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Learn more about Smartcrypt's approach to data protection.


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Home » Asia » South Korea reports 4th imported cholera case from the Philippines
South Korea reports 4th imported cholera case from the Philippines
by Robert Herriman
Asia, Headlines
In a follow-up on a report concerning imported cholera in South Korea, The Korea Centers for Disease Control and Prevention (KCDC) reported (computer translated) the fourth case in a traveler to the Philippines since February.
Public domain image/Dartmouth
http://remf.dartmouth.edu/images/bacteriaSEM/source/1.html
The most recent case, a 39-year-old Korean man, traveled to Manila and arrived back at Incheon International Airport on Wednesday, August 2.
A stool culture test was carried out at the Incheon airport quarantine station and V. cholerae O1 Hikojima was identified.
He is now receiving treatment at a hospital and remains in a stable condition, the KCDC said.
The three previous imported cholera cases were in travelers to Cebu, Philippines (February 20, February 24, June 16).
The KCDC advises travelers to the Philippines to strictly observe the rules for the prevention of infectious diseases such as proper hand washing and safe eating habits.
LISTEN: Cholera: The disease, the Yemen crisis and the vaccine
Cholera, caused by the bacterium Vibrio cholerae, is an acute bacterial intestinal disease characterized by sudden onset, profuse watery stools (given the appearance as rice water stools because of flecks of mucus in water) due to a very potent enterotoxin.
Game of Thrones tours in Europe
The enterotoxin leads to an extreme loss of fluid and electrolytes in the production of diarrhea. It has been noted that an untreated patient can lose his bodyweight in fluids in hours resulting in shock and death.
The bacteria are acquired through ingestion of contaminated water or food through a number of mechanisms. Water is usually contaminated by the feces of infected individuals. Drinking water can be contaminated at the source, during transport or during storage at home. Food can get contaminated by soiled hands, during preparation or while eating.
Beverages and ice prepared with contaminated water and fruits and vegetables washed with this water are other examples. Some outbreaks are linked to raw or undercooked seafood.
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Prior dengue or yellow fever exposure does not worsen Zika infection in monkeys
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text:
Q: Push object into array in Angular I have the problem with pushing object into array. I have array with objects inside. This component print it:
<div class="row"
  *ngFor="let element of dietList">
{{element.name}} {{ element.weight }}
</div>

Second add object to array but I would have possibility to add various type of object like: rice, chicken and so on. So I have created other array with object inside. This array don't contains wieght becouse user would have possibility to check his own value. So into second component I print name of product and input with local refference
<div *ngFor="let product of products">
  {{ product.name }}<input type="text" #weight>
  <button class="btn btn-primary" (click) = "onAddNewElement(product, weight.value)">Add</button>
</div>

onAddNewElement() method is very simple:
  onAddNewElement(element, weight){
    let newElement = element;
    newElement.weight = weight;
    this.dietService.newElement(newElement);
  }

newElement() method pushing object into array.
  newElement(element){
    PRODUCTS.push(element);
  }

It works but not like I want. When I add my first element everything is ok, but when I add next element values of first element is going to overwrite.
Example: In first step  I checked weight input on 120g (chicken for example). In second step I checked weight on 200g. In result 2 elements I going to weight value on 200g. First value every time is overwrite.

A: So here is what I think is happening.
You have an array of products, lets say:
var products = [{name: 'myOnlyProduct', weight: 120}]

Now you loop through that array of products in the *ngFor.
You change the weight of that one object in your html and pass it to the onAddNewElement.
In your onAddNewElement you update the old object with the new weight and pass it to newElement.
newElement push the exact same object onto the array again.
What you need to do is create a new object before you change the weight and then push that to the array.
onAddNewElement(element, weight){
  let newElement = Object.assign({}, element); // make a copy
  newElement.weight = weight;
  this.dietService.newElement(newElement);
}

