identifier stringlengths 7 768 | collection stringclasses 3 values | open_type stringclasses 1 value | license stringclasses 2 values | date float64 2.01k 2.02k ⌀ | title stringlengths 1 250 ⌀ | creator stringlengths 0 19.5k ⌀ | language stringclasses 357 values | language_type stringclasses 3 values | word_count int64 0 69k | token_count int64 2 438k | text stringlengths 1 388k | __index_level_0__ int64 0 57.4k |
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https://fa.wikipedia.org/wiki/%D9%81%D8%A7%D8%A8%DB%8C%D8%A7%D9%86%D8%A7%20%D9%88%D8%A7%D9%84%D8%AE%D9%88%D8%B3 | Wikipedia | Open Web | CC-By-SA | 2,023 | فابیانا والخوس | https://fa.wikipedia.org/w/index.php?title=فابیانا والخوس&action=history | Persian | Spoken | 98 | 316 | فابیانا والخوس (؛ زادهٔ ) بازیکن فوتبال اهل آرژانتین است.
وی همچنین در تیم ملی فوتبال زنان آرژانتین بازی کردهاست.
منابع
افراد زنده
اهالی سان ایسیدرو
بازیکنان تیم ملی فوتبال زنان آرژانتین
بازیکنان جام جهانی فوتبال زنان ۲۰۰۳
بازیکنان جام جهانی فوتبال زنان ۲۰۰۷
بازیکنان فوتبال بازیهای المپیک آرژانتین
بازیکنان فوتبال در المپیک تابستانی ۲۰۰۸
بازیکنان فوتبال زن اهل آرژانتین
بازیکنان فوتبال زن دور از وطن در اسپانیا
بازیکنان فوتبال زن دور از وطن در شیلی
زادگان ۱۹۸۵ (میلادی)
ورزشکاران دور از وطن اهل آرژانتین در اسپانیا
ورزشکاران دور از وطن اهل آرژانتین در شیلی
هافبکهای زن فوتبال | 49,072 |
https://zh.wikipedia.org/wiki/%E8%8E%AB%E5%93%88%E7%B6%AD%E7%89%A7%E5%A0%B4%E8%8E%8A%E5%9C%92%20%28%E4%BA%9E%E5%88%A9%E6%A1%91%E9%82%A3%E5%B7%9E%29 | Wikipedia | Open Web | CC-By-SA | 2,023 | 莫哈維牧場莊園 (亞利桑那州) | https://zh.wikipedia.org/w/index.php?title=莫哈維牧場莊園 (亞利桑那州)&action=history | Chinese | Spoken | 5 | 161 | 莫哈維牧場莊園（）是位於美國亞利桑那州莫哈維縣的一個人口普查指定地區。根據2010年美國人口普查，該地共人口500人，而該地的面積約為1.94平方千米。
地理
莫哈維牧場莊園的座標為，而該地最高點為海拔高度144米（即473英尺）。
參考文獻
亞利桑那州普查規定居民點 | 13,804 |
f6bP2owcU2Y_1 | Youtube-Commons | Open Web | CC-By | null | DHIS2 Annual Conference 2020: The DHIS2 Platform Supporting Local and Global Innovation | None | English | Spoken | 8,246 | 9,694 | I'm going to go ahead and get started. Welcome everyone to the first session of the tech track at the DHS2 annual conference in 2020, digital online this year, obviously. I hope you are enjoying the other sessions. I think there's been some really great ones. Maybe some of you saw the innovation session at the COVID-19 day yesterday, which featured a number of custom applications that people had built on top of DHS2. That's generally what we're going to be talking about over the next two days in the tech track. There are a few other technical sessions as well that aren't directly related to that, but that isn't specifically web applications either. We're also going to talk about Android applications as well as the feedback loop between local innovation and the global platform that is DHS2. I'm going to start off our session here today. Looks like we have a number of people coming in. First, I'm going to talk a little bit about DHS2 as a platform in general, and then I'll talk about specifically how we enable web applications in what we call the web app platform. There's a little bit of an overlap in naming there, but I'll talk a little bit about it generally, and then specifically what we're doing for the web application enablement. Then I'll turn it over to my colleague Jose, who will introduce the Android SDK, which is the equivalent of the web app platform for mobile applications specifically on Android. Then I will turn it over to another colleague, Magnus from the University of Oslo, who will talk about the design lab that he leads there, which is specifically working with implementers in the field to feedback innovation from the field to the innovation enablement that we work on here at the DHS2 core team. Finally, I'll wrap it up by talking a little bit about our work with developer advocacy and the feedback loop that Magnus will introduce, and then we'll move on to a couple other sessions. Immediately following this session will be a more in-depth dive that I will lead on the web application platform. We'll have similar one sessions, one hour each tomorrow at both one o'clock for Android SDK, and I believe, oh sorry, it's two o'clock for Android SDK and three o'clock for the design lab. I'll have the times at the end, but those will be tomorrow. If you want to learn more about those, you can follow up with Jose or Magnus tomorrow as well. If you have any questions, please go to the community of practice. There's a specific topic under the annual conference category for questions regarding this session, and we'll try to address some of those at the end if we have some time, otherwise we'll address them asynchronously. First to talk a little bit about some of the developer training and outreach that we've done this summer. I should have mentioned also that back in December there was an in-person Android SDK workshop or academy that took place in Sri Lanka, and this summer we were able to, we had to go online, unfortunately, but we were able to still host a good amount of training for developers building on top of DHIS2. We'll talk a little bit about some of the additional training and resources that we're developing, but we had a pretty successful training summer here in University of Oslo with these online trainings. We had two open webinars in June with more than 120 participants, each followed by a workshop at the end of June, and then a four-day workshop which were together made up a developer academy in August, and those had about 30 participants each, so we thought that was very successful. Look for any feedback from the participants and got some very good feedback from the people who were there, and look forward to doing more of that. We also have a central repository for resources for developers specifically building extensions to DHIS2. This is mostly focused on web application extensions, but it also links to some of the Android resources, and we're looking to expand the resources that we have about the Android SDK there as well. This is developers at djs2.org, so that should always be the place to go for any resources that you want to learn about how to build applications on top of the djs2 platform. I wanted to make a mention of that. What is the platform that we're talking about here? The platform is DHIS2. That's not always obvious, but DHIS2 is not a kind of out-of-the-box software. It's a platform that you can build on top of to customize to fit the needs of your particular use case, your particular locality, and lots of other things. It's a toolkit that lets you build what you want on top of it or what you need for your use case. This is a diagram that was developed by Scott Russ Patrick, my colleague who's the analytics product manager, and he uses this. It came from an earlier publication as well in some research by the University of Oslo, but there's a number of different layers that make up djs2. You have the djs2 core at the center, which has the API and the data model, the metadata. Around that, you have some bundle applications that we develop here at the University of Oslo. Around that, you have some additional applications that are developed by third parties. Maybe they're developed and shared through the app hub that we make available, or they are developed and just installed locally to a particular instance. And then finally, you have some interoperability with different software on the periphery. Not going to get into too much about this here today, but I wanted to start with this as kind of a framing. The piece we're going to focus on is the bundle applications and the periphery applications. This works both for web apps and for Android applications, but basically we have some applications that we develop as the djs2 core team that are built into djs2. And then there are a lot of applications that are built by other people or by djs2 or djs2 with or UIO with some collaborators that are not bundled with the war file that you install when you start to work on djs2. But this sort of concentric circles diagram doesn't fully cover what we're actually doing here. So I wanted to take a step back and sort of change that up because what we're actually doing is more like this. So we have djs2, which is the, again, the APIs, the metadata model, all of that. And then we have a layer which is the platform layer. So that actually enables web applications to run on djs2. It provides a lot of things out of the box that are just provided by that platform that make it robust and secure and performant and modern applications, enables those to run on the djs2 platform. But the important thing here is that we don't have bundled web apps on the inside and then installed external web apps on the outside. They're the same thing. So we're actually using the same tools that we're building and making available for these installed web applications for building our own core applications that are provided out of the box in djs2. And it's exactly the same for Android as well. So you just replace the web app platform with Android SDK, you have the djs2 Android application, and then you also have custom Android applications that are on the same level as the official djs2 Android app, and can use a lot of the same functionality that's built into the SDK that enables those robust, modern, and powerful features of building on top of djs2. So if we were to rethink that concentric circle diagram a little bit, we would think about it this way. We have djs2 at the center, then we have the Android SDK, the application platform, and around the outside on an equal playing field, you have the core applications and the Android application that are provided by djs2 and UIO. And then you also have custom web applications and custom Android applications that are on an equal playing field with those applications. This is where we want to go. So historically, the core applications have been kind of a privileged group, and then we have created a separate platform for applications to be installed, in addition, as kind of perforated or external type services. But we're moving towards a world where everything is the same, and everything that you can do, everything that we can do, you can do better. We'll talk about that in a minute as well. To kind of hammer this home in 235, which will be released in a couple of weeks, we have introduced a very cool new feature called continuous application integration or continuous app delivery. And what that means is that your bundled applications that come in your war file, like the app management app or the dashboards app or the maintenance app, can all be updated from the app hub. So if you go to your app management application right now in 235, and the version on that we've published as UIO to the app hub, apps.dhs2.org, is a higher version than the one that is bundled in 235, you'll see this dialogue here, which allows you to update and reload your application. So that's actually checking with apps.dhs2.org to see if there's a new version available. And then you can update just this one application in your particular dhs2 instance. So once you've done that, you'll see that it's installed, you have an app management app that looks just like an installed app that you would build and deploy yourself. But this is built by UIO, it's deployed through the app hub, and it's actually overriding the one that you have installed bundled with your war file when you install dhs2 out of the box. So this means that we can move much quicker to fix bugs and introduce new features. We can also start to produce applications that work for multiple versions of dhs2. And implementers can start to pick and choose the applications that they want to update, the pieces that they're ready to implement in their system. And they can install just those without waiting for six months for the next release or waiting two years for until they have the funds and the technical availability to upgrade their entire database and do a migration that way. So this way applications can be installed independently of the core, the dhs2 server. It's important to note this process is exactly the same as when you build and install a third-party application from the app hub. So here we have the app manager and app, which is a core app bundled app that's overridden by an app installed from the app hub. And we also have a custom application that's also installed in this instance from the app hub. So they're, again, on an equal playing field and can do a lot of the same things. This is coming out, as I mentioned, in 235. And we think it's going to enable a lot of really cool innovation on the core team as well as in the platform as a whole. So I'll talk about the platform now quickly before I turn it over to my colleague Jose. Again, there'll be a session after this that'll be one hour that we'll dive into more detail about what the web application platform does and how you can use it to build applications and how we use it at dhs2 to build applications as well. But first I'll talk about what are the goals of that web application platform. The goal is to make it cheap, easy, and fast to build custom web applications, which customize dhs2. So again, we have a number of applications like maintenance app, dashboards app, data visualizer, maps, tracker, tracker capture, capture application. All of these applications that are built into dhs2 and are very powerful but are generic. So they're not custom tailored for a specific use case. And that's by design. We're not able to customize those generic applications in a thousand different ways for all the different use cases that are out there. We try to make them as applicable to all of those applications or those use cases as possible. But it's never going to be perfect for every single use case. So in some cases, you're going to want to build custom applications to enable custom workflows or to extend the capabilities of dhs2 in some way. And the goal is to make it as cheap, easy, and fast to build those customizations as possible. That's both for us as the University of Oslo and dhs2 who also use that same platform, that same system to to make maintenance of all of the applications that we maintain much easier and much more cost effective as well. Much less, takes a lot of less effort from our developers to maintain applications on the platform than it did previously. And that's what we're enabling not only for our own applications but for third party applications as well. One way to I want to kind of say that or one way you could say that is that everything we can do as the University of Oslo, you can do better. So we want everything that a core application at some point, everything that a core application can do should be accessible by in a custom application in an easy and maintainable way. And that'll allow really allow us to build the building blocks for customization and really tailored use cases for those applications in local contexts. I'll get into more about this in the next session. So I'm not going to spend too much time on it, but there's a lot that goes on in a dhs2 application when you build one from scratch. So there's a lot of pieces that you have to kind of put together to make that possible. And it gets even more complicated when you have to maintain a lot of those applications. So for instance, the University of Oslo has 34 core applications that we maintain that are bundled into your dhs2 instance or installable from the app hub. We also have a number of libraries that are used by those different applications that make it a little easier to kind of reuse components within those applications. But we still have to build and maintain 34 different apps. And that takes a lot of time and it's a lot of code. And it gets even more crazy when you think about the number of versions of dhs2 that we support. So before we had continuous application delivery, we have three versions, supportive versions of dhs2 that are released and out and being used by people in the wild. And we also have one version that we're developing that's the next version that's coming out. So that's four versions of every single one of these code bases that we have to maintain and develop on is more than 160 or roughly 160 maintained code bases, which is pretty huge. So there's a lot, again, a lot of pieces in each one of those applications when you multiply that by 160, that's pretty huge. So what the goal of the web app platform has been, and I introduced it a year ago at the conference in Oslo, the annual conference for dhs2. But it's come a long way since then. So at that point, it had not been fully developed. The version one was released in August of 2019. And the goal has been to simplify all of our applications so that we can maintain them more easily and make it possible for external developers to maintain their applications in the same way, develop and maintain. How do we do that? We split up our application into the pieces that are common to all apps on dhs2 and the pieces that are specific to what that app does. So this section in the middle is a much smaller piece of code that is specific to this application. And all the rest is common and can come from the platform. So this is the app shell or the platform that provides all of those common things. And then you can swap out the smaller piece that is the application whenever you need to switch applications. So what does this actually look like? For our core applications, we have 30-something apps that are kind of hot swapped into this app shell. This is coming down the line in the future. Right now we have about 10 applications that are on this platform and we're hoping to make that nearly the full list by 236, which comes out in beginning of 2021. So there's all of these applications, but each one is much smaller and all of the common pieces are extracted into a common runtime or a common shell. It becomes even more convincing when you have third-party applications as well that swap into that slot in the same way as core applications. So they can take advantage of all of those services that the platform provides. Through this platform we provide a common or a standardized application life cycle, which allows you to develop and build your application in a consistent way locally on your developer machine and then publish it to the app hub very easily so that it can be consumed and installed into DHS2 instances. So we've standardized that workflow and provided tools that make it much easier to adopt that workflow for your applications. And this gets even more complicated but more interesting when we talk about testing and working with multiple versions of the DHS2 instance to do that testing as well as to deploy directly your application to instances to do manual testing before publishing to the app hub. I'll talk more about that in the next session. So with that, that was a quick introduction to the DHS2 web application platform. I'll turn it over to Jose, my colleague, from the Android team who will talk about the Android SDK and how that enables the Android team to build their Android app as well as the third-party developers to build custom Android applications. Jose, are you there? Yes. Hi, Austin. Thank you very much. Can you hear me and see me? I can, yes. Okay, so now I need to share my screen then. I think not someone needs to allow me to share my screen. How is this able to participate? Sure, I will share it. Simone, are you able to add Jose here? You should be able to share your screen, Jose, now. Okay, perfect, yes. Okay, let me see. Okay, can everyone see my screen now? I can see it, yeah. Okay, so Austin, if you please come pick me when I only have five minutes left. Sure. Okay, so, yeah, I'm going to introduce the DHS2 Android SDK and as Austin was mentioning, tomorrow there's going to be a session, a full session of one hour going to the a full description of the functionality. But today we have 15 minutes for an introduction, but I'm trying to convince you for Android developers why you should use the SDK if you plan to develop a custom Android application. And first, some basic definitions. I'm going to try to move, okay. Okay, so a definition of what the Android SDK is is a common good that allows work offline. It has an internal database where we store all the metadata and data that is needed in order for the application to function, communicate with different DHS2 instances to the API, and then facilitate the development of Android apps. Okay, this would say that these are the main thing goals of the Android SDK. As Austin was mentioning, DHS2 is a platform that contains an API which is a common good. And also, the Android application itself is not reaching directly the API, but is using our mobile platform that in this case is the DHS2 Android SDK. Okay, so all the communication between the mobile, the Android mobile, and the UIO Android mobile application and the DHS2 API is going through the DHS2 Android SDK. And of course, it's also published, so there are developers, Android developers out there, they can build their own Android applications on top of the DHS2 Android SDK as well. The same as Austin was mentioning with the app platform. So this chart represents the SDK releases that we have so far, so it is pretty new. I would say the first release was in the 1.0 in December 2019. And then since then, we have further release in at the end of April or in August. And then we are going to publish the last one in early October. Well, we have, sorry, we have in between like of course, different patch versions as well, of course. And then we are going to publish the last one in 1.3 in early October. And then also in early October, we are going to publish as well the 2.3 Android application. But this SDK makes possible to be compatible with the 2.35 DHS2 version that is also coming up in early October. So we see that the chart that the SDK and the Android application are aligned, but this doesn't mean that this to be always the case. Obviously, they're going to be aligned, but they are different products. So we may have like different releases when there is no, for example, an Android application release. But certainly, you can spend the newest Android SDK version coming up in early October. You have here the link to the code that is available in it half and as well as the Gira. And what the SDK does, well, since the very beginnings is the version 1.0, so it's the metadata thing, right? So it replicates all the necessary parts of the DHS2 model and store that in the DHS2, sorry, in the Android local database. This means like we have tables in our local database that represents the aggregated domain, represents the event domain, and represents the tracker domain. So all the domains are embedded in the Android SDK. As well, the data sync, we synchronize the data as well. So it's in charge of the data synchronization with different parameters. So we can specify the number of TI's or events to be synchronized with the DHS2 instance, but also we can play with some parameters like we can specify the number of TI's or the number of units, sorry, the number of TI's and events per unit, the number of TI's or events per program, or a combination of both. Whenever we are like doing the synchronization, we are always synchronizing the ones that are in the data captor unit tree of the user. We are prioritizing the TI's in terms of TI's, the TI's which enrollment status is open, and also those TI's that has been last updated recently. And then since what we are going to see this in one of the next slides, now we have more possibilities regarding defining more and more options here for granular data sync. But we are going to see that in five minutes. Of course, if we have a local database that I think that right now it contains like 100 or 110 tables, so it's quite a lot. We don't want for the Android SDK users to perfectly know the number of tables and also to run like a very complicated SQL sentences, right? So also since one zero, we have a date, what we call the data access layer that is kind of similar to Ivernet that basically allows you to using like a data test to naming conventions to retrieve information that is coming or from the local database or from the API. Okay, this was a huge effort from the data made by the Android SDK developers and we are going to explore more of these functionality tomorrow, okay? For example, also since the very beginning, we have what we call also an expression evaluation engine. So that is, I think, quite nice because here we can make all the calculations of inline program indicators, okay? We don't have indicators yet, we have program indicators in the context of a TI. This has been like, this is an ongoing work that is on progress, so we started in the version one zero, but then through one one and through the version one two, we have now like basically mapped into Android SDK, like I would say that the 98% of the variables of the expressions and all the formulas that are presented in the server side. So I think that if you would like to do this from the scratch, it is quite complex. So I would say like this expression engine is one of the main goals that we have in order to share what an SDK can do for the developers, okay? And it supports last data test versions, okay? At the very least, we are ensuring the compatibility with the data test to current and to previous versions. This means three data test two versions a total, but you see what is the reality? The reality is like when we published the version one zero, we were compatible from 229 to 233. This is five versions. With one one, we were compatible with six versions, and with one three, we're going to be compatible from 230 to 235. So this means that any app that is using SDK can have like, let's say like log life expectations. If you are like, you know, you have all this number of the access to version that can run on top. This is basically, I would say, two years and a half of the access to server versions, okay? And what else? So error management, this is also really important. If you are a developer, you have been like playing and using the API for many times, you see that the number of errors that the the API can can deliver is huge. So we are like simplifying a lot for the for the Android apps, the management of errors. Basically, we have like, we are having a granularity at different levels. So in mind that you have a conflict, you have an error. And in the SDK, you have, when you are syncing with the, I mean, your data, your new TI is when you're syncing with a server, you may have some conflicts or errors. And then with SDK is going to have the information about what is a TI, inside of TI, what is enrollment, what is the event, what is the attitude and the timing that is producing that conflict or that error. And also not only this, but also the errors that are like related to the bandwidth to internet or the connection with a separate timeouts, but get ways, or at least it's being managed by the SDK as well. Interity check also very important for when we have like dependencies that, you know, that sometimes there are, I mean, we have seen this many times in the past, when there are like configurations in the access to server side that are not properly done, or like, I can think, for example, on like program rules with, sorry, program rules with no program variables, program variables with no data elements or attributes, or even you are trying to synchronize and you are downloading target entity data values, but someone just removed the data element of a particular program stage. So, you know, these kind of dependencies that normally are like a headache for the developers, we have like now a defensive layer against these kind of errors in 30 years, and we are like in the local database, removing all these mis-independencies that we may find. Okay. And I think that this was a huge effort as well, and it has been reduced and another number of errors and bugs that we were having in the Android application. And online search, so it allows also easily to do online search, so now it's also possible using like a similar naming convention to search TI that has been stored in the local database, but also not all, if you have internet connection also you can interrogate, you can query the TI's that are in the server, in your search or you need three, okay, whenever there is an internet connection, again using kind of the same naming convention from the SDK. Reserved TI unique attributes also, you know, that can be auto-generated and the SDK also reserves, we have, we are storing also the unique attributes, so if you are, values for unique attributes, so if you are going to be, if the user is going to be offline for, I don't know, for one week, so it's going to just get the values that has been previously stored in the, in the, in the local database. Okay, so we also have this disfunctionality, and also I think that this one is really, really important, database migration, so in the past with experience with the previous Android applications, sometimes when there was a new Android application, sometimes you have to, the user needs to uninstall, uninstall the new Android application, and then this means that you can, maybe if you have data that hasn't been synchronized with the server yet, so you may lose your data, and here with database migration, we, it doesn't matter if you are like upgrading your app from the, the one that is used in the first SDK version, the one zero to the newest one, it doesn't matter, if you don't have to go version by version, you can go from the, from the very, very, from the very first version to the last version, and no SDK is in, in charge of doing this in a, in a transparent way, so it will create like the different, it will just change the, the, create the different tables in the database schema that's needed, transform the data in a way that then the, the version that you are upgrading to can use, okay, so it's also like a, it took us a while, but we are very proud of this feature. Two minutes, just so you know. Two minutes, only? Yep. Okay, so, sorry, then, so from, from the latest versions, what we have is SMS synchronization, we have also, now it's, it's Android, it's compatible with the Android-shaped SAP, so you may, this means that with this app you can configure your, your synchronization mechanism, like a frequency of all the apps that are like, you know, like a, getting data from the server, so like you want the apps to synchronize every 24 hours, every hour, so you can like define this through our, through Android Settings app, and, and then the SDK is consuming this, all this information. It has an encryption, this is really important for, for example, for HIV implementation, when you would like to have the database encrypted, so also from one to, we have the database, the local database can be encrypted. We have a validation rule engine at the dataset level, only for data elements, that is using the same engine, that program indicators, and it will show you like how, what are the data elements and the data values that are like, we are writing the, the validation rule and utility classes. So we are like a, some of the VHS2 logic now is embedded into the SDK, for example, for enrollments and even the status, and whenever you have read, write that data access logic to a, to an object or opening, closing date, for example, in, in those units and, and category options, so this logic is also embedded into, into the SDK. And if I have just 30 more seconds hosting, I can say like, this is just for Android developers, it's written in Java and Kotlin, this is the database that is being used, and it's a group effort between the SDK developers and the, and the people that are working in the backend in order to, to, to use the most efficient calls. So in a nutshell, if you want to build an app that works offline, that needs to be compatible with the VHS2 versions, because you don't want to build an app that then when there is a new VHS2 version, that app doesn't work anymore. If you need to operate it up, if you, the Android app, if you want to have an automatically upgrade immigration control, or if you would like to have the best performance when syncing with the VHS2 server, or if you would like to just build an app on top of a, of an SDK that simplifies error management returned by the API. If you have at least one of these topics, when you're building your, your, your app, please use SDK, okay, because it's going to a text time, maybe a little bit in order to understand what is the, the different functionality, how to use it. But at the end, you're going to gain a lot of free time and it's going to make your life much easier in the future. Okay, and sorry if I am leaving some time. No problem. Thanks, Jose. Yeah, appreciate it. So with that, I will quickly turn it over to Magnus, who will introduce the design lab. And, and again, if you have more questions or want to hear more about the Android SDK, there is a session tomorrow. And I'll, I'll put that on the screen at the end of the session as well. Magnus, are you there? Yes. Can you hear me? Yes. And see me, my man. I will try to share my screen. See, see if this is, now this is the wrong one. Let's see. Sorry for the, it's always a bit hard to find the right Chrome window. Let's see. Yeah. Got it. I think so. Let's see if now you see at least a Google presentation, I hope. Yes. And if I click like this, yes, perfect. Nice. All right. So I will talk a bit about a bit of a broader perspective maybe on design innovation and less kind of technical feature oriented and more about methods and processes and so on. So, but still it's very much related to these app development resources, both for the web and for Android. Since this provides a very nice environment and arena to address user specific needs and to design and innovate tools based on user needs. So in this very short introduction, I will just say a little bit about this design lab thing. And then, as Austin mentioned, there is a one hour session tomorrow where I will dive more into some of these issues. So the DHS2 design lab is a project or a group of students and researchers at the University of Oslo where we collaborate with DHS2 developers both in the core team and out there in the community and implementers where we specifically try to understand how we can strengthen and promote the user oriented focus in our design innovation. So meaning, how can we develop capacity and focus on catering more for the diverse end user needs that is increasing around DHS2 as it's being taken to new and different contexts. And since this, you know, what is a usable and relevant feature as Austin touched upon, typically varies a lot between different implementations. There are different requirements, different needs, different practices. We are particularly interested in the design processes that are going on on the level of implementation. So when DHS2 is taken into specific organizations, what kind of design processes and what kind of user oriented focus is going on there and what can we learn from, for example, projects that are doing this in a very good way or so on so forth to strengthen this focus. So this means that it both our work kind of both revolves around exploring and developing methods and approaches to design for example for identifying users, user needs, working with users, ideation and prototyping and evaluation of solutions and so on and so forth. And of course, apps make, as I mentioned, a very critical part of this since apps provide this flexibility that you need to when you identify needs that are beyond the generic capabilities of the DHS2. Apps provides this arena where you can develop new and custom tools catering for user needs. And then part of our work is also then all these app resources specifically for the web mainly as of now, which I think is kind of instrumental in making custom app development a viable approach to addressing needs. Prior to this app development platform, it was quite costly both to develop apps and maintain them. And I think many of these resources that Austin talked about and also for the Android are making app development a much more viable option, which I think is a very interesting development both for us as developers and implementers and also for the, it's good news for the end users because then we can really address more of these very different types of end user needs that we see out there in the community. So this design lab has been going on for about two years and until now we have been collaborating quite strongly with his India in working with them on how the implementation practices and how users are involved in design and how we address these issues through apps or customization. This has also then fed back to the development of these web app development resources like that development platform. We have worked a bit Mozambique and were supposed to work much more extensively until Corona came along on exploring design methods and approaches. And then we have also visited several other of these his groups in Tanzania and Malawi talking with Uganda and Rwanda to look at what practices currently work related to this user focus and what can be strengthened and what are the challenges. In addition we have a quite big course here at University of Oslo where we have over 100 students that actually as a part of the course develop design and develop apps for DHS2. And we also use that course as an arena to explore user oriented innovations, building apps that provides valuable features for different user groups and so on and so forth. And we also use it as an arena to test these web app development resources. And I will in my session tomorrow give some examples of these projects from that course also just as a way of looking at what do we mean by usable and relevant innovations. Yes so in the session tomorrow we will hear more about what we do in the design lab and what you have found out during our engagement with with implementers and developers around the world. And we will try to orient these experiences and kind of ideas for the future around what we mean by user oriented and what we mean by usable and relevant software. For example the difference between digitization and digital innovation so meaning the difference between just providing a kind of copy of an analog system in a digital format versus actually developing things that provide new value to users. Again app is one way of doing that and also reflecting a bit on who are we building the software for and who are the tools we're building relevant for. Is it well mainly relevant for top level managers or low level users and so on and so forth. And then we will move on to some of the prominent challenges that we have identified with catering for and designing with users during the HSS implementation. So we reflect a bit on the pros and cons of developing apps and the remaining challenges there. Issues around finding suitable methods to engage with users and kind of working in an agile manner to build the right thing for different user groups. And then another issue that we will discuss is the problem of house projects are structured and the mandates and the scopes of projects which might in some cases hinder the ability to actually innovate and in other cases it might promote innovation so we'll look a bit at that. And then finally we'll look a bit at the plans we have for the future amongst other things to develop a design and innovation toolkit around methods and approaches and capacity building in that manner. And also some kind of ideas for collaboration and kind of calls for collaboration with the community. Yes so that's it for me for today and I hope I see you tomorrow at one. Great thanks a lot Magnus. That was a great session and again yeah there will be another session tomorrow for more information about that and I'll share that in just a moment. So I'm going to share my screen now. Okay so you should be able to see my screen now as well. Thank you again Magnus for that session and I just wanted to echo what Magnus was getting at and what the design lab focuses on which is the enablement of local innovation with this global platform. I don't want to touch on one more thing before we wrap up for today which is the inverse of this actually. So not only do we enable local innovation with our global platform but we also feedback those local innovations and the learnings from those projects and applications to that global platform to make it a more robust general purpose tool as well as to more effectively serve the needs of local customization and use case customization for DHIs too. Just as an example of that I mentioned this very very briefly yesterday in the session on COVID-19 innovations but I'm going to bring it up again today because I had two minutes yesterday and now I have maybe more like five. This is a relationship mapping application that was initially developed by His Sri Lanka early on in the COVID-19 response on DHIs too and basically what this enables you to do is to visualize the relationships between cases and suspects or contacts in the outbreak of COVID-19 in this particular case and what we did with this application is we took the the initial concept and the initial hackathon developed application and we took the learnings from that in order to develop some general purpose tools that would enable not only this application to be more effective and more useful in other contexts but also for other applications to develop using those same common tools. So some of those common tools that came out of this application were the ability to save and load settings and saved objects from the data store or the user data store in an easy and accessible way from a web application. So many web applications use the data store in different ways but this library that we developed and then are using in this relationship tracing application allows us to in a standardized way save things like visualizations to the data store similar to the way that you would save and load an application or a visualization in the data visualizer app or in the maps app. This allows you to do the same thing but with something that isn't doesn't fit the model of a out-of-the-box visualization or a map. So in this case we don't have a concept of a relationship map at this point in DHS2 in the data visualizer application. So this allows you to save and load different configurations of another type of visualization for this custom application. In the near future it will also allow the sharing of those saved objects and we're now using this library that was initially developed co-developed with HIST Prulanka for I think three other applications now as well. So this is fed back into the ecosystem and really allowed us to make it possible and easier to develop these types of applications across the board. Another piece that was reused or extracted from this project was layout components, general layout components that we initially helped HIST Prulanka to develop to have a top bar and a side bar in a standard configuration and now have exposed those in the UI library and those will be coming soon to the production version of that UI library and being used in other applications as well so that it isn't necessary to reinvent the wheel and create your own top bars and side bars in your custom applications. Additionally we took some of the learnings from this relationship analytics application, not the app specifically or the development of the app specifically but the concepts of relationship analytics and how you analyze the network of relationships in the DHS2 metadata model and are applying those learnings as well as the learnings of other partners and local instances of DHS2 to enable more robust and performant relationship analytics through the API and in the analytics engine of DHS2 itself as well as to integrate some of those functionalities into the core DHS2 applications such as tracker capture application and the analytics applications like data visualizer and maps so those you'll see coming into the DHS2 core in one of the next few releases but this is kind of was inspired by the local adaptation of the DHS2 data model to analyze relationships in a way that hadn't been natively possible before. You can learn more about everything that you've heard about in this session so we talked a little bit about building custom web applications on the app platform as well as the design lab and building custom applications on the Android SDK. Each of those has its own hour-long session. The first one is starting in about 10 minutes here on this same channel so you can stay on the line if you want to learn more about the web application platform and how that's used at the University of Oslo to build the core applications as well as how third-party developers can leverage that application platform to build their own local customizations or to share their applications with other DHS2 implementers and users through the app hub. Then tomorrow at 1 o'clock Central European Time 1300 we have a session with Magnus on the DHS2 design lab, the course at the University of Oslo, and the participatory design and approach to working with local DHS2 implementers to feedback into the core development as well as at 1500 so 3pm Central European Time we have a session on the Android SDK and building custom mobile applications with Jose and some of his colleagues from the Android team as well. Again, I wanted to mention the main resource for developers and people wanting to customize DHS2 or extend it. Developers at DHS2.org is where all of that information will live. We're continually updating the resources that live on that developer-focused site so we have announcements of new libraries and new tools that we're making available as well as announcement of events like this conference or like the academy that we hosted in June and August of this past summer. We also have developer documentation and guides that we're continually improving and building out there and we very much welcome feedback and contributions to that documentation and learning material as well. You can find all of it on GitHub and you can also find the community of practice topic for development and there are two subcategories within that for application development and Android development on the community of practice where you can ask any questions that you might have and we will monitor that pretty frequently. I'm going to check for questions here now but then I'll wrap it up because we have about five minutes before the next session so people will want to go on to their other sessions here in just a couple minutes. It looks like we did have a couple quick questions. Maybe I can pass this one on to Magnus if you're available there. It says so maybe we can respond to this in on the community of practice because it looks like a little bit more involved question than we have time for today and I saw that Theo had a number of questions. I answered those on the community practice as well so go on to the community practice link that Simona had shared and you can see the questions and the answers that we will post there as well. | 43,437 |
https://sh.wikipedia.org/wiki/Galaktogen%206b-galaktoziltransferaza | Wikipedia | Open Web | CC-By-SA | 2,023 | Galaktogen 6b-galaktoziltransferaza | https://sh.wikipedia.org/w/index.php?title=Galaktogen 6b-galaktoziltransferaza&action=history | Serbo-Croatian | Spoken | 42 | 221 | Galaktogen 6b-galaktoziltransferaza (, uridin difosfogalaktoza-galaktogen galaktoziltransferaza, 1,6-D-galaktoziltransferaza, beta-(1-6)-D-galaktoziltransferaza, UDP-galaktoza:galaktogen beta-1,6-D-galaktoziltransferaza) je enzim sa sistematskim imenom UDP-alfa-D-galaktoza:galaktogen 6-beta-D-galaktoziltransferaza. Ovaj enzim katalizuje sledeću hemijsku reakciju
UDP-alfa-D-galaktoza + galaktogen UDP + (1->6)-beta-D-galaktozilgalaktogen
Galaktogen iz Helix pomatia je najefektivniji akceptor.
