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The Black Arts Enterprise and the Production of African American Poetry
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett. -
The Unicode Cookbook for Linguists: Managing Writing Systems Using Orthography Profiles
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2017 The Unicode Cookbook for Linguists: Managing writing systems using orthography profiles Moran, Steven ; Cysouw, Michael DOI: https://doi.org/10.5281/zenodo.290662 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-135400 Monograph The following work is licensed under a Creative Commons: Attribution 4.0 International (CC BY 4.0) License. Originally published at: Moran, Steven; Cysouw, Michael (2017). The Unicode Cookbook for Linguists: Managing writing systems using orthography profiles. CERN Data Centre: Zenodo. DOI: https://doi.org/10.5281/zenodo.290662 The Unicode Cookbook for Linguists Managing writing systems using orthography profiles Steven Moran & Michael Cysouw Change dedication in localmetadata.tex Preface This text is meant as a practical guide for linguists, and programmers, whowork with data in multilingual computational environments. We introduce the basic concepts needed to understand how writing systems and character encodings function, and how they work together. The intersection of the Unicode Standard and the International Phonetic Al- phabet is often not met without frustration by users. Nevertheless, thetwo standards have provided language researchers with a consistent computational architecture needed to process, publish and analyze data from many different languages. We bring to light common, but not always transparent, pitfalls that researchers face when working with Unicode and IPA. Our research uses quantitative methods to compare languages and uncover and clarify their phylogenetic relations. However, the majority of lexical data available from the world’s languages is in author- or document-specific orthogra- phies. -
Assessment of Options for Handling Full Unicode Character Encodings in MARC21 a Study for the Library of Congress
1 Assessment of Options for Handling Full Unicode Character Encodings in MARC21 A Study for the Library of Congress Part 1: New Scripts Jack Cain Senior Consultant Trylus Computing, Toronto 1 Purpose This assessment intends to study the issues and make recommendations on the possible expansion of the character set repertoire for bibliographic records in MARC21 format. 1.1 “Encoding Scheme” vs. “Repertoire” An encoding scheme contains codes by which characters are represented in computer memory. These codes are organized according to a certain methodology called an encoding scheme. The list of all characters so encoded is referred to as the “repertoire” of characters in the given encoding schemes. For example, ASCII is one encoding scheme, perhaps the one best known to the average non-technical person in North America. “A”, “B”, & “C” are three characters in the repertoire of this encoding scheme. These three characters are assigned encodings 41, 42 & 43 in ASCII (expressed here in hexadecimal). 1.2 MARC8 "MARC8" is the term commonly used to refer both to the encoding scheme and its repertoire as used in MARC records up to 1998. The ‘8’ refers to the fact that, unlike Unicode which is a multi-byte per character code set, the MARC8 encoding scheme is principally made up of multiple one byte tables in which each character is encoded using a single 8 bit byte. (It also includes the EACC set which actually uses fixed length 3 bytes per character.) (For details on MARC8 and its specifications see: http://www.loc.gov/marc/.) MARC8 was introduced around 1968 and was initially limited to essentially Latin script only. -
Complete Issue 40:3 As One
TUGBOAT Volume 40, Number 3 / 2019 General Delivery 211 From the president / Boris Veytsman 212 Editorial comments / Barbara Beeton TEX Users Group 2019 sponsors; Kerning between lowercase+uppercase; Differential “d”; Bibliographic archives in BibTEX form 213 Ukraine at BachoTEX 2019: Thoughts and impressions / Yevhen Strakhov Publishing 215 An experience of trying to submit a paper in LATEX in an XML-first world / David Walden 217 Studying the histories of computerizing publishing and desktop publishing, 2017–19 / David Walden Resources 229 TEX services at texlive.info / Norbert Preining 231 Providing Docker images for TEX Live and ConTEXt / Island of TEX 232 TEX on the Raspberry Pi / Hans Hagen Software & Tools 234 MuPDF tools / Taco Hoekwater 236 LATEX on the road / Piet van Oostrum Graphics 247 A Brazilian Portuguese work on