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text:
In the Introduction, I wrote that the works I have covered in this book were chosen purely on the basis of my preferences. As an academic, I am supposed to have an area of specialization, though I have always had trouble focusing on a single area of literature to the exclusion of others. Theoretically, however, my areas of specialization are the Middle Ages and the Renaissance. I mention this point because the present chapter concerns one of my favorite writers, a writer remote from the Middle Ages and the Renaissance, Charles Dickens.
Dickens, who lived through the middle of the nineteenth century, has come to represent Victorian England for many readers. While Dickens does, indeed, describe certain aspects of nineteenth-century England, his portrait of the period should not be regarded as all-inclusive. Perhaps a better portrait of the period can be found in the many novels of Anthony Trollope. These are fine works, enjoyable to read, with good plots and interesting characters; but for me, at least, they lack the magic of Dickens' works. Trollope's novels have a far greater level of realism, of verisimilitude. Dickens' novels seem realistic, but his realism is an illusion.
Of course, any literary realism is an illusion, since the only reality in a literary work is the words on the page. If Gabriel Garcia-Marquez decides that one of his characters, Remedios the Beautiful, should ascend to heaven while she is hanging out the laundry, then in the context of 100 Years of Solitude, that is what is real; but when we talk about literary realism, we are usually talking about how closely the world of the novel corresponds to the world we inhabit. Since no one is known to have ascended to heaven while hanging laundry, and since the possibility of such an even seems remote, we can say that Garcia-Marquez does not use realism (or that he uses "magic realism"). Because no one now living was alive during Victorian times, it is difficult for us, even for those among us who have studied the Victorian era, to know for certain what everyday life was like then. In Trollope's novels, we get the feeling that he is describing everyday life and everyday people. In Dickens' novels, on the other hand, we often get that feeling, but when we look beneath the surface, we can see that Dickens has tricked us. Like all of the greatest writers, he is a magician, and the miracle is that he continues to cast his spell on us.
Naturally the question of literary realism entails many more complications. We might wonder about which American author best represents the reality of America. Is there a single novel written in twentieth-century America, or is there a single twentieth-century American author, whose collected works could represent twentieth-century America? Of course not. We are too diverse; and writers, however broad and inclusive their vision might be, are too limited to be able to depict an entire culture. For these reasons, there will never be such a thing as The Great American Novel, although there are many great American novels. In terms of verisimilitude, Moby Dick is a travesty. For one thing, much of the information about whales is incorrect, and it has always seemed to me that the owners of the Pequod, in their effort to make a profit, would have been unlikely to entrust their ship to a monomaniac like Captain Ahab. On the other hand, in terms of what it says about America and Americans of different kinds, what it says about human beings, and what it says about the difficulties of inhabiting this world, Moby Dick is a marvelous and much-maligned novel. Many readers are inclined to skip the passages about whales, but those passages, largely because of their fictionality, are vital to the novel. Melville makes them seem real. In terms of cetology, they are fictional; in terms of his novel, they are certainly real. They tell us something about the world as Melville saw it, about America as Melville saw it, and as inhabitants of that world and heirs of that America, we should be interested in Melville's brilliantly presented vision.
So it is with Dickens. His novels are rooted in the particularities of nineteenth-century England, and they are full of the most outrageous characters and the most bizarre situations; characters and situations that could never have existed. In Bleak House, the novel we will be considering in this chapter, a character spontaneously combusts! Nevertheless, they show us important things about certain kinds of societies. They enlighten us about human relationships. They make clear the effects of industrialization on human beings, even for a post-industrial culture like ours. And they accomplish these things with humor and with humanity. They are remarkable achievements.
There are, however, three objections that are often raised against Dickens' novels. These involves the length of those novels, their sentimentality, and the extraordinary amount of coincidence that pervades them. These are serious objections, but there are ways of explaining each of them. Let me begin by noting that for most Americans, if they have read a Dickens novel, it was probably A Tale of Two Cities, and if they have read two Dickens novels, the second one was probably Great Expectations. The reason for these selections is easy to see: they, along with Hard Times, are Dickens' shortest complete novels, and given the amount of time that teachers have for teaching (with college semesters now at about fourteen weeks), our inclination is to use the shorter works. Furthermore, we tend to be in too much of a hurry in our everyday lives to read very long books. I have been using Tolstoy's War and Peace in one of my courses for years, and once the students get over the shock of having to read fourteen hundred pages, they discover that the book is not terribly difficult and that they actually like it. But before they begin reading it, they are not very happy with me. Since some of Dickens' greatest novels are closer to a thousand pages than they are to five hundred pages long, their sheer bulk tends to put readers off.
Unfortunately, A Tale of Two Cities is in many ways not typical Dickens. It is, to be sure, a wonderful book. The image of Madame Defarge and her knitting is priceless, and Sidney Carton's self-sacrifice, along with his concluding speech, can never be forgotten. Furthermore, the novel does deal with themes that are present in other Dickens novels. Still, most of Dickens' works are about England, and most of them are about England at roughly Dickens' own time, while A Tale of Two Cities is about France in the eighteenth century. Furthermore, Tale's relative brevity works against its being typical Dickens. Because of that brevity, Dickens does not have the time to develop his usual panoramic view. Great Expectations, however, is about the same length as A Tale of Two Cities, and it most certainly is typically Dickensian.
There are, however, simple explanations for the length of Dickens' novels. One explanation is quite practical. Dickens wrote most of his novels to be published in monthly installments; and the more installments he wrote, the more magazines would be sold. That explanation is probably a bit too mercenary. Though Dickens was very much concerned with his finances (as who is not?), his novels do not contain "filler" put there to increase their length. But the fact remains that the longer a novel ran, the better it was for Dickens. Bleak House ran for eighteen months and was very popular. Of course, an eight-hundred page novel looks daunting to us, but if we were to divide it into eighteen monthly sections, each section would be about forty-five pages long. Just the psychological effect of eighteen forty-five-page sections rather than a single eight-hundred-page monster makes the work less daunting. (What always amazes me is that these long novels, in fact, everything we have discussed so far in this book, were written by hand. Imagine writing an eight-hundred-page novel by hand!) Of course, after their serialization, Dickens published his novels in book form, and they retained their popularity. Perhaps his readers did not feel as rushed as we do—we know from Austen, Trollope, and other writers that middle-class women and many middle-class men had very little that they were required to do—and were more willing to read long works while they sat around waiting for television to be invented. They certainly did not have all the distractions that we do.
If, however, we give these long novels a chance, we often find that they are captivating. Every novel creates a world, but the longer the novel is, the more developed that world can be. Dickens' finest novels, with their wide-ranging settings, their traversal of England's social classes, their focus on the problems of Victorian society, truly do feel like they capture the whole of that society. And if we read these books at a leisurely pace, not rushing through them but savoring Dickens' language and enjoying his characters, we can enter what one of my teachers called the world of his novels.
Entering that world, naturally, entails accepting many of his conventions, including his sentimentality. We still like to have our emotions toyed with. Not only do soap operas flourish, but people often rush to movies where they can have "a good cry." The ability of the arts to affect our emotions in this way is not only important but potentially healthy. It lies behind Aristotle's doctrine of catharsis. Pure sentimentality, however, like pure oxygen, can be too much of a good thing. If sentimentality arises from natural situations, it may be fine, but if it arises from overt manipulation, may people object to it. I, for one, do not want to see a film whose sole purpose is to elicit tears, though I may be moved to tears by a particularly fine film. The question is whether this arousing of emotions is a means or an end. Sentimentality sees it as an end. Dickens certainly does have his share of sentimentality and of the melodrama that creates such sentimentality. My favorite example is The Old Curiosity Shop, a very long book, much of which is devoted to the death of Little Nell. Hundreds of pages are devoted to the death of Little Nell. It is the longest death scene in the history of literature. I am, frankly, relieved when Little Nell finally gives up the ghost, but Dickens' original audience loved the whole morbid thing. They waited for installment after installment, hoping, perhaps, that antibiotics would be discovered and Nell could be saved. Clearly, though I like The Old Curiosity Shop, I find that aspect overdone.
Dickens' sentimentality, however, is mostly better than that, and it is so for a specific reason. Dickens was highly sensitive to social wrongs and injustices. His feelings probably stemmed from his experiences as a child, but whatever their origin might have been, those feelings appear in novel after novel, as he explores problems in education, in the factories, in the financial system, in politics, in the law, and in the treatment of the poor. He is especially sensitive to the effects of social wrongs on children. He could have used those feelings to gather data and write sociological studies of child labor or corrupt politicians. He undoubtedly would have done a fine job and then been forgotten. Instead, he wrote novels that reveal and explore these problems, that illustrate their effects on people to whom we feel close. It may seem foolish for us to weep over the death of a little boy whose only reality is as words on a page, but if we can be moved by fictional characters, perhaps we can be more sensitive to their real-life counterparts.
I suspect that some of the objections to Dickens' sentimentality come from people who object to being reminded of the social wrongs that we all tolerate all of the time. Rather than considering the important points that Dickens is making, they develop aesthetic objections, thereby relieving themselves of the guilt they might feel for taking part in a corrupt and oppressive system. In Bleak House, the death of Jo is not there for entertainment or to produce a gratuitous shedding of tears. Jo is a young boy on his own, with no one to watch out for him, to care for him, to love him. He does not even have a last name. He has nowhere to live. He survives on the scant charity of others, and the fact that he barely survives is a comment on the level of charity in Dickens' England. When he finally does receive the attention he deserves as a human being, it is too late, and his pitiful death, as he tries to learn the words of the Lord's Prayer, is a condemnation of the divine and human systems that made his life what it was. Dickens can be very funny when he wants to be, but he can also be bitter. Jo's death is not simply sentimental. It is social criticism, and if we shed tears when we read about it, we are mourning for him, for all the Jos that we know still exist, and for ourselves, because we live in a world where Jos can and do exist.
Dickens' sentimentality, then, stems from his concern with human relationships, and not all that sentimentality conveys tragedy. Nothing makes Dickens more happily sentimental than a loving family. The Bagnets in Bleak House are a wonderful example. Mr. and Mrs. Bagnet have their little peculiarities—she is all business, and he bows to her every opinion while pretending that they are his own—but they love and respect each other, they dote on their children, and they treat everyone they encounter with dignity. They are not financially well off, but they are among the richest characters in the novel; and when Dickens focuses the story on them, we can almost see him smile at their eccentricities while he delights in their warmth.
