text:
Top Richest
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Richest Celebrity Stars | Top 10 Richest Celebrity Under 25 https://www.youtube.com/watch?v=MTojqlhGYYU by Top10List. Here is the list of some of the Richest Young Stars in the world. Stars in this list are some of the Richest singers, Actors, Models and Disney Stars. Harry Styles, Justin Bieber are two of the most popular pop stars in this list. Miley Cyrus, Selena Gomez, Demi Lovato, Ariana Grande and Nick Jonas are former Disney and Nickelodeon Stars and they are some of the Richest Disney Stars and Richest Nickelodeon Stars. Harry Styles in the new entrant in this List. Harry Styles is heading toward becoming one the biggest stars in the world and his Net Worth will also increase with that. Soon Harry Styles will be topping charts of the Richest Celebrities in the World
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The Dubová, Bratislavsky Kraj forecast for Apr 24 is 63 degrees and Patchy rain possible . There is 73 percentage chance of rain and 20 mph winds from the Southeast.
0am:The Dubová, Bratislavsky Kraj forecast for Apr 24 is 46 degrees and Light rain. There is 88 percentage chance of rain and 20 mph winds from the Southeast.
3am:The Dubová, Bratislavsky Kraj forecast for Apr 24 is 49 degrees and Overcast. There is 88 percentage chance of rain and 19 mph winds from the Southeast.
6am:The Dubová, Bratislavsky Kraj forecast for Apr 24 is 50 degrees and Overcast. There is 88 percentage chance of rain and 21 mph winds from the Southeast.
9am:The Dubová, Bratislavsky Kraj forecast for Apr 24 is 56 degrees and Overcast. There is 81 percentage chance of rain and 21 mph winds from the Southeast.
12am:The Dubová, Bratislavsky Kraj forecast for Apr 24 is 63 degrees and Patchy rain possible. There is 73 percentage chance of rain and 20 mph winds from the Southeast.
3pm:The Dubová, Bratislavsky Kraj forecast for Apr 24 is 66 degrees and Light rain shower. There is 71 percentage chance of rain and 18 mph winds from the South-Southeast.
6pm:The Dubová, Bratislavsky Kraj forecast for Apr 24 is 63 degrees and Light rain shower. There is 79 percentage chance of rain and 15 mph winds from the Southeast.
9pm:The Dubová, Bratislavsky Kraj forecast for Apr 24 is 59 degrees and Moderate or heavy rain shower. There is 85 percentage chance of rain and 15 mph winds from the Southeast.
Wednesday:The Dubová forecast for Apr 24 is 63 degrees and Patchy rain possible. There is 73 percentage chance of rain and 20 mph winds from the Southeast.
Thursday:The Dubová forecast for Apr 25 is 71 degrees and Partly cloudy. There is 57 percentage chance of rain and 13 mph winds from the South-Southeast.
Friday:The Dubová forecast for Apr 26 is 75 degrees and Partly cloudy. There is 47 percentage chance of rain and 19 mph winds from the South.
Saturday:The Dubová forecast for Apr 27 is 56 degrees and Patchy rain possible. There is 71 percentage chance of rain and 15 mph winds from the Northwest.
Sunday:The Dubová forecast for Apr 28 is 56 degrees and Patchy rain possible. There is 60 percentage chance of rain and 14 mph winds from the West-Northwest.
Monday:The Dubová forecast for Apr 29 is 61 degrees and Partly cloudy. There is 50 percentage chance of rain and 17 mph winds from the South-Southwest.
Tuesday:The Dubová forecast for Apr 30 is 59 degrees and Overcast. There is 76 percentage chance of rain and 4 mph winds from the East.


text:
Stemmatophora rungsi is een vlinder uit de familie snuitmotten (Pyralidae). De wetenschappelijke naam is voor het eerst geldig gepubliceerd in 2000 door Leraut.

De soort komt voor in Europa.

rungsi
Dier uit het Palearctisch gebied

redpajama_set_name: RedPajamaWikipedia


Unprocessed field note material exists for this structure (FN-96).
Structure is associated with the McMillan Plan for Washington, D.C.
Significance: Key element in the McMillan Commission's plan to redevelop Washington following City Beautiful precepts. Was designed to centralize and consolidate train access to Washington, while at the time providing a monumental, impressive introduction to the city for arriving visitors. Architect Burnham was the "father of the City Beautiful planning movement in America.


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text:
Effect of statins on risk of coronary disease: a meta-analysis of randomized controlled trials
JAMA. 1999 Dec;282(24):2340-6. doi: 10.1001/jama.282.24.2340.
J C LaRosa 1 , J He, S Vupputuri
1 Office of the President, State University of New York Health Science Center at Brooklyn, 11203, USA. jclarosa@netmail.hscbklyn.edu
DOI: 10.1001/jama.282.24.2340
Context: Lowering low-density lipoprotein cholesterol (LDL-C) is known to reduce risk of recurrent coronary heart disease in middle-aged men. However, this effect has been uncertain in elderly people and women.
Objective: To estimate the risk reduction of coronary heart disease and total mortality associated with statin drug treatment, particularly in elderly individuals and women.
Data sources: Trials published in English-language journals were retrieved by searching MEDLINE (1966-December 1998), bibliographies, and authors' reference files.
Study selection: Studies in which participants were randomized to statin or control treatment for at least 4 years and clinical disease or death was the primary outcome were included in the meta-analysis (5 of 182 initially identified).
Data extraction: Information on sample size, study drug duration, type and dosage of statin drug, participant characteristics at baseline, reduction in lipids during intervention, and outcomes was abstracted independently by 2 authors (J.H. and S.V.) using a standardized protocol. Disagreements were resolved by consensus.
Data synthesis: Data from the 5 trials, with 30 817 participants, were included in this meta-analysis. The mean duration of treatment was 5.4 years. Stati n drug treatment was associated with a20% reduction in total cholesterol, 28% reduction in LDL-C, 13% reduction in triglycerides, and 5% increase in high-density lipoprotein cholesterol. Overall, statin drug treatment reduced risk 31 % in major coronary events (95% confidence interval [CI], 26%-36%) and 21 % in all-cause mortality (95% CI, 14%-28%). The risk reduction in major coronary events was similar between women (29%; 95% Cl, 13 %-42 %) and men (31 %; 95% CI, 26%-35%), and between persons aged at least 65 years (32%; 95% CI, 23%-39%) and persons younger than 65 years (31 %; 95% CI, 24%-36%).
Conclusions: Our meta-analysis indicates that reduction in LDL-C associated with statin drug treatment decreases the risk of coronary heart disease and all-cause mortality. The risk reduction was similar for men and women and for elderly and middle-aged persons.
Anticholesteremic Agents / therapeutic use*
Cholesterol, LDL / blood
Coronary Disease / epidemiology
Coronary Disease / prevention & control*
Hydroxymethylglutaryl-CoA Reductase Inhibitors / therapeutic use*
Lipoproteins / blood
Randomized Controlled Trials as Topic
Anticholesteremic Agents
Cholesterol, LDL
Hydroxymethylglutaryl-CoA Reductase Inhibitors
Lipoproteins

redpajama_set_name: RedPajamaCommonCrawl


The service kit has to be renewed every time you mount the tire!
Each sensor needs 1 kit!
The threads are cut when screwing in the screw, the valve comes from the factory without thread, therefore, necessarily use the supplied screw.


