas en… viro? No, lu ne stacas en viro. Lu stacas en urbo.

Ka la viro stacas en treno? No, lu ne stacas en treno. Lu stacas en urbo. La viro stacas en urbo.

Ka la viro skribas jurnalo? Yes, lu skribas jurnalo.

Ka la jurnalo skribas la viro? No, la jurnalo ne skribas la viro. Jurnalo ne skribas. Viro skribas. La viro skribas la jurnalo.

Ka la urbo vidas la viro? No, la urbo ne vidas la viro. Urbo ne vidas. Viro vidas. Ka la viro vidas la urbo? Yes, la viro vidas la urbo.

Ube stacas la viro? Lu stacas en urbo. Quon la viro skribas? Lu skribas jurnalo. Quon la viro vidas? Lu vidas urbo. Lu stacas en urbo, e lu skribas jurnalo, e lu vidas urbo.

Ka la viro stacas en jurnalo? No, lu skribas en jurnalo. Ka la viro vidas viro? No, lu ne vidas viro; lu vidas urbo.

La viro es granda. La viro es bona, e la viro es inteligenta. Lu pensas. Lu pensas pri la urbo. Lu pensas: “Quo es la urbo? Ka la urbo es bona? Ka la urbo es granda?”

Ka la viro skribas urbo? No, lu ne skribas urbo; urbo es granda. Lu skribas jurnalo; jurnalo ne es granda.

Ka la jurnalo pensas pri la viro? No, jurnalo ne pensas. Viro pensas. Lu pensas pri la jurnalo, e pensas pri la urbo.

E lu skribas en la jurnalo. Lu skribas pri la urbo. Lu skribas: “La urbo es bona, e la urbo es granda.”

Lu pensas: “La urbo es bona”; lu pensas ke la urbo es bona. Lu pensas: “La urbo es granda”; lu pensas ke la urbo es granda. Lu pensas pri la urbo, ed lu pensas pri la jurnalo.

Quo es la jurnalo? La jurnalo esas ube la viro skribas; lu skribas en la jurnalo. En la jurnalo, la viro skribas pri la urbo. En la jurnalo, la viro ne skribas pri la treno; la viro stacas en la urbo, ne en la treno. Lu ne pensas pri la treno; lu pensas pri la urbo, la urbo München.

Quo es la urbo? Ol esas München. Ube es München? Ol es ube la viro stacas. Ube esas la viro? Lu esas en München.

Yes, München es granda urbo, e bona urbo. La viro pensas ke München es bona urbo, e lu pensas ke ol es granda urbo. La viro es inteligenta. Lu dicas: “Saluto, München!” Lu es bona viro!

La viro stacas e pensas: “Ube esas la treno?” Lu vidas... lu vidas la treno! Lu pensas: “La treno!” Nun lu ne pensas pri la jurnalo ed ne pensas pri la urbo; lu pensas pri la treno!

ka / kad

 * ka = kad = ?

-esm-

 * un = 1
 * un.esm.a
 * du = 2
 * du.esm.a
 * tri = 3
 * tri.esm.a
 * Mayo 2019 es 2019-05.
 * Unesma mayo esas 2019-05-01.
 * Duesma mayo esas 2019-05-02.
 * Triesma mayo esas 2019-05-03.

Vortaro

 * bona 👍
 * dicas 🗣
 * e = ed
 * en
 * es = esas
 * granda
 * inteligenta 🧠
 * jurnalo 📝
 * ka = kad
 * ke
 * la = l'
 * lu
 * ne esas ↔ esas
 * no ↔ yes
 * nun
 * ol = olu
 * pensas 💭
 * pri
 * quo = quon
 * saluto 👋
 * skribas 🖋
 * stacas 🧍
 * treno 🚂
 * ube 🗺 🤷♂
 * un = 1
 * urbo 🏙
 * vidas 👀
 * viro 👨🏻
 * yes ↔ no

Iniciala pagino – Chapitro 1 – Chapitro 2

title: Saluto, Jonathan! (Ido)/Chapitro 1


text:
Saluto, Jonathan! (Ido)/Chapitro 2

Iniciala pagino – Chapitro 1 – Chapitro 2 – Chapitro 3

Duesma mayo (2 mayo)
Nun la viro esas en la treno. Lu ne esas en München; lu esas en treno. Lu voyajas. Lu pensas: “Nun me voyajas de München a Wien. Ol es bona voyajo. Me amas voyaji.”

Lu pensas pri München. Lu pensas: “Nun me esas en la treno, ma hiere me esis en München. E nun me skribas jurnalo en la treno, ma hiere me skribis jurnalo en München. E nun me pensas en la treno, ma hiere me pensis en München. Hiere me pensis pri München en München, e nun me pensas pri Wien en la treno. Nun me esas en la treno, ne en Wien. Ma me pensas e skribas pri Wien.”

Ka la viro nun pensas en München? No, lu nun ne pensas en München. Lu pensas en la treno. Hiere lu pensis en München. Lu dicis: “Saluto, treno!”

La viro esas en la treno, e lu voyajas ad urbo. La urbo ne esas München; München esas la urbo di hiere. La urbo esas Wien; Wien esas la urbo di hodie.

La viro pensas pri München e Wien. Lu pensas: “München esis la urbo di hiere, e München esis bona. Nun es hodie, e me esas en treno; la treno es bona. Ka Wien esos bona?”

La viro pensas pri München: München esis la urbo di hiere. Lu pensas en la treno: lu esas en la treno hodie. E lu pensas pri Wien: Wien esos la urbo di morge.

E lu pensas: “München esis granda. La treno esas granda. Ka Wien esos granda?”

E lu pensas: “En München me skribis en jurnalo. En la treno me skribas en jurnalo. Ka en Wien me skribos en jurnalo? Yes, morge en Wien me skribos en jurnalo. Me amas jurnali.” La viro pensas multe (lu pensas multe = lu pensas e pensas e pensas), e lu skribas multe. Yes, lu esas inteligenta viro. Inteligenta viri skribas multe, e pensas multe. Lu es Jonathan; Jonathan esas inteligenta viro.

Lu skribas: “Me esas Jonathan. Me esas en treno. Hiere me stacis en München; morge me stacos en Wien.”

Lu pensas, e skribas: “La treno... ol es bona, ma anciena. Ol ne es nova; ol es anciena. Ka en München la treni es anciena? Yes, la treni di München es anciena. Ma la treni di München es bona, e me amas la treni di München. Hiere me amis la treno en München, e hodie me amas la treno nun, e morge me amos la treno en Wien. Me amas treni!”

Jonathan skribas: “München es bona urbo ed anciena urbo, e Wien es bona urbo ed anciena urbo. München e Wien ne es nova, ma es bona. München e Wien es anciena, ma bona urbi. La urbi ne es nova, ma bona. Me amas urbi!”

Jonathan pensas, ke la duesma dio dil voyajo es bona. Lu dicas: “Hodie esis bona duesma dio di voyajo. Me amas voyaji!”

hiere, hodie, morge

 * hiere = unesma mayo
 * hodie = duesma mayo
 * morge = triesma mayo

de, a

 * De München a Wien
 * München → Wien
 * De Wien a München
 * München ← Wien

di

 * la jurnalo di Jonathan = la jurnalo en qua Jonathan skribas
 * la treno di Jonathan = la treno sur qua Jonathan es

a, de, di + la

 * la treno al urbo = la treno a la urbo
 * la treno del urbo = la treno de la urbo
 * la treno dil urbo = la treno di la urbo

Vortaro

 * a = ad
 * amas ❤
 * anciena
 * de
 * di
 * dio
 * hiere (hiere → hodie → morge)
 * hodie (hiere → hodie → morge)
 * morge (hiere → hodie → morge)
 * multe
 * nova
 * voyajas
 * voyajo

Iniciala pagino – Chapitro 1 – Chapitro 2 – Chapitro 3

title: Saluto, Jonathan! (Ido)/Chapitro 2


text:
Saluto, Jonathan! (Ido)/Chapitro 3

Iniciala pagino – Chapitro 2 – Chapitro 3 – Chapitro 4

Duesma mayo (2 mayo)
Jonathan stacas en Wien; la urbo di Wien. Jonathan pensas ke Wien es bona, e ke Wien es bela. Jonathan ne pensas ke Wien es desbela; lu pensas ke Wien es bela. Lu dicas: “Wien es bela urbo! Me skribos pri lo!” E lu skribas en la jurnalo pri Wien. En la jurnalo lu skribas: “Mea triesma dio es tre bona! En la duesma dio me stacis en München. Ma me nun stacas en Wien: Wien ne es München. München e Wien es du urbi; München ne es Wien e Wien ne es München. Me stacas en Wien e la urbo es tre bela. Me amas Wien; la urbo ne es desbela. Quante bela es Wien! Ma me havas problemo.”

Quo? Jonathan havas problemo? Qua problemo? Nun lu ne vidas la jurnalo; lu vidas la urbo e pensas. Lu pensas multe pri la problemo.

La problemo di Jonathan es ke lu amas Wien, ma lu ne havas tempo.

Lu pensas: “Hmm. Nun esas sep (7) kloki. Ye dek (10) kloki la treno departos. Dek (10) kloki minus sep (7) kloki es tri (3) hori. Tri hori ne es multa tempo por bela urbo! Me ne havas tempo. Havar tempo es bona, ma me ne havas ol! Skribar jurnalo esas bona, ma me ne havas tempo por skribar ol! Quon facar en Wien?”

Lu pensas: “Me ne havas multa tempo. Quon facar – skribar jurnalo, o manjar, o vidar la urbo? Quon me facos?”

Lu pensas plus, e dicas: “Me havas bona ideo! Vartez… me pensas. Mea treno departas ye dek (10) kloki. Ka esas treno plu tarda, ye dek-e-un (11) kloki, o dek-e-du (12), dek-e-tri (13), dek-e-quar (14) o dek-e-kin (15) kloki?”

Lu vidas... yes! Esas treno qua departas ye dek-e-kin kloki. Nun Jonathan es felica.

Jonathan dicas: “Dek-e-kin (15) minus sep (7) es ok (8). Nun me havas ok hori de tempo! Quon me facos?”

Lu dicas: “Me savas! Me manjos bifsteko. E me drinkos biro. Vartez... no, me drinkos du biri, o tri biri. Bona ideo!”

