September 2019
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Writing As Aesthetic in Modern and Contemporary Japanese-Language Literature
At the Intersection of Script and Literature: Writing as Aesthetic in Modern and Contemporary Japanese-language Literature Christopher J Lowy A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2021 Reading Committee: Edward Mack, Chair Davinder Bhowmik Zev Handel Jeffrey Todd Knight Program Authorized to Offer Degree: Asian Languages and Literature ©Copyright 2021 Christopher J Lowy University of Washington Abstract At the Intersection of Script and Literature: Writing as Aesthetic in Modern and Contemporary Japanese-language Literature Christopher J Lowy Chair of the Supervisory Committee: Edward Mack Department of Asian Languages and Literature This dissertation examines the dynamic relationship between written language and literary fiction in modern and contemporary Japanese-language literature. I analyze how script and narration come together to function as a site of expression, and how they connect to questions of visuality, textuality, and materiality. Informed by work from the field of textual humanities, my project brings together new philological approaches to visual aspects of text in literature written in the Japanese script. Because research in English on the visual textuality of Japanese-language literature is scant, my work serves as a fundamental first-step in creating a new area of critical interest by establishing key terms and a general theoretical framework from which to approach the topic. Chapter One establishes the scope of my project and the vocabulary necessary for an analysis of script relative to narrative content; Chapter Two looks at one author’s relationship with written language; and Chapters Three and Four apply the concepts explored in Chapter One to a variety of modern and contemporary literary texts where script plays a central role. -
Boku in Edo Epistolary Texts
Boku in Edo Epistolary Texts KATSUE AKIBA REYNOLDS The change from the feudal period to the modern via the Meiji Restoration was certainly one of the most turbulent and complex in the history of Japan and many details of the change remain unexplained. In the process of such a fundamental social change, language inevitably plays a crucial role in forming and accommodating new meanings and new ideologies. This essay is about boku, a first person pronoun or self-reference form for males. It ar.peared rather abruptly in Japanese around the time of the MeiJi Restoration and it lias quickly become one of the major male first person pronouns. Although it is apparently of a Chinese origin, its history as a Japanese word is not necessarily clear. How and why did it come into being in Japanese at the time when it did? I have examined some texts from the Edo period in an attempt to bring to light the early history of boku in Japanese. Bringing various linguistic, sociological and historical facts together, it becomes possible to see the way boku entered Japanese. Spread of the use of boku began in personal letters exchanged among a close circle of samurai scholars-forerunners of modern intellectuals. Self in Feudal Society That Japanese has several variants of self-reference is well known. Where an English speaker uses 'I' regardless of his/her social status, class, age, gender, etc., for example, a Japanese speaker would have to choose an appropriate form from a set of first person pronouns including watakushi, watashi, boku, and ore. -
Current Market Prices ~ Prints, Sculpture, Originals
Issue TITLE Price, Low SIZE Retail, ISSUE LO High HI TITLE Retail (December SIZE ISSUE LO2014) HI TITLE SIZE ISSUE LO HI CURRENT MARKET PRICES ~ PRINTS, SCULPTURE, ORIGINALS Prints, Graphics, & Giclées Prices do not reflect shifts below a print's original issue price TITLE SIZE ISSUE LO HI TITLE SIZE ISSUE LO HI TITLE SIZE ISSUE LO HI ABBETT, ROBERT AMIDON, SUSAN ATKINSON, MICHAEL BIG GUY SETTER & GROUS 125 553 671 CATHEDRAL ST PAUL CE 125 409 497 GRANNYS LOVING HAND AP 420 510 BOBWHITES & POINTER 50 152 190 COMO PARK CONSERVAT AP 21X29 158 198 GRANNYS LOVING HANDS 385 467 CODY BLACK LAB 95 152 190 COMO PARK CONSERVATORY 21X29 125 125 125 ICE BLUE DIPTYCH 125 262 315 CROSSING SPLIT ROCK 125 125 150 COMO PARK GOLF SKI 21X15 100 100 120 INSPIRATION ARCHES 185 185 185 ABBOTT, LEN COMO PARK PAVILLION 125 698 848 INSPIRATION ARCHES AP 152 190 CHORUS 292 351 GOVERNORS MANSION 99 124 LETTERS FROM GRANDMA 65 152 190 ACHEFF, WILLIAM GOVERNORS MANSION AP 136 170 LONG WAY HOME 148 185 ACOMA 23X18 200 200 200 LAKE HARRIET 24X18 125 125 125 MARIAS HANDS SR 24X18 861 1060 STILL LIFE 64 80 LITTLE FRENCH CHURC AP 21X15 110 138 MONUMENT CANYON SR 33X45 490 595 ADAMS, GAIL LITTLE FRENCH CHURCH 21X15 100 100 100 MOONLIT CANYON 165 165 165 DOUBLE SOLITUDE AP 275 275 315 LORING PARK HARMON AP 29X21 158 198 MOUNTAIN LAKE 18X24 175 258 310 SLEEPIN BEAUTY 225 225 225 MINN STATE CAPITOL 21X16 187 225 ON WALDEN 150 150 150 ADAMS, HERMON MT OLIVET CHURCH 158 198 ON WALDEN AP 94 118 ARIZONA RANGER 120 1072 1320 NICOLLET AVE AP 20X25 78 98 OSTUNI 29X22 150 150 183 -
