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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. -
X E TEX Live
X TE EX Live Jonathan Kew SIL International Horsleys Green High Wycombe Bucks HP14 3XL, England jonathan_kew (at) sil dot org 1 X TE EX in TEX Live in the preamble are sufficient to set the typefaces through- out the document. ese fonts were installed by simply e release of TEX Live 2007 marked a milestone for the dropping the .otf or .ttf files in the computer’s Fonts X TE EX project, as the first major TEX distribution to in- folder; no .tfm, .fd, .sty, .map, or other TEX-related files clude X TE EX (version 0.996) as an integral part. Prior to had to be created or installed. this, X TE EX was a tool that could be added to a TEX setup, Release 0.996 of X T X also provides some enhance- but version and configuration differences meant that it was E E ments over earlier, pre-T X Live versions. In particular, difficult to ensure smooth integration in all cases, and it was E there are new primitives for low-level access to glyph infor- only available for users who specifically chose to seek it out mation (useful during font development and testing); some and install it. (One exception to this is the MacTEX pack- preliminary support for the use of OpenType math fonts age, which has included X TE EX for the past year or so, but (such as the Cambria Math font shipped with MS Office this was just one distribution on one platform.) Integration 2007); and a variety of bug fixes. -
DE-Tex-FAQ (Vers. 72
Fragen und Antworten (FAQ) über das Textsatzsystem TEX und DANTE, Deutschsprachige Anwendervereinigung TEX e.V. Bernd Raichle, Rolf Niepraschk und Thomas Hafner Version 72 vom September 2003 Dieser Text enthält häufig gestellte Fragen und passende Antworten zum Textsatzsy- stem TEX und zu DANTE e.V. Er kann über beliebige Medien frei verteilt werden, solange er unverändert bleibt (in- klusive dieses Hinweises). Die Autoren bitten bei Verteilung über gedruckte Medien, über Datenträger wie CD-ROM u. ä. um Zusendung von mindestens drei Belegexem- plaren. Anregungen, Ergänzungen, Kommentare und Bemerkungen zur FAQ senden Sie bit- te per E-Mail an [email protected] 1 Inhalt Inhalt 1 Allgemeines 5 1.1 Über diese FAQ . 5 1.2 CTAN, das ‚Comprehensive TEX Archive Network‘ . 8 1.3 Newsgroups und Diskussionslisten . 10 2 Anwendervereinigungen, Tagungen, Literatur 17 2.1 DANTE e.V. 17 2.2 Anwendervereinigungen . 19 2.3 Tagungen »geändert« .................................... 21 2.4 Literatur »geändert« .................................... 22 3 Textsatzsystem TEX – Übersicht 32 3.1 Grundlegendes . 32 3.2 Welche TEX-Formate gibt es? Was ist LATEX? . 38 3.3 Welche TEX-Weiterentwicklungen gibt es? . 41 4 Textsatzsystem TEX – Bezugsquellen 45 4.1 Wie bekomme ich ein TEX-System? . 45 4.2 TEX-Implementierungen »geändert« ........................... 48 4.3 Editoren, Frontend-/GUI-Programme »geändert« .................... 54 5 TEX, LATEX, Makros etc. (I) 62 5.1 LATEX – Grundlegendes . 62 5.2 LATEX – Probleme beim Umstieg von LATEX 2.09 . 67 5.3 (Silben-)Trennung, Absatz-, Seitenumbruch . 68 5.4 Seitenlayout, Layout allgemein, Kopf- und Fußzeilen »geändert« . 72 6 TEX, LATEX, Makros etc. (II) 79 6.1 Abbildungen und Tafeln . -
FONT GUIDE Workbook to Help You Find the Right One for Your Brand