Nun Jonathan drinkas biro en Wien, e manjas bifsteko. Lu es felica. Lu dicas: “Quante me esas felica! Me amas la urbo di Wien. Quante me amas voyaji!”

Verbi

 * La infinitivo di verbo es -ar. Pensas = pensar, skribas = skribar, manjas = manjar, havas = havar.
 * Jonathan pensas: “Quon manjar?” ed ilu manjas bifsteko.
 * Jonathan pensas: “Havar tempo es bona!” Il ne havas tempo.

plu tarde

 * Esas 10 kloki. Plu tarde, esos 11 kloki.
 * Jonathan esis en München. Plu tarde, il esis en Wien.
 * Jonathan pensis: “Me manjos.” Plu tarde, ilu manjis.

mea

 * Me skribas en mea jurnalo. (Mea jurnalo = la jurnalo di me)

quo, quon, qua

 * Quo?
 * Treno esas anciena. Quo esas anciena? La treno esas anciena.
 * Quon?
 * Jonathan vidas urbo. Quon Jonathan vidas? Jonathan vidas la urbo.
 * Quo
 * La treno departos. Quo departos? La treno es quo departos.
 * La urbo es bela. Quo es bela? La urbo es quo es bela.
 * Quan
 * Jonathan es en anciena treno. Jonathan amas la treno. La treno quan Jonathan amas es anciena.
 * Jonathan vidas Wien. Wien es urbo. La urbo quan Jonathan vidas es Wien.
 * Qua?
 * En qua urbo Jonathan stacas nun?
 * Qua problemo esas?

hori, kloki

 * kloko
 * Es sis kloki: 6:00
 * Es du kloki e dek: 2:10
 * horo = 60 minuti. Un horo = 60 minuti, du hori = 120 minuti.

6:00 es sis kloki e 2:00 es du kloki. 6:00 minus 2:00 es quar hori.

quante = !

 * La treno es bela. Quante bela es la treno!
 * Jonathan es inteligenta. Quante inteligenta il es!

vartez

 * “Vartez!” = ne nun, plu tarde

un, du, tri...

 * 1: un
 * 2: du
 * 3: tri
 * 4: quar
 * 5: kin
 * 6: sis
 * 7: sep
 * 8: ok
 * 9: non
 * 10: dek
 * 11: dek-e-un
 * 12: dek-e-du

Vortaro

 * bela ↔ desbela
 * bifsteko 🥩
 * biro 🍺
 * departas
 * desbela ↔ bela
 * drinkas
 * facas
 * felica 😁
 * havas
 * horo: 24 hori en un dio
 * ideo 💡
 * kloko
 * lo
 * manjas
 * mea
 * minus
 * o = od
 * plu
 * plus
 * por
 * problemo
 * quante
 * tarda
 * tempo
 * tre
 * vartez
 * ye

Iniciala pagino – Chapitro 2 – Chapitro 3 – Chapitro 4

title: Saluto, Jonathan! (Ido)/Chapitro 3


text:
Saluto, Jonathan! (Ido)/Chapitro 4

Iniciala pagino – Chapitro 3 – Chapitro 4 – Chapitro 5

Quaresma chapitro
Ube es Jonathan? Ka lu stacas en Wien? No, lu stacas en diferanta urbo. Lu stacas en Bistriţa. Quo es Bistriţa? Ol es urbo en Rumania. Nun komencas la voyajo en Rumania.

Jonathan skribas en sua jurnalo: “La unesma mayo me esis en München. La duesma mayo me esis en Wien. Pose me esis en Budapest. Budapest esis bela. Ma me ne havis tempo en Budapest. Me vidis la strado en Budapest. En Budapest me pensis: hike finas la westo, e hike komencas la esto. Budapest es diferanta.”

Lu pensa kelke plu pri Budapest. Lu pensa: “Me esas persono qua venas de Anglia, de London. Me parolas la angla, nam la personi en Anglia parolas la angla. Ma en Budapest me ne parolis kun la personi en la angla; me parolis en la germana. Mea savo di la germana ne esas bona, ma la personi en Budapest ne parolas la angla. Ni parolis en la germana. Es interesanta ke la personi en Budapest parolas la germana.”

Nun Jonathan pensas pri sua voyajo. Lu pensa: “Me esis en la muzeo en London. En la muzeo esis libri pri altra lando. Me lektis la libri. En la muzeo esis mapi pri altra lando. Me vidis la mapi. La libri e la mapi dicis ke la altra lando es fora, ma interesanta. En la altra lando esas multa personi, multa diferanta personi.”

Nun Jonathan pensas plus pri sua voyajo. Lu pensas: “Hiere me esis en Klausenburg. La nomo dil manjajo esis ‘paprika hendl’. Ol es tre bona, la manjajo en Klausenburg. La hotelo esis bona, ma me ne dormis bone. Ma la lando es tre bela! En la treno me vidis multa urbeti e multa kasteli. Urbo es plu granda kam urbeto, ma la urbeti es tre bela. Kastelo es plu granda kam hotelo, e plu bela kam hotelo! Urbeti es min granda kam urbi, ma li es bela, e hoteli es min granda kam kasteli.”

Jonathan skribas plus en sua jurnalo: “Bistriţa es interesanta loko. Bistriţa es anciena loko, plu anciena kam altra loki. Anke mea hotelo en Bistriţa es anciena, plu anciena kam altra hoteli. En la hotelo me dicis mea nomo: ‘Me es Jonathan Harker’ e li dicis a me: ‘Bonvenez al hotelo.’ En la hotelo me vidis letro por me. Nun me lektos mea letro.”

Jonathan lektas sua letro. Olu dicas: Mea amiko. Bonvenez. Dormez bone. Me esas en Bukovina, voluntez venar a Bukovina. Ka la voyajo de London esis bona? Mea lando es tre bela. Bonvenez a mea lando.

Vua amiko,

DRACULA Jonathan lektas la letro e pensas pri sua amiko Komto Dracula. Qua lu es? Lu ne savas. Ma lua amiko es interesanta. Anke la urbeto Bistriţa es interesanta. Jonathan es felica, e pensas pri sua amiko. Pose ilu dormas.

plu kam, min kam

 * plu kam: >
 * Jonathan es plu granda kam jurnalo. = Jonathan > jurnalo (Jonathan es granda, la jurnalo ne es granda)
 * Manjar bifsteko es plu bona kam ne manjar bifsteko. = Manjar un bifsteko > ne manjar bifsteko (manjar bifsteko es bona, ne manjar bifsteko ne es bona)
 * min kam: <
 * Domo es min granda kam kastelo. = dom < kastelo (Kastelo es granda, domo ne es granda)
 * Manjar jurnalo es min bona kam manjar bifsteko. = manjar jurnalo < manjar bifsteko (manjar bifsteko es bona; manjar jurnalo ne es bona)

vua, sua, ilua

 * vua
 * Jonathan manjas bifsteko. Persono dicas: “Vu manjas. Ka vua manjajo es bona?” (vua = di Jonathan)
 * Jonathan pensas pri Dracula. Ilu pensas: “Dracula, vu es bona viro. Vua lando es tre bela.”
 * sua
 * Jonathan havas jurnalo qua es jurnalo di Jonathan. Jonathan havas sua jurnalo.
 * Jonathan manjas bifsteko. Jonathan manjas sua bifsteko.
 * lua
 * Jonathan amas la lando di Dracula. Jonathan amas lua lando. (lua = di Dracula)
 * Jonathan venos al kastelo di Dracula. Jonathan venos al lua kastelo.

-ez

 * Dracula dicas a Jonathan: “Venez a mea kastelo.”

qua

 * Qua es por personi ultempe, Ma altra-tempe, qua es por personi o kozi qui esas definita.
 * Jonathan havas letro. Qua skribis la letro? Dracula es qua skribis la letro.
 * Jonathon havas letro qua esis en la hotelo.
 * Qua es anke por adjektivi.
 * Qua letro esas? Ol esas la letro de Dracula.
 * Quo(n) ne es por personi.
 * Jonathan vidis mapo. Quon Jonathan vidis? Mapo es quon Jonathan vidis.

altra

 * Jonathan venas de Anglia. Lu ne venas de Rumania. Rumania es altra lando. (= Rumania ne es Anglia, ol es altra lando.)

fora

 * Jonathan esas en la treno hodie, lu esis en la treno hiere, lu esos en la treno morge. Rumania es fora.

Vortaro

 * altra
 * amiko
 * angla, Anglia
 * angl.a
 * Angl.ia
 * anke
 * bonvenez
 * bon.ven.ez
 * diferanta: ≠
 * difer.ant.a
 * dormas
 * esto
 * finas
 * germana, Germania
 * german.a
 * German.ia
 * hike
 * hotelo
 * ilua
 * interesanta
 * interes.ant.a
 * kam
 * kastelo 🏰
 * komencas
 * komto
 * lando
 * lektas
 * letro ✉
 * li
 * libro 📖
 * loko
 * manjajo 🍱
 * mapo 🗺
 * min
 * muzeo
 * nam
 * ni = me ed altro, od altri
 * nomo
 * parolas 💬
 * persono 🧑🏽
 * poke = ne multe
 * pose
 * qua
 * savas, savo
 * sav.as
 * sav.o
 * strado
 * sua
 * urbeto
 * venas
 * voluntez
 * vua
 * westo

Iniciala pagino – Chapitro 3 – Chapitro 4 – Chapitro 5

title: Saluto, Jonathan! (Ido)/Chapitro 4


text:
Saluto, Jonathan! (Ido)/Chapitro 5

Iniciala pagino – Chapitro 4 – Chapitro 5 – Chapitro 6

Quaresma mayo (4 mayo)
Hodie Jonathan voyajos a Komto Dracula. En la hotelo lu vidas la hotelisto, e vidas letro de Komto Dracula en la manuo dil hotelisto. Lu dicas al hotelisto en la germana: “Saluto, voluntez donar la letro a me.” La hotelisto donas la letro ad ilu.

Pose lu questionas en la germana: “Quo es la letro? Quon Dracula skribis en la letro?” Ma la hotelisto dicas: “Me ne parolas la germana, me ne parolas la germana.” Jonathan pensas: “Stranje! Hiere me parolis kun la hotelisto en la germana, e nun lu dicas ke ne parolas la germana! Pro quo?” Lu questionas al hotelisto: “Ka vu savas qua es Komto Dracula?” ma la hotelisto ne parolas.

