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He leads her to regress ever further in time and to speak previously unknown tongues. However, Veronica's health begins to decline from exhaustion. Dominic declares that he cannot continue these sessions, or even remain close to Veronica.
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His proximity to her is accelerating her age. Over the objections of both Veronica and the "Other", he leaves. Despairing, Dominic returns to the town where he taught as a professor.
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His alter ego appears to him in a mirror and reveals the future of mankind. Nuclear warfare will unleash an electromagnetic pulse, giving birth to a new, and powerful human species. Dominic is this species' first member.
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Veronica symbolised the dawn of man, and he stood for the dusk. Outraged at the idea of sacrificing millions of lives in the name of evolution, Dominic shatters the mirror. Without the mirror, the "Other" vanishes.
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In its final moments, it yells incoherently in an unfamiliar language. In the morning, townsfolk find Dominic's body, lying dead at the bottom of a staircase. As Veronica's voice is heard echoing "Where do you want me to put the third rose? ", the rose appears in Dominic's lifeless grasp.
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Tim Roth as Dominic Matei Alexandra Maria Lara as Laura, Veronica Bruno Ganz as Professor Stanciulescu André Hennicke as Josef Rudolf Marcel Iureș as Professor Giuseppe Tucci Adrian Pintea as Pandit Matt Damon as Ted Jones, a reporter for Life magazine Alexandra Pirici as the woman in Room 6
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The film's soundtrack was composed by Osvaldo Golijov
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The film was released on October 26, 2007 in Italy. The original runtime was 210 minutes, then cut down to 170, then cut down to 140 minutes, Walter Murch then cut it down to the desired 124 minutes. It was released on Blu-ray and DVD on May 13, 2008.
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Youth Without Youth grossed $244,397 in North America and $2.4 million in other countries for a worldwide total of $2.6 million.
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As of December 2020, the film holds a 32% approval rating on the review aggregator Rotten Tomatoes, based on 106 reviews with an average rating of 4.80/10. The site's critical consensus reads, "Although visually appealing, Coppola's latest film mixes too many genres with a very confusing plot." On Metacritic, the film has a weighted average score of 43 out of 100, based on 29 critics, indicating "mixed or average reviews".
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The New York Times gave it high praise, writing, "In this film Mr. Coppola blurs dreams and everyday life and suggests that through visual and narrative experimentation he has begun the search for new ways of making meaning, new holy places for him and for us.". Variety, however, was "disappointed" by the "mishmash plotting" and "stilted script". Rex Reed panned the film, writing, "You know a movie is doomed when the only star in it is Tim Roth.
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You know it's pretentious when the ads print the logo backward and upside down. Not one word of this bilge makes one lick of sense, and it is two hours and six minutes long. The only way to survive Youth Without Youth is dead drunk."
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Roger Ebert of the Chicago Sun-Times gave the film one-and-a-half out of four stars, stating that "here is such a thing as a complex film that rewards additional viewing and study, but "Youth Without Youth," I am afraid, is no more than it seems: a confusing slog through metaphysical murkiness. "In 2016, Scout Tafoya of RogerEbert.com included the film in his video series "The Unloved", where he highlights films which received mixed to negative reviews that he believes to have artistic value. He stated that Coppola "made a film he would have wanted to see, with energy borrowed from his heroes.
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But this film is all him, really. What other major American director would throw out studio money just to scamper around Europe re-living the years of his father's prime? .... I saw the human struggling to change the world through his work, and the ways in which he failed himself, and I felt for him. "The film was nominated for Best Cinematography at the 23rd Independent Spirit Awards.
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Happiness Curriculum is an educational program for children studying in nursery to grade eight in schools run by the Government of Delhi since July 2018. The objective is to improve the mental well-being of pupils, and it teaches mindfulness, social-emotional learning, critical thinking, problem solving, and relationship building. Its purpose is to build emotional awareness, to support decision making with that emotional awareness, to equip pupils with the necessary skills and environment to become purpose-driven, and explore a nuanced idea of happiness. The introduction of the curriculum into government schools of Delhi has been called a reformative step towards school education in India.
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The idea for the curriculum was laid out by Deputy Chief Minister of Delhi Manish Sisodia, who is also the education minister of the state. It was developed with the help of government experts and the State Council of Educational Research and Training.
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The curriculum is mostly based on the "Happiness Triad" concept of philosopher Agrahar Nagraj Sharma. Taking inspiration from the curriculum, Indian states Andhra Pradesh and Uttarakhand, and Afghanistan, Nepal, and the United Arab Emirates are preparing to implement similar programs. In response to the COVID-19 pandemic and a subsequent nationwide lockdown in India, the curriculum is being delivered to pupils and their parents via interactive voice response calls and live YouTube classes.
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The idea of introducing a curriculum that addresses challenges of modern society was developed by the Deputy Chief Minister of Delhi Manish Sisodia in 2017. This curriculum was later named the Happiness Curriculum. A team of 40 professionals includes teachers from Government of Delhi schools, psychologists, education consultants, volunteers and the State Council of Educational Research and Training.
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This team also included senior officials from the Directorate of Education, Government of Delhi and people from various NGOs. The curriculum was launched on 2 July 2018. The launch ceremony was attended by the 14th Dalai Lama, and the Chief Minister of Delhi Arvind Kejriwal. School officials and teachers from more than 1,000 public schools across Delhi were present at the launch.Dream a Dream a non-governmental organization anchored the curriculum in collaboration with other NGOs like Abhibhavak Vidyalaya, Circle of Life, Blue Orb Foundation and Labhya Foundation. As an anchor, Dream a Dream, supported in content development of the curriculum, engaged and provided capacity building sessions for Mentor Teachers and helped in developing an assessment tool to measure the implementation and impact of the curriculum on students and teachers.