Reference
Literatura
Spoljašnje veze
EC 2.4.1 | 14,826 |
https://ko.wikipedia.org/wiki/%EC%82%AC%ED%86%A0%20%EA%B8%B0%EC%9A%94%EC%8B%9C%20%28%EC%98%81%EB%AC%B8%ED%95%99%EC%9E%90%29 | Wikipedia | Open Web | CC-By-SA | 2,023 | 사토 기요시 (영문학자) | https://ko.wikipedia.org/w/index.php?title=사토 기요시 (영문학자)&action=history | Korean | Spoken | 84 | 377 | 사토 기요시(佐藤清, 1885년 1월 11일~1960년 8월 15일)는 일본의 시인, 영문학자이다.
미야기현 센다이시 출신으로 본성은 오카(岡)이다. 도쿄 제국대학 영문과를 졸업, 간세이 학원에서 근무하던 중 영국으로 유학갔으며 1923년 도쿄 여자고등사범학교의 교수로 취임하였다. 1924년 경성제국대학 창립 시 교수로 부임되어 재차 영국으로 유학갔다. 1945년 정년퇴임 후 아오야마 가쿠인 대학의 교수를 지냈다.
존 키츠, 윌리엄 워즈워스, 퍼시 비시 셸리 등 영국 낭만파 시인을 연구하였다.
1885년 출생
1960년 사망
일본의 문학자
일본의 시인
영문학자
아오야마 가쿠인 대학 교수
경성제국대학 교수
오차노미즈 여자대학 교수
도쿄 대학 동문
센다이시 출신
20세기 시인 | 8,314 |
https://sv.wikipedia.org/wiki/Micrempis%20argyropalpa | Wikipedia | Open Web | CC-By-SA | 2,023 | Micrempis argyropalpa | https://sv.wikipedia.org/w/index.php?title=Micrempis argyropalpa&action=history | Swedish | Spoken | 32 | 79 | Micrempis argyropalpa är en tvåvingeart som först beskrevs av Mario Bezzi 1904. Micrempis argyropalpa ingår i släktet Micrempis och familjen puckeldansflugor. Inga underarter finns listade i Catalogue of Life.
Källor
Puckeldansflugor
argyropalpa | 25,678 |
https://pt.wikipedia.org/wiki/Carta%20de%20Amiens | Wikipedia | Open Web | CC-By-SA | 2,023 | Carta de Amiens | https://pt.wikipedia.org/w/index.php?title=Carta de Amiens&action=history | Portuguese | Spoken | 185 | 332 | Carta de Amiens é o nome com que ficou conhecida a declaração produzida pelo 9o, Congresso da CGT francesa, ocorrido na cidade de Amiens, em 1906.
Ela estabeleceu dois objetivos básicos para o movimento dos trabalhadores:
1. A defesa de suas exigências imediatas e diárias (jornada de 8 horas e aumento dos salários)
2. A luta pela transformação global da Sociedade, em completa independência dos partidos políticos e do Estado.
Pontos importantes dessa Declaração foram:
- O reconhecimento explícito da Luta de Classes
- A afirmação da independência de ação dos sindicatos, relativamente aos partidos políticos (Apoliticismo)
- Promover o fim do trabalho assalariado e o fim da classe empregadora
- A separação entre Economia e Política, considerando-se a primeira o âmbito de interesse (e, portanto, de ação) dos trabalhadores, e a segunda contrária a esses interesses.
A Carta de Amiens tornou-se a pedra angular da tradição sindical francesa, sobretudo no que diz respeito à sua proclamação de autonomia dos sindicatos em relação aos partidos políticos, embora, após a Segunda Guerra Mundial, a CGT viesse a se aproximar do Partido Comunista Francês.
Ligações externas
Sindicalismo | 43,697 |
https://stackoverflow.com/questions/54867501 | StackExchange | Open Web | CC-By-SA | 2,019 | Stack Exchange | English | Spoken | 96 | 241 | Web scraping - noob
I'm trying to extract data from the https://www.scimagojr.com website regarding specific journals. Tryed using curl to extract data using each journal ID.
Example:
Created a curl in a txt named data.txt
Curl 'https://www.scimagojr.com/journalsearch.php?q=24589&tip=sid&clean=0'
The ID for Annales Zoologici Fennici Journal is 24589, but I changed it in the url to $1 to enable the use of others ID in order to collect data easier
Curl 'https://www.scimagojr.com/journalsearch.php?q=$1&tip=sid&clean=0'
I tried using
./data.txt 24589
but it doesn't give information about the journal
Variables are not interpolated within single quotes. Change to double quotes:
curl "https://www.scimagojr.com/journalsearch.php?q=$1&tip=sid&clean=0"
| 19,043 | |
https://en.wikipedia.org/wiki/Medal%20%22For%20the%20Capture%20of%20Paris%22 | Wikipedia | Open Web | CC-By-SA | 2,023 | Medal "For the Capture of Paris" | https://en.wikipedia.org/w/index.php?title=Medal "For the Capture of Paris"&action=history | English | Spoken | 132 | 172 | The Medal "For the Capture of Paris on March 19, 1814" () was a campaign medal of the Russian Empire. It was established on August 30, 1814 by decree of Emperor Alexander I of Russia.
The medal was intended for those who participated in the taking of Paris in 1814, from soldiers to generals. The medal was not awarded until 1826 as after the restoration of the French monarchy Alexander I considered it undiplomatic to award a medal that would remind France of the defeat, and it was the next Emperor, Nicholas I, who gave orders for its issue in March 1826. More than 160,000 medals were produced in total.
References
1814 establishments in the Russian Empire
1814 in France
Awards established in 1814
Campaign medals
Military awards and decorations of Russia | 16,213 |
https://stackoverflow.com/questions/7646398 | StackExchange | Open Web | CC-By-SA | 2,011 | Stack Exchange | Dan, Lindsay Grow, Nikhm, Observer, Prajwal Babar, TheTechGuy, Wilkerson Kern, geo-tarasov, https://stackoverflow.com/users/1000753, https://stackoverflow.com/users/16938022, https://stackoverflow.com/users/16938023, https://stackoverflow.com/users/16938024, https://stackoverflow.com/users/16938208, https://stackoverflow.com/users/19954019, https://stackoverflow.com/users/405781, https://stackoverflow.com/users/777982, https://stackoverflow.com/users/7891610, pinoyyid | English | Spoken | 955 | 1,940 | HTML 5 offline storage cache manifest not working
I'm trying to get HTML5 offline storage working in a basic way. I read the information on DiveIntoHTML5 and it seems to make sense, but it just doesn't seem to be working for me. I wondered if someone could help me to debug this.
Basically I've set up a home page for the application, index.htm. So my application is on the web at http://www.mydomain.com/online/index.htm. Users will visit this page, where they'll ordinaraily do all of their stuff day-to-day. Visiting this URL will create a bunch of cached files so they can then visit http://www.mydomain.com/offline and view a working version of the application when they're offline.
The top few lines of code in the online homepage are:
<!DOCTYPE html>
<html manifest="cache.manifest">
<head>
...etc
I've generated a plain text file called 'cache.txt' and added the following content to it in Notepad:
CACHE MANIFEST
http://www.mydomain.com/offline/scripts/jquery-1.6.3.min.js
http://www.mydomain.com/offline/scripts/jquery-ui-1.8.16.custom.min.js
http://www.mydomain.com/offline/scripts/modernizr.min.js
http://www.mydomain.com/offline/scripts/json2.min.js
http://www.mydomain.com/offline/scripts/jquery.deserialize.js
http://www.mydomain.com/offline/scripts/jquery.cookie.js
http://www.mydomain.com/offline/scripts/main.js
http://www.mydomain.com/offline/css/main.css
http://www.mydomain.com/offline/css/structure-details.css
http://www.mydomain.com/offline/css/ui-lightness/jquery-ui-1.8.16.custom.css
http://www.mydomain.com/img/header.gif
http://www.mydomain.com/offline/img/bg.png
http://www.mydomain.com/offline/img/header_riser.gif
http://www.mydomain.com/offline/img/logo.png
http://www.mydomain.com/offline/img/offline.png
http://www.mydomain.com/offline/index.htm
I've then renamed this file to 'cache.manifest' and uploaded it to the root of the online application (at the same level as my home-page) so that it's accessible at http://www.mydomain.com/online/cache.manifest.
The hosting company have supposedly added the content type of 'text/cache-manifest' to all files with the extension of .manifest in IIS. I think this is working because when I view the file in Firefox at http://www.mydomain.com/online/cache.manifest Firebug tells me the content type is:
Content-Type cache-manifest
Or should this be returning 'text/cache-manifest'? Perhaps this is the problem?
When I view the offline storage folder on my system (C:\Users\Me\AppData\Local\Mozilla\Firefox\Profiles\b12u6xza.default there's nothing in there related to this domain at all.
Can anyone suggest what might be going wrong - as I'm a little stumped?
First of all, the specification have changed, you should now use .appcache as manifest extension.
Second, the mime type should be defined as you say text/cache-manifest. I'm not really related to IIS but seems like there's two ways to add this MIME type , either trough IIS administration UI or via web.config file
Also, I would recommend you testing this with Google Chrome, since its console show all the manifest parsing data and errors, including when the manifest MIME type is not being correctly recognized.
the spec says the file can have any extension
There are some issues you have to be care about:
Chrome (And I guess that all the browsers at last) only handles the cache file over secure requests. If your request is not secure, your cache won't be executed.
Mobile browsers (At least, the devices I could test), doesn't care about secure or unsecure requests. But I'd prefer to be ready for the politics change.
I was breaking my head trying to understand why in Android my file worked fine and in iOS it was failing, and the reason was that I was running my browser in incognito mode. iOS in incognito mode can't cache the page, and you get error.
If I find more issues, I'll write it down.
Regards.
Your answer ended my search. If request not secure, your cache won't be executed! I was breaking my head trying to understand why Manifest not working on apache.
No, I tested it, it has nothing to do with secure connection. This should work fine locally as well without any https
I spend a lot of time on this (on my own problem), offline cache was not working. Did everything possible I could do, changed cache file name, added handler via htaccess, uploaded the file from local to live server, still the same problem. Finally got some help from this question myself.
I tested it in safari and it was working fine. The problem was Chrome browser. I also tried https as another user suggested, that also did not fix the problem. So may be there is an extension in chrome that is forbidding it from using the cache file. Before troubleshooting your problem first test it in standard browsers Safari, FireFox, IE, Opera. Do not test in non-standard browsers such as Brave, it did not work in it.
Officially from google
Which confirms deprecation in Ver 61 and onward. I am running 80.
Chrome support for applicationcache and manifest for offline html5 application.
Application Cache / Offline Application / Manifest Cache.
Aware that applicationcache has been deprecated, but whilst
replacement (service workers) not ratified have yet to replace in
legacy systems we have.
However, recent browser update seems to have disabled offline
functionality on HTTPS site. Our manifest files are now ignored and
chrome dinosaur displayed instead.
On checking back through browsers seems this is common from Chrome 61
and newer however it only seems to have manifested recently.
Chrome issue? or combination of Chrome and underlying OS? We have
android/windows both showing same problem from 61 onwards.
Note : HTML5 Cache is being deprecated
All browsers are going to drop this feature, I noticed they are not working in any of the latest browsers. This MDN Mozilla strongly advises against it and not to use it.
try to add these lines in httpd.conf ..this might help you
AddType text/cache-manifest .manifest
<IfModule mod_expires.c>
ExpiresActive On
ExpiresByType text/cache-manifest "access plus 0 seconds"
</IfModule>
Is this for Apache, or IIS? My environment is Windows/IIS.
You'd better test using chrome's console !(you can't see these in chrome's network)
My example(visit:www.mustrank.com/views/1.php ).
Look at chrome's console output below,manifest file "website.appcache" is created first,and then sources "1.html" and "main.css" are downloaded
[Creating Application Cache with manifest
www.mustrank.com/views/website.appcache 1.php:1
Application Cache Checking event 1.php:1
Application Cache Downloading event 1.php:1
Application Cache Progress event (0 of 2)
www.mustrank.com/views/1.html 1.php:1
Application Cache Progress event (1 of 2)
www.mustrank.com/css/main.css 1.php:1
Application Cache Progress event (2 of 2) 1.php:1
Application Cache Cached event ]
| 23,476 |
https://stackoverflow.com/questions/72612243 | StackExchange | Open Web | CC-By-SA | 2,022 | Stack Exchange | English | Spoken | 79 | 209 | List horizontally data from array
This is the result I've got. But I wan to display it horizontally. Can anyone help me?
Here's my code:
<?php
for($j = 0; $j < count($sub); $j++){
echo "
<table class='table'>
<thead>
<tr>
<th scope='col'>" . $sub[$j] . "</th>
</tr>
</thead>
</table>";
}?>
Your subjects should be ths in one tr:
echo "<table class='table'><thead><tr>";
for($j = 0; $j < count($sub); $j++){
echo "<th scope='col'>" . $sub[$j] . "</th>";
}
echo "</tr></thead></table>";
Fiddle here.
| 19,646 | |
https://askubuntu.com/questions/502905 | StackExchange | Open Web | CC-By-SA | 2,014 | Stack Exchange | Manu, Ravi, bain, https://askubuntu.com/users/220682, https://askubuntu.com/users/309328, https://askubuntu.com/users/60294 | English | Spoken | 1,460 | 2,656 | How to upgrade Ubuntu 13.10 (end of life) to Ubuntu 14.04?
I've EOL release of Ubuntu 13.10. Now I want to upgrade to next release. For this I read many sites. So herein I would like to clarify & confirm ways for the same.
1) This site of ubuntu mentions how to upgrade from 8.10 to 9.04.
It says to make sure the sources.list (/etc/apt/sources.list) has the following:
## EOL upgrade sources.list
# Required
deb http://old-releases.ubuntu.com/ubuntu/ intrepid main restricted universe multiverse
deb http://old-releases.ubuntu.com/ubuntu/ intrepid-updates main restricted universe multiverse
deb http://old-releases.ubuntu.com/ubuntu/ intrepid-security main restricted universe multiverse
# Optional
#deb http://old-releases.ubuntu.com/ubuntu/ intrepid-backports main restricted universe multiverse
#deb http://old-releases.ubuntu.com/ubuntu/ intrepid-proposed main restricted universe multiverse
Now my sources.list in 13.10 has the following. It doesn't have the words "universe multiverse" as is mentioned above.
# deb cdrom:[Ubuntu 13.10 _Saucy Salamander_ - Release i386 (20131016.1)]/ saucy main restricted
# See http://help.ubuntu.com/community/UpgradeNotes for how to upgrade to
# newer versions of the distribution.
deb http://in.archive.ubuntu.com/ubuntu/ saucy main restricted
deb-src http://in.archive.ubuntu.com/ubuntu/ saucy main restricted
## Major bug fix updates produced after the final release of the
## distribution.
deb http://in.archive.ubuntu.com/ubuntu/ saucy-updates main restricted
deb-src http://in.archive.ubuntu.com/ubuntu/ saucy-updates main restricted
## N.B. software from this repository is ENTIRELY UNSUPPORTED by the Ubuntu
## team. Also, please note that software in universe WILL NOT receive any
## review or updates from the Ubuntu security team.
deb http://in.archive.ubuntu.com/ubuntu/ saucy universe
deb-src http://in.archive.ubuntu.com/ubuntu/ saucy universe
deb http://in.archive.ubuntu.com/ubuntu/ saucy-updates universe
deb-src http://in.archive.ubuntu.com/ubuntu/ saucy-updates universe
## N.B. software from this repository is ENTIRELY UNSUPPORTED by the Ubuntu
## team, and may not be under a free licence. Please satisfy yourself as to
## your rights to use the software. Also, please note that software in
## multiverse WILL NOT receive any review or updates from the Ubuntu
## security team.
deb http://in.archive.ubuntu.com/ubuntu/ saucy multiverse
deb-src http://in.archive.ubuntu.com/ubuntu/ saucy multiverse
deb http://in.archive.ubuntu.com/ubuntu/ saucy-updates multiverse
deb-src http://in.archive.ubuntu.com/ubuntu/ saucy-updates multiverse
## N.B. software from this repository may not have been tested as
## extensively as that contained in the main release, although it includes
## newer versions of some applications which may provide useful features.
## Also, please note that software in backports WILL NOT receive any review
## or updates from the Ubuntu security team.
deb http://in.archive.ubuntu.com/ubuntu/ saucy-backports main restricted universe multiverse
deb-src http://in.archive.ubuntu.com/ubuntu/ saucy-backports main restricted universe multiverse
deb http://security.ubuntu.com/ubuntu saucy-security main restricted
deb-src http://security.ubuntu.com/ubuntu saucy-security main restricted
deb http://security.ubuntu.com/ubuntu saucy-security universe
deb-src http://security.ubuntu.com/ubuntu saucy-security universe
deb http://security.ubuntu.com/ubuntu saucy-security multiverse
deb-src http://security.ubuntu.com/ubuntu saucy-security multiverse
## Uncomment the following two lines to add software from Canonical's
## 'partner' repository.
## This software is not part of Ubuntu, but is offered by Canonical and the
## respective vendors as a service to Ubuntu users.
# deb http://archive.canonical.com/ubuntu saucy partner
# deb-src http://archive.canonical.com/ubuntu saucy partner
## This software is not part of Ubuntu, but is offered by third-party
## developers who want to ship their latest software.
deb http://extras.ubuntu.com/ubuntu saucy main
deb-src http://extras.ubuntu.com/ubuntu saucy main
So, do I need to include those words in my sources.list or simply I replace the current codename "saucy" to "trusty" other than replacing "archive.ubuntu.com" to "old-releases.ubuntu.com". Please clarify the codename of 14.04 to be used in the sources.list, is it "trusty" (I feel so) or "trusty tahr". If the code name to be used is "trusty", then I don't know why this Ubuntu site mentions it's codename as "trusty tahr"!!!! Also as the 1st link explains, is it O.K. that I delete all lines from my sources.list (in 13.10) & only include the stated 8 sentences (obviously by replacing with the relevant codename) as mentioned in the 1st code of this Q?
2) Now that 1st link says to run the below commands.
sudo aptitude update && sudo aptitude safe-upgrade
sudo do-release-upgrade
That's all! But this link of Ubuntu also states of installing some meta-packages/dependencies. Please clarify what's these dependencies & is it reqd. to install these? If reqd. then why that link (1st link of upgrading from 8.10 to 9.04) doesn't mention this?
3) Also, one more point I would like to clarify. See rather than doing via cli, I'm getting a way to do via GUI. See if I only replace archive.ubuntu.com to old-releases.ubuntu.com then when I run "software updater", it has option to upgrade as shown below.
So, can my system be upgraded this way even? I'm asking this because I couldn't find this method mentioned for upgrading EOL.
4) This is my last point to ask. (Sorry for extending this thread) Once I run the command to upgrade sudo do-release-upgrade via cli or if I click the "Upgrade" button on the GUI of the updater, is it possible that it doesn't require my intervention or input anymore (assuming no error occurs) to complete the upgrade so that I can run the upgrade process in the night before going to sleep & when I get up it should be done?
@bain no it's not duplicate.I've visited many sites including the one you mentioned, then only I've come here to ask my Q. My Q isn't answered anywhere, please go through the Q properly to get what I'm asking. I would like if the label in the beginning of my Q can be removed please.
By the way, it is better to ask separate questions, one AskUbuntu question for each question, instead of combining questions together.
@bain it's not duplicate at all. That top voted answer mentions modifying sources.list but I'm asking something else with respect to that only. Yes yes yes, w.r.t. that answer that you mentioned, I'm asking my further doubt. I know that answer says replace archive.ubuntu.com with 'blah blah blah', but my Q is further to that. If you have answer please reply to my 1st Q. I request you please read it properly & say whether I need to include those words. That link is not on how to upgrade to new release but the link in that link is! I followed that inside link of help.ubuntu.com
@bain the questions go well with the heading (how to upgrade). Including the 1st 3 questions together really should clarify the issue better; making them separate in different threads won't!
Replace "archive.ubuntu.com" with "old-releases.ubuntu.com" (this is covered in the other question) 2. You do not need to add any extra packages or do anything else. 3. The system already found the update. Just click "Upgrade" (this is covered in the other question). 4. Upgrading is automatic (unless you made any incompatible changes, in which case it will fail).
Replacing "that" with "that" is what I've mentioned to do. But what I wanted to know was that my sources.list doesn't have these 2 words namely "universe multiverse" but the ubuntu site (1st link) mentions these 2 words also in the sources.list file. So, I want to know whether I should simply replace what you told or additionally I need to add these words in my file. Replacing "this" with "that" is covered in the other Q but in a different context & not upgrading to next release. My 1st link covers that point. 3. You say click "Upgrade". That Q doesn't cover this point also.That's different
You do not need to add "universe multiverse". Why are you looking at a page about upgrading from 8.10 to 9.04? You are not using 8.10, and you are not upgrading to 9.04 2. Replacing "this" with "that" is covered in the other Q but in a different context & not upgrading to next release - read the whole answer - it does cover upgrading to the next release. 3. The answer includes this image It is not exactly the same but it tells you to click "Upgrade" and it is pretty obvious that you should (how else would you start an upgrade?)
The safest way to upgrade from 13.10 to 14.04 is by doing the following in a Terminal, thus:
a) do a CTRL + ALT + T to open a Terminal
b) type the following commands:
sudo apt-get update
to update your packages lists
sudo apt-get dist-upgrade
to make sure your system is fully up-to-date before proceeding to the release upgrade
finally:
sudo update-manager -d
non-graphical alternative (all within the Terminal):
sudo do-release-upgrade
c) The update manager will show a button to do the upgrade to Ubuntu 14.04. Click on it and follow the instructions.
WARNING! BEFORE UPGRADING! Please do a backup of your data... just in case!
Sorry your way is not applicable here as mine is EOL or end of life.
If your release is at EOL, the first two commands won't work, indeed, as the repositories have been deactivated. In that case, your only options are the last commands: sudo update-manager -d OR sudo do-release-upgrade.
For your convenience, I recommend the first one of the two: sudo update-manager -d
| 34,757 |
https://sv.wikipedia.org/wiki/Banjarmulya | Wikipedia | Open Web | CC-By-SA | 2,023 | Banjarmulya | https://sv.wikipedia.org/w/index.php?title=Banjarmulya&action=history | Swedish | Spoken | 76 | 173 | Banjarmulya är en administrativ by i Indonesien. Den ligger i provinsen Jawa Tengah, i den västra delen av landet, km öster om huvudstaden Jakarta.
Tropiskt regnskogsklimat råder i trakten. Årsmedeltemperaturen i trakten är °C. Den varmaste månaden är oktober, då medeltemperaturen är °C, och den kallaste är december, med °C. Genomsnittlig årsnederbörd är millimeter. Den regnigaste månaden är januari, med i genomsnitt mm nederbörd, och den torraste är september, med mm nederbörd.
Källor
Byar i Pemalang | 8,345 |
https://nl.wikipedia.org/wiki/Tanjung%20Beringin%20%28Muaradua%20Kisam%29 | Wikipedia | Open Web | CC-By-SA | 2,023 | Tanjung Beringin (Muaradua Kisam) | https://nl.wikipedia.org/w/index.php?title=Tanjung Beringin (Muaradua Kisam)&action=history | Dutch | Spoken | 27 | 69 | Tanjung Beringin is een bestuurslaag in het regentschap Ogan Komering Ulu Selatan van de provincie Zuid-Sumatra, Indonesië. Tanjung Beringin telt 585 inwoners (volkstelling 2010).
Plaats in Zuid-Sumatra | 1,796 |
https://stackoverflow.com/questions/22645295 | StackExchange | Open Web | CC-By-SA | 2,014 | Stack Exchange | Bob Jarvis - Слава Україні, CodeBird, Gordon Linoff, Justin Cave, ThinkJet, datacentric, https://stackoverflow.com/users/10397, https://stackoverflow.com/users/1144035, https://stackoverflow.com/users/2039729, https://stackoverflow.com/users/213136, https://stackoverflow.com/users/232279, https://stackoverflow.com/users/2726995, https://stackoverflow.com/users/716691, user2726995 | English | Spoken | 892 | 1,508 | Updating only the joined rows
I am trying to understand the update statement in SQL. I have tried many different ways of doing the work but nothing seems to be working. I have to join to table and ONLY on the joined rows, I have update a column text from "and" to "is".
This is exactly what I am trying to do. I hope this is making sense:
update (select t2.text from rules t1 inner join rules t2 on t1.parentid = t2.childid
where t1.parentid > 0 and
t2.value = to_char (t1.position))
set text = replace(text, 'and', 'is');
I would really appreciate all your help.
Define "not working". Are you getting an error? If so, what error? Is the statement updating more rows than you expect? Or fewer? Which rows are/ are not being updated? My first thought would be that you're getting an error saying that the join is not key preserved but that's just a guess.
I removed the sql-server tag because the question is explicitly about PL/SQL.
Check this: might have what you want http://stackoverflow.com/questions/2446764/oracle-update-statement-with-inner-join
why do you have table keyword after from and join there are not needed, even wrong. SELECT * FROM table_name INNER JOIN table_name2
Given the syntax issues in the SELECT statement, I'm curious - what are the names of the tables you're trying to join?
If I have the logic correct, you want to do the replacement in the first table, when the id exists in the second table. Use a where clause instead:
update table1
set text = replace(text, 'is', 'and')
where exists (select 1
from table2 t2
where t2.id = table1.id
);
I am assuming that the condition t2.id > 0 is a redundant way of specifying a match. Because the two ids are the same, I would use table1.id > 0:
update table1
set text = replace(text, 'is', 'and')
where id > 0 and
exists (select 1
from table2 t2
where t2.id = table1.id
);
@Justin - yes, you are right. The key preserved is an error I am getting.
@Gordon - Thanks. Sorry for the extra tag
@user2726995 - Thanks for the link but this is different than what I am looking for.
@GriffeyDog . . . I sort of assumed that that condition is unnecessary, but I updated the answer anyway.
@Gordon - Thanks for the query. Here is a more detailed explanation for what I am looking for - I have to join the same table. Table with Table. This is how the table is structured. Two rows within the same table can be joined together based on the same id (in different columns.. something like parent id and child id). After joining, I only have to update the text in the joined rows. I hope this is making sense. I can explain in more detail if needed.
@datacentric Your last comment is a part of a question. So, please add it to question text.
first problem you have, is that you're using table keyword in your select this is a wrong syntax.
Second problem is that you're telling oracle set t1.text when your query result, the select doesn't have t1.text but has text
this query works:
update (select t1.text from t1 inner join t2
on t1.id = t2.id
where t2.id > 0)
set text = replace(text_val, 'is', 'and');
Here's a working fiddle
This is exactly what I need to do but this is the error I am getting:ORA-01779: cannot modify a column which maps to a non key-preserved table
id should be primary key in both tables, @datacentric
id is the primary key. This is what is confusing to me. I modified my original query based on your answer. I included that in my original quesiton
can I see your final query, the one that is giving you this error? @datacentric
I included that in my original question: Here it is again:update (select t2.text from rules t1 inner join rules t2 on t1.parentid = t2.childid
where t1.parentid > 0 and
t2.value = to_char (t1.position))
set text = replace(text, 'and', 'is');
@datacentric I don't know something is wrong with your keys, the only way I can help is by seeing your data. try creating a fiddle let's see what's going on.
Thanks much CodeBird. Sorry but I cant share the data. All I know I that both the tables have the primary key as listed in the query. Is there a way I can do it without joining the tables, so there is no issue of primary key?
@datacentric you'll have to use the solution of Gordon... which is logically better.
It's possible to use MERGE statement for that purpose.
If you have a table with child-parent relationship defined like that:
create table t1 (
id number,
parent_id number,
text_field varchar2(100)
)
you can find all matched pairs and then search for records to update with it's unique identifiers:
merge into t1 target_t
using (
select
parent_tab.id parent_id,
child_tab.id child_id
from
t1 parent_tab,
t1 child_tab
where
parent_tab.id = child_tab.parent_id
) found_records
on (
target_t.id in (found_records.parent_id, found_records.child_id)
)
when matched
then update
set
target_t.text_field = replace(target_t.text_field, 'and', 'is')
;
SQLFiddle
This worked: update (select text from rules t1 where exists (select childid from rules t2 where t1.parentid = t2.childid
and t1.value = to_char(t2.position)))
set text = replace(text, 'and', 'is'); Thank you all for your help! you guys are wonderful!
| 37,388 |
https://es.stackoverflow.com/questions/271733 | StackExchange | Open Web | CC-By-SA | 2,019 | Stack Exchange | JackNavaRow, Miguel, OscarGarcia, Pavel, https://es.stackoverflow.com/users/18608, https://es.stackoverflow.com/users/28035, https://es.stackoverflow.com/users/30710, https://es.stackoverflow.com/users/95858 | Spanish | Spoken | 1,188 | 2,876 | Problemas compartiendo en redes sociales usando open graph
He creado un blog desde cero y ahora estoy haciendo que puedan compartir la noticia tanto en Facebook como en Twitter.
Es algo que hice hace algún tiempo en un proyecto y me funcionaba, pero en este nueva página que he montado (en un nuevo servidor) no carga ni la imagen ni el texto de la noticia en lo que comparte.
Entiendo que con este código cargo la imagen y el texto que lleva la noticia:
<meta property="og:title" content="<?php echo $res['titulo']; ?>"/>
<meta property="og:type" content="article"/>
<meta property="og:url" content="https://depildiodo.com/ver-noticia.php?ID=<?php echo $idnot; ?>"/>
<meta property="og:image" content="https://www.depildiodo.com/images/noticias/<?php echo $res['foto']; ?>" />
<meta property="og:description" content="<?php echo $subject; ?>" />
Tengo este script para que los botones de compartir hagan su función:
$(document).on('click', ".shared", function() {
var url = window.location.href;
var title = document.title;
url = encodeURIComponent(url);
title = encodeURIComponent(title);
//Boton Facebook
if($(this).hasClass('fb')){
url = 'https://www.facebook.com/sharer/sharer.php?u='+url+'&t='+title;
window.open(url, '_blank');
//Boton Twitter
}else if($(this).hasClass('tt')){
user = 'Depildiodo';//Nuestro usuario de twitter para mostrar como @user
url = 'https://twitter.com/intent/tweet?text='+title+'&url='+url+'&via='+user;
window.open(url, '_blank');
//Boton WhtsApp
}else if($(this).hasClass('wa')){
url = 'whatsapp://send?text="'+document.title+'" - "'+window.location.href+'"';
//Boton correo electronico
}else if($(this).hasClass('ce')){
url = 'mailto:?subject='+title+'&body='+url;
//Ningun boton valido
}else return;
//Abrimos la url
});
Éste es el botón de Facebook:
<div class="shared-panel">
<a target="_blank" class="shared fb" title="Facebook"></a>
<a target="_blank" class="shared tt" title="Twitter"></a>
<a data-action='share/whatsapp/share' class="shared wa" title="WhatsApp"></a>
<a class="shared ce" id="sml" title="Email"></a>
</div>
¿Podrías facilitarnos la URL para ver si se está generando correctamente?
Hola @OscarGarcia he cambiado el código por uno que encontré pero me pasa los mismo. Te adjunto la URL, los botones están al final de la noticia https://depildiodo.com/ver-noticia.php?ID=2
¿Qué es lo que no te funciona? ¿Pulsar los botones o el resumen que generan al compartir? Por cierto, has olvidado eliminar las etiquetas html de la descripción (og:description).
Lo que necesito es que al compartir cargue la foto y descripción de la notica, eso es lo que no funciona, en la etiqueta og:description no es donde coge el texto para compartir???
Sí, pero no puede contener etiquetas HTML (por lo que veo que no has usado htmlspecialchars() correctamente). Echa un vistazo a https://developers.facebook.com/docs/sharing/webmasters/ El texto que aparece en grande es lo que contiene og:title y en texto pequeño lo que tiene og:description, todo con el mismo formato.
Además, recuerda que hay cuatro campos obligatorios que son og:title, og:type, og:image y og:url.
He actualizado la pregunta, pero lo que no logro entender es esto que me dices pero no puede contener etiquetas HTML (por lo que veo que no has usado htmlspecialchars() correctamente) @OscarGarcia
El intercambio de información se está alargando demasiado. Continuemos el tema en el chat.
Corrigiendo los campos open graph
Tras corregir y agregar los cuatro campos open graph obligatorios (og:title, og:type, og:image y og:url) solicité durante la conversación del chat que comprobara los datos de depuración de la web de Facebook en la siguiente URL:
https://developers.facebook.com/tools/debug/sharing/?q=https%3A%2F%2Fdepildiodo.com%2Fver-noticia.php%3FID%3D2
Observamos que la página nos mostraba, algo escondido, un mensaje de error de cURL que impedía que se obtuvieran los campos requeridos. Pudimos reproducir el error de la siguiente manera:
$ curl 'https://depildiodo.com/ver-noticia.php?ID=2'
curl: (60) SSL certificate problem: unable to get local issuer certificate
Problema con el certificado HTTPS
El principal problema por el que ni Facebook ni Twitter recogían la información correctamente era por un error en la cadena de certificación del certificado del servidor web.
Usando openssl vimos que el servidor entregaba únicamente un certificado:
$ openssl s_client -host depildiodo.com -port 443 -showcerts
CONNECTED(00000003)
depth=0 CN = *.depildiodo.com
verify error:num=20:unable to get local issuer certificate
verify return:1
depth=0 CN = *.depildiodo.com
verify error:num=21:unable to verify the first certificate
verify return:1
---
Certificate chain
0 s:/CN=*.depildiodo.com
i:/C=US/O=DigiCert Inc/OU=www.digicert.com/CN=Encryption Everywhere DV TLS CA - G1
....
Verify return code: 21 (unable to verify the first certificate)
Por lo que todo apuntaba a que faltaba una entidad certificadora intermedia (Encryption Everywhere DV TLS CA - G1) por agregar al certificado que entrega el servidor web.