Jonathan pensas: “Stranje! Me parolis kun la hotelisto en la germana. Lu devas parolar la germana, ma lu dicas ke lu ne parolas ol! Me devas questionar lu plus, ma me ne havas tempo. Me devas departar.”

Nun Jonathan esas en sua chambro en la hotelo. Pos un horo, lu devas departar. Ma regardez! Yen olda muliero qua venis a lua chambro.

La olda muliero: “Pro quo vu departas? Voluntez ne departar! Hodie ne es bona dio! Es mala dio, dio kun mala kozi!”

Jonathan: “Me esas bona, me iras por vidar amiko. Voluntez ne parolar pri mala kozi.”

La olda muliero: “Ka vu ne savas ke hodie es la dio di Santo Georgio? Ye dek-e-du (12) kloki la mala kozi venos! Ka vu savas ube vu iras?”

Jonathan: “No, no, olda muliero, omno esas bona. Me esas bona, e hodie ne venos mala kozi.”

La olda muliero: “Me pregas ke vu ne departez! Voluntez ne departar!”

Jonathan: “No, me devas departar. Voluntez ne plorar.”

La olda muliero: “Yen krucifixo. La krucifixo es por vu.”

Jonathan: “Ah... la angliani ne amas krucifixi... ma danko. Voluntez ne plorar.” Jonathan pensas: “En Anglia ni amas kruci, ma ne krucifixi. En Rumania la personi amas krucifixi, ne kruci.”

Nun la olda muliero iras e Jonathan esas sola en sua chambro. Lu pensas: “Ca loko es stranja! Olda muliero qua donas krucifixi! Ma me devas departar.”

-ist-

 * Viro en hotelo es hotelisto. Jonathan iras al hotel e parolas al hotelisto.

qui

 * Qui es por plu kam un persono o kozo.
 * Qui venas de Anglia? Angliani esas qui venas de Anglia.
 * Quin la olda muliero donas? Krucifixi esas quin la olda muliero donas.

devar

 * devar + infinitivo di verbo
 * Jonathan ne havas tempo; ilu devas departar
 * Ma la hotelisto savas la germana; ilu devas parolar la germana!

voluntez, me pregas

 * voluntez havas verbo kun -ar pose, e ne havas ke
 * Voluntez ne plorar.
 * Voluntez venar a mea kastelo.
 * me pregas havas ke pose, e verbo kun -ez
 * Me pregas ke vu ne plorez.
 * Me pregas ke vu venez a mea kastelo.

omno

 * Omno esas bona = ne esas mala kozo (esas dek kozi, e dek kozi esas bona)
 * Omno esas mala = ne esas bona kozo (esas dek-e-kin kozi, e dek-e-kin kozi esas mala)
 * Me savas omno = ne esas kozo quon me ne savas

Vortaro

 * angliani: personi qui venas de Anglia
 * angli.an.o
 * ca = ica
 * chambro
 * danko
 * devar
 * donar
 * hotelisto
 * hotel.ist.o
 * irar
 * kozo
 * kruco
 * krucifixo
 * mala = desbona
 * manuo ✋
 * me pregas = voluntez
 * muliero 👩🏻
 * olda 🧓🏼
 * omno
 * plorar 😭
 * pro quo
 * questionar ❓
 * regardar 👀
 * santo
 * sola: ne esar kun altri
 * stranja
 * yen = hike esas

Iniciala pagino – Chapitro 4 – Chapitro 5 – Chapitro 6

title: Saluto, Jonathan! (Ido)/Chapitro 5


text: Category:Shelf:Ido

title: Category:Shelf:Ido


text: Shelf:Ido/ancestry

title: Shelf:Ido/ancestry


text:
User talk:31.57.255.112

--SHB2000 (discuss • contribs) 12:04, 20 October 2022 (UTC)

title: User talk:31.57.255.112


text:
Basics of fine-art photography/Uganda: tribes and civilization

Uganda: tribes and civilization — the seventh personal exhibition of Viktor Pinchuk, held at the Artist's House (Simferopol) from 2 to 15 June 2008.

The conception
The author's original intention — to depict the similarities and differences between inhabitants of the cities and provincial parts of African country — is embodied in the photographic collection. Most of the works displayed moments of everyday life in the Ugandan hinterland, while a few scenes of urban life are added for comparison. “Children of primeval nature or city dwellers, who impresses you?” — a question that each visitor of the exhibition had to solve independently.

Aborigines gazed from the walls of exhibition hall, captured at the moment of doing their daily routine against the backdrop of picturesque African huts and landscapes.

This period of the Crimean photographer's creativity is characterized by a mixture of ethnographic and genre photography.

Backstory
The second creative trip to Africa (part of a multifaceted author's project, in terms of holding an exhibition agreed with the Crimean Organization of the Union of Artists) lasted a month.

Author managed to get to Kampala by a shuttle bus from Nairobi, thanks to an acquaintance with a Ugandan man who arrived in the Kenyan capital to apply for a visa; from him received information, which was used as a basis for compiling the itinerary.

Karamoja is an inaccessible region of Uganda, rarely visited by foreigners because of its lack of roads. The Karamojong people who inhabit these places build their dwellings out of branches and use thorny bushes as doors, dragging them inside for the night.

The itinerary also included a visit to the Pygmies, a small community of which is located in the rainforest near Bundibugyo.

Materials in Wikisource project

 * Viktor Pinchuk "Medal "For Courage"

Links

 * Announcement of the photo exhibition — Crimean Time: newspaper. — 2.11.2006. — № 57 (2589)
 * L. Obukhovskaya «Лицом к лицу с пигмеями» (report from the photo exhibition) — Crimean Truth: newspaper. — 21.06.2008. — № 112 (24455)
 * M. Samokhin «Пинчуку повезло, что его не съели» — Express-gazette: newspaper. — febr.2008. — № 6 (679)

authors: Виктор Пинчук


text:
JavaScript/Development Tools

When working with JS (or HTML, CSS, ...) you need some tools for handling the source code and becoming more productive. First, there are tools helping you to develop the source code. Second, the code can be validated against syntax rules. Next, the code can be 'beautified' (indentations, line breaks, empty lines, ...). And lastly, the code can be optimized - in regard to size, performance, or encryption.

Locally installed Tools
The simplest way to write the code is using a pure text editor like Notepad++, Vim, or Gnome gedit or Gnome Text editor. You shall create a subdirectory where all the files of your project are located, e.g. . There you can create the files, e.g.  . Start the files as described in the chapter First program. The result shall be seen in your browser.

This approach has its pros and cons. The tools are easy to install, and they have simple user interfaces. But they don't give you much help; they just collect the text you write. Sometimes they support syntax highlighting or automatic indentation, mostly no hints concerning syntax errors. The user is forced to know the syntax of the language with which he is currently working. We believe that this approach is well suited for beginners: they shall perform their exercises at a low level.

At the next level, you can use a more complex tool, e.g. Visual Studio Code. In addition to text handling, they offer additional features from syntax highlighting up to debugging or extensive support for developer teams.

Online
As an alternative to locally installed tools, you can work with an online JS tool, e.g. JsFiddle, W3Schools, or PlayCode. They usually offer an integrated environment for HTML, CSS, and JS, including a browser preview and access to the browser's console.

Validation
It's likely that in a first step your code contains some syntactical errors, e.g.  instead of. Browsers are very lenient and try to repair or ignore simple errors silently. Of course, all your source code shall conform to the given syntactical rules. But because the browsers offer limited access to validate it or to locate the erroneous line, it's necessary to use a tool for locating and explaining syntactical errors.

Such validators sometimes offer not only validation but also some more features like formatting or a preview, e.g. JS validator, JS + HTML validator, W3C validator for HTML, FreeFormatter.

Optimization, Obfuscating
The time necessary to transfer HTML and JS code from a server to a browser can be shortened by stripping out all unnecessary blanks, newlines, tabs, etc..

When JS code is loaded into a browser, it can easily be viewed by the user. If you want to hide your source code, you can use the obfuscating technique. It generates a more or less unreadable code (for humans) out of the original code.

The previous JS + HTML validator offers all of these techniques.

title: JavaScript/Development Tools


text:
User:James0912l

Three of my accounts on Wikiversity have been deleted.

title: User:James0912l


text:
Talk:Biblical Studies/New Testament Commentaries/The Gospel of Mark/Chapter 4

mark 4
i have a book club on Mark4 tonight. i have several questions on this topic? TAMYROBERTS (discuss • contribs) 18:24, 20 October 2022 (UTC)


text:
User talk:2401:4900:4B5B:6520:A076:313A:8DC1:4F02

--SHB2000 (discuss • contribs) 06:17, 21 October 2022 (UTC)


text:
Talk:How To Back Up Operating Systems

trobleshooting pc
How do I back up my ASUS 14" Celeron Chrome Silver MODEL# C424MA-WH44F the power wont allow my pc to come on. 174.212.229.59 (discuss) 08:22, 21 October 2022 (UTC)

title: Talk:How To Back Up Operating Systems


text:
Women's Writing Before Woolf: A Social Reference/Thomas Bentley (2)

Background
Little is known about Thomas Bentley’s life beyond his publication of Monuments and his attendance of Gray’s Inn. However, a speculative account of Thomas Bentley’s life has been assembled. This account suggest that Thomas Bentley was the son of Richard Bentley, a landowner. He was of considerable wealth and was married to Susan Maynard in 1572-1573, the orphaned daughter and co-heiress of the former sheriff of London, John Maynard. The two gave birth to daughter Hannah Bentley in 1574 and son Samwell Bentley in 1577. Susan died in 1578, her cause of death is unknown. Bentley was a puritanical Anglican and acted as churchwarden at St. Andrew Holborn. While speculation has previously suggested that the publishing of The Monuments of Matrones marked Bentley’s desire for court patronage, new account suggest that rather it was indicative of Bentley’s desire to “record, not without nostalgia, the fabric and the customs of his parish church…”.

Notable Works
‘The Monument of Matrones: Conteining Seven Severall Lamps of Virginitie, or Distinct Treatises; Whereof the First Five Concerne Praier and Meditation: the Other Two Last, Precepts and Examples’ (1582) commonly referred to as ‘The Monument of Matrones' was a compilation of prayer, biblical extracts and devotional works mainly authored be women writers. The compilation was developed by Thomas Bentley and is his only surviving work, although evidence suggests that he also wrote a history of St. Andrew Holborn. The compilation contains extracts from many female writers of the period, such as: Lady Bergavenny; Queen Catherine Parr, Anne Askew, Lady Jane Grey, Queen Elizabeth and others. The text is split into seven ‘lamps’ the first and last of which act to frame the contents of the compilation: positioning the compilation as a female oriented and driven reflection on religion. The compilation is considered a significant example of early female authorship.