Dickens' concern with human relationships brings us to the third of the criticisms often leveled against him, his reliance on coincidences. So much literature depends on coincidence that the charge against Dickens might seem specious. Romeo is in love with Rosalind when he just happens to see Juliet who just happens to be the daughter of his father's bitterest enemy. Sure. The Danish king builds his new castle in the neighborhood where Grendel and his mother just happen to live. Right. Huck Finn and Jim just happen to come across the body of Huck's father. Of course. But if coincidences abound in literature, they are everywhere in Dickens. His characters turn out to be related to each other at an alarming rate, or they know each other's secret histories with amazing accuracy. It may seem that Dickens too often takes the easy way out by suddenly revealing a relationship that no one expected, but for Dickens these coincidences are not merely plot devices. They express an important point about his view of the world. At one point in Bleak House, Mr. Jarndyce and Mr. Woodcourt, looking at the dying Jo, both think "how strangely Fate has entangled this rough outcast in the web of very different lives" (chapter 47). Dickens' point here is central to the novel: Jo is indeed an outcast in his society, poor, neglected, and dying, and yet he is intimately involved in the lives of all the major characters. The "web of very different lives" is an excellent image for the idea Dickens is trying to convey. Who would think there might be a connection between the haughty, rich, and pompous Sir Leicester Dedlock and a person like Jo? "What connexion can there have been between many people in the innumerable histories of this world, who, from opposite sides of great gulfs, have, nevertheless, been very curiously brought together!" (chapter 16). But the point is that social life is a web and that all these lives truly are connected. When we begin to read Bleak House, we seem to be reading several stories at the same time. A large number of characters are introduced relatively quickly, and the reader might well wonder what, if anything, they have to do with each other. As the novel progresses, however, the reader starts to see patterns of relationships. The characters themselves, like the reader, may be unaware of these patterns, which is perfectly natural. More problematical is their ignorance that such patterns are possible. If Sir Leicester sees no possibility of a connection between himself and Jo, then he makes himself incapable of ever seeing such a connection and he forces the Jos of the world into the position of outcast. If, on the other hand, Mr. Jarndyce recognizes the possibility of such connections, then he includes rather than excludes people. The difference is that between generosity and selfishness. The web is there. The question is whether we can see it, or whether we want to acknowledge it. I may be my brother's keeper, but I also must know who my brother is.
So Dickens' novels may seem to be full of coincidences, but those coincidences are meaningful. They ask us to consider the "web of very different lives," to consider the connections, or even the possibility of connections, that exist among us. Those characters in Bleak House who see the world from this perspective are certainly far happier than those who do not. One element in the novel that helps us see this point is its dual narration. Approximately half of the novel's chapters are narrated by Esther Summerson, who necessarily sees the story from her own limited point of view. The other half are narrated by an unnamed, omniscient narrator. Both are writing long after the action of the story has taken place, but their approaches are, as we should expect, quite different. Esther tells the story in the precise order that she became aware of things, but since she is one of the people who is open to the possibilities of the web, she aids us in discovering those possibilities. The anonymous narrator, who knows everything, does not share Esther's sense of discovery. His presentation is more objective—"these are the connections that exist"—while Esther's is subjective—"there are the connections as I discovered them." Both narrators point to the connections, but they do so from different perspectives.
One important distinction between the narrators is that Esther is less likely to be overtly critical of characters or situations. Esther tends to look for the good in people, though she is not simply a Pollyanna. She cares for the people around her and finds it difficult to believe that people can intentionally behave badly. When she is confronted with evidence, however, as in the case of Harold Skimpole (about whom we will have more to say), she does not hesitate to state her opinion. She recognizes, too, the absurdity of Mrs. Jellyby, whose concern for Africa outweighs her concern for her own children, and the selfishness of that antiquated dandy Mr. Turveydrop (and doesn't Dickens create wonderful names?), but since there would be nothing gained by confronting these characters with their failures, she does not bother. She is critical of the educational system that taught Richard "to make Latin Verses of several sorts, in the most admirable manner" but that never prepared him to do anything practical in life (chapter 13). Her response to evil and suffering is to try to relieve them, and she, along with characters like Mr. Jarndyce and the Bagnets, engages in many acts of kindness and charity. She is certainly aware of the actual conditions around her, though she is perhaps too polite to harp on them directly. Her use of indirect comment can be seen in one of her conversations with Miss Flite:
I said it was not the custom in England to confer titles on men distinguished by peaceful services, however good and great; unless occasionally, when they consisted of the accumulation of some very large amount of money.
"Why, good gracious," said Miss Flite, "how can you say that? Surely you know, my dear, that all the greatest ornaments of England in knowledge, imagination, active humanity, and improvement of every sort, are added to its nobility! Look round you, my dear, and consider. You must be rambling a little now, I think, if you don't know that this is the great reason why titles will always last in the land!"
I am afraid she believed what she said; for there were moments when she was very mad indeed. (chapter 35)
Only a madwoman, Esther says, would believe that good deeds in the service of humanity are rewarded by a grateful England.
The anonymous narrator, on the other hand, is openly critical. His attitude toward the Dedlocks and their circle, which can be seen from the second chapter onward, is one of scorn and criticism. His references to "the fashionable intelligence," that sector of society that cares about the activities of a moribund but still oppressive upper class, reveal his attitude to both the upper classes and to those who support them. His constant references to the Dedlocks' footmen as "Mercuries" or "powdered Mercuries" betray a hostility to a society that admires ostentatious shows of wealth in the midst of crushing poverty. Sometimes his criticisms are merely implied, as they are when he mentions as part of a larger story that Mrs. Rouncewell, the Dedlocks' housekeeper, felt obligated to report to Sir Leicester her own son's participation in activities that, while harmless, were not to Sir Leicester's liking. The implications of the story are clear: so powerful is the hold of the Dedlocks, the rich, that parents, out of a misplaced sense of loyalty, are willing to inform on their children. At other times the narrator is bitter in his comments, for he is outraged at what he sees around him. When Jo dies, the narrator says, "Dead, your Majesty. Dead, my lords and gentlemen. Dead, Right Reverends and Wrong Reverends of every order. Dead, men and women, born with Heavenly compassion in your hearts. And dying thus around us every day" (chapter 47). The narrator, and by extension Dickens, implicates the whole of British society in Jo's death. From the queen through the nobility and the religious establishment down to all those people who profess compassion but do nothing, all are guilty of Jo's death and of the deaths of so many others. The narrator understands and proclaims the implications of what he sees.
It is instructive to compare Esther's and the narrator's comments on poverty. When Esther is visiting one of the poor families that she helps, she says,
I thought it very touching to see these two women, coarse and shabby and beaten, so united; to see what they could be to one another; to see how they felt for one another; how the heart of each to each was softened by the hard trials of their lives. I think the best side of such people is almost hidden from us. What the poor are to the poor is little known, excepting to themselves and God. (chapter 83)
A little while later, in describing the burial of Nemo (which means "No one" and is another testimonial to the dehumanizing effects of this society), the narrator says,
With houses looking on, on every side, save where a reeking little tunnel of a court gives access to the iron gate—with every villainy of life in action close on death, and every poisonous element of death in action close on life—here, they lower our dear brother down a foot or two: here, sow him in corruption, to be raised in corruption: an avenging ghost at many a sick-bedside: a shameful testimony to future ages, how civilization and barbarism walked this boastful island together. (chapter 11)
Esther sees the problem in terms of human relationships, while the narrator sees it in the more objective terms of moral judgment. Both views are correct, from their different perspectives; and by giving us both narrators, Dickens allows us to see clearly both perspectives.
Those perspectives raise another problem. We do not know why Esther is writing her account of the story. She has been asked to write it, but we do not know by whom or for what reason. Although it contains much that is critical, it is a highly personal story and recounts many acts of individual kindness. Such acts will not reform the system, but they do bring some relief to individuals. The anonymous narrator, on the other hand, is writing to tell a story, but he does so, we feel, in order to challenge the system. Lest anyone think that I am using a twenty-first-century concept of "the system," let me cite the words of one of the novel's unfortunate characters, Gridley:
The system! I am told, on all hands, it's the system. I mustn't look to individuals. It's the system. I mustn't go into Court, and say, 'My Lord, I beg to know this from you—is this right or wrong? Have you the face to tell me I have received justice, and therefore am dismissed?' My Lord knows nothing of it. He sits there, to administer the system. (chapter 15)
Gridley recognizes that the system is composed of individuals, each of whom consents to being part of the system and therefore bears responsibility for it. At the same time, the system seems to have a life of its own, a life which someone like Mr. Jarndyce can avoid or in which someone like Richard can become fatally entangled.
What, then, is the system? It often happens that readers, in trying to pin down what a book is about, will isolate a particular theme and declare that that theme is the subject of the book. Dickens' Martin Chuzzlewit is supposed to be about selfishness, while Bleak House is supposed to be about the law. There is indeed a law case at the center of Bleak House, the infamous case of Jarndyce and Jarndyce, a case that has dragged on for so long, involved so many documents and so many lawyers, and ruined so many lives that no one can keep track of it. Lawyers, as we all know, have been the target of much criticism and humor, from Shakespeare's "The first thing we do, let's kill all the lawyers" (2 Henry VI, IV.ii) to "What's brown and looks good on a lawyer? A Doberman." Certainly the lawyers who populate the pages of Bleak House are less than admirable, from Mr. Tulkinghorn, who is always in the shadows, always appearing out of the dark, to Mr. Vholes ( a vole is a burrowing rodent), who looks like Death. While Jarndyce and Jarndyce drags on year after year, legions of lawyers make a living from it. In fact, it is not in their interest for the case to be settled, and so for them, the system is wonderful. As Mr. Kenge says to Mr. Jarndyce, "My dear sir, this is a very great country. Its system of equity is a very great system, a very great system. Really, really!" (chapter 62). So the law is certainly one of Dickens' main targets in Bleak House, but this is not a novel about legal reform in the sense that Upton Sinclair's The Jungle is a novel about reforms in the meat-packing industry. Dickens makes not a single practical suggestion for reforming a single clear flaw in the legal system. That system, as we see over and over in the novel, is awful for everyone besides the lawyers, but that system is symptomatic of larger problems in England that are Dickens' real targets. When Gridley comments on "the system," he is commenting specifically on the legal system, but he is also commenting on a larger, more amorphous system that entraps almost everyone.
The openings of novels are very important. They often not only set a tone for the rest of the novel but they may indicate the novel's thematic concerns. A good example is Thomas Hardy's Return of the Native, which opens with a long chapter describing Egdon Heath, the novel's physical setting. On a first reading, the reader may wonder why the chapter is there, but if the reader returns to that chapter after having finished the novel, it becomes clear how that chapter prepares us for the rest of the book, how it incorporates the setting and the themes of that highly uncheerful novel. The first chapter of Bleak House, too, serves this function. This chapter, entitled "In Chancery," introduces us to the case of Jarndyce and Jarndyce, but it does far more. One of the oddities of this novel is that the place called Bleak House is one of the least bleak locales in the book. The bleakest settings are in London, and it is no accident that the novel opens, "London. Michaelmas Term lately over, and the Lord Chancellor sitting in Lincoln's Inn Hall. Implacable November weather." The beginning of this chapter not only describes bleakness, it is itself bleak. In fact, the novel's first grammatically complete sentence does not occur until the fourth paragraph. The first paragraph, consisting entirely of sentence fragments, describes mud, smoke, and soot, as well as the faceless crowd: "Foot passengers, jostling one another's umbrellas, in a general infection of ill-temper, and losing their footholds at street-corners, where tens of thousands of other foot passengers have been slipping and sliding since the day broke (if this day ever broke), adding more deposits to the crust upon crust of mud, sticking at those points tenaciously to the pavement, and accumulating at compound interest." The paragraph begins with "London" and moves directly to the area of the law courts, after which it describes "tens of thousands" of individuals, their individualism emphasized by their individual jostling umbrellas that hide their individuality, all adding to the mud and filth that characterize the city.