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The curriculum is based on philosophies of thinkers and educationists such as Mahatma Gandhi, Rabindranath Tagore and Jiddu Krishnamurthy. It is primarily based on the concept of the "Happiness Triad" proposed by philosopher Agrahar Nagraj Sharma, according to which there are three components of happiness – momentary happiness, long term happiness and sustainable happiness. It is also based on Nagraj's concept of "coexistential thought" (Madhyasth Darshan), which is about simplicity, generosity, kindness and benevolence in the pursuit of happiness. The curriculum also includes concepts about self and relationships with family, society and nature.The curriculum is laid out according to the guidelines of the National Curriculum Framework 2005. It is a grade-specific curriculum for all pupils from nursery to grade eight in schools run by the Government of Delhi.
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The curriculum employs techniques such as mindfulness, reflective stories, interactive activities, and expression to equip pupils with the necessary skills and mindsets to answer the following questions: What makes me happy? How can I be an instrument in other people's happiness? Teachers use a manual to help pupils explore these questions, whose aim is to enable them to understand the relationship between their thoughts, emotions and themselves, their families, their environment and the society at large. The learning outcomes of the curriculum are awareness and focus, critical thinking and reflection, social-emotional skills, and a confident and pleasant personality
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The Government of Delhi has established a committee with 200 mentors to manage the curriculum's classes in its schools. The curriculum for all the grades is activity-based with no formal examination or textual reading material. No grades are given; assessments are predominantly qualitative.The curriculum's modules are progressive: pupils explore themes more in depth as they move to higher grades. There are separate activities, stories, expressions, reflective questions and mindfulness activities for each grade from nursery to eight. Lessons include learning to be aware of one's emotions in nursery and understanding the purpose of one's body and one's self in grade eight.
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The program is run in over a thousand Government of Delhi schools; according to Sisodia, "Mindfulness is practised by all 16 lakh pupils everyday". Many teachers and parents have reported the pupils' interest in academics and their behaviour has improved because of the curriculum.Dream a Dream in partnership with Brookings Institution conducted a pilot study in the year 2019 to design an assessment tool for Happiness Curriculum (HC) and published a report. The study was designed to complete the first step toward an evaluation of the program that would provide information to schools, nongovernment organization implementers, and government agencies concerning student and teacher adoption of the desired outcomes of the HC. To understand and assess the impact of the Happiness program, The two surveys were developed—one for students and one for teachers—reflecting factors aligned to the Happiness Curriculum objectives and learning outcomes.
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For future anticipated use in evaluation studies, the two surveys provided a basis to capture student and teacher functioning on various factors. The report developed in collaboration with Brookings Institution and Dream a Dream reflects: Impact on Students: Better relationship with teachers, increased participation inside the classroom and increased focus and mindfulness among students. Impact on Teachers: Priorities values over academic success, changing teaching orientation and increased collaboration among teachers.
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The curriculum was praised by several media outlets, including Le Monde, World Economic Forum, and NPR, and was called a reformative step towards school education in India. Happiness classes have been visited by several institutional heads, academicians, officials from education departments of other state governments in India and abroad. Versions of the curriculum have been adopted by Indian states Andhra Pradesh and Uttarakhand. Afghanistan, Nepal, and the United Arab Emirates are also preparing to implement similar programs.At the first anniversary celebration of the curriculum in July 2019, the Chief Justice of India Ranjan Gogoi praised it. During her visit to India, on 25 February 2020, the First Lady of the United States Melania Trump visited a happiness class at a school run by the Government of Delhi.One of the many designers of the curriculum, working under the name Labhya Foundation, won the Harvard Social Impact Fund Competition of 2020.
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On 5 March 2020, the Government of Delhi issued orders to shut all of its primary schools to tackle the spread of COVID-19. This order was later extended to all educational institutions in the state. On 25 March, the Government of India announced a nationwide lockdown, and with increased stress and anxiety during the lockdown, delivery and execution of the Happiness Curriculum was taken to homes. Each parent received interactive voice response calls to guide them with "Happiness" activities, stories, and mindfulness practices.
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https://en.wikipedia.org/wiki/Happiness_Curriculum
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The École nationale supérieure des sciences de l'information et des bibliothèques (ENSSIB; French for National Superior School of Information Science and Libraries) is a French grande école based in Villeurbanne, near Lyon. It is administered by the Ministry of Higher Education, Research and Innovation.Enssib's predecessor, the École nationale supérieure de bibliothécaires, was established by decree in 1963 as an Établissement public à caractère administratif. The contemporary Enssib was formed by later decree in 1992, with elevated status as a grand établissement.It provides education and training for library curators and librarians in the French civil service after a competitive examination.
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The school is also a member of the University of Lyon and grants a variety of master's degrees, open to those not in the civil service. Since 2009, the school publishes the Bulletin des bibliothèques de France (ISSN 1292-8399), a journal established in 1956 by the merging of the Bulletin de documentation bibliographique and Bulletin d’information de la Direction des Bibliothèques de France. The school belongs to the Couperin consortium.
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https://en.wikipedia.org/wiki/Bulletin_des_bibliothèques_de_France
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Printing in East Asia originated from the Han dynasty (220 BCE – 206 CE) in China, evolving from ink rubbings made on paper or cloth from texts on stone tables used during the Han. Printing is considered one of the Four Great Inventions of China that spread throughout the world. A specific type of printing called mechanical woodblock printing on paper started in China during the Tang dynasty before the 8th century CE. The use of woodblock printing spread throughout East Asia, and the idea of printing perhaps spread to Europe and the Western World, where German publisher and inventor Johannes Gutenberg improved on the design with the introduction of the mechanical press in the mid-15th century.
