There is no philosophical security in Hemingway‟s world which is characterized by violence, evil and death. Nick Adams, Jake Barnes, Frederic Henry, and Colonel Cantwell are war scarred; Robert Jordan and Thomas Hudson die fighting. His world is inhabited by soldiers, bullfighters, boxers and all those who partake in masculine activities of life. In fact, Hemingway is the celebrant of the masculine life as well as the dilettante of violence. The epos of violence and death is life‟s fundamental narrative in Hemingway‟s fiction. This is evident even from his well- known collection of short stories In Our Time.
This paper investigates redundancy detec- tion in ESL writings. We propose a mea- sure that assigns high scores to words and phrases that are likely to be redundant within a given sentence. The measure is composed of two components: one cap- tures fluency with a language model; the other captures meaning preservation based on analyzing alignments between words and their translations. Experiments show that the proposed measure is five times more accurate than the random baseline. 1 Introduction
Visual symptoms (40 [28.8%] of 139 migraine drawings) were often expressed vividly (Fig 2) and included flashing white or colored spots moving across the visual field and scintillating shapes. (The drawing with colored spots moving across the visual field [not shown] was labeled by the child as having different colors; no colored pencils were used.) Pho- tophobia was portrayed by closed eyes, shut-off lamps, or eyes covered with a blanket or face cloth. In Fig 2A, photophobia is indicated by a line crossing out the sun, and sonophobia is expressed by the crossed out radio. In Fig 2B, the child indicated that the lightbulb in the upper right of the picture caused colored dots to appear on the left side of his vision; he also felt nauseated, indicated by his hand holding his stomach. The girl who drew Fig 2C experienced scintillating scotomata on the right side of her visual field, whereas the girl who drew Fig 2D saw similar forms on the left. Before a headache began, the boy who drew Fig 2E stated that objects straight in front of him were seen clearly (desk, television set), whereas objects off to the far left side were blurry (in this case, a distorted door). The boy who drew Fig 1F explained that initially (before the headache), he had a clear field of vision (left side of picture), but over time (arrow), he perceived moving shiny circular spots traversing his visual field.
The evaluation of all PDs was carried out by only one in- vestigator. He was blinded with regard to the pain diag- nosis and the department’s origin of the patients. The inventory of the drawings is based on their graphic fea- tures only. We strictly renounced any interpretive cri- teria (e.g. “not corresponding to anatomic structures”). The criteria included objective aspects only, e.g. the form (lines, hatches, circles, and rectangles) and the orienta- tion (e.g. horizontal lines, symmetrical distribution). We took the position with regard to the template border (i.e. lines following the contour of the body scheme, or marks exceeding the border of the body scheme) into
The progressive increase in knee alignment angle from severe varus to severe valgus knee malalignment suggests that this line drawing instrument is a valid ordinal mea- sure of knee malalignment. However, there was no differ- ence in knee alignment angle between those with mild and severe varus deformity at the knee. This may be due to heterogeneity in patient's perception of severity of varus malalignment at the knee. Thus the self-reported knee malalignment instrument is valid in discriminating between varus, straight and valgus knee malalignment but it may not be robust in discriminating between severe and mild varus malalignment. The difference in mean knee alignment angle between severe varus and valgus knee malalignment was just over 13 degrees (Table 2). This suggests that both patients and expert observers over estimate the degree of knee malalignment in com- parison to radiographic assessment.
The same process works if a new isometric circle is put on the top face, or on the left face. Place an ellipse on the part and fix it with the LI and L2 fields in the Status Line. Next, show the hole going all the way through the part. To show that more clearly, make the entire part a bit thinner.
For example, in line with a more arts-based curriculum, the Ministry of Education and Research, Norway (2005) follows a national curriculum designed for primary to secondary education that reflects the growing influence images, drawings and other graphic elements have in child development. Within this curriculum, drawing is approached as a resource employed for developing competence in reading and producing multimodal texts (Holm Hopperstad, 2008). Building on already existing programs, as well as drawing on past research, it is our hope that future educational programs for Canadian students will aim to strengthen the connections between theory and practice regarding children’s drawings and social and emotional development. Finally, such educational activities that include drawing would also encourage children to develop socio-emotional and moral competencies by strengthening their ability to understand the perspectives and emotions of others (Bosacki, 2008). Consistent with a holistic view of gender and social cognition (Fine, 2010; Underwood, 2003), we hope our research contributes to, and furthers the dialogue regarding the complex and multifaceted nature of gender and its relation to children’s play experiences within the school context.