The second paragraph, again consisting entirely of fragments, describes the fog: "Fog everywhere." The people of this great city live in a perpetual fog, a fog that is both literal and metaphorical. Literally, London was a foggy city, largely because of the smoke generated by factories and fireplaces. Metaphorically, the people of London, all of those individuals adding to the filth, lived in a moral fog, as the rest of the novel illustrates. Every character, no matter how venal or self-serving, can justify his or her behavior. Almost no one seems to see the misery that surrounds them, the poverty, the injustice, the suffering; and even fewer take responsibility for it. The legal system, which professes its concern for equity but which is horribly flawed, becomes the perfect metaphor for England and for the "system" that treats human beings like objects, grinds them down, and then disposes of them. This novel is no exposé of the legal system. Instead it uses the well-known flaws of the elgal system to comment on the failings of the society. We see it in the Dedlocks and we see it in the most poverty stricken of the poor.
Sir Leicester bears an especially heavy responsibility because he is wealthy and because he is in the government, where he worries about political intrigues involving Lord Boodle and Lord Coodle, Sir Thomas Toodle, the Duke of Foodle, Goodle, and so on through the alphabet, or on the other side, Buffy, Cuffy, Duffy, and so on. If instead of playing such political games, the Sir Leicesters of England devoted their time to solving the country's real problems, they might be able to do some good, but Sir Leicester cannot devote himself to solving problems of whose existence he is unaware, problems about which he chooses to be unaware. Dickens' scorn is obvious. But the poor are not automatically good either. The husbands of Jenny and Liz beat their wives, and Krook is a crook.
On the other hand, there are numerous individuals who address the problems that Dickens points out in their own private ways. Esther and Mr. Jarndyce are clear examples, as are George, the Bagnets, Mr. Woodcourt, Jenny and Liz, and ultimately even Lady Dedlock; but they all operate as individuals, seemingly powerless against a system that appears to run on its own energy. Perhaps the most telling example of individual charity is Mr. Snagsby. The other charitable characters are openly charitable and gain some satisfaction from their good deeds; but poor Mr. Snagsby, who is meek, who is kind to his servant Guster (like Jo, a character without a last name), who is afraid of Tulkinghorn and of his own jealous wife, is frequently engaged in a kind of covert charity. Whenever he encounters someone who is poor or in need, he surreptitiously gives the person "half-a-crown, his usual panacea for an immense variety of afflictions" (chapter 22). Mr. Snagsby is neither a clever man nor a brave man. He trembles before anyone who behaves authoritatively. But he is a good man who, if he thought about it, would realize that he cannot change the system but who does the best he can to be generous and kind. In fact, if more of those "tens of thousands of other foot passengers" were less concerned with themselves and more like Mr. Snagsby, the oppressive system that dominates the novel might well break down.
There is yet another class of philanthropists in Bleak House who provide some of the novel's comedy. Dickens' novels, even the most critical, like Bleak House, tend to have humorous passages. In Bleak House, much of the humor is provided by Mrs. Jellyby and her colleagues. Mrs. Jellyby is something of a professional philanthropist, whose entire interest is focused on an African locale called Borrioboola-Gha. Her project is "to have from a hundred and fifty to two hundred healthy families cultivating coffee and educating the natives of Borrioboola-Gha" (chapter 4). Not only is her project imperialistic, but her vision is so firmly focused on her futile mission in Africa that she does not, or cannot, see the real misery around her that she could actually help to alleviate. In fact, she cannot see the misery of her own children, whom she neglects, or of her husband, who at one point is downstairs trying to take care of his bankruptcy while she is upstairs dictating letters to Borrioboola-Gha. Mrs. Jellyby and her circle, with their ability to ignore the suffering that surrounds them, are no less a threat to England than the Dedlocks and their circle.
It is essential to realize, however, that as clearly as Dickens points out the evils of the system and of the individuals who allow or encourage the system to run, he is not creating simple stock figures. Esther may be a bit too self-righteous occasionally, but then the reality is that she is a good person to whom people turn in times of trouble. What is most interesting, though is the way the narrator is terribly critical of Sir Leicester through almost the whole book, but toward the end, when Sir Leicester is taken ill and suffers another misfortune, the narrator becomes sympathetic to him. The narrator is not looking for vengeance or just deserts. He is looking for justice, and he is dismayed at any instance of human suffering. It is tempting to identify this narrator with Dickens, but doing so would be an error. The narrator is as much a character as any of the novel's other characters, and his behavior—his outrages, his sympathies—are as important as Esther's.
The way Dickens creates his characters is extraordinary. Commentators frequently refer to the large number of memorable characters in Dickens' novels. Actually Dickens created a number of different kinds of characters. Some, like Esther, Mr. Jarndyce, and Lady Dedlock, are highly realistic. They are people who might have existed. Others have different degrees of verisimilitude. Some are plausibly real, like perhaps Mr. Guppy, and some are collections of eccentricities, like awful old Mr. Smallweed (and the rest of the Smallweeds). The fantastic part is that they all work so well together.
Dickens also has a habit of providing his characters with identifiable markers. Just as we may recognize a friend by his gait or by her posture, so Dickens endows each of his characters with some highly personal trait. If a character speaks emotionlessly out of the shadows, we know it is Tulkinghorn; if a character talks about the direction of the wind, we know it is Mr. Jarndyce; if a character qualifies his remarks with the comment "not to put too fine a point upon it," we know it is Mr. Snagsby. This use of leitmotifs could become purely mechanical and even annoying, but Dickens is so skillful that he uses them to make his characters even more memorable. Each of their eccentricities fits their characters so well that rather than seeming mechanical, they seem perfectly natural.
Another technique that Dickens employs is the recurrence of particular images. Among the most important images in Bleak House are the fog and smoke that we have already seen, the Ghost Walk at the Dedlock estate, birds, and halos. The last two are especially interesting. Miss Flite, the pleasant old woman who has been driven mad by her interest in Jarndyce and Jarndyce, keeps a collection of caged birds in her squalid apartment. They are named "Hope, Joy, Youth, Peace, Rest, Life, Dust, Ashes, Waste, Want" and more. Caged birds are a perfect image for the effects of the law courts and of all that those courts represent. In contrast to these birds is the pet of Mr. Jarndyce's friend Mr. Boythorn. This pet is "a very little canary, who was so tame that he was brought down by Mr. Boythorn's man, on his forefinger, and, after taking a gentle flight around the room, alighted on his master's hand" (chapter 9). The contrast between those poor caged birds, artificially constrained, and the tame canary perched on Mr. Boythorn's hand is the contrast between the effects of an uncaring, inhumane, oppressive system and a system that might create harmony among its members.
Dickens uses the image of the halo in a similar way. His first description of the Lord High Chancellor shows this august person "with a foggy glow round his head" (chapter 1), and it is no mere coincidence that the Chancellor's full title here has religious overtones. Shortly after, Sir Leicester is described as being "surrounded by a mysterious halo of family confidences" (chapter 2). This image appears a number of times in the novel, always in relation to some of the book's less admirable characters. At one point, Esther even applies it to London:
In the north and north-west, where the sun had set three hours before, there was a pale dead light both beautiful and awful; and into it long sullen lines of cloud waved up, like a sea stricken immovable as it was heaving. Towards London, a lurid glare overhung the whole dark waste; and the contrast between these two lights, and the fancy which the redder light engendered of an unearthly fire, gleaming on all the unseen buildings of the city, and on all the faces of its many thousands of wondering inhabitants, was as solemn as might be. (chapter 30)
The contrast that Esther points out between the "beautiful awful" light to the north, where there is relative peace, and the appearance of "unearthly fire" over London makes us think about those halos that are seen around the Chancellor, Sir Leicester, and Tulkinghorn, as does Mr. Snagsby's impression when he sees a poor baby by the light of a lantern: "Mr. Snagsby is strangely reminded of another infant, encircled with light, that he has seen in pictures" (chapter 22). What we have here is a contrast between true halos and false ones. The Lord High Chancellor basks in his own light, while shedding misery around him, as do Sir Leicester and the city of London. Were they more aware of that other "infant, encircled with light," perhaps their behavior would be different. But even Mr. Snagsby has only seen that infant in pictures. That infant is not a real presence in Dickens' London, where the only representative of religion that we see is the fraudulent preacher Mr. Chadband, about whom Jo says,
"He prayed a lot, but I couldn't make out nothink on it. Different times, there was other genlmen come down Tom-all-Alone's a-prayin, but they all mostly sed as the t'other wuns prayed wrong, and all mostly sounded to be a-talking to theirselves, or a-passing blame on the t'others, and not talkin to us." (chapter 47)
So much for the role of establishment religion in helping to alleviate suffering in Bleak House.
One of the stranger characters in the novel is Harold Skimpole. Skimmpole is perhaps as frightening a character as exists in the novel. The major villains (and I will not reveal who they are) are clearly villainous, and the good characters are equally clearly good. Even the characters who mix good and evil can be appreciated and understood, but Harold Skimpole is so clever and so effective at what he does that he even fools those characters who are the best judges of character. Skimpole succeeds by denying the applicability of moral criteria to himself. He is determinedly amoral. He claims to have no understanding of money matters, though clearly he does, and he deceives even Mr. Jarndyce. He assumes no responsibility for his actions, though he does take credit, through a twisted kind of logic, for certain good deeds. What makes Skimpole so frightening is the extent to which his denial of his own responsibility for any of his actions frees him to do whatever he desires. He does not argue, as other characters might, that evil is really good. He claims that the categories do not apply to him at all. This defense of immorality is one we have seen too often in our time. Harold Skimpole, with his smile and his jocularity and the harm he does, represents a horrifying variation on the evil that plays such a large role in Bleak House.
Like so many great writers, then, Dickens focuses our attention on the problems of the individual, the problems of society, and the problems of the individual in society. He raises questions that we, as human beings living in society, must try to answer. That we have not so far come up with satisfactory answers in no way relives us of the responsibility to try. There are some people as I write these words who believe that we should try to recapture the values of the Victorian Era. There are some people who are trying to reestablish those values. Such people should read Dickens more carefully. The problems that he describes are the problems that are still with us. The major difference, perhaps, is that thanks to Dickens, we should know better. Whether we are talking about the poor, the law, gender relationships, education, or any number of other topics, we should take advantage of Dickens' genius in our considerations.
Dickens, however, was not just a simplistic do-gooder. The wonderful thing about Dickens—what is wonderful about any great writer—is what the writer does with words. Dickens creates characters, situations, moods, and images that are unforgettable. I have read all of Dickens' novels, many of them more than once, and I have never grown tired of reading him. I have tried to be selective in my recommendations for further reading in other chapters, but I find that I cannot be so selective here. Read Dickens—read all of him. Just try to find editions that have at least some of the illustrations by Hablot K. Browne, who was known as Phiz. They are such perfect illustrations of the scenes and characters that Dickens created that there should be a law (shades of Bleak House!) mandating their inclusion in any edition of Dickens' works.
There are, in addition, other Victorian novelists whose works are both enjoyable and instructive. Close to Dickens is William Makepeace Thackery, especially his wonderful Vanity Fair. Also of interest are the novels of George Meredith, The Ordeal of Richard Feverel, The Egoist, and Diana of the Crossways. The novels of Anthony Trollope, as I mentioned earlier, provide a somewhat different perspective on Victorian England. And finally, for people who are too happy and want to bring their mirth under control, I recommend the novels of Thomas Hardy. His is an important, if depressing voice. At the same time, he is a fantastic writer, who excelled at writing both novels and poetry. Among his most important novels are The Return of the Native, The Mayor of Casterbridge, Far from the Madding Crowd, and Jude the Obscure, but anything he wrote is well worth reading.
When novels first came into existence, there were people who thought that reading them was a frivolous way to waste time. We know that opinion is incorrect. There are time-wasting novels, and there novels that have made a difference to individuals and to nations. There is nothing wrong with reading the former sort, though a steady diet of such works cannot be healthy. What I hope my readers will see is that reading the latter class of novels is neither a chore nor a waste of time. It is one of the valuable pleasures of life.
Previous: Chapter 8: Jane Austen
Next: Chapter 10: George Eliot, Middlemarch