The FOC Guide to Morse Code Proficiency by Gary Hinson, Zl2ifb Version 1.4 January 2019
The FOC Guide to Morse Code Proficiency by Gary Hinson, ZL2iFB Version 1.4 January 2019 Contents Introduction Speed Ti ming is ever y thing Pitch Q-codes, abbrev’s, punctuation & prosigns Swings and fists Morse quality metric Hinson tips Sending better CW Copying CW better Conclusion Reader feedback References Bibliography (other useful resources) Introduction Properly-formed Morse code is a delight to hear when strong, and copiable by ear even when signals are quite weak. Despite being monotonic and irregular, good Morse has a curiously musical quality, far from monotonous. However, on the air we typically face QRM, QRN, QSB, weak/marginal signals leading to errors and gaps in the copy, confusion, fatigue and frustration. Throw in badly-sent CW such as mis-sent characters, uncorrected errors, spelling mistakes, stray dits and missing dahs, variable timing with seemingly random spacing, plus off-frequency transmitters, drift, chirp, ringing filters and so on, and making contact may become, let’s say, challenging. Prompted by a lively discussion around W1RM Pete’s sage “One of the goals of every skilled comment ⇒ this guide offers advice on improving proficiency in CW operator is to send well. That Morse code for those already using CW (= Continuous Wave, not means good character formation Can’t Work!) on the amateur bands. After explaining the key and character spacing. It makes issues, you will find tips for both sending and receiving. Both little difference what you use to do aspects are important and can be improved - no matter how good, the sending, be it straight key, bug, we can always do better. -
From the President… the International Cwops Newsletter March 2011 Issue No. 14
March 2011 The International CWops Newsletter Issue No. 14 From the president… Spring was making an early appearance in New England in mid-February. The mountain of snow on our roof was melting and the 3 feet (1 meter) of snow in my yard was getting down to 2 feet (0.6 meter). Then, winter returned with a vengeance! Over the weekend of the ARRL CW DX Contest, we CWops Events had winds approaching 45 mph (72 kph), On-Air Monthly CWT temperatures dropping into the teens and on Next: 9 March 2011 Monday we had 4 inches (10 cm) of snow! Start time: 1100Z Asia/VK/ZL region So much for an early spring! 1900Z Europe Region 0300Z (10 March) NA region Washington and the North American 1-hour each region CW Weekend Exchange name/number (members) But spring will come and with it the Exchange name/SPC (non-members) Washington DC CW Weekend from May 6 to May 8 at the Fairview Park Marriott Hotel CWops “neighborhood” Look for CWops on 1.818, 3.528, 7.028, 10.118, in Falls Church, VA. It‘s right across the 14.028, 18.078, 21.028, 24.908, 28.028 Potomac River. Washington is beautiful this time of year. The famous cherry blossoms CWops “Happy Hour” have gone, but all the rest of the spring 1900 local, every day, on or near the “neighborhood” frequencies – just call “CQ” or answer someone else. flowers and flowering trees are in full bloom – a sight not to be missed. If you‘ve not CWops Officers and Director been to DC in spring, make this the year you Officers do it. -
Sonic Peace: an Antithesis to Sonic Warfare Tatiana Maria Schnitman Espindola Florida International University, [email protected]
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 11-19-2013 Sonic Peace: An Antithesis to Sonic Warfare Tatiana Maria Schnitman Espindola Florida International University, [email protected] DOI: 10.25148/etd.FI13120602 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Composition Commons, Musicology Commons, and the Music Theory Commons Recommended Citation Schnitman Espindola, Tatiana Maria, "Sonic Peace: An Antithesis to Sonic Warfare" (2013). FIU Electronic Theses and Dissertations. 993. https://digitalcommons.fiu.edu/etd/993 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida SONIC PEACE: AN ANITHESIS TO SONIC WARFARE A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC by Tatiana Maria Schnitman Espindola 2013 To: Dean Brian Schriner College of Arts and Sciences This thesis, written by Tatiana Maria Schnitman Espindola, and entitled Sonic Peace: An Antithesis of Sonic Warfare, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. __________________________________ Joel Galand __________________________________ David Dolata __________________________________ Orlando Jacinto Garcia, Major Professor Date of Defense: November 19, 2013 The thesis of Tatiana Maria Schnitman Espindola is approved. _________________________________ Dean Brian Schriner College of Arts and Sciences _________________________________ Dean Lakshmi N. -
Resources for Learning Morse Code