Legacy
There is insufficient evidence to hypothesize about the reception to The Monument of Matrones and therefore the reception to the piece is largely modern. While more information has come to light about Thomas Bentley in recent years, the context and influences have been historically obscure. Broadly, The Monument of Matrones is observed as an early example of female authorship, however the compilation has received heavy criticism from modern scholars.

The compilation is mainly viewed as a ‘library’ of early female writing, rather than considered as a compilation or considered in relation to Thomas Bentley. In fact, most criticism stems from the notion that Bentley misappropriated or misrepresented the documents compiled within it to promote female subservience and reinforce the patriarchy as “[Bentley] not only emphasizes those biblical women who illustrate the sins that most threaten patriarchy, but also manipulates the biblical text when relating their stories … In some cases he expands the biblical narrative by silently folding in text from the marginal commentary or from passages other than those he cites as his sources. There are places where we cannot find his source and conclude that he probably added his own word.”

Despite these criticisms, the compilation is often used as a tool to decipher the attitudes, perspectives and habits of the era. One such interpretations focuses on the nature of female readership and suggests that “…readers freely pursued their own interests in their reading, despite attempts by authors and printers to direct the reading experience. Bentley's agenda ... was to promote a conservative vision of women's godliness. That agenda seems to have been lost on this reader, who used the work for personal devotional purposes and ignored completely the way that Bentley framed the work with volumes of prayers and lives from scripture to create a focus on godly women”. Another such usage was in analyzing perspectives and attitudes towards motherhood and childbirth in this time - this has situated the compilation uniquely, not just as a work of literature but also as a tool for sociological investigation.


text:
Saluto, Jonathan! (Ido)/Chapitro 6

Iniciala pagino – Chapitro 5 – Chapitro 6 – Chapitro 7

Kinesma mayo (5 mayo) – La Kastelo

Hodie Jonathan iros al kastelo di sua amiko Komto Dracula. La voyajo al kastelo komencas nun. Jonathan stacas avan la veturo e vartas la duktisto. “Ube esas la duktisto?” lu pensas. “Ah, yen la duktisto – ilu parolas kun la hotelisto. Pri quo li parolas? Me ne havas tempo e me devas departar.”

Jonathan vidas cirkum la veturo, e vidas multa personi. La personi parolas multe, ma lu ne komprenas la personi. Jonathan pensas: “Pro quo li es trista? Me pensas ke co es stranja loko, ma me ne esas trista.” Lu vidas ke la personi parolas, e movas la manui. Lu vidas lia manui… quon li facas kun sua manui? Ah! Nun lu komprenas. Li movas sua manui quale krucifixo. Lia manui ne es krucifixi, ma kande li movas sua manui, lia manui es quale krucifixi.

La duktisto venas. Nun komencas la voyajo. Jonathan sideskas en la veturo. Jonathan vidas la lando cirkum lu, e pensas ke ol es bela. Esas multa arbori. En ca lando esas multa pomi, e multa pruni, pro ke esas multa pomieri e prunieri. Lu dicas: “Mmm! La pomieri es tre bela, e me volas manjar lia pomi.” Lu vidas anke piri, pro ke esas multa pirieri en ca lando. Lu dicas: “Tre bone! La pirieri esas tre bela, e me volas manjar lia piri. Me amas la arbori dil foresto.” Ma la veturo iradas, e iradas… ol es veturo tre rapida! Pro quo la veturo iras rapide? Lu vidas la voyo, qua ne esas bona voyo; ol es anciena. Ma la veturo iras rapide! “Ka la veturo devas irar rapide se la voyo es anciena e ne es bona voyo?” lu pensas. La duktisto amas irar rapide, lu pensas.

Nun la veturo iras en foresto. Fore lu vidas monti. La monti esas tre granda, e anke la foresto es tre granda. Jonathan pensas pri la monti en Anglia. Lu pensas ke la monti en Anglia es tre mikra, plu mikra kam la monti en Rumania.

Cirkum la veturo Jonathan vidas, de tempo a tempo, altra personi. Li esas personi di ca lando. Ca lando havas diferanta personi kam la personi en ta lando Anglia. La personi en ca lando habitas en la foresto, ma la personi en ta lando, Anglia, habitas en granda urbi. E lu pensas pri la kruco e la krucifixo. Yes, la personi en ca lando, Rumania, amas krucifixi, ma la personi en ta lando, Anglia, ama kruci.

Qua tempo es? Esas sis kloki. Kande Jonathan sideskis en la veturo, esis la matino. Plu tarde venis dimezo. Dimezo esas 12 kloki. Pose venis posdimezo; posdimezo esas la tempo pos 12 kloki. Ma nun esas vespero. Quo esas vespero? Vespero esas la tempo kande la suno ne esas alta, ma basa. Nun la suno esas tre basa.

Kande Jonathan esis en la veturo ye dimezo, esis varma. Ye dimezo Jonathan pensis: “Me sentas me varma! Me devas drinkar!” Ma nun, kande esas sis kloki, la suno esas basa, e ne esas varma; esas kolda. Nun lu pensas: “Me sentas me kolda! Ube esas la suno?” Kande Jonathan sentas su varma, es varma, e kande lu sentas su kolda, esas kolda. Jonathan ne volas sentar su varma, ma lu anke ne volas sentar su kolda. Lu ne amis sentar su varma, ma nun lu ne amas sentar su kolda.

Jonathan dicas itere: “Ube esas la suno?” e lu dicas: “Kande la voyajo finos? Ube es la kastelo di mea amiko Komto Dracula?”

ilu, elu

 * Ilu es inteligenta viro = Il es inteligenta viro = Lu es inteligenta viro
 * Elu es olda muliero = El es olda muliero = Lu es olda muliero

-esk-

 * Jonathan ne sidis, ma nun lu sidas. Lu sideskis.

-ad-

 * iradar = irar ed irar

su

 * Jonathan pensas: “Me sentas me kolda.” Jonathan sentas su kolda.
 * Jonathan sentas su = Jonathan sentas Jonathan

ca, ta

 * Kande Jonathan es en Anglia, Anglia es ca lando, e Rumania es ta lando.
 * Kande Jonathan es en Rumania, Rumania es ca lando, e Anglia es ta lando.
 * Jonathan esas en la hotelo e pensas ke la hotelo es bona, ma lu pensas ke altra hotelo esas plu bona. Lu pensas: “Ca hotelo esas bona, ma ta hotelo esas plu bona.”

-ier-

 * Pomo (frukto) → pomiero (arboro qua facas pomi)
 * Pruno (frukto) → pruniero (arboro qua facas pruni)
 * Piro (frukto) → piriero (arboro qua facas piri)

-a, -e
Adjektivo: rapida. Adverbo: rapide.

 * Jonathan es rapida. Lu iras rapide.
 * Jonathan es inteligenta. Lu pensas inteligente.

Vortaro

 * arboro
 * avan
 * cirkum
 * de tempo a tempo
 * dimezo
 * duktisto
 * dukt.ist.o
 * finar ↔ komencar
 * foresto
 * habitar
 * ilu = il
 * iradar
 * ir.ad.ar
 * itere
 * kande
 * kolda
 * komprenar
 * kun
 * lia
 * matino
 * mikra
 * monto
 * movar
 * piro
 * piriero
 * pir.ier.o
 * pomo
 * pomiero
 * pom.ier.o
 * posdimezo
 * pruno
 * pruniero
 * prun.ier.o
 * quale
 * rapida
 * se
 * sidar, sideskar
 * sid.esk.ar
 * suno
 * trista ⟷ felica
 * ube
 * varma
 * vartar
 * vespero
 * veturo
 * voyo: longa strado

Iniciala pagino – Chapitro 5 – Chapitro 6 – Chapitro 7

title: Saluto, Jonathan! (Ido)/Chapitro 6


text:
Women's Writing Before Woolf: A Social Reference/Margo Hendricks (2)

= Margo Hendricks (2) = Margo Hendricks is a Professor Emerita in early modern studies at the University of California, Santa Cruz (Folger). Her pioneering work in premodern critical race studies (PCRS) has challenged scholars to re-think the ways ‘race’ and intersectionality appear in early modern texts, and scholarship’s role in perpetuating, and dismantling, imperialist ideologies.

Biography
Hendricks was born in 1948. In an interview on the Black Romance Podcast (Moody-Freeman), Hendricks recounts initially working in a post office, in banks and in the school district before pursuing higher education. Hendricks intended to study law but was persuaded by her Renaissance English lecturer to pursue early modern studies instead.

Hendricks completed postdoctoral research on gender, race, and intersectionality in Shakespeare and early modern culture. In 1994, Hendricks published, with co-editor Patricia Parker, Women, “Race” and Writing in the Early Modern Period was published, and in 1996, Hendricks released her pioneering essay on race in Shakespeare: “‘Obscured by Dreams’: Race, Empire, and Shakespeare’s A Midsummer Night’s Dream”. In 1997, Hendricks organised an interdisciplinary research group at the University of California titled “Theorizing Race in Pre- and Early Modern Contexts” (Hendricks, “Coloring the Past” 366) and, in 1998, organised the forum “Race and Shakespeare Studies: Is There a Future?” (Hendricks, “Introduction” 19). She has given numerous keynote addresses, including at the 2019 “Race and Periodization Symposium” at Arizona State University.

Hendricks has supplemented her academic work with historical romance fiction under the pseudonym Elysabeth Grace.

Works
Women, “Race,” and Writing in the Early Modern Period is a landmark interdisciplinary work, bringing together essays by women scholars of diverse backgrounds to examine race and gender in early modern culture. The volume challenged, in Hendricks’ words (“Coloring the Past,” 368), a dominant “white-centric” academic “vision of premodern cultures,” by foregrounding race, stressing difference between groups of women, and considering the ways women writers were shaped by, and contributed to, “imperialist and domestic ideologies based on the distinctions of ‘race’ and social position” (Hendricks and Parker 4). Hendricks’ own contribution examines the ways gender, race, and class intersect in a “racialized discourse of civility” (Hendricks, “Civility” 227) in Aphra Behn’s The Widow Ranter.