MetaPost, and how mathematics is embedded in it / Estev˜aoVin´ıcius Candia LATEX 251 LATEX news, issue 30, October 2019 / LATEX Project Team Methods 255 Understanding scientific documents with synthetic analysis on mathematical expressions and natural language / Takuto Asakura Fonts 257 Modern Type 3 fonts / Hans Hagen Multilingual 263 Typesetting the Bangla script in Unicode TEX engines—experiences and insights Document Processing / Md Qutub Uddin Sajib Typography 270 Typographers’ Inn / Peter Flynn Book Reviews 272 Book review: Hermann Zapf and the World He Designed: A Biography by Jerry Kelly / Barbara Beeton 274 Book review: Carol Twombly: Her brief but brilliant career in type design by Nancy Stock-Allen / Karl -
P Font-Change Q UV 3
p font•change q UV Version 2015.2 Macros to Change Text & Math fonts in TEX 45 Beautiful Variants 3 Amit Raj Dhawan [email protected] September 2, 2015 This work had been released under Creative Commons Attribution-Share Alike 3.0 Unported License on July 19, 2010. You are free to Share (to copy, distribute and transmit the work) and to Remix (to adapt the work) provided you follow the Attribution and Share Alike guidelines of the licence. For the full licence text, please visit: http://creativecommons.org/licenses/by-sa/3.0/legalcode. 4 When I reach the destination, more than I realize that I have realized the goal, I am occupied with the reminiscences of the journey. It strikes to me again and again, ‘‘Isn’t the journey to the goal the real attainment of the goal?’’ In this way even if I miss goal, I still have attained goal. Contents Introduction .................................................................................. 1 Usage .................................................................................. 1 Example ............................................................................... 3 AMS Symbols .......................................................................... 3 Available Weights ...................................................................... 5 Warning ............................................................................... 5 Charter ....................................................................................... 6 Utopia ....................................................................................... -
Agda User Manual Release 2.6.3
Agda User Manual Release 2.6.3 The Agda Team Sep 23, 2021 Contents 1 Overview 3 2 Getting Started 5 2.1 What is Agda?..............................................5 2.2 Installation................................................7 2.3 ‘Hello world’ in Agda.......................................... 13 2.4 A Taste of Agda............................................. 14 2.5 A List of Tutorials............................................ 22 3 Language Reference 25 3.1 Abstract definitions............................................ 25 3.2 Built-ins................................................. 27 3.3 Coinduction............................................... 40 3.4 Copatterns................................................ 42 3.5 Core language.............................................. 45 3.6 Coverage Checking............................................ 48 3.7 Cubical.................................................. 51 3.8 Cumulativity............................................... 65 3.9 Data Types................................................ 66 3.10 Flat Modality............................................... 69 3.11 Foreign Function Interface........................................ 70 3.12 Function Definitions........................................... 75 3.13 Function Types.............................................. 78 3.14 Generalization of Declared Variables.................................. 79 3.15 Guarded Cubical............................................. 84 3.16 Implicit Arguments........................................... -
Special Characters in Aletheia
