Class – Ix Section Wise Weightage in English Communicative
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Origins of the Underline As Visual Representation of the Hyperlink on the Web: a Case Study in Skeuomorphism
The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Romano, John J. 2016. The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797379 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism John J Romano A Thesis in the Field of Visual Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 Abstract This thesis investigates the process by which the underline came to be used as the default signifier of hyperlinks on the World Wide Web. Created in 1990 by Tim Berners- Lee, the web quickly became the most used hypertext system in the world, and most browsers default to indicating hyperlinks with an underline. To answer the question of why the underline was chosen over competing demarcation techniques, the thesis applies the methods of history of technology and sociology of technology. Before the invention of the web, the underline–also known as the vinculum–was used in many contexts in writing systems; collecting entities together to form a whole and ascribing additional meaning to the content. -
Cover Next Page > Cover Next Page >
cover next page > title: Indian Music and the West : Gerry Farrell author: Farrell, Gerry. publisher: Oxford University Press isbn10 | asin: 0198167172 print isbn13: 9780198167174 ebook isbn13: 9780585163727 language: English subject Music--India--History and criticism, Music--Indic influences, Civilization, Western--Indic influences, Ethnomusicology. publication date: 1999 lcc: ML338.F37 1999eb ddc: 780.954 subject: Music--India--History and criticism, Music--Indic influences, Civilization, Western--Indic influences, Ethnomusicology. cover next page > < previous page page_i next page > Page i Indian Music and the West < previous page page_i next page > < previous page page_ii next page > Page ii To Jane < previous page page_ii next page > < previous page page_iii next page > Page iii Indian Music and the West Gerry Farrell OXFORD UNIVERSITY PRESS < previous page page_iii next page > < previous page page_iv next page > Page iv OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford OX2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Gerry Farrell 1997 First published 1997 New as paperback edition 1999 The moral rights of the author have been asserted Database right Oxford University Press (maker) All rights reserved. -
The Emoji Factor: Humanizing the Emerging Law of Digital Speech
The Emoji Factor: Humanizing the Emerging Law of Digital Speech 1 Elizabeth A. Kirley and Marilyn M. McMahon Emoji are widely perceived as a whimsical, humorous or affectionate adjunct to online communications. We are discovering, however, that they are much more: they hold a complex socio-cultural history and perform a role in social media analogous to non-verbal behaviour in offline speech. This paper suggests emoji are the seminal workings of a nuanced, rebus-type language, one serving to inject emotion, creativity, ambiguity – in other words ‘humanity’ - into computer mediated communications. That perspective challenges doctrinal and procedural requirements of our legal systems, particularly as they relate to such requisites for establishing guilt or fault as intent, foreseeability, consensus, and liability when things go awry. This paper asks: are we prepared as a society to expand constitutional protections to the casual, unmediated ‘low value’ speech of emoji? It identifies four interpretative challenges posed by emoji for the judiciary or other conflict resolution specialists, characterizing them as technical, contextual, graphic, and personal. Through a qualitative review of a sampling of cases from American and European jurisdictions, we examine emoji in criminal, tort and contract law contexts and find they are progressively recognized, not as joke or ornament, but as the first step in non-verbal digital literacy with potential evidentiary legitimacy to humanize and give contour to interpersonal communications. The paper proposes a separate space in which to shape law reform using low speech theory to identify how we envision their legal status and constitutional protection. 1 Dr. Kirley is Barrister & Solicitor in Canada and Seniour Lecturer and Chair of Technology Law at Deakin University, MelBourne Australia; Dr. -
Super Duper Semaphore Or, As We Like to Call It