De la página web oficial de la entidad certificadora nos descargamos el certificado de la entidad intermedia y lo convertimos a PEM de la siguiente manera:
curl 'https://dl.cacerts.digicert.com/EncryptionEverywhereDVTLSCA-G1.crt' \
> /etc/ssl/EncryptionEverywhereDVTLSCA-G1.crt
openssl x509 -inform der -in /etc/ssl/EncryptionEverywhereDVTLSCA-G1.crt \
-out /etc/ssl/EncryptionEverywhereDVTLSCA-G1.pem
Luego generamos el certificado incluyendo a la cadena la entidad certificadora intermedia después del certificado expedido:
cat /etc/ssl/depildiodo.com_ssl_certificate.cer \
/etc/ssl/EncryptionEverywhereDVTLSCA-G1.pem \
> /etc/ssl/depildiodo.com_completo.cer
Al concatenar nos percatamos que no había separación entre el fin de un bloque y el comienzo del siguiente:
grep '\-\-\-' /etc/ssl/depildiodo.com_completo.cer
-----BEGIN CERTIFICATE-----
-----END CERTIFICATE----------BEGIN CERTIFICATE-----
-----END CERTIFICATE-----
Por lo que tuvimos que dividirlo con la siguiente instrucción:
sed -i 's#----------#-----\n-----#g' /etc/ssl/depildiodo.com_completo.cer
Quedando ahora correctamente separado:
grep '\-\-\-' /etc/ssl/depildiodo.com_completo.cer
-----BEGIN CERTIFICATE-----
-----END CERTIFICATE-----
-----BEGIN CERTIFICATE-----
-----END CERTIFICATE-----
Cambiamos el certificado que carga el servidor web (un nginx) de la siguiente manera:
; Comentamos el antiguo certificado
; ssl_certificate /etc/ssl/depildiodo.com_ssl_certificate.cer;
; Dejamos configurado el nuevo con la entidad certificadora intermedia
ssl_certificate /etc/ssl/depildiodo.com_completo.cer;
Tras reiniciar el servidor nginx todo debería funcionar correctamente y tanto Facebook como Twitter deberían obtener la información de open graph sin problemas.
creo que debes cambiar la pregunta, seria interesante para otros usuarios saber que se necesitan los certificados ssl para consultar los servicios de facebook y/o twitter
Mañana intentaré editar la pregunta para que refleje mejor lo que le ocurría y mejorar el seo para otra gente que tenga el mismo problema.
Hola @OscarGarcia tengo el mismo problema de nuevo pero con algunos navegadores que me dan aviso de peligro por el SSL, pero releyendo lo que pones no se muy bien como hacerlo
Hola @Miguel. ¿Es tu propio servidor en un PC tuyo, VPS o similar o, en cambio, has contratado alojamiento compartido con otra empresa? ¿Tienes un certificado contratado, gratuito o autogenerado?
Hola Oscar tengo con Ionos un servidor propio. Y ellos me dan los certificados, como con los otros que hicimos. Pero aqui el problema me viene cuando pongo las https://www.dominio.es me dice que pertenece a otro de mis dominios
¿Entoces es otro dominio virtual en el mismo servidor que la última vez? Hoy no puedo ayudarte, pero mañana por la mañana abrimos un chat y lo revisamos en él, ¿Vale?
Hola @OscarGarcia al final no miramos nada, no se si podemos verlo, ya que tengo ya el blog activado, pero no me carga el opengraph, me puedes ayudar
Buenos días @Miguel. Continuemos el debate en el chat.
Probablemente tengas tu código bien, pero tienes un problema con el certificado digital, concretamente con la cadena de certificado, y está relacionado con que el certificado sea de tipo wildcard (*.depildiodo.com). A mí me ocurrió algo parecido. Si entras en la siguiente URL puedes comprobar el error:
https://developers.facebook.com/tools/debug/sharing/?q=https%3A%2F%2Fdepildiodo.com%2Fver-noticia.php%3FID%3D1
Puedes comprobar los problemas con el certificado en múltiples sitios:
SSL Labs
SSLShopper
Muchas gracias @Pavel y bienvenido a la comunidad. No deberías redactar una respuesta si no soluciona el problema planteado. En su lugar deberías haber escrito un comentario, aunque aún no tienes reputación suficiente para hacerlo deberías tener paciencia hasta entonces. Además, si hubieras entrado en la sala de chat hubieras averiguado que llegamos a esa conclusión y hemos dedicado bastante tiempo y esfuerzo en arreglarlo.
No tenía ni idea que existían comentarios y respuestas. Tampoco el chat. Gracias por la aclaración.
| 15,196 |
https://vec.wikipedia.org/wiki/Vouh%C3%A9 | Wikipedia | Open Web | CC-By-SA | 2,023 | Vouhé | https://vec.wikipedia.org/w/index.php?title=Vouhé&action=history | Venetian | Spoken | 38 | 86 | Vouhé el xe on comun de 656 abitanti del departemento de Charente-Maritime che el fa parte del rejon Nova Acuitania in Fransa.
Evołusion demogràfega
Altri projeti
Łigamenti foresti
Sito ofisiałe de ła sità
Comuni del departemento de Charente-Maritime | 23,201 |
https://stackoverflow.com/questions/54007563 | StackExchange | Open Web | CC-By-SA | 2,019 | Stack Exchange | Romain Valeri, https://stackoverflow.com/users/1057485, https://stackoverflow.com/users/1256452, https://stackoverflow.com/users/3352734, https://stackoverflow.com/users/7855283, maximelian1986, p7adams, torek | English | Spoken | 604 | 861 | Git sees to many changes within branches while making pull request
While working on a project we have faced a problem with git.
I have a branch "D", which is a feature branch.
Then I have a branch "A" which is my master.
I have merged "A" into "D" but git sends me a message: "Already up to date" when there are some changes at the "D" branch.
When I was creating branches, every next one depends on the previous one. So the flow was like A -> B -> C -> D.
Since branch "C" I can see on my pull request that 46 files are changed while only 4 to 5 files were changed.
I think it's important to mention that while I was working on Ubuntu and there were some problems with files permissions and I did sudo chown command on some files.
While doing git fsck --full I can see the output:
Checking object directories: 100% (256/256), done.
Checking objects: 100% (1072/1072), done.
dangling tree 1c706090df93f04b78e35d94ef9a55af86daa444
So from your story I understood that you created B branch from A, and made some changes, then you create C branch from B, what next? Do you trying to merge C branch into A? What are purpose of those branches B C D?
All the previous branches are merged into A, one by one in order of creation.
Why did you add the fsck output? I mean, what is the (supposed) relevance to the present problem?
Also, the title does not match the described problem. It's even the contrary. Maybe clarify?
Are you working along? You telling that you see some changes, so may be someone did actually updated those files?
https://stackoverflow.com/search?q=%5Bgit%5D+merge+says+branch+already+up+to+date
Can you clarify, you did changes to several files (4-5) in C, then you committed, then you pulled and saw those 46 files changed. Looks like there was some commit to C and you need to merge your changes with that one. If my understanding of the process wrong, tell exact steps of your workflow, like "created branch A", "made changes to A", "pushed changes to A", "created branch B from A"....
The flow is pretty simple.
I have A - master branch, than I can create feature branches from A - > B. Than I merge B into A, than on a branch B I create branch C and merge branch C into A etc.
I think it is wrong pattern, you always should merge branch into branch that is parent. So you need to merge your C into B and then B into A and not C into A. Better to create feature branch from main branch so B, C and D should be created from A, then you have no problems to merge them back into A.
When the C feature is based on the B feature, but B is not reviewed and not merged into A, how can I create C branch from A??
Not possible.
The message git sends you means that there are no changes in A that are absent in D. Thus the "up-to-date" message.
If you wanted the changes in D to be applied in your master branch (A), you'd have to merge the other way
git checkout A
git merge D
Are you sure that "A" has any new changes, that are not in "D" branch? If here is no new changes, "A" commit history is the part of "D" commit history, and it is "Already up-to-date" because here is no to change in "D" commit history. If you want to merge youtr feature in master, you may merge "D" into "A".
| 19,855 |
https://ja.wikipedia.org/wiki/1969%E5%B9%B4%E3%81%AE%E3%83%AD%E3%83%BC%E3%83%89%E3%83%AC%E3%83%BC%E3%82%B9%E4%B8%96%E7%95%8C%E9%81%B8%E6%89%8B%E6%A8%A9 | Wikipedia | Open Web | CC-By-SA | 2,023 | 1969年のロードレース世界選手権 | https://ja.wikipedia.org/w/index.php?title=1969年のロードレース世界選手権&action=history | Japanese | Spoken | 56 | 3,650 | 1969年のロードレース世界選手権は、FIMロードレース世界選手権の第21回大会である。5月にハラマ・サーキットで開催されたスペインGPで開幕し、オパティヤ・サーキットで開催された最終戦ユーゴスラビアGPまで、全12戦で争われた。
シーズン概要
フランスGPがカレンダーに復帰し、ユーゴスラビアGPが新たに加わってこの年の世界選手権は全12戦となった。開幕戦となったスペインGPは前年まで開催地としてきたモンジュイック・サーキットを離れ、初めてハラマ・サーキットが舞台となった。
この年、ロードレース世界選手権に2つの大きな変革があった。ひとつはポイントシステムの変更であり、前年までは6位までがポイント対象であったものがこの年から10位までポイントが与えられ、1位のライダーに与えられるポイントは従来の8点から15点となった。この変更により、前年までと比べて2倍近い数のライダーがランキングに名を連ねることになった。ただし、成績の良い上位数戦のポイントを有効とする有効ポイント制は従来のままである。
そしてもうひとつの変革が、マシンに対するグランプリ始まって以来の大きなレギュレーション変更である。にロードレース世界選手権が始まった時、マシンに対する規制はターボやスーパーチャージャーなどの過給機の使用が禁止された以外は、排気量さえ守ればあとは「何でもあり」とも言えるものだった。そのような中で技術競争がエスカレートしてエンジンは高出力・高回転を目指して多気筒化され、またそれに伴って極端に狭くなったパワーバンドに対応するため変速機は多段化されてきた。やがてホンダの5気筒125ccや6気筒250cc、あるいはクライドラーの18速ギヤボックスを持つ50ccなどの市販車とはかけ離れた極端なマシンが登場するに至り、強大な資本を持つ大メーカーしか勝てるマシンを作れないという状況に危機感を持ったFIMはエンジンの気筒数とギヤボックスの段数を制限するレギュレーション変更を発表したのである。
この大掛かりなレギュレーション変更により、一世を風靡した日本メーカーのワークスマシンの多くがグランプリに出場することはできなくなり、シーズンをもってワークス活動を停止したホンダ、スズキに続いてヤマハもこの年からワークスチームを送らないことを決定した。代わってヨーロッパの小さなファクトリーのマシンを駆るライダーたちには大きなチャンスが生まれることになった。一方、ヤマハやカワサキは新レギュレーションに適合した市販マシンをリリースして多くの力のあるプライベーターたちに歓迎された。
500ccクラス
イギリス製の単気筒マシンに代わってパトンやリントといった新たな2気筒マシンが現れたものの500ccクラスの状況は前年とほとんど変わらず、MVアグスタの3気筒を駆るジャコモ・アゴスチーニが再び出場した全てのレースで優勝するという強さでタイトルを獲得した。第6戦のベルギーでは3位以下を周回遅れにするという圧倒的な速さを見せている。アゴスチーニが欠場したイタリアGPではアルベルト・パガーニがリントにグランプリ初優勝を、最終戦ユーゴスラビアGPではゴドフリー・ナッシュがノートンにグランプリ最後の勝利をもたらした。
350ccクラス
前年、ヤマハのチームメイトであるフィル・リードと250ccクラスのタイトルを争ったビル・アイビーは、リードのチームオーダーを無視した行動によってタイトルを奪われたことに激怒し、オートバイレースからの引退と4輪への転向を発表した。しかし、アイビーはヤワからの誘いによって今度は350ccクラスのライダーとして2輪レースへの復帰を果たした。ヤワの2ストロークV型4気筒は信頼性には乏しかったもののジャコモ・アゴスチーニの3気筒MVアグスタに充分対抗できるだけのスピードを持っており、シーズンが始まるとアゴスチーニが順調に勝利を重ねる一方でアイビーもマシントラブルに悩まされながらもダッチTTでは一時トップを走るなどの速さを発揮し、前半の4戦中2戦で2位表彰台に上る活躍を見せていた。しかし第5戦東ドイツGPの予選中、エンジンが焼き付いたマシンから投げ出されたアイビーは重傷を負い、搬送された病院で死亡した。
アイビーというライバルがいなくなった後はアゴスチーニの進撃を止められる者はおらず、500ccクラスと同様にアゴスチーニは欠場した終盤2戦以外の全てのレースに優勝し、2年連続となる350ccクラスタイトルを獲得した。
250ccクラス
前年、圧倒的な強さでタイトルを獲ったヤマハがワークスチームを撤退させたことにより、250ccクラスはヤマハの2ストローク2気筒の市販マシンに乗るケント・アンダーソン、4ストローク4気筒のベネリのケル・キャラザース、そして2ストローク単気筒エンジンをモノコックフレームに搭載したオッサのマシンを駆るサンチャゴ・ヘレロらによる激しいタイトル争いが繰り広げられることになった。
開幕戦のスペインでは地元のヘレロが自身とオッサにとっての初勝利を飾り、続く西ドイツGPではアンダーソンがスウェーデン人初のグランプリ勝利を記録した。第3戦でヘレロが2勝目を挙げた後、マン島TTではキャラザースがベネリでの初レースでグランプリ初勝利を飾り、第5戦のダッチTTでは今度はキャラザースのチームメイトであるレンツォ・パゾリーニが初勝利を挙げた。このようにレースごとに勝者が代わるという展開がシーズンの終盤まで続き、タイトル争いは最終戦を迎えた時点で3勝を挙げていたヘレロをアンダーソンとキャラザースがわずか2ポイント差で追うという接戦となっていた。そして最終戦ユーゴスラビアGPを制したキャラザースが逆転でタイトルを獲得し、このレースで3位となったアンダーソンがランキング2位、ポイントを獲得できなかったヘレロはランキング3位でシーズンを終えた。
すでにレギュレーション変更によって翌シーズンから250ccクラスは2気筒以下に制限されることが決まっており、ベネリの4気筒は出場することができる最後のシーズンにタイトルを獲得したことになるが、これは同時に4ストロークのマシンが獲得した最後の250ccタイトルでもあった。
125ccクラス
日本製ワークスマシンがいなくなった125ccクラスでは、日本のカワサキがにリリースした2ストローク水冷2気筒の125cc市販マシンKA-Iが再び注目されるようになった。技術競争のエスカレートによってデビュー翌年にはV型4気筒のKA-IIに取って代わられたKA-Iだったが、元々10速だったミッションを6速仕様に変更することで新レギュレーションの下でも出場することができ、後方排気ロータリーディスクバルブで30馬力を発揮したエンジンはヨーロッパ製のマシンに対しては充分な戦闘力を持っていたのである。このマシンでデイブ・シモンズは第2戦西ドイツGPで初勝利を挙げたが、これはカワサキにとってもグランプリ初優勝だった。シモンズはMZが新型のタンデムツインの熟成不足に悩まされている間に連勝を重ね、KA-Iと同様に旧いスズキのマシンを持ち出したディーター・ブラウンやセース・ファン・ドンゲンらを抑えて8勝を挙げてタイトルを獲得した。これはシモンズにとってもカワサキにとっても初めての世界タイトルだったが、日本のメーカーが125ccクラスのマニュファクチャラーズ・タイトルを獲得するのは以来9年連続となった。
50ccクラス
この年、タイトル争いがもっとも接戦となったのが50ccクラスである。前年タイトルを獲ったスズキをはじめとする日本製の2気筒マシンがレギュレーション変更によって走れなくなると、スペインのデルビ、ドイツのクライドラー、オランダのヤマティといった小排気量車を得意とするヨーロッパのメーカーのマシンたちがこのクラスの主役となった。まずクライドラーのアールト・トールセンが開幕から3連勝でシーズンをスタートし、続く3戦はバリー・スミスとアンヘル・ニエトによってデルビのマシンが3連勝、そして残る4戦でヤマティのポール・ロデウィックスが3勝を挙げるという、シーズンを通して3メーカーはほぼ互角の戦いを繰り広げた。タイトル争いは2勝ながら2位3回に3位1回と着実に上位でフィニッシュしたニエトが3勝のトールセンを1ポイント差で抑えて最初のライダース・タイトルを獲得し、ニエトとスミスの手で計4勝を挙げたデルビが日本車以外では初めての50ccマニュファクチャラーズ・タイトルを獲得した。
グランプリ
ポイントランキング
ポイントシステム
500・250ccクラスは上位入賞した7戦分、350・125・50ccクラスは上位入賞した6戦分のポイントが有効とされた。
ライダーズ・ランキング
凡例
500ccクラス
350ccクラス
250ccクラス
125ccクラス
50ccクラス
マニュファクチャラーズ・ランキング
凡例
500ccクラス
350ccクラス
250ccクラス
125ccクラス
50ccクラス
脚注
参考文献
ジュリアン・ライダー / マーティン・レインズ『二輪グランプリ60年史』（2010年、スタジオ・タック・クリエイティブ）
ケビン・キャメロン『THE GRAND PRIX MOTORCYCLE』（2010年、ウィック・ビジュアル・ビューロウ）
マイケル・スコット『The 500cc World Champion』（2007年、ウィック・ビジュアル・ビューロウ）
中沖満 / ピーター・クリフォード『サーキットの軌跡 世界ロードレースGPの歴史』（1987年、グランプリ出版）
1969
ろとれすせかいせんしゆけん | 26,200 |
https://es.wikipedia.org/wiki/%D3%9C | Wikipedia | Open Web | CC-By-SA | 2,023 | Ӝ | https://es.wikipedia.org/w/index.php?title=Ӝ&action=history | Spanish | Spoken | 118 | 255 | La Zhe con diéresis (η η; cursiva: η η) es una letra de la escritura cirílica. Su forma se deriva de la letra zhe (Ж ж Ж ж).
Se usa solo en el alfabeto del idioma udmurto, donde representa la africada postalveolar sonora , al igual que la pronunciación de en "jam". Por lo general se romaniza como ⟨dž⟩.
Ccorresponde en otros alfabetos cirílicos a los dígrafos o , o a las letras che con descendiente (Ҷ ҷ), che con trazo vertical (Ҹ ҹ), dzhe (Џ џ), che jakasia (Ӌ ӌ), zhe con breve (Ӂ ӂ), o zhje (Җ җ).
Códigos informáticos
Véase también
Zhe con breve
Zhje
Referencias
Letras cirílicas
Letras cirílicas con diacrítico
Letras con diéresis | 5,426 |
https://arz.wikipedia.org/wiki/%D8%B3%D9%8A%D8%AF%D9%86%D9%89%20%D9%84%D9%8A%D8%B1%D9%88 | Wikipedia | Open Web | CC-By-SA | 2,023 | سيدنى ليرو | https://arz.wikipedia.org/w/index.php?title=سيدنى ليرو&action=history | Egyptian Arabic | Spoken | 113 | 286 | سيدنى ليرو لاعبه كورة قدم من كندا و امريكا.
حياتها
سيدنى ليرو من مواليد يوم 7 مايو 1990 فى ڤانكوڤر.
الحياه الرياضيه
بتلعب فى مركز مهاجم, و لعبت مع فريق فانكوفر وايتكابس و منتخب الولايات المتحده لكورة القدم للستات و بوسطون بريكرز و سياتل رين و منتخب الولايات المتحده تحت 20 سنه للستات لكره القدم و وسترن نيو يورك فلاش و نادى كانساس سيتى و Seattle Sounders Women و Vancouver Whitecaps و منتخب كندا تحت 20 سنه للستات لكره القدم.
المشاركات
شاركت فى:
الالعاب الاولمبيه الصيفيه 2012
جوايز
National Women's Soccer League Player of the Week
National Women's Soccer League Best XI
لينكات برانيه
مصادر
لاعبين كوره القدم
لاعبين كوره قدم من كندا | 26,615 |
https://en.wikipedia.org/wiki/Navarro%20College | Wikipedia | Open Web | CC-By-SA | 2,023 | Navarro College | https://en.wikipedia.org/w/index.php?title=Navarro College&action=history | English | Spoken | 1,037 | 1,541 | Navarro College is a public community college in Texas with its main campus in Corsicana and branches in Mexia, Midlothian, and Waxahachie. The college has an annual student enrollment of more than 9,000 students.
The Corsicana campus has strong ties with Texas A&M University–Commerce which has branches at the Navarro College campuses in Corsicana
History
In spring 1946, a group of local citizens met to form a steering committee for the purpose of establishing a junior college in Navarro County. In a general election held July 16, 1946, voters approved the creation of Navarro Junior College and authorized a county tax to help finance the institution. In that same election, voters chose a seven-member board of trustees to govern the college. The first students began classes in September 1946. Most of the 238 members of that first student body were returning veterans from World War II taking advantage of assistance available under the newly enacted GI Bill of Rights. The first campus of Navarro College was the site of the Air Activities of Texas, a World War II primary flight school located six miles (10 km) south of Corsicana.
In 1951, the campus was moved to its present location, a tract west of downtown Corsicana on Texas State Highway 31.
In 1974, the college broadened its philosophy and purpose to encompass the comprehensive community-based educational concept, adding occupational education programs and implementing new education concepts including individualized and self-paced instruction and the use of audio-tutorial instructional media. In keeping with the new educational role, the word "junior" was dropped from the institution's name, and the official name Navarro College was adopted by the board of trustees. In an attempt to address the growing needs of its service area, which consists of Navarro, Ellis, Freestone, Limestone, and Leon counties, the college began offering courses in various locations in those areas in the early 1970s and eventually established two permanent centers, Navarro College South at Mexia and the Ellis County Center at Waxahachie. Later, a third and fourth off-campus centers were added in Midlothian and Fairfield.
2014 Ebola controversy
In October 2014, Navarro College received criticism for sending admission rejection letters to two prospective students from Nigeria because the college was "not accepting international students from countries with confirmed Ebola cases." Nigeria was identified by the World Health Organization through the summer of 2014 with multiple confirmed cases of Ebola, but there had been no new Ebola cases (since early September). The rejected applicants lived in Ibadan, Nigeria, approximately 80 miles from Lagos, where the most recent infected cases were identified. The college offered an explanation on October 13, stating that the rejections were not a result of fears of Ebola, but that its international department had recently been restructured to focus on recruiting students from China and Indonesia. On October 16, college Vice-president Dewayne Gragg issued a new statement, contradicting the previous explanation and confirming that there had indeed been a decision to "postpone our recruitment in those nations that the Center for Disease Control and the U.S. State Department have identified as at risk."
Campus
The Corsicana campus has expanded to with 23 buildings. It is home to the Cook Education Center, which houses a dome planetarium with seating for more than two hundred, tied with the University of Texas at Arlington for the largest planetarium in Texas. The Cook Education Center also contains the Pearce Collections Museum, home to many American Civil War artifacts as well as a western art collection.
Organization and administration
As defined by the Texas Legislature, the official service area of Navarro College includes all of Ellis, Freestone, Leon, Limestone, and Navarro counties.
Academics
Navarro is accredited by the Southern Association of Colleges and Schools. The accreditation was given in 1954 and reaffirmed in 1964, 1974, 1985, 1995 and again in 2006.
Waxahachie Global High School is partnered with Navarro College, and set up in a way that students at Global can take classes at Navarro. Thus they can graduate from high school with an associate degree or transferable credits to a 4-year university along with their high school diploma.
Athletics
Navarro's athletics teams, nicknamed The Bulldogs, compete in the Southwest Junior College Conference of the NJCAA. Navarro offers athletic scholarships in the following sports for men: football, basketball, baseball and for women: soccer, softball, volleyball. In 2011, the baseball team won the NJCAA Junior College World Series in Grand Junction, Colorado. The Bulldogs beat Central Arizona College, 6–4, on J.T. Files' walk-off home run in the tenth inning.
Perry D. "Peno" Graham Field (baseball)
Cheerleading
The Bulldogs also have a strong reputation for their coed cheer team. Since the year 2000, Coach Monica Aldama has led the program to 16 NCA National Championships in the junior college division, as well as six "Grand National" designations (a status awarded to the team with the highest overall score in competition). In 2020, the squad became the subject of a Netflix docuseries called Cheer.
Notable people
Jerry Harris, former Navarro College cheerleader, sex offender
Willis Adams, NFL player
Eddie Brown, NFL player
Keith Burns, NFL player
Gabi Butler, Navarro College cheerleader
Keo Coleman, NFL player
Byron Cook, state representative from Navarro County
Chris Davis, MLB player
DeMarcus Faggins, NFL player
Wasila Diwura-Soale, Ghanaian soccer player
Al Fontenot, NFL player
Cameron Giles, played basketball briefly, is now known as hip hop artist Cam'ron
Aaron Glenn, NFL player
JD Hammer (born 1994), former Major League Baseball pitcher for the Philadelphia Phillies
Brock Holt, utility player for the Boston Red Sox
Ray Jacobs, four-time NFL All-Star
Durwood Keeton, American football player
Jermane Mayberry, NFL player
Stockar McDougle, NFL player
Tano Tijerina, minor-league pitcher for the Milwaukee Brewers, 1993–1997, County Judge of Webb County, Texas, beginning January 1, 2015
Pat Williams, NFL player
J'Marcus Webb, NFL player
Mark Wheeler, NFL player
References
External links
Official website
Buildings and structures in Navarro County, Texas
Community colleges in Texas
Education in Ellis County, Texas
Education in Limestone County, Texas
Education in Navarro County, Texas
Universities and colleges accredited by the Southern Association of Colleges and Schools
Universities and colleges in the Dallas–Fort Worth metroplex
Universities and colleges established in 1946
1946 establishments in Texas
Corsicana, Texas
Waxahachie, Texas
NJCAA athletics | 2,672 |
https://stackoverflow.com/questions/74329906 | StackExchange | Open Web | CC-By-SA | 2,022 | Stack Exchange | English | Spoken | 259 | 644 | StyledTab component not accepting To or component properties
Trying to use tabs as links but I can't find any where that explains how to do it when you are styling a tab component. I get the syntax that if you use a Tab component you should do this:
<Tab value="..." component={Link} to="/" >
However if I have styled the Tab before and created an additional component like below, I can't find anything. I did this because I couldn't style the tab directly and I found this solution.
//Styled Tab
const StyledButton = styled(Button)(() => ({
...theme.typography.estimateBtn,
borderRadius: "50px",
marginLeft: "25px",
marginRight: "25px",
height: "50px",
}));
// nav container
const ToolBarCom: React.FC = () => {
const [value, setValue] = React.useState(0);
// handles classes for non react elements
const classes = useStyles();
const onChangeHandler = (e: React.SyntheticEvent, value: number) => {
setValue(value);
};
return (
<ToolBar disableGutters>
{/* <Typography variant='h3'>Arc Development</Typography> */}
<img src={logo} alt='company logo' className={classes.logo} />
<Tabs
value={value}
onChange={onChangeHandler}
textColor='secondary'
indicatorColor='primary'
className={classes.tabsContainer}
variant='scrollable'
scrollButtons='auto'>
<StyledTab value={0} label='Home' />
<StyledTab value={1} label='Services' />
<StyledTab value={2} label=' The Revolution' />
<StyledTab value={3} label='About Us' />
<StyledTab value={4} label=' Contact Us' />
</Tabs>
<StyledButton variant='contained' color='secondary'>
Free Trial
</StyledButton>
</ToolBar>
);
I had to restyle the Tab with useStyle hook. You have to find the root of the tab component. I couldn't find any documentation for the issue above. See below:
const useStyles = makeStyles(() => ({
logo: {
height: "5em",
},
tabsContainer: {
marginLeft: "auto",
color: "white",
},
tab: {
"&.MuiTab-root": {
...theme.typography.tab,
minWidth: 10,
marginLeft: "25px",
},
},
}));
| 21,227 | |
https://sq.wikipedia.org/wiki/Grabit%C3%ABset%20%22shum%C3%ABkomb%C3%ABshe%22 | Wikipedia | Open Web | CC-By-SA | 2,023 | Grabitëset "shumëkombëshe" | https://sq.wikipedia.org/w/index.php?title=Grabitëset "shumëkombëshe"&action=history | Albanian | Spoken | 20 | 59 | Grabitëset "shumëkombëshe" me Autor: Dervish Dumi , Napolon Roshi. Shtëpia Botuese "8 nëntori" Tiranë, 1980. Faqet e librit 327.
Libra | 3,832 |
https://ru.wikipedia.org/wiki/%D0%9A%D1%83%D1%82%D1%8F%D0%BD%D0%BE%D0%B2%D0%B0%2C%20%D0%9B%D1%8E%D0%B4%D0%BC%D0%B8%D0%BB%D0%B0%20%D0%94%D0%BC%D0%B8%D1%82%D1%80%D0%B8%D0%B5%D0%B2%D0%BD%D0%B0 | Wikipedia | Open Web | CC-By-SA | 2,023 | Кутянова, Людмила Дмитриевна | https://ru.wikipedia.org/w/index.php?title=Кутянова, Людмила Дмитриевна&action=history | Russian | Spoken | 658 | 2,087 | Людмила Дмитриевна Кутянова (известна также под фамилией Айтуганова; 1953—2008) — удмуртская поэтесса, литературовед. Первый лауреат национальной премии имени Ашальчи Оки (1994). Член Союза писателей России (1989), заслуженный работник культуры Удмуртской Республики (1991).
Биография
В культуре Удмуртии Людмила Дмитриевна известна под двумя фамилиями: как Кутянова она вошла в удмуртскую поэзию, а как Айтуганова — в литературоведение. Она считается продолжателем традиций первой удмуртской поэтессы Ашальчи Оки и в 1994 году стала первым лауреатом национальной премии, названной её именем.
Людмила Дмитриевна в 1976 году окончила филологический факультет Удмуртского государственныого университета, после чего несколько лет проработала учителем в средних школах села Новый Мултан и деревни Петропавлово Увинского района. С 1979 по 1995 годы работала в Удмуртском институте истории, языка и литературы УрО РАН сначала лаборантом, затем научным сотрудником отдела литературы и фольклора. С 1996 года занимала пост заведующей отделением поэзии и критики литературно-художественного журнала «Кенеш».
Творчество
Заниматься творчеством Людмила Дмитриевна начала ещё в годы студенчества. В 1973 году в журнале «Молот» было опубликовано первое стихотворение. В 1980 году в свет вышел первый сборник поэтессы «Чагыресь пилемъёс» (). Большое место в нём занимает тема любви и непростых взаимоотношений между мужчиной и женщиной. Тему любви поэтесса продолжает в сборниках «Ваче син» () и «Со аръёс» (), вышедшем в 1986 и 1991 годах соответственно, однако в них упор, скорее, делается на характере лирической героини, раскрытии её внутреннего мира и преодолении жизненных трудностей.
Некоторые из стихов Кутяновой положены на музыку.
Ряд произведений Людмилы Дмитриевны, переведённых на русский язык, опубликованы в альманахах «Поэзия» (1977) и «Истоки» (1977), в коллективных сборниках «Горизонт» (Ижевск, 1980) и «Горизонт-82» (Ижевск, 1982), «Между Волгой и Уралом» (Уфа, 1982), «Голубые дали» (Саранск, 1990), а также в переводах на венгерский язык в антологии «Иду к живому брату» (; Будапешт, 1993) и финский язык — в антологии «Эхо великих гуслей» (; Хельсинки, 1995).
Основной тематикой поэзии Кутяновой являются взаимоотношения людей, внутренний мир и судьба женщины.
Научная деятельность
Работая в Удмуртском институте истории, языка и литературы Людмила Дмитриевна исследовала национальную специфику и тенденции формообразовательного процесса удмуртского стиха, взаимодействие удмуртско народной и русской литературной систем стихосложения.
Является автором более 20 научных работ, среди которых монографии «Удмуртское стихосложение: вопросы формирования и развития» (1992), «Сюлэмысен кутске кырӟан. килбуръёсыз» (, 1998). Составила двуязычный (удмуртско-русский) сборник всех опубликованных поэтических произведений Николая Байтерякова «Жин азвесь крезьгурен = Серебряная мелодия» (2003). В периодической печати выступала с анализом современного состояния удмуртской литературы.
Библиография
Отдельные издания
Людмила Кутянова Чагыресь пилемъёс: кылбуръёс. — [вступ. ст. Алексея Ермолаева]. — Ижевск: Удмуртия, 1980. — 45 с.
Людмила Кутянова Ваче син: кылбуръёс. — [вступ. ст. Алексея Ермолаева]. — Устинов: Удмуртия, 1986. — 55 с.
Людмила Кутянова Со аръёс: кылбуръёс но поэма. — [редакторез М. И. Федотов]. — Ижевск: Удмуртия, 1991. — 101 с.
Людмила Кутянова Тон-а со?: кылбуръёс. — Ижевск: Удмуртия, 2010. — 174 с.
На других языках
Людмила Кутянова Шурӑ лили: сӑвӑсем. — [cост. Р. Н. Петрова-Ахтимирова ; консультант Ю. Сементер ; ред. Г. Ирхи]. — Шупашкар: [б. и.], 2002. — 26 с. — На чуваш. яз.
Публикации в периодических изданиях и сборниках
Выборочно:
«Обнимусь с травой густою…»; Без тебя: [стихи] / Людмила Кутянова; пер. Ал. Нижегородцевой // Поэзия: альманах. : Молодая гвардия, 1977. — С. 166
«И стеклянная – все же стена...» ; «Упаду на траву в печали я...»: [стихи] / Людмила Кутянова; пер. с удмурт. Натальи Дардыкиной; пер. Н. Дардыкина // Истоки: альманах. — : Молодая гвардия, 1978. — С. 110–111.
Ты большой; На свадьбе; Золотой клубочек; Неотвязная дума: [стихи] / Л. Кутянова; пер. с удмурт. Е. Имбовиц // На просторах земных. — : Советская Россия, 1990. — С. 67–69.
«Я, наверное, песчинка, я, наверное, осколок…» : [стихотворение] / Людмила Кутянова ; пер. с удмурт. Вл. Емельянова // Эринтур (Поющее озеро): альм. писателей Югры. — Екатеринбург, 2004. — Вып. 9. — С. 210–211.
«Средь многих лиц в толпе...»; Белая лилия; Смущение. «Я, наверное, песчинка, я, наверное, осколок...»: [стихи] / Людмила Кутянова; пер. Вл. Емельянова // Удмурты. — , 2005. — С. 323–326.