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As recorded in 1088 by Shen Kuo in his Dream Pool Essays, the Chinese artisan Bi Sheng invented an early form of movable type using clay and wood pieces arranged and organized for written Chinese characters. The use of metal movable type was known in Korea by the 13th century during the Goryeo period. In Korea the first movable types date from 1239/1240.
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A further discovery was made in 2009, and here the types were dated to the year 1377. From the 17th century to the 19th century in Japan, woodblock prints called ukiyo-e were mass-produced, which influenced European Japonisme and the Impressionists. The European-style printing press became known in East Asia by the 16th century but was not adopted. Centuries later, mechanical printing presses combining some European influences were adopted, but then replaced with newer laser printing systems designed in the 20th and 21st centuries.
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Woodblock printing started in China in 593 CE. Traditionally, there have been two main printing techniques in East Asia: woodblock printing (xylography) and moveable type printing. In the woodblock technique, ink is applied to letters carved upon a wooden board, which is then pressed onto paper.
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With moveable type, the board is assembled using different lettertypes, according to the page being printed. Wooden printing was used in the East from the 8th century onwards, and moveable metal type came into use during the 12th century.The earliest specimen of woodblock printing on paper, whereby individual sheets of paper were pressed into wooden blocks with the text and illustrations carved into them, was discovered in 1974 in an excavation of Xi'an (then called Chang'an, the capital of Tang China), Shaanxi, China. It is a dharani sutra printed on hemp paper and dated to 650 to 670 CE, during the Tang dynasty (618–907).
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Another printed document dating to the early half of the Chinese Tang dynasty has also been found, the Saddharmapunṇḍarīka sutra or Lotus Sutra printed from 690 to 699.In Korea, an example of woodblock printing from the eighth century was discovered in 1966. A copy of the Buddhist Dharani Sutra called the Pure Light Dharani Sutra (Korean: 무구정광대다라니경; Hanja: 無垢淨光大陀羅尼經; RR: Mugu jeonggwang dae darani-gyeong), discovered in Gyeongju, South Korea in a Silla dynasty pagoda that was repaired in 751 CE, was undated but must have been created sometime before the reconstruction of the Shakyamuni Pagoda of Bulguk Temple, Kyongju Province in 751 CE. The document is estimated to have been created no later than 704 AD.
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The manuscript is transcribed onto thin slightly waxed sheets of paper by a professional calligrapher. The wax prevents the ink from being as readily absorbed into the paper, allowing more ink to be absorbed onto another surface. The paper is placed ink side down onto a wooden block on which a thin layer of rice paste has been thinly spread. The back of the paper is rubbed with a flat palm-fibre brush so that the wet rice paste absorbs some of the ink and an impression of the inked area is left on the block.
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The engraver uses a set of sharp-edged tools to cut away the uninked areas of the wood block in essence raising an inverse image of the original calligraphy above the background. While carving, the knife is held like a dagger in the right hand and guided by the middle finger of the left hand, drawing towards the cutter. The vertical lines are cut first, then the block is rotated 90 degrees and the horizontal lines cut.Four proof-readings are normally required – the transcript, the corrected transcript, first sample print from block and after any corrections have been made.
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A small correction to a block can be made by cutting a small notch and hammering in a wedge-shaped piece of wood. Larger errors require an inlay.
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After this the block is washed to remove any refuse. To print, the block is fixed firmly on a table. The printer takes a round horsehair inking brush and applies ink with a vertical motion.
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The paper is then laid on the block and rubbed with a long narrow pad to transfer the impression to the paper. The paper is peeled off and set to dry. Because of the rubbing process, printing is only done on one side of the paper, and the paper is thinner than in the west, but two pages are normally printed at once.
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Sample copies were sometimes made in red or blue, but black ink was always used for production. It is said that a skilled printer could produce as many as 1500 or 2000 double sheets in a day. Blocks can be stored and reused when extra copies are needed. 15,000 prints can be taken from a block with a further 10,000 after touching up.
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In 764 the Empress Kōken commissioned one million small wooden pagodas, each containing a small woodblock scroll printed with a Buddhist text (Hyakumantō Darani). These were distributed to temples around the country as thanks for the suppression of the Emi Rebellion of 764. These are the earliest examples of woodblock printing known, or documented, from Japan.In the Kamakura period from the 12th century to the 13th century, many books were printed and published by woodblock printing at Buddhist temples in Kyoto and Kamakura. In Japan, from the Edo period in the 1600s, books and illustrations were mass-produced by woodblock printing and spread among the common people.
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This was due to economic development and a very high literacy rate for the time. The literacy rate of the Japanese in the Edo period was almost 100% for the samurai class and 50% to 60% for the chōnin and nōmin (farmer) class due to the spread of private schools terakoya. There were more than 600 rental bookstores in Edo, and people lent woodblock-printed illustrated books of various genres.