Spectacular wilderness, perfect year-round climate, Zimbabwe ranks as one of the most beautiful countries in southern Africa. More than 400 species of wildlife.
National Railways of Zimbabwe – www.nrz.co.zw. UK citizens now need a visa to visit Zimbabwe, but this can be obtained at the point of entry for about £35 / $55. This classic overnight train is the way to reach Vic Falls from Bulawayo, even though (given Zim's economic situation) it's now getting.
Great Zimbabwe Guide is a travel blog and online travel guide where you can find independent information about Zimbabwe. Get insider travel tips, practical.
Leaf Group is a USA TODAY content partner providing general travel information. Its content is produced independently of USA TODAY. Harris, Amy. "Zimbabwe 2018: Major Landforms in Zimbabwe." Travel.
Zimbabwe Travel Health Information. Read below for travel health advice on Zimbabwe from the MDtravelhealth channel on Red Planet Travel.
Visa requirements for Zimbabwean citizens are administrative entry restrictions by the. ranking the Zimbabwean passport 76th in terms of travel freedom (tied with passports from Kyrgyzstan and Uganda) according to the Henley Passport.
National Geographic Traveller, one of the world's leading travel magazines, has listed Zimbabwe as one of the 19 must-see destinations in the world in 2019. Zimbabwe was placed at number nine, the.
WITH three weeks to go to elections, tensions rising in the wake of a deadly bomb blast in Bulawayo, the US government this week issued a travel alert on Zimbabwe. The advisory, issued Monday advised.
Should foreign tourists leave Zimbabwe? At this moment no foreign embassy issued travel warnings against Zimbabwe. However tweets observed say, the recent campaign by tourism officials announcing.
Travel House (Pvt) Ltd is a privately owned travel agency that was formed in 1984 by the late Angi Gaylard. Our offices are located at 81 King George Road (Corner Natal Road), Avondale, Harare, in a tranquil setting with secure onsite parking.
Southern Africa Safari & Lake Kariba Cruise: South Africa, Zimbabwe & Botswana. Add to Your Travel Planner. First Departure 01/11/2019. Days in Zimbabwe 9.
Explore Zimbabwe holidays and discover the best time and places to visit. | A journey to Zimbabwe will take you through an attractive patchwork of landscapes, from highveld, balancing boulders and flaming msasa trees, to laidback towns, lush mountains and lifeblood rivers. Here you can spot the Big Five (leopard, lion, rhino, elephant and buffalo) in its national parks, discover World Heritage.
You must submit a passport or other travel document issued within the last 10 years. This must have at least 2 blank pages and be valid for at least another 3.
Zimbabwe, with its natural wonders and ancient ruins, has recently been listed as one of the best countries to visit by Lonely Planet's Best in Travel 2019. The list includes popular destinations like.
Dec 13, 2016. Lisa Grainger, travel writer. loan from China, Zimbabwe's Victoria Falls International Airport was finally opened by President Robert Mugabe.
When travelling to Zimbabwe avoid waving since it is a symbol of a political involvement that is against the law and imposed heavy penalties. Visit Zimbabwe.
Australians are being urged to reconsider any planned trips to Zimbabwe's capital Harare after the military seized control of the African country. Zimbabwe's long-time ruler President Robert Mugabe.
Nov 21, 2017. Throughout the political crisis, Condé Nast Traveler's regional travel specialists tell us that they have continued to send guests to Zimbabwe.
Security Alert: U.S. Embassy Harare, Zimbabwe (18 January, 2019). Office of American Citizens Services and Crisis Management website for: all Travel.
Leaf Group is a USA TODAY content partner providing general travel information. Its content is produced independently of USA TODAY. Thomas, Joanne. "About the Culture of Zimbabwe, Africa." Travel Tips.
Traveling to Zimbabwe? Use our FREE travel guide to discover the parks, tour operators, safari tours, wildlife, best time to go and tons of safari reviews!
Brian Jackman's visit to Mana Pools was arranged by Steppes Travel (01285 601 050; steppestravel.com), which offers an eight-day itinerary to Zimbabwe from £3,995 per person based on two people.
Jul 30, 2013. We were eating lunch in the central tent, washing down slices of tasty wood-fired pizza with glasses of gin and tonic, when a massive, six-ton.
From the Hwange National Park to the Victoria Falls, join us on a Zimbabwe tour and unlock the heart of this unforgettable destination.Zimbabwe's getaways are.
Check out our destination expert's travel advice for your upcoming trip to Zimbabwe, including weather advice, packing tips, vaccinations & more.
AZTA was formed over 60 years ago by a group of travel agents with the intent of joining forces to become one voice to suppliers and authorities, thereby ensuring it would be represented and respected as an industry player.
All visitors to Zimbabwe need to present a valid passport, return transportation ticket, sufficient funds and at least three blank visa pages for entry.
A Zimbabwe coup has removed President Robert Mugabe, 93, from power His wife, Grace, is reportedly now in Namibia Zanu PF party is now in power and have taken over the national broadcaster, ZBC and.
The Hon. Priscah Mupfumira, Minister of Tourism and Hospitality for Zimbabwe was all optimistic at ITB Berlin, the world's largest travel industry exhibition 7-11 March 2012 Delegates showed the.
Rabies. Rabies can be found in dogs, bats, and other mammals in Zimbabwe, so CDC recommends this vaccine for the following groups: Travelers involved in outdoor and other activities (such as camping, hiking, biking, adventure travel, and caving) that put them at risk for animal bites.
Cox said the change in leadership combined with the increase in air access and the upsurge of investment across the country means that Zimbabwe is set to take center stage for travel to Southern.
Following widespread disruption, including violent protests, in many areas of Zimbabwe during January 2019, you should continue to exercise caution and monitor local media and this travel advice.
Summary. Exercise a high degree of caution in Zimbabwe due to the risk of crime and the possibility of civil unrest and political violence. Pay close attention to your personal security at all times. Monitor the media and other sources about possible new security risks.
This is tonight, but how will the future shape out for Zimbabwe? Travel and tourism is a big currency earner and job creator in Zimbabwe, and earning currency, generating revenue, and jobs should be.
DFAT is urging Australians to reconsider any plans they have to travel to Zimbabwe's capital Harare after the military seized control there. Australians are being urged to reconsider any planned trips.
May 10, 2016. Mention Zimbabwe to even the most adventurous traveler and the. It's considered an exclusive place to travel – be in the know and give it a go.
Whilst Zimbabwe's fragile economy is slowly improving. If you can't find the page you're looking for there, send the Travel Advice team a request. The World Travel Guide (WTG) is the flagship.
The Israeli Foreign Ministry says that Jews and Israelis in Zimbabwe have been told by community leaders to stay in their homes amid reports of a coup in the southern African nation. There are some.
Most transactions are in US dollars so take plenty of dollar notes. For more information, visit www.gov.uk/foreign-travel-advice/zimbabwe.
Nov 7, 2017. Discover Zimbabwe, a country bursting with history, rich in culture and. is emerging once more as a rewarding and iconic travel destination.
Tailor made trips in Botswana and Zimbabwe for medium to upmarket FIT itineraries, MICE projects and. Let our great team take care of your next travel plans!
Zimbabwe, formerly Rhodesia, is a country located in southern Africa, just north of the Tropic of Capricorn, and almost entirely occupied by a plateau, at an altitude between 1,200 and 1,600 meters (3,900 and 5,200 feet), which tempers the climate.There are three main seasons: a rainy season, hot and humid, from mid-November to mid-March, a cool season, dry and sunny, from mid-May to mid.
It's time for military diplomacy to show the people friendly side of the Zimbabwe Military. This is a message echoed by senior travel and tourism leaders from around the world. The International.


text:
import {StyleSanitizeFn} from '../../sanitization/style_sanitizer';
import {RElement} from '../interfaces/renderer';
import {LContainer} from './container';
import {PlayerContext} from './player';
import {LView} from './view';