FONT GUIDE Workbook to help you find the right one for your brand. www.ottocreative.com.au Choosing the right font for your brand YOUR BRAND VALUES: How different font styles can be used to make up your brand: Logo Typeface: Is usually a bit more special and packed with your brands personality. This font should be used sparingly and kept for special occasions. Headings font: Logo Font This font will reflect the same brand values as your logo font - eg in this example both fonts are feminine and elegant. Headings Unlike your logo typeface, this font should be easier to read and look good a number of different sizes and thicknesses. Body copy Body font: The main rule here is that this font MUST be easy to read, both digitally and for print. If there is already alot going on in your logo and heading font, keep this style simple. Typefaces, common associations & popular font styles San Serif: Clean, Modern, Neutral Try these: Roboto, Open Sans, Lato, Montserrat, Raleway Serif: Classic, Traditional, reliable Try these: Playfair Display, Lora, Source Serif Pro, Prata, Gentium Basic Slab Serif: Youthful, modern, approachable Try these: Roboto Slab, Merriweather, Slabo 27px, Bitter, Arvo Script: Feminine, Romantic, Elegant Try these: Dancing Script, Pacifico, Satisfy, Courgette, Great Vibes Monotype:Simple, Technical, Futuristic Try these: Source Code Pro, Nanum Gothic Coding, Fira Mono, Cutive Mono Handwritten: Authentic, casual, creative Try these: Indie Flower, Shadows into light, Amatic SC, Caveat, Kalam Display: Playful, fun, personality galore Try these: Lobster, Abril Fatface, Luckiest Guy, Bangers, Monoton NOTE: Be careful when using handwritten and display fonts, as they can be hard to read. -
Cyberarts 2021 Since Its Inception in 1987, the Prix Ars Electronica Has Been Honoring Creativity and Inno- Vativeness in the Use of Digital Media
Documentation of the Prix Ars Electronica 2021 Lavishly illustrated and containing texts by the prize-winning artists and statements by the juries that singled them out for recognition, this catalog showcases the works honored by the Prix Ars Electronica 2021. The Prix Ars Electronica is the world’s most time-honored media arts competition. Winners are awarded the coveted Golden Nica statuette. Ever CyberArts 2021 since its inception in 1987, the Prix Ars Electronica has been honoring creativity and inno- vativeness in the use of digital media. This year, experts from all over the world evaluated Prix Ars Electronica S+T+ARTS 3,158 submissions from 86 countries in four categories: Computer Animation, Artificial Intelligence & Life Art, Digital Musics & Sound Art, and the u19–create your world com - Prize ’21 petition for young people. The volume also provides insights into the achievements of the winners of the Isao Tomita Special Prize and the Ars Electronica Award for Digital Humanity. ars.electronica.art/prix STARTS Prize ’21 STARTS (= Science + Technology + Arts) is an initiative of the European Commission to foster alliances of technology and artistic practice. As part of this initiative, the STARTS Prize awards the most pioneering collaborations and results in the field of creativity 21 ’ and innovation at the intersection of science and technology with the arts. The STARTS Prize ‘21 of the European Commission was launched by Ars Electronica, BOZAR, Waag, INOVA+, T6 Ecosystems, French Tech Grande Provence, and the Frankfurt Book Fair. This Prize catalog presents the winners of the European Commission’s two Grand Prizes, which honor Innovation in Technology, Industry and Society stimulated by the Arts, and more of the STARTS Prize ‘21 highlights. -
The Arabi System — TEX Writes in Arabic and Farsi
The Arabi system | ] ¨r` [ A\ TEX writes in Arabic and Farsi Youssef Jabri Ecole´ Nationale des Sciences Appliqu´ees, Oujda, Morocco yjabri (at) ensa dot univ-oujda dot ac dot ma Abstract In this paper, we will present a newly arrived package on CTAN that provides Arabic script support for TEX without the need for an external pre-processor. The Arabi package adds one of the last major multilingual typesetting capabilities to Babel by adding support for the Arabic ¨r and Farsi ¨FCA languages. Other languages using the Arabic script should also be more or less easily imple- mentable. Arabi comes with many good quality free fonts, Arabic and Farsi, and may also use commercial fonts. It supports many 8-bit input encodings (namely, CP-1256, ISO-8859-6 and Unicode UTF-8) and can typeset classical Arabic poetry. The package is distributed under the LATEX Project Public License (LPPL), and has the LPPL maintenance status \author-maintained". It can be used freely (including commercially) to produce beautiful texts that mix Arabic, Farsi and Latin (or other) characters. Pl Y ¾Abn Tn ®¤ Tr` ¤r Am`tF TAk t§ A\ ¨r` TEC .