Resources for Learning Morse Code This document collects together useful resources for those beginning their CW journey and for those that wish to improve their speed and proficiency. Hamfesters Amateur Radio Club Document Distribution TLP:WHITE Document Classification: Not Classified This document was created using Microsoft Word 2016 in landscape with ½” left and right margins. If you edit this document in OpenOffice or LibreOffice, you will have to tweak page, TOC, and table widths. Version 1.1b Created 2021-02-09 @ 17:00 by AB9MZ Updated 2021-03-04 @ 15:00 by AB9MZ Edited by Gregory D. Rosenberg (AB9MZ) Please send any corrections or additions to [email protected]. +1 708-444-2690 Office +1 708-267-6664 Mobile All information in this document is public domain. Any copyrighted material has been credited with its source. Resources for Learning Morse Code Page: 2 Table of Contents Table of Tables .................................................................................................................................................................................................................... 5 Table of Figures ................................................................................................................................................................................................................... 6 Table of Authorities ............................................................................................................................................................................................................ -
Adaptive Technology for Morse Code Using Hindi Language
International Research Journal of Engineering and Technology (IRJET) e-ISSN: 2395-0056 Volume: 07 Issue: 04 | Apr 2020 www.irjet.net p-ISSN: 2395-0072 Adaptive Technology for Morse Code using Hindi Language Paridnya S. Mane1, Niharika B. Sharma2, Marzia N. Rizvi3, Prof. Neelam Phadnis4 1 ,2 ,3Department of Computer Engineering, Shree L. R. Tiwari College of Engineering, Maharashtra, India 4Assistant Professor, Department of Computer Engineering, Shree L. R. Tiwari College of Engineering, Maharashtra, India ---------------------------------------------------------------------***--------------------------------------------------------------------- Abstract - Morse code has been a way of communicating information society. In this project, we will look at how we confidential information since the early nineteenth century, can adapt the benefits of Morse Code to enabling technology. using dots and dashes as a way of transmission. We will explore what is currently available, and then present Communication has always been difficult for people with the prototype for a useful product that we have designed and disabilities, causing barriers while interacting. Morse code has our proposed way of solving this problem. been proven effective as an assistive technology to help people with motion disabilities communicate, given that they have at 1.2 Scope and Motivation least some control over their movements. Our project focuses on minimizing the hurdles disabled people undergo and aiding The scope of the project is to make the process of them with an easier way of connecting with people. We also communication easier for people with disabilities. People introduce a text to speech module to make the delivery with disabilities meet barriers of all types. However, smoother. technology is helping eliminate many of these barriers by using adaptive Morse code for better communication in our Key Words: Natural Language Processing, Adaptive project. -
Morse Code - Wikipedia Page 1 of 21
Morse code - Wikipedia Page 1 of 21 Morse code From Wikipedia, the free encyclopedia Morse code is a method of transmitting text information as a series of on- off tones, lights, or clicks that can be directly understood by a skilled listener or observer without special equipment. It is named for Samuel F. B. Morse, an inventor of the telegraph. The International Morse Code[1] encodes the ISO basic Latin alphabet, some extra Latin letters, the Arabic numerals and a small set of punctuation and procedural signals (prosigns) as standardized sequences of short and long signals called "dots" and "dashes",[1] or "dits" and "dahs", as in amateur radio practice. Because many non-English natural languages use more than the 26 Roman letters, extensions to the Morse alphabet exist for those languages. Each Morse code symbol represents either a text character (letter or numeral) or a prosign and is represented by a unique sequence of dots and dashes. The duration of a dash is three times the duration of a dot. Each dot or dash is followed by a short silence, equal to the dot duration. The letters of a word are separated by a space equal to three dots (one dash), and the words are separated by a space equal to seven dots. The dot duration is the basic unit of time measurement in code transmission.[1] To increase the speed of the communication, the code was designed so that the length of each character in Morse varies approximately inversely to its frequency of occurrence in English. Thus the most common letter in English, the letter "E", has the shortest code, a single dot. -