Hendricks’ 1996 article “‘Obscured by Dreams’: Race, Empire and Shakespeare’s A Midsummer Night’s Dream,” crystallised her analysis of ‘race’ in early modern culture. By attending to the shifting meanings of the term in Shakespeare’s plays, Hendricks sheds light on the racial discourses which emerge, and intersect with fears of “unregulated female sexuality” (58), in narratives of hybridity, boundary-crossing and invocations of colonial India in A Midsummer Night’s Dream. Hendricks argues for scholars to “expand” their understanding of early modern race politics (43), replacing modern, bodily conceptions with an understanding that acknowledges its complexity in early modern discourse, as something “material” and yet “immaterial” (42).

In a recent article entitled “Coloring the Past, Considerations on Our Future: RaceB4Race,” Hendricks extends her keynote speech from the 2019 Race and Periodization Symposium to synthesise PCRS’ key impulses and tenets. These include the need to overcome the “academic gatekeeping” of periodisation, an attention to “deep intersectional analyses” to interrogate generalisations that “privilege whiteness” (379), “positional subjectivity” and “bidirectional gaze” in research (368) and meaningful acknowledgements of “pre-exist[ing]” work by “Black, Brown, and Indigenous scholars” (369). Hendricks also stresses the need to extend PCRS’ lens to Indigenous experiences and subjectivities (381).

Hendricks has published other articles in journals like Renaissance Drama, Shakespeare Studies, and Women’s Studies. She has also written several romantic novels as Elysabeth Grace, including the Daughters of Saria series, the Midsummer Sisters series and A World Apart series.

Reception and Legacy
Hendricks has been praised as a trailblazer by her academic contemporaries. In 1994, Joyce Green MacDonald lauded Women, “Race,” and Writing as “as much a landmark collection in Renaissance studies as Rewriting the Renaissance” (991). Valerie Traub likewise praised the anthology as an “excellent collection” (247).

In an “(un)timely” review of the anthology in 2020, Brandi K. Adams praised the collection as a “guide” for “all research in early modern studies”. Both Adams and David Sterling Brown et al. (2) situate Hendricks’ work as foundational to later PCRS research. Adams cites #ShakeRace and special issues of Shakespeare Quarterly and the Journal of American Studies as part of this growth.

However, significant academic cohorts remain disengaged from PCRS more generally. Sterling Brown (5) notes research on domestic spheres remains “segregated” from PCRS and Adams likewise points out that the “urgent questions” raised by Hendricks remains “marginalised in the field at large.”

Nevertheless, Hendricks’ contribution to early modern studies remains significant. Alongside other PCRS scholars, Hendricks has provoked a dramatic shift in thinking about the nature and function of race in the early modern period and has paved the way for successive generations of scholars from diverse backgrounds to extend the field in ways that promote greater equality within the academy.

References and Further Reading
Adams, Brandi K. “‘A Harbinger of the Much More to Come’: an (Un)timely Review of Women, “Race,” & Writing in the Early Modern Period.” The Hare, vol. 5, no. 1, 2020. The Hare, thehareonline.com/article/%E2%80%98-harbinger-much-more-come%E2%80%99-untimely-review-women-%E2%80%9Crace%E2%80%9D-writing-early-modern-period.

Hendricks, Margo. “‘Obscured by Dreams’: Race, Empire, and Shakespeare’s A Midsummer Night’s Dream.” Shakespeare Quarterly, vol. 47, no. 1, Spring 1996, pp. 37-61. https://www.proquest.com/docview/195868616

---. “Civility, Barbarism, and Aphra Behn’s The Widow Ranter.” Women, “Race,” and Writing in the Early Modern Period, edited by Margo Hendricks and Patricia Parker, Routledge, 1994, pp. 225-242.

---. “Coloring the Past, Considerations of Our Future: RaceB4Race.” New Literary History, vol. 52, no. 3/4, Summer/Autumn 2021, pp. 365-384. Project MUSE, doi:10.1353/nlh.2021.0018.

---. “Introduction.” Shakespeare Studies, vol. 26, Jan. 1998, pp. 19-20. https://www.proquest.com/docview/222336221

Hendricks, Margo, and Patricia Parker, editors. Women, “Race,” and Writing in the Early Modern Period. Routledge, 1994.

“Margo Hendricks—Coloring the Past, Rewriting our Future: RaceB4Race.” Folger Shakespeare Library, Folger Shakespeare Library, accessed 10 Oct 2022, folger.edu/institute/scholarly-programs/race-periodization/margo-hendricks.

McDonald, Joyce Green. Review of Women, “Race,” and Writing in the Early Modern Period, edited by Margo Hendricks and Patricia Parker. Sixteenth Century Journal, vol. 25, no. 4, Winter 1994, pp. 990-991. JSTOR, doi:10.2307/2542328.

Moody-Freeman, Julie E. “Conversation with Margo Hendricks/Elysabeth Grace.” Journal of Popular Romance Studies, vol. 11, Special Issue: Black Romance, May 2022. jprstudies.org/2022/05/conversation-with-margo-hendricks-elysabeth-grace/.

Sterling Brown, David. “‘Hood Feminism’: Whiteness and Segregated (Premodern) Scholarly Discourse in the Post-Postracial Era.” Literature Compass, vol. 18, no. 10, Oct. 2021, pp. 1-15. doi:10.1111/lic3.12608.

Sterling Brown, David, et al. “Seeking the (In)Visible: Whiteness and Shakespeare Studies.” Shakespeare Studies, vol. 50, 2022, pp. 17-23. https://www.proquest.com/docview/2714942760 Traub, Valerie. Review of Women, “Race,” and Writing in the Early Modern Period, edited by Margo Hendricks and Patricia Parker. Shakespeare Studies, vol. 23, 1995, pp. 241-248. EBSCOhost, ebscohost.com/ehost/pdfviewer/pdfviewer?vid=2&sid=d158093a-0dd1-452a-badb-108b26313dd0%40redis.


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Women's Writing Before Woolf: A Social Reference/Ania Loomba 2

Biography
Ania Loomba, born august 7th 1955, studied at both the university of Delhi and the University of Sussex where she received her PhD. Her parents where both members of the communist party, her father a trade unionist and her mother a schoolteacher. Much of her life has been influenced by activism, Marxist theory, feminist theory and the civil rights movement within India and Britain especially. She also found the Miners strike in Britain in the 70s as she was a student in Sussex at the time (Johnson ). She is currently employed at the university of Pennsylvania as the Catherine Bryson Professor of English. She is the 2024 winner of The Charles Homer Haskins Prize Lecture, a lecture awarded to members of the American Council of learned Societies to honour scholarly achievement within their career. Like the scholar the award is named for much of Loomba’s work is focused within medieval or early modern history. Loomba’s main focuses are race, colonialism and postcolonialism and feminist theory as well as Indian literature and south Asian studies. “The connections lie in my trying to work out the long histories of race and colonialism. Structures that we’ve inhabited, when did they come into being?”. “Trying to connect that history with feminism has been my way of staying alive in the Trump and Modi moment” (Johnson). She draws connections between the past and present within her work looking at the often overlooked similarities between them.

Career
She has been publishing since the 1980s. Some of her works include: Race in Early Modern England, Rethinking Feminism in Early Modern Studies: Gender, Race, and Sexuality, Early Modern or Early Colonial? And the third edition of Colonialism/ Postcolonialism which is a guide on terminology used with colonial and postcolonial studies includes and its history. In its introduction asks if the field is dying despite how “entrenched” it has become within western academic thought, giving way to globalisation studies? She asks if “Are these asymmetric phenomena or do they mark something new … Is postcolonial studies redundant today or more important than ever?”. Even drawing attention to challenges the field has faced from western governments including the US government trying to defund the field as they viewed it as Anti-American. She has also been critical of the idea that postcolonial studies could not talk about other topics like economics. Viewing the idea as very westernised pointing out that many scholars from postcolonial or currently colonialised countries do talk about economic effects.

When it comes to early modern scholarship Loomba and Jonathan Burton’s Race in Early Modern England provides a close examination of race within England providing readers with a better understanding of race and ethnicity at the time providing multiple sources for scholars to use including laws. Her 2002 article, “Break her will, and bruise no bone sir”: Colonial and Sexual Mastery in Fletcher’s The Island Princess. This discusses colonial ideas on women and religion used within the tragicomedy. The Island Princess was a play preformed in 1621 based on the Spanish colonialisation of the Maluccas Islands and the book by Le Seigneur de Bellan. She “examine[s] how the play offers a fantasy of colonial and sexual possession by using the figure of an Eastern princess who converts to Christianity”. While some parts do better towards women then other texts at the time “the desire of the non-European for Europeans becomes a way of suggesting the supposed reciprocity, mutuality, and equality of international and colonial trade, and, in many instances, a way of disguising its violence and asymmetry.” Therefore, becoming a tool of colonial oppression reframing and downplaying the violence faced by many women at the hands of their colonisers as well as the true level of agency they have in romantic or sexual relationships.

Her work shows the importance of intersectionality within feminism, showing not just the importance in current feminist debates but in better understanding the past. “Open[ing] up the possibility for critics of early modern studies to acknowledge the overlaps, slips, dissonances, and links between multiple categories and theories of analysis” (Lindor ). One review of Post-Colonial Shakespeares states “As Loomba and Orkin Succinctly note, there are now quite a number of cultural contexts in which the study of Shakespeare (including it radical varieties) may already seem superfluous or even insulting imposition, amidst ‘shape debates on the continued usefulness of Western icons like Shakespeare or indeed of Western theories’” (Shaughnessy).


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Basics of fine-art photography/Egypt and Egyptians III

Egypt and Egyptians III — the ninth personal exhibition of the traveler and photographer Viktor Pinchuk, held in the exposition hall of Russian Cultural Center in Simferopol from September 27 to October 27, 2012.

General information
A series of photographs created as a result of the first and third creative trips to Africa served as an occasion for holding another personal photo exhibition about Egypt, the opening of which, by decision of RCC management, was timed to coincide with the "Tourism Day".

Collecting material, author visited pyramids area in El Faiyum, relatively little known among tourists: of Amenemhet III (in Hawara) and Senusret II (in El Lahun). In addition, on the way to Sudan (to which a separate exhibition was dedicated), author visited Luxor and Aswan, where the surviving architectural objects created by representatives of ancient civilization were filmed: Karnak and Luxor temple. Along the way, a number of genre shots were taken.

