DOCSLIB.ORG

Markdown Syntax

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Markdown Syntax Markdown is a way to style text on HEADERS LISTS IMAGES BLOCKQUOTES BACKSLASH ESCAPES MARKDOWN the web. You control the display of Unordered Markdown allows you to use backslash escapes to the document; formaing words as # This is an <h1> tag ![GitHub Logo](/images/logo.png) As Kanye West said: generate literal characters which would otherwise ## This is an <h2> tag SYNTAX * Item 1 have special meaning in Markdown’s formaing bold or italic, adding images, and ###### This is an <h6> tag * Item 2 Format: ![Alt Text](url) > We're living the future so syntax. creating lists are just a few of the * Item 2a > the present is our past. things we can do with Markdown. * Item 2b \*literal asterisks\* Mostly, Markdown is just regular text As Kanye West said: with a few non-alphabetic characters EMPHASIS Ordered LINKS *literal asterisks* thrown in, like # or *. We're living the future so *This text will be italic* 1. Item 1 http://github.com - automatic! the present is our past. _This will also be italic_ 2. Item 2 Markdown provides backslash escapes for the 3. Item 3 [GitHub](http://github.com) following characters: **This text will be bold** * Item 3a __This will also be bold__ * Item 3b \ backslash () parentheses ` backtick # hash mark *You **can** combine them* * asterisk + plus sign _ underscore - minus sign (hyphen) {} curly braces . dot [] square brackets ! exclamation mark GITHUB GitHub.com uses its own version of USERNAME MENTIONS TASK LISTS FENCED CODE BLOCKS TABLES EMOJI the Markdown syntax that provides Typing an @ symbol, followed by a username, will Markdown coverts text with four leading spaces You can create tables by assembling a list of To see a list of every image we support, check out an additional set of useful features, notify that person to come and view the comment. - [x] @mentions, #refs, [links](), into a code block; with GFM you can wrap your code words and dividing them with hyphens - www.emoji-cheat-sheet.com FLAVORED many of which make it easier to work This is called an “@mention”, because you’re **formatting**, and <del>tags</del> with ``` to create a code block without the (for the first row), and then separating each mentioning the individual. You can also @mention supported leading spaces. Add an optional language identifier column with a pipe | : GitHub supports emoji! with content on GitHub.com. teams within an organization. - [x] list syntax required (any and your code with get syntax highlighting. :+1: :sparkles: :camel: :tada: MARKDOWN unordered or ordered list supported) First Header | Second Header :rocket: :metal: :octocat: - [x] this is a complete item ------------ | ------------- - [ ] this is an incomplete item ```javascript Content cell 1 | Content cell 2 ISSUE REFERENCES GitHub supports emoji! function test() { Content column 1 | Content column 2 Any number that refers to an Issue or Pull Request console.log("look ma`, no spaces"); @mentions, #refs, links, formaing, will be automatically converted into a link. and tags supported } ``` list syntax required (any unordered First Header Second Header #1 or ordered list supported) Content cell 1 Content cell 2 defunkt#1 this is a complete item function test() { defunkt/github-flavored-markdown#1 Content column 1 Content column 2 this is an incomplete item console.log("look ma`, no spaces"); }.
Load more

Recommended publications
  • Jupyter Reference Guide
    – 1 – Nicholas Bowman, Sonja Johnson-Yu, Kylie Jue Handout #15 CS 106AP August 5, 2019 Jupyter Reference Guide This handout goes over the basics of Jupyter notebooks, including how to install Jupyter, launch a notebook, and run its cells. Jupyter notebooks are a common tool used across different disciplines for exploring and displaying data, and they also make great interactive explanatory tools. Installing Jupyter To install Jupyter, run the following command inside your Terminal (replace python3 with ​ py if you’re using a Windows device): ​ $ python3 -m pip install jupyter Launching a notebook A Jupyter notebook is a file that ends in the extension .ipynb, which stands for ​ ​ “interactive Python notebook.” To launch a Python notebook after you’ve installed ​ ​ ​ ​ ​ ​ ​ ​ Jupyter, you should first navigate to the directory where your notebook is located (you’ll be there by default if you’re using the PyCharm terminal inside a project). Then run the following command inside your Terminal (if this doesn’t work, see the “Troubleshooting” section below): $ jupyter notebook This should open a window in your browser (Chrome, Firefox, Safari, Edge, etc.) that looks like Figure 1. Jupyter shows the files inside the current directory and allows you to click on any Python notebook files within that folder. Figure 1: After running the jupyter notebook command, you should see a window that ​ ​ ​ lists the Python notebooks inside the current directory from which you ran the command. The picture above shows the Lecture 25 directory. – 2 – To launch a particular notebook, click on its file name. This should open a new tab with the notebook.