/**
 * The styling context acts as a styling manifest (shaped as an array) for determining which
 * styling properties have been assigned via the provided `updateStylingMap`, `updateStyleProp`
 * and `updateClassProp` functions. It also stores the static style/class values that were
 * extracted from the template by the compiler.
 *
 * A context is created by Angular when:
 * 1. An element contains static styling values (like style="..." or class="...")
 * 2. An element contains single property binding values (like [style.prop]="x" or
 * [class.prop]="y")
 * 3. An element contains multi property binding values (like [style]="x" or [class]="y")
 * 4. A directive contains host bindings for static, single or multi styling properties/bindings.
 * 5. An animation player is added to an element via `addPlayer`
 *
 * Note that even if an element contains static styling then this context will be created and
 * attached to it. The reason why this happens (instead of treating styles/classes as regular
 * HTML attributes) is because the style/class bindings must be able to default themselves back
 * to their respective static values when they are set to null.
 *
 * Say for example we have this:
 * ```
 * <!-- when `myWidthExp=null` then a width of `100px`
 *      will be used a default value for width -->
 * <div style="width:100px" [style.width]="myWidthExp"></div>
 * ```
 *
 * Even in the situation where there are no bindings, the static styling is still placed into the
 * context because there may be another directive on the same element that has styling.
 *
 * When Angular initializes styling data for an element then it will first register the static
 * styling values on the element using one of these two instructions:
 *
 * 1. elementStart or element (within the template function of a component)
 * 2. elementHostAttrs (for directive host bindings)
 *
 * In either case, a styling context will be created and stored within an element's `LViewData`.
 * Once the styling context is created then single and multi properties can be stored within it.
 * For this to happen, the following function needs to be called:
 *
 * `elementStyling` (called with style properties, class properties and a sanitizer + a directive
 * instance).
 *
 * When this instruction is called it will populate the styling context with the provided style
 * and class names into the context.
 *
 * The context itself looks like this:
 *
 * context = [
 *   // 0-8: header values (about 8 entries of configuration data)
 *   // 9+: this is where each entry is stored:
 * ]
 *
 * Let's say we have the following template code:
 *
 * ```
 * <div class="foo bar"
 *      style="width:200px; color:red"
 *      [style.width]="myWidthExp"
 *      [style.height]="myHeightExp"
 *      [class.baz]="myBazExp">
 * ```
 *
 * The context generated from these values will look like this (note that
 * for each binding name (the class and style bindings) the values will
 * be inserted twice into the array (once for single property entries and
 * again for multi property entries).
 *
 * context = [
 *   // 0-8: header values (about 8 entries of configuration data)
 *   // 9+: this is where each entry is stored:
 *
 *   // SINGLE PROPERTIES
 *   configForWidth,
 *   'width'
 *   myWidthExp, // the binding value not the binding itself
 *   0, // the directive owner
 *
 *   configForHeight,
 *   'height'
 *   myHeightExp, // the binding value not the binding itself
 *   0, // the directive owner
 *
 *   configForBazClass,
 *   'baz
 *   myBazClassExp, // the binding value not the binding itself
 *   0, // the directive owner
 *
 *   // MULTI PROPERTIES
 *   configForWidth,
 *   'width'
 *   myWidthExp, // the binding value not the binding itself
 *   0, // the directive owner
 *
 *   configForHeight,
 *   'height'
 *   myHeightExp, // the binding value not the binding itself
 *   0, // the directive owner
 *
 *   configForBazClass,
 *   'baz
 *   myBazClassExp, // the binding value not the binding itself
 *   0, // the directive owner
 * ]
 *
 * The configuration values are left out of the example above because
 * the ordering of them could change between code patches. Please read the
 * documentation below to get a better understand of what the configuration
 * values are and how they work.
 *
 * Each time a binding property is updated (whether it be through a single
 * property instruction like `elementStyleProp`, `elementClassProp` or
 * `elementStylingMap`) then the values in the context will be updated as
 * well.
 *
 * If for example `[style.width]` updates to `555px` then its value will be reflected
 * in the context as so:
 *
 * context = [
 *   // ...
 *   configForWidth, // this will be marked DIRTY
 *   'width'
 *   '555px',
 *   0,
 *   //..
 * ]
 *
 * The context and directive data will also be marked dirty.
 *
 * Despite the context being updated, nothing has been rendered on screen (not styles or
 * classes have been set on the element). To kick off rendering for an element the following
 * function needs to be run `elementStylingApply`.
 *
 * `elementStylingApply` will run through the context and find each dirty value and render them onto
 * the element. Once complete, all styles/classes will be set to clean. Because of this, the render
 * function will now know not to rerun itself again if called again unless new style/class values
 * have changed.
 *
 * ## Directives
 * Directive style/class values (which are provided through host bindings) are also supported and
 * housed within the same styling context as are template-level style/class properties/bindings
 * So long as they are all assigned to the same element, both directive-level and template-level
 * styling bindings share the same context.
 *
 * Each of the following instructions supports accepting a directive instance as an input parameter:
 *
 * - `elementHostAttrs`
 * - `elementStyling`
 * - `elementStyleProp`
 * - `elementClassProp`
 * - `elementStylingMap`
 * - `elementStylingApply`
 *
 * Each time a directive value is passed in, it will be converted into an index by examining the
 * directive registry (which lives in the context configuration area). The index is then used
 * to help single style properties figure out where a value is located in the context.
 *
 *
 * ## Single-level styling bindings (`[style.prop]` and `[class.name]`)
 *
 * Both `[style.prop]` and `[class.name]` bindings are run through the `updateStyleProp`
 * and `updateClassProp` functions respectively. They work by examining the provided
 * `offset` value and are able to locate the exact spot in the context where the
 * matching style is located.
 *
 * Both `[style.prop]` and `[class.name]` bindings are able to process these values
 * from directive host bindings. When evaluated (from the host binding function) the
 * `directiveRef` value is then passed in.
 *
 * If two directives or a directive + a template binding both write to the same style/class
 * binding then the styling context code will decide which one wins based on the following
 * rule:
 *
 * 1. If the template binding has a value then it always wins
 * 2. Otherwise whichever first-registered directive that has that value first will win
 *
 * The code example helps make this clear:
 *
 * ```
 * <!--
 * <div [style.width]="myWidth"
 *      [my-width-directive]="'600px'">
 * -->
 *
 * @Directive({
 *  selector: '[my-width-directive']
 * })
 * class MyWidthDirective {
 *   @Input('my-width-directive')
 *   @HostBinding('style.width')
 *   public width = null;
 * }
 * ```
 *
 * Since there is a style binding for width present on the element (`[style.width]`) then
 * it will always win over the width binding that is present as a host binding within
 * the `MyWidthDirective`. However, if `[style.width]` renders as `null` (so `myWidth=null`)
 * then the `MyWidthDirective` will be able to write to the `width` style within the context.
 * Simply put, whichever directive writes to a value first ends up having ownership of it as
 * long as the template didn't set anything.
 *
 * The way in which the ownership is facilitated is through index value. The earliest directives
 * get the smallest index values (with 0 being reserved for the template element bindings). Each
 * time a value is written from a directive or the template bindings, the value itself gets
 * assigned the directive index value in its data. If another directive writes a value again then
 * its directive index gets compared against the directive index that exists on the element. Only
 * when the new value's directive index is less than the existing directive index then the new
 * value will be written to the context. But, if the existing value is null then the new value is
 * written by the less important directive.
 *
 * Each directive also has its own sanitizer and dirty flags. These values are consumed within the
 * rendering function.
 *
 *
 * ## Multi-level styling bindings (`[style]` and `[class]`)
 *
 * Multi-level styling bindings are treated as less important (less specific) as single-level
 * bindings (things like `[style.prop]` and `[class.name]`).
 *
 * Multi-level bindings are still applied to the context in a similar way as are single level
 * bindings, but this process works by diffing the new multi-level values (which are key/value
 * maps) against the existing set of styles that live in the context. Each time a new map value
 * is detected (via identity check) then it will loop through the values and figure out what
 * has changed and reorder the context array to match the ordering of the keys. This reordering
 * of the context makes sure that follow-up traversals of the context when updated against the
 * key/value map are as close as possible to o(n) (where "n" is the size of the key/value map).
 *
 * If a `directiveRef` value is passed in then the styling algorithm code will take the directive's
 * prioritization index into account and update the values with respect to more important
 * directives. This means that if a value such as `width` is updated in two different `[style]`
 * bindings (say one on the template and another within a directive that sits on the same element)
 * then the algorithm will decide how to update the value based on the following heuristic:
 *
 * 1. If the template binding has a value then it always wins
 * 2. If not then whichever first-registered directive that has that value first will win
 *
 * It will also update the value if it was set to `null` by a previous directive (or the template).
 *
 * Each time a value is updated (or removed) then the context will change shape to better match
 * the ordering of the styling data as well as the ordering of each directive that contains styling
 * data. (See `patchStylingMapIntoContext` inside of class_and_style_bindings.ts to better
 * understand how this works.)
 *
 * ## Rendering
 * The rendering mechanism (when the styling data is applied on screen) occurs via the
 * `elementStylingApply` function and is designed to run after **all** styling functions have been
 * evaluated. The rendering algorithm will loop over the context and only apply the styles that are
 * flagged as dirty (either because they are new, updated or have been removed via multi or
 * single bindings).
 */
export interface StylingContext extends
    Array<{[key: string]: any}|number|string|boolean|RElement|StyleSanitizeFn|PlayerContext|null> {
  /**
   * Location of element that is used as a target for this context.
   */
  [StylingIndex.ElementPosition]: LContainer|LView|RElement|null;