¤r fOt TEX > < A\ Am`tFA d¤ dnts ¨ n A\ (¨FCA ¤ ¨r)tl Am`tF TAk S ¨r` TEC , T¤rm rb Cdq tmt§¤ ¯m ¢k zymt§ A\n @h , T§db @n¤ Y At§ ¯ ¢ Y TAR . AARn £EA A \` Am`tF® A ¢± ¾AO ¾AA ¨r` dq§ . Tmlk ¨ ¤r AkJ d§dt ¨CA A` © ¨ ¨t ªW d Am`tF ¢nkm§ Am Am`tF¯ r ªW Tmm ¯¤ ¨A ¨r` , A\n TbsnA A w¡ Am . -
Iso/Iec Jtc1 Sc2 Wg2 N3984
ISO/IEC JTC1 SC2 WG2 N3984 Notes on the naming of some characters proposed in the FCD of ISO/IEC 10646:2012 (3rd ed.) (JTC1/SC2/WG2 N3945, JTC1/SC2 N4168) Karl Pentzlin — 2011-02-02 This paper addresses the naming of the following characters proposed for inclusion: U+2E33 RAISED DOT U+2E34 RAISED COMMA (both proposed in JTC1/SC2/WG2 N3912) U+A78F LATIN LETTER GLOTTAL DOT (proposed in JTC1/SC2/WG2 N3567 as LATIN LETTER MIDDLE DOT) shown by the following excerpts from N3945: 1. Dots, Points, and "middle" and "raised" characters encoded in Unicode 6.0 (without script-specific ones and fullwidth/small forms; of similar characters within a block, a single character is selected as representative): Dots and Points: U+002E FULL STOP U+00B7 MIDDLE DOT U+02D9 DOT ABOVE U+0387 GREEK ANO TELEIA U+2024 ONE DOT LEADER U+2027 HYPHENATION POINT U+22C5 DOT OPERATOR U+2E31 WORD SEPARATOR MIDDLE DOT U+02D9 has the property Sk (Symbol, modifier), U+22C5 has Sm (Symbol, math), while all others have Po (Punctuation, other). U+A78F is proposed to have Lo (Letter, other). "Middle" and "raised" characters: U+02F4 MODIFIER LETTER MIDDLE GRAVE ACCENT U+2E0C LEFT RAISED OMISSION BRACKET (representing several similar characters in the same block) U+02F8 MODIFIER LETTER RAISED COLON U+A71B MODIFIER LETTER RAISED UP ARROW The following table will show these characters using some different widespread fonts. Font 002E 00B7 02D9 0387 2024 2027 22C5 2E31 02F4 2E0C 02F8 A71B Andron Mega Corpus x.E x·E x˙E α·Ε x․E x‧E x⋅E --- x˴E x⸌E x˸E --- Arial x.E x·E x˙E α·Ε x․E x‧E -
Applications and Innovations in Typeface Design for North American Indigenous Languages Julia Schillo, Mark Turin
Applications and innovations in typeface design for North American Indigenous languages Julia Schillo, Mark Turin To cite this version: Julia Schillo, Mark Turin. Applications and innovations in typeface design for North American Indige- nous languages. Book 2.0, Intellect Ltd, 2020, 10 (1), pp.71-98. 10.1386/btwo_00021_1. halshs- 03083476 HAL Id: halshs-03083476 https://halshs.archives-ouvertes.fr/halshs-03083476 Submitted on 22 Jan 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. BTWO 10 (1) pp. 71–98 Intellect Limited 2020 Book 2.0 Volume 10 Number 1 btwo © 2020 Intellect Ltd Article. English language. https://doi.org/10.1386/btwo_00021_1 Received 15 September 2019; Accepted 7 February 2020 Book 2.0 Intellect https://doi.org/10.1386/btwo_00021_1 10 JULIA SCHILLO AND MARK TURIN University of British Columbia 1 71 Applications and 98 innovations in typeface © 2020 Intellect Ltd design for North American 2020 Indigenous languages ARTICLES ABSTRACT KEYWORDS In this contribution, we draw attention to prevailing issues that many speakers orthography of Indigenous North American languages face when typing their languages, and typeface design identify examples of typefaces that have been developed and harnessed by histor- Indigenous ically marginalized language communities. -
Bibliography and Index