    [Show full text]
  • Markdown: Syntax
    Markdown Syntax | Fall 2021-22 Markdown: Syntax ● Overview ❍ Philosophy ❍ Inline HTML ❍ Automatic Escaping for Special Characters ● Block Elements ❍ Paragraphs and Line Breaks ❍ Headers ❍ Blockquotes ❍ Lists ❍ Code Blocks ❍ Horizontal Rules ● Span Elements ❍ Links ❍ Emphasis ❍ Code ❍ Images ● Miscellaneous ❍ Backslash Escapes ❍ Automatic Links Overview Philosophy Markdown is intended to be as easy-to-read and easy-to-write as is feasible. Readability, however, is emphasized above all else. A Markdown-formatted document should be publishable as-is, as plain text, without looking like it's been marked up with tags or formatting instructions. While Markdown's syntax has been influenced by several existing text-to-HTML filters -- including Setext, atx, Textile, reStructuredText, Grutatext, and EtText -- the single biggest source of inspiration for Markdown's syntax is the format of plain text email. To this end, Markdown's syntax is comprised entirely of punctuation characters, which punctuation characters have been carefully chosen so as to look like what they mean. E.g., asterisks around a word actually look like *emphasis*. Markdown lists look like, well, lists. Even blockquotes look like quoted passages of text, assuming you've ever used email. Inline HTML Markdown's syntax is intended for one purpose: to be used as a format for writing for the web. Markdown is not a replacement for HTML, or even close to it. Its syntax is very small, corresponding only to a very small subset of HTML tags. The idea is not to create a syntax that makes it easier to insert HTML tags. In my opinion, HTML tags are already easy to insert.
    [Show full text]
  • 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.
    [Show full text]
  • Tinn-R Team Has a New Member Working on the Source Code: Wel- Come Huashan Chen
    Editus eBook Series Editus eBooks is a series of electronic books aimed at students and re- searchers of arts and sciences in general. Tinn-R Editor (2010 1. ed. Rmetrics) Tinn-R Editor - GUI forR Language and Environment (2014 2. ed. Editus) José Cláudio Faria Philippe Grosjean Enio Galinkin Jelihovschi Ricardo Pietrobon Philipe Silva Farias Universidade Estadual de Santa Cruz GOVERNO DO ESTADO DA BAHIA JAQUES WAGNER - GOVERNADOR SECRETARIA DE EDUCAÇÃO OSVALDO BARRETO FILHO - SECRETÁRIO UNIVERSIDADE ESTADUAL DE SANTA CRUZ ADÉLIA MARIA CARVALHO DE MELO PINHEIRO - REITORA EVANDRO SENA FREIRE - VICE-REITOR DIRETORA DA EDITUS RITA VIRGINIA ALVES SANTOS ARGOLLO Conselho Editorial: Rita Virginia Alves Santos Argollo – Presidente Andréa de Azevedo Morégula André Luiz Rosa Ribeiro Adriana dos Santos Reis Lemos Dorival de Freitas Evandro Sena Freire Francisco Mendes Costa José Montival Alencar Junior Lurdes Bertol Rocha Maria Laura de Oliveira Gomes Marileide dos Santos de Oliveira Raimunda Alves Moreira de Assis Roseanne Montargil Rocha Silvia Maria Santos Carvalho Copyright©2015 by JOSÉ CLÁUDIO FARIA PHILIPPE GROSJEAN ENIO GALINKIN JELIHOVSCHI RICARDO PIETROBON PHILIPE SILVA FARIAS Direitos desta edição reservados à EDITUS - EDITORA DA UESC A reprodução não autorizada desta publicação, por qualquer meio, seja total ou parcial, constitui violação da Lei nº 9.610/98. Depósito legal na Biblioteca Nacional, conforme Lei nº 10.994, de 14 de dezembro de 2004. CAPA Carolina Sartório Faria REVISÃO Amek Traduções Dados Internacionais de Catalogação na Publicação (CIP) T591 Tinn-R Editor – GUI for R Language and Environment / José Cláudio Faria [et al.]. – 2. ed. – Ilhéus, BA : Editus, 2015. xvii, 279 p. ; pdf Texto em inglês.