What do public librarians and school librarians have in common? We all want to serve our patrons as well as contribute to literacy and higher reading rates within our communities. Since the adoption of Common Core Standards in many states, users have called on librarians for assistance with information, resources and knowledge relating to these standards. Public librarians and school librarians can effectively collaborate to help each other reach their goals of user satisfaction and increased reading. Join this session to discover the fundamentals of Common Core and how we can help.


If you don't like choirs and easy-listening, pass this one. Dear Heart And Other Songs About Love is devoted to choral arrangements conducted by the master Henry Mancini. You'll find of course soundtracks cuts (Dear Heart, Soldier In The Rain, Man's Favorite Sport), a show theme (How Soon), a vocal version of Mr Lucky and a couple of covers (The Girl From Ipanema, Can't Buy Me Love). Designed for early 60's suburban interiors, you'll hardly find any break or anything psyche in it but it will nonetheless make your newborn sleep in no time.


St. Joseph School has been blessed with an amazing collection of faculty and staff. As a way to get to know them better, we are turning the spotlight on a different faculty or staff member each month.
This month's featured teacher is Marcy Rensi who has been our Learning Resource Center teacher for the past 3 years. She has worked at SJS for 25 years in various roles including middle school Teacher Aide, teaching religion, remedial math, and middle school language arts. She also helped convert the old library to the Follett system.
Ms. Rensi led the SJS Student Council for 21 years, which remains one of her favorite responsibilities. She is passionate about SJS and loves supporting the teachers in any way she can.
Fun fact: Three of her four children attended St. Joe's and her daughter-in-law is also an SJS alum. She is very excited to announce that she will be a Grandma in the Spring!
Favorite food: Everything but liver!
What I like to do on my time off: Be with family outside. We go to the barn, a lot. Read!
Something interesting about me that most people don't know: I have met Presidents Carter and Bush, and their wives!


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Case Studies are frequently used in exams to enable the examiner to ask the candidate multiple questions revolving around one topic or area of study. This is done by providing a passage of text containing information that the candidate must use to help them work out the correct answers to the questions asked. This type of assessment is useful for testing a student's practical working knowledge by using real life examples to test them with. You can create case studies for assessments with Surpass. This guide will demonstrate how to effectively put together a case study for a test with the Surpass platform.
It is possible that you'll need to attach source material that the candidate will need to look at when answering all of the questions in the case study. You can do this by selecting the Attach Source Material button underneath the box for inserting question text. The candidate will then be able to open and view the attached material.
You will then need to add the same items you added as source material, as tools when compiling your test form in the 'Test Creation' tab.
To present case study items together in a test, you can create groups to place your items in. You can drag the items up and down manually to specify the order they'll appear in the test. Once this is done, you can use a Quality Review test or packaged exam to see how the case study questions appear and if the order of the questions seems logical and clear.