Примечания
Литература
Ссылки
Удмуртские поэты
Выпускники Удмуртского государственного университета
Заслуженные работники культуры Удмуртской Республики | 47,271 |
https://es.stackoverflow.com/questions/272062 | StackExchange | Open Web | CC-By-SA | 2,019 | Stack Exchange | Fly, InfiniteRoads, Marc, Pablo Lozano, https://es.stackoverflow.com/users/107208, https://es.stackoverflow.com/users/112044, https://es.stackoverflow.com/users/127535, https://es.stackoverflow.com/users/22851 | Spanish | Spoken | 731 | 1,934 | Validación login con XMLHttpRequest()
Tengo el siguiente formulario:
<form action="#" name="accesoEmpleados" id="accesoEmpleados" method="POST">
<div class="centrar-etiqueta">
<label for="">ID Empleado:</label>
</div>
<input type="text" name="idEmpleado" id="idEmpleadoLogin">
<div class="centrar-etiqueta">
<label for="">Contraseña:</label>
</div>
<input type="password" name="password" id="passwordLogin">
<div class="enviar">
<input type="hidden" id="accion" value="accesoEmpleado">
<input type="submit" class="boton" value="Acceder">
</div>
</form>
En mi archivo js recojo todos los elementos de la siguiente manera:
const accesoEmpleados = document.querySelector('#accesoEmpleados');
accesoEmpleados.addEventListener('submit', validarAccesoEmpleados);
function validarAccesoEmpleados(e) {
e.preventDefault
const idEmpleado = document.querySelector('#idEmpleadoLogin').value;
const password = document.querySelector('#passwordLogin').value;
const accion = document.querySelector('#accion').value;
const datosAcceso = new FormData();
datosAcceso.append('idEmpleado', idEmpleado);
datosAcceso.append('password', password);
datosAcceso.append('accion', accion);
console.log(datosAcceso.values());
//Llamada a AJAX
//Crear el objeto
const xhr = new XMLHttpRequest();
//Abrir la conexión
xhr.open('POST', '../controller/empleadoControlador.php', true);
//Pasar los datos
xhr.onload = function() {
if (this.status === 200) {
//es correcto. Salta una ventana de confirmación y debería redireccionar al index con la sesión iniciada
if (this.status === 200) {
const respuesta = JSON.parse(xhr.responseText);
console.log(respuesta);
if (respuesta.respuesta == 'correcto') {
Swal.fire({
position: 'center',
type: 'success',
title: 'El empleado ha sido dado de alta',
showConfirmButton: false,
timer: 1500
})
setTimeout(function() {
window.location.replace("../index.php");
}, 2000);
}
}
}
xhr.send(datosAcceso)
}
Y en mi controlador recojo las variables de la siguiente manera:
if (isset($_POST['accion'])){
if ($_POST['accion'] == 'accesoEmpleado') {
$idLogin = $_POST['idEmpleado'];
$passLogin = $_POST['password'];
if($empDao->compruebaEmpleado($idLogin, $passLogin)){
session_start();
$_SESSION['idEmpleado'] = $idLogin;
}
}
}
La función que tengo en mi DAO compruebaEmpleado(), para comprobar si el empleado existe en la Base de Datos, es la siguiente:
public function compruebaEmpleado($idEmpleado, $password)
{
$consulta=$this->db->prepare("SELECT * FROM empleado WHERE idEmpleado=:idEmpleado");
$consulta->bindValue('idEmpleado', $idEmpleado);
$consulta->execute();
$empleado = $consulta->fetch();
if (password_verify($password, $empleado['password'])){
$respuesta= array(
'respuesta' => 'correcto',
'datosAcceso' => array(
'idEmpleado' => $idEmpleado,
'password' => $password
)
);
json_encode($respuesta);
}
}
Cuando hago submit, no hace nada, la página se recarga y se queda igual. La consola de chrome imprime un error pero desaparece muy rápido y no puedo verlo.
¿Qué es lo que está fallando?
Muchas gracias por adelantado por la ayuda.
Pues el fallo estará en '../controller/empleadoControlador.php', no?
Pero... esa es la ruta de mi controlador...
¿A donde esperas ser redireccionado? ¿que parte del código haría esa redirección? Recuerda que estas usando ajax, la página ya se ha cargado completamente.
¿Qué haces cuando el usuario y la contraseña no son correctos?
Yo creo que lo que te indica Pablo, es que porque el resultado sea 200 (OK) no quiere decir que el login sea correcta. El 200 indica que el servidor te devuelve una respuesta valida, pero la respuesta puede ser un mensaje de error de login. Dicho de otro modo, tras verificar que recibes un 200 del servidor, has de verificar que has recibido para ver si el login es correcto o no.
De acuerdo. Entiendo que entonces debo construir un array con los datos en mi metodo DAO que comprueba el empleado y devolverlos al AJAX para que los compare pero... lo estoy intentando y no lo consigo... reedito para que se vea con detalle.
He reeeditado de nuevo intentando lo último... pero sigue sin funcionar. En la reedición se ve el problema actualizado. Muchas gracias por la ayuda.
No sé como al final el error se ha imprimido en la consola:
Uncaught SyntaxError: Unexpected end of JSON input at JSON.parse (<anonymous>) at XMLHttpRequest.xhr.onload (app.js:313) y XHR finished loading: POST "http://localhost/~jorgegarciacano/0.2_PFG/controller/empleadoControlador.php". La línea 313 es const respuesta = JSON.parse(xhr.responseText);
Puedo ver dos errores en tu código.
1.- En JS, no estas evitando correctamente que el formulario se envié.
Dado que el button "Acceder" es del tipo submit y en tu función validarAccesoEmpleados de JS no estas evitando correctamente que se envíe el formulario, la página se recarga.
Solución:
function validarAccesoEmpleados(e) {
// AQUI Te falto agregar los paréntesis
e.preventDefault();
//
2.- En PHP no estas imprimiendo ninguna respuesta.
La función json_encode devuelve una cadena (eg: string), pero no la estas imprimiendo.
Solución
// AQUI Agregar "echo" para imprimir
echo json_encode($respuesta);
PD: No te olvides de hacer un echo json_encode($error); para los "otros" casos. De lo contrario tu JSON.parse(xhr.responseText); en JS fallara.
PD2: Personalmente te recomendaría que tu función compruebaEmpleado de PHPdevolviera un "resultado" (eg return $resultado) y que en "controlador" analices el resultado e imprimas (según corresponda) el mensaje.
PD3: Es una muy mala idea devolver el password al navegador, esto puede generar graves problemas de seguridad
Muchísimas gracias!!! de momento he añadido los paréntesis que me faltaban. Sigo probando con lo demás!!
+1 Por añadir buenas practicas a la respuesta, especialmente la de la password.
| 33,264 |
https://magento.stackexchange.com/questions/161446 | StackExchange | Open Web | CC-By-SA | 2,017 | Stack Exchange | Rahul Nanwani, Tanapornclinic, https://magento.stackexchange.com/users/51002, https://magento.stackexchange.com/users/51006 | English | Spoken | 375 | 574 | How to optimise images in magento 1.9.x to speed up the page load
My images in site don't reduced size of image for Google PageSpeed Insights, when I input resize image in my site. Example image 1 , size of image 20 KB, I resized image reduced to 4KB and I input image on ftp server my site, then size of image to expand as 20 KB as before.
I would like extension to can help solve an issue eliminate render-blocking JavaScript and CSS in above-the-fold content and optimize image for add score the Google PageSpeed Insight.
To eliminate render-blocking JS and CSS you would need to dig into the theme's layout and make changes there.
Render blocking JS in 99% of the cases is safe to move to the end of the <body> tag (after all the HTML has loaded) or using async or defer attributes. Moving CSS in a similar way can be tricky as it would load an unstyled version of the page first.
You can also refer to existing plugins like https://github.com/mediarox/pagespeed
For images, there are a couple of options. You can either try resizing and optimising using libraries like ImageMagick or GraphicsMagick and upload the images to your server. Or you can try using ImageKit to optimise images automatically.
How to use ImageKit?
You can go through the documentation https://docs.imagekit.io
Especially the Adding a web server as a source part in the Migration section.
I don't understand documentation of imagekit.io. Do you have Link Youtube of docs.imagekit.io? Thank you.
Steps for integration would be available on your email used for registration on ImageKit
Here is what we do:
ssh to the server
download and install jpegtran, optipng , just google how to do that on your server
use this commands:
find ./media ./skin ./js -type f -iname '*jpg' -exec sh -c 'jpegtran -outfile "{}.out" -optimize "{}"; mv "{}.out" "{}"' \;
find ./skin ./media ./js -iname '*.png' -exec optipng -o7 -keep -preserve '{}' \;
It might take a couple of hours if you have a big number of images
You might want to add these commands to cron to run every weekend
Magento Script might to error because images don't size reduce with resized images on ftp server. I don't know.
| 47,006 |
https://unix.stackexchange.com/questions/332940 | StackExchange | Open Web | CC-By-SA | 2,016 | Stack Exchange | Jeff Schaller, Kamaraj, https://unix.stackexchange.com/users/117549, https://unix.stackexchange.com/users/194224, https://unix.stackexchange.com/users/206245, user206245 | English | Spoken | 603 | 1,170 | Compare two files and print only the first word of the lines which don't match along with a string
I want to compare two files and print only the first word of the lines that match and that don't match along with a string.
file1.txt
=========
abc 123
bcd 234
cde 345
file2.txt
=========
abc 123
bcd 223
cde 234
above abc is matching in both file1.txt and file2.txt. So I need to print as below:
abc is matching. it is ok.
above bcd and cde in file1.txt and file2.txt are not different. So I need to print as below:
bcd is not matching. please check.
cde is not matching. please check.
Where did you get stuck?
I am new to scripting and learning things. I tried by using the solutions provided by other users in this forum for other similar questions but could not proceed beyond displaying the first word.
And Jeff. I now understood from your question it would be helpful if I mentioned what was done and where I was stuck. I'll surely follow this going forward.
Sounds good, and welcome to U&L stack exchange! Some of us like to see an effort to a point where you get stuck; others like to solve the problem on their own. Just something to be aware of going forward.
With awk:
awk 'NR==FNR{a[$1]=$2; next}; $2==a[$1] {print $1 " OK"; next} \
{print $1 " Not OK"}' f1.txt f2.txt
NR==FNR is true for only the first file, f1.txt here; we are creating array a with the first field as the key and the second field as the value, next goes to the next record without moving further down the conditionals
$2==a[$1] checks if the second field of the second file, f2.txt matches the values of the key first field of the array a, and then printing in desired format
Example:
% cat f1.txt
abc 123
bcd 234
cde 345
% cat f2.txt
abc 123
bcd 223
cde 234
% awk 'NR==FNR{a[$1]=$2; next}; $2==a[$1] {print $1 " OK"; next} {print $1 " Not OK"}' f1.txt f2.txt
abc OK
bcd Not OK
cde Not OK
Thank you for your time and help on this. It is working perfectly.
awk 'NR==FNR{A[NR]=$0;next}{if($0==A[FNR]){print $0 "is matching. it is ok"}else{print $0 "is not matching. please check"}}' file1.txt file2.txt
readable format
awk 'NR==FNR{
A[NR]=$0;
next
}
{
if($0==A[FNR])
{
print $0 "is matching. it is ok"
}
else{
print $0 "is not matching. please check"
}
}' file1.txt file2.txt
Kamaraj thank you for your time and help. I tried with your code, but it is giving the entire line along the string that we wish to add to it. @heemayl example is giving the desired output.
the code @ Kamaraj has been updated.
Please you need replace the the lines :
print $0 "is matching. it is ok"
print $0 "is not matching. please check"
by
split($0,a,/ /); print a[1] " is matching. it is ok"
split($0,a,/ /);print a[1] " is not matching. please check"
or
print $1 "is matching. it is ok"
print $1 "is not matching. please check"
All the script will be :
awk 'NR==FNR{
A[NR]=$0;
next
}
{
if($0==A[FNR])
{
split($0,a,/ /); print a[1] " is matching. it is ok"
}
else{
split($0,a,/ /);print a[1] " is not matching. please check"
}
}' file1.txt file2.txt
TIMES:
@heemayl
real 0m0.159s
user 0m0.000s
sys 0m0.046s
@Kamaraj
real 0m0.102s
user 0m0.000s
sys 0m0.031s with split
@Kamaraj
real 0m0.099s
user 0m0.000s
sys 0m0.062s with $1
Thanks @Kamaraj.
no need to use the split. instead $0, we can use $1
Solution With Performance. Thanks @Kamaraj. Need to check code though. :)
| 40,226 |
https://en.wikipedia.org/wiki/Traitors%20%28Channel%204%20TV%20series%29 | Wikipedia | Open Web | CC-By-SA | 2,023 | Traitors (Channel 4 TV series) | https://en.wikipedia.org/w/index.php?title=Traitors (Channel 4 TV series)&action=history | English | Spoken | 302 | 454 | Traitors is a British television drama miniseries created by Bathsheba Doran and broadcast by Channel 4 and Netflix in 2019. Set in 1945 London after the end of World War Two, Traitors follows a young woman recruited by the American Office of Strategic Services to identify a Soviet spy in the Cabinet Office.
Cast and characters
Emma Appleton as Feef Symonds, a young, naive and intelligent upper-class civil servant in the Cabinet Office, recruited as an agent by the United States Office of Strategic Services (OSS)
Luke Treadaway as Hugh Fenton, a Labour Party Member of Parliament for a constituency in Derbyshire, and Royal Tank Regiment veteran
Michael Stuhlbarg as Thomas Rowe, a senior American agent handler of the OSS
Keeley Hawes as Priscilla Garrick, a senior civil servant of the Cabinet Office
Brandon P. Bell as Jackson Cole, an American army driver and Rowe's assistant at the OSS
Matt Lauria as Peter McCormick, an American army soldier and a staff of the OSS
Greg McHugh as David Hennessey, a civil servant in the Ministry of Housing
Jamie Blackley as Freddie Symonds, Feef's brother, a closeted gay man, and an unsuccessful Conservative Party parliamentary candidate
Danny Sapani as Richard, an American communist living in London
Bijan Daneshmand as Abu Selim, Minister from the Arab League addressing the Cabinet Office
Music
The series begins and each episode ends, with a recording of the Pete Seeger song "There Is Mean Things Happening in This Land", recorded for the purpose by Graham Coxon.
Episodes
References
External links
2019 British television series debuts
2019 British television series endings
2010s British drama television series
2010s British television miniseries
Channel 4 television dramas
English-language television shows
British military television series
Television series set in the 1940s
Television shows set in London
Television series by Warner Bros. Television Studios | 228 |
https://hy.wikipedia.org/wiki/%D5%82%D5%A1%D5%A6%D5%A1%D6%80%20%D5%8D%D5%A5%D5%A2%D5%A1%D5%BD%D5%BF%D5%A1%D6%81%D5%AB | Wikipedia | Open Web | CC-By-SA | 2,023 | Ղազար Սեբաստացի | https://hy.wikipedia.org/w/index.php?title=Ղազար Սեբաստացի&action=history | Armenian | Spoken | 112 | 492 | Ղազար Սեբաստացի (ծննդյան և մահվան թվականները անհայտ են), 17-րդ դարի 2-րդ կեսի հայ տաղասաց։ Հայտնի է «Ծով աչք, ամ քանի նայիս խոլորով» «Տաղ սիրոյ և ուրախութեան» սիրային երգով, որը դասվում է հայ միջնադարյան քնարերգության ընտիր էջերի շարքը։ Ղազար Սեբաստացին երգում է կնոջ գեղեցկությունը, կյանքի վայելքը։ Ձեռագրերը վկայում են, որ այդ տաղը միջնադարում տարածված է եղել և հաճախ հարստացվել է նոր տներով։ Գրել է նաև ուրիշ գործեր, որոնք, սակայն, մեզ չեն հասել։ Վերջերս հայտնաբերվել է Ղազար Սեբաստացուն վերագրվող մի այլ բանաստեղծություն՝ «Նորին Ղազարու վասն սիրո ասացեալ»։
Գրականություն
Կոստանյանց Կ., Նոր ժողովածու, պրակ 2, Թ., 1892, էջ 23-27, պր. 3, Թ., 1896, էջ 53-56։
Արտաքին հղումներ
Ղազար Սեբաստացին հայ մատենագրութեան թուանշային գրադարանում
Հայ տաղասացներ | 40,100 |
https://stackoverflow.com/questions/20018222 | StackExchange | Open Web | CC-By-SA | 2,013 | Stack Exchange | Alexis C., Andrew Thompson, Sage, https://stackoverflow.com/users/1173114, https://stackoverflow.com/users/1587046, https://stackoverflow.com/users/418556 | English | Spoken | 204 | 426 | Using Int In java GUI
What can I do to appear a dialog box asking the user to enter the number of students... (the highlighted part)![enter image description here][1]
JOptionPane.showMessageDialog(null, "Welcome");
JOptionPane.showMessageDialog(null, "Students mark Input Project");
JOptionPane.showMessageDialog(null, "In this program the user is going to enter the students name, class and marks.Then the program is going to output several information about each student.");
JOptionPane.showMessageDialog(null, "Class Information must be entered as the name of the class, the subject and the number of students");
String nameofclass = JOptionPane.showInputDialog("Enter the name of the class");
String nameofsubject = JOptionPane.showInputDialog("Enter the subject");
int numberofstudents =Integer.parseInt("Enter the number of students");
JOptionPane.showMessageDialog(null,"Class Students Information");
JOptionPane.showMessageDialog(null,"You must enter the name, surname and " + nameofsubject + " marks for each and every student in class "+ nameofclass);
StLuciaClassrooms theclass =new StLuciaClassrooms(nameofclass, numberofstudents);
theclass.enterInformation(numberofstudents);//
The image is missing. What does this have to do with either JavaScript or JEE?
int numberofstudents =Integer.parseInt("Enter the number of students"); Hmmm, not good.
try this
int numberofstudents =Integer.parseInt(JOptionPane.showInputDialog("Enter the number of students"));
you should accept the answer by clicking the tick mark on the left side of the answer if you think it satisfied your question. This is how the site works. And welcome to Stack Overflow
| 31,226 |
https://anime.stackexchange.com/questions/27187 | StackExchange | Open Web | CC-By-SA | 2,015 | Stack Exchange | Ankit Sharma, Plumbing for Ankit, Random832, Sam I am says Reinstate Monica, abkds, https://anime.stackexchange.com/users/10955, https://anime.stackexchange.com/users/1527, https://anime.stackexchange.com/users/18894, https://anime.stackexchange.com/users/1908, https://anime.stackexchange.com/users/260, https://anime.stackexchange.com/users/2892, senshin | English | Spoken | 1,643 | 2,199 | What phenomenon are at play such that the "Big Four" are limited to four and not a growing list?
I've heard a list of anime referred to as "The Big Four":
Dragon Ball Z
Naruto/Naruto Shippuuden
One Piece
Bleach
What phenomenon are at play that there aren't more than 4 anime like these?
I think the criteria to get into The Big Four are along these lines:
based on manga
long running anime (hundreds of episodes)
longer or concurrently running manga
possibly currently running anime (they got their name when Bleach was still airing, so 3/4 were running for a while)
I've seen other shounen series pass 100 episodes, and there are certainly other fan favorites. There are also really long-running series geared towards children. However, it seems that most anime nowadays is 12 episodes, and maybe a followup season of another 12 episodes. I can't help but think that these phenomena are related.
If one were to ask most Americans where they first heard of those four anime, I can assure you that manga would not be in the top 3. Toonami would be, though.
In India it is mostly Big 3. Dragonball Z not being included in that.
As said by a user on Reddit:
The term was made to refer to those three manga because for a few
years (~2004-2009/10) they were absolute juggernauts in sales and
popularity rankings. The term "big three" stuck despite Bleach's
popularity falling off (starting in ~2008) and Naruto losing a bit of
ground over the last few years (largely in the Ninja War arc) as well.
You can find an article on The Big Three over here, because as Senshin puts it in his answer, the concept of The Big 3 is much more popular than that of The Big 4. To be honest, I hadn't even heard of that term before reading this question.
As per the article
Many fans agree that a title serialized in monthly installments could not due to a lower publication frequency, which encourages less fan discussion from week to week. It has been suggested that a Big 3 title could come from Weekly Shounen Magazine, which is Weekly Shounen Jump's closest rival. In this case, the most often cited candidate tends to be Fairy Tail.
Some fans have pointed out that other Big 3's have existed in the past. In the early 90s, the Big 3 was said to have been Dragon Ball, Slam Dunk, and Yuu Yuu Hakusho. This era is thought of by many people as the Golden Age of Weekly Shounen Jump, when its circulation was at its peak. A few fans have said that One Piece, Rurouni Kenshin, and Hunter x Hunter were the Big 3 of the late 90s. Most people admit though that no other three titles have dominated for as long as the current Big 3.
If you check out the List of best-selling manga, it'll be pretty obvious why Dragon Ball, One Piece and Naruto form a part of The Big Four. As for Bleach, the manga had started off pretty strong and the sales were pretty high during the 2001-2010 period.
Currently, the Big 3 are One Piece, Naruto and Bleach and have been since 2004.
This proves that it's mainly the manga which dominates in deciding which series is a "Big One" because Bleach started airing in 2004 and was by no means a long anime. However, a long running anime and a well received one always gives the manga sales a boost and hence is indirectly a factor in deciding which series belongs to the list. However, it's definitely not the main factor. Atleast not for the current Big 3/4.
What phenomenon are at play that there aren't more than 4 anime like these?
I found a perfect reply to this question here:
For me, the big three always seemed to represent the rising popularity of manga. As each series got underway and gained momentum, so did the manga scene itself. These three shounen manga appeal to a specific audience - in my opinion - specially new readers. The manga are relics of a time long past; an era long forgotten. I don't think anything can replace any of these manga, just like how nobody really compares the big three to Dragon Ball Z. I don't actually think there is significance in these two manga ending, they've been long overdue as their quality has dropped significantly. The only thing to take away from this is how prevalent and awesome One Piece is. One Piece feels like it's still in its prime.
I assume new readers will still start with Naruto or Bleach or One Piece, they still exist. No matter what new shounen appears, it'll hardly attract as much attention as these three. Otherwise, there would've been a shounen of similar caliber, considering how many years have passed. Some people thought Fairy Tail was a contending shounen, but readers know how that went.
The only interesting part of all this is the fact that there exists an older generation who still follow manga and have more developed tastes, which has prompted a significant rise in seinen popularity over the years - in my opinion.
What I have to add on to this is:
I feel it's unlikely for the list of Big Three or the Big Four to expand or be replaced in the near future. The only thing that's really stopping that is the existence of a long running manga which dominates in sales and appeals to a good age variety. Most of the top yearly manga sales is dominated by those manga (except of the Big Three) which have received an anime adaption in the near past (case in point: 2015 Manga Sales, 2014 Manga Sales, 2013 Manga Sales and so on). Most of those manga are short ones which are destined to end in the near future.
I've heard a list of anime referred to as "The Big Four":
The first thing to be aware of is this: the idea of the "Big Four" is localized to the English-speaking / Western (possibly just North American?) fanbase. There is not an equivalent notion in Japan. This strongly suggests that an explanation for the "Big Four" must involve an understanding of the habits of English-speaking fans.
What phenomenon are at play that there aren't more than 4 anime like these?
I tentatively am inclined to attribute this idea to the fact that the current crop of teenagers and young adults who are the primary inhabitants of English-language anime discussion websites grew up watching these four shows (in, say, the late '90s and early '00s). All four of these shows had a number of properties that were instrumental to their having broad popularity among the demographic in question. In particular:
they were dubbed in English
they were extensively aired on readily-available television channels (especially Toonami)
they were not "kid's shows" in the same way that something like Pokemon or Digimon is
they had multiple hundreds of episodes
The only other show that comes to mind with these properties is Sailor Moon, and for simple demographic reasons, it's unlikely that fans of the "Big Four" would be fans of Sailor Moon, and vice versa.
So why is this list unchanging? Well, I expect that the list will change in a few years, when more older viewers phase out of online discussion sites and more younger viewers phase in. (This is a simple consequence of the demographics of anime discussion on the internet - older people get lives and stop watching/discussing anime, and new youngfolk with nothing better to do figure out how to internet and start posting about things in their stead.)
These younger viewers will likely have less exposure to Dragon Ball Z (and perhaps Bleach as well) and more exposure to the newest show that has all those properties: Fairy Tail. Perhaps there will be a "New Big Three" in 2020, consisting of Fairy Tail, Naruto, and One Piece.
However, it seems that most anime nowadays is 12 episodes, and maybe a followup season of another episodes.
This was already the case by the time One Piece started airing in 1999 (and even earlier than that), roughly speaking. Forever-running shows like the "Big Four" have long been in the minority. You, the English-speaking viewer, likely just didn't notice this during your younger days when you watched the "Big Four" on television, since these shorter, one-to-two cour shows were less likely to be dubbed and shown on television (and if they were, they probably wouldn't be shown during cartoon primetime).
I should add that I am more aware of the idea of the "Big Three" (those four minus Dragon Ball Z) being a thing in the zeitgeist; and indeed, I suspect this is probably because Dragon Ball Z finished up a long time ago, and hence is not in vogue with the current crop of people who discuss anime online. (Whereas: Naruto and One Piece are still running, and Bleach ended only relatively recently.)
Random832 also points out in a comment that one article from 2012 claims that the "Big Three" consists of Bleach, Naruto, and Inuyasha. This brings to mind an important point: there is no "official" notion of a "Big Three" in anime - I'm not aware of any industry sources that use the term. The "Big n" is what the internet makes of it; no more, no less.
Naruto ended, and it is bleach which is still running
@SamIam I'm talking about the respective anime here, for which the opposite is true.
Speaking of the list changing, here is an article dated 2012 that matter-of-factly claims "the big three are Bleach, Naruto and InuYasha."
@SamIam Naruto ended? I think its still running in anime. They even have chance to adapt Naruto gaiden in anime.
| 22,541 |
https://ur.wikipedia.org/wiki/%D9%B9%D8%B1%D8%A7%D8%A6%DB%92%20%28%DA%88%D9%88%D8%B1%D8%B3%DB%8C%D8%8C%20%D9%85%DB%8C%D8%B1%DB%8C%20%D9%84%DB%8C%D9%86%DA%88%29 | Wikipedia | Open Web | CC-By-SA | 2,023 | ٹرائے (ڈورسی، میری لینڈ) | https://ur.wikipedia.org/w/index.php?title=ٹرائے (ڈورسی، میری لینڈ)&action=history | Urdu | Spoken | 42 | 133 | ٹرائے (ڈورسی، میری لینڈ) ) ریاستہائے متحدہ امریکا کا ایک عمارت جو میری لینڈ میں واقع ہے۔
مزید دیکھیے
ریاستہائے متحدہ امریکا
فہرست ریاستہائے متحدہ امریکہ کے شہر
حوالہ جات
1808ء میں مکمل ہونے والے مکانات
Short description is different from Wikidata | 40,418 |
https://en.wikipedia.org/wiki/Ren%C3%AA%20J%C3%BAnior | Wikipedia | Open Web | CC-By-SA | 2,023 | Renê Júnior | https://en.wikipedia.org/w/index.php?title=Renê Júnior&action=history | English | Spoken | 326 | 568 | Renê dos Santos Júnior (born 16 September 1989) is a Brazilian footballer who plays as a midfielder for Chapecoense.
Career
Renê began his professional career on Rio de Janeiro's lower clubs, before joining Figueirense. However, one year after, he joined Esporte Clube Democrata. Shortly after, he joined Salgueiro Atlético Clube.
In January 2012 he signed a contract with Mogi Mirim Esporte Clube, and after a good campaign in 2012 Campeonato Paulista, he joined Associação Atlética Ponte Preta. He made his Série A debut on 20 May, against Atlético Mineiro. He scored his first top flight goal on 6 June, against Flamengo.
On 2 January 2013, he signed a one-year contract with Santos FC.
On 24 December 2013, Chinese Super League club Guangzhou Evergrande announced that they had signed Renê on a four-year contract. According to Brazilian media, the transfer fee was 3.2 million Brazilian real (1 million Euro). On 8 March 2014, Renê made his debut for Guangzhou in the first league match of the season against Henan Jianye. He scored his first goal in China in the second half, which ensured Guangzhou win the match 3–0. In March 2016 it was announced that Renê's contract with the club had been terminated and he would leave as a free agent.
He returned to Ponte Preta on 1 April 2016.
Career statistics
Honours
Bahia
Copa do Nordeste: 2017
Guangzhou Evergrande
Chinese Super League: 2014
Corinthians
Campeonato Paulista: 2018
References
External links
1989 births
Living people
Brazilian men's footballers
Men's association football midfielders
Campeonato Brasileiro Série A players
Madureira Esporte Clube players
Figueirense FC players
Salgueiro Atlético Clube players
Mogi Mirim Esporte Clube players
Associação Atlética Ponte Preta players
Santos FC players
Esporte Clube Bahia players
Sport Club Corinthians Paulista players
Coritiba Foot Ball Club players
Associação Chapecoense de Futebol players
Guangzhou F.C. players
Brazilian expatriate men's footballers
Expatriate men's footballers in China
Brazilian expatriate sportspeople in China
Chinese Super League players
Footballers from Rio de Janeiro (city) | 27,615 |
https://en.wikipedia.org/wiki/Isabella%20Amado%20Medrano | Wikipedia | Open Web | CC-By-SA | 2,023 | Isabella Amado Medrano | https://en.wikipedia.org/w/index.php?title=Isabella Amado Medrano&action=history | English | Spoken | 103 | 336 | Isabella del Carmen Amado Medrano (born ) is a Panamanian artistic gymnast.
She competed at the 2014 World Artistic Gymnastics Championships in Nanning, China, 2015 Pan American Games in Toronto, and represented Panama at the 2016 Summer Olympics.
References
External links
https://thegymter.net/isabella-amado/
https://database.fig-gymnastics.com/public/gymnasts/biography/16672/true?backUrl=
http://www.the-sports.org/isabella-amado-medrano-gymnastics-spf362130.html
http://remezcla.com/features/sports/peru-panama-gymnastics-roommates/
http://www.gettyimages.com/pictures/isabella-amado-medrano--gymnast-14824407#isabella-amado-of-panama-competes-on-the-balance-beam-during-womens-picture-id586900366
1996 births
Living people
Panamanian female artistic gymnasts
Place of birth missing (living people)
Gymnasts at the 2015 Pan American Games
Pan American Games competitors for Panama
Gymnasts at the 2016 Summer Olympics
Olympic gymnasts for Panama
Central American Games gold medalists for Panama
Central American Games bronze medalists for Panama
Central American Games medalists in gymnastics | 28,797 |
https://tt.wikipedia.org/wiki/%D2%AE%D1%80%D2%AF%D0%BD%D0%BB%D2%AF%20%28%D0%9D%D0%B8%D0%BB%D2%AF%D1%84%D0%B5%D1%80%29 | Wikipedia | Open Web | CC-By-SA | 2,023 | Үрүнлү (Нилүфер) | https://tt.wikipedia.org/w/index.php?title=Үрүнлү (Нилүфер)&action=history | Tatar | Spoken | 58 | 218 | Үрүнлү () — Төркия Җөмһүриятенең Мәрмәр бүлгесе Бурса иле Нилүфер илчесенә караган бер мәхәллә ().
Географиясе
Халык саны
Искәрмәләр
Сылтамалар
Турция // Большая российская энциклопедия : [в 35 т. / гл. ред. Ю. С. Осипов. — М. : Большая российская энциклопедия, 2004—2017.]
Mahalle Nedir?
Kısaltmalar Dizini
Нилүфер илчесе мәхәлләләре
Әлифба буенча торак пунктлар
Төркия торак пунктлары
Төркия мәхәлләләре | 47,119 |
https://nl.wikipedia.org/wiki/Hydroglyphus%20trassaerti | Wikipedia | Open Web | CC-By-SA | 2,023 | Hydroglyphus trassaerti | https://nl.wikipedia.org/w/index.php?title=Hydroglyphus trassaerti&action=history | Dutch | Spoken | 27 | 57 | Hydroglyphus trassaerti is een keversoort uit de familie waterroofkevers (Dytiscidae). De wetenschappelijke naam van de soort is voor het eerst geldig gepubliceerd in 1936 door Feng.
Waterroofkevers | 51,267 |
https://magento.stackexchange.com/questions/162165 | StackExchange | Open Web | CC-By-SA | 2,017 | Stack Exchange | English | Spoken | 81 | 180 | magento fishpig get category list in homepage.phtml
As per my requirement. i need to display WordPress category list in homepage.phtml Is it possible or not in this plugin.
If possible then please provide appropriate help.
Just for your reference homepage.phtml file path is
Path :- frontend/base/default/template/wordpress
Thanks.
You can get category by placing this code in your template file:
<?php
$terms = Mage::getResourceModel('wordpress/term_collection');
$terms->addTaxonomyFilter('category');
foreach($terms as $_terms){
// do something here
echo '<pre>'; print_r($_terms); die('ok');
}
?>
For more see here
| 36,792 | |
https://it.wikipedia.org/wiki/Saint-Flovier | Wikipedia | Open Web | CC-By-SA | 2,023 | Saint-Flovier | https://it.wikipedia.org/w/index.php?title=Saint-Flovier&action=history | Italian | Spoken | 29 | 71 | Saint-Flovier è un comune francese di 638 abitanti situato nel dipartimento dell'Indre e Loira, nella regione del Centro-Valle della Loira.
Società
Evoluzione demografica
Note
Altri progetti
Collegamenti esterni
Saint-Flovier | 33,687 |
https://arz.wikipedia.org/wiki/%D8%A7%D9%86%D8%AF%D8%B1%D9%8A%D8%A7%20%D8%AC%D9%8A%D8%B2 | Wikipedia | Open Web | CC-By-SA | 2,023 | اندريا جيز | https://arz.wikipedia.org/w/index.php?title=اندريا جيز&action=history | Egyptian Arabic | Spoken | 96 | 298 | اندريا جيز استاذه جامعيه و عالمه فلك من امريكا.
حياتها
اندريا جيز من مواليد يوم 16 يونيه سنة 1965 فى نيو يورك.
الدراسه
درست فى كليات مختبر جامعة شيكاجو و معهد كاليفورنيا للتكنولوجيا (كالتيك) و معهد ماساتشوستس للتكنولوجيا.
العضويه
عضو فى:
الاكاديميه الامريكانيه للفنون و العلوم
الاكاديميه الوطنيه للعلوم
جوايز
Sackler Prize for Physics
Crafoord Prize in Astronomy
جايزه ماريا جوبرت ماير
زماله ماك آرثر
الميداليه البيكريه
جايزه انى جامب كانون لعلوم الفلك
جايزه نوبل فى الفيزيا
لينكات برانيه
مصادر
استاذه جامعيه من امريكا
مواليد 1965
دارسين فى جامعة كاليفورنيا (لوس انجليس)
مواليد فى نيو يورك | 26,276 |
https://es.wikipedia.org/wiki/Francisco%20del%20Castillo%20%28jesuita%29 | Wikipedia | Open Web | CC-By-SA | 2,023 | Francisco del Castillo (jesuita) | https://es.wikipedia.org/w/index.php?title=Francisco del Castillo (jesuita)&action=history | Spanish | Spoken | 1,190 | 1,980 | Francisco del Castillo (Lima, Virreinato del Perú, 9 de febrero de 1615-11 de abril de 1673) fue un sacerdote jesuita, iniciador del Sermón de las Siete Palabras. Considerado Venerable por la Iglesia católica.
No debe confundirse con su homónimo Francisco del Castillo Andraca (mercedario del ), también limeño.
Biografía
Primeros años y formación
Nació en la calle Aldabas, situada en la primera cuadra del jirón Azángaro, en el Centro Histórico de Lima, el 9 de febrero de 1615. Fue bautizado en la parroquia del Sagrario de la Catedral de Lima el 23 de febrero de 1615. Estudió en el colegio jesuita Colegio Real de San Martín de su ciudad natal.