  /**
   * A numeric value representing the configuration status (whether the context is dirty or not)
   * mixed together (using bit shifting) with a index value which tells the starting index value
   * of where the multi style entries begin.
   */
  [StylingIndex.MasterFlagPosition]: number;

  /**
   * Location of the collection of directives for this context
   */
  [StylingIndex.DirectiveRegistryPosition]: DirectiveRegistryValues;

  /**
   * Location of all static styles values
   */
  [StylingIndex.InitialStyleValuesPosition]: InitialStylingValues;

  /**
   * Location of all static class values
   */
  [StylingIndex.InitialClassValuesPosition]: InitialStylingValues;

  /**
   * A numeric value representing the class index offset value. Whenever a single class is
   * applied (using `elementClassProp`) it should have an styling index value that doesn't
   * need to take into account any style values that exist in the context.
   */
  [StylingIndex.SinglePropOffsetPositions]: SinglePropOffsetValues;

  /**
   * The last class value that was interpreted by elementStylingMap. This is cached
   * So that the algorithm can exit early incase the value has not changed.
   */
  [StylingIndex.CachedMultiClasses]: any|MapBasedOffsetValues;

  /**
   * The last style value that was interpreted by elementStylingMap. This is cached
   * So that the algorithm can exit early incase the value has not changed.
   */
  [StylingIndex.CachedMultiStyles]: any|MapBasedOffsetValues;

  /**
   * A queue of all hostStyling instructions.
   *
   * This array (queue) is populated only when host-level styling instructions
   * (e.g. `hostStylingMap` and `hostClassProp`) are used to apply style and
   * class values via host bindings to the host element. Despite these being
   * standard angular instructions, they are not designed to immediately apply
   * their values to the styling context when executed. What happens instead is
   * a queue is constructed and each instruction is populated into the queue.
   * Then, once the style/class values are set to flush (via `elementStylingApply` or
   * `hostStylingApply`), the queue is flushed and the values are rendered onto
   * the host element.
   */
  [StylingIndex.HostInstructionsQueue]: HostInstructionsQueue|null;

  /**
   * Location of animation context (which contains the active players) for this element styling
   * context.
   */
  [StylingIndex.PlayerContext]: PlayerContext|null;
}

/**
 * A queue of all host-related styling instructions (these are buffered and evaluated just before
 * the styling is applied).
 *
 * This queue is used when any `hostStyling` instructions are executed from the `hostBindings`
 * function. Template-level styling functions (e.g. `elementStylingMap` and `elementClassProp`)
 * do not make use of this queue (they are applied to the styling context immediately).
 *
 * Due to the nature of how components/directives are evaluated, directives (both parent and
 * subclass directives) may not apply their styling at the right time for the styling
 * algorithm code to prioritize them. Therefore, all host-styling instructions are queued up
 * (buffered) into the array below and are automatically sorted in terms of priority. The
 * priority for host-styling is as follows:
 *
 * 1. The template (this doesn't get queued, but gets evaluated immediately)
 * 2. Any directives present on the host
 *   2a) first child directive styling bindings are updated
 *   2b) then any parent directives
 * 3. Component host bindings
 *
 * Angular runs change detection for each of these cases in a different order. Because of this
 * the array below is populated with each of the host styling functions + their arguments.
 *
 * context[HostInstructionsQueue] = [
 *   directiveIndex,
 *   hostStylingFn,
 *   [argumentsForFn],
 *   ...
 *   anotherDirectiveIndex, <-- this has a lower priority (a higher directive index)
 *   anotherHostStylingFn,
 *   [argumentsForFn],
 * ]
 *
 * When `renderStyling` is called (within `class_and_host_bindings.ts`) then the queue is
 * drained and each of the instructions are executed. Once complete the queue is empty then
 * the style/class binding code is rendered on the element (which is what happens normally
 * inside of `renderStyling`).
 *
 * Right now each directive's hostBindings function, as well the template function, both
 * call `elementStylingApply()` and `hostStylingApply()`. The fact that this is called
 * multiple times for the same element (b/c of change detection) causes some issues. To avoid
 * having styling code be rendered on an element multiple times, the `HostInstructionsQueue`
 * reserves a slot for a reference pointing to the very last directive that was registered and
 * only allows for styling to be applied once that directive is encountered (which will happen
 * as the last update for that element).
 */
export interface HostInstructionsQueue extends Array<number|Function|any[]> { [0]: number; }

/**
 * Used as a reference for any values contained within `HostInstructionsQueue`.
 */
export const enum HostInstructionsQueueIndex {
  LastRegisteredDirectiveIndexPosition = 0,
  ValuesStartPosition = 1,
  DirectiveIndexOffset = 0,
  InstructionFnOffset = 1,
  ParamsOffset = 2,
  Size = 3,
}

/**
 * Used as a styling array to house static class and style values that were extracted
 * by the compiler and placed in the animation context via `elementStart` and
 * `elementHostAttrs`.
 *
 * See [InitialStylingValuesIndex] for a breakdown of how all this works.
 */
export interface InitialStylingValues extends Array<string|boolean|number|null> {
  [InitialStylingValuesIndex.DefaultNullValuePosition]: null;
  [InitialStylingValuesIndex.CachedStringValuePosition]: string|null;
}

/**
 * Used as an offset/position index to figure out where initial styling
 * values are located.
 *
 * Used as a reference point to provide markers to all static styling
 * values (the initial style and class values on an element) within an
 * array within the `StylingContext`. This array contains key/value pairs
 * where the key is the style property name or className and the value is
 * the style value or whether or not a class is present on the elment.
 *
 * The first value is always null so that a initial index value of
 * `0` will always point to a null value.
 *
 * The second value is also always null unless a string-based representation
 * of the styling data was constructed (it gets cached in this slot).
 *
 * If a <div> elements contains a list of static styling values like so:
 *
 * <div class="foo bar baz" style="width:100px; height:200px;">
 *
 * Then the initial styles for that will look like so:
 *
 * Styles:
 * ```
 * StylingContext[InitialStylesIndex] = [
 *   null, null, 'width', '100px', height, '200px'
 * ]
 * ```
 *
 * Classes:
 * ```
 * StylingContext[InitialClassesIndex] = [
 *   null, null, 'foo', true, 'bar', true, 'baz', true
 * ]
 * ```
 *
 * Initial style and class entries have their own arrays. This is because
 * it's easier to add to the end of one array and not then have to update
 * every context entries' pointer index to the newly offseted values.
 *
 * When property bindinds are added to a context then initial style/class
 * values will also be inserted into the array. This is to create a space
 * in the situation when a follow-up directive inserts static styling into
 * the array. By default, style values are `null` and class values are
 * `false` when inserted by property bindings.
 *
 * For example:
 * ```
 * <div class="foo bar baz"
 *      [class.car]="myCarExp"
 *      style="width:100px; height:200px;"
 *      [style.opacity]="myOpacityExp">
 * ```
 *
 * Will construct initial styling values that look like:
 *
 * Styles:
 * ```
 * StylingContext[InitialStylesIndex] = [
 *   null, null, 'width', '100px', height, '200px', 'opacity', null
 * ]
 * ```
 *
 * Classes:
 * ```
 * StylingContext[InitialClassesIndex] = [
 *   null, null, 'foo', true, 'bar', true, 'baz', true, 'car', false
 * ]
 * ```
 *
 * Now if a directive comes along and introduces `car` as a static
 * class value or `opacity` then those values will be filled into
 * the initial styles array.
 *
 * For example:
 *
 * ```
 * @Directive({
 *   selector: 'opacity-car-directive',
 *   host: {
 *     'style': 'opacity:0.5',
 *     'class': 'car'
 *   }
 * })
 * class OpacityCarDirective {}
 * ```
 *
 * This will render itself as:
 *
 * Styles:
 * ```
 * StylingContext[InitialStylesIndex] = [
 *   null, null, 'width', '100px', height, '200px', 'opacity', '0.5'
 * ]
 * ```
 *
 * Classes:
 * ```
 * StylingContext[InitialClassesIndex] = [
 *   null, null, 'foo', true, 'bar', true, 'baz', true, 'car', true
 * ]
 * ```
 */
export const enum InitialStylingValuesIndex {
  /**
   * The first value is always `null` so that `styles[0] == null` for unassigned values
   */
  DefaultNullValuePosition = 0,