Despite the fact that more than 80% of photographs from previous photo exhibitions held under the same name at the Central Artist's House (2005) and the Simferopol Art Museum (2006) were replaced by new ones, the press and television have ignored the event, apparently deciding that the new exposition is identical to the two previous ones.

Wikisource

 * Viktor Pinchuk «Один день в египетской деревне» (in ru) — one day from the history of creation an exhibition.

authors: Виктор Пинчук


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Talk:Chinese Tractor Maintenance/TY395

Yuchai crawler
I own a YCT3065s-3 Yuchai crawler. I've been trying to locate parts for this paticular crawler since 2021, with no luck. I am hoping someone out there can share information on who or where I can locate a Constant Flux Pump (steering hydraulic pump) for this crawler? Per the manual I've got, the '''part number is CBT1-E306HL. If anyone has any contact information, PLEASE,,,,reach out to me at lsmith00101@gmail.com.''' 2001:5B0:49CB:1158:A15F:3AB6:E4BB:C298 (discuss) 21:27, 21 October 2022 (UTC)

title: Talk:Chinese Tractor Maintenance/TY395


text:
User:Kagsa lang

Kagsa

title: User:Kagsa lang


text:
User:Ineuw/vector.js

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User talk:137.101.90.113

Hello, and Wikibooks! Thank you for your contributions; however, please remember the essential rule of respecting s. Edits to Wikibooks may not contain material from copyrighted sources unless used with permission. It is almost never okay to copy extensive text out of a book or website and paste it into a Wikibooks page with little or no alteration, though you can clearly and briefly quote copyrighted text in the right circumstances. Content that does not comply with this legal rule must be removed. For more information on this, see:
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I hope you enjoy editing Wikibooks! Please sign your name on talk pages using four s ( ~ ); this will automatically produce your name and the date. Again, welcome! --SHB2000 (discuss • contribs) 11:43, 22 October 2022 (UTC)

title: User talk:137.101.90.113


text:
Women's Writing Before Woolf: A Social Reference/Louise Schleiner

Louise Schleiner, born January 1st, 1943, was a Professor and scholar of women's writing and poetry. She was the Director of Graduate Studies at Washington State University and was a well-respected figure in her field. She also studied and wrote on topics of Shakespeare, and the renaissance period. She authored several books on women's writing and empowerment during her life, including 'Cultural Semiotics, Spenser, and the ‘Captive Woman  .'' Schleiner died on the 22nd of February in the year 2000, after a long battle with Ovarian Cancer.

Biography
Louise Schleiner was born on January 1st, 1943 to Louis and Mary Gittings in Jacksonville Florida, USA. She had one brother, Robert Gittings. Schleiner was married to Winfried Schleiner where they lived in their hometown of Davis, California. They had three children together during their marriage. Louise birthed three daughters, Emily, Anne-Marie, and Christa.

Schleiner was a student at Queens College (N.C) in 1964 where she graduated with a B.A, at Emory University in 1965. Soon, after, she graduated with a M.A in Comparative Literature and achieved her Ph. D in English at Brown University in 1973. Schleiner was a very respected scholar of women’s writing, poetry, reviewer, an author, and a professor. She contributed a great amount of knowledge and perspective to many globally through her works in English and women’s studies.

Schleiner died of ovarian cancer on 22nd February 2000, at age 57 after a long and hard battle with cancer. Her body resides at Davis, Yolo County, California, USA at the Davis Cemetery, where she was buried.

Religion
Louise Schleiner’s memorial service was held at 12pm on Saturday February 26th, 2000. It was held at “the Neuman Centre in Davis. A memorial Mass was held at 12pm on March 6th, 2000, at the Sacred Heart Catholic Church in Pullman.” (Moscow-Pullman, 2000). Two books Louise was passionate about publishing were, “Bible stories for Grownups and Spirit Colors Wrinkled in Time: Tales and Meditations.” (Schleiner 1999) These books were written about her time spent battling cancer and speaks of her struggles in hospital and how faith, bible stories and meditations during that time were relevant to her. Louise was interested in many activist groups such as:

 * Jubilee Justice Equality in Priesthood
 * Centering Meditation and Spirituality
 * Full Welcome of Gay/lesbian Catholics
 * Free Speech for Church Employees
 * Free Speech for the American College of Bishops
 * Free Speech for Catholic Presses

(Schleiner 1999).

Works
Lousie Schleiner published 3 books, 5 poems and many articles in her lifetime, along with writing many book reviews and articles. Her last book that was submitted/ in progress “Spirit Colors Wrinkled in Time: Tales and Meditations,” a book of meditations and poems,” (Schleiner,1999) she wrote about her time battling ovarian cancer and her journey to being diagnosed and treated. Even in her last years she pushed to continue doing what she loved, writing. She participated in many talks, discussions, and presentations. Many of her articles empower women to speak on topics of women’s writing, gender, ideology, postmodern theory, semiotics, Tudor, and Stuart women’s writers to further continue her ideas and works, these were some of her works that were still in progress at the time of her death.

Books
 Cultural Semiotics, Spenser, and the ‘Captive Woman’:  London & Toronto: Lehigh UP/ Associated University Presses, 1995.

Reviews: Lawrence Manley, “Recent Studies in the English Renaissance,” SEL 36 (1996): 245-46; Raphael Falco, SN 27.3 (1996); and Stephen M. Buhler, RenQ 50, 3 (1997): 901-03.

''T udor and Stuart Women Writers. '' Bloomington: Indiana UP, 1994. Reviews: Mary Ellen Lamb, Sidney Newsletter & Journal 13 (1995); Lawrence Manley, “Recent Studies in the English Renaissance,” SEL 36 (1996): 215-16; Mary Papazian, SCJ 27 (1996); Rosemary Kegl, TSWL 15 (1996); brief notice, Anne LeCercle, Etudes Anglaises 49 (1996); Janet Clare RES 48 (1997); Margaret Arnold RenQ 50, 2 (1997); and Carolyn D. Williams, MLR 93.2 (1998): 471-72.

'' The Living Lyre in English Verse from Elizabeth through the Restoration. '' Columbia: U of Missouri P, 1984.

Reviews: in RenQ (twice), GHJ, JEGP, Music and Letters, Michigan Quarterly Review, The Eighteenth Century: an Annual Review (1985), and Style, respectively by Derek Attridge, Eugene Cunnar, Diane McColley, Hallett Smith, Christopher Wilson, Alan Shaw, Betty Rizzo, and Susanne Woods. Plus paragraphs in the SEL annual ‘Renaissance’ review essay, for 1985 (R. Helgerson), & in Virginia Quarterly Review 61, #3 (1985). Continued favorable notice, e.g. in Linda P. Austern, review of Winifred Maynard, Elizabethan Lyric Poetry and its Music, in MP 86 (1989): 294-96. (Schleiner,1999).

Poems
“Naomi and Ruth,” Daily Star “Literature,” page 6 of “Business,” Dhaka, Bangla Desh, Aug. 30, 1997.                                                                                “The Way in from the Suburbs,” Fugue 16, Winter, 1998 (Moscow, ID: U of Idaho P): 58-62. “Poet Places,” In Other Words: an American Poetry Anthology, ed. Leslie James (Denver: Western Reading Services, 1998): 65. “Solomon and the Queen of Sheba,” dis/content, 1:3, November 1998, Washington State University, English Department. “Words Renewed,” dis/content, 2:2, February 1999. (Schleiner,1999).

Reputation/Legacy
Louise Schleiner was loved by many, due to her many academic positions at different universities she taught many students leaving a legacy behind as a professor of English, a poet, a feminist writer, author, scholar, reviewer, and researcher. She is known as a women’s literary writer whose works, and teachings surrounded and supported the study and teaching of women’s writing. She studied and wrote on topics of early, modern to contemporary, Shakespeare, and the renaissance period, writing on topics of women in history. Washington State University have created the "Louise Schleiner Memorial Award" (Moscow-Pullman, 2000) in her memory for the English and Literature department to award scholarships and awards to graduate students to further their studies in a field that Schleiner taught and encouraged her students to further education.


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Cookbook:Elephant Grass

Elephant grass, also called Napier grass, Uganda grass, or achara, refers to Cenchrus purpureus or Pennisetum purpureum, an edible grass native to African grasslands.

Characteristics
Elephant grass has a thick, rounded stalk with tinges of purple. It is somewhat similar to sugarcane in appearance. The edible inner shoots are similar in both texture and mild flavor to asparagus shoots.

Preparation
The young, tender shoots and leaves are the edible portion for humans, and the outer layer should be peeled away to access the tender interior. Discard any part of the young shoot that is too tough to easily break into pieces.

Use
The grass is typically cooked in soups and stews, especially in Igbo regions of Nigeria.

title: Cookbook:Elephant Grass


text:
Salute, Jonathan! (Novlingue)

'''Salute, Jonathan! Novlingue by the Direct Method'''

Unesmi monate-kin (1 monate-kin)
U home standa in u urbe. E home skripta u diarie. E home vida u urbe.

Ob e home standa in u urbe? Jes, le standa in u urbe.

Ob e home standa in u home? No, le no standa in u home. Le standa in u urbe.

Ob e home standa in u trene? No, le no standa in trene. Le standa in u urbe. E home standa in u urbe.

Ob e home skripta u diarie? Jes, le skripta u diarie.

Ob e diarie skripta e home? No, e diarie no skripta e home. U diarie no skripta. U home skripta. E home skripta e diarie.

Ob e urbe vida e home? No, e urbe no e home. U urbe no vida. U home vida. Ob e home vida e urbe? Jes, e home vida e urbe.

Ki-lok es e home? Le standa in u urbe. Ku skripta e home? Le skripta u diarie. Ku vida e home? le vida u urbe. Le standa in u urbe, mo le skripta u diarie, mo le vida u urbe.

Ob e home standa in u diarie? No, le skripta in u diarie. Ob e home vida u home? No, le no vida u home; le vida u urbe.

E home es grandi. E home es boni, mo e home es inteligenti. Le pensa. Le pensa pri e urbe. Le pensa: "Ku es e urbe? Ob e urbe es boni? Ob e urbe es grandi?"