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The content of these books varied widely, including travel guides, gardening books, cookbooks, kibyōshi (satirical novels), sharebon (books on urban culture), kokkeibon (comical books), ninjōbon (romance novel), yomihon, kusazōshi, art books, play scripts for the kabuki and jōruri (puppet) theatre, etc. The best-selling books of this period were Kōshoku Ichidai Otoko (Life of an Amorous Man) by Ihara Saikaku, Nansō Satomi Hakkenden by Takizawa Bakin, and Tōkaidōchū Hizakurige by Jippensha Ikku, and these books were reprinted many times.From the 17th century to the 19th century, ukiyo-e depicting secular subjects became very popular among the common people and were mass-produced. ukiyo-e is based on kabuki actors, sumo wrestlers, beautiful women, landscapes of sightseeing spots, historical tales, and so on, and Hokusai and Hiroshige are the most famous artists. In the 18th century, Suzuki Harunobu established the technique of multicolor woodblock printing called nishiki-e and greatly developed Japanese woodblock printing culture such as ukiyo-e. Ukiyo-e influenced European Japonism and Impressionism. In the early 20th century, shin-hanga that fused the tradition of ukiyo-e with the techniques of Western paintings became popular, and the works of Hasui Kawase and Hiroshi Yoshida gained international popularity.
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Printing was also promoted by the spread of Buddhism. The Buddhist scroll known as the "Great Dharani Sutra of Immaculate and Pure Light" or "Spotless Pure Light Dharani Sutra" (Korean: 무구정광대다라니경; Hanja: 無垢淨光大陀羅尼經; RR: Mugu jeonggwang dae darani-gyeong). It was published in Korea before the year 751 CE during the Silla Kingdom. This Great Dharani Sutra, as it is called, was found inside the Seokga Pagoda of Bulguksa Temple in Gyeongju, Korea, in October 1966 within the Seokgatap (Korean: 석가탑; Hanja: 釋迦塔) while dismantling the tower to repair it.
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Many sari (religious relics) were found with the prints. It was once considered the oldest extant woodblock print, however archaeological discoveries since 1966 have pushed the earliest printed texts earlier in China.
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One row of the dharani gyeongmun (dharani scriptures) 8–9 is printed in the form of a roll. Tripitaka Koreana was printed between 1011 and 1082. It is the world's most comprehensive and oldest intact version of Buddhist canon. A reprint in 1237–51 used 81,258 blocks of magnolia wood, carved on both sides, which are still kept almost intact at Haeinsa. A printing office was established in the National Academy in 1101 and the Goryeo government collection numbered several tens of thousands.
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The idea of the printing press expanded from East Asia to the Western World, starting in China's Xiyu or Western Regions (西域 historically territories covering Xinjiang and parts of Central Asia that were ruled by the Han and Tang dynasties). In the Xiyu, printing in the Uyghur language appeared in about 1300, with the page numbers and descriptions are in Chinese characters. Both blocks and moveable type printing has been discovered at Turfan as well as several hundred wooden type for Uighur. After the Mongols conquered Turfan, a great number of Uighurs were recruited into the Mongol army.
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After the Mongols conquered Persia in the middle of the 13th century, paper money was printed in Tabriz in 1294, following the Chinese system. A description of the Chinese printing system was made by Rashid-al-Din Hamadani in 1301–11 in his history (see Rashid-al-Din Hamadani#Book transmission: printing and translation). Some fifty pieces of Medieval Arabic blockprinting have been found in Egypt printed between 900 and 1300 in black ink on paper by the rubbing method in the Chinese style. Although there is no transmission evidence, experts believe this originated from China.According to the American art historian A. Hyatt Mayor, "it was the Chinese who really discovered the means of communication that was to dominate until our age." Both woodblock and movable type printing were replaced in the second half of the 19th century by western-style printing, initially lithography.
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Bi Sheng (畢昇) (990–1051) developed the first known movable-type system for printing in China around 1040 AD during the Northern Song dynasty, using ceramic materials. As described by the Chinese scholar Shen Kuo (沈括) (1031–1095): When he wished to print, he took an iron frame and set it on the iron plate. In this he placed the types, set close together. When the frame was full, the whole made one solid block of type.
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He then placed it near the fire to warm it. When the paste was slightly melted, he took a smooth board and pressed it over the surface, so that the block of type became as even as a whetstone.For each character there were several types, and for certain common characters there were twenty or more types each, in order to be prepared for the repetition of characters on the same page. When the characters were not in use he had them arranged with paper labels, one label for each rhyme-group, and kept them in wooden cases.If one were to print only two or three copies, this method would be neither simple nor easy.
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But for printing hundreds or thousands of copies, it was marvelously quick. As a rule he kept two forms going. While the impression was being made from the one form, the type was being put in place on the other.
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When the printing of the one form was finished, the other was then ready. In this way the two forms alternated and the printing was done with great rapidity.In 1193, Zhou Bida, an officer of Southern Song Dynasty, made a set of the clay movable-type method according to the method described by Shen Kuo in his Dream Pool Essays, and printed his book Notes of The Jade Hall (《玉堂雜記》).Clay type printing was practiced in China from the Song dynasty through the Qing dynasty. As late as 1844 there were still books printed in China with ceramic movable types. (However, ceramic type was not used during the Ming dynasty, and it was not until the middle of the Qing dynasty that its usage revived). Ceramic type not holding Chinese ink well and distortion of the type sometimes occurring during the baking process contributed in preventing it from being popular
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Bronze movable type printing was invented in China no later than the 12th century, according to at least 13 material finds in China, in large scale bronze plate printing of paper money and formal official documents issued by Jin (1115–1234) and Southern Song (1127–1279) dynasties with embedded bronze metal types for anti counterfeit markers. Such paper money printing might date back to the 11th-century jiaozi of Northern Song (960–1127). However, problems existed in using metal type in printing text, and it was not until the late 15th century that metal movable type was widely used in China. The typical example of this kind of bronze movable type embedded copper-block printing is a printed "check" of Jin Dynasty with two square holes for embedding two bronze movable type characters, each selected from 1000 different characters, such that each printed paper money has a different combination of markers.