Super Duper Semaphore Or, as we like to call it ... Flag Texting! Hello Lieutenants ... You can have a whole lot of fun with just a couple of hand flags. Even if you don’t have actual flags, you can make your own using items found around your home, like tea towels, or even two smelly old socks tied to some sticks! As long as you’re having fun ... be inventive. What’s it all about? Well, believe it or not, a great way for ships near (in range of) each other or ships wanting to communicate to the land is to use ‘Flag Semaphore’. It’s a bit like sending a text message ... but with your arms. It has been used for hundreds of years on both land and sea (from the sea, red and yellow flags are used). The word semaphore is Greek for ‘Sign-bearer’ Here’s how it works… Each letter of the alphabet has its own arm position (plus a few extras that we will cover in later ranks). Once you can remember these, you can send loads of hidden messages to your friends and family. Check these out ... ABCDEFG HIJKLM NOPQR STUVWX YZ How cool is that? To send a message the ‘sender’ gets the attention of the ‘receiver’ by waving their arms (and flags) by their side in an up and down motion (imagine flapping your arms like a bird). Don’t worry if you make mistakes or the receiver translates your signals into silly words - we’ve had lots of fun practicing this, and it will take time to become a Super Signaller! Are you ready to send your message? One letter at a time? Remember to pause between each letter and a bit longer between words to accurately get your message through. -
Microej Documentation
MicroEJ Documentation MicroEJ Corp. Revision ff3ccfde Nov 27, 2020 Copyright 2008-2020, MicroEJ Corp. Content in this space is free for read and redistribute. Except if otherwise stated, modification is subject to MicroEJ Corp prior approval. MicroEJ is a trademark of MicroEJ Corp. All other trademarks and copyrights are the property of their respective owners. CONTENTS 1 MicroEJ Glossary 2 2 Overview 4 2.1 MicroEJ Editions.............................................4 2.1.1 Introduction..........................................4 2.1.2 Determine the MicroEJ Studio/SDK Version..........................5 2.2 Licenses.................................................7 2.2.1 Overview............................................7 2.2.2 License Manager........................................7 2.2.3 Evaluation Licenses......................................7 2.2.4 Production Licenses......................................9 2.3 MicroEJ Runtime............................................. 13 2.3.1 Language............................................ 13 2.3.2 Scheduler............................................ 13 2.3.3 Garbage Collector....................................... 14 2.3.4 Foundation Libraries...................................... 14 2.4 MicroEJ Libraries............................................ 14 2.5 MicroEJ Central Repository....................................... 15 2.6 Embedded Specification Requests................................... 15 2.7 MicroEJ Firmware............................................ 15 2.7.1 Bootable Binary with -
A) Indian Music (Hindustani) (872
MUSIC Aims: One of the three following syllabuses may be offered: 1. To encourage creative expression in music. 2. To develop the powers of musical appreciation. (A) Indian Music (Hindustani) (872). (B) Indian Music (Carnatic) (873). (C) Western Music (874). (A) INDIAN MUSIC (HINDUSTANI) (872) (May not be taken with Western Music or Carnatic Music) CLASSES XI & XII The Syllabus is divided into three parts: PAPER 2: PRACTICAL (30 Marks) Part 1 (Vocal), The practical work is to be evaluated by the teacher and a Visiting Practical Examiner appointed locally Part 2 (Instrumental) and and approved by the Council. Part 3 (Tabla) EVALUATION: Candidates will be required to offer one of the parts Marks will be distributed as follows: of the syllabus. • Practical Examination: 20 Marks There will be two papers: • Evaluation by Visiting Practical 5 Marks Paper 1: Theory 3 hours ….. 70 marks Examiner: Paper 2: Practical ….. 30 marks. (General impression of total Candidates will be required to appear for both the performance in the Practical papers from one part only. Examination: accuracy of Shruti and Laya, confidence, posture, PAPER 1: THEORY (70 Marks) tonal quality and expression) In the Theory paper candidates will be required to • Evaluation by the Teacher: 5 Marks attempt five questions in all, two questions from Section A (General) and EITHER three questions (of work done by the candidate from Section B (Vocal or Instrumental) OR three during the year). questions from Section C (Tabla). NOTE: Evaluation of Practical Work for Class XI is to be done by the Internal Examiner. 266 CLASS XI PART 1: VOCAL MUSIC PAPER 1: THEORY (70 Marks) The above Ragas with special reference to their notes Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi, 1. -
Paper - Iii Music