Ob e home skripta u urbe? No, le no skripta u urbe; u urbe es grandi. Le skripta u diarie; u diarie es nograndi. Ob e diarie pensa pri e home? No, u diarie no pensa. U home pensa. Le pensa pri e diarie, mo pensa pri e urbe. Mo le skripta in e diarie. Le skripta pri e urbe. Le skripta: "E urbe es boni, mo e urbe es grandi". Le pensa: "E urbe es boni"; le pensa ke e urbe es boni. Le pensa: "Ti urbe es grandi"; e pensa ke e urbe es grandi. Le pensa prj e urbe, mo le pensa pri e diarie. Ku es e diarie? E diarie es ki-lok e home skripta; le skripta in e diarie. In e diarie, e home skripta pri e urbe. In e diarie e home no skripta pri e trene; e home standa in e urbe, no in e trene. Le no pensa pri e trene; le pensa pri e urbe, e urbe de-noma Munich. Ku es e urbe? Le es Munich. Ki-lok es Munich? Le es ki-lok e home standa. Ki-lok es e home? Le es in Munich Jes, Munich es u grandi urbe, mo u boni urbe. E home pensa ke Munich es u boni urbe, mo le pensa ke le es u grandi urbe. E home es inteligenti. Le dira: "Salute, Munich!" Le es u boni home!

E home standa mo pensa: "Ki-lok es e trene?" Le vida. Le vida e trene! Le pensa: "E trene!" Nun, le no pensa pri e diarie mo le no pensa pri e urbe; le pensa pri e trene!

Duesmi monate-kin (2 monate-kin)
Nun e home es in e trene. Le no es in Munich, le es in u trene. Le viaja. Le pensa: "Nun me viaja de Munich a Vienna. Le es u boni viaje. Me ama viajes".

title: Salute, Jonathan! (Novlingue)


text: Category:Book:Salute, Jonathan! (Novlingue)


text:
Basics of fine-art photography/January in Japan

January in Japan — the tenth personal exhibition of traveler and photographer Viktor Pinchuk, were held at the Central Museum of Taurida (Simferopol). The opening took place on October 7, 2013. The exposition, which included 45 works, introduced connoisseurs of photographic art and representatives of the press who were present at the ceremony to the sights of islands Shikoku, Honshu and Enoshima, which the author managed to visit during the short period of validity of visa.

Backstory
The two-week trip took place in the "hobo tour" format. In order to collect photographic material, crimean thrill-seeker traveled through winter Japan using the kiseru method; he slept on technical floors of buildings, under the elevator of the student dormitory, in a cemetery, even in a police station, and once, by coincidence, stayed overnight at home of local TV cameraman. The result was worth the effort: in addition to imported photographic collection, the author published a series of articles about the country, which never ceases to amaze us today, as it did in past centuries. Later a brochure "Japan for free" created in the genre of travel notes was came out.

authors: Виктор Пинчук


text:
Emerging Technologies in Transportation Casebook/EV Charging

EV Charging
This casebook reviews Electric Vehicle Charging. It is the collaborative work of George Lu, Melanie Weiland and Eyan Bantebya, graduate students enrolled in George Mason University at the time of writing. It was produced as an assignment for George Mason University's Emerging Tech, Transportation & Public Policy graduate course, taught by Dr. Jonathan Gifford.

Introduction
Since the industrialized mass-production of vehicles, crude oil has been the primary source of fuel for urban transportation. Crude oil is produced on a global scale and has maintained the cost of transportation at an economically affordable rate. However, the advantage of crude oil has declined due to the increase in oil price and increased awareness of the adverse environmental consequences of consuming fossil-based fuels. To address the issues, the transportation systems are evolving to a more economically and environmentally sustainable situation. Electric transportation systems are emerging as an attractive and viable solution.

Sales of new light-duty plug-in electric vehicles, including all-electric vehicles (EVs) and plug-in hybrid electric vehicles (PHEVs), nearly doubled from 308,000 in 2020 to 608,000 in 2021. EV sales accounted for 73% of all plug-in electric vehicle (EPV) sales in 2021. EV sales grew by 85% from 2020 to 2021, while sales of PHEVs more than doubled, with an increase of 138% over the previous year. The rapid growth in plug-in electric vehicle sales from 2020 to 2021 is remarkable in the context of overall light-duty vehicle sales, which increased by only 3% during the same period. (Energy Saver, 2022)

Federal acquisitions of EVs and the number of charging stations are increasing. The U.S. government owns more than 650,000 vehicles and purchases about 50,000 vehicles annually. In 2020, less than 1% of new federal acquisitions were electric, which more than doubled in 2021 and in 2022 agencies have acquired five times as many EVs as all of last fiscal year. Biden signed an executive order in December 2021 directing the government to purchase nearly all EV or plug-in hybrid electric models by 2027. As a lack of charging stations remains a key hurdle to wider EV adoption, congress approved nearly $5 billion over five years to give grants to states to build thousands of electric vehicle charging stations. On September 14, 2022. the US government President Joe Biden announced the approval of the first $900 million in U.S. funding to build EV charging stations in 35 states as part of a $1 trillion infrastructure law approved in November 2021. By 2030, Biden wants 50% of all new vehicles sold to be electric or plug-in hybrid electric models and 500,000 new EV charging stations. (Reuter, 2022)

Despite the rapid growth of PEV, a number of barriers still exist, such as high purchasing cost, limited driving range per charge, long charging time and lack of charging infrastructures. Among the barriers, the underdevelopment of fast charging infrastructures, particularly fast charging infrastructures, is the most significant barrier for accelerating EV’s penetration. (Zhang, 2018)

Profit of Public Charging Infrastructure
In general, the profit of a public charging station can be expressed as income minutes investment and cost of Operation and Maintenance (O&M).

Profit = Income - Investment - O & M

The Income mainly comes from the fee charged to customers. In addition, governments can also provide economic support, such as subsidies, to promote the development of public charging stations. The subsidy can be provided for both construction and operation of public charging infrastructures.

The Investment usually covers the capital needed for building the charging stations and the costs of charging units.

The O&M costs are to cover the daily operation and maintenance costs such as electricity bill, the rent of ground, and maintenance of the ground surface and charging units etc. (Zhang, 2018)

Charging Demand
The number of PEVs is the most important factor that decides the charging demand and thus affects the profitability. Increasing the number of PEVs, in general, would have positive influences on the profit since more PEVs usually lead to a higher charging demand (Schroeder and Traber, 2012). The location of charging infrastructures can also have a great influence on the charging demand. The demand in urban areas is higher than in the rural areas. (Wirges, 2012)

Charging Price
The charging price and the capacity are two main decisional factors for the charging infrastructure operators. They have an intricate relationship with charging demand and the cost for charging infrastructures. Currently, the operators mainly make profits from the price margin of electricity as well as the government subsidy on charging infrastructures. The decision of charging price is an issue that the operator should strike a balance between profit of charging stations and charging demand from EV users. (Schroeder, 2010) The charging price will also influence the expense of PEVs, and thus impact the number of PEVs.

Government Influences
The number of PEVs could influence government policies on charging infrastructure since government policies should take into account the status of the PEV market. Government can promulgate regulations and action plans on the construction and operation of charging infrastructures, in order to accelerate the investment in an area. (Yang, 2016)

Skerlos and Winebrake (2010) reviewed public policies for EV penetration in the United States and suggested that a differentiated subsidy scheme for EVs can increase EV penetration, charging infrastructure construction and social welfare.

Funding in the Infrastructure Investment Jobs Act (IIJA)
While there are many funding opportunities in the IIJA, the National Electric Vehicle Infrastructure Formula Program (NEVI Formula or NEVI), provides a significant $5 billion in funding available over 5 years to the states to establish national charging infrastructure across the U.S.

The funding is allocated through the Federal Highway Administration (FHWA). Initial program guidance issues by the FHWA at the beginning of this year required that each charging station included at least four 150 kW Direct Current Fast Chargers capable of charging four EVs at once by a 97 percent uptime on operability. Additionally, the guidance also designated the chargers to be placed along alternative fuel corridors and states should prioritize investments along the interstate highway system. Additionally, the guidance prohibits funding from going towards charging systems with proprietary charging systems.

Currently, all 50 states have submitted their initial plans for how to deploy their allocated NEVI funding and the FHWA has accepted all plans on September 27, 2022.

Density of Charging Units
Wirges et al. (2012) pointed out geographical density of charging infrastructures can affect demands of charging. When the density of charging infrastructure is high, it is hard to stay profitable. Too many charging stations in an urban area can lead to under-utilization of the charging stations and the stations cannot be operated economically. Dispersion of charging stations over rural areas would also help to alleviate the range anxiety of PEV customers.

Unit Construction Cost of Charging Units
Less unit construction cost of charging units will encourage more investments on charging infrastructures. With spending less capital on the investment, investors can anticipate more profits for return, or reduce charging prices to attract more customers.

Ground Rent and O&M Costs
The location of charging infrastructures could also influence O&M costs, which will further influence the charging prices. O&M costs are largely determined by the ground rent. The ground rent would be much higher in popular urban areas than rural areas.

Current Levels of EV Charging
Level 1 - Charges roughly 3 - 5 miles of EV range per hour and provides between 1.3 kW to 2.4 kW of power per hour. Can take over 24 hours for an empty EV battery to fully charge on a level 1 charger, however, can be a convenient option for residential spaces. Level 1 chargers are included in the purchase of an EV and are powered through an alternating current (AC).

Level 2 - Charges roughly 18 - 28 miles of EV range per hour and provides between 3 kW to 19 kW of power. Level 2 chargers are the most common form of charger for commercial spaces and are often preferred for residential areas. Require dedicated infrastructure in place to comply with the National Electric Code requirements and also powered through an alternating current (AC).

Level 3 - Unlike Level 1 and Level 2 charging, level 3 chargers are powered by a direct current (DC). DC fast charging and provide between 100 to 200 + miles of range per 30 minutes of charging. Chargers alternate between 150 kW to 350 kW of charging per hour. The max charge rate is often limited by the EV acceptance rate. Due to regulations and compliance issues, DC fast chargers are limited to commercial or industrial locations. They are most commonly found on highways or locations frequently traveled for long distance trips.

SAE J1772
This connector is the Society of Automotive Engineers standard for all Level 1 and Level 2 EV chargers.

CHAdeMO
One of the earliest forms of EV chargers deployed and developed in a joint effort among Japanese automakers. As a result, this form of charger is still commonly used among Japanese automakers and their vehicles.

Combined Charging System (CCS)
The combined charging system (CCS) was introduced after CHAdeMO. Unlike CHAdeMO, CCS allows for both alternating current and direct current charging at the same port. This connector is the preferred system for both European and American automakers and has quickly become an industry standard.