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A copper block printed paper money dated between 1215–1216 in the collection of Luo Zhenyu's Pictorial Paper Money of the Four Dynasties, 1914, shows two special characters one called Ziliao, the other called Zihao for the purpose of preventing counterfeit; over the Ziliao there is a small character (輶) printed with movable copper type, while over the Zihao there is an empty square hole, apparently the associated copper metal type was lost. Another sample of Song dynasty money of the same period in the collection of Shanghai Museum has two empty square holes above Ziliao as well as Zihou, due to the loss of two copper movable types. Song dynasty bronze block embedded with bronze metal movable type printed paper money was issued in large scale and in circulation for a long time.In the 1298 book Zao Huozi Yinshufa (《造活字印書法》) by the early Yuan dynasty (1271–1368) official Wang Zhen, there is mention of tin movable type, used probably since the Southern Song dynasty (1127–1279), but this was largely experimental.
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It was unsatisfactory due to its incompatibility with the inking process.During the Mongol Empire (1206–1405), printing using movable type spread from China to Central Asia. The Uyghurs of Central Asia used movable type, their script type adopted from the Mongol language, some with Chinese words printed between the pages, a strong evidence that the books were printed in China.During the Ming dynasty (1368–1644), Hua Sui in 1490 used bronze type in printing books.
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In 1574 the massive 1000 volume encyclopedia Imperial Readings of the Taiping Era (《太平御覧》) were printed with bronze movable type. In 1725, the Qing dynasty government made 250,000 bronze movable-type characters and printed 64 sets of the encyclopedic Complete Classics Collection of Ancient China (《古今圖書集成》). Each set consisted of 5040 volumes, making a total of 322,560 volumes printed using movable type.
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Wooden movable type was also first developed around 1040 AD by Bi Sheng (990–1051), as described by the Chinese scholar Shen Kuo (1031–1095), but was abandoned in favour of clay movable types due to the presence of wood grains and the unevenness of the wooden type after being soaked in ink. In 1298, Wang Zhen (王禎), a Yuan dynasty governmental official of Jingde County, Anhui Province, China, re-invented a method of making movable wooden types. He made more than 30,000 wooden movable types and printed 100 copies of Records of Jingde County (《旌德縣誌》), a book of more than 60,000 Chinese characters. Soon afterwards, he summarized his invention in his book A method of making moveable wooden types for printing books.
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This system was later enhanced by pressing wooden blocks into sand and casting metal types from the depression in copper, bronze, iron or tin. This new method overcame many of the shortcomings of woodblock printing. Rather than manually carving an individual block to print a single page, movable type printing allowed for the quick assembly of a page of text.
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Furthermore, these new, more compact type fonts could be reused and stored. The set of wafer-like metal stamp types could be assembled to form pages, inked, and page impressions taken from rubbings on cloth or paper.
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In 1322, a Fenghua county officer Ma Chengde (馬稱德) in Zhejiang, made 100,000 wooden movable types and printed 43 volume Daxue Yanyi (《大學衍義》). Wooden movable types were used continually in China. Even as late as 1733, a 2300-volume Wuying Palace Collected Gems Edition (《武英殿聚珍版叢書》) was printed with 253,500 wooden movable type on order of the Yongzheng Emperor, and completed in one year.
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A number of books printed in Tangut script during the Western Xia (1038–1227) period are known, of which the Auspicious Tantra of All-Reaching Union that was discovered in the ruins of Baisigou Square Pagoda in 1991 is believed to have been printed sometime during the reign of Emperor Renzong of Western Xia (1139–1193). It is considered by many Chinese experts to be the earliest extant example of a book printed using wooden movable type.A particular difficulty posed the logistical problems of handling the several thousand logographs whose command is required for full literacy in the Chinese language. It was faster to carve one woodblock per page than to composite a page from so many different types. However, if one was to use movable type for multitudes of the same document, the speed of printing would be relatively quicker.Although the wooden type was more durable under the mechanical rigors of handling, repeated printing wore the character faces down, and the types could only be replaced by carving new pieces. In addition, wooden type could apparently absorb moisture and the print form would be uneven when set up, and the wooden type could be more difficult to remove from the paste used in the form.
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The transition from wood type to movable metal type occurred in Korea during the Goryeo dynasty, some time in the 13th century, to meet the heavy demand for both religious and secular books. A set of ritual books, Sangjeong Gogeum Yemun were printed with movable metal type in 1234. The credit for the first metal movable type may go to Choe Yun-ui of the Goryeo Dynasty in 1234.The techniques for bronze casting, used at the time for making coins (as well as bells and statues) were adapted to making metal type. Unlike the metal punch system thought to be used by Gutenberg, the Koreans used a sand-casting method.
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The following description of the Korean font casting process was recorded by the Joseon dynasty scholar Song Hyon (15th century): At first, one cuts letters in beech wood. One fills a trough level with fine sandy of the reed-growing seashore. Wood-cut letters are pressed into the sand, then the impressions become negative and form letters .
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At this step, placing one trough together with another, one pours the molten bronze down into an opening. The fluid flows in, filling these negative molds, one by one becoming type. Lastly, one scrapes and files off the irregularities, and piles them up to be arranged.While metal movable type printing was developed in Korea and the oldest extant metal print book had been printed in Korea, Korea never witnessed a printing revolution comparable to Europe's: Korean printing with movable metallic type developed mainly within the royal foundry of the Yi dynasty.