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Showing results for tags 'ssd'.
samsung Samsung's 4TB SSD is built to replace your hard drive
It's not hard to get a capacious solid-state drive if you're running a server farm, but everyday users still have to be picky more often than not: either you get a roomy-but-slow spinning hard drive or give up that capacity in the name of a speedy SSD. Samsung may have finally delivered a no-compromise option, however. It's introducing a 4TB version of the 850 Evo that, in many cases, could easily replace a reasonably large hard drive. While it's not the absolute fastest option (the SATA drive is capped at 540MB/s sequential reads and 520MB/s writes), it beats having to resort to a secondary hard drive just to make space for your Steam game library. Of course, there's a catch: the price. The 4TB 850 Evo will set you back a whopping $1,500 in the US, so it's largely reserved for pros and well-heeled enthusiasts who refuse to settle for rotating storage. Suddenly, the $700 2TB model seems like a bargain. Even if the 4TB version is priced into the stratosphere, though, it's a good sign that SSDs are turning a corner in terms of viability. It might not be long before high-capacity SSDs are inexpensive enough that you won't have to make any major sacrifices to put one in your PC. Source: EnGadget View the full article
samsung Samsung Mass Producing 512-Gigabyte NVMe SSD
Samsung Electronics, the world leader in advanced memory technology, announced today that it has begun mass producing the industry's first NVMe* PCIe solid state drive (SSD) in a single ball grid array (BGA) package, for use in next-generation PCs and ultra-slim notebook PCs. The new BGA NVMe SSD, named PM971-NVMe, features an extremely compact package that contains all essential SSD components including NAND flash memory, DRAM and controller while delivering outstanding performance. "Samsung's new BGA NVMe SSD triples the performance of a typical SATA SSD, in the smallest form factor available, with storage capacity reaching up to 512GB," said Jung-bae Lee, senior vice president, Memory Product Planning & Application Engineering Team, Samsung Electronics. "The introduction of this small-scale SSD will help global PC companies to make timely launches of slimmer, more stylish computing devices, while offering consumers a more satisfactory computing environment." Configuring the PM971-NVMe SSD in a single BGA package was enabled by combining 16 of Samsung's 48-layer 256-gigabit (Gb) V-NAND flash chips, one 20-nanometer 4Gb LPDDR4 mobile DRAM chip and a high-performance Samsung controller. The new SSD is 20mm x 16mm x 1.5mm and weighs only about one gram (an American dime by comparison weighs 2.3 grams). The single-package SSD's volume is approximately a hundredth of a 2.5" SSD or HDD, and its surface area is about a fifth of an M.2 SSD, allowing much more design flexibility for computing device manufacturers. In addition, the PM971-NVMe SSD delivers a level of performance that easily surpasses the speed limit of a SATA 6Gb/s interface. It enables sequential read and write speeds of up to 1,500MB/s (megabytes per second) and 900MB/s respectively, when TurboWrite** technology is used. The performance figures can be directly compared to transferring a 5GB-equivalent, Full-HD movie in about 3 seconds or downloading it in about 6 seconds. It also boasts random read and write IOPS (input output operations per second) of up to 190K and 150K respectively, to easily handle high-speed operations. A hard drive, by contrast, will only process up to 120 IOPS in random reads, making the new Samsung SSD more than 1500 times faster than an HDD in this regard. The PM971-NVMe SSD line-up will be available in 512GB, 256GB and 128GB storage options. Samsung will start providing the new SSDs to its customers this month worldwide. As a leading SSD provider, Samsung has a history of introducing advanced SSDs ahead of the industry. In June 2013, Samsung introduced XP941 SSD in M.2 (mini PCI-Express 2.0) form factor (80mm x 22mm), which was also the industry's first PCIe SSD for PCs. Now, Samsung plans to rapidly expand its market base in the next-generation premium notebook PC sector with the new high-performance, BGA package, NVMe SSD. Later this year, Samsung plans to introduce more high-capacity and ultra-fast NVMe SSDs to meet increasing customer needs for improved performance and greater density. * Often shortened as NVMe, NVM Express (Non-Volatile Memory Express) is an optimized, high performance, scalable host controller interface with a streamlined register interface and command set designed for enterprise, datacenter and client systems that use non-volatile memory storage. For more information, please visit www.nvmexpress.org ** TurboWrite is a Samsung proprietary technology that temporarily uses certain portions of an SSD as a write buffer. TurboWrite delivers better PC experiences as users can enjoy much faster sequential write speeds. Source: Samsung View the full article
ssd Windows intelligently defrags your SSD
There has been a LOT of confusion around Windows, SSDs (hard drives), and whether or not they are getting automatically defragmented by automatic maintenance tasks in Windows. There's a general rule of thumb or statement that "defragging an SSD is always a bad idea." I think we can agree we've all heard this before. We've all been told that SSDs don't last forever and when they die, they just poof and die. SSDs can only handle a finite number of writes before things start going bad. This is of course true of regular spinning rust hard drives, but the conventional wisdom around SSDs is to avoid writes that are perceived as unnecessary. I've seen statements around the web like this: I just noticed that the defragsvc is hammering the internal disk on my machine. To my understanding defrag provides no value add on an SSD and so is disabled by default when the installer determines the disk is SSD. I was thinking it could be TRIM working, but I thought that was internal to the SSD and so the OS wouldn't even see the IO. One of the most popular blog posts on the topic of defrag and SSDs under Windows is by Vadim Sterkin. Vadim's analysis has a lot going on. He can see that defrag is doing something, but it's not clear why, how, or for how long. What's the real story? Something is clearly running, but what is it doing and why? I made some inquiries internally, got what I thought was a definitive answer and waded in with a comment. However, my comment, while declarative, was wrong. Windows doesn't defrag SSDs. Full stop. If it reports as an SSD it doesn't get defraged, no matter what. This is just a no-op message. There's no bug here, sorry. - Me in the Past I dug deeper and talked to developers on the Windows storage team and this post is written in conjunction with them to answer the question, once and for all "What's the deal with SSDs, Windows and Defrag, and more importantly, is Windows doing the RIGHT THING?" It turns out that the answer is more nuanced than just yes or no, as is common with technical questions. The short answer is, yes, Windows does sometimes defragment SSDs, yes, it's important to intelligently and appropriately defrag SSDs, and yes, Windows is smart about how it treats your SSD. The long answer is this. Actually Scott and Vadim are both wrong. Storage Optimizer will defrag an SSD once a month if volume snapshots are enabled. This is by design and necessary due to slow volsnap copy on write performance on fragmented SSD volumes. It's also somewhat of a misconception that fragmentation is not a problem on SSDs. If an SSD gets too fragmented you can hit maximum file fragmentation (when the metadata can't represent any more file fragments) which will result in errors when you try to write/extend a file. Furthermore, more file fragments means more metadata to process while reading/writing a file, which can lead to slower performance. As far as Retrim is concerned, this command should run on the schedule specified in the dfrgui UI. Retrim is necessary because of the way TRIM is processed in the file systems. Due to the varying performance of hardware responding to TRIM, TRIM is processed asynchronously by the file system. When a file is deleted or space is otherwise freed, the file system queues the trim request to be processed. To limit the peek resource usage this queue may only grow to a maximum number of trim requests. If the queue is of max size, incoming TRIM requests may be dropped. This is okay because we will periodically come through and do a Retrim with Storage Optimizer. The Retrim is done at a granularity that should avoid hitting the maximum TRIM request queue size where TRIMs are dropped. Wow, that's awesome and dense. Let's tease it apart a little. When he says volume snapshots or "volsnap" he means the Volume Shadow Copy system in Windows. This is used and enabled by Windows System Restore when it takes a snapshot of your system and saves it so you can rollback to a previous system state. I used this just yesterday when I install a bad driver. A bit of advanced info here - Defrag will only run on your SSD if volsnap is turned on, and volsnap is turned on by System Restore as one needs the other. You could turn off System Restore if you want, but that turns off a pretty important safety net for Windows. One developer added this comment, which I think is right on. I think the major misconception is that most people have a very outdated model of diskfile layout, and how SSDs work. First, yes, your SSD will get intelligently defragmented once a month. Fragmentation, while less of a performance problem on SSDs vs traditional hard drives is still a problem. SSDS *do* get fragmented. It's also worth pointing out that what we (old-timers) think about as "defrag.exe" as a UI is really "optimize your storage" now. It was defrag in the past and now it's a larger disk health automated system. > Additionally, there is a maximum level of fragmentation that the file system can handle. Fragmentation has long been considered as primarily a performance issue with traditional hard drives. When a disk gets fragmented, a singular file can exist in pieces in different locations on a physical drive. That physical drive then needs to seek around collecting pieces of the file and that takes extra time. This kind of fragmentation still happens on SSDs, even though their performance characteristics are very different. The file systems metadata keeps track of fragments and can only keep track of so many. Defragmentation in cases like this is not only useful, but absolutely needed. SSDs also have the concept of TRIM. While TRIM (retrim) is a separate concept from fragmentation, it is still handled by the Windows Storage Optimizer subsystem and the schedule is managed by the same UI from the User's perspective. TRIM is a way for SSDs to mark data blocks as being not in use. Writing to empty blocks on an SSD is faster that writing to blocks in use as those need to be erased before writing to them again. SSDs internally work very differently from traditional hard drives and don't usually know what sectors are in use and what is free space. Deleting something means marking it as not in use. TRIM lets the operating system notify the SSD that a page is no longer in use and this hint gives the SSD more information which results in fewer writes, and theoretically longer operating life. In the old days, you would sometimes be told by power users to run this at the command line to see if TRIM was enabled for your SSD. A zero result indicates it is. fsutil behavior query DisableDeleteNotify However, this stuff is handled by Windows today in 2014, and you can trust that it's "doing the right thing." Windows 7, along with 8 and 8.1 come with appropriate and intelligent defaults and you don't need to change them for optimal disk performance. This is also true with Server SKUs like Windows Server 2008R2 and later. Conclusion No, Windows is not foolishly or blindly running a defrag on your SSD every night, and no, Windows defrag isn't shortening the life of your SSD unnecessarily. Modern SSDs don't work the same way that we are used to with traditional hard drives. Yes, your SSD's file system sometimes needs a kind of defragmentation and that's handled by Windows, monthly by default, when appropriate. The intent is to maximize performance and a long life. If you disable defragmentation completely, you are taking a risk that your filesystem metadata could reach maximum fragmentation and get you potentially in trouble. Source: Hanselman View the full article
defrag
defragment
ssd New Middleware Technology Quadruples SSD Speed
A Japanese research team developed a technology to drastically improve the writing speed, power efficiency and cycling capability (product life) of a storage device based on NAND flash memory (SSD). The team is led by Ken Takeuchi, professor at the Department of Electrical, Electronic and Communication Engineering, Faculty of Science and Engineering of Chuo University. The development was announced at 2014 IEEE International Memory Workshop (IMW), an international academic conference on semiconductor memory technologies, which took place from May 18 to 21, 2014, in Taipei. The title of the thesis is "NAND Flash Aware Data Management System for High-Speed SSDs by Garbage Collection Overhead Suppression." With NAND flash memory, it is not possible to overwrite data on the same memory area, making it necessary to write data on a different area and, then, invalidate the old area. As a result, data is fragmented, increasing invalid area and decreasing storage capacity. Therefore, NAND flash memories carry out "garbage collection," which rearranges fragmented data in a continuous way and erases blocks of invalid area. This process takes 100ms or longer, drastically decreasing the writing speed of SSD. In September 2013, to address this issue, the research team developed a method to prevent data fragmentation by making improvements to middleware that controls a storage for database applications. It makes (1) the "SE (storage engine)" middleware, which assigns logical addresses when an application software accesses a storage device, and (2) the FTL (flash translation layer) middleware, which converts logical addresses into physical addresses on the side of the SSD controller, work in conjunction. This time, the team developed a more versatile method that can be used for a wider variety of applications. The new method forms a middleware layer called "LBA (logical block address) scrambler" between the file system (OS) and FTL. The LBA scrambler works in conjunction with the FTL and converts the logical addresses of data being written to reduce the effect of fragmentation. Specifically, instead of writing data on a new blank page, data is written on a fragmented page located in the block to be erased next. As a result, the ratio of invalid pages in the block to be erased increases, reducing the number of valid pages that need to be copied to another area at the time of garbage collection. In a simulation, the research team confirmed that the new technology improves the writing speed of SSD by up to 300% and reduces power consumption by up to 60% and the number of write/erase cycles by up to 55%, increasing product life. Because, with the new method, it is not necessary to make any changes to NAND flash memory, and the method is completed within the middleware, it can be applied to existing SSDs as it is. Source: Nikkei Technology View the full article


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text:
Въоръжените сили на Република Ирландия, известни като Сили за отбрана (, официалното название на ирландски език е ) включват Армия, Въздушен корпус, Военноморска служба и Резервни сили за отбрана.