  /**
   * Used for non-styling code to examine what the style or className string is:
   * styles: ['width', '100px', 0, 'opacity', null, 0, 'height', '200px', 0]
   *    => initialStyles[CachedStringValuePosition] = 'width:100px;height:200px';
   * classes: ['foo', true, 0, 'bar', false, 0, 'baz', true, 0]
   *    => initialClasses[CachedStringValuePosition] = 'foo bar';
   *
   * Note that this value is `null` by default and it will only be populated
   * once `getInitialStyleStringValue` or `getInitialClassNameValue` is executed.
   */
  CachedStringValuePosition = 1,

  /**
   * Where the style or class values start in the tuple
   */
  KeyValueStartPosition = 2,

  /**
   * The offset value (index + offset) for the property value for each style/class entry
   */
  PropOffset = 0,

  /**
   * The offset value (index + offset) for the style/class value for each style/class entry
   */
  ValueOffset = 1,

  /**
   * The offset value (index + offset) for the style/class directive owner for each style/class
     entry
   */
  DirectiveOwnerOffset = 2,

  /**
   * The first bit set aside to mark if the initial style was already rendere
   */
  AppliedFlagBitPosition = 0b0,
  AppliedFlagBitLength = 1,

  /**
   * The total size for each style/class entry (prop + value + directiveOwner)
   */
  Size = 3
}

/**
 * An array located in the StylingContext that houses all directive instances and additional
 * data about them.
 *
 * Each entry in this array represents a source of where style/class binding values could
 * come from. By default, there is always at least one directive here with a null value and
 * that represents bindings that live directly on an element in the template (not host bindings).
 *
 * Each successive entry in the array is an actual instance of a directive as well as some
 * additional info about that entry.
 *
 * An entry within this array has the following values:
 * [0] = The instance of the directive (the first entry is null because its reserved for the
 *       template)
 * [1] = The pointer that tells where the single styling (stuff like [class.foo] and [style.prop])
 *       offset values are located. This value will allow for a binding instruction to find exactly
 *       where a style is located.
 * [2] = Whether or not the directive has any styling values that are dirty. This is used as
 *       reference within the `renderStyling` function to decide whether to skip iterating
 *       through the context when rendering is executed.
 * [3] = The styleSanitizer instance that is assigned to the directive. Although it's unlikely,
 *       a directive could introduce its own special style sanitizer and for this reach each
 *       directive will get its own space for it (if null then the very first sanitizer is used).
 *
 * Each time a new directive is added it will insert these four values at the end of the array.
 * When this array is examined then the resulting directiveIndex will be resolved by dividing the
 * index value by the size of the array entries (so if DirA is at spot 8 then its index will be 2).
 */
export interface DirectiveRegistryValues extends Array<null|{}|boolean|number|StyleSanitizeFn> {
  [DirectiveRegistryValuesIndex.SinglePropValuesIndexOffset]: number;
  [DirectiveRegistryValuesIndex.StyleSanitizerOffset]: StyleSanitizeFn|null;
}

/**
 * An enum that outlines the offset/position values for each directive entry and its data
 * that are housed inside of [DirectiveRegistryValues].
 */
export const enum DirectiveRegistryValuesIndex {
  SinglePropValuesIndexOffset = 0,
  StyleSanitizerOffset = 1,
  Size = 2
}

/**
 * An array that contains the index pointer values for every single styling property
 * that exists in the context and for every directive. It also contains the total
 * single styles and single classes that exists in the context as the first two values.
 *
 * Let's say we have the following template code:
 *
 * <div [style.width]="myWidth"
 *      [style.height]="myHeight"
 *      [class.flipped]="flipClass"
 *      directive-with-opacity>
 *      directive-with-foo-bar-classes>
 *
 * We have two directive and template-binding sources,
 * 2 + 1 styles and 1 + 1 classes. When the bindings are
 * registered the SinglePropOffsets array will look like so:
 *
 * s_0/c_0 = template directive value
 * s_1/c_1 = directive one (directive-with-opacity)
 * s_2/c_2 = directive two (directive-with-foo-bar-classes)
 *
 * [3, 2, 2, 1, s_00, s01, c_01, 1, 0, s_10, 0, 1, c_20
 */
export interface SinglePropOffsetValues extends Array<number> {
  [SinglePropOffsetValuesIndex.StylesCountPosition]: number;
  [SinglePropOffsetValuesIndex.ClassesCountPosition]: number;
}

/**
 * An enum that outlines the offset/position values for each single prop/class entry
 * that are housed inside of [SinglePropOffsetValues].
 */
export const enum SinglePropOffsetValuesIndex {
  StylesCountPosition = 0,
  ClassesCountPosition = 1,
  ValueStartPosition = 2
}

/**
 * Used a reference for all multi styling values (values that are assigned via the
 * `[style]` and `[class]` bindings).
 *
 * Single-styling properties (things set via `[style.prop]` and `[class.name]` bindings)
 * are not handled using the same approach as multi-styling bindings (such as `[style]`
 * `[class]` bindings).
 *
 * Multi-styling bindings rely on a diffing algorithm to figure out what properties have been added,
 * removed and modified. Multi-styling properties are also evaluated across directives--which means
 * that Angular supports having multiple directives all write to the same `[style]` and `[class]`
 * bindings (using host bindings) even if the `[style]` and/or `[class]` bindings are being written
 * to on the template element.
 *
 * All multi-styling values that are written to an element (whether it be from the template or any
 * directives attached to the element) are all written into the `MapBasedOffsetValues` array. (Note
 * that there are two arrays: one for styles and another for classes.)
 *
 * This array is shaped in the following way:
 *
 * [0]  = The total amount of unique multi-style or multi-class entries that exist currently in the
 *        context.
 * [1+] = Contains an entry of four values ... Each entry is a value assigned by a
 * `[style]`/`[class]`
 *        binding (we call this a **source**).
 *
 *        An example entry looks like so (at a given `i` index):
 *        [i + 0] = Whether or not the value is dirty
 *
 *        [i + 1] = The index of where the map-based values
 *                  (for this **source**) start within the context
 *
 *        [i + 2] = The untouched, last set value of the binding
 *
 *        [i + 3] = The total amount of unqiue binding values that were
 *                  extracted and set into the context. (Note that this value does
 *                  not reflect the total amount of values within the binding
 *                  value (since it's a map), but instead reflects the total values
 *                  that were not used by another directive).
 *
 * Each time a directive (or template) writes a value to a `[class]`/`[style]` binding then the
 * styling diffing algorithm code will decide whether or not to update the value based on the
 * following rules:
 *
 * 1. If a more important directive (either the template or a directive that was registered
 *    beforehand) has written a specific styling value into the context then any follow-up styling
 *    values (set by another directive via its `[style]` and/or `[class]` host binding) will not be
 *    able to set it. This is because the former directive has priorty.
 * 2. Only if a former directive has set a specific styling value to null (whether by actually
 *    setting it to null or not including it in is map value) then a less imporatant directive can
 *    set its own value.
 *
 * ## How the map-based styling algorithm updates itself
 */
export interface MapBasedOffsetValues extends Array<any> {
  [MapBasedOffsetValuesIndex.EntriesCountPosition]: number;
}

export const enum MapBasedOffsetValuesIndex {
  EntriesCountPosition = 0,
  ValuesStartPosition = 1,
  DirtyFlagOffset = 0,
  PositionStartOffset = 1,
  ValueOffset = 2,
  ValueCountOffset = 3,
  Size = 4
}

/**
 * Used to set the context to be dirty or not both on the master flag (position 1)
 * or for each single/multi property that exists in the context.
 */
export const enum StylingFlags {
  // Implies no configurations
  None = 0b00000,
  // Whether or not the entry or context itself is dirty
  Dirty = 0b00001,
  // Whether or not this is a class-based assignment
  Class = 0b00010,
  // Whether or not a sanitizer was applied to this property
  Sanitize = 0b00100,
  // Whether or not any player builders within need to produce new players
  PlayerBuildersDirty = 0b01000,
  // The max amount of bits used to represent these configuration values
  BindingAllocationLocked = 0b10000,
  BitCountSize = 5,
  // There are only five bits here
  BitMask = 0b11111
}