A los 16 años, concretamente el 31 de diciembre de 1631, ingresó a estudiar en el noviciado de los jesuitas, e hizo sus primeros votos religiosos en la Compañía de Jesús el 2 de enero de 1635.
El 19 de abril de 1642 fue ordenado presbítero, y el 27 de abril del mismo año celebró su primera misa. El 6 de febrero de 1650, hizo sus votos finales en la Compañía de Jesús. Hacía misa diariamente y según testigos se quedaba tras la misa una hora arrodillado en acción de gracias.
Predicación
El 10 de marzo de 1648 empezó su actividad en la Plaza del Baratillo, situada en la segunda cuadra del Jirón Paita, en el distrito de Rímac, y portando una cruz se dedicó a la catequesis. El 2 de marzo de 1653, el arzobispo de Lima, Pedro de Villagómez, bendijo la Cruz del Baratillo.
Se dedicó a evangelizar a los negros, y su trabajo con ellos fue resaltado por Jean Pierre Tardieu, quien ha descrito cómo utilizaba láminas pintadas para explicar la doctrina católica. Su predicación provocó notables conversiones, como la del venerable Francisco Camacho. Solía visitar los lugares donde trabajaban los negros y cuando estos se arrepentían de haber huido, acudían a él para que intermediara para que no les aplicaran penas severas; el sacerdote jesuita solía abogar por ellos y consumía su tiempo en estas gestiones. Tardieu afirma que Del Castillo escribió un manual o devocionario en la lengua de los negros.
Algunos de sus seguidores negros optaron por la vida religiosa en conventos y una testigo negra aseguró ver cómo unas golondrinas revoloteaban la cabeza del venerable, señal de santidad, e incluso aseguró verlo levitar en cierta ocasión. Según ciertos testimonios, se le vio en dos sitios a la vez, teniendo el don de la bilocación, además del don de profecía.
Contribuyó con el agustino Bartolomé Badillo y con el también sacerdote jesuita Juan Perlín a la fundación en 1651 del hospital de San Bartolomé para negros horros.
Fue asignado para ir de misionero con los indios chiriguanos, pero tras ir como capellán marítimo a Chile se le comunicó que la misión de los chiriguanos había sido clausurada. Tras entablar amistad con Antonio Ruiz de Montoya, le pidió un método para orar eficazmente y este le redactó Silex del divino amor y rapto del ánimo en el conocimiento de la primera causa.
La capilla de Nuestra Señora de los Desamparados
El 12 de noviembre de 1658, la Compañía de Jesús tomó posesión de la Capilla de Nuestra Señora de los Desamparados, ubicada detrás del Palacio de Gobierno, en la banda izquierda del río Rímac -la puerta principal daba a lo que sería la primera cuadra del Jirón de la Unión. Al año siguiente y hasta su muerte, el padre Francisco del Castillo se encargó de esa capilla.
En 1660, el padre Del Castillo fundó la Escuela del Santísimo Crucifijo de la Agonía. El Crucifijo de la Agonía está en la nueva Iglesia de Nuestra Señora de los Desamparados, en el distrito de Breña.
Con solemne procesión, el 17 de diciembre de 1660, se instaló una nueva imagen de Nuestra Señora de los Desamparados, obra del escultor Tomás de Parra, que adaptó una imagen de la Virgen del Pilar a la advocación de Nuestra Señora de los Desamparados en su capilla, la cual había sido previamente modificada por el padre Del Castillo. Esta imagen de Nuestra Señora de los Desamparados también está en la nueva Iglesia de Nuestra Señora de los Desamparados, en Breña. En esta capilla, el padre Del Castillo inició la devoción al Señor de la Agonía con oraciones y charlas espirituales en la Semana Santa de 1660 este se dilató durante 3 horas iniciándose así el sermón de Viernes Santo, actividad que se considera precursora del Sermón de las Siete Palabras, los jesuitas llevaron a Europa esta oratoria que se practica desde el ,
El Sermón de las tres horas, nació en el Perú.
Fundó la Casa de las Amparadas, refugio católico de prostitutas arrepentidas, que fue instalado en la casa donde vivió y falleció santa Rosa de Lima, y que hoy es parte del Convento Santa Rosa de las Monjas.
El 29 de junio de 1669 se bendijo la primera piedra de la Iglesia de Nuestra Señora de los Desamparados y San José para reemplazar la vieja capilla en el mismo sitio, cuya construcción se realizó con apoyo del virrey Pedro Antonio Fernández de Castro, conde de Lemos. La imagen de Nuestra Señora de los Desamparados se puso el 2 de febrero de 1672 y luego se hizo la bendición de la iglesia por el Obispo de Chiapas (México), Cristóbal Bernaldo de Quirós, el 30 de abril de 1672.
A fines de ese año, el 6 de diciembre, falleció el virrey Fernández de Castro, y su cuerpo fue sepultado en la Basílica y Convento de San Pedro de Lima y su corazón depositado a los pies del altar de Nuestra Señora de los Desamparados, aunque más tarde su cuerpo fue trasladado a España. Cuando en 1939, la iglesia fue demolida con el fin de ampliar el Palacio de Gobierno, su corazón fue llevado a la Basílica y Convento de San Pedro. Castillo tiene el título de Venerable de la Iglesia Católica que es el segundo paso a la santidad.
Fallecimiento
Falleció en Lima en 1673, según Manuel de Mendiburu en una epidemia de cordellate. Sus restos reposan en la Basílica y Convento de San Pedro de Lima, al lado de la Cruz del Baratillo. En la Iglesia católica fue considerado Siervo de Dios y posteriormente como Venerable. Se le han atribuido muchos milagros, en particular de personas que se accidentaron y se restablecieron prodigiosamente.
La Hermandad de Francisco del Castillo se reúne el día 11 de cada mes después de la misa celebrada en su honor en la Iglesia de San Pedro de Lima.
Véase también
Jesuitas del Perú
Referencias
Joseph de Buendía (1692), Vida del Venerable Francisco del Castillo, Lima.
Pedro García y Sanz (1863), Vida del Venerable Francisco del Castillo, Lima.
Armando Nieto Vélez (1992), Francisco del Castillo, El Apóstol de Lima, Pontificia Universidad Católica del Perú (Fondo Editorial), 1992.
Jean Pierre Tardieu (1997), La Iglesia y los negros en el Perú (Tomo I), Quito.
Nacidos en Lima
Fallecidos en Lima
Jesuitas del Virreinato de Perú del siglo XVII
Venerables jesuitas
Sacerdotes católicos de Perú
Venerables de Perú
Sanmarquinos (siglo XVII)
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A x = b
This is a frequency dependent problem, where the interested frequency range is 1-300 Hz.
A is a square matrix of 246 by 246, and it consists elements that are dependent on $\omega^2$, and the rest of the elements are either zero or have constant non-zero value. The unknown x is a response vector that is made up by displacement and pressure that have order relation of O(3) ~ O(5) between them depending on the frequency.
For the matrix A, condition number is around $10^7$, with the first 43 eigenvalues are considerably larger than the rest ~O(6).
In this problem, when $\omega$ is larger than 100 Hz, the resonance and anti-resonance frequencies deviates significantly from the FEA-predicted result. I would like to use a regularization technique, which is frequency dependent, to compensate the effect of ill-conditioning.
I have checked the following thread, but I couldn't find a use for the proposed solution where it uses discrete fourier transform.
Regularization of underdetermined system to favour low frequency solutions?
If I were to use Tikhonov regularization, how would I go on to implement a frequency dependent $\Gamma$? Or what would be the computationally efficient alternative ?
Just 246x246 then even dense matrices (one big DFT matrix without any factorization into FFT matrices) should be OK. A term like ${\bf C|Dv|}_2$ where D is DFT matrix, C is diagonal weight matrix, larger weights for the vector components corresponding to noisy / unwanted frequencies.
$\bf v$ is the time domain vector you regularize on / minimize with respect to.
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משפחתו של ג'רי
מורטי סיינפלד
מורטי, אביו של ג'רי, עבד למחייתו במכירת מעילי גשם במשך 38 שנים, ומחשיב את המצאתו של "מעיל גשם חסר חגורה" כעבודת חייו. מורטי קטנוני ומסרב לתת לג'רי לשלם על הארוחה כשהם יוצאים לאכול, גם אם אין לו כסף לשלם את החשבון. כמו כן הוא עומד לצד ג'רי בכל פעם שהוא חש כי בנו מרומה או מושפל, גם אם ג'רי עצמו לא מוטרד מכך כלל.
הוא ואשתו הלן הם פנסיונרים בבית משותף בפלורידה שם כיהן כיושב ראש ועד הבית של הבניין במשך הרבה שנים, עד שג'רי קנה לו קדילאק, מה שעורר חשד מצד הדיירים האחרים, שמורטי גונב מקופת הדיירים והוביל להדחתו. סצנת ההרשעה שלו כללה פארודיה על נפנוף הפרידה המפורסם של ריצ'רד ניקסון.
גולם במהלך פרק אחד על ידי פיל ברנס אך הוחלף על ידי ברני מרטין כיוון שהיה נינוח מדי לטענתו של לארי דייוויד. אביו של לארי דייוויד, מורטימר דייוויד, טען שהדמות מבוססת על חייו.
הלן סיינפלד
גולמה על ידי ליז שרידן.
הלן היא אימו של ג'רי. המשפט הידוע ביותר שלה, מכוון לג'רי, ואומר: "איך מישהו יכול לא לאהוב אותו?". לפי דבריו של ג'רי, היא מעולם לא הכניסה את כף רגלה למקור מים טבעי. היא פנסיונרית אשר גרה בפלורידה ותמיד דואגת למצבו הכספי של ג'רי.
דוד ליאו
גולם על ידי לן לסר.
ליאו הוא דודו של ג'רי מצד אימו והוא דמות אקסצנטרית המופיעה ב-15 פרקים.
שמו המלא, אנקל ליאו (Uncle Leo), נחשף באחד הפרקים כבדיחה פנימית על כך שעד אז לא היה ידוע שם המשפחה שלו. הוא מוצג כאדם טרחן, גס וקולני שאוחז בזרועו של האדם איתו הוא מדבר (ג'רי טוען שהסיבה היא שיותר מדי אנשים ברחו לו כשדיבר איתם), מאשים באנטישמיות את כל מי שמתנגד לו או עושה משהו שהוא אינו אוהב וכן בעל עבר פלילי של פשעי תאווה, כפי שמתגלה באחד הפרקים.
ליאו מרבה להתרברב בבנו, ג'פרי שעובד במחלקת הפארקים הממשלתית. ג'פרי מעולם לא הופיע בסדרה אך ג'רי מזכיר אותו לפעמים ובדרך כלל לא באהדה.
קרובים נוספים של ג'רי
לג'רי יש גם אחות (מוזכרת בפרק "המסעדה הסינית"), אולם היא לא מופיעה ואף לא מוזכרת בשמה לכל אורך הסדרה.
סבתו של ג'רי, המכונה ננה, מופיעה בכמה פרקים. היא אשה מבוגרת מאוד ונראה שחלתה במחלת אלצהיימר.
בפרק "הערת הפוני" מוצגים בני משפחה בחתונת הזהב של דודתו מאניה ודודו יצחק ולאחר מכן בהלווייתה של מאניה.
משפחתו של ג'ורג'
פרנק קוסטנזה
גולם על ידי ג'רי סטילר, הופיע ב-29 פרקים.
במקור היה אמור לשחק את הדמות ג'ון רנדולף אך הוא הוחלף על ידי ג'רי סטילר. ג'ון רנדולף הופיע לפרק אחד בלבד בעונה הרביעית פרק 62 - .
נולד בטוסקנה שבאיטליה, עבר לארצות הברית עם כל משפחתו (מלבד בן דודו קרלו) בגיל ארבע. פרנק הוא אביו של ג'ורג' קוסטנזה ונשוי לאסטל קוסטנזה איתה הוא חי בדירה בקווינס. דמותו היא קולנית, נוירוטית ואקסצנטרית. על אף התנהגותו הגסה פרנק מפחד מעכברים.
דמותו מופיעה לראשונה בפרק "חניית הנכים" בעונה הרביעית, הדמות גולמה על ידי ג'ון רודולף אך בעידודו של יוצר הסדרה לארי דייוויד לוהק סטילר לתפקיד והסצנות שאותן לא גילם צולמו מחדש. ג'ייסון אלכסנדר, המגלם את ג'ורג' קוסטנזה, גילה כי היה אדם שלישי ששיחק גם הוא בתפקיד הזה לתקופה קצרה.
פרנק שירת כטבח בצבא ארצות הברית במהלך מלחמת קוריאה אך נמנע מלבשל מאז גרם לחיילים הרעלת מזון. בסדרה הוא פנסיונר אך נחשף כי עבד פעם כאיש מכירות של תשמישי קדושה. פרנק גם יודע לדבר קוריאנית באופן שוטף, כתוצאה משירותו הצבאי.
תחביביו כוללים האזנה למוזיקה לטינית ואיסוף גליונות של מדריך הטלוויזיה. הוא המציא חג בשם פסטיבוס כחלופה לחג המולד, אשר נועדה לכלל הדתות. לרוב קוזמו קריימר, עודד את פרנק לפתח את רעיונותיו ואף הצטרף אליו כשותף לייצור חזייה לגברים.
כדי להירגע, המליץ לו הפסיכולוג לומר "שלווה עכשיו!" בכל פעם שהוא היה עצבני, כך הוא באמת עשה, רק שהוא נהג לצעוק את הביטוי במקום לומר אותו ברוגע.
מעולם לא נאמר בסדרה מפורשות על אסטל, אשתו, אך גם לארי דייוויד וגם ג'ייסון אלכסנדר אמרו שהיא יהודיה. בראיונות מחוץ לסדרה גם נאמר על דמותו של ג'ורג' שהיא "חצי-יהודיה", עם רמיזה לכך שפרנק אינו. במהלך העונה השמינית נרמז שפרנק חבר במסדר אבירי קולומבוס, אחווה קתולית אדוקה. טענה זאת עומדת בסתירה לכך שהמסדר דורש מחבריו להיות מאמינים קתולים אדוקים ופרנק לא עומד באף קריטריון כזה.
אסטל קוסטנזה
גולמה על ידי אסטל האריס.
אסטל היא אמו של ג'ורג' קוסטנזה ונשואה לאביו - פרנק קוסטנזה.
בסדרה היא מצטיירת כאמא מרגיזה, אשר מבלה את רוב זמנה בצווחות כנגד ג'ורג' ופרנק. לה ולפרנק יש יחסי אהבה-שנאה: הם מצד אחד לא יכולים לראות אחד את השני, אבל נשארים יחד, מצד שני, כנראה מתוך הרגל (או מפני שאף אחד אחר לא יכול לסבול אותם). בפרק האישה הסינית, הם מצהירים על כך שהם מתגרשים אך פרידתם לא מחזיקה זמן רב.
למעשה, פרנק ואסטל ישנים במיטות נפרדות (לפחות בחלק מהזמן), לא בגלל בעיות בנישואים, אלא בגלל שידיה של אסטל מפריעות לפרנק בשנתו.
ג'ורג' גר בביתם של הוריו עד לשנותיו הבוגרות. במהלך שהותו בבית הוריו הוא סובל מהשפלות והאשמות כבדות מצדה על היותו כישלון. למרות זאת, הוא קשור אליה רגשית. במהלך פרידתם של הוריו, ג'ורג' התלונן רבות על קריסת המשפחה שלו - לא מפני שאהב אותם או אפילו חיבב אותם, אלא מפני שלא יכל לסבול את המחשבה שהוריו נמצאים "בחוץ", בעולם הדייטים יחד איתו.
היא שומרת על יחסים קרירים עם הוריו של ג'רי - מורטי והלן סיינפלד, כי היא חושבת שהם סנובים. הסיינפלדים בעצמם מתעלמים ממנה ומפרנק, לא כי הם סנובים, אלא מפני שאינם יכולים לסבול אותם. לאסטל יחסי פלירטוט עם חברו של ג'ורג', קריימר, דבר שגורם למעט חיכוך בינה ובין פרנק.
למרות שאמונתה של אסטל לא נודעה במהלך פרקי הסדרה, ג'ייסון אלכסנדר ולארי דייוויד טענו כי היא יהודייה. רמז לכך מופיע בפרק " הדודה התינוקת" שבו היא אומרת כי אינה מוכנה לנסוע במכונית גרמנית, מה שאולי מרמז על עברה.
אסטל מופיעה בפרק האיחוד של "סיינפלד" בסדרה "תרגיע".
דמויות נוספות
ניומן
ניומן מגולם על ידי ויין נייט.
הופיע ב-48 פרקים.
ניומן הוא השכן של ג'רי וקריימר. עובד בדואר. מתעב את ג'רי ובו בזמן חבר טוב של קרמר. לעיתים נחשב ניומן כנבל של הסדרה. עקב אזכור חוזר ונשנה של סופרמן על ידי ג'רי, נראה כי דמותו של ניומן היא משל לדמותו של לקס לות'ר. השערה זו מתחזקת על ידי המשפט "הוא אויבי המושבע" שנאמר על ידי ג'רי לאיליין על ניומן בפרק The Andrea Doria.
שמו הפרטי של ניומן מעולם לא נחשף, אם כי באחד הפרקים נראה ניומן נמלט מבית, כאשר אשה יוצאת אחריו וצועקת: "להתראות נורמן". ככל הנראה, השחקנית שכחה את שמו, אך ייתכן שזהו שמו. יוצרי הסדרה שקלו לחשוף את שמו הפרטי של ניומן כ"פול", אבל מידע זה לא מופיע באף אחד מפרקי הסדרה.
ניומן עובד בדואר וחי בבניין שבו גר ג'רי. בשל היותו פיקח ולעיתים חלקלק, ג'רי נוהג לפנות אליו בעוקצנות - "Hello, Newman". אם ישנה סיבה בעברם של ג'רי וניומן, שבשלה הם אינם מחבבים אחד את השני, היא לא הוזכרה לאורך פרקי הסדרה. בהיתקלויות רבות עם ניומן, או כאשר ניומן מצליח במשהו על פני ג'רי, ג'רי נוהג לסנן בשקט ובעצבים "ניומן!".
ניומן לעולם לא עובד בזמן שגשום, ואומר - "אני לא עובד בגשם". דבר שהוביל להשלכות רעות על ג'ורג' בפרק The Calzone.
למרות כל זה, הוא חבר טוב של קריימר, ובמקרים רבים הם משתפים פעולה במזימות שונות.
למרות היותו חלקלק למראית עין, הוא נוטה לעשות דברים מרגיזים כמו למשוך פשפשים לבניין, ולעזור לאנשים אחרים לנקום בג'רי (כמו הספר של ג'רי, בפרק The Barber).
לראשונה הוצג ניומן אדם בעל נטיות התאבדותיות, בעונה השנייה, אבל הוא לא נראה על המסך. במקום זה, הוא דובב על ידי יוצר התוכנית לארי דייוויד. נייט לא התחיל לגלם אותו עד הופעתה הפיזית הראשונה של הדמות בעונה השלישית. כדי ליצור אחידות עם העונה השנייה, נייט דיבב את קולו של לארי דייוויד מהעונה הקודמת.
ניומן נחשב לשחקן טניס מעולה אשר משתמש באותו מחבט כמו זו של מר פיט.
רותי כהן
רותי כהן מגולמת על ידי רות כהן.
קופאית ב'מסעדה של טום' שבה חברי הסדרה ישבו באופן קבוע.
הופיעה ב-101 פרקים, היא הדמות שמופיעה בהכי הרבה פרקים אחרי הדמויות הראשיות.
באבו בהאט
באבו בהאט (בריאן ג'ורג') הוא מהגר מפקיסטן שמופיע ב-3 פרקים.
בהופעתו הראשונה, ניהל בית קפה בשם "Dream Cafe" שאף לקוח לא נכנס אליו עד שג'רי מגיע לשם כדי להיות לקוחו הראשון. בתחילה באבו מחבב את ג'רי, אך לאחר שג'רי המליץ לו לפתוח מחדש את המקום כמסעדה פקיסטנית לקוחות עדיין לא הגיעו החל לשנוא את ג'רי. בפרק אחר באבו, שוב אוהב את ג'רי, עובר לגור בבניין של ג'רי, אך מאוחר יותר נשלח חזרה לפקיסטן כי הוויזה שלו הייתה לא בתוקף מכיוון ששלחו את טופס הוויזה לתיבת הדואר של ג'רי בטעות, מה שגרם לבאבו לשנוא את ג'רי שוב. בהופעתו האחרונה באבו מופיע בפרק "השומרוני הטוב", הפרק האחרון.
במהלך הסדרה באבו אומר פעמים רבות שג'רי הוא "very bad man" או "very kind man", בהתאם לסיטואציה.
פרנקלין דלאנו רומנובסקי
פרנקלין דלאנו רומנובסקי (ידוע גם בכינוי "FDR", בהשאלה מכינויו של נשיא ארצות הברית פרנקלין דלאנו רוזוולט), המגולם על ידי השחקן מייקל מקשיין, הוא אחד מידידיו של קריימר. בפרק "הבגידה" משתמש FDR במשאלת יום ההולדת שלו, לאחר כיבוי הנרות על העוגה, כנגד קריימר - בעקבות מקרה בו השליך קריימר כדור שלג על גבו. הדמות מופיעה גם בפרק "המכשף", כמוכר נקניקיות המשוחח עם ג'ורג'. הדמות מוזכרת על ידי קריימר במספר פרקים נוספים.
סוזן רוס
מגולמת על ידי היידי סוודברג. הופיעה ב-29 פרקים.
מנהלת בכירה בחברת NBC וארוסתו לשעבר של ג'ורג'. מתה לאחר שליקקה את הדבק הרעיל שהיה על מעטפות הזמנות החתונה הזולות שג'ורג' בחר.
מעסיקיה של איליין
אהרון ג' ליפמן (ריצ'רד פאנסי) - הבוס של איליין בחברת הוצאת ספרים "פנדנט".
מר ג'אסטין פיט (איאן אברקרומבי) - מעסיקה של איליין במהלך רוב העונה השישית. איליין הייתה עוזרתו האישית ובדרך כלל נדרשה לבצע עבודות שוליות ומגוחכות, כמו לקנות עבורו גרביים וכלי כתיבה.
מר ג'קופו (ג'יי) פיטרמן (ג'ון או'הרלי) - בעליו של קטלוג בגדים. איליין פוגשת אותו במקרה ברחוב לאחר שגורשה מסלון קוסמטיקה והוא מציע לה עבודה אצלו בכתיבת הקטלוג. הוא ידוע בחוסר ההיגיון הפשוט שבדיבורו ונוטה לספר סיפורים ארוכים וחסרי משמעות. לרוב לובש בגדים שמעוצבים על ידיו. הדמות היא פארודיה על אדם אמיתי בשם ג'ון פיטרמן, בעל קטלוג בגדים.
דייוויד פאדי
מגולם על ידי פטריק וורברטון.
בן זוגה של איליין במהלך העונה התשיעית העובד כמוסכניק. פאדי ידוע בעיקר עקב גבריותו המוגזמת והמוחצנת. הוא ואיליין נפרדים וחוזרים כמעט בכל פרק בעונה התשיעית. פאדי הוא נוצרי אדוק, יוצא עם איליין למרות שהוא סבור כי היא הולכת לגיהנום לאחר מותה.
ג'ו דבולה - "המשוגע"
מגולם על ידי פיטר קרומבי.
מכר של ג'רי וקריימר שיצא בעבר עם איליין. סובל מהפרעה נפשית והתנהגות אגרסיבית.
קני בניה
מגולם על ידי סטפן הייטנר.
קומיקאי לא מוצלח שג'רי לא מחבב במיוחד, חבר של קריימר, יצא פעם עם איליין. בניה בעל התנהגות עליזה בצורה מוגזמת ותמיד מעיק על ג׳רי ומעצבן אותו. באחד הפרקים הוא נותן לג׳רי חליפה בחינם, אך דורש תמורתה ארוחת ערב איתו. הופיע בשישה פרקים והציטוט המפורסם שלו הוא "זה זהב, ג'רי. זהב!". באחת מהעונות מקבל בניה הצעה מרשת אנ.בי.סי להפיק סיטקום משלו, אותה רשת שהציעה זאת לג'רי כמה עונות קודם.
טים ווטלי
מגולם על ידי בריאן קראנסטון.
רופא שיניים וחבר של החבורה. מעורב באנקדוטות משעשעות כגון התגיירותו שנועדה כדי שיוכל לספר בדיחות על יהודים. איליין השתוקקה לצאת איתו אך כשהציע לה שיעשו זאת, היא לא הצליחה לשמוע כלום.
ג'קי צ'יילס
מגולם על ידי פיל מוריס.
עורך הדין של ג'רי וקריימר. מאופיין בדיבור מהיר וחד, ונוטה לחזור על הברות או מילים באותו המשפט. נחשב לעורך דין מצליח, אך מעולם לא זכה במשפט עבור החבורה. דמותו של צ'יילס היא פארודיה על עורך הדין ג'וני קוקרן.
לויד בראון
מגולם על ידי מאט מק'קוי .
מכר ותיק של משפחת קונסטנזה ומושא לקנאה ועוינות מצד ג'ורג', בעיקר בגין השאלה הקבועה המופנית אליו מצד אמו: "למה אתה לא יכול להיות יותר כמו לויד בראון?!". לויד בראון היה מיועד להיות סגן ראש עיריית ניו יורק, אך עבר התמוטטות עצבים עקב הפסד מפלגתו בבחירות.
ג'ורג' סטיינברנר
מגולם על ידי לי בר, ומדובב על ידי לארי דייוויד.
סטיינברנר הוא הבעלים האמיתי של מועדון הבייסבול "ניו יורק יאנקיז" בו ג'ורג' מועסק כביכול. פניו של סטיינברנר מעולם לא נראו, והוא מצטייר כאדם חביב אך טיפש, אשר נוטה להמשיך לדבר ולדבר גם לאחר שאנשים יוצאים מהמשרד.
מר וילהלם
מגולם על ידי ריצ'רד הרד.
מנהלו הישיר של ג'ורג' בניו יורק יאנקיז. סובל מאלצהיימר אותו הוא מאזן בעזרת כדורים, ובפרק אחד בו הוא שוכח לקחת כדורים ג'ורג' מסתבך כתוצאה מכך. בסיום העונה השמינית מתאמץ כדי להיות מפוטר מהיאנקיז על מנת לעבור למועדון המתחרה ניו יורק מטס, ובכך מקדים את ג'ורג' שניסה לעשות דבר זהה.
סדריק ובוב
מגולמים על ידי ג'ון פרגון ויול ואסקז בהתאמה.
צמד בריונים הומוסקסואלים שהופיעו בשלושה פרקים כשבדרך כלל קריימר מאוים או מוכה על ידם. בוב הוא פורטוריקני וסדריק אמריקני והם מהווים ניגוד קומי לדמות ההומוסקסואל הנשי הנפוצה בקומדיות רבות. בפרק הראשון שהופיעו יחד, לסדריק קוראים "ריי" בתסריט, אך בשאר הפרקים שבהם הם מופיעים ונוקבים בשמותיהם, האמריקני מוכר כסדריק.
מיקי אבוט
מגולם על ידי דני וודברן.
מיקי הוא החבר הגמד של קריימר, אשר, לעיתים, מוצא יחד איתו עבודות משחק מזדמנות. למרות חברותם הקרובה, נוטים קריימר ומיקי להקלע לריבים ילדותיים.
בוב סקאמאנו
חבר מפוקפק של קריימר שאינו נראה באף פרק אך מספק לקריימר מידע פנימי בנושאים שונים ובהם כמה אנקדוטות מוזרות ביותר.
סו אלן מישקי
מגולמת על ידי ברנדה סטרונג.
מכרה של איליין מתקופת התיכון במרילנד. היא היורשת העתידית של חברת הממתקים הגדולה "oh henry" . סו אלן לעולם אינה לובשת חזייה ונחשבת ליריבה מרה של איליין.
ראסל דאלרימפל
מגולם על ידי בוב בלבן.
נשיא NBC, מתאהב באליין ועוזב את עבודתו לטובת פעילות בגרינפיס על מנת לזכות בלבה.
מר קרוגר
מגולם על ידי דניאל וון-בארגן.
מנכ"ל חברת "קרוגר", מעסיקו של ג'ורג' בעונה התשיעית. מאופיין בכך שהוא אדיש לגמרי למצבה של החברה שבבעלותו, מתעסק לרוב בעניינים זוטרים (כגון מתן כינויים לעובדים), ומתייחס בסלחנות למעשים של ג'ורג' שניתן היה לצפות שיגרמו לו לכעוס עליו.
האווי
מגולם על ידי ג'ון פינט
אדם שמן ששודד גונב לו את המכונית בפרק האחרון.
החבורה רואים ששודדים אותו ובמקום לעזור לו הם מצלמים אותו וצוחקים עליו.
וכך הם נעצרו ונכנסו לכלא מכיוון שהם לא עזרו לו.
קישורים חיצוניים
הערות שוליים
רשימות של דמויות טלוויזיוניות
דמויות משנה | 23,818 |
https://ce.wikipedia.org/wiki/%D0%A1%D1%85%D0%B8%D0%B5%D1%80%D0%B8 | Wikipedia | Open Web | CC-By-SA | 2,023 | Схиери | https://ce.wikipedia.org/w/index.php?title=Схиери&action=history | Chechen | Spoken | 24 | 87 | Схиери () — Гуьржийчоьнан Рача-Лечхуми а, Лаха Сванети а Онин муниципалитетан эвла. Бахархойн дукхалла 0 стаг (2014 шо).
Билгалдахарш
Онин муниципалитетан нах беха меттигаш | 20,897 |
https://stackoverflow.com/questions/34353592 | StackExchange | Open Web | CC-By-SA | 2,015 | Stack Exchange | Steven.Chang, https://stackoverflow.com/users/5413999 | English | Spoken | 309 | 671 | Julia Gadfly can't scale axis when Scale.x_log10
I am new to Julia and try to get a simple x-y plot through Gadfly Pkg.
I am trying to plot x-axis in log scale and set min and max value in the same time.
plot(layer(rdsPmos, x="A", y="B", Geom.line), Scale.x_log10(minvalue= 10),
Theme(default_point_size = 1.5px))
This won't get any error message. The outcome plot has a log scale x-axis but the minvalue seems not work.
I also try to write lise this:
plot(layer(rdsPmos, x="A", y="B", Geom.line), Scale.x_log10, Scale.x_continuous(minvalue= 10), Theme(default_point_size = 1.5px))
And the result is the minvalue work but the logscale fail.
My tests shows that minvalue and maxvalue options works in the way that none of the data missed from view-port, (true for x_continuous or x_log10), so if one wants a narrower view-port, one way is to apply filter on data:
julia> df = DataFrame(A = 1:10, B = 2:2:20)
10x2 DataFrames.DataFrame
| Row | A | B |
|-----|----|----|
| 1 | 1 | 2 |
| 2 | 2 | 4 |
| 3 | 3 | 6 |
| 4 | 4 | 8 |
| 5 | 5 | 10 |
| 6 | 6 | 12 |
| 7 | 7 | 14 |
| 8 | 8 | 16 |
| 9 | 9 | 18 |
| 10 | 10 | 20 |
minvalue is not working, and it's nothing with Scale type:
julia> plot(layer(df, x="A", y="B" ,Geom.line), Scale.x_log10(minvalue=5), Theme(default_point_size = 1.5px))
julia> plot(layer(df, x="A", y="B" ,Geom.line), Scale.x_continuous(
minvalue=5), Theme(default_point_size = 1.5px))
minvalue is working on filtered data
julia> plot(layer(df[df[:A].>5,:], x="A", y="B" ,Geom.line), Scale.x_log10(minvalue=5), Theme(default_point_size = 1.5px))
Thanks a lot for the answer! Also the filter way works well.
It seems that it's not intuitive to only scale no the values that Data have. Maybe i should post a issue to the development team.
| 45,504 |
https://sv.wikipedia.org/wiki/Elaphropeza%20bezzii | Wikipedia | Open Web | CC-By-SA | 2,023 | Elaphropeza bezzii | https://sv.wikipedia.org/w/index.php?title=Elaphropeza bezzii&action=history | Swedish | Spoken | 35 | 83 | Elaphropeza bezzii är en tvåvingeart som beskrevs av Igor Shamshev 2007. Elaphropeza bezzii ingår i släktet Elaphropeza och familjen puckeldansflugor.
Artens utbredningsområde är Singapore. Inga underarter finns listade i Catalogue of Life.
Källor
Puckeldansflugor
bezzii | 49,124 |
https://stackoverflow.com/questions/29489246 | StackExchange | Open Web | CC-By-SA | 2,015 | Stack Exchange | Reena, Sayli Vaidya, https://stackoverflow.com/users/3064440, https://stackoverflow.com/users/3340684 | English | Spoken | 374 | 959 | How to send a cross-domain POST request using ajax call in c#
I am developing an application in which from a website project I give a call to web api method using ajax call javascript. When I run both projects locally it works fine, but when I do publish web api project on demo site the ajax call does not reach to the web api method.
My ajax call is as follows-
<!DOCTYPE html>
<html xmlns="http://www.w3.org/1999/xhtml">
<head runat="server">
<script src="//ajax.googleapis.com/ajax/libs/jquery/1.10.2/jquery.min.js"></script>
<title></title>
<script type="text/javascript">
$(document).ready(function () {
var url = 'http://abc.demo.in/c60/api/Patient/Create/';
$.ajax({
url: url,
data: getData(),
type: 'POST',
contentType: "application/json",
success: function (result) {
console.log(result);
alert("success")
},
error: function (result) {
alert('POST failed.');
}
});
function getData() {
var patient = new Object();
patient.Name = "Mugdha";
patient.Gender = "Female";
patient.Email = "mugdhaShenoy@yahoo.co.in";
patient.Mobile = "";
patient.BloodGroup = "AB+";
patient.MedicalHistory = "High BP, Cholosterol, Diebetis";
patient.Allergy = "Dust, wind";
patient.EmergencyContactName = "Riya Sahani";
patient.EmergencyContactNo = "9988990200";
patient.ProfileImage = "";
patient.FormNo = "92";
patient.BirthDate = new Date(1989, 09, 08).toISOString();
return patient;
}
</script>
</head>
<body>
</body>
</html>
When I try to reach the api domain(which is on different server) I have faced an error as -
XMLHttpRequest cannot load http://abc.demo.in/c60/api/Patient/Create/. No 'Access-Control-Allow-Origin' header is present on the requested resource. Origin 'http://localhost:49370' is therefore not allowed access.
Is there any solution for this? I have added CorsHandler.cs file in my webapi project.