    [Show full text]
  • Bluebook Citation in Scholarly Legal Writing
    BLUEBOOK CITATION IN SCHOLARLY LEGAL WRITING © 2016 The Writing Center at GULC. All Rights Reserved. The writing assignments you receive in 1L Legal Research and Writing or Legal Practice are primarily practice-based documents such as memoranda and briefs, so your experience using the Bluebook as a first year student has likely been limited to the practitioner style of legal writing. When writing scholarly papers and for your law journal, however, you will need to use the Bluebook’s typeface conventions for law review articles. Although answers to all your citation questions can be found in the Bluebook itself, there are some key, but subtle differences between practitioner writing and scholarly writing you should be careful not to overlook. Your first encounter with law review-style citations will probably be the journal Write-On competition at the end of your first year. This guide may help you in the transition from providing Bluebook citations in court documents to doing the same for law review articles, with a focus on the sources that you are likely to encounter in the Write-On competition. 1. Typeface (Rule 2) Most law reviews use the same typeface style, which includes Ordinary Times New Roman, Italics, and SMALL CAPITALS. In court documents, use Ordinary Roman, Italics, and Underlining. Scholarly Writing In scholarly writing footnotes, use Ordinary Roman type for case names in full citations, including in citation sentences contained in footnotes. This typeface is also used in the main text of a document. Use Italics for the short form of case citations. Use Italics for article titles, introductory signals, procedural phrases in case names, and explanatory signals in citations.
    [Show full text]
  • Edit Bibliographic Records
    OCLC Connexion Browser Guides Edit Bibliographic Records Last updated: May 2014 6565 Kilgour Place, Dublin, OH 43017-3395 www.oclc.org Revision History Date Section title Description of changes May 2014 All Updated information on how to open the diacritic window. The shortcut key is no longer available. May 2006 1. Edit record: basics Minor updates. 5. Insert diacritics Revised to update list of bar syntax character codes to reflect and special changes in character names and to add newly supported characters characters. November 2006 1. Edit record: basics Minor updates. 2. Editing Added information on guided editing for fields 541 and 583, techniques, template commonly used when cataloging archival materials. view December 2006 1. Edit record: basics Updated to add information about display of WorldCat records that contain non-Latin scripts.. May 2007 4. Validate record Revised to document change in default validation level from None to Structure. February 2012 2 Editing techniques, Series added entry fields 800, 810, 811, 830 can now be used to template view insert data from a “cited” record for a related series item. Removed “and DDC” from Control All commands. DDC numbers are no longer controlled in Connexion. April 2012 2. Editing New section on how to use the prototype OCLC Classify service. techniques, template view September 2012 All Removed all references to Pathfinder. February 2013 All Removed all references to Heritage Printed Book. April 2013 All Removed all references to Chinese Name Authority © 2014 OCLC Online Computer Library Center, Inc. 6565 Kilgour Place Dublin, OH 43017-3395 USA The following OCLC product, service and business names are trademarks or service marks of OCLC, Inc.: CatExpress, Connexion, DDC, Dewey, Dewey Decimal Classification, OCLC, WorldCat, WorldCat Resource Sharing and “The world’s libraries.