TLC2, ch-end.tex,v: 1.39, 2004/03/19 p.963 Bibliography [1] Adobe Systems Incorporated. Adobe Type 1 Font Format. Addison-Wes- ley, Reading, MA, USA, 1990. ISBN 0-201-57044-0. The “black book” contains the specifications for Adobe’s Type 1 font format and describes how to create a Type 1 font program. The book explains the specifics of the Type 1 syntax (a subset of PostScript), including information on the structure of font programs, ways to specify computer outlines, and the contents of the various font dictionaries. It also covers encryption, subroutines, and hints. http://partners.adobe.com/asn/developer/pdfs/tn/T1Format.pdf [2] Adobe Systems Incorporated. “PostScript document structuring conven- tions specification (version 3.0)”. Technical Note 5001, 1992. This technical note defines a standard set of document structuring conventions (DSC), which will help ensure that a PostScript document is device independent. DSC allows PostScript language programs to communicate their document structure and printing requirements to document managers in a way that does not affect the PostScript language page description. http://partners.adobe.com/asn/developer/pdfs/tn/5001.DSC_Spec.pdf [3] Adobe Systems Incorporated. “Encapsulated PostScript file format specifi- cation (version 3.0)”. Technical Note 5002, 1992. This technical note details the Encapsulated PostScript file (epsf) format, a standard format for importing and exporting PostScript language files among applications in a variety of heteroge- neous environments. The epsf format is based on and conforms to the document structuring conventions (DSC) [2]. http://partners.adobe.com/asn/developer/pdfs/tn/5002.EPSF_Spec.pdf [4] Adobe Systems Incorporated. -
Ubuntuguide Part2
UbuntuGuide Part2 - http://ubuntuguide.org/index.php?title=UbuntuGuide_Part2&... UbuntuGuide Part2 From Contents 1 Boot from a Live CD 2 UEFI 3 Coreboot 4 Multiple OS Installation 4.1 Introduction 4.1.1 Using Grub Legacy for the boot partition 4.2 Partition design 4.3 Windows partitions 4.3.1 Changing Windows partition sizes 4.3.1.1 Using Shrink Volume on Vista and Windows 7 4.3.1.2 Reinstalling Vista or Windows 7 on a new partition 4.3.1.2.1 Using Windows Recovery Disks 4.3.1.3 Windows XP (or earlier) 4.3.1.4 Windows bootloaders 4.4 Install your first Linux OS 4.5 Copy boot files to the small Grub partition 4.6 Reinstall Grub to MBR 4.7 Install your second Linux OS 4.8 Changing main Grub boot menu settings 4.8.1 Using UUIDs for the main Grub bootloader menu 4.8.2 Add MacOSX entry 4.9 Re-installing Grub Legacy after Windows upgrade or re-installation 4.10 Other chainloader options 4.10.1 Chainloading Grub2 from Grub Legacy 4.11 The (hd0,9) problem 4.12 Protecting Grub Legacy from cracking 4.13 Manipulating partitions on the hard drive 5 Manipulating Partitions 5.1 Use the (K)Ubuntu Desktop LiveCD 5.2 Use GParted to manage partitions 5.3 One linux-swap partition per computer 5.4 Creating and "moving" free space 5.5 Creating or resizing a partition 5.6 Changing Grub Legacy in a boot partition 5.7 Changing Grub2 in a changed partition 5.7.1 Booting (K)Ubuntu manually from Grub Legacy 5.7.2 Discovering the current kernel files manually 5.8 Changing Grub Legacy in a changed partition 6 Virtualbox in Windows 6.1 Install Virtualbox in Windows 6.2 Install Ubuntu edition for virtual machines 6.2.1 Install a desktop 6.2.2 Install Linux Guest Additions 6.2.3 Creating shared folders 7 Android emulation 7.1 Android-x86 in VirtualBox 7.1.1 Networking for Android-x86 7.1.1.1 Wired networking for Android-x86 RC 4.0RC1 7.1.2 Installing apps 7.1.2.1 Modified apps 7.1.3 Usage tips 7.2 Android SDK emulator 7.2.1 Networking for Android SDK 7.2.2 Installing an app 1 of 177 08/10/2013 09:04 AM UbuntuGuide Part2 - http://ubuntuguide.org/index.php?title=UbuntuGuide_Part2&.. -
The Push and Pull of Languages: Youth Written Communication Across A