See my answer in this post if it could be helpful http://stackoverflow.com/questions/29466380/how-to-add-res-addheaderaccess-control-allow-origin-in-express-js/29466458#29466458
You also need to setup crossDomain: true in ajax if you have used CorsHandler.cs
Also need to register a Cross-Domain handler in our application. So open the Global.asax file and put the following lines for the Application_Start() event.
GlobalConfiguration.Configuration.MessageHandlers.Add(new CorsHandler());
I already have GlobalConfiguration.Configuration.MessageHandlers.Add(new CorsHandler()); in my Application_Start() and also tried with setting up crossDomain: true in ajax but still does not working
have you added setup crossDomain:true in ajax
yes.. the code for ajax is as
var url = 'http://abc.demo.in/c60/api/Patient/Create/'; $.ajax({ url: url, data: getData(), type: 'POST', contentType: "application/json", crossDomain: true , success: function (result) { console.log(result); alert("success") }, error: function (result) { alert('POST failed.'); } });
But in your code pasted above I can't see this setup
I have made appropriate changes in ajax call..but still having same issue..What I'm doing wrong?
| 28,873 |
https://et.wikipedia.org/wiki/Toomas%20Hussar | Wikipedia | Open Web | CC-By-SA | 2,023 | Toomas Hussar | https://et.wikipedia.org/w/index.php?title=Toomas Hussar&action=history | Estonian | Spoken | 250 | 803 | Toomas Hussar (sündinud 1. mail 1962 Tallinnas) on eesti näitleja, lavastaja, näitekirjanik ja režissöör.
Ta lõpetas 1980. aastal Tallinna 16. Keskkooli. Seejärel õppis ta aastatel 1980–1981 Tartu Riikliku Ülikooli matemaatikateaduskonnas, 1981–1983 EELK Usuteaduse Instituudis usuteadust ning 1986–1988 Tallinna Riikliku Konservatooriumi lavakunstikateedris näitlemist, kuid ei lõpetanud.
1988–1996 oli ta Gregori Trupi juht ja lavastas 11 enda kirjutatud näidendit (neist nelja on etendatud teatrifestivalil Baltoscandal). 1994–1996 töötas Hussar Rakvere Teatri kirjandusala juhatajana. Samal perioodil kirjutas ja lavastas ta koos Ervin Õunapuuga näidendid "Ilma sisulise mõtteta riiklik püha" ja "Immelmanni sõlm". 1. jaanuaril 1998 jõudis ekraanile tandemi teledraama "Linnapea ehk Hirmu põhivormid" (nimiosas Arvo Kukumägi).
Hussar on Eesti Lavastajate Liidu liige (1994).
Toomas Hussar on kirjutanud ja lavastanud näidendeid ja teledraamasid, tema jutustusi on ilmunud mitmes novellikogumikus.
Esimeseks filmitööks režissöörina oli Tallinnfilmis valminud lühifilm "Mis juhtus, Waldemar?" (1990, Peeter Sirge diplomitöö Moskva filmikoolis, peaosas Mait Lepik).
2012. aastal lavastas Hussar täispika mängufilmi "Seenelkäik", mille eest pälvis Eesti Filmiajakirjanike Ühingu aasta filmi auhinna Neitsi Maali (kahasse Sulev Keeduse dokumentaalfilmiga "Varesesaare venelased").
Lavastusi
1989 Hussar, Saarepera " Viimane öö"
1990 "Roike taust"
1991 "Lågmälda"
2012 Tammsaare "Uurimise all"
Filme
1990 "Mis juhtus, Waldemar?"
1990 "Mis juhtus msj. Waldemariga"
1994 "Tulivesi" (tudeng)
2012 "Seenelkäik"
2016 "Luuraja ja luuletaja"
Tunnustus
1997 Eesti Näitemänguagentuuri näidendivõistluse III preemia ("Tule minuga lendama", koos Ervin Õunapuuga)
1999 Eesti Näitemänguagentuuri näidendivõistluse I preemia telenäidendite kategoorias ("Romanss trompetile", koos Ervin Õunapuuga)
2012 Eesti Kultuurkapitali audiovisuaalse kunsti sihtkapitali aastapreemia (koos Piret Tibbo-Hudginsiga; aasta menufilm "Seenelkäik")
Rakvere Teatri näitlejad
Eesti filmilavastajad
Eesti filminäitlejad
Sündinud 1962 | 4,039 |
https://stackoverflow.com/questions/77533040 | StackExchange | Open Web | CC-By-SA | 2,023 | Stack Exchange | Dutch | Spoken | 193 | 714 | Device not exist error in generating vectordb using langchain Chroma
I am new to langchain and following a tutorial code as below
from langchain.vectorstores import Chroma
from langchain.embeddings.openai import OpenAIEmbeddings
persist_directory = "C:/Users/shang/Documents/test/"
embedding = OpenAIEmbeddings()
vectordb = Chroma(persist_directory, embedding_function=embedding)
it kept prompt error. Did I miss anything here? Thanks
---------------------------------------------------------------------------
OSError Traceback (most recent call last)
g:\My Drive\DataScience\LLM\LongChain\all_inclusive.ipynb Cell 5 line 5
3 persist_directory = 'C:/Users/shang/Documents/test/'
4 embedding = OpenAIEmbeddings()
----> 5 vectordb = Chroma(persist_directory, embedding_function=embedding)
File ~\AppData\Local\Packages\PythonSoftwareFoundation.Python.3.11_qbz5n2kfra8p0\LocalCache\local-packages\Python311\site-packages\langchain\vectorstores\chroma.py:81, in Chroma.__init__(self, collection_name, embedding_function, persist_directory, client_settings, collection_metadata, client, relevance_score_fn)
79 """Initialize with a Chroma client."""
80 try:
---> 81 import chromadb
82 import chromadb.config
83 except ImportError:
File ~\AppData\Local\Packages\PythonSoftwareFoundation.Python.3.11_qbz5n2kfra8p0\LocalCache\local-packages\Python311\site-packages\chromadb\__init__.py:3
1 from typing import Dict, Optional
2 import logging
----> 3 from chromadb.api.client import Client as ClientCreator
4 from chromadb.api.client import AdminClient as AdminClientCreator
5 import chromadb.config
File ~\AppData\Local\Packages\PythonSoftwareFoundation.Python.3.11_qbz5n2kfra8p0\LocalCache\local-packages\Python311\site-packages\chromadb\api\client.py:31
27 from chromadb.types import Database, Tenant, Where, WhereDocument
28 import chromadb.utils.embedding_functions as ef
---> 31 class SharedSystemClient:
...
1011 os.stat() does.
1012 """
-> 1013 return os.stat(self, follow_symlinks=follow_symlinks)
OSError: [WinError 433] A device which does not exist was specified: '.env'
I dont know what happened to you.
But you can try this:
vectordb = Chroma(persist_directory=persist_directory, embedding_function=embedding)
| 11,589 | |
https://tr.wikipedia.org/wiki/Hun%20h%C3%BCk%C3%BCmdarlar%C4%B1%20listesi | Wikipedia | Open Web | CC-By-SA | 2,023 | Hun hükümdarları listesi | https://tr.wikipedia.org/w/index.php?title=Hun hükümdarları listesi&action=history | Turkish | Spoken | 91 | 313 | Bu liste, Hun İmparatorluğu'nun tarihi boyunca hükümdarlık yapmış kişileri içermektedir.
Hun İmparatorluğu, Sinosfer'in kuzeyinden Orta Asya'ya göçen ve ardından Orta Avrupa'ya kadar ilerleyen Hunlar'ın meydana getirdiği bir Bozkır imparatorluğu idi. Göçebe bir bir kavim olan Hunların Türk olduğu kesinleşmiştir ve Asya Hun İmparatorluğunun da devamı niteliğindedir.
Liste
Balamir, tarih bilinmiyor ()
Uldız, -412?
Karaton, 412-413 veya 412-422
Oktar ve Rua, 413-430
Rua, 430-
Bleda ve Attila, -
Attila, -453 (son)
Attila'nın oğulları
İlek (en büyük), 453-454
Dengizik (ortanca), 454-469
İrnek (en küçük), 454-469?
Kaynakça
Notlar
Özel
Hun hükümdarları
Avrupa hükümdarlarının listeleri | 31,369 |
https://ps.wikipedia.org/wiki/%DB%B4%DB%B5%20%28%D8%B9%D8%AF%D8%AF%29 | Wikipedia | Open Web | CC-By-SA | 2,023 | ۴۵ (عدد) | https://ps.wikipedia.org/w/index.php?title=۴۵ (عدد)&action=history | Pashto | Spoken | 100 | 332 | ۴۵ یا يو د طبيعي عددونه څخه دي. چي د ۴۴ څخه مخکي او د ۴۶ وروسته موجود دي.
په رياضي کې
په رياضي کې ۴۵:
تام عدد دي.
طبيعي عدد دي.
دوه رقمی عدد دي.
طاق عدد دي.
مرکب عدد دي.
په کلینډر کې
۴۵ کولاي سي:
د کال نوم ۴۵ هجری لمریز وي.
د کال نوم ۴۵ هجری میاشتنی وي.
د کال نوم ۴۵ میلادی و یا ۴۵ مخکي تر میلاد وي.
په کیمیا کې
۴۵ د روديوم اټومي عدد ده
په نورو موضوعګانو کې
سرچينې
۴۵ (عدد)طبيعي عددونه
تام عددونه
دوه رقمي عددونه
طاق عددونه
مرکب عددونه | 31,574 |
https://ceb.wikipedia.org/wiki/Cuqueron%20%28lungsod%29 | Wikipedia | Open Web | CC-By-SA | 2,023 | Cuqueron (lungsod) | https://ceb.wikipedia.org/w/index.php?title=Cuqueron (lungsod)&action=history | Cebuano | Spoken | 127 | 212 | Lungsod ang Cuqueron sa Pransiya. Nahimutang ni sa amihanan-sidlakang bahin sa nasod, km sa habagatan sa Paris ang ulohan sa nasod. metros ibabaw sa dagat kahaboga ang nahimutangan sa Cuqueron, ug adunay ka molupyo.
Ang yuta palibot sa Cuqueron medyo bungtoron. Dunay mga ka tawo kada kilometro kwadrado sa palibot sa Cuqueron medyo hilabihan populasyon. Ang kinadul-ang mas dakong lungsod mao ang Pau, km sa sidlakan sa Cuqueron. Hapit nalukop sa kaumahan ang palibot sa Cuqueron.
Ang klima boreal. Ang kasarangang giiniton °C. Ang kinainitan nga bulan Hulyo, sa °C, ug ang kinabugnawan Enero, sa °C. Ang kasarangang pag-ulan milimetro matag tuig. Ang kinabasaan nga bulan Enero, sa milimetro nga ulan, ug ang kinaugahan Agosto, sa milimetro.
Saysay
Ang mga gi basihan niini
Mga lungsod sa Pransiya | 36,557 |
https://en.wikipedia.org/wiki/Shastovo-Zabereznoye | Wikipedia | Open Web | CC-By-SA | 2,023 | Shastovo-Zabereznoye | https://en.wikipedia.org/w/index.php?title=Shastovo-Zabereznoye&action=history | English | Spoken | 53 | 111 | Shastovo-Zabereznoye () is a rural locality (a village) in Prigorodnoye Rural Settlement, Sokolsky District, Vologda Oblast, Russia. The population was 1 as of 2002.
Geography
Shastovo-Zabereznoye is located 16 km south of Sokol (the district's administrative centre) by road. Kamskoye is the nearest rural locality.
References
Rural localities in Sokolsky District, Vologda Oblast | 3,290 |
https://stackoverflow.com/questions/3268205 | StackExchange | Open Web | CC-By-SA | 2,010 | Stack Exchange | Ahmed Aliyan Khan, Anycorn, GManNickG, LC Alan, Richard Yu, Tom, UncleBens, Wafalme Coding, https://stackoverflow.com/users/155693, https://stackoverflow.com/users/206328, https://stackoverflow.com/users/214473, https://stackoverflow.com/users/6783421, https://stackoverflow.com/users/6783422, https://stackoverflow.com/users/6783423, https://stackoverflow.com/users/6783500, https://stackoverflow.com/users/6828981, https://stackoverflow.com/users/6944317, https://stackoverflow.com/users/87234, salwine, Александр Подгорных | English | Spoken | 412 | 622 | C++ custom exceptions
I have run into broken compiler, which does not allow exceptions to inherit from std::exception (nvcc 3.0).
so had to create workaround:
struct exception {
explicit exception(const char* message) {
what_ = message;
}
virtual const char *what() const throw() { return what_; }
operator std::exception() const {
return std::runtime_error(what_);
}
private:
const char* what_;
};
struct configuration_error : exception {
configuration_error(const char* message)
: exception(message) {}
};
is there something I am going to lose by not inheriting from exception, instead providing cast? is what necessary in the above case?
thank you
Why doesn't it let you inherit from it? (Errors?) Perhaps we can hack around it and enable inheritance, or is it strictly just a "simply can't" thing?
In what way does it not allow deriving from std::exception? BTW, it is probably better to inherit from one of the <stdexcept> types (std::exception doesn't even have a useful constructor). - Your workaround also seems to suffer from a very questionable way of storing the string - are you sure that the pointer might not become invalid in case of a local string?
@GMan I get external call to exception error. Which does not make any sense because that is device function specific error. This only affects when you try to initialize complex object in constructor. I am pretty sure this is compiler bug, previous compiler (nvcc 2.x)had no problem
@UncleBens I know, unfortunately the same problem appears when using string or inheriting from anything in stdexcept.
You should upgrade to 3.1. In its defence, CUDA C is a subset of C++ and additional C++ features are being added all the time. Having said that, the code in question is being passed through to the host compiler so it should work.
catch (std::exception) will not catch your exception, and you cannot dynamic_cast your exception to std::exception either. If your program never does either of those things, you're fine.
Personally I would not use a compiler this broken, though.
You should upgrade to CUDA 3.1.
If you're trying to create an instance of something derived from std::exception on the device, it won't work because the std::exception constructor would need to be called, and that is not a device function.
Throwing and catching your own type is probably the solution. Since it probably will never make it back to host code, though (C++ doesn't really handle throwing multiple exceptions in parallel), compatibility with std::exception shouldn't be too much of an issue.
| 30,880 |
https://fi.wikipedia.org/wiki/FS%20Paris%20%281912%29 | Wikipedia | Open Web | CC-By-SA | 2,023 | FS Paris (1912) | https://fi.wikipedia.org/w/index.php?title=FS Paris (1912)&action=history | Finnish | Spoken | 146 | 449 | Paris oli Ranskan merivoimien Courbet-luokan taistelulaiva. Toisessa maailmansodassa se kuului Vapaan Ranskan laivastoon.
Valmistus
Alus tilattiin Forges et Chantiers de la Méditerranéelta La Seynestä, missä köli laskettiin 10. marraskuuta 1911. Alus laskettiin vesille 28. syyskuuta 1912 ja valmistui 1. elokuuta 1914.
Palvelus
Ensimmäisen maailmansodan alus oli Välimerellä. Alus tuki aluksi Montenegron maajoukkoja tykistöllään, minkä jälkeen se lähinnä valvoi Otrantonsalmen sulkua estäen Itävalta-Unkarin laivaston pääsyn Adrianmereltä.
Saksan hyökättyä Ranskaan aluksen varustaminen aloitettiin kiireesti. Se tuki liittoutuneiden joukkojen Cherbourgin puolustusta kesäkuussa ennen vetäytymistään Britteinsaarille. Operaatio Catapultissa brittijoukkojen miehittävät sen 3. heinäkuuta Plymouthissa.
Alus oli varasto- ja majoitusaluksena, kunnes se sodan jälkeen heinäkuussa 1945 palautettiin Ranskalle. Alus hinattiin Brestiin, jossa se jatkoi varastoaluksena myyntiinsä 21. joulukuuta 1955 saakka. Se romutettiin kesäkuusta 1956 alkaen La Seynellä.
Lähteet
Viitteet
Aiheesta muualla
Courbet-luokan taistelulaivat
Ranskalaiset ensimmäisen maailmansodan taistelulaivat
Ranskalaiset toisen maailmansodan taistelulaivat
Vapaan Ranskan laivaston sotalaivat
Forges et Chantiers de la Méditerranée | 19,592 |
https://math.stackexchange.com/questions/3165781 | StackExchange | Open Web | CC-By-SA | 2,019 | Stack Exchange | drhab, https://math.stackexchange.com/users/75923 | English | Spoken | 271 | 419 | Definition of first countable topogical space.
Ok, I am a bit confused.
Does first countability mean that for every element $x$ in the space, there is a collection of open sets and each of those open sets are countable containing $x$ and for every open neighborhood of $x$, one of those countable open set is contained in.
OR
For every element $x$ in the space, there is a collection of open sets, where the number of sets in this collection is countably many, that contains $x$ and for every neighborhood of $x$, one of those open sets (not necessarily countable) is contained in?
Thank you in advanced.
The second is correct. For every $x$ there is a countable collection $\mathcal V$ of open sets that contain $x$ as element, and such that for every open set $O$ that contains $x$ as element there is a $V\in\mathcal V$ with $x\in V\subseteq O$.
The first one is wrong. Even in the real line open sets are all uncountable so the condition there is not satisfied. The second definition is correct.
It's more the second one, put formally: for each $x \in X$ there is an at most countable collection $U_n(x), n \in \mathbb{N}$ of open neighbourhoods of $x$ such that for each open set $O$ that contains $x$ there is an $n$ such that $U_n(x) \subseteq O$.
FYI as a curiosity, if the $U_n(x)$ are just required to be open (but not always a neighbourhood of $x$) but do satify the final condition, these are not called local bases, but local pseudo-bases, and $X$ is not called first countable but of countable pseudocharacter.
| 41,822 |
https://stackoverflow.com/questions/48248829 | StackExchange | Open Web | CC-By-SA | 2,018 | Stack Exchange | Manu Eidenberger, hameed86, https://stackoverflow.com/users/570983, https://stackoverflow.com/users/9215320 | English | Spoken | 169 | 226 | my App showing question marks instead of arabic words when retrieve data for sql server?
i have an android taxi booking app and there is interface between this app and sql server to store data coming from it . the problem is : when i am trying to store any Arabic data to sql server the app retrieve this data as question marks ??????? instead of arabic words . i do not know this issue from server side or from android source code (java) . i already change the encoding in server side to utf-8 genereal_ci but still i am facing the same issue . your help will be highly appreciated . Thanks
Maybe duplicate question with this one ?
The N prefix only works on the actual string not a copy of it so:
declare @name nvarchar(50);
set @name = N'محسن';
insert into tests values(@name)
i have change the collation and character set in sql database to utf-8_general_ci but no effect . the App still showing ?????? .
| 1,216 |
https://stackoverflow.com/questions/56497860 | StackExchange | Open Web | CC-By-SA | 2,019 | Stack Exchange | English | Spoken | 235 | 399 | Animate() scroll does not allow to see the title
I made the menu sticky, but the problem that i have now it's that menu does not allow me to see the title of the categories.. you can see it here
http://jisparking.cl
i'd like to know how I can move the scroll animation a little top to avoid
that the menu is over the category title..
My code is this:
$(".nav li a").on('click', function(event) {
// Make sure this.hash has a value before overriding default behavior
if (this.hash !== "") {
// Prevent default anchor click behavior
event.preventDefault();
// Store hash
var hash = this.hash;
// Using jQuery's animate() method to add smooth page scroll
// The optional number (800) specifies the number of milliseconds it takes to scroll to the specified area
$('html, body').animate({
scrollTop: $(hash).offset().top
}, 800, function(){
// Add hash (#) to URL when done scrolling (default click behavior)
window.location.hash = hash;
});
} // End if
});
Thanks!
You could simply subtract a value from scrollTop: $(hash).offset().top, like scrollTop: $(hash).offset().top - 50
Of course this would break the first link as it would give a negative value. A possible solution is
scrollTop: Math.max($(hash).offset().top - 50, 0)
(if the value is negative Math.max will return 0 instead)
This to make as little changes as possible to your code, but I think there could be other ways to achieve what you are trying to.
| 46,337 | |
https://stackoverflow.com/questions/69152821 | StackExchange | Open Web | CC-By-SA | 2,021 | Stack Exchange | Community, Fatin Ishrak Rafi, Ishtiaq, Rob, https://stackoverflow.com/users/-1, https://stackoverflow.com/users/10524943, https://stackoverflow.com/users/12084726, https://stackoverflow.com/users/162698 | English | Spoken | 529 | 1,354 | Text align in one line
I am a beginner that learning CSS and JS. I faced a problem in CSS. Please help... thanks
My page
This is the page that I get the problem, and how can I align the text in one line and put them in average space. Check below what I imagine...
This is what I want
Imagine
This is CSS code
body {
background: #292929;
}
h1 {
font-family: Roboto;
background-color: #292929;
display: flex;
align-items: center;
justify-content: center;
color: #ffff
}
div {
align-content: center;
}
.yesButton {
margin-left: 350;
left: 100;
bottom: 0;
width: 65;
margin: initial;
background-color: #575757;
color: #ffff;
text-align: right;
cursor: pointer;
}
.yesButton p {
float: left;
color: #ffff;
text-align: center;
padding: 14px 16px;
text-decoration: none;
font-size: 12px;
}
.yesButton p:hover {
background: #3d3d3d;
color: #ffff;
}
.noButton {
margin-left: 500;
left: 100;
bottom: 0;
background-color: #575757;
color: #ffff;
text-align: left;
cursor: pointer;
}
.noButton p {
float: left;
color: #ffff;
text-align: center;
padding: 14px 16px;
text-decoration: none;
font-size: 12px;
}
.noButton p:hover {
background: #3d3d3d;
color: #ffff;
}
div p{
clear: both;
display: inline-block;
overflow: hidden;
white-space: nowrap;
}
Thanks a lot...
please add HTML also so that we can see the class are cascading from where to where
add HTML code please!!
Some one can only help you if you share your whole code i.e HTML and CSS both. Please share your complete code in code snippet
Please provide enough code so others can better understand or reproduce the problem.
First of all you should share your complete code.I assumed that you are using two <p> tags which you want to display in one line.
There are multiple solutions to do this and to make this better. But I am using your approach i.e <p> tag and made some minor changes to make the things happen.
Following is the code snippet for the <p> tag implementation. I updated your CSS which you can compare.
Also enhance your skills of HTML and CSS.
Checkout this;
<html lang="en" xmlns="http://www.w3.org/1999/xhtml">
<head>
<meta charset="utf-8" />
<title></title>
<style type="text/css">
body {
background: #292929;
}
h1 {
font-family: Roboto;
background-color: #292929;
display: flex;
align-items: center;
justify-content: center;
color: #ffff
}
div {
align-content: center !important;
}
.yesButton {
margin-left: 350;
left: 100;
bottom: 0;
width: 65;
margin: initial;
background-color: #575757;
color: #ffff;
text-align: right;
cursor: pointer;
}
.yesButton p {
float: left;
color: #ffff;
text-align: center;
padding: 14px 16px;
text-decoration: none;
font-size: 12px;
}
.yesButton p:hover {
background: #3d3d3d;
color: #ffff;
}
.noButton {
margin-left: 500;
left: 100;
bottom: 0;
background-color: #575757;
color: #ffff;
text-align: left;
cursor: pointer;
}
.noButton p {
float: left;
color: #ffff;
text-align: center;
padding: 14px 16px;
text-decoration: none;
font-size: 12px;
}
.noButton p:hover {
background: #3d3d3d;
color: #ffff;
}
div p {
/*clear: both;
display: inline-block;
overflow: hidden;
white-space: nowrap;*/
text-align:center;
}
div {
width: 50%;
float:left;
color:#fff;
}
</style>
</head>
<body>
<div><p>No .....</p></div>
<div><p>Yes .....</p></div>
</body>
</html>
Without his HTML, your answer is only a wild guess and not a fact-based solution. [answer] Vote to close it instead.
Of course you are right @Rob, I asked him to share HTML and gave him an idea in my answer.
| 45,409 |
https://stackoverflow.com/questions/29485067 | StackExchange | Open Web | CC-By-SA | 2,015 | Stack Exchange | https://stackoverflow.com/users/4210466, karunakar sapogu | English | Spoken | 189 | 582 | Getting multiple values
I have tried to get multiple numeric values which is inside
<li> <div class ="kpi unit">
I have tried this:
def get_all_data(self):
data = []
for row in self.driver.find_elements_by_class_name("content"):
cells = []
for cell in row.find_elements_by_class_name('kpi unit'):
cells.append(cell.text)
data.append(cells)
I'm getting error as class name cant be used, tried all other stuff and unable to get the values..
Any suggestions?
please find my html code below:
<div class="row">
<div class="large-6 columns">
<div class="large-6 columns">
<div class="section-container tabs" data-section="tabs">
<section class="section active" style="padding-top: 38px;">
<p class="title" style="left: 0px;">
<a id="summary" href="#summarystats">Summary</a>
</p>
<div class="content" data-slug="summarystats">
<div class="row data-card summary-card">
<ul class="small-block-grid-4">
<li>
<div class="kpi stat">Impressions</div>
<div class="kpi unit" data-bind="text: kpis.impressions.slice">0</div>
</li>
<li>
<div class="kpi stat">Clicks</div>
<div class="kpi unit" data-bind="text: kpis.clicks.slice">0</div>
</li>
<li>
<div class="kpi stat">Spent</div>
<div class="kpi unit" data-bind="text: kpis.spent.slice">$0</div>
</li>
"find_elements_by_class_name" is searching by a single class name. In your case when you have two of them, ou should use css selector or xpath. For example:
find_element_by_css_selector(".kpi.unit");
Nice, It worked with css selector, using find_elements_by_css_selector(".kpi.unit") ..., My approach was huge, I nested other class names to get the list, instead of one single direct approach, thanks
| 21,503 |
https://id.wikipedia.org/wiki/Leucographus%20albovarius | Wikipedia | Open Web | CC-By-SA | 2,023 | Leucographus albovarius | https://id.wikipedia.org/w/index.php?title=Leucographus albovarius&action=history | Indonesian | Spoken | 60 | 145 | Leucographus albovarius adalah spesies kumbang tanduk panjang yang berasal dari famili Cerambycidae. Spesies ini juga merupakan bagian dari genus Leucographus, ordo Coleoptera, kelas Insecta, filum Arthropoda, dan kingdom Animalia.
Larva kumbang ini biasanya mengebor ke dalam kayu dan dapat menyebabkan kerusakan pada batang kayu hidup atau kayu yang telah ditebang.
Referensi
TITAN: Cerambycidae database. Tavakilian G., 25 Mei 2009.
Leucographus | 17,271 |
https://vi.wikipedia.org/wiki/Masalia%20uncta | Wikipedia | Open Web | CC-By-SA | 2,023 | Masalia uncta | https://vi.wikipedia.org/w/index.php?title=Masalia uncta&action=history | Vietnamese | Spoken | 16 | 38 | Heliothis uncta là một loài bướm đêm trong họ Noctuidae.
Chú thích
Liên kết ngoài
Masalia | 45,287 |
https://ar.wikipedia.org/wiki/%D9%84%D9%88%D9%8A%D8%BA%D9%8A%20%D8%A8%D8%A7%D8%B3%D9%83%D8%A7%D9%84 | Wikipedia | Open Web | CC-By-SA | 2,023 | لويغي باسكال | https://ar.wikipedia.org/w/index.php?title=لويغي باسكال&action=history | Arabic | Spoken | 42 | 134 | لويغي باسكال هو مهندس إيطالي، ولد في 1923 في نابولي في إيطاليا، وتوفي بنفس المكان في 14 مارس 2017.
مراجع
مهندسون من نابولي
أشخاص من مدينة نابولي
أعضاء هيئة تدريس جامعة نابولي فيدريكو الثاني
مصممو طائرات
مهندسون إيطاليون
مواليد 1923
وفيات 2017 | 12,077 |
https://ka.wikipedia.org/wiki/%E1%83%91%E1%83%98%E1%83%90%E1%83%A2%E1%83%9A%E1%83%9D%E1%83%9C%E1%83%98%202010%20%E1%83%AC%E1%83%9A%E1%83%98%E1%83%A1%20%E1%83%96%E1%83%90%E1%83%9B%E1%83%97%E1%83%A0%E1%83%98%E1%83%A1%20%E1%83%9D%E1%83%9A%E1%83%98%E1%83%9B%E1%83%9E%E1%83%98%E1%83%A3%E1%83%A0%20%E1%83%97%E1%83%90%E1%83%9B%E1%83%90%E1%83%A8%E1%83%94%E1%83%91%E1%83%96%E1%83%94%20%E2%80%93%20%E1%83%A1%E1%83%9E%E1%83%A0%E1%83%98%E1%83%9C%E1%83%A2%E1%83%98%20%28%E1%83%A5%E1%83%90%E1%83%9A%E1%83%94%E1%83%91%E1%83%98%29 | Wikipedia | Open Web | CC-By-SA | 2,023 | ბიატლონი 2010 წლის ზამთრის ოლიმპიურ თამაშებზე – სპრინტი (ქალები) | https://ka.wikipedia.org/w/index.php?title=ბიატლონი 2010 წლის ზამთრის ოლიმპიურ თამაშებზე – სპრინტი (ქალები)&action=history | Georgian | Spoken | 34 | 212 | სპრინტი ბიატლონში ქალთა შორის 2010 წლის ვანკუვერის ოლიმპიურ თამაშებზე გაიმართა 2010 წლის 13 თებერვალს უისტლერის ოლიმპიურ პარკში, უისტლერი, ბრიტანეთის კოლუმბია.
შედეგები
სქოლიო
2010 წლის ზამთრის ოლიმპიური თამაშების შედეგები: სპრინტი (ქალები) 7.5 კმ.