Върховен главнокомандващ е президентът на Република Ирландия. Граждански контрол върху въоръжените сили се осъществява от министъра на отбраната и подчиненото му министерство. Най-висшестоящият военен ръководител е началник-щабът на Силите за отбрана (Chief of Staff of the Defence Forces), офицер с чин генерал-лейтенант / вицеадмирал.

Роля
От независимостта си, Република Ирландия спазва политика на военен неутралитет. По тази причина страната не е член на НАТО. Силите за отбрана традиционно участват в контингентите от сини каски на Организацията на обединените нации. Задачите, изпълнявани от силите, включват:
 подготовка на силите за отразяване на външна агресия
 оказване на подкрепа на полицията (Garda Síochána)
 участие в мироопазващи и хуманитарни мисии под егидата на ООН
 патрулиране на териториалните води и ИИЗ, съгласно договореностите в ЕС
 оказване на логистична и друга поддръжка на гражданските власти, като търсене и спасяване, авиомедицинска евакуация, въздушен транспорт на представители на првителството, ликвидиране на последствията от бедствия и аварии и т.н.

История

За основоположници на Ирландските сили за отбрана се смятат Ирландските доброволци, формирани през 1913 г. В началото на 20 век разграничението между протестанти в Северна Ирландия и ирландци католици е много дълбоко. С оглед на неминуемия предстоящ мащабен военен конфликт в Европа, протестантите формират Ълстърски доброволци (Ълстър е историческото название на Северна Ирландия, което те използват, за да се разграничат от етническите ирландци). В отговор католиците формират Ирландските доброволци, за да покажат готовността си за диалог с Короната и да допринесат за сигурността на Великобритания.

Освен това военният им принос би бил аргумент в бъдещи преговори за автономия или независимост. Членове на Ирландските доброволци, предвождани от Патрик Пиърс, вземат участие в злополучното Великденско въстание от 1916 г.

По време на Първата световна война те формират основно 10-а и 16-а дивизии на Британската армия. След завръщането си, те се заклеват във вярност към Първия Дайл (Ирландски парламент, непризнат от Лондон) и променят името си на Ирландска републиканска армия, като ясно предизвикателство към властите в Лондон. Между 1919 и 1921 г. ИРА води партизанска война срещу британските гарнизони в Ирландия.

След като през 1922 г. е формирано ирландско правителство, а Ирландия получава статут на доминион в рамките на Британската империя, става разцепление сред ирландските политици и ИРА в частност, между подкрепящите новото развитие на ситуацията и тези, които са за пълна независимост и приемат статуса на доминион като неприемлив компромис. Правителството пристъпва към формирането на Национална армия от средите на ИРА, които го подкрепят. Така формално е поставено началото на Ирландските сили за отбрана. На 22 юни започва Ирландската гражданска война между ирландското правителство и неговите опоненти. Войната продължава до средата на 1923 г. и завършва с победа на правителствените сили.

На 3 август 1923 г. в парламента е гласуван "Законът за силите за отбрана (Временни мерки)", според който те получават официалното си име на ирландски Oglaigh na hEireann. С решение на правителството са формирани официално на 1 октомври 1924 г.

През Втората световна война Ирландия запазва неутралитет. За съблюдаването му, силите са мобилизирани за наблюдение на бреговете и сухопътната граница на 2 септември 1939 г. Закупено е и по-модерно въоръжение в неголеми количества. Спазваният от ирландците неутралитет е по-скоро благосклонен към Съюзниците. Разбилите се на ирландска територия германски летци и моряци са интернирани във военнопленническия лагер в Кърах, докато съюзническите са прехвърляни през границата в Северна Ирландия. Разузнавателният отдел на Генералния щаб на Силите за отбрана също работи интензивно със Съюзниците и дори изиграва съществена роля в залавянето на германски шпиони, като случая с Херман Гьорц.

През септември 1946 г. Военноморската служба е създадена като постоянен компонент на Силите за отбрана.

През 1955 г. Република Ирландия става пълноправен член на Организацията на обединените нации. Две години по-късно за пръв път изпраща военнослужещи за мироопазващ контингент (офицери наблюдатели в мисията UNOGIL – Група наблюдатели на ООН в Ливан).

По време на размирния период в Северна Ирландия, известен просто като "Проблемите", между 1969 и 1998 г., когато е постигнато политическо "Споразумение от Разпети петък" за прекратяването му, Силите за отбрана са мобилизирани по границата както да подпомагат полицията (Garda Síochána) в охраната ѝ, така и да оказват медицинска помощ на католическите ирландци, пострадали в сблъсъците с британските сили за сигурност и оранжистките милиции. През 1974 г. военни контингенти са разположени и в затворите в Портлойс и Лимерик (където са държани членове на ИРА), за да подсилят сигурността.

Силите за отбрана на Ирландия са традиционен участник в контингентите от сини каски в мироопазващите мисии на ООН. Около 90 души са жертвите, дадени от ирландската страна в изпълнението им.

Организация
Силите за отбрана се състоят от два основни компонента. В Постоянните сили за отбрана влиза мирновременният състав на Армията, Въздушният корпус и Военноморската служба, а в Резервните сили за отбрана влизат техните резервни организации.

В ирландските Сили за отбрана има девет висши генералски / адмиралски длъжности:
 Началник-щаб на отбраната (генерал-лейтенант / вицеадмирал)
 Заместник началник-щаб по операциите (генерал-майор / контраадмирал)
 Заместник началник-щаб по поддръжката (генерал-майор / контраадмирал)
 Асистент началник-щаб по поддръжката (бригаден генерал / комодор)
 Командващ 1-ва Бригада на Ирландската армия (бригаден генерал)
 Командващ 2-ра Бригада на Ирландската армия (бригаден генерал)
 Командващ Тренировъчния център на Силите за отбрана (бригаден генерал)
 Командващ Въздушния корпус (бригаден генерал)
 Командващ Военноморската служба (комодор)
Дори влиятелният и ползващ се с голяма автономия относно работата си началник на военното разузнаване е с чин полковник или капитан I ранг.

Ръководител на Силите за отбрана е началник-щабът (вицеадмирал Марк Мелет – първият флотски офицер, заемащ този пост и с този чин в историята на Република Ирландия). Той е подпомаган от заместник началник-щаб по операциите и заместник началник-щаб по поддръжката (двамата с чин генерал-майор / контраадмирал), а вторият разчита на помощта и на асистент началник-щаб по поддръжката (с чин бригаден генерал / комодор). За разлика от въоръжените сили на други страни, Силите за отбрана на Република Ирландия нямат отделни командвания на видовете въоръжени сили. В този смисъл началникът на Военноморската служба и началникът на Въздушния корпус са равнопоставени на командирите на двете бригади на армията, а не на отделен началник на армията, а съответно флотът и авиацията са бригадни еквиваленти.

Армия

Ирландската армия със своите близо 7500 души личен състав представлява сухопътните сили. Към тях се прибавят 2200 души армейски резерв.

Основните ѝ компоненти са две пехотни бригади.

Oсвен тях има учебен център, логистичен център и Армейско рейнджърско крило, което е батальонът за специални операции на въоръжените сили.

Двете пехотни бригади са разделени на териториален принцип, като всяка една от тях по същество представлява военен окръг, който носи гарнизонна служба и оказва подкрепа на гражданските власти, освен основните си задачи.

Административно армията е разделена на девет корпуса, които представляват родове войски:
 Пехотен корпус
 Артилерийски корпус
 Кавалерийски корпус
 Инженерен корпус
 Тилови корпус
 Медицински корпус
 Транспортен корпус
 Корпус военна полиция
 Свързочен и информационен корпус

Армията е въоръжена като лека моторизирана пехота. Най-тежкото ѝ въоръжение е съставено от британски леки верижни бронирани разузнавателни машини FV101 Scorpion, швейцарски колесни БТР-и MOWAG Piranha и британски леки буксирни 105-мм артилерийски установки.

Въздушен корпус

Въздушният корпус е авиационният компонент на Силите за отбрана. Щабът му е в авиобаза Балдонел – Кейсмънт. Това е най-малобройният вид въоръжени сили с около 939 души мирновременен личен състав. Основните му задачи са:
 авиационна поддръжка на армията
 авиационна поддръжка на военноморската служба
 подкрепа на гражданските власти (основно полицията)

Освен тях второстепенни задачи са:
 подкрепа на гражданите (основно при бедствия и аварии)
 подкрепа на правителството (основно ВИП авиотранспорт)
Въздушният корпус изпълнява спомагателни функции, защото не разполага с основните компоненти на едни традиционни военновъздушни сили, като бойни самолети и вертолети и зенитно-ракетни комплекси.

Най-високотехнологичните летателни апарати на корпуса са двата испански самолета CASA CN-235, предназначени за морско патрулиране.

Те поддържат Военноморската служба, като патрулират Изключителната икономическа зона на Република Ирландия, а освен това могат да бъдат използвани за въздушен транспорт, както и за десантиране на бойци на Армейското рейнджърско крило. Седем швейцарски турбовитлови тренировъчни самолета Pilatus PC-9M могат да бъдат използвани като леки щурмовици с блокове за НУРС, картечни контейнери и свободнопадащи бомби, но са предназначени основно за обучение. Шестте нови британско-италиански вертолети AgustaWestland AW139 и двата френско-германски Eurocopter EC135 имат основно спомагателни функции. Корпусът разполага и с няколко леки спомагателни самолета, сред които е и американски реактивен бизнесджет за ВИП транспорт.

Военноморска служба

Военноморската служба включва личен състав от около 1140 души и основните ѝ функции включват патрулирането на ирландските териториални води и Изключителната икономическа зона на Република Ирландия. В това отношение си сътрудничи с Въздушния корпус на Силите за отбрана, с Митниците и с Бреговата охрана.

Службата е изградена около осем патрулни кораба и не разполага с други морски съдове, освен надувни лодки. Разполага и със специална Водолазна секция на Военноморската служба, която за разлика от други подобни чуждестранни формирования, не е специален отряд от бойни плувци, но осъществява водолазната подготовка на Армейското рейнджърско крило.

Освен основната си роля за отбрана на страната и териториалната ѝ цялост изпълнява и:
 охрана на рибните пасажи
 подкрепа на цивилните власти
 пресичане на наркотрафика
 морска безопасност и оказване на помощ на бедстващи съдове
 водолазни операции
 екологичен контрол
 чуждестранни мисии

Резервни сили за отбрана
Резервните сили за отбрана включват мобилизационен състав, който в случай на криза или война да подсили мирновременния състав на силите. Те са формирали отделни съединения, но с реформите в сектора на отбраната през 2013 г. това е променено.

Армейски резерв
Преди реформите редовната армия формира три пехотни бригади, а резервната армия в случай на война мобилизира три резервни пехотни бригади. След реформите редовната армия остава с две бригади, а подразделенията на резервната армия са подчинени на бригадите на редовната.

Резерв на Военноморската служба
Резервът на армейската служба включва 141 души и е разделен в четири териториални формирования – в Дъблин, Уотърфорд, Корк и Лимерик, както и в пето формирование, включващо специалисти. Задачите на военноморския резерв включват попълването на екипажите на патрулните кораби, както и охрана на съответното пристанище, в което формированието е базирано.

Резерв на Въздушния корпус
Въздушният корпус е напълно професионален и няма отделна резервна организация.

Основни военни бази

Основните военни бази на Силите за отбрана на Република Ирландия са следните:

Източници

Ирландия
Политика на Република Ирландия
Ирландия

redpajama_set_name: RedPajamaWikipedia


text:
package com.fasterxml.jackson.databind.jsontype;

import java.util.Collection;

import com.fasterxml.jackson.databind.AnnotationIntrospector;
import com.fasterxml.jackson.databind.JavaType;
import com.fasterxml.jackson.databind.cfg.MapperConfig;
import com.fasterxml.jackson.databind.introspect.AnnotatedClass;
import com.fasterxml.jackson.databind.introspect.AnnotatedMember;

/**
 * Helper object used for handling registration on resolving of super-types
 * to sub-types.
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public abstract class SubtypeResolver
{
    /**
     * Method called by {@code ObjectMapper.copy()} to make sure that
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     * can not cause thread-safety issues: if resolver is immutable, it
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     *
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     *    instances are mutable), or this instance (if immutable)
     *
     * @since 2.12
     */
    public SubtypeResolver copy() {
        return this;
    }

    /*
    /**********************************************************
    /* Methods for registering external subtype definitions (init/config)
    /**********************************************************
     */

    /**
     * Method for registering specified subtypes (possibly including type
     * names); for type entries without name, non-qualified class name
     * as used as name (unless overridden by annotation).
     */
    public abstract void registerSubtypes(NamedType... types);

    public abstract void registerSubtypes(Class<?>... classes);

    /**
     * @since 2.9
     */
    public abstract void registerSubtypes(Collection<Class<?>> subtypes);

    /*
    /**********************************************************
    /* Subtype resolution (public API)
    /**********************************************************
     */

    /**
     * Method for finding out all reachable subtypes for a property specified
     * by given element (method or field),
     * such that access is by type,
     * typically needed for serialization (converting from type to type name).
     *
     * @param baseType Effective property base type to use; may differ from
     *    actual type of property; for structured types it is content (value) type and NOT
     *    structured type.
     *
     * @since 2.6
     */
    public Collection<NamedType> collectAndResolveSubtypesByClass(MapperConfig<?> config,
            AnnotatedMember property, JavaType baseType) {
        // for backwards compatibility...
        return collectAndResolveSubtypes(property, config,
                config.getAnnotationIntrospector(), baseType);
    }

    /**
     * Method for finding out all reachable subtypes for given type,
     * such that access is by type,
     * typically needed for serialization (converting from type to type name).
     *
     * @param baseType Effective property base type to use; may differ from
     *    actual type of property; for structured types it is content (value) type and NOT
     *    structured type.
     *
     * @since 2.6
     */
    public Collection<NamedType> collectAndResolveSubtypesByClass(MapperConfig<?> config,
            AnnotatedClass baseType) {
        // for backwards compatibility...
        return collectAndResolveSubtypes(baseType, config, config.getAnnotationIntrospector());
    }

    /**
     * Method for finding out all reachable subtypes for a property specified
     * by given element (method or field),
     * such that access is by type id,
     * typically needed for deserialization (converting from type id to type).
     *
     * @param baseType Effective property base type to use; may differ from
     *    actual type of property; for structured types it is content (value) type and NOT
     *    structured type.
     *
     * @since 2.6
     */
    public Collection<NamedType> collectAndResolveSubtypesByTypeId(MapperConfig<?> config,
            AnnotatedMember property, JavaType baseType) {
        // for backwards compatibility...
        return collectAndResolveSubtypes(property, config,
                config.getAnnotationIntrospector(), baseType);
    }

    /**
     * Method for finding out all reachable subtypes for given type,
     * such that access is by type id,
     * typically needed for deserialization (converting from type id to type).
     *
     * @param baseType Effective property base type to use; may differ from
     *    actual type of property; for structured types it is content (value) type and NOT
     *    structured type.
     *
     * @since 2.6
     */
    public Collection<NamedType> collectAndResolveSubtypesByTypeId(MapperConfig<?> config,
            AnnotatedClass baseType) {
        // for backwards compatibility...
        return collectAndResolveSubtypes(baseType, config, config.getAnnotationIntrospector());
    }

    /*
    /**********************************************************
    /* Deprecated methods
    /**********************************************************
     */

    /**
     * @deprecated Since 2.6 Use either
     *   {@link #collectAndResolveSubtypesByClass(MapperConfig, AnnotatedMember, JavaType)}
     *   or {@link #collectAndResolveSubtypesByTypeId(MapperConfig, AnnotatedMember, JavaType)}
     *   instead.
     */
    @Deprecated
    public Collection<NamedType> collectAndResolveSubtypes(AnnotatedMember property,
            MapperConfig<?> config, AnnotationIntrospector ai, JavaType baseType) {
        return collectAndResolveSubtypesByClass(config, property, baseType);
    }

    /**
     * @deprecated Since 2.6 Use either
     *   {@link #collectAndResolveSubtypesByClass(MapperConfig, AnnotatedClass)}
     *   or {@link #collectAndResolveSubtypesByTypeId(MapperConfig, AnnotatedClass)}
     *   instead.
     */
    @Deprecated
    public Collection<NamedType> collectAndResolveSubtypes(AnnotatedClass baseType,
            MapperConfig<?> config, AnnotationIntrospector ai) {
        return collectAndResolveSubtypesByClass(config, baseType);
    }
}

redpajama_set_name: RedPajamaGithub


This beautiful property is nestled in a fantastic neighborhood in Highland Village, with great schools, wonderful shopping and dining and everything you could want for a neighborhood. This house has a great floor plan, open and inviting, high ceilings, open kitchen with top of the line Soft Close Knotty Alder cabinetry. Five bedrooms strategically laid out for great family living with master and one extra room downstairs. The backyard is an oasis, equipped with saltwater pool, lounge patios and a covered outdoor kitchen. You will not be disappointed.