The push and pull of languages: Youth written communication across a range of texts in Central Java Kristian TAMTOMO University at Albany, SUNY State University of New York Youths' multilingual literacy practices constitute sites in which their language use can be pushed and pulled in different directions. This article will investigate how the way youth groups from two vocational high schools in Semarang, Central Java use Javanese, Indonesian and English across different genres of texts reflect the way they negotiate the push and pull of the various language ideologies associated with these languages. In analyzing these texts, the article will adopt a social practice approach to literacy and will also emphasize that there are orders to the indexical meanings of languages. The youths' language use shows that the range of texts form a continuum, in which the more formal texts tend to highly regulated around Indonesian as the monolingual center whereas less formal texts are more open to the use of Javanese and English, including the playful combination and juxtaposition of languages that enable youth to recontextualize and even subvert the dominant indexical meanings associated with these languages. 1. Introduction1 Youths are often at the cutting edge of multilingualism as agents of linguistic change through their propensity to adopt hybrid genres, their affinity with trans-local cultural genres, and their embrace of new digital media (e.g., Alim, Ibrahim and Pennycook 2009; Bucholtz and Skapoulli 2009; Rampton 2005; Leppanen et al. 2009). In their language use, youths also have the tendency to use novel language varieties (styles, registers, dialects, multiple languages) in their practices of identity construction (Bucholtz 1999, 2001; Eckert 2000; Bailey 2001) even using and adopting language forms normally not associated with their own specific social or ethnic category (e.g., Cutler 1999; Rampton 2005). -
The Effect of Fonts Design Features on OCR for Latin and Arabic
Avestia Publishing Journal of Multimedia Theory and Application Volume 1, Year 2014 Journal ISSN: 2368-5956 DOI: 10.11159/jmta.2014.006 The Effect of Fonts Design Features on OCR for Latin and Arabic Jehan Janbi1,2, Mrouj Almuhajri2, Ching Y. Suen2 1Department of Computer Science, Taif University Airport Rd, Al Huwaya, Taif, Saudi Arabia [email protected] 2CENPARMI Concordia University, 1515 St. Catherine W. Montréal, QC, Canada [email protected]; [email protected] Abstract - Huge digitized book projects have been launched and handwritten characters. The improvement of recently like Google Book Search Library project and MLibrary. recognition can be effected by modification of OCR They basically depend on optical character recognition systems stages, such as pre-processing, segmentation, features (OCR) to convert scanned books or documents into editable and extraction or recognition stage. Several studies text searchable e-books. Although research on OCR area addressed different features to be extracted in purpose pursued over decades, very few of them focus on the effect of typeface design on the recognition rate. We took a further step of increasing OCR accuracy for Latin and Arabic scripts. by conducting systematically two observational experiments on In [1], a survey has been done on many studies that Latin and Arabic typefaces using OCR tools. A collection of 18 used different features extraction techniques for Latin, Latin and 13 Arabic typefaces have been tested in two sizes such as zoning, calculating moments and number of using six OCR packages in total. In addition, confusion tables holes and points of the character. For Arabic, in [2] have been constructed to show similarities among some more than one feature extraction method has been characters of the alphabet.