ინდივიდუალური (ქალები) | 14,642 |
C9gzHrkZumw_1 | Youtube-Commons | Open Web | CC-By | null | Shia Talent 9 | Sarah Qassir | None | English | Spoken | 4,272 | 5,365 | Assalamu alaikum warahmatullahi wa rahmatullahi. I'm Sarah Qassir from Lebanon. In Lebanon, we define whether from the south or somewhere else. I'm from the south of Lebanon's surd district. I'm currently a director, actor, and storyteller. I work in the field of media. I study different fields, where I majored in radio and television and also theater. And I'm currently continuing my master's studies in actor management. Since I was young, I had two titles. The first one is the Petty Fogger, and another one was the Sheikha. The former was because I was truly a writer. I was raised among three boys, so I had boyish tendencies. This creates adventures, courage, and self-confidence. This was obvious when I grew old with my field of studies. Sheikha was formed because I read a lot of religious books. You may be astonished, but by the age of nine years when I wore my hijab, I was reading the books of Sayyid al-Khu'i as a religious reference. I was also reading books for Sheikha al-Kummi, the child between heritage and raising. There are sophisticated religious books I read back then, ones I couldn't fully understand. But I was able to start these readings. So anyone who had a question at home, I was able to find an answer because I had this reading ability. When we were young, we didn't have this religious atmosphere at home. I mean, it was there, but it mostly was innate. When we were young, we didn't have this religious atmosphere at home. It wasn't a lot. It was mostly innate, but it wasn't strong. By time, my father's brother was murdered, my uncle. He created the state of piety at home. It's a blessing for martyrs coming from before and after martyrdom. So mom wore the hijab, and dad became more committed to religion. And this created a certain state at home. This also affected me, where I became part of the scouts at my village. The latter was an Islamic institution. It had great part in helping me realize Ahlul Bayt, or the relationship with Al-Hujjah, even in arts. They were the reason why I headed towards this field. Ever since I was young, at 10 and 11 years old, I formed a small artistic group. This group, which consisted of six young girls, of course, they were from my age, I used to write the poem, tune it, and train them on its performance. And train them on its performance. And train them on its performance. And we became the official singing group for the village and surrounding the villages of the entire district, where we participated in Islamic occasions with the singing group. Then I started participating in theater. I performed plays in the village and its surroundings. So here you see that the relationship with Ahlul Bayt was both religious and artistic. So both were related. And there was always an artistic expression for Ahlul Bayt. Whether by writing, symphony, theater, or even when I stand on stage to give a speech, it was a relation of that sort. It was always of that sort. As I said, I started an artistic journey when I was young. And this evolved until I reached a changing point where all youth stop at, what do I want to major at college? Here, I honestly had this dilemma of choosing between what I wanted or what my social environment and parents wanted. And excuse them. I wouldn't say that they made a mistake from their stand. I want to clarify that when you're living in an environment, especially in Lebanon, theater, doesn't take into consideration the hijab. There's a huge suffering for women with hijab to study theater. So that's why I studied theater with a hijab. I wore it even before studying and I remained the only women who studied theater while wearing a hijab in Lebanon. I don't know anyone who dared to take this step or pursue this adventure. A lot may register for one year, get exhausted, and then bail out. I thank God I was able to finish my four years of studying and continue my master's degree so this was divine grace. I reached a point where I wanted to choose my major. I finished high school with a degree of science so I can choose medicine or engineering, which is something my parents wanted since they are specialized in these fields. Their studies are in sciences. At the time, I figured out that my personality doesn't support office work or hospital. My personality is creative and artistic. They asked me, what do you want to major in? I answered in theater. There was great refusal for that since they thought that it's a useful profession. Also, it creates big problems for a girl with hijab. So I told my mother the sentence. I said, mom, I feel that in our Islamic community, there isn't anyone who has studied theater. I'm aiming to do an Islamic theater, something truly respectable and not in the public way. So her reply was the following. She replied, are you bearing the weight of the Islamic umma over your shoulders? I remember she told me that. And I said, I don't know, but I like to go major in that field. I feel like I can succeed in it. Eventually, they accepted reality and accepted my point of view. I finished my major and studied media with it so that I would be able to take hold of the major from both ends, theoretically and cinematically. So it was, I continued until now and I currently have several movies. One of them was about the hijab. It received an award from, it received an award from a Sahwa festival in Iran back in 2013. It took the first prize. I also have several plays. One of them about Sayyid al-Zahra, Aleyhi Salam, Ashura and teaching prayers. The suffering as a girl with the hijab I'll tell you from the start. When you go inside a community where there isn't anyone with a hijab, I mean that the entire campus, with its four floors, I was the only one wearing the hijab in all majors. Also now in master's degree, there isn't anyone. The community didn't have anyone wearing hijab. It feels as if it's a weird place to be at. Especially here in Lebanon, there's this aerial sectarian separation from example, where example this sect enters this campus of university and that sect goes to that campus. Where I went, there weren't a lot of Muslims. I mean there weren't a lot of Muslims. So this was the first suffering. The second suffering was the origin of the artistic community. Unfortunately, unfortunately, since art community isn't pious or religion, they see art as a complete liberation. I mean, you're entering an environment of madness that has no boundaries. It's good artistically speaking, but bad when it comes to morals. They have no problem saying full words, doing certain actions or to do implications of any sort. They have no problem saying full words. I wouldn't say Islamic, but morally and humanely unacceptable. They consider it liberation and creativity. We as women with hijab, as religious people with a message and a purpose, art isn't for the sake of art. It has a purpose. When you say art is for the sake of art, you can't say anything. You should place boundaries on it. You can't say anything. You should place boundaries on limits. This is the second suffering. The third suffering is the material studied. I mean that there are certain elements at university that use such as choreography, which is body expression. I was asked to wear tight clothes from head to toe, like scuba divers. Of course, I couldn't wear like that. And the professor refused to accept me in class. I then talked to him and we reached an agreement to solve the issue, like, of course, wearing baggy clothes, but we solved it in a hard way. What hurts the most that Muslims, whom have decided due to their thinking and their thoughts, approved to be Muslims by name. But they don't believe in anything you believe in. They're the people that fight you the most and hurt you the most, because they believe that they're fighting the negative phase of Islam. But as for me, I see that you're the negative phase of Islam. So he would come and attack you in the middle of class, saying you're closed-minded, conservative, ignorant, and how could you not accept sleeping on the ground? There were exercises where we sleep on the ground. There aren't people who reject wearing tight clothes. There aren't people holding onto this. I mean, I'm sorry, this piece of clothes. A person, when this person insults you like that, this Muslim that should aid you the most, you'd see that the injustice of the closest is the worst. That's what applies to this. As for the image of the women in Hijab, this is an issue of importance to me. I consider myself and others as well that I'm doing something that sheikhs and clerics are incapable of doing. Of course, which is the following? Working in an unreligious environment, and un-Islamic, if it was religious, as I mentioned that it is in the, of course, as I mentioned that in the artistic field, it's rare to find a religious and pious atmosphere. Now, of course, especially that my work isn't in a small environment, but in Lebanon and abroad. I do a lot of traveling and participating in global festivals, but not in an Islamic environment. So I go to these places, but imagine that the first impression I hear is that they don't believe that there's a girl wearing a hijab coming from Lebanon and studying theater, and their biggest shock is that when they try to shake my hand, and I do like this. So imagine the shock for them. Now, at first, they'd be astonished and dazzled, and they'd confront me where I can take advantage of that. And they'd come confront me, and of course, that's where I take advantage of and show them my intellect and my Islamic background. And at the same time, that nothing stands, and at the same time, I prove to them that nothing stands in the way of the hijab. Hijab is not an obstacle, but we have to put ourselves in the right place with the hijab. And another thing I'd like to say, take a look. All the people who say that we, who wear hijab, that we can't do anything, look at what we have done. That we cannot innovate, look what we've done. We can't work in art, look what we've done. On the contrary, we live our lives normally, and we are not an outcast nor ignorant because there's a bad stereotype. And that stereotype says that we can't do all these things. I consider myself, thank God, a messenger without a tongue. Be messengers of us without your tongues, I'm being that. And my mere existence, I will tell you this incident. I was invited to a festival of storytelling at an Arab nation that I won't mention for the sake of the relations. I stayed at the airport for nine hours, pregnant in my eighth month for nine hours, just for one reason. He saw me passing through the security gate. He couldn't understand that there's this person coming from Lebanon, an actor and then storyteller here to participate in the festival. He couldn't understand that this hijab this baggy and long veil is coming from Lebanon. He couldn't believe that. He saw me and left me to go. I reached there at 3 a.m., imagine. Until 9 a.m., they were calling to make sure I arrived until they went to the airport and found me. I had to calling them, I tried calling them, but their lines were closed. So imagine just because of the idea that there isn't an artist, that's religion. So imagine that just for the idea that there isn't an artist, that's religious found in our Arab world. This is really a huge problem. I blame us for this because we didn't dare to break the boundaries to enter this field. We never took the decision to do that, to break the boundaries. I won't hide this from you. My relationship with the Ashura Council since I was young, I don't know if it's right or wrong. It was audio and visual. I remember I'd go to councils when I was around nine or 10 years old with my parents. I wouldn't just listen to the content. I wouldn't just sit there and listen to the content. I'd stare at the place and see the banners and decorations, the voice, the performance of the reader. Is he giving me a correct image? I mean, I remember I would really go to these councils. I'd stare more than I would cry. I would feel bad and think I don't have spirituality. But I then thought that, no, I mean, this is not bad because I might getting more attached to Ahl al-Bayt but in a different way. Of course, I discovered that by time I was able to ignore certain artistic visuals and focus more on the council to cry and give what I should be giving with all my heart. Of course. The image that stick to my mind the most and makes me spiritual and internally attached to the occasion. You'd say that this human, if I wanted to talk in a realistic way, you'd say that this person was martyred and that's it. That she was martyred, suffered and so, and that's it. But her suffering ended with the martyrdom. But this great human and person, I don't know how to describe her more, she suffered before and after she was martyred until the last breath she stayed suffering. So this image doesn't leave my mind, especially when she's honored and special amongst her siblings. So I imagine myself that if I want to talk in something closer to the people, that I suddenly lost all my brothers and my family. I'm responsible for everyone and all of a sudden that I was once protected, now I'm a protector. It's very hard and she's really the mother of the sufferings and always when I want to work on Ashura theater, I'd always love to play the role of Sada Zainab. I've played her role more than once, whether vocally or in performance. Although this would prevent me from direct contact with the crowd since we covered the face of Sada Zainab. But even though once I place the black abaya, cover my face and say that I'm playing the role of Sada Zainab, I feel sacred and I feel a certain aura. I stay for a couple of days after I take my performance clothes off, I remain feeling this piety that say the Zainab has. So I love playing her role on stage. My choice exactly for the profession of theater, which includes combined directing and acting in Lebanon was an insistence of heading towards directing. Honestly, I would say that as a woman with a hijab, I have little chances of acting and that's due to the big opportunities that others have because I'm veiled. Lebanese drama isn't satisfied to have a woman with a hijab on the screen with the latter's conditions. They'd screen them but with different conditions. So it's rare to take roles. Thus I focused more on directing. As you know, artistic work is better to be saved in one's memory and the subconscious in education and behavior than merely talking because of course in our media rule, a picture speaks a thousand words. So how if you're showing an image with music and feeling and awareness? You're entering the mind of the recipient and all of his sensory organs. Here I can give a great importance to artistic work or movies or acting that serve the idea of ahl al-bayt. Now look, eventually, whether I like it or not, if I love to do something, I do it for that service, especially when it comes for the preparation of al-Mahdi's arrival. Since he's the one alive and he's priority in our work. We're all trying to prepare for the arrival of our Imam. I feel that I have this motive. Here I started thinking and I see that the companies that support such works are the ones who started all this without them, I couldn't have thought of such works. So I started 10 to 12 years ago to do an Islamic theater that's conservative, that we have an Islamic theater that you could watch which relates to thought, originality, and intellect and piety. Then we evolved more and tackled certain notions such as the hijab, general moralities, such as honesty and good behavior, something like that. Lately I've done something concerning the attachment of youth and children to what's up. And they're distancing from Islamic spirituality. It's not wrong to technologically connect but we shouldn't be far from Islamic spirituality. The work that's very dear to me and I aim to improve in it is the TV drama. I have done that which talks about the two kids talking to each other. The work that's very dear to me and I aim to improve in it is a TV drama that I've done that which talks about two kids talking to each other and relating it to Ashura through a storytelling. Now, there was a program then involves a storyteller and the drama, two things that I love working on. There are also prayer related theater breaks. I also try to insert comedy even inside Ashura because through a smile you can attract and inform better. Because seriously, through a smile you can really attract and inform better. There are religious acts like prayers and so, you can insert, inform the viewer by comedy and laughter but it'll shock him and makes him think, am I like that? Like someone is praying, he's praying but I show him that he's doing everything with prayers. I show him how he's eating, talking on his phone, moving and giving signals during his prayers. I mean, you'd laugh at him first but then you'd be shocked that you're like that because when I'm thinking of them, I'd be like that. The role is the sister of Imam Rida, Sayyida Hakim. She's a wise character. She managed things in the absence of Imam Rida and also in the absence of Imam Al Jawad. Since the latter took authority when he was five or seven years and yes, he was young. So she was the patron, the responsible, the mother and the sister in all of these aspects. It shows the importance of the women's role in life. It's important and this makes Islam and this makes Islam special in all places, in all religions. It gave the women importance but in the right way, not in the Western way of liberation, rebellion and equality with man. She's not like that. She's not like that at all but here the role of women is shown correct. It was fun to take this role. It was an honor to take the role of the sister of Imam Rida. Now they've covered our faces because when we shot the movie, we had no facial cover. It could be an honor or it could be a precautionary that she's the sister of Imam Rida. It's normal and of course it happens. She's the daughter of Ali Al-Hadi, my caliph, my advisor, and the next step. I don't know what to say. She's the mother of Allah's will. She doesn't have the honor of being an Arab or to have the blackest hands except in Taqwa. May Allah bless her and bless her, mother. I will bless her, mother Jataeem. May Allah bless her walt of Miha. The storyteller is something that I really adore. And thank God I was able to prove myself in this domain as well. And I became a female storyteller. I wouldn't say I'm the only one but in professionalism in Lebanon I could be in this domain. The main source is the public stories. Those that are told by elderly people. This matter is a preservation of public heritage. I always choose useful stories to tell. I choose stories that describe conviction, value of love, value of brotherhood. There is course in our public sphere and it's related to our Islamic ideology and our values because it's not separated from the public thought because Islam isn't isolated from it. In another place, there's the Ashura storyteller. If we could take the style of presentation, if we could take the style of presentation to tell the Ashura notion and its story, of course we'd be succeeding greatly, especially with kids because kids wouldn't understand everything at the council from phrases and jargons they may not like the way of the narration. If you sat a kid on your lap and you told him a story, he'd ask you to say it again and again and again because they love to hear stories. So we did a special and a good step in Lebanon. What we did is that we trained around 150 females, another trained 150 males in all of Lebanon from north to south, wherever there's a person who wants to recite Ashura at council. There are people who practice Ashura storytelling and narration performance. You'd see them, they'd gather these children from four to 17 years of age all under 18. They are being exposed to this method of presentation to Ashura. Here we'd be affecting these children and placing certain seeds in them. In addition to that, this idea can be implemented on elderly. I've tried it with around 50 adults from our age and even more. I've done an Ashura storytelling. They interacted and cried as if they're hearing a council and they were very comfortable with the notion of Ashura storytelling. Also, here we'd be serving the notion of Ahl al-Bayt in an artistic way, far from banal and boredom. It triggers imagination. It has educational purposes and not only religious. In the issue of storytelling as well, there are stories from the Quran. There are certain stories in the Quran I used them in storytelling. In the issue of storytelling as well, there are stories from the Quran. There's a program that I actually went on of where I added all the Quranic stories. I used them in storytelling once upon a time in this method. I narrate the stories of Prophet Adam, Noah, Abraham, Moses, Jesus, and all the stories of Ismael, Abel, Goliath and all the stories in the Quran that seem unclear. Ones that you need to do extra readings to understand it. You'd find someone standing next to you narrating it. This thing was a deep but in the Arab world. No one has done such a thing before and I made use of it at home. Even with my own children, I do storytelling. Like I'd narrate Quranic stories and Ashura. Even when my kid does a certain misbehavior. And of course, if I sat him down and said, Sajid, dear, this is wrong and so he may get convinced, but he'll still do something wrong. So I go towards acting or narration. I tell him the story of a kid that did this and that and show him the negative side of his actions. I didn't talk about Sajid or say Sajid did that. I talked about Sajid or Jamil or Ahmed, someone else. In this way, he visualized the story and he'd laugh because he knows that it's about him. But if he thought of doing something wrong, he'd come and say that, mom, if Sajid did that, what would happen to him? He'd relate the action to the story. So the narration is an educational matter, whether to the values of Ahl al-Bayt, indoor behavior, at least you've created a space of communication with your kids, which is of course something I talk about always. We're not communicating with our kids anymore, meaning that if my kids, for example, is talking to me and I'm using WhatsApp or Facebook, emailing, et cetera, my head is down and I'm not looking in his eyes, imagine what we've reached. Imagine this stage, you could be cooking. You can be cooking in the kitchen and you tell your kids in the other room to do this and that you didn't do this. You didn't do the eye contact. We're losing this thing. Of course over here, he'd hear your voice and see your body and facial language. He'd interact and communicate with you. We're afraid of having isolated children and to be isolated adults as well will be like that. The play of Sayyid al-Zahra, alaihi salam, is the dearest to me because it's artistically complete and it touches the soul, it touches the soul for real. It already starts by talking about Sayyid al-Zahra, alaihi salam. You're conversing her in this play and you're showing a great person. We started the idea by a play in front of around 600 people. They were all mukallifat in the age of maturity and they want to wear the hijab. | 18,276 |
https://zh.wikipedia.org/wiki/%E5%AE%B6%E5%BA%AD%E6%95%99%E5%B8%AB | Wikipedia | Open Web | CC-By-SA | 2,023 | 家庭教師 | https://zh.wikipedia.org/w/index.php?title=家庭教師&action=history | Chinese | Spoken | 12 | 563 | 家庭教师是职业的一种，被个别家庭以特定的报酬聘为私人教师的从业者。学校教育普及前，受教于家庭教师是个人教育的主要方式之一。
现代家庭教师是学校教育之外的重要补充部份。家庭教師通常負責补习功课，或者是或教授某些技能，例如樂器、語言等。但在一些可以在家學習取得被承認學歷的國家，有些家庭教師會提供正式的教育。中国大陆和台灣通常简称为家教，香港則稱為上門導師，而專門替學生補習的則稱為上門補習導師，在香港會透過一些補習中介網站登記。家庭教师通常以时薪計。一些学生，尤其是高中生和大學生，为了赚取报酬，通常也以當家庭教师作為工讀的兼職；常見的除了補習外，還有教授鋼琴等樂器。由于报酬一般很少，从业者往往是临时或兼職性质，所有家庭老师的待聘者并不会花费太多的金钱用于宣传上，通常他们会采取张贴街招的形式或於校內找需要補習的學弟妹。
在網路發達的時代，許多人會透過家教仲介業者或者人力銀行之類的網站招募或應徵家庭教師。
参考文献
參見
補習班
補習教師
補教名師
在家自學
女家庭教師
教师
家庭教育 | 39,605 |
https://crypto.stackexchange.com/questions/50316 | StackExchange | Open Web | CC-By-SA | 2,017 | Stack Exchange | SEJPM, Valentyn Kuznietsov, apaderno, dandavis, e-sushi, https://crypto.stackexchange.com/users/12164, https://crypto.stackexchange.com/users/23623, https://crypto.stackexchange.com/users/34516, https://crypto.stackexchange.com/users/37017, https://crypto.stackexchange.com/users/48332 | English | Spoken | 381 | 477 | Use of shared secret "other" than key creation
I have read and (believe) I understand the basics of key exchange / creation over a public channel of communication from this diagram Diffie–Hellman key exchange.
Now, a fair bit of the online documentation states what has been produced by this process is a "shared secret" not a "shared secret key", nor any references to keys. The documentation does indicate what has been produced can be used as a (shared private?) key. But is the "shared secret" ever used for anything other than a key - I can't think what, but that's why I am asking the question. It was just the term "shared secret" without reference to "key" that prompts this question.
Edit:
This has been answered (but I can't find a way to indicate that on this post), so see comments below and : How to encrypt a symmetric key with a shared secret?
The main reason for this is that you will never use the actual shared secret itself as key directly, because it is not a uniformly random string.
it is also not of the same byte length as required for your symmetric cipher - you need to transform this secret into a key, using some KDF.
This has been answered (but I can't find a way to indicate that on this post) — To indicate your question has been answered to your satisfaction, you only need to click the checkmark next to the related answer you like best. When done, the checkmark turns green and the system as well as the users will know your question has been answered. Hope that helps…
door keys are keys, the pin height combos they encode are shared secrets, if that helps...
Does this answer your question? How to encrypt a symmetric key with a shared secret?
Shared secrets can also be used for authentication. He who knows the shared secret, is trusted.
For instance, this is used in IoT scenarios, where nodes communicate via DTLS and use the secret as a PSK instead of a certificate and a keypair.
Of course, this only makes sense if the shared secret has been preshared or calculated via some algorithm. The result of an online key agreement like DH cannot be used for that.
| 17,370 |
https://fr.wikipedia.org/wiki/Breguet%2016 | Wikipedia | Open Web | CC-By-SA | 2,023 | Breguet 16 | https://fr.wikipedia.org/w/index.php?title=Breguet 16&action=history | French | Spoken | 181 | 309 | Le Breguet 16 est un avion militaire français de la Première Guerre mondiale.
Conception
Le Breguet 16 a été essentiellement une version plus grande du modèle 14, qui avait connu un grand succès — un biplan conventionnel, avec les ailes de même envergure et sans décalage entre elles. Les essais en vol en 1918 se déroulèrent d´une manière prometteuse, et la production en masse fut envisagée avec plusieurs constructeurs sous licence Breguet, pour 1919. Cependant l´Armistice mit fin au projet. Plus tard, la production reprit en nombre plus limité toutefois,vers le début des années 20 afin de faire face au programme de modernisation de l´Armée de l´Air.
Engagement
Le Breguet 16 fut employé par le commandant Joseph Vuillemin et par le lieutenant Chalus pour le premier voyage à travers le Sahara, en plusieurs étapes, de Villacoublay jusqu´à Tombouctou en février-mars 1920.
Variantes
Autres caractéristiques
Voir aussi
Liste d'avions militaires de la Première Guerre mondiale
Liens externes
Breguet 16 sur DéfPédia.com
Notes et références
Bombardier français
Breguet XVI
0016
Avion à hélices
Avion monomoteur
Avion des années 1910
Premier vol en 1918 | 932 |
https://it.wikipedia.org/wiki/Le%20ragazze%20di%20Harvey | Wikipedia | Open Web | CC-By-SA | 2,023 | Le ragazze di Harvey | https://it.wikipedia.org/w/index.php?title=Le ragazze di Harvey&action=history | Italian | Spoken | 666 | 1,227 | Le ragazze di Harvey (The Harvey Girls) è un film del 1946 diretto da George Sidney.
Trama
Un gruppo di "ragazze di Harvey", nuove reclute della catena di ristoranti di Fred Harvey, viaggia su un treno diretto a Sandrock. Nello stesso vagone viaggia la giovane Susan Bradley, anch'essa diretta a Sandrock per sposarsi con un uomo conosciuto per corrispondenza e che non ha mai incontrato.Sfortunatamente, Susan scopre che il promesso sposo è un vecchio tutt'altro che attraente e che in realtà le lettere d'amore sono state scritte da Ned Trent, proprietario di un saloon che fa concorrenza ai ristoranti Harvey.Nel locale di Trent, dove regna il gioco d'azzardo, si esibiscono ragazze succinte guidate dalla bionda Em.Dopo una scontro con Ned, Susan decide di seguire le "ragazze di Harvey" e vendicarsi dell'uomo che l'ha presa in giro.
Scoppia la "guerriglia" fra i due locali e il socio d'affari di Trent, il giudice Sam Purvis, cerca in tutti i modi di far chiudere il ristorante avversario. Tra Ned e Susan nasce un sentimento che scatenerà la gelosia di Em, da tempo innamorata di Trent, e che porterà l'uomo a mettersi contro il giudice.Purvis, avendo perso anche l'appoggio del suo socio, decide come ultima mossa di bruciare il ristorante Harvey. Ned offre quindi il suo saloon che viene trasformato in un ristorante, mentre Em e le ballerine lasciano la città.Susan, credendo che anche Ned stia partendo, sale sul treno con Em, la quale, vedendo che Susan ama Trent alla follia e farebbe qualsiasi cosa per lui, ferma il treno e spinge la ragazza tra le braccia dell'uomo amato. Ned e Susan si sposano nel deserto, accompagnati dalle "ragazze di Harvey".
Produzione
Il film fu prodotto da Arthur Freed, associato a Roger Edens per la MGM con un budget stimato di 2.524.315 dollari. Venne girato in California all'Iverson Ranch di Chatsworth (Los Angeles) e negli studios della MGM al 10202 W. Washington Blvd. di Culver City; nello Utah, nella Monument Valley e nel New Mexico. Le riprese durarono dal 12 gennaio al 4 giugno 1945; per l'epoca, una produzione piuttosto lunga.
"The Harvey Girls" fu inizialmente pensato come un film drammatico per Lana Turner.
La Garland voleva recitare con Fred Astaire in Jolanda e il re della samba, diretto dall'allora marito Vincente Minnelli, e non era interessata alla parte. Il produttore Roger Edens riuscì a convincerla dicendo che la parte di Jolanda non era abbastanza grande per lei, e le promise che "ragazze di Harvey" sarebbe stato creato appositamente per mostrare il suo talento.
Per il ruolo di Em (poi andato alla Lansbury) era stata presa in considerazione Ann Sothern mentre per il ruolo del giudice Purvis era stato originariamente scelto Edward Arnold come annunciava la pubblicità apparsa su Hollywood Reporter nel dicembre 1944.
Canzoni
Le canzoni furono scritte da Harry Warren (musica) e Johnny Mercer. Le musiche furono composte da Lennie Hayton:
"In the Valley (Where the Evening Sun Goes Down)"
"Wait and See"
"On the Atchison, Topeka and the Santa Fe"
"Oh, You Kid"
"It's a Great Big World"
"Swing Your Partner Round and Round"
"The Wild, Wild West"
"The Train Must Be Fed"
Distribuzione
Il film uscì - distribuito dalla Metro-Goldwyn-Mayer (MGM) - nelle sale americane il 18 gennaio 1946, in Italia il 4 giugno 1949.
Data di uscita
IMDb
USA 18 gennaio 1946
Svezia 16 settembre 1946
Francia 24 ottobre 1947
Finlandia 19 dicembre 1947
Italia 4 giugno 1949
Hong Kong 9 marzo 1950
Belgio 24 agosto 1950
Paesi Bassi 24 agosto 1950
Alias
The Harvey Girls USA (titolo originale)
A Batalha do Pó de Arroz Portogallo
A Harvey lányok Ungheria
As Garçonetes de Harvey Brasile
Harvey Girls Svezia
Juna kulkee länteen Finlandia
Le ragazze di Harvey Italia
Les Demoiselles Harvey Francia
The Harvey Girls Francia
Riconoscimenti
1947 - Premio Oscar
Oscar per la migliore canzone
Note
Bibliografia
John Douglas Eames, The MGM Story Octopus Book Limited, Londra 1975 ISBN 0-904230-14-7
Altri progetti
Collegamenti esterni
Film commedia musicale
Film basati su opere di narrativa
Film western | 9,295 |
https://pl.wikipedia.org/wiki/Bratca%20%28gmina%29 | Wikipedia | Open Web | CC-By-SA | 2,023 | Bratca (gmina) | https://pl.wikipedia.org/w/index.php?title=Bratca (gmina)&action=history | Polish | Spoken | 30 | 79 | Bratca – gmina w Rumunii, w okręgu Bihor. Obejmuje miejscowości Beznea, Bratca, Damiș, Lorău, Ponoară i Valea Crișului. W 2011 roku liczyła 5158 mieszkańców.
Przypisy
Gminy w Rumunii
Okręg Bihor | 29,197 |
https://stackoverflow.com/questions/26086612 | StackExchange | Open Web | CC-By-SA | 2,014 | Stack Exchange | Anshul Bansal, https://stackoverflow.com/users/2250718 | Norwegian Nynorsk | Spoken | 447 | 1,454 | Null Pointer Exception in setMessage() of Custom Android Dialog
I am trying to extend ProgressDialog class to create my custom dialog. When i try to execute the following implementation. It is giving Null Pointer Exception in the setmessage() call
Can Somebody please explain how to go about it?
private class SubProgressDialog extends ProgressDialog {
Textview tvdialogtext;
public SubProgressDialog(Context context) {
super(context);
}
@Override
public void setMessage(CharSequence message) {
// TODO Auto-generated method stub
tvdialogtext.setText(message);
}
@Override
protected void onCreate(Bundle savedInstanceState) {
// TODO Auto-generated method stub
super.onCreate(savedInstanceState);
setContentView(R.layout.loadingdialog);
tvdialogtext = (TextView) dialog.findViewById(R.id.tvloading);
Typeface ttf = Typeface.createFromAsset(this.getContext()
.getAssets(), "calibriitalic.ttf");
ImageView ivloading = (ImageView) dialog
.findViewById(R.id.ivloading);
ivloading.setBackgroundResource(R.animator.loading);
AnimationDrawable anim = (AnimationDrawable) ivloading
.getBackground();
anim.start();
anim.setVisible(true,true );
tvdialogtext.setTypeface(ttf);
tvdialogtext.setTextColor(Color.parseColor("#ffffff"));
tvdialogtext.setShadowLayer(25f, 0, 0, Color.WHITE);
}
@Override
public void onBackPressed() {
/** dismiss the progress bar and clean up here **/
if (dialog != null) {
dialog.dismiss();
}
running = false;
finish();
help.comeinfromleft();
}
}
Logcat
09-28 21:17:48.154: E/AndroidRuntime(27745): Caused by: java.lang.NullPointerException
09-28 21:17:48.154: E/AndroidRuntime(27745): at m sfs com.anshul.guessthegaana.OnePlayerArena$SubProgressDialog.setMessage(OnePlayerArena.java:1552 )
09-28 21:17:48.154: E/AndroidRuntime(27745): at com.anshul.guessthegaana.OnePlayerArena$GetSongsFromServer.onPreExecute(OnePlayerArena.java:1 191)
09-28 21:17:48.154: E/AndroidRuntime(27745): at android.os.AsyncTask.executeOnExecutor(AsyncTask.java:586)
09-28 21:17:48.154: E/AndroidRuntime(27745): at android.os.AsyncTask.execute(AsyncTask.java:534)
09-28 21:17:48.154: E/AndroidRuntime(27745): at com.anshul.guessthegaana.OnePlayerArena.onCreate(OnePlayerArena.java:247)
09-28 21:17:48.154: E/AndroidRuntime(27745): at android.app.Activity.performCreate(Activity.java:5165)
09-28 21:17:48.154: E/AndroidRuntime(27745): at android.app.Instrumentation.callActivityOnCreate(Instrumentation.java:1103)
09-28 21:17:48.154: E/AndroidRuntime(27745): at android.app.ActivityThread.performLaunchActivity(ActivityThread.java:2419)
Initializing Call
dialog = new SubProgressDialog(this);
dialog.setMessage("Preparing the Game");
dialog.setIndeterminate(false);
dialog.show();
Finally Figured it out
The Problem was that the AsyncTask which was calling the Dialog was called on ONCREATE of activity so the dialog was not instantiated.
So a workaround
Put up a Default message in the dialog to be used when the dialog is called from Async task called in Oncreate of activity
The setmessage should work for later instances
Working code
private class SubProgressDialog extends ProgressDialog {
TextView tvdialogtext;
public SubProgressDialog(Context context) {
super(context);
}
@Override
public void setMessage(CharSequence message) {
// TODO Auto-generated method stub
// super.setMessage(message);
if (tvdialogtext != null) {
tvdialogtext.setText(message);
}
}
@Override
protected void onCreate(Bundle savedInstanceState) {
// TODO Auto-generated method stub
super.onCreate(savedInstanceState);
setContentView(R.layout.loadingdialog);
tvdialogtext.setTypeface(ttf);
// Your Default Text
tvdialogtext.setText("Preparing The Game");
}
@Override
public void onBackPressed() {
/** dismiss the progress bar and clean up here **/
if (dialog != null) {
dialog.dismiss();
}
running = false;
finish();
help.comeinfromleft();
}
}
I think your problem is here:
tvdialogtext = (TextView) dialog.findViewById(R.id.tvloading);
If your tvDialogText is defined in your R.layout.loadingdialog just use:
tvdialogtext = (TextView) findViewById(R.id.tvloading);
If not, show us where are you initialising dialog.
Hope it helps
The call to Oncreate is working fine. The NPE is in setmessage(). Still gave your solution a try no help. Adding the inintializing code.
Simplest Method to solve the problem is to just create your ProgressDialog into your onPreExecute() method and Declare it Globally.
Like this:
progressDialog = new ProgressDialog(MyActivity.this);
| 38,626 |
https://fr.wikipedia.org/wiki/Svante%20Ingelsson | Wikipedia | Open Web | CC-By-SA | 2,023 | Svante Ingelsson | https://fr.wikipedia.org/w/index.php?title=Svante Ingelsson&action=history | French | Spoken | 93 | 190 | Svante Ingelsson est un footballeur suédois, né le à Kalmar. Il évolue au poste de ailier droit au Hansa Rostock.
Biographie
En club
Avec l'équipe du Kalmar FF, il joue 25 matchs en première division suédoise, inscrivant un but.
En équipe nationale
Il joue régulièrement avec les sélections nationales de jeunes suédoises, des moins de 16 ans jusqu'aux espoirs.
Statistiques
Références
Liens externes
Footballeur suédois
Joueur du Kalmar FF
Joueur de l'Udinese Calcio
Joueur du Pescara Calcio
Joueur du SC Paderborn 07
Joueur du Hansa Rostock
Naissance en juin 1998
Naissance à Kalmar | 28,218 |
https://zh.wikipedia.org/wiki/%E9%A9%AC%E6%81%A9%E6%B2%B3%E7%95%94%E4%BA%8E%E8%A5%BF | Wikipedia | Open Web | CC-By-SA | 2,023 | 马恩河畔于西 | https://zh.wikipedia.org/w/index.php?title=马恩河畔于西&action=history | Chinese | Spoken | 13 | 295 | 马恩河畔于西（，）是法国塞纳-马恩省的一个市镇，属于莫城区。
地理
（）面积，位于法国法蘭西島大區塞纳-马恩省，该省份为法国北部内陆省份，北起瓦兹省，西接埃松省、马恩河谷省、塞纳-圣但尼省和瓦兹河谷省，南至卢瓦雷省，东南接约讷省，东临马恩省和奥布省，东北接埃纳省。
与接壤的市镇（或旧市镇、城区）包括：。
的时区为UTC+01:00、UTC+02:00（夏令时）。
行政
的邮政编码为，INSEE市镇编码为。
政治
所属的省级选区为。
人口
于时的人口数量为人。
参考文献
U | 47,144 |
https://vi.wikipedia.org/wiki/Melanchra%20pisi | Wikipedia | Open Web | CC-By-SA | 2,023 | Melanchra pisi | https://vi.wikipedia.org/w/index.php?title=Melanchra pisi&action=history | Vietnamese | Spoken | 20 | 47 | Melanchra pisi là một loài bướm đêm trong họ Noctuidae.
Chú thích
Liên kết ngoài
Melanchra
Côn trùng châu Âu | 39,714 |
https://ce.wikipedia.org/wiki/%D0%91%D0%BE%D1%80%D0%BE%D0%BA%20%28%D0%A0%D1%8F%D0%B7%D0%B0%D0%BD%D0%B0%D0%BD%20%D0%BE%D0%B1%D0%BB%D0%B0%D1%81%D1%82%D1%8C%29 | Wikipedia | Open Web | CC-By-SA | 2,023 | Борок (Рязанан область) | https://ce.wikipedia.org/w/index.php?title=Борок (Рязанан область)&action=history | Chechen | Spoken | 129 | 473 | Борок () — Российн Федерацин Рязанан областан Шилован кӀоштара эвла.
Бахархойн дукхалла
Климат
Кхузахь климат барамера континенталан йу, йовхачу аьхкенца а, барамера шийлачу Ӏаьнца а. ГӀоронаш йоцу муьран йукъара бохалла 130-149 де ду. Кхузахь сих-сиха тӀехьара бӀаьстен а, хьалхара гуьйренан а гӀоролаш хуьлу. Эвла лаьтта тоьушйолчу йочанийн зонехь. Йочанийн шеран барам кхузахь 500 мм кхоччуш бу. ДогӀнаш аьхкенан заманехь стигал къекъаш чӀогӀа догӀу, наггахь къора а тухуш. ХӀоьттина лайн чкъор хуьлу ноябрь чекхболуш – декабрь болалуш, деша март чекхболуш – апрель болалуш. Ло лаьтта денош - 135-145 шарахь. Климатан хьолаш дика ду йуьртабахамна. Йуьззина кхочу йовхо а, тӀуналла а гуьйренан йалташна, бӀаьстенан йалташна, техникин а, докъаран культурашна.
Сахьтан аса
Кхузахь сахьт Москохца нийса лелаш ду. Сахьтан аса йу UTC+3.
Билгалдахарш
Хьажоргаш
Шилован кӀоштан индексаш
Шилован кӀоштан нах беха меттигаш | 11,523 |
https://stackoverflow.com/questions/37611815 | StackExchange | Open Web | CC-By-SA | 2,016 | Stack Exchange | Jarod42, https://stackoverflow.com/users/2684539 | English | Spoken | 64 | 191 | An error about "make_shared",I can't understand
#include<algorithm>
#include<string>
#include<new>
#include<memory>
#include<vector>
using std::vector;
using namespace std;
int main()
{
shared_ptr<vector<int> > pointer=make_shared<vector<int>> ({2,3,5,8});
cout<<(*pointer)[3];
return 0;
so make_shared can't initialize like ({2,3,5,8}),why?
}
The function make_shared cannot forward intializer lists. If you need to use an initializer list constructor, you have to invoke the shared_ptr constructor directly.
Or explicitly write std::inititializer_list<int>{2, 3, 5, 8}
| 13,308 |
https://vi.wikipedia.org/wiki/Caryota%20monostachya | Wikipedia | Open Web | CC-By-SA | 2,023 | Caryota monostachya | https://vi.wikipedia.org/w/index.php?title=Caryota monostachya&action=history | Vietnamese | Spoken | 37 | 70 | Caryota monostachya là loài thực vật có hoa thuộc họ Arecaceae. Loài này được Becc. mô tả khoa học đầu tiên năm 1910.
Tham khảo
Liên kết ngoài
Chi Móc
Thực vật được mô tả năm 1910 | 14,751 |
https://fa.wikipedia.org/wiki/%D8%AF%DB%8C%D9%88%DB%8C%D8%AF%20%D8%A2%D8%B1%D9%85%D9%86%D8%AF | Wikipedia | Open Web | CC-By-SA | 2,023 | دیوید آرمند | https://fa.wikipedia.org/w/index.php?title=دیوید آرمند&action=history | Persian | Spoken | 69 | 250 | دیوید آرمند (؛ زادهٔ ) هنرپیشه، و طنز نویس اهل بریتانیا است.