/** Used as numeric pointer values to determine what cells to update in the `StylingContext` */
export const enum StylingIndex {
  // Position of where the initial styles are stored in the styling context
  // This index must align with HOST, see interfaces/view.ts
  ElementPosition = 0,
  // Index of location where the start of single properties are stored. (`updateStyleProp`)
  MasterFlagPosition = 1,
  // Position of where the registered directives exist for this styling context
  DirectiveRegistryPosition = 2,
  // Position of where the initial styles are stored in the styling context
  InitialStyleValuesPosition = 3,
  InitialClassValuesPosition = 4,
  // Index of location where the class index offset value is located
  SinglePropOffsetPositions = 5,
  // Position of where the last string-based CSS class value was stored (or a cached version of the
  // initial styles when a [class] directive is present)
  CachedMultiClasses = 6,
  // Position of where the last string-based CSS class value was stored
  CachedMultiStyles = 7,
  // Multi and single entries are stored in `StylingContext` as: Flag; PropertyName;  PropertyValue
  // Position of where the initial styles are stored in the styling context
  HostInstructionsQueue = 8,
  PlayerContext = 9,
  // Location of single (prop) value entries are stored within the context
  SingleStylesStartPosition = 10,
  FlagsOffset = 0,
  PropertyOffset = 1,
  ValueOffset = 2,
  PlayerBuilderIndexOffset = 3,
  // Size of each multi or single entry (flag + prop + value + playerBuilderIndex)
  Size = 4,
  // Each flag has a binary digit length of this value
  BitCountSize = 14,  // (32 - 4) / 2 = ~14
  // The binary digit value as a mask
  BitMask = 0b11111111111111,  // 14 bits
}

/**
 * An enum that outlines the bit flag data for directive owner and player index
 * values that exist within en entry that lives in the StylingContext.
 *
 * The values here split a number value into two sets of bits:
 *  - The first 16 bits are used to store the directiveIndex that owns this style value
 *  - The other 16 bits are used to store the playerBuilderIndex that is attached to this style
 */
export const enum DirectiveOwnerAndPlayerBuilderIndex {
  BitCountSize = 16,
  BitMask = 0b1111111111111111
}

/**
 * The default directive styling index value for template-based bindings.
 *
 * All host-level bindings (e.g. `hostStyleProp` and `hostStylingMap`) are
 * assigned a directive styling index value based on the current directive
 * uniqueId and the directive super-class inheritance depth. But for template
 * bindings they always have the same directive styling index value.
 */
export const DEFAULT_TEMPLATE_DIRECTIVE_INDEX = 0;

redpajama_set_name: RedPajamaGithub


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text:
Match Preview: Shots v Woking, Monday 26 December
Shots v Woking match preview – 26 December 2016
Aldershot Town suffered yet another defeat last Saturday as they went down to a 2-0 reverse at Chester. Gary Waddock and the Shots fans will be hoping they can bounce back for the festive double-header against Woking, with the Cards visiting the EBB Stadium on Boxing Day. BBC Surrey's Gavin Denison previews the action.
The most disappointing part of the loss at Chester was that the visitors didn't start playing until they'd gone 2-0 down. James Alabi hit the post from the penalty spot in the 7th minute to give them an early reprieve, but Jordan Chapell used the freedom of the Deva Stadium to put the hosts 1-0 up two minutes before the break. Aldershot Town's best first-half chance saw Idris Kanu curl a shot wide from twenty yards. Alabi then doubled the lead ten minutes later, turning in from close range after Tom Shaw's shot was saved by Mark Smith. The Shots rallied after that, with Shamir Fenelon and Bernard Mensah hitting the woodwork and Callum Reynolds firing over from the latter's rebound, whilst Charlie Walker was denied by a fine save from Blues goalkeeper Alex Lynch in the 85th minute.
As well as the defeat in Chester being their sixth in their last nine league games, it was also Aldershot Town's seventh loss in their last eleven games in all competitions. That run dates back to the goalless draw with Torquay United on 22 October, a game which the Shots dominated and could have gone third in the National League table with a win. The dramatic downturn in form can be put down to two main areas. Firstly, the run of five defeats in eight home games in all competitions (after they picked up sixteen points from their first eighteen at the EBB Stadium) and secondly, the concession of seventeen goals in their last nine games after conceding just sixteen in their first nineteen outings of the 2016-17 campaign.
Their opponents on Boxing Day secured a place in the top flight of the non-league pyramid for the first time in April 1992, a couple of weeks after the demise of Aldershot FC. Seventeen consecutive seasons at that level included five top-five finishes (ending in the runners-up slot in 1994-95 and 1995-96) and three FA Trophy successes between 1993 and 1998. However, the club faded over the next decade and were relegated to Conference South in 2009. Play-Off defeats against Bath City and Farnborough followed, before Woking returned to the Conference Premier as Champions in 2011-12. Their four campaigns back at this level have seen the Cards finish 12th, 9th, 7th, then 12th again last season.
The Cards, however, have struggled so far in 2016-17, sitting nineteenth in the table with 24 points from 24 games. They only managed one point from their opening six games, whilst a run of eight league games without a win from 24 September to 12 November dropped them back into the relegation zone. Since then, however, ten points have been secured from five national League outings, a run which includes wins at Maidstone United and at home against Gateshead and Bromley. Woking have only managed to win one league game away from home this season, whilst only Maidstone United and Southport have worse defensive records than the Cards' 44 goals conceded in this campaign so far.
Garry Hill has been in charge of the Surrey side since January 2011 and he's looking forward to facing the Shots in front of the TV cameras. He told the Surrey Advertiser: "It's a special game and anybody who tells you different is saying it tongue in cheek. On Boxing Day it means much more than a win and to me it's the difference between having a bit more dinner or nothing at all. It's all about the bragging rights and we've tended to have the better of them recently over there… It's a big game for the fans and a special day for everyone connected with both clubs and we are looking forward to it even though it will be tough… They are a lot stronger now and have a good manager in Gary [Waddock] and a top bloke too."
Gary Waddock made six changes to his starting eleven at Chester as he looked to arrest his side's slump. Callum Reynolds and Cheye Alexander returned to the back four, with Dion Conroy moving back into central midfield to partner Jake Gallagher, who had returned from a three-game suspension. Shamir Fenelon and Idris Kanu were restored to the flanks, whilst Scott Rendell was preferred upfront to Charlie Walker, who was named amongst the substitutes. Jim Kellermann, Iffy Allen and Kundai Benyu all dropped to the bench, with the latter two coming on in the second half. We can expect further changes on Boxing Day, especially with Wednesday's announcement that Walker, Allen and Josh Wakefield had all been released. The latter two had faded at the Shots after promising starts and had come to the end of their contracts, whilst Walker (last season's fourteen-goal top scorer) never recovered that form after suffering an ankle ligament injury in July. However, one player extending his stay with the Shots is Conroy, whose loan from Chelsea will now run until the end of the season.
Jack Saville has completed a one-game ban after his red card in the FA Trophy, plus Waddock could have some of his key players back from injury to face Woking. Central midfielder Liam Bellamy (missed eight games with a knee injury), Matt McClure (out against Chester due to a calf problem) and Jake Cole (unavailable for six games due to an ankle injury) could all return to the squad on Monday. Former Woking loanee Nick Arnold will be out with an ankle injury until mid-January at the earliest, whilst Will Evans went off because of a back problem last weekend and will be assessed nearer to kick-off.
Garry Hill has certainly been hampered by a number of key departures since the end of last season, with two – Scott Rendell (49 goals in 84 appearances between 2013 and 2016) and Jake Cole (74 games in two seasons) – of course joining the Shots. Last season's twenty-goal top scorer John Goddard moved to League One outfit Swindon Town, whilst left-sided player Chris Arthur also moved into the Football League, joining Crawley Town. Captain Mark Ricketts and Bruno Andrade joined Boreham Wood, local hero Giuseppe Sole moved to Hampton & Richmond, Godfrey Poku signed for Oxford City and Cameron Norman returned to parent club Norwich City. Amongst those players who remained at Kingfield were defenders Ismail Yakubu (who missed all but six games in 2015-16 with a serious knee injury), Brian Saah, Joey Jones and Jake Caprice, experienced midfielder Keiran Murtagh and Academy products Charlie Carter and Aaron Smith-Joseph.
The Woking boss hasn't had the biggest budget with which to reinforce his squad, but he's made some excellent signings. New England C goalkeeper Brandon Hall arrived from Ebbsfleet United, whilst striker Gozie Ugwu (thirteen goals) and attacking midfielder Fabio Saraiva (eleven goals) signed from Wycombe Wanderers and Ryman League Premier Division side Merstham respectively. The attacking ranks were further strengthened by former youth player Delano Sam-Yorke (Forest Green Rovers), Chike Kandi (Brighton and Hove Albion) and Dennon Lewis (season-long loan deal from Watford). Michael Poke (Eastleigh) has been primarily used as Hall's deputy this season, whilst Terell Thomas (on loan from Charlton Athletic) and Frazer Shaw (formerly at Leyton Orient) have been added to the Cards' defensive corps. Former Shots loanee Nathan Ralph (one goal in twelve appearances at the end of last season) and Anthony Edgar (Braintree Town) will provide width if required, whilst Frankie Sutherland (QPR) and ex-Shots trialist Max Kretzschmar (Wycombe Wanderers) have added options in central midfield. On Friday, Hill also secured the signing of Kane Ferdinand, who scored the winner for East Thurrock United against the Shots in the FA Trophy earlier this month.
Hill will be able to welcome Charlie Carter back to his squad after he completed his three-match suspension against Guiseley, but Kretzschmar and Ansah will both be unavailable to face the Shots due to long-term injuries. Keiran Murtagh has only played 45 minutes in the last month because of a hamstring problem, so may struggle to feature on Monday.
Since their first meeting in the FA Cup in October 1998, these two clubs have met each other on 22 occasions, with the Shots winning ten (including seven of the last ten), drawing six and losing six. Last season saw the Cards completing their first double over their local rivals. John Goddard tallied the only goal at the EBB Stadium on Boxing day, whilst his goal proved to be the winner at Kingfield seven days later. Joe Quigley had given the hosts the lead, with Rhys Browne notching what proved to be a consolation for Aldershot Town. The 2014-15 campaign saw both clubs winning the away fixture, with the Cards' victory last September coming courtesy of a stunning 35-yard free kick from Giuseppe Sole, which was the one true moment of quality in an uneventful game. The reverse fixture on 28 December saw Andre McCollin and Brett Williams give the Shots a 2-0 lead in the opening thirty minutes before Jack Marriott got one back for the home team in the 88th minute.
The Shots also have the marginal advantage at the EBB Stadium; winning four, drawing four and losing three times against the Cards. As noted above, Woking have won the last two on this ground, but the Shots have won four of the eight league games on this ground, including the famous 4-0 win in front of the TV cameras in March 2005 and a 2-1 victory on New Year's Day 2008. Later in the 2007-08 promotion season, these two teams also played out a 2-2 draw in the semi-final of the Setanta Shield, with the Shots eventually going through after winning the penalty shootout 4-3. The first game in North East Hampshire ended in a 0-0 draw, with Aldershot Town as a Ryman League Premier Division club, in the FA Cup in October 1998, whilst Woking's first victory at the Shots came in an FA Trophy 4th Round Replay sixteen months later.
If he features on Boxing Day, Anthony Straker will make his 250th appearance for the Shots, becoming just the fourth player to reach the milestone for the club. Will Evans will make his 200th senior appearance if he plays against Woking on Monday.
Saturday afternoon's referee is Craig Hicks from Sutton, who took charge of the Shots' 2-0 home victories against Wrexham in August and Solihull Moors two months later. He also oversaw Aldershot Town's 2-1 win at Braintree Town last August, as well as the 2-0 victory at Torquay United at the start of October 2015. This season he's officiated in eleven National League fixtures, showing 21 yellow cards and three red cards.
BBC Surrey's Gavin Denison, Rob Worrall of the Aldershot Town media team and Woking FC Press Officer John Moore will be covering the game on Boxing Day afternoon. Tune in to 104.0 & 104.6 FM or DAB from midday for team news and pre-match interviews, followed by full match commentary via the BBC Surrey radio frequencies, website and BBC Sport app from 12.15pm.
You can also contact us throughout the afternoon via Twitter. Tweet your predictions and thoughts on the game to @bbcsurreysport or @GavinDenison