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Royalty kept a monopoly of this new technique and by royal mandate suppressed all non-official printing activities and any budding attempts at commercialization of printing. Thus, printing in early Korea served only the small, noble groups of the highly stratified society.Nevertheless, the Korean peninsula saw the development of metal movable type, including the commissioning of 100,000 pieces of movable type and two complete fonts, by King Taejong of Joseon in 1403. A potential solution to the linguistic and cultural bottleneck that held back movable type in Korea for two hundred years appeared in the early 15th century—a generation before Gutenberg would begin working on his own movable type invention in Europe—when Koreans devised a simplified alphabet of 24 characters called Hangul, which required fewer characters to typecast.
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https://en.wikipedia.org/wiki/History_of_printing_in_East_Asia
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In Japan, the first Western style movable type printing-press was brought to Japan by Tenshō embassy in 1590, and was first printed in Kazusa, Nagasaki in 1591. However, western printing-press were discontinued after the ban on Christianity in 1614. The moveable type printing-press seized from Korea by Toyotomi Hideyoshi's forces in 1593 was also in use at the same time as the printing press from Europe. An edition of the Confucian Analects was printed in 1598, using a Korean moveable type printing press, at the order of Emperor Go-Yōzei.Tokugawa Ieyasu established a printing school at Enko-ji in Kyoto and started publishing books using domestic wooden movable type printing-press instead of metal from 1599.
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Ieyasu supervised the production of 100,000 types, which were used to print many political and historical books. In 1605, books using domestic copper movable type printing-press began to be published, but copper type did not become mainstream after Ieyasu died in 1616. The great pioneers in applying movable type printing press to the creation of artistic books, and in preceding mass production for general consumption, were Honami Kōetsu and Suminokura Soan.
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At their studio in Saga, Kyoto, the pair created a number of woodblock versions of the Japanese classics, both text and images, essentially converting emaki (handscrolls) to printed books, and reproducing them for wider consumption. These books, now known as Kōetsu Books, Suminokura Books, or Saga Books, are considered the first and finest printed reproductions of many of these classic tales; the Saga Book of the Tales of Ise (Ise monogatari), printed in 1608, is especially renowned. Saga Books were printed on expensive paper, and used various embellishments, being printed specifically for a small circle of literary connoisseurs.
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For aesthetic reasons, the typeface of the Saga-bon, like that of traditional handwritten books, adopted the renmen-tai (ja), in which several characters are written in succession with smooth brush strokes. As a result, a single typeface was sometimes created by combining two to four semi-cursive and cursive kanji or hiragana characters.
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https://en.wikipedia.org/wiki/History_of_printing_in_East_Asia
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In one book, 2,100 characters were created, but 16% of them were used only once.Despite the appeal of moveable type, however, craftsmen soon decided that the semi-cursive and cursive script style of Japanese writings was better reproduced using woodblocks. By 1640 woodblocks were once again used for nearly all purposes. After the 1640s, movable type printing declined, and books were mass-produced by conventional woodblock printing during most of the Edo period. It was after the 1870s, during the Meiji period, when Japan opened the country to the West and began to modernize, that this technique was used again.
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https://en.wikipedia.org/wiki/History_of_printing_in_East_Asia
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Despite the introduction of movable type from the 11th century, printing using woodblocks remained dominant in East Asia until the introduction of lithography and photolithography in the 19th century. To understand this it is necessary to consider both the nature of the language and the economics of printing. Given that the Chinese language does not use an alphabet it was usually necessary for a set of type to contain 100,000 or more blocks, which was a substantial investment. Common characters need 20 or more copies, and rarer characters only a single copy.
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https://en.wikipedia.org/wiki/History_of_printing_in_East_Asia
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In the case of wood, the characters were either produced in a large block and cut up, or the blocks were cut first and the characters cut afterwards. In either case the size and height of the type had to be carefully controlled to produce pleasing results. To handle the typesetting, Wang Zhen used revolving tables about 2m in diameter in which the characters were divided according to the five tones and the rhyme sections according to the official book of rhymes.
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https://en.wikipedia.org/wiki/History_of_printing_in_East_Asia
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The characters were all numbered and one man holding the list called out the number to another who would fetch the type. This system worked well when the run was large. Wang Zhen's initial project to produce 100 copies of a 60,000 character gazetteer of the local district was produced in less than a month.
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https://en.wikipedia.org/wiki/History_of_printing_in_East_Asia
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But for the smaller runs typical of the time it was not such an improvement. A reprint required resetting and re-proofreading, unlike the wooden block system where it was feasible to store the blocks and reuse them. Individual wooden characters didn't last as long as complete blocks.
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https://en.wikipedia.org/wiki/History_of_printing_in_East_Asia
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When metal type was introduced it was harder to produce aesthetically pleasing type by the direct carving method.It is unknown whether metal movable types used from the late 15th century in China were cast from moulds or carved individually. Even if they were cast, there were not the economies of scale available with the small number of different characters used in an alphabetic system. The wage for engraving on bronze was many times that for carving characters on wood and a set of metal type might contain 200,000–400,000 characters.
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https://en.wikipedia.org/wiki/History_of_printing_in_East_Asia
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Additionally, the ink traditionally used in Chinese printing, typically composed of pine soot bound with glue, didn't work well with the tin originally used for type. As a result of all this, movable type was initially used by government offices which needed to produce large number of copies and by itinerant printers producing family registers who would carry perhaps 20,000 pieces of wooden type with them and cut any other characters needed locally. But small local printers often found that wooden blocks suited their needs better.