Tesla Supercharger
Unlike CHAdeMO and CCS, Tesla’s supercharger works exclusively with their own vehicles. For many years, their proprietary connector would not work with any other system. Recently, Tesla stated that it would open up its network to other EVs, however, this is still pending. Yet, despite its exclusive system, the Tesla Supercharger was vastly deployed and offers over 35,000 chargers across the globe.

Government Standards
As part of the Infrastructure Investment and Jobs Act, the Biden administration issued a Notice of Proposed Rulemaking that would require a new standard for EV charging stations with its deployment of EV charging stations through the National Electric Vehicle Infrastructure Formula Program. This standard would require any federal funding to use the combined charging system (CCS) and include adapters for all makes and models of EVs.

Wireless Charging Technology
Aside from the slow charging speeds of electric vehicles compared to filling up a tank of gas is the availability of charging stations. Even as the popularity of Electric vehicles is growing and notably Tesla having its own nationwide charging grid, there is still much work to be done in order to make finding a charging station as easy as finding a gas station. Some ideas have come up are the possibility of wireless charging for vehicles. This idea provides the possibility of seamlessly charging vehicles if they drove down the highway or as they sat parked. This would simultaneously tackle the issue of range and charging speed since a vehicle could charge as it headed towards its destination. The technology does show some positive results with some experimental data showing up to 95% efficiency for static wireless charging and 90% efficiency for dynamic wireless charging. The technology still poses great difficulty to install, with charging coils needing to be installed into existing road infrastructure which could turn out to be costly.

Effect on Electric Grid
Increased number of electric vehicles charging on the electric grid could cause stress to the grid. Likely solution to this problem could be encouraging charging during load valley intervals on the grid. Load valleys filling is a form of load management that increases off-peak loads in order to utilize the surplus capacity. This could be initiated by a signal from the utility company to fill electric load valleys and avoid overloading the electric grid during peak hours. Charging schedules at charging stations, when optimal, can increase revenues by up to 132% and reduce costs by 17.4%. However, these are less likely to be used in reality and instead real life situations would likely resemble a dynamic system. In the dynamic system the charging schedule would be set as soon as the electric vehicle plugs into the grid. A dynamic charging schedule that updates the charging rate as every electric vehicle plugs/unplugs from the grid was shown to perform better in terms of profit and cost than a dynamic schedule that did not update; with the changing dynamic charging schedule showing similar benefits to the optimal static charging schedule.

Alternative: Hydrogen Fuel Cells
Hydrogen fuel cell vehicles have been under development since the General Motors Electrovan unveiling in 1966. Hydrogen Fuel Cell Vehicles are becoming a growing alternative to electric vehicles but are limited to regions where the refueling infrastructure exists. Hydrogen Fuel Cell Vehicles also have the advantage of fueling up within 3-5 mins and a range of approximately 278 – 360 miles which matches expectations developed from consumers' use of gasoline. Study shows that users have been accepting of the technology and would be willing to switch to the technology provided the supporting infrastructure was available.


text:
Cookbook:Shiso

Shiso, also called perilla leaf or beefsteak plant, is an aromatic herb used in Japanese, Korean, and Vietnamese cooking. It is from the same family as mint.

Characteristics
Shiso leaves are heart-shaped with a toothed edge. They are commonly available in green and red-purple varieties. Both varieties are mildly astringent with flavors basil, cilantro, citrus, clove, and mint. The red leaves are typically slightly more astringent.

Korean varieties, more commonly known as perilla, are larger, broader, and rounder than Japanese shiso varieties.

Procurement and storage
Outside of east Asia, shiso leaves can be purchased at specialty Asian grocery stores, especially Japanese and Korean stores. Fresh green shiso is often available year-round, but red shiso tends to be more seasonal. It can also be sold frozen, dried, or packed in oil.

Fresh shiso leaves should be loosely wrapped in a damp cloth and kept in the refrigerated for up to a few days. Freezing will prolong their shelf life.

Use
Shiso is common in Japanese, Korean, and Vietnamese cooking. It can also be used in many of the same applications as mint, such as beverages, syrups, and frozen desserts.

Japan
In Japan, shiso is often served with sushi and sashimi, and it may separate different items in a platter. It can be used to top soups, rice, and noodles. Green shiso may be dipped in batter and fried to make shiso tempura. Red shiso is often used to color foods, such as umeboshi (pickled plums) and pickled ginger.

Korea
Korean perilla leaves can be seasoned, marinated, and served as banchan. They may also be used to wrap pieces of cooked meat, pickled into perilla kimchi, and included in kimbap.

Vietnam
Fresh shiso leaves can be included in Vietnamese spring rolls and noodle salads.

title: Cookbook:Shiso


text:
Fractals/Mathematics/LIC

line Integral Convolution (LIC):
 * visualize dense flow fields by imaging its integral curves
 * "emulates what happens when an area of fine sand is blown by strong wind" ( Zhanping Liu)

Method
 * vover domain with a input texture
 * blur (convolve) the input texture along the path lines using a specified filter kernel
 * smear out the texture along stream lines

=Dictionary=
 * the integral curve of the vector field = field line of vector field = streamline of steady ( time independent) flow
 * In mathematics, convolution is a special type of binary operation on two functions. Here discrete convolution is used

=elements= input:
 * texture, usually stationary white noise ( random texture)
 * vector field: a stationary vector field defined by a map $$v : R^2 \to R^2 $$

kernel:
 * one dimensional matrix ( array) of weights
 * with an odd kernel size to ensure there is a valid integer (x, y)-coordinate at the center of the image
 * normalized. Normalization is defined as the division of each element in the kernel by the sum of all kernel elements, so that the sum of the elements of a normalized kernel is unity. This will ensure the average pixel in the modified image is as bright as the average pixel in the original image.
 * often simple box filter
 * often symmetric (isotropic) = the convolution kernel is symmetric across its zero point.

Convolution formula ( convolution is not matrix multiplication, when kernel matrix is used )

output image = Final LIC image of input vector field. It is a smeared version of the input texture, where the direction of smearing is determined by the vector field.

vector field
Source
 * synthetic data
 * experimental data

Method
 * array of values
 * functions defining vector field

=algorithm=

General steps for LIC image:
 * For each pixel of output 2D array compute it's color
 * save complete output array as 2D static image file

Substeps performed for each pixel of LIC image:
 * choose pixel $$p_0(x,y)$$ from output array
 * go to the Vector array
 * choose value at pixel $$p_0(x,y)$$
 * find segment of local field line

dimensions

 * all images ( textures, domains) have the same dimensions =

segment of field line

 * The field lines are calculated on basis of a vector field
 * a segment of locations $$l(s) = (i, j) + sV (i, j)$$ where $$s \in \left \{-L, -L + 1, ..., 0, ..., L - 1, L\right \} $$
 * a segment of pixels intensities $$I(l(s))$$ of length 2L + 1

$$ I(i,j) \to O(i,j)$$

tuple
In mathematics, a tuple is a finite ordered list (sequence) of elements.

Properties The general rule for the identity of two $n$-tuples is
 * $$(a_1, a_2, \ldots, a_n) = (b_1, b_2, \ldots, b_n)$$ if and only if $$a_1=b_1,\text{ }a_2=b_2,\text{ }\ldots,\text{ }a_n=b_n$$.

Thus a tuple has properties that distinguish it from a set:
 * 1) A tuple may contain multiple instances of the same element, so tuple $$(1,2,2,3) \neq (1,2,3)$$; but set $$\{1,2,2,3\} = \{1,2,3\}$$.
 * 2) Tuple elements are ordered: tuple $$(1,2,3) \neq (3,2,1)$$, but set $$\{1,2,3\} = \{3,2,1\}$$.
 * 3) A tuple has a finite number of elements, while a set or a multiset may have an infinite number of elements.

weighted mean
Color of output pixel is computed using weighted mean

The weighted mean of a non-empty finite tuple of:
 * data $$\left( x_1, x_2, \dots, x_n \right)$$,
 * corresponding non-negative weights $$\left( w_1, w_2, \dots, w_n \right)$$

is

 * $$\bar{x} = \frac{ \sum\limits_{i=1}^n w_i x_i}{\sum\limits_{i=1}^n w_i} = \frac{w_1 x_1 + w_2 x_2 + \cdots + w_n x_n}{w_1 + w_2 + \cdots + w_n}$$

Therefore, data elements with a high weight contribute more to the weighted mean than do elements with a low weight.

The weights cannot be negative. Some may be zero, but not all of them (since division by zero is not allowed).

=versions=

line Integral Convolution (LIC)
 * Oriented Line Integral Convolution (OLIC)
 * Fast Rendering of Oriented Line Integral Convolution ( FROLIC)

=Implementation=
 * GPU-Based-Image-Processing-Tools by RaymondMcGuire in python
 * LIC (Line Integral Convolution) principle and Python implementation
 * github
 * LicPy

=References=

title: Fractals/Mathematics/LIC


text:
User:DarkMatterMan4500/sandbox

TBA. --DarkMatterMan4500 (discuss • contribs) 11:24, 23 October 2022 (UTC)

title: User:DarkMatterMan4500/sandbox


text: Template:Hello, Jonathan!

title: Template:Hello, Jonathan!


text:
Salute, Jonathan!/Templates

This page contains templates related to the Salute, Jonathan! book, and her translations.

Templates

 * Template:Salute, Jonathan!

title: Salute, Jonathan!/Templates


text:
User talk:2601:40B:8502:6680:E44B:D010:8F18:D02B

JackPotte (discuss • contribs) 14:29, 23 October 2022 (UTC)

= Papuanvierskty skg / Scorpions =

1.  Press here to click the facts about the Thicktail Scorpion and find out how lethal it is.
Scorpions have elvoed humans.

The facts about lethal scorpions
Fact: In Europe, the Common Yellow Scorpion is not dangerous,  but here in Southern Africa,  this scorpion has been known to be very potent. Somewhere in Southern Africa, Parabuthus transvaalicus,  Parabuthus villosus,  Parabuthus granulatus,  and Parabuthus capensis, all known in the Parabuthus family,  have been all known to cause human deaths.

Gallery
= Deadliest scorpions in the world = This is some of the most deadliest scorpions in the world.

Black Fattail Scorpion
Scientific name: Androctonus bicolor

Link:  African snakebite