Robert White - Whyte - (ca. 1535 - 1574), an English composer probably born in Holborn. He was a son of an organ builder. White was a chorister and adult singer at Trinity College in Cambridge (1554-1562). In 1560 White took the Cambridge Music Bachelorship from Cambridge University. In succession of his father in law Christopher Tye (c.1500-c.1572) he was appointed Master of the Choristers at Ely Cathedral. In 1566 Robert White went to Chester Cathedral and accepted the same post. In 1570 White was appointed organist and master of the Choristers of Westminster Abbey. Robert White and his family unfortunately died in a virulent outbreak of plague in the Westminster area. His music falls into two groups: those written for Catholic use at the time of Queen Mary (1516-1558) and those written during Elizabeth�s (1533-1603) reign. A lot of White compositions survived among others in the Dow Partbooks with eleven Latin sacred compositions and in the Philip Gyffard Partbooks c. 1580 with one piece. Some keyboard and violin pieces survived.
The �Libera me Domine de morte� is in general a plainchant from the Exsequiarum Ordo more specific a Responsorium sung during the final blessing of the coffin on its catafalque �absolutum super tumulum� see Liber Usualis (ed. 1936 page 1767). Indeed this 1st Respond out of the Office of the Dead is on the other hand sung at the beginning of the Absolutio pro defunctis, so after the Missa pro Defunctis, see the Liber Usualis (ed. 1936 page 1824). The whole Exsequarium ordo is published in the old Liber Usualis (ed. 1936 pages 1763 � 1771). The Libera Domine de Morte aeterna is a well-known Respond, there are more (4) plain-chant variations known. This motet by Robert White is set for four voices ATTB.
Following the text Robert White uses some variations (see V2 from �quid ergo miserimus�) at the end of this Respond which are not confirmed in the old Liber Usualis. In the Sancte Deus by Tallis (1505-1585) fragments of these text are used too and the used Latin by Tallis text is placed between brackets. So there is a connection too between the Sarum Rite and Roman Rite in this piece. In the Burnet Psalter fifteenth Century we examined the Office of the Dead ff 273-278. The first two sentences of the Versus �Quid ergo miserimus� is used but in the place of the �Nunc Christe� we saw another sentence �Creator omnium\ rerum deus etc.� We examined more differences in the Liber Usualis is used as 9th Respond the Libera me Domine de viis and not the Libera me Domine de morte! This Responsorium �de viis� is mentioned as aliud Responsorum in the Burnet Psalter. So there are more possibilities in the Sarum Rite.
This very large (with repeats) motet Libera me, Domine, de morte aeterna in exsequiis, consisting out of 139 bars, is written in imitative polyphonic style. The motet starts with the prescribed plainchant �Libera me.� The whole plainchant is placed and quoted all in semi-brevis in the Tenor �Medius� during the whole Respond. Robert White uses some fine dissonant in this piece. In a matter of word-painting, the �Dies illa� (from bar 65) is set for three lower voices TTB, from �Quid ergo miserimus� (bar 89) Robert White uses another combination of three voices ATT. There are two moments in which Robert White prescribes a repeat to earlier sections. In Roman Rite is it normal but here we see other repeats. From bar 88 there is a first return to bar 24 �Quando coeli movendi� up to bar 65 and a second repeat is indicated at bar 113 to bar 35 �Dum veneris� up to bar 65. Thereafter at the end of the last mentioned repeat the last phrase of the Versicle from �Nunc Christe� (bar 114) starts and is again set for four voices ATTB. An extra flat (e) is used by White in the Contratenor and in the Bassus in the whole piece. This motet is set by Robert White in g-Dorian. This motet was found in the British Library London mss 17802-5 ff 113 up to 121 and published by www.stephenpegler.co.uk and available.
R. Libera me, Domine, de morte aeterna in die illa tremenda.
Quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem.
V. Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde.
Dum nihil boni perferam, ante tantum judicem?
[Qui venisti redimere per ditos noli perdere redemptos].
when you will come to judge the world through fire.
A great and bitter day indeed.
V2 What, unlucky me, shall I say and what shall I do?
When I bring nothing good in front of such a judge?
Now Lord, we beg you, have mercy we beseech you.
You who come to redeem the lost, do not damn those you have redeemed.


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text:
Bullenbeisser es una raza canina extinta originaria de Alemania. Se considera la procreadora de grandes razas caninas y se conocen bajo el nombre de Generación Bullenbeisser.

Conocidos por ser buenos cazadores, fueron perros de tipo moloso de pelaje corto y color atigrado; su cabeza presentaba prognatismo, poseían gran musculatura y una mandíbula ancha y fuerte para morder. Su crianza antes estaba controlada por los cazadores.

La raza presentaba dos variedades: La Brabanter Bärenbeißer (mordedor de osos) y la Danziger Bullenbeisser (mordedor de toros).

A esta raza también se la conocía como pequeño Brabante o Bulldog Alemán. Conocidos por su fortaleza y agilidad, su extinción se debió al mestizaje y no fue causada por decadencia de la raza.

Historia
Desde la época de los asirios, más de 2000 años a.C., existía un tipo de perro con cabeza grande y poderosa, que eran usados para la guerra. Muchos siglos después se les dio el nombre de molosoides a los perros de ese tipo, tomado de la ciudad de Molossis, en Epiro, lo que hoy es Albania.

Esta raza se expandió por toda Europa por las migraciones de los celtas y germanos a lugares como Alemania, Francia, España e Inglaterra y se convirtieron en los ancestros del gran Bullenbeisser (mordedor de toros). Este era un perro potente de carácter fuerte que utilizaban los germanos para la cacería de los uros (toros salvajes de la región de Ucrania), el bullenbeisser era un perro de pelea, guardia y pastoreo.

Poco a poco los cazadores alemanes tenían cada uno el bullenbeisser como ayudante, dependiendo del tipo de pieza que cazaban se les llamó Cannis ursiturus (perros de oso) y Cannis porcatoris (perros de jabalí), debido a la diseminación de los perros de pelea, en los siglos XII al XIV, una práctica que se popularizó en Europa.

El término "dogge" se utilizaba para llamar a los perros de cuerpo fuerte, pelo corto, cabeza grande, mandíbulas poderosas y un labio superior en forma de triángulo y caído. Los dogge de todos los países de Europa dieron por su tamaño durante la Edad Media origen a dos tipos de perros bullenbeisser, el Danzig de talla grande y el Brabante, de menor tamaño y que se usaba sobre todo como perro de agarre durante las cacerías de piezas mayores; Actuaban atacando a las presas por detrás y las sostenían de tal manera que estas no les infringieran daño y así permitían al cazador dar muerte a la presa. Para poder realizar esta tarea, el perro debía tener en lo posible un hocico ancho con una alineación amplia de dientes que le permitiera tener una mordida fuerte para sujetar la presa. Esto los hizo muy valiosos y así fue como se empezaron a criar en forma sistemática.

De estos Bullenbeisser de Brabante surge el Bóxer, en un área al noroeste de Bélgica. A estos perros se les cortaban las orejas y la cola cuando eran pequeños pues se les utilizó también como perros de pelea.

En el  los grandes señores ya no practicaban las cacerías de osos y jabalíes y los Brabantes ya no vivían en los castillos; además que las cortes alemanas donde se criaba al Bullenbeisser fueron afectadas durante las Guerras Napoleónicas y se acabaron las rehalas de perros para ese fin. Fue así como estos perros por su gran inteligencia y temperamento pasan a vivir como perros de familia y guardianes en las casas del pueblo, en haciendas, ranchos ganaderos, comercios de ganado y carnicerías.

A finales del  por el año 1820 criadores en Alemania se hicieron cargo y fijaron los lineamientos para la crianza del Bóxer que enriquecieron con el aporte genético de razas parecidas, muy especialmente del Bulldog inglés (del tipo antiguo, más parecido a un bóxer pesado que a un Bulldog inglés moderno).

En 1895 se encuentran en Múnich, capital de Baviera, Elard König, Rudolf Hogner y Friedrich Roberth con la finalidad de crear el moderno bóxer alemán.

Creación de razas
Antiguamente se buscaba a un perro que cumpliera con estas características: fuerte, de protección y de compañía. Sobre la base de esto, a finales del año 1870 Friedich Roberth junto con otros criadores alemanes Konig y Hopner comenzaron a tener interés en este tipo de perro para procrear una nueva generación de Bullenbeisser, cruzando a 30 de estos Bullenbeissers con perros Bulldogs traídos de islas británicas. La composición de sangre fue 50/50 en ese entonces, sin embargo, los propietarios alemanes comenzaron a cruzarlo con todo tipo de raza Bulldog y bóxer en ese entonces, dando como resultado razas de perros indistinguibles en medio de la Segunda Guerra Mundial.

Actualmente el bullenbeisser es representado por el Dogo argentino y el Alano español, no solo en aspecto sino también en su uso.

Otra raza de origen sudafricana es el boerboel, por una mezcla entre el Bullmastiff, el Gran Danés y el Bullenbeisser.

Se consideran la nueva generación de esta raza extinta.

Curiosidades

 Actualmente el descendiente del bullenbeisser, el bóxer, es una de las razas más famosas del mundo.
 El pitbull terrier americano junto con el dogo argentino tienen la mala fama de ser considerados unos de los perros más agresivos del .
 Según la Federación Cinológica Internacional, el gran danés es considerado «Apolo entre todas las razas».
 Anteriormente el alano español estuvo a punto de extinguirse en la década de los 80 del .
 El Boerboel se ha comparado con el pitbull, ya que tienen el mismo carácter y fuerza.

Referencias

Véase también

Generación Bullenbeisser

Enlaces externos

Razas de perro extintas
Razas de perro de Alemania
Bulldogs


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Home House + Garden A Remarkable Renovation
A Remarkable Renovation
by Alan Pell Crawford
In turns Robert E. Lee's boyhood home, a boarding house, and a museum, this Alexandria estate has seen its share of history.
Historical marker in front of the estate.
Photos by Matthew Brazier / courtesy of HRL Partners
Exterior view.
The historical marker outside 607 Oronoco Street in Alexandria's Old Town says, "Lee's Boyhood Home." Robert E. Lee lived in the handsome Federal and Georgian-style townhouse from the time he was five until he left for West Point. He returned after Appomattox and climbed the brick wall around the yard to discover "if the snowballs were in bloom."
But there are other historic associations with the property, both preceding and following the time the future general of the Army of Northern Virginia lived there and intersecting the way Virginia's oldest families so often do. George Washington, for example, visited the home on more than one occasion—owners Ann and Mark Kington can show you where he slept. Washington was there on Nov. 17, 1799; it was the last time he left Mount Vernon before his death four weeks later. He had attended services at Christ Church, Alexandria, and then dined with William Fitzhugh, who owned the house at the time. Fitzhugh's daughter, Mary Lee Fitzhugh, later married George Washington Parke Custis, Martha Washington's grandson by her first marriage, in the townhouse. Their daughter, Mary Anna Randolph Custis, would marry Robert E. Lee in 1831, and the couple would settle at nearby Arlington.
"The Robert E. Lee connection is important," says Mark Kington, "but we like to think more in terms of the historic sweep of this old home. We don't like to focus on one aspect of its story." And it's a good story.
Formal living room.
Diplomats, Statesmen, and Poets
The house was built in 1795, a few years after its twin next door, by John Potts of Pottstown, Pennsylvania, the secretary of George Washington's Potomac Canal Company. Potts built the house as an investment and sold it to Fitzhugh in 1799 for $12,000. Fitzhugh described it as a "new & most delightful House, in a beautiful & retired Situation, having a charming View of the Federal City, and the Potomack River—it is large and commodious and admirably fitted for a Family," with outbuildings and a backyard, "all of Brick, a Pump of excellent Water & a good garden."
Much of that original layout remains to this day, but the "new & most delightful house" was in sad shape when the Lee family lived there. Henry Lee III, or "Light Horse Harry," was a Revolutionary War hero and former governor of the Commonwealth who, in 1809, went bankrupt and spent a year in debtor's prison. The family was forced to leave Stratford Hall, their plantation in Westmoreland County, and move to Alexandria. Robert, born two years earlier, hardly knew his father, who then abandoned the family around 1813, moving to the West Indies. Five years later, he died.
View of the main stairway from the top.
Henry's wife, Anne, and children moved to Oronoco Street in 1811 or 