منابع
پیوند به بیرون
افراد زنده
اهالی کترینگ
بازیگران مرد تلویزیونی اهل انگلستان
دانشآموختگان کالج سنت کاترین، کمبریج
زادروز نامشخص (افراد زنده)
زادگان ۱۹۷۷ (میلادی)
کمدینهای سده ۲۰ (میلادی) اهل انگلستان
کمدینهای سده ۲۰ (میلادی) اهل بریتانیا
کمدینهای سده ۲۱ (میلادی) اهل انگلستان
کمدینهای سده ۲۱ (میلادی) اهل بریتانیا
کمدینهای مرد اهل انگلستان
نویسندگان کمدی اهل انگلستان | 31,186 |
https://ro.wikipedia.org/wiki/Bojana%20Stamenov | Wikipedia | Open Web | CC-By-SA | 2,023 | Bojana Stamenov | https://ro.wikipedia.org/w/index.php?title=Bojana Stamenov&action=history | Romanian | Spoken | 52 | 117 | Bojana Stamenov (n. 24 iunie 1986) este o cântăreață sârbă care a reprezentat Serbia la Concursul Muzical Eurovision 2015 cu piesa „Beauty Never Lies”. Ea participă și la spectacole pentru copii organizate în Teatrul Boško Buha din Belgrad.
Discografie
Note
Cântăreți sârbi
Participanți la Eurovision 2015
Oameni din Belgrad
Oameni în viață | 5,714 |
https://vi.wikipedia.org/wiki/Salia%20bidentalis | Wikipedia | Open Web | CC-By-SA | 2,023 | Salia bidentalis | https://vi.wikipedia.org/w/index.php?title=Salia bidentalis&action=history | Vietnamese | Spoken | 16 | 37 | Salia bidentalis là một loài bướm đêm trong họ Noctuidae.
Chú thích
Liên kết ngoài
Salia | 15,952 |
https://de.wikipedia.org/wiki/Obergrunewald | Wikipedia | Open Web | CC-By-SA | 2,023 | Obergrunewald | https://de.wikipedia.org/w/index.php?title=Obergrunewald&action=history | German | Spoken | 131 | 281 | Obergrunewald ist eine Ortschaft von Radevormwald im Oberbergischen Kreis im nordrhein-westfälischen Regierungsbezirk Köln in Deutschland.
Lage und Beschreibung
Obergrunewald liegt nordwestlich von Radevormwald an der Landesstraße 414 im Tal der Wupper. Die Nachbarorte sind Herkingrade, Keilbeck, Dahlerau und Grunewald. Im Ort finden sich Sportanlagen des Dahlerauer Turnverein 1889 e.V., unter anderem mit vier Außenplätzen für den Tennissport.
Politisch wird der Ort durch den Direktkandidaten des Wahlbezirks 150 im Rat der Stadt Radevormwald vertreten.
Geschichte
In der historischen topografischen Karte (Preußische Neuaufnahme) von 1892 bis 1894 ist der Ort „Obergrunewald“ eingezeichnet. Schon 1932 gab es laut den historischen Karten auf der Fläche des Sportgeländes einen Platz. 1952 stellt sich die Platzfläche erweitert dar und wird nun mit Sportplatz benannt.
Wander- und Radwege
Durch den Ort verläuft der Wald-Wasser-Wolle-Wander-Weg.
Einzelnachweise
Ortsteil von Radevormwald | 222 |
https://pt.wikipedia.org/wiki/Myres%20Castle | Wikipedia | Open Web | CC-By-SA | 2,023 | Myres Castle | https://pt.wikipedia.org/w/index.php?title=Myres Castle&action=history | Portuguese | Spoken | 552 | 1,006 | O Myres Castle é um castelo apalaçado situado em Fife, perto da aldeia de Auchtermuchty, na Escócia. A construção do edifício actual data de 1530. A sua história está interligada com a do vizinho Falkland Palace. O castelo e o magnífico jardim escocês são agora usados como centro privado de conferências e alojamento.
Derivação do nome e história inicial
A história do Myres Castle está interligada com o vizinho Falkland Palace, uma vez que Myres foi a casa hereditária dos oficais Reais (Macers e Sergeants at Arms) de Falkland. A palavra "myres" etá associada com um lugar pantanoso; de facto, o edifício está localizado em campos e políticas com drenagem marginal. Mais tarde, no final da década de 1970, foram feitas melhorias de drenagem aos campos. Existe uma atraente lagoa em frente do castelo, a qual serve para juntar a água dos escoamentos.
Originalmente, as terras da actual herdade de Myres faziam parte das extensas propriedades do Conde de Fife, passando a porção de Myres, por casamento, para Robert, Duque de Albany. No ano de 1425, Murdoch, ofilho de Robert, perdeu a sua exploração para a Coroa. A partir dessa época até ao século XVI, as rendas dos lavradores arrendatários estão registadas nos rolos do Royal Exchequer, indicando a posse contínua pelo rei. O primeiro arrendatário registado do quarteirão sul de Auchtermuchty, conhecido como "the myres", foi Robert Coxwell, que residia na Corte Real Escocesa.
História arquitectónica a partir de 1530
O castelo teve origem, cerca de 1530, como uma fortaleza com planta em forma de Z. Tinha um exterior ocre harled (termo escocês para um determinado tipo de cobertura de edifícios) com alguma alvenaria em silhar cinzento na sua torre quadrada, acrescentada em 1616. A torre é adornada com festões em alvenaria, um relevo heráldico com as iniciais esculpidas e um parapeito. O percurso da cave parece ser mais antigo (possivelmente um fragmento do século XIV, devido à abóbada de berço da sua construção) e apresenta claramente a arquitectura duma cozinha medieval. Outras modificações tiveram lugar nos séculos XVII e XVIII. Na entrada da propredade está uma destacada portaria vitoriana em pedra, a qual foi habitada como residência, pelo menos, até 1997. O prémio de Myres é um espectacular jardim murado apresentando gigantescos teixos trabalhados em topiária, elaboradas bordaduras herbáceas e uma pequena pesqueira. Os muros do jardim ultrapassam os três metros de altura e são, provavelmente, de origem seiscentista.
Eventos do século XX
O Myres Castle está inserido entre 180.000 m² (44 acres) de jardins, terras de cultivo. A família Fairlie esteve associada a Myres por algum tempo. Existem recordações dos Fairlie em Myres, incluindo leitarias que remontam a 1903. Num registo é observado, no ano de 1915, que James Olgilvy Reginald Fairlie, Camareiro de Sua Majestade, residente de Myres, foi morto em acção na Primeira Guerra Mundial.
O castelo foi a residência da família Fairlie até 1997; além disso, as políticas, ou perímetro florestal, foram aumentadas com a plantação prudente pelo Capitão Reginald Rairlie, no início da década de 1980. Presentemente, o Myres Castle serve como centro de conferências com nove quartos de luxo.
Bibiografia
Nigel Tranter, History of the Fortified House in Scotland, Cinco Volumes (1962-1971).
The Catholic Who's Who and Yearbook 1916, e Burns e Oates.
Castelos da Escócia
Palácios da Escócia
Arquitetura românica no Reino Unido | 36,517 |
https://lld.wikipedia.org/wiki/Bandhail | Wikipedia | Open Web | CC-By-SA | 2,023 | Bandhail | https://lld.wikipedia.org/w/index.php?title=Bandhail&action=history | Ladin | Spoken | 38 | 75 | Bandhail ie n luech te l'India tl stat federel Bengal dl Vest.Bandhail ie tl Gazole community development block dl raion Malda Sadar. Tl 2011 ovel na populazion de .
Storia
Geografia
Referënzes
Bengal dl Vest
Luech te l'India | 47,459 |
https://fi.wikipedia.org/wiki/FK%20Astana-1964 | Wikipedia | Open Web | CC-By-SA | 2,023 | FK Astana-1964 | https://fi.wikipedia.org/w/index.php?title=FK Astana-1964&action=history | Finnish | Spoken | 124 | 336 | FK Astana-1964 (, ) on jalkapalloseura Kazakstanin pääkaupungista Astanasta. Seuran edustusjoukkue pelaa Kazakstanin toiseksi korkeimmalla sarjatasolla 1. divisioonassa.
Historia
Seura perustettiin vuonna 1964 nimellä Dinamo. Vuonna 1975 nimi muutettiin Tselinnikiksi, joka oli käytössä aina vuoteen 1997 asti lukuun ottamatta vuosia 1994–1996, jolloin nimenä oli Tsesna. Vuonna 1997 nimeksi tuli Astana, joka kuitenkin muuttui vuosiksi 1999–2006 muotoon Ženis. Vuosina 2006–2009 nimi oli jälleen Astana ja vuosina 2009–2010 Namys. Nimi Astana-1964 otettiin käyttöön vuonna 2010.
Seura oli mukana Superliigassa joka vuosi sen perustamisesta vuodesta 1992 lähtien ja oli 2000-luvun ensimmäisellä vuosikymmenellä maan menestyneimpiä seuroja. Kaudeksi 2009 seura kuitenkin pudotettiin 1. divisioonaan talousvaikeuksien vuoksi.
Saavutukset
Kazakstanin mestaruus: 2000, 2001 ja 2006
Kazakstanin cupin voitto: 2001, 2002 ja 2005
Lähteet
Aiheesta muualla
FK Astana-1964:n sivusto
Astana
Astanan urheilu | 17,752 |
https://ko.wikipedia.org/wiki/%EC%B6%A9%EC%A3%BC%20%EB%B0%B1%EC%9A%B4%EC%95%94%20%EC%B2%A0%EC%A1%B0%EC%97%AC%EB%9E%98%EC%A2%8C%EC%83%81 | Wikipedia | Open Web | CC-By-SA | 2,023 | 충주 백운암 철조여래좌상 | https://ko.wikipedia.org/w/index.php?title=충주 백운암 철조여래좌상&action=history | Korean | Spoken | 246 | 1,148 | 충주 백운암 철조여래좌상(忠州 白雲庵 鐵造如來坐像)은 충청북도 충주시 엄정면 괴동리, 백운암에 있는 통일신라 시대의 불상이다. 2007년 10월 24일 대한민국의 보물 제1527호로 지정되었다.
개요
충주시에 소재한 백운암은 1886년 무당의 신분으로 진령군이라는 작호를 받아 여자 대감이 된 윤씨에 의하여 창건된 사찰로 전해진다. 이 사찰에서 주존불로 봉안하고 있는 이 철불은 원래 이곳에서 전하던 불상은 아닌데, 인근에 고려시대 대규모 사지인 억정사지(億政寺址)가 있어서 아마도 이곳에서 옮겨온 것이 아닌가 추정되고 있다. 충주는 철의 산지로 백운암의 철조여래좌상 이외에도 충주 대원사 철조여래좌상(보물 제98호)과 충주 단호사 철조여래좌상(보물 제512호)이 전하고 있어서, 이 세 구의 철불은 충주 지방의 3대 철불로 알려져 있다.
백운암의 철조여래좌상은 통일신라 8세기 석굴암 본존상 이래로 유행한 편단우견(偏袒右肩)의 항마촉지인(降魔觸地印) 여래 좌상으로, 규모는 높이 87cm정도의 크지 않은 상이다. 얼굴은 몸 전체에 비해 작은 편이나 이목구비의 표현이 뚜렷하고 근엄한 표정이 잘 표현되어 있다. 목에는 삼도(三道)가 보이고 어깨가 넓으며 가슴이 융기되었고, 결가부좌(結跏趺坐)한 다리의 폭이 넓어서 당당한 자세를 보인다. 몸의 표현이 전체적으로 양감있게 조각되었고 대의 자락에서 부분적으로 번파식 옷주름을 볼 수 있어서 이 불상이 통일신라 8세기 양식을 반영하고 있는 상임을 알 수 있다. 그러나 양감이 8세기 불상만큼 풍부한 것은 아니며 항마촉지인의 수인(手印)도 전형적인 형식이 아니어서 8세기보다는 시대가 내려가는 것으로 보인다. 따라서 조성 시기는 통일신라 말에서 고려 초 정도로 추정된다.
이 철조여래좌상은 비교적 통일신라 불상 양식의 특징을 많이 간직하고 있어 충주 지역 철불 중에서는 가장 연대가 올라가는 상으로 추정된다. 또한 상호도 원만하며 전체적으로 크게 손상된 부분이 없고 조각 양식도 좋은 편으로, 통일신라시대 이래 철불 연구에 매우 중요한 상이다.
같이 보기
충주 대원사 철조여래좌상 (보물 제98호)
충주 단호사 철조여래좌상 (보물 제512호)
참고 자료
충청북도의 보물
백운암 철조여래좌상
철불
좌상
신라의 불상 | 727 |
https://stackoverflow.com/questions/13807162 | StackExchange | Open Web | CC-By-SA | 2,012 | Stack Exchange | Fausto R., Weehooey, https://stackoverflow.com/users/1500424, https://stackoverflow.com/users/1634207 | English | Spoken | 250 | 640 | google apps script web app verify ownership
We registered and published a web app built with google apps script using UiApp, in the Chrome web store (CWS) a few weeks ago, without any problem. Here is the link to this item just in case
http://app.thexs.ca/xsMerge
Now when I go to edit this item CWS is asking for website verification through google webmaster tools for the Url associate with this web app as shown below:
https://script.google.com/a/macros/thexs.ca/s/AKfycbzJ3owOK0pzCLfLTNHBQXNSWWlPFwQm2cf5EzTGwgwr24BtY43W/exec
This Url history in webmaster tools shows "Verification succeeded" 31 days ago, but also shows "Reverification failed. We couldn't find the verification meta tag" 2 days ago.
I have no idea how to do that ownership verification in this case
Regards, Fausto
EDIT 1: Just in case this can bring more light to this problem, here is how manifest.json looks like for this web app:
{
"name": "xsMerge",
"description": "Merging your Contacts & Lists with Custom Documents, Web pages and Emails.",
"version": "1.101",
"manifest_version": 2,
"icons": {
"128": "xsMerge-128.png"
},
"app": {
"urls": [
"https://script.google.com/a/macros/thexs.ca/s/AKfycbzJ3owOK0pzCLfLTNHBQXNSWWlPFwQm2cf5EzTGwgwr24BtY43W/exec"
],
"launch": {
"web_url": "https://script.google.com/a/macros/thexs.ca/s/AKfycbzJ3owOK0pzCLfLTNHBQXNSWWlPFwQm2cf5EzTGwgwr24BtY43W/exec"
}
}
}
Fausto, thank you for asking. I am having the same issue with Envelopes for Google Docs.
Anybody knows how to fix this problem?
Fausto, did you enter this in the Issue Tracker? I haven't seen a solution yet.
no I have not, nor I know where it should: GAS, CWS, Webmaster?
I have created a new issue, It would be great if you can add your comments there. Here's the link: http://code.google.com/p/google-apps-script-issues/issues/detail?id=2257
| 11,740 |
https://la.wikipedia.org/wiki/Saint-Georges-d%27Hurti%C3%A8res | Wikipedia | Open Web | CC-By-SA | 2,023 | Saint-Georges-d'Hurtières | https://la.wikipedia.org/w/index.php?title=Saint-Georges-d'Hurtières&action=history | Latin | Spoken | 29 | 87 | Saint-Georges-d'Hurtières est commune 272 incolarum (anno 2008) praefecturae Sabaudiae in Franciae orientalis regione Rhodano et Alpibus.
Index communium praefecturae Sabaudiae
Nexus externi
Communia Praefecturae Sabaudiae
Loci habitati praefecturae Sabaudiae | 7,399 |
https://mechanics.stackexchange.com/questions/41570 | StackExchange | Open Web | CC-By-SA | 2,017 | Stack Exchange | https://mechanics.stackexchange.com/users/13825, juhist | English | Spoken | 190 | 246 | KIA Rio 2015 locked on the 3d gear
This is a KIA Rio 2015 with an automatic transmission . when the lever is on the D position it shifts to the 3d gear directly ( doesn't move until I let the brakes ). using the scanner it showed two codes :
P0755 Shift Solenoid "B" ( Active )
P0743 Torque converter Clutch circuit electrical (Active )
the problem appeared after an transmission oil change. so i changed it again in case it was a bad one and cleared the codes. if i change gears ( move the lever ) while the ignition ON and engine OFF then start the car I can drive normally (can change to any gear 1,2,3,4 ) and the problem won't come up. but if I start the engine directly puting the lever on D will make the car shift to 3d gear
what should I check ?
I think the transmission name is A4CF2
Since this is quite a new car, I suspect it is still covered by the warranty. I recommend you demand the dealership to do whatever it takes to fix this problem.
| 32,715 |
https://en.wikipedia.org/wiki/Pseudopodocotyle | Wikipedia | Open Web | CC-By-SA | 2,023 | Pseudopodocotyle | https://en.wikipedia.org/w/index.php?title=Pseudopodocotyle&action=history | English | Spoken | 24 | 63 | Pseudopodocotyle is a genus of trematodes in the family Opecoelidae. It consists of one species, Pseudopodocotyle bravoae Caballero Rodríguez, 1970.
References
Opecoelidae
Plagiorchiida genera | 43,158 |
https://stackoverflow.com/questions/44166016 | StackExchange | Open Web | CC-By-SA | 2,017 | Stack Exchange | Joseph, Rado, SLaks, Samvel Petrosov, Scott Marcus, guest271314, https://stackoverflow.com/users/2801559, https://stackoverflow.com/users/34397, https://stackoverflow.com/users/575527, https://stackoverflow.com/users/6064728, https://stackoverflow.com/users/6110811, https://stackoverflow.com/users/695364 | English | Spoken | 246 | 413 | Fail compilation bcs of redundant variable in javascript
The problem that I have is that, after setting a variable with a certain name, in JavaScript IDE (WebStorm), the name of the variable is colored in gray and says: local variable "..." is redundant and so I can't compile.
This is an exercise example:
function sumOfNums(num1, num2, num3) {
let sum = num1 + num2 + num3;
return sum;
}
sumOfNums(5, 2, 3);
Thanks in advance!
Not clear what issue is?
Javascript is not compiled. What are you talking about?
What variable? Which name?
and so I can't compile Explain this. You don't need to compile JavaScript.
It compiles but when after compilation I don't receive the answer written on the console(WebstormIDE). And I am talking about the name of the variable, in my case 'sum'
Just return num1+num2+num3 and remove sum from function
That error means the variable assignment is unnecessary as it is not used elsewhere other than the return. Simply returning immediately will remove that warning.
function sumOfNums(num1, num2, num3) {
return num1 + num2 + num3;
}
But, it certainly would't prevent the code from running.
@ScottMarcus by compile, I'm under the assumption there's a build step that does linting (eslint or something) and won't proceed unless warnings are addressed.
But after removing the return how am I supposed to receive an answer on the console?
you can omit sum like:
function sumOfNums(num1, num2, num3) {
return num1 + num2 + num3;
}
| 12,303 |
https://zh.wikipedia.org/wiki/%E5%AD%9D%E6%84%9F%E6%88%B0%E9%AC%A5 | Wikipedia | Open Web | CC-By-SA | 2,023 | 孝感戰鬥 | https://zh.wikipedia.org/w/index.php?title=孝感戰鬥&action=history | Chinese | Spoken | 9 | 198 | 孝感戰鬥發生於1926年9月8日-10日，地點則是在中國京漢線追擊一帶，是國民革命軍北伐戰爭的戰鬥之一。孝感戰鬥的交戰雙方，一方為國民革命軍，另一方為高汝相軍隊。
參考文獻
中華民國國防大學編，《中國現代軍事史主要戰役表》
參看
中華民國北洋政府時期內戰戰鬥列表
1926年北伐战役
湖北民国时期战役
孝感军事史
1926年9月 | 2,233 |
https://ceb.wikipedia.org/wiki/Snowstorm%20Mountain%20%28bukid%20sa%20Tinipong%20Bansa%2C%20Montana%29 | Wikipedia | Open Web | CC-By-SA | 2,023 | Snowstorm Mountain (bukid sa Tinipong Bansa, Montana) | https://ceb.wikipedia.org/w/index.php?title=Snowstorm Mountain (bukid sa Tinipong Bansa, Montana)&action=history | Cebuano | Spoken | 221 | 349 | Alang sa ubang mga dapit sa mao gihapon nga ngalan, tan-awa ang Snowstorm Mountain.
Bukid ang Snowstorm Mountain sa Tinipong Bansa. Ang Snowstorm Mountain nahimutang sa kondado sa Sanders County ug estado sa Montana, sa sentro nga bahin sa nasod, km sa kasadpan sa ulohang dakbayan Washington, D.C. metros ibabaw sa dagat kahaboga ang nahimutangan sa Snowstorm Mountain, o ka metros sa ibabaw sa naglibot nga tereyn. Mga ka kilometro ang gilapdon sa tiilan niini.
Ang yuta palibot sa Snowstorm Mountain kay kasagaran kabungtoran. Snowstorm Mountain nahimutang sa usa ka gitas-on nga mihatag og sa amihanan-habagatan nga direksyon. Kinahabogang dapit sa palibot ang Thompson Peak, ka metros ni kahaboga ibabaw sa dagat, km sa habagatan sa Snowstorm Mountain. Kunhod pa sa 2 ka tawo kada kilometro kwadrado sa palibot sa Snowstorm Mountain. Walay lungsod sa palibot. Hapit nalukop sa lasang nga dagomkahoy ang palibot sa Snowstorm Mountain. Sa rehiyon palibot sa Snowstorm Mountain, mga walog talagsaon komon.
Ang kasarangang giiniton °C. Ang kinainitan nga bulan Hulyo, sa °C, ug ang kinabugnawan Enero, sa °C. Ang kasarangang pag-ulan milimetro matag tuig. Ang kinabasaan nga bulan Hunyo, sa milimetro nga ulan, ug ang kinaugahan Hulyo, sa milimetro.
Saysay
Ang mga gi basihan niini
Kabukiran sa Montana (estado)
Kabukiran sa Tinipong Bansa nga mas taas kay sa 2000 metros ibabaw sa dagat nga lebel | 11,683 |
https://ro.wikipedia.org/wiki/Mao%C4%8De | Wikipedia | Open Web | CC-By-SA | 2,023 | Maoče | https://ro.wikipedia.org/w/index.php?title=Maoče&action=history | Romanian | Spoken | 81 | 176 | Maoče este un sat din comuna Pljevlja, Muntenegru. Conform datelor de la recensământul din 2003, localitatea are 112 locuitori (la recensământul din 1991 erau 152 de locuitori).
Demografie
În satul Maoče locuiesc 98 de persoane adulte, iar vârsta medie a populației este de 47,9 de ani (44,4 la bărbați și 51,3 la femei). În localitate sunt 37 de gospodării, iar numărul mediu de membri în gospodărie este de 3,03.
Populația localității este foarte eterogenă.
Referințe
Legături externe
Localități din comuna Pljevlja | 40,970 |
https://bn.wikipedia.org/wiki/%E0%A6%B8%E0%A7%87%E0%A6%B8%E0%A6%BE%E0%A6%B0%20%E0%A6%AD%E0%A6%BE%E0%A6%87%E0%A6%AF%E0%A6%BC%E0%A7%87%E0%A6%B9%E0%A7%8B | Wikipedia | Open Web | CC-By-SA | 2,023 | সেসার ভাইয়েহো | https://bn.wikipedia.org/w/index.php?title=সেসার ভাইয়েহো&action=history | Bengali | Spoken | 757 | 2,399 | সেসার আব্রাহাম ভাইয়েহো মেন্দোজা () (১৬ মার্চ, ১৮৯২ – ১৫ এপ্রিল, ১৯৩৮) ছিলেন পেরুর কবি, লেখক, নাট্যকার এবং সাংবাদিক। শুধুমাত্র পেরু বা লাতিন আমেরিকা নয়, সমগ্র স্পেনীয় তথা আধুনিক বিশ্বসাহিত্যের এক দুর্লভ কবি তিনি। সরল রাজনৈতিক দৃষ্টিভঙ্গির জন্যে ১৯১৮ সালে প্রকাশিত প্রথম কবিতাগ্রন্থ লস হেরালদস নিগ্রোস প্রকাশিত হবার পরে কারাদণ্ড ভোগ করেন। মৃত্যুর পরে ১৯৩৯ সালে প্রকাশিত হয় তার সবচেয়ে উল্লেখযোগ্য কবিতাসংকলন মানুষের কবিতা।
জীবনপঞ্জি
তার জন্ম পেরুর উত্তর সিয়েরার সান্তিয়াগো দ্য চূকোতে। ১৯১৬ সালে ত্রুজিলো বিশ্ববিদ্যালয় থেকে বিএ পাস করেন, পরে ডক্টরেট ডিগ্রি পান। প্রথম কবিতার বই লস হেরালদস নিগ্রোস প্রকাশিত হয় ১৯১৯ সালে। ১৯২২ সালে প্রকাশিত হয় তার সবচেয়ে বিখ্যাত বই Trilce। নানা কারণে বিক্ষুব্ধ হয়ে বীতশ্রদ্ধ অবস্থায় চরম হতাশা ও দারিদ্রকে সঙ্গী করে দেশ ছেড়ে প্যারিস চলে যান ১৯২৩ সালে। ১৯২৫ সালে চলে আসেন স্পেনে। সেখানে লিখলেন অনেক, জীবিকার জন্য কাজ করলেন নানা রকমের। বৈপ্লবিক কয়েকটি প্রবন্ধের জন্য আবার কারারুদ্ধ হলেন। ১৯৩৬ সালের স্পেনের গৃহযুদ্ধে যোগ দিলেন। কিন্তু রাজনৈতিক কারণে আবার ফ্রান্সে পালিয়ে আসতে বাধ্য হলেন। সেখানেই ১৯৩৮ সালে, চরমতম দারিদ্র্যের মধ্যে, উপবাসে, সৃষ্টির উন্মাদনায় উন্মত্ত, যক্ষ্মারোগাক্রান্ত কবির মৃত্যু ঘটল অসহ্য যন্ত্রণার মধ্যে সম্পূর্ণ নিঃসঙ্গ অবস্থায়।
তথ্যসূত্র
অতিরিক্ত পাঠ
ইংরেজি ভাষায়
Poetry and Politics: The Spanish Civil War Poetry of César Vallejo, George Lambie, 1992, Bulletin of Hispanic Studies, LXIX
Vallejo's Interpretation of Spanish Culture and History in the Himno a los voluntarios de la República, George Lambie, 1999, Bulletin of Hispanic Studies, LXXVI
Intellectuals, Ideology and Revolution: The Political Ideas of César Vallejo, George Lambie, 2000, Hispanic Research Journal, Vol.1, No.2
Vallejo and the End of History, George Lambie, 2002, Romance Quarterly, Vol.49, No.2
Vallejo and Democracy, George Lambie, 2004, Bulletin of Hispanic Studies (Higginschrift)
Poetry in Pieces: César Vallejo and Lyric Modernity, Michelle Clayton, 2011
César Vallejo: A Critical Bibliography of Research, Stephen M Hart, 2002
César Vallejo: The Dialectics of Poetry and Silence, Jean Franco, 1976
The Catastrophe of Modernity: Tragedy and the Nation in Latin American Literature, Patrick Dove, 2004
The Poem on the Edge of the Word: the Limits of Language and the Uses of Silence, D.C. Niebylski, 1993
Vallejo, Xavier Abril, 1958
The Poetry and Poetics of Cesar Vallejo: the Fourth Angle of the Circle, Adam Sharman, 1997
Wounded Fiction: Modern Poetry and Deconstruction, Joseph Adamson, 1988
Homage to Vallejo, Christopher Buckley, 2006
Trilce I: a Second Look, George Gordon Wing, 1972
Neruda and Vallejo in Contemporary United States Poetry, Mark Jonathan Cramer, 1976
“Vallejo on Language and Politics,” Letras hispanas: Revista de literatura y cultura, Rolando Pérez, 2008.
https://web.archive.org/web/20110929150115/http://letrashispanas.unlv.edu/vol5iss2/perez.htm; https://web.archive.org/web/20090319121638/http://letrashispanas.unlv.edu/vol5iss2/perez.pdf
“César Vallejo’s Ars Poética of Nonsense: A Deleuzean Reading of Trilce.” Dissidences: Hispanic Journal of Theory and Criticism, Rolando Pérez, 2008. www.dissidences/4PerezVallejo.html
স্পেনীয় ভাষায়
El Pensamiento Politico de César Vallejo y la Guerra Civil Española / George Lambie., 1993. Lima: Editorial Milla Batres
César Vallejo, el poeta y el hombre / Ricardo Silva-Santisteban. Lima, 2010
Recordando a Vallejo: La Bohemia de Trujillo / Luis Alva Castro, Luis. www.Tribuna-us.com
Ensayos vallejianos / William Rowe., 2006
César Vallejo al pie del orbe / Iván Rodríguez Chávez., 2006
Alcance filosófico en Cesar Vallejo y Antonio Machado / Antonio Belaunde Moreyra., 2005
César Vallejo : estudios de poética / Jesús Humberto Florencia., 2005
Poéticas y utopías en la poesía de César Vallejo / Pedro José Granados., 2004
César Vallejo : muerte y resurrección / Max Silva Tuesta., 2003
César Vallejo, arquitecto de la palabra, caminante de la gloria / Idelfonso Niño Albán., 2003
Algunos críticos de Vallejo y otros ensayos vallejianos / César Augusto Angeles Caballero., 2002
César Vallejo en la crítica internacional / Wilfredo Kapsoli Escudero., 2001
César Vallejo y el surrealismo / Juan Larrea., 2001
César Vallejo y la muerte de Dios / Rafael Gutiérrez Girardot., 2000
César Vallejo / Víctor de Lama., 2000
Recopilación de textos sobre César Vallejo / Raúl Hernández Novás., 2000
Mi encuentro con Vallejo; Prólogo de Luis Alva Castro / Antenor Orrego. Bogotá: Tercer Mundo Editores, 1989.
Antenor Orrego y sus dos prólogos a Trilce / Manuel Ibáñez Rosazza. Trilce Editores: Trujillo, 1995
César Vallejo, Sus mejores obras. Ediciones Perú: Lima, 1962
César Vallejo, vida y obra / Luis Monguió. Editora Perú Nuevo: Lima, 1952
César Vallejo (1892–1938); Vida y obra, Revista Hispánica Moderna, New York, 1950.
বহিঃসংযোগ
Human Potential: The Life and Work of César Vallejo
Information about Vallejo from the Academy of American Poets
Griffin Poetry Prize biography, including audio and video clips of Guillermo Verdecchia reading Clayton Eshleman's translation of Vallejo's Guitar''
Interview with Vallejo, the only extant interview with Vallejo, 1931.
১৮৯২-এ জন্ম
১৯৩৮-এ মৃত্যু
পেরুর কবি
পেরুর লেখক
মার্ক্সবাদী লেখক
মার্ক্সবাদী কবি
সাম্যবাদী লেখক
সাম্যবাদী কবি
স্পেনীয় গৃহযুদ্ধের ব্যক্তি | 22,192 |
https://en.wikipedia.org/wiki/Ab%20Sheykh | Wikipedia | Open Web | CC-By-SA | 2,023 | Ab Sheykh | https://en.wikipedia.org/w/index.php?title=Ab Sheykh&action=history | English | Spoken | 44 | 76 | Ab Sheykh (, also Romanized as Āb Sheykh and Āb-e Sheykh) is a village in Pol Beh Pain Rural District, Simakan District, Jahrom County, Fars Province, Iran. At the 2006 census, its population was 298, in 67 families.
References
Populated places in Jahrom County | 26,837 |
https://math.stackexchange.com/questions/3170292 | StackExchange | Open Web | CC-By-SA | 2,019 | Stack Exchange | Elliot Herrington, Jean Marie, Paul Frost, https://math.stackexchange.com/users/305862, https://math.stackexchange.com/users/349785, https://math.stackexchange.com/users/657578 | English | Spoken | 487 | 1,112 | Quaternion conjugation map is orthogonal linear transformation
The following concerns an exercise from an undergraduate level textbook on Lie groups, which provides an elementary proof of $SU(2)/\mathbb{Z}_2 \cong SO(3)$.
Think of $Sp(1)$ as the group of unit-length quaternions; that is, $Sp(1) = \left\{ q \in \mathbb H : |q| = 1 \right\}.$ For every $q \in Sp(1)$, show that the conjugation map $C_q: \mathbb H \to \mathbb H$, defined as $C_q(V) = q V \overline{q}$, is an orthogonal linear transformation. Thus, with respect to the natural basis $\left\{ 1, i, j, k \right\}$ of $\mathbb H$, $C_q$ can be regarded as an element of $O(4)$.
My attempt so far has been as follows: To show it is an orthogonal linear transformation, we must show $\langle C_q(V), C_q(W) \rangle = \langle V, W \rangle$ for $V, W \in \mathbb H$. So we have
$LHS = (qV \overline q) \cdot (\overline{qW \overline q}) = qV \overline q \cdot q \overline W \overline q = q V \overline W \overline q,$
and I just can't seem to figure out what to do from here. We know $q$, $\overline q$ are unit-length, but that does not mean they commute with $V, \overline W.$ I have a feeling that perhaps $V$ and $W$ must be pure imaginary quaternions, but even making that assumption doesn't seem to help. If anyone has any insight, I'd be very grateful. It's possible I'm using a bad/incorrect definition of orthogonal linear transformation, but it definitely seems like the error in question is something simple/obvious. Thanks for your time.
You can be interested by this document http://www.gm.univ-montp2.fr/PERSO/mainprice/W_data/MTEX_Formation/MTEX%20Reference%20Publications/Meister_Schaeben2005MMAS_Quaternions.pdf
You have $\langle V,W \rangle = \frac{1}{2}(V \overline{W} + W \overline{V})$. Therefore
$$2\langle C_q(V),C_q(W) \rangle = q V\overline{q} q \overline{W} \overline{q} + q W \overline{q} q \overline{V} \overline{q} = q V\overline{W} \overline{q} + q W\overline{V} \overline{q} = q (V \overline{W} + W \overline{V}) \overline{q} \\ = q 2 \langle V,W \rangle \overline{q} .$$
But $2\langle V,W \rangle \in \mathbb{R}$, hence
$$q 2 \langle V,W \rangle \overline{q} = 2 \langle V,W \rangle q \overline{q} = 2 \langle V,W \rangle .$$
Added on request:
Write $V = a + bi + cj + dk, W = a' + b'i + c'j + d'k$. Then by definition $\langle V, W \rangle = aa' +bb' + cc' + dd' \in \mathbb{R}$. Moreover $V\overline{W} = (a + bi + cj + dk)(a' - b'i - c'j - d'k) = aa' +bb' + cc' + dd' + r$ with a suitable $r = ui + vj + wk$. Hence $\langle V, W \rangle = \text{Re}(V\overline{W})$. But $\text{Re}(V\overline{W}) = \frac{1}{2}(V\overline{W} + \overline{V\overline{W}}) = \frac{1}{2}(V\overline{W} + W\overline{V})$.
Looks good. I'm just wondering where you got the first equality from, i.e., the statement $\langle V, W\rangle = \frac{1}{2} (V \overline W + W \overline V).$ Also, why is $2 \langle V, W \rangle \in \mathbb R$?
This is well-known. I add a proof in my answer.
Very nice! Thank you.
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