1. I would like to thank the Center for the Advanced Study in the Visual Arts and the National Gallery of Art where I did much of the library research for this chapter. The greater availability of paper was tied to the invention of the printing press (Francis Ames-Lewis, Drawing In Early Renaissance Italy (New Haven: Yale University Press, 1981), 21–23; Carmen Bambach, “The Purchases of Cartoon Paper for Leonardo’s Battle of Anghiari and Michelangelo ’ s Battle of Cascina, ” I Tatti Studies 8 (1999): 105 – 33. 2. The best known medieval example is Villard de Honnecourt; see Carl F. Barnes, The Port- folio of Villard De Honnecourt (Paris: Bibliothèque Nationale De France, Ms Fr 19093), A New Critical Edition and Color Facsimile (Aldershot: Ashgate, 2009). A few ancient Roman exam- ples are also cited by Mark Wilson Jones, Principles of Roman Architecture (New Haven: Yale University Press, 2000): 26, figures 1.9 and 1.10; 50 – 58. The carved drawings on the podium walls of the Temple of Apollo at Didyma are discussed, with other ancient exam- ples, by Lothar Haselberger, “Aspekte der Bauzeichnungen Von Didyma,” Revue Archéo- logique 1 (1991): 99 – 113; I am grateful to Alina Payne for this reference.
Dawn (1881) is an avowedly anti-revolution work in which Nietzsche seeks to promote a philosophy of the morning based on “slow cures” (D 462) and “small doses” (D 534). In his middle writings he displays a preference for individual therapy and self- cultivation over political revolution. Nietzsche explicitly writes against impatient political invalids and argues instead in favour of these small doses as a way of bringing about change (D 534). He is of the view that the last attempt in Europe at a transformation of evaluations, and specifically with regards to political matters, namely, the Great Revolution, “was nothing more than a pathetic and bloody quackery…” (D 534) The task, he says, is to continue the work of the Enlightenment in each and every individual but also “to strangle the Revolution at birth” and ensure it does not happen (see D 197).
The First World War was not only an indispensable experience but also one of the schools of writing in France. Hemingway learnt the art of fiction, not at the Sorbonne, but in the post-war Paris where Ezra Pound, or Ford Madox Ford or Gertrude Stein presided, talked in an animated tone, advised and even blue-pencilled the writings of Hemingway and other aspiring writers of the time. Writing about the impact of the First World War on Hemingway and his nearest friends and rivals F.J Hoffman remarks:
More specifically, the study probed the use of it bundles in two groups of applied linguistics academic writing: research articles, representing published writing, and postgraduate theses, as written by students at master’s and doctoral levels, reflecting unpublished writing. Accordingly, two corpora of published and unpublished writings in applied linguistics were used in this study to find whether these two types of writing in one single disciplinary area are similar or different from each other in terms of their use of it bundles. At the same time, comparing the two types of writing could show the extent to which postgraduate students’ use of it bundles is similar to or different from that of published writers. The results are likely to shed some light on the possible patterns of bundles choices among publsihed and unpublsihed writers.
(ii) Let A 6= B be points, and let f : AB → R be a 1–1 correspondence such that d(X, Y ) = |f (X) − f (Y )| for all points X, Y on the line AB and f (A) > f(B). If C is a third point on AB, state the inequality or inequalities corresponding to the (separate) statements A ∗ C ∗ B and A ∗ B ∗ C.
Google Drawings lets you copy the formatting you’ve applied to specific object to another object using the Paint Format tool. If you’re familiar with the Paint Format tool in Google spreadsheets, this works in a similar manner. With the Paint Format tool, you can copy a shape or object’s background and line style. With a text box, you can use the Paint Format tool to replicate the text formatting.