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https://en.wikipedia.org/wiki/History_of_printing_in_East_Asia
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Mechanical presses were then invented by Europeans. Instead, printing remained an unmechanized, laborious process with pressing the back of the paper onto the inked block by manual "rubbing" with a hand tool. In Korea, the first printing presses were introduced as late as 1881–83, while in Japan, after an early but brief interlude in the 1590s, Gutenberg's printing press arrived in Nagasaki in 1848 on a Dutch ship.
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https://en.wikipedia.org/wiki/History_of_printing_in_East_Asia
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VideoBook is a brand of online, interactive educational videos marketed by Studio 21.
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https://en.wikipedia.org/wiki/Videobook
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The name "VideoBook" was first registered and used in the United Kingdom (UK) in 1982 by Barry R. Pyatt, the owner of Yorkshire film producers "Studio 21." VideoBook was the marque, trading title and style for local-interest and sell-through video films. The name VideoBook was in commercial use by Studio 21 in the UK and Spain until 2003. In 2004, Pyatt opened AngelFilms in Spain, which took over the VideoBook marque. In 2005, AngelFilms-UK was established, and in 2008, VideoBook products were re-launched in the UK.
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https://en.wikipedia.org/wiki/Videobook
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Video Books are identified and registered with the ISBN agencies. The trademark style is as one word, with uppercase V and uppercase B, in a modified Bookman typeface, and is Pyatt's exclusive property. The name "videobook" (without the two uppercase characters) has become a standard term for a form of online training that delivers downloadable training videos. Most video books are single website entities that focus on teaching a particular topic.
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https://en.wikipedia.org/wiki/Videobook
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Video books are similar in content and structure to a "regular" book. The videos are typically recorded by a trained instructor and offered to the viewer on a subscription model. The user visits the video book (the website containing the training videos), purchases a subscription and can then download the videos.
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https://en.wikipedia.org/wiki/Videobook
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Video Books are different from many Computer-based training (CBT) models in that they are typically in a shareable and portable format. They also differ in content delivery. Video Books are not to be confused with many Video Books or Video Booklets that companies like PrintAVizion, manufacturer for other businesses to promote services and products to prospecting clients.
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https://en.wikipedia.org/wiki/Videobook
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Information source In contrast to printed books and audio books which rely solely on text and audio, respectively, the basic component of a videobook is video. The video book can have on-screen text along with pictures and video clips. The text may be animated along with related audio background commentary.
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https://en.wikipedia.org/wiki/Videobook
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The student can watch videos in any order. Once downloaded, no Internet connection is necessary.
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https://en.wikipedia.org/wiki/Videobook
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The videos use non-proprietary formats. The target market is usually an individual instead of an organization. Videobook materials may involve presentation software such as PowerPoint, screen-capture software such as Camtasia and text-to-speech software, such as TextAloudMP3.
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https://en.wikipedia.org/wiki/Videobook
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Paid Videobook (online, offline) - videobook online(offline) using the private information in the form of thoughts of a person registered on the Internet project has temporal properties: time, date, month, year of writing. Copyrights are registered online on authoritative sources confirmed . Payment for the information contained in the paid videobook takes place in credit, after reading it. Information source
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https://en.wikipedia.org/wiki/Videobook
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Kelly David Brownell (born October 31, 1951) is a clinical psychologist and scholar of public health and public policy at Duke University whose work focuses on obesity and food policy. He is a former dean of Duke's Sanford School of Public Policy. Noted for his research dealing primarily with obesity prevention, as well as the intersection of behavior, environment, and health with public policy, Brownell advised former First Lady Michelle Obama's initiatives to address childhood obesity and has testified before Congress. He is credited with coining the term "yo-yo dieting", and was named as one of "The World's 100 Most Influential People" by Time Magazine in 2006.
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https://en.wikipedia.org/wiki/Kelly_D._Brownell
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Brownell was born in 1951 and was raised in Indiana. After receiving his Bachelor of Science degree in psychology from Purdue University in 1973, he was awarded a Ph.D in Psychology from Rutgers University in 1977. His advisor was Oscar Krisen Buros Professor G. Terence Wilson.
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https://en.wikipedia.org/wiki/Kelly_D._Brownell
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In 1977, Brownell became a member of the faculty at the University of Pennsylvania's medical school. He began as an assistant professor of psychology in psychiatry, was subsequently promoted to associate professor, and finally to full professor. During this period, he also served one year as a visiting scientist at the National Institutes of Health (NHI) National Cancer Institute (NCI).In 1991, he joined Yale University, where he held positions as the James Rowland Angell professor of psychology, professor of epidemiology and public health, director of the Rudd Center for Food Policy and Obesity, chair of the department of psychology, and head of the undergraduate dormitory Silliman College.Brownell left Yale in 2013 to join Duke University as Dean of its Sanford School of Public Policy, in which role he continued until the end of the 2018 academic year.
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https://en.wikipedia.org/wiki/Kelly_D._Brownell
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He holds academic appointments as the Robert L. Flowers Professor of Public Policy, Professor of Psychology and Neuroscience, Director of the World Food Policy Center, and is a faculty affiliate of the Duke Global Health Institute.In 2017, backed by funding from the Duke Endowment, William R. Kenan Jr. Charitable Trust, and Blue Cross and Blue Shield of North Carolina Foundation, Duke University announced the formation of its new World Food Policy Center (WFPC), based at the Sanford School of Public Policy. Brownell is the center's founder and director.To date, he has authored 15 books and more than 350 scientific articles, papers, and chapters. He has also contributed to mainstream media outlets.Brownell was previously president of the Society of Behavioral Medicine; Association for the Advancement of Behavior Therapy; and American Psychological Association, Division 38: Society for Health Psychology.