HP-UX 9.X - 11I Internationalization Features White Paper
HP-UX 9.x - 11i Internationalization Features White Paper Edition 1 Manufacturing Part Number: 5971-2270 E0601 © Copyright 1983-2001 Hewlett-Packard Company. Legal Notices The information in this document is subject to change without notice. Hewlett-Packard makes no warranty of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. Hewlett-Packard shall not be held liable for errors contained herein or direct, indirect, special, incidental or consequential damages in connection with the furnishing, performance, or use of this material. Warranty A copy of the specific warranty terms applicable to your Hewlett-Packard product and replacement parts can be obtained from your local Sales and Service Office. Restricted Rights Legend Use, duplication or disclosure by the U.S. Government is subject to restrictions as set forth in subparagraph (c) (1) (ii) of the Rights in Technical Data and Computer Software clause at DFARS 252.227-7013 for DOD agencies, and subparagraphs (c) (1) and (c) (2) of the Commercial Computer Software Restricted Rights clause at FAR 52.227-19 for other agencies. HEWLETT-PACKARD COMPANY 3000 Hanover Street Palo Alto, California 94304 U.S.A. Use of this manual and flexible disk(s) or tape cartridge(s) supplied for this pack is restricted to this product only. Additional copies of the programs may be made for security and back-up purposes only. Resale of the programs, in their present form or with alterations, is expressly prohibited. Copyright Notices Copyright ã 1983-2001 Hewlett-Packard Company. -
Current Market Prices ~ Prints
Issue TITLE Price, Low SIZE Retail, ISSUE LO High HI TITLE Retail (February SIZE ISSUE 2018) LO HI TITLE SIZE ISSUE LO HI CURRENT MARKET PRICES ~ PRINTS, SCULPTURE, ORIGINALS Prints, Graphics, & Giclées Prices do not reflect shifts below a print's original issue price TITLE SIZE ISSUE LO HI TITLE SIZE ISSUE LO HI TITLE SIZE ISSUE LO HI ABBETT, ROBERT ATKINSON, MICHAEL BAMA, JAMES BIG GUY SETTER & GROUS 125 413 501 ASPEN GROVE 20X27 95 240 288 OLD SOD HOUSE 23X14 80 221 265 BOBWHITES & POINTER 50 136 170 CLIFF FALLS 175 175 185 PORTRAIT OF A SIOUX 23X23 135 160 200 CROSSING SPLIT ROCK 125 125 150 COURT OF HONOR 150 150 160 PRECOLUMBIAN W/ATLATL 22X18 75 116 145 ADAMS, GAIL CRYSTAL CLIFFS 300 360 READY TO RENDEZVOUS 19X27 225 693 841 DOUBLE SOLITUDE AP 275 275 315 DAYBREAK 160 200 READY TO RIDE 16X22 185 185 200 SLEEPIN BEAUTY 225 225 225 DAYS END 175 175 175 RIDIN THE RIMS 23X19 210 300 360 ADAMS, HERMON EMERALD FALLS 165 165 170 ROOKIE BRONC RIDER 22X18 75 378 459 ARIZONA RANGER 120 1072 1320 EVENING VISTA I & II 10X25 195 195 195 SAGE GRINDER 20X24 65 1163 1432 EAGLE CALLER 24X20 100 546 663 GLACIAL LAKE 165 165 165 SHEEP SKULL IN DRIFT 20X16 75 108 135 KAIBIBONOKKA NORTH WIN 292 351 GOING HOME TO MOM 90 160 200 SHOSHONE CHIEF 20X26 65 975 1200 MUDJEKEEWIS WEST WIND 120 292 351 GRANNYS LOVING HANDS 385 467 SIOUX SUBCHIEF 16X25 195 455 552 PRAYER 120 225 270 ICE BLUE DIPTYCH 125 356 427 SLIM WARREN ETCH 300 360 RULER OF THE WINDS 150 150 176 INSPIRATION ARCHES 22X29 185 185 185 SOUTHWEST INDIAN FATHE 18X24 145 180 216 SHAWONDASEE SOUTH -
Art and Archaeology of East and Southeast Asia the LIBRARY OF
Art and Archaeology of East and Southeast Asia THE LIBRARY OF DR. JAN FONTEIN Former Director of the Museum of Fine Arts, Boston Partial catalogue April 2018 The Boston Globe June 28, 2017 Jan Fontein, historian of Asian art and former MFA director, dies at 89 Museum of Fine Arts, Boston Dr. Fontein helped install the "Money Tree" in the exhibition "Stories from China's Past" in July 1987. As a boy growing up in the Netherlands, Jan Fontein found his calling as a museum director and art historian when he chanced upon an exhibit of ancient artifacts that animated his imagination. “When I was 8 years old, I was taken to a museum in Holland which focused on Roman antiquities. I have a very vivid recollection of that moment,” he told the Globe in 1985. “I saw a dirty old case filled with flint arrowheads. That sounds dull. But I saw the arrowheads as direct messages to me. I envisioned a battle in all its mad glory.” The arrowheads “were not works of art,” he added. “They were simple, humble objects. But they were a way for me to communicate with the past. That was exciting.” While serving from 1975 to 1987 as director of the Museum of Fine Arts, Boston, Dr. Fontein shared his enthusiasm about art and ancient centuries with hundreds of thousands of visitors who poured into the blockbuster shows that the MFA staged. He also ushered the institution into the modern era of museums as cultural marketplaces, overseeing the fund-raising and creation of the I.M.