Special Characters in Aletheia Last Change: 28 May 2014 The following table comprises all special characters which are currently available through the virtual keyboard integrated in Aletheia. The virtual keyboard aids re-keying of historical documents containing characters that are mostly unsupported in other text editing tools (see Figure 1). Figure 1: Text input dialogue with virtual keyboard in Aletheia 1.2 Due to technical reasons, like font definition, Aletheia uses only precomposed characters. If required for other applications the mapping between a precomposed character and the corresponding decomposed character sequence is given in the table as well. When writing to files Aletheia encodes all characters in UTF-8 (variable-length multi-byte representation). Key: Glyph – the icon displayed in the virtual keyboard. Unicode – the actual Unicode character; can be copied and pasted into other applications. Please note that special characters might not be displayed properly if there is no corresponding font installed for the target application. Hex – the hexadecimal code point for the Unicode character Decimal – the decimal code point for the Unicode character Description – a short description of the special character Origin – where this character has been defined Base – the base character of the special character (if applicable), used for sorting Combining Character – combining character(s) to modify the base character (if applicable) Pre-composed Character Decomposed Character (used in Aletheia) (only for reference) Combining Glyph -
Using Opentype Features in Libreofiie
Using OpenType Features in LibreOfiie David J. Perry Ver. 1.2 updated August 4, 2017 Note: Part I provides background for those who have litle or no experience using OpenType. If you are already familiar with OpenType features and just want to learn how to access the in Libre# O$ce% you can go directly to Part II. tou might also need to read Part Ii if you have worked with OT features through a graphical interface rather than by using four-character codes. N.B.: names o keys on the key#oard are s"o$n in smal% capitals (enter, tab, etc.(. I. About OpenType A. Introduction )penType (ab#reviated O* herea+er( is a font te&"no%ogy t"at enab%es t"e appearance o &"aracters to be c"anged without altering the under%ying te,t. W"y wou%d one want su&" a thing? /n some languages, c"aracters may need to be res"aped depending on conte,t. In Arabi&, for instance, le0ers have diferent s"apes depending on w"ether t"ey come at the beginning o a $ord, in t"e midd%e, or at the end. Te user types a le0er and t"e appropriate s"ape is dis3 p%ayed. In languages li!e Arabi&, the operating system automati&al%y app%ies the needed O* eatures wit"out intervention by the user. Windo$s and Linu, use O* to support su&" com3 p%e, s&ripts (5ac O6 X uses a diferent te&"no%ogy for this(. /n languages t"at do not re8uire res"aping, O* provides ac&ess to many re9nements tradition3 al%y used in hig"38ua%ity typograp"y. -
A Practical Guide to LATEX Tips and Tricks
Luca Merciadri A Practical Guide to LATEX Tips and Tricks October 7, 2011 This page intentionally left blank. To all LATEX lovers who gave me the opportunity to learn a new way of not only writing things, but thinking them ...Claudio Beccari, Karl Berry, David Carlisle, Robin Fairbairns, Enrico Gregorio, Stefan Kottwitz, Frank Mittelbach, Martin M¨unch, Heiko Oberdiek, Chris Rowley, Marc van Dongen, Joseph Wright, . This page intentionally left blank. Contents Part I Standard Documents 1 Major Tricks .............................................. 7 1.1 Allowing ............................................... 10 1.1.1 Linebreaks After Comma in Math Mode.............. 10 1.2 Avoiding ............................................... 11 1.2.1 Erroneous Logic Formulae .......................... 11 1.2.2 Erroneous References for Floats ..................... 12 1.3 Counting ............................................... 14 1.3.1 Introduction ...................................... 14 1.3.2 Equations For an Appendix ......................... 16 1.3.3 Examples ........................................ 16 1.3.4 Rows In Tables ................................... 16 1.4 Creating ............................................... 17 1.4.1 Counters ......................................... 17 1.4.2 Enumerate Lists With a Star ....................... 17 1.4.3 Math Math Operators ............................. 18 1.4.4 Math Operators ................................... 19 1.4.5 New Abstract Environments ........................ 20 1.4.6 Quotation Marks Using -
Libertine's Xetex-Documentation