    [Show full text]
  • Copyrighted Material
    INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets,
    [Show full text]
  • Visual Research Universal Communication Communication of Selling the Narrow Column Square Span Text in Color Change of Impact New Slaves
    VISUAL RESEARCH UNIVERSAL COMMUNICATION COMMUNICATION OF SELLING THE NARROW COLUMN SQUARE SPAN TEXT IN COLOR CHANGE OF IMPACT NEW SLAVES ON TYPOGRAPHY by Herbert Bayer Typography is a service art, not a fine art, however pure and elemental the discipline may be. The graphic designer today seems to feel that the typographic means at his disposal have been exhausted. Accelerated by the speed of our time, a wish for new excitement is in the air. “New styles” are hopefully expected to appear. Nothing is more constructive than to look the facts in the face. What are they? The fact that nothing new has developed in recent decades? The boredom of the dead end without signs for a renewal? Or is it the realization that a forced change in search of a “new style” can only bring superficial gain? It seems appropriate at this point to recall the essence of statements made by progressive typographers of the 1920s: Previously used largely as a medium for making language visible, typographic material was discovered to have distinctive optical properties of its own, pointing toward specifically typographic expression. Typographers envisioned possibilities of deeper visual experiences from a new exploitation of the typographic material itself. Typography was for the first time seen not as an isolated discipline and technique, but in context with the ever-widening visual experiences that the picture symbol, photo, film, and television brought. They called for clarity, conciseness, precision; for more articulation, contrast, tension in the color and black and white values of the typographic page. They recognized that in all human endeavors a technology had adjusted to man’s demands; while no marked change or improvement had taken place in man’s most profound invention, printing-writing, since Gutenberg.
    [Show full text]
  • Smooth Writing with In-Line Formatting Louise S
    NESUG 2007 Posters Smooth Writing with In-Line Formatting Louise S. Hadden, Abt Associates Inc., Cambridge, MA ABSTRACT PROC TEMPLATE and ODS provide SAS® programmers with the tools to create customized reports and tables that can be used multiple times, for multiple projects. For ad hoc reporting or the exploratory or design phase of creating custom reports and tables, SAS® provides us with an easy option: in-line formatting. There will be a greater range of in-line formatting available in SAS 9.2, but the technique is still useful today in SAS versions 8.2 and 9.1, in a variety of procedures and output destinations. Several examples of in-line formatting will be presented, including formatting titles, footnotes and specific cells, bolding specified lines, shading specified lines, and publishing with a custom font. INTRODUCTION In-line formatting within procedural output is generally limited to three procedures: PROC PRINT, PROC REPORT and PROC TABULATE. The exception to this rule is in-line formatting with the use of ODS ESCAPECHAR, which will be briefly discussed in this paper. Even without the use of ODSESCAPECHAR, the number of options with in- line formatting is still exciting and almost overwhelming. As I was preparing to write this paper, I found that I kept thinking of more ways to customize output than would be possible to explore at any given time. The scope of the paper therefore will be limited to a few examples outputting to two destination “families”, ODS PRINTER (RTF and PDF) and ODS HTML (HTML4). The examples presented are produced using SAS 9.1.3 (SP4) on a Microsoft XP operating system.