SF,T 2016 PAPER - III MUSIC Signature ofthe Invigilator Question. Booklet No . ..........27001................4 .......... 1. OMR Sheet No .. ................................ .... Subject Code [;;] ROLL No. Time Allowed : 150 Minutes Max. Marks: 150 l No. of pages in this Booklet : 16 No. of Questions: 75 INSTRUCTIONS FOR CANDIDATES 1. Write your Roll No. and the OMR Sheet No. in the spaces provided on top oft his page. 2. Fill in the necessary information in the spaces provided on the OMR response sheet. 3. This booklet consists of seventy five (7 5) compulsory questions each carrying 2 marks. 4. Examine the question booklet carefully and tally the number ofpages /questions in the booklet with the information printed above. Do not accept a damaged or open booklet. Damaged or faulty boo !<Jet may be got replaced within the first 5 minutes. Afterwards, neither the Question Booklet will be replaced nor any extra エゥュセ@ given. 5. Each Question has four alternative responses marked (A), (B), (C) and (D) in the OMR sheet. You have to completely darken the circle indicating the most appropriate response against each item as in the illustration : 6. All entries in the OMR.response sheet are to be recorded in the original copy only. 7. Use only Blue/Black Ball point pen. l 8. Rough Work is to be done on the blank pages provided at the end of this booklet. 9. Ifyou write your Name, Roll Number, Phone Number or put any mark on any part of the OMR Sheet, except in the spaces allotted for the relevant entries, which may disclose your identity, or use abusive language or employ any other unfair means, you will render yourselfliable todisq ualification. -
Windows Rootkit Analysis Report
Windows Rootkit Analysis Report HBGary Contract No: NBCHC08004 SBIR Data Rights November 2008 Page 1 Table of Contents Introduction ................................................................................................................................... 4 Clean Monitoring Tool Logs......................................................................................................... 5 Clean System PSList ................................................................................................................. 5 Clean System Process Explorer ................................................................................................ 6 Vanquish......................................................................................................................................... 7 PSList Vanquish ........................................................................................................................ 7 Vanquish Process Monitor (Process Start – Exit) .................................................................. 8 Process Explorer Thread Stack Vanquish .............................................................................. 8 Process Monitor Events Vanquish ........................................................................................... 9 Vanquish Log File (Created by rootkit, placed in root directory “C:”) ............................. 21 Process Explorer Memory Strings Vanquish ........................................................................ 23 NTIllusion.................................................................................................................................... -
CARNATIC MUSIC (VOCAL) THEORY (Code No
CARNATIC MUSIC (VOCAL) THEORY (Code No. 031) Syllabus for Class - IX Periods : 135 Marks : 25 I. Brief history of Carnatic Music with special reference to Saint Purandara dasa, Annamacharya, Bhadrachala Ramadasa, Saint Tyagaraja, Muthuswamy Dikshitar, Syama Shastry and Swati Tirunal. II. Definition of the following terms : Sangeetam, Nada, raga, laya, tala, dhatu, Mathu, Sruti, Alankara, Arohana, Avarohana, Graha (Sama, Atita, Anagata), Svara - Prakruti & Vikriti Svaras, Poorvanga & Uttaranga, Sthayi, vadi, Samvadi, Anuvadi & Vivadi Svara - Amsa, Nyasa and Jeeva. III. Brief raga lakshanas of Mohanam, Hamsadhvani, Malahari, Sankarabharanam, Mayamalavagoula, Bilahari, Khamas, Kharaharapriya, Kalyani, Abhogi & Hindolam. IV. Brief knowledge about the musical forms. Geetam, Svarajati, Svara Exercises, Alankaras, Varnam, Jatisvaram, Kirtana & Kriti. V. Description of following Talas : Adi - Single & Double Kalai, Roopakam, Chapu - Tisra, Misra & Khanda and Sooladi Sapta Talas. CARNATIC MUSIC (VOCAL) Theory (Code No. 031) Format of Written Examination for Class - IX 25 Marks 1. Long Answer (Essay) a. Biography 05 Marks b. Musical Forms 05 Marks Short Answers with Examples c. Writing of minimum three Raga-lakshana from prescribed list in the syllabus. 05 Marks d. Description of talas, illustrating with examples. 05 Marks e. Short notes of minimum 05 technical terms from the topic II. 05 Marks Note : Examiners should set atleas seven questions in total and the students should answer five questions from them, including two Essays, two short answer and short notes questions based on technical terms (topic-II) will be compulsory. Downloaded from: www.cbseportal.com Courtesy : CBSE 101 CARNATIC MUSIC (VOCAL) Practical (Code No. 031) Syllabus for Class - IX Periods : 405 Marks : 75 I. Vocal exercises - Svaravalis, Hechchu and Taggu Sthayi, Alankaras in three degrees of speed. -