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https://en.wikipedia.org/wiki/Kelly_D._Brownell
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Brownell's 1986 paper, Understanding and Preventing Relapse, published in American Psychologist, was recognized at the time as one of the most frequently cited papers in psychology.Recognized for introducing the idea of food taxes as a means of improving public health in 1994, his work on soda taxes has been used by cities, states, and countries seeking to implement them as a public policy tool and tax revenue strategy. In commentary for Time Magazine's "Time 100 of 2006", former Arkansas governor and presidential candidate Mike Huckabee commented that Brownell had "helped set the U.S. agenda by calling for a ban on sweetened-cereal ads aimed at kids and a tax on high-fat, low-nutrition food.
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https://en.wikipedia.org/wiki/Kelly_D._Brownell
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"Brownell has also influenced popular culture. In addition to having coined the term "yo-yo dieting", he is also credited with introducing the phrase "toxic food environment" in his 2004 book, Food Fight: The Inside Story of the Food Industry. A frequent radio and television guest, he is the host of the Policy 360 podcast, and has appeared in a variety of feature films and documentaries: Super Size Me, feature film, 2004 Big Mac: Inside the McDonald's Empire, television documentary, 2007 Killer at Large, documentary, 2008 The Weight of the Nation, HBO documentary, 2012 Fed Up, feature film, 2014 Sustainable, feature film, 2016
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https://en.wikipedia.org/wiki/Kelly_D._Brownell
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Distinguished Alumni Award, Purdue University, 2001 Elected member, Institute of Medicine, 2005 Elected member, Connecticut Academy of Science and Engineering, 2006 Research to Practice Dissemination Award, Society of Behavioral Medicine, 2007 Graduate School Award for a Lifetime of Distinguished Accomplishments and Service, Rutgers University, 2008 Person of the Year, New Haven Register, 2009 Graduate Mentor Award, Social Sciences, Yale University, 2010 Atkinson-Stern Award for Distinguished Public Service, The Obesity Society, 2010 Distinguished Scientific Award for the Applications of Psychology, American Psychological Association, 2012 Lifetime Achievement Award, American Psychological Association, 2012 The World's Most Influential Scientific Minds, Highly Cited Researchers, Thomson Reuters, 2014, 2015 David P. Rall Award for Public Health Advocacy, American Public Health Association, 2014 Joseph Priestley Award, Dickinson College, 2017The Sanford School of Public Policy's Brownell-Whetten Diversity and Inclusion Award was established in 2016 to recognize the work of Brownell and fellow professor, Kate Whetten.
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https://en.wikipedia.org/wiki/Kelly_D._Brownell
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Behavioral Medicine and Women: A Comprehensive Handbook, ISBN 978-1572305229 Eating, Body Weight, and Performance in Athletes: Disorders of Modern Society ISBN 978-0812114744 Eating Disorders and Obesity, Third Edition: A Comprehensive Handbook, ISBN 978-1462529063 Food and Addition: A Comprehensive Handbook, ISBN 978-0-19-973816-8 Handbook of Eating Disorders: Psychology, Physiology, And Treatment, ISBN 978-0465028627 Weight Bias: Nature, Consequences, and Remedies, ISBN 978-1593851996
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https://en.wikipedia.org/wiki/Kelly_D._Brownell
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Jan Mukařovský (Czech pronunciation: ; 11 November 1891 – 8 February 1975) was a Czech literary, linguistic, and aesthetic theorist. Mukařovský was professor at the Charles University of Prague. He is well known for his association with early structuralism as well as with the Prague Linguistic Circle, and for his development of the ideas of Russian formalism. Among other achievements, he applied ideas from Geneva linguist and semiotician Ferdinand de Saussure to the analysis of literary and artistic expression, systematically applying and extending the concept of linguistic function to literary works and their reception in different periods. Mukařovský had a profound influence on structuralist theory of literature, comparable to that of Roman Jakobson.
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https://en.wikipedia.org/wiki/Jan_Mukařovský
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Mukařovský studied linguistics and aesthetics at the Charles University in Prague and graduated in 1915. In 1922 he received his doctoral degree. Until 1925, he taught in Plzeň, then at a grammar school in Prague. In 1926 he was among the founders of the Prague Linguistic Circle, along with his close friend Roman Jakobson.
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In 1929, Mukařovský received his habilitation with the Máchův Máj. Estetická studie, a work examining the romantic Czech poet Karel Hynek Mácha in the field of literary aesthetics. In 1934, Mukařovský was appointed professor at the University of Bratislava in Slovakia.
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https://en.wikipedia.org/wiki/Jan_Mukařovský
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In 1938 he was appointed associate professor of aesthetics at the Charles University in Prague, which, however – like all other Czech universities – was closed by the occupying Nazis in November 1939. From 1941 to 1947 Mukařovský worked as an editor.
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https://en.wikipedia.org/wiki/Jan_Mukařovský
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After World War II, Mukařovský was favorable towards communism, and in 1948, the year of the communist coup d'état, Mukařovský became full professor at the reopened university in Prague. In the same year he was also elected Rector, a post he held until 1953. Due to increasing Stalinist pressure, Mukařovský recanted his prewar semiotic structuralism.
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https://en.wikipedia.org/wiki/Jan_Mukařovský
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In 1951 Mukařovský was appointed the director of the Institute for Czech Literature of the Czechoslovak Academy of Sciences, and remained in that position until 1962. Mukařovský's significance is not limited to his membership in the Prague Linguistic Circle. His ideas extended beyond the realm of linguistics into the fields of poetics and aesthetics.
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https://en.wikipedia.org/wiki/Jan_Mukařovský
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