    [Show full text]
  • How the Past Affects the Future: the Story of the Apostrophe1
    HOW THE PAST AFFECTS THE FUTURE: THE STORY OF THE APOSTROPHE1 Christina Cavella and Robin A. Kernodle I. Introduction The apostrophe, a punctuation mark which “floats above the line, symbolizing something missing in the text” (Battistella, 1999, p. 109), has been called “an unstable feature of written English” (Gasque, 1997, p. 203), “the step-child of English orthography” (Barfoot, 1991, p. 121), and “an entirely insecure orthographic squiggle” (Barfoot, 1991, p. 133). Surely the apostrophe intends no harm; why then the controversy and apparent emotionalism surrounding it? One major motivation for investigating the apostrophe is simply because it is so often misused. A portion of the usage problem can perhaps be attributed to the chasm dividing spoken and written language, as the apostrophe was originally intended to indicate missing letters, which may or may not have actually been enunciated. To understand what has been called “the aberrant apostrophe,” (Crystal, 1995, p. 203) and the uncertainty surrounding its usage, an examination of its history is essential, for it is this “long and confused” (Crystal, 1995, p. 203) history that is partially responsible for the modern-day misuses of the apostrophe. This paper will trace the history of the apostrophe, examining the purpose(s) for which the apostrophe has been utilized in the past as well as presenting its current use. An overview of contemporary rules of usage is then included, along with specific examples of apostrophe misuse and a recommendation on how to teach apostrophe usage to non- native speakers of English. Finally, an attempt is made to predict the apostrophe’s future.
    [Show full text]
  • 14 * (Asterisk), 169 \ (Backslash) in Smb.Conf File, 85
    ,sambaIX.fm.28352 Page 385 Friday, November 19, 1999 3:40 PM Index <> (angled brackets), 14 archive files, 137 * (asterisk), 169 authentication, 19, 164–171 \ (backslash) in smb.conf file, 85 mechanisms for, 35 \\ (backslashes, two) in directories, 5 NT domain, 170 : (colon), 6 share-level option for, 192 \ (continuation character), 85 auto services option, 124 . (dot), 128, 134 automounter, support for, 35 # (hash mark), 85 awk script, 176 % (percent sign), 86 . (period), 128 B ? (question mark), 135 backup browsers ; (semicolon), 85 local master browser, 22 / (slash character), 129, 134–135 per local master browser, 23 / (slash) in shares, 116 maximum number per workgroup, 22 _ (underscore) 116 backup domain controllers (BDCs), 20 * wildcard, 177 backups, with smbtar program, 245–248 backwards compatibility elections and, 23 for filenames, 143 A Windows domains and, 20 access-control options (shares), 160–162 base directory, 40 accessing Samba server, 61 .BAT scripts, 192 accounts, 51–53 BDCs (backup domain controllers), 20 active connections, option for, 244 binary vs. source files, 32 addresses, networking option for, 106 bind interfaces only option, 106 addtosmbpass executable, 176 bindings, 71 admin users option, 161 Bindings tab, 60 AFS files, support for, 35 blocking locks option, 152 aliases b-node, 13 multiple, 29 boolean type, 90 for NetBIOS names, 107 bottlenecks, 320–328 alid users option, 161 reducing, 321–326 announce as option, 123 types of, 320 announce version option, 123 broadcast addresses, troubleshooting, 289 API
    [Show full text]
  • Multimedia Foundations Glossary of Terms Chapter 5 – Page Layout
    Multimedia Foundations Glossary of Terms Chapter 5 – Page Layout Body Copy The main text of a published document or advertisement. Border A visible outline or stroke denoting the outer frame of a design element such as a table cell, text box, or graphic. A border’s width and style can vary according to the aesthetic needs or preferences of the designer. Box Model Or CSS Box Model. A layout and design convention used in CSS for wrapping HTML text and images in a definable box consisting of: margins, borders, and padding. Cell The editable region of a data table or grid defined by the intersection of a row and column. Chunking The visual consolidation of related sentences or ideas into small blocks of information that can be quickly and easily digested (e.g. paragraphs, lists, callouts, text boxes, etc.). Column The vertically aligned cells in a data table or grid. Dynamic Page A multimedia page with content that changes (often) over time or with each individual viewing experience. F-Layout A layout design where the reader’s gaze is directed through the page in a pattern that resembles the letter F. Fixed Layout A multimedia layout where the width of the page (or wrapper) is constrained to a predetermined width and/or height. Floating Graphic The layout of a graphic on a page whereby the adjacent text wraps around it to the left and/or right. Fluid Layout Or liquid layout. A multimedia layout where the width of the page (or wrapper) is set to a percentage of the current user’s browser window size.
    [Show full text]