Microej Documentation
MicroEJ Documentation MicroEJ Corp. Revision d6b4dfe4 Feb 24, 2021 Copyright 2008-2020, MicroEJ Corp. Content in this space is free for read and redistribute. Except if otherwise stated, modification is subject to MicroEJ Corp prior approval. MicroEJ is a trademark of MicroEJ Corp. All other trademarks and copyrights are the property of their respective owners. CONTENTS 1 MicroEJ Glossary 2 2 Overview 4 2.1 MicroEJ Editions.............................................4 2.1.1 Introduction..........................................4 2.1.2 Determine the MicroEJ Studio/SDK Version..........................5 2.2 Licenses.................................................7 2.2.1 License Manager Overview...................................7 2.2.2 Evaluation Licenses......................................7 2.2.3 Production Licenses...................................... 10 2.3 MicroEJ Runtime............................................. 14 2.3.1 Language............................................ 14 2.3.2 Scheduler............................................ 14 2.3.3 Garbage Collector....................................... 14 2.3.4 Foundation Libraries...................................... 14 2.4 MicroEJ Libraries............................................ 15 2.5 MicroEJ Central Repository....................................... 16 2.6 Embedded Specification Requests................................... 16 2.7 MicroEJ Firmware............................................ 16 2.7.1 Bootable Binary with Core Services.............................. 16 2.7.2 -
Visharad Part Ii VOCAL
1 BHATHKHANDE SANGITH VISHARAD PT II - VOCAL Theory notes 387 - Sandasa Kala Peetaya, Sri Lanka VISHARAD PART II - VOCAL - THEORY NOTES SANDASA KALA PEETAYA, SRI LANKA 077 5877257, 071 3635399 2 Hindustani Music History of Indian Music – Hindu and Muslim Periods Hindustani music has a long history. Even in the Vaidika Period (1500- 600 BC) there prevailed some sort of music in India. Due to the recitation of Veda Pathas (Slokas) or stanzas, there arose a simple style of singing. The holy- word ‘Om’ was sung in the one swara. The hymn of Veda led the way to develop three swaras, namely Udatta, Anudatta, Swarita. Gradually the Poorvanga was formed up. Later on automatically Uttaranga established. The fully developed Saptaka was seen in Sama Veda. A progress of music to some extent was functioned in Sama Veda. The time of history of music can be divided into three groups. They are The Ancient (600-800 BC), The Medieval (800 BC – 1500 AD) and The Modern (1500 AD – up to now). Being great musicians some Grantakars rendered an immortal service to the music of India. The Ancient musicians, such as Shri Bharata Sharangadeva, The Medieval musicians such as Ahobala Shrinivas and Hirdayanarayana and The Mordern musicians such as Manjarikar (Bhatkande) were predominant in those eras. All the Grantakars recognized 22 Shrutis and the rule of Chatus, Chatus Chaira etc. Accordingly Sa, Ma, Pa, carries 4 Shrutis each, Re, Dha carries 3 Shrutis each and Ga Ni carries 2 Shrutis each. The Ancient and Medieval fixed their Swaras on last Shruti while Modern fixed their Swaras on the first Shruti. -
An Historical and Analytical Study of the Tally, The
Copyright by JttUa Slisabobh Adkina 1956 AN HISTORICAL AND ANALYTICAL STUDY OF THE TALLY, THE KNOTTED CORD, THE FINGERS, AND THE ABACUS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State U n iv e rsity Sy JULIA ELIZABETH ADKINS, A. B ., M. A. The Ohio State University 1936 Approved by: A dviser Department of Educati ACiCNOWLEDGMENT The author is deeply indebted to Professor Nathan lasar for his inspiration, guidance, and patience during the writing of this dissertation. IX lâBIfi OF CONTENTS GHAFTSl Fàm 1. INTRWCTION................................................................................... 1 Pl^iflËÜaaxy Statcum t ......................................................... 1 âtatamant of the Problem ............ 2 Sqportanee of the Problem ............................................. 3 Scope and Idmitationa of the S tu d y ............................................. 5 The Method o f the S tu d y ..................................................................... 5 BerLeir o f th e L i t e r a t u r e ............................................................ 6 Outline of the Remainder of the Study. ....................... 11 II. THE TâLLI .............................................. .................................................. 14 Definition and Etymology of "Tally? *. ...... .... 14 Types of T a llies .................................................................................. 16 The Notch T a lly ...............................