Manual for L L with XƎTEX Advantages of XeTex over classic LaTex, examples of configuration Deutse Version ebenfalls erhältli. P H P Libertine Open Fonts Projekt http://linuxlibertine.sf.net Berlin, den 21. MÄarz 2009 Inhaltsverzeichnis 1 Advantages of XeTex 3 2 Commands 3 3 Choosing OpenType-features 4 3.1 Leers: ..................................... 4 3.2 Numbers/Figures: ............................... 4 3.3 Ligatures: .................................... 4 4 Links 4 5 Appendix 5 2 1 Advantages of XeTex ² Full Unicode-support. You can enter all Unicode-Glyphs directly into the source code. ² Simple usability of TrueType- and OTF-Fonts ² Full OpenType-support: { automatic substitution of standard activated OpenType-features, i.e. ligatures su as ff, fi, , , fl,ffi, ffl,, , … { shiing from Stylistic Sets, i.e. old style figures, proportional figures, ÄÖÜ as trema-leers, substitution of german ß with ss { true GPOS-kerning 2 Commands e XeTex-interpreter is being invocated via xelatex instead of latex or pdflatex, example: xelatex Document.tex e output is a PDF-file, ergo analog to our example as Dokument.pdf Because the interpreter needs to know wi fonts to use and because XeTex needs some special paages, the document heading looks a lile bit different from usual. Following commands should be entered into the heading: \usepackage{xunicode} \usepackage{fontspec} \usepackage{xltxtra} In contrast, the definition of the input encoding (inputenc) is obsolete, because XeTex consi- ders UTF-8. Some examples found in the internet begin with following META-information: %!TEX TS-program = xetex %!TEX encoding = UTF-8 Unicode though this doesn’t seem to be obligatory. ere are different possibilities to tell XeTex, whi fonts to use locally or globally. -
MUFI Character Recommendation V. 3.0: Code Chart Order
MUFI character recommendation Characters in the official Unicode Standard and in the Private Use Area for Medieval texts written in the Latin alphabet ⁋ ※ ð ƿ ᵹ ᴆ ※ ¶ ※ Part 2: Code chart order ※ Version 3.0 (5 July 2009) ※ Compliant with the Unicode Standard version 5.1 ____________________________________________________________________________________________________________________ ※ Medieval Unicode Font Initiative (MUFI) ※ www.mufi.info ISBN 978-82-8088-403-9 MUFI character recommendation ※ Part 2: code chart order version 3.0 p. 2 / 245 Editor Odd Einar Haugen, University of Bergen, Norway. Background Version 1.0 of the MUFI recommendation was published electronically and in hard copy on 8 December 2003. It was the result of an almost two-year-long electronic discussion within the Medieval Unicode Font Initiative (http://www.mufi.info), which was established in July 2001 at the International Medi- eval Congress in Leeds. Version 1.0 contained a total of 828 characters, of which 473 characters were selected from various charts in the official part of the Unicode Standard and 355 were located in the Private Use Area. Version 1.0 of the recommendation is compliant with the Unicode Standard version 4.0. Version 2.0 is a major update, published electronically on 22 December 2006. It contains a few corrections of misprints in version 1.0 and 516 additional char- acters (of which 123 are from charts in the official part of the Unicode Standard and 393 are additions to the Private Use Area). There are also 18 characters which have been decommissioned from the Private Use Area due to the fact that they have been included in later versions of the Unicode Standard (and, in one case, because a character has been withdrawn). -
Microsoft Core Fonts Package Post-Installation to Obtain a Proper Type Library
AP�������F��� ��� O���S�����T������� �� �� �������� ���� �� �� ��� ������ ��� ���������� �� ���� �� the development of libre ecosystems. Typography has always been a stubborn holdout in this regard, and to this day there remain few free high-quality comprehensive text typefaces. Free type is mainly concentrated in a handful of flagship “superfonts” that contain a staggering catalog of glyphs, but lack greatly in the quality of design and typographic styles and features seen in professional type. To my knowledge, there are currently just two great open source text families—Gentium, which is still incomplete, and Linux Libertine, in addition to a few corporate gifts such as Adobe Source Serif and Bitstream Charter. To help fill the gap, I present my own original type design and ask for the Wikimedia projects’ help in finishing and releasing my font to provide a quality free font choice. What is this font? ��� ���� � �� ��������� (��� ���� ��� ��� ��������� ������� 0 1 2 3 4 5 6 7 8 9 this paragraph in) is meant to be an original serif typeface that an editor might want to set a textbook in. It does not yet have an official name. Many existing open source typefaces are clones of 0 1 2 3 4 5 6 7 8 9 popular old public domain typefaces (like Asana, S���, EB Garamond, or Free Serif, which are clones of Palatino, Times, Garamond, and Times again, respectively). Others like Liberation Serif, Déjà Vu, and Droid Serif have a distinctive “computer type” style that makes them convenient for pixel display and easy to HQWinâaba construct and adapt but poor in most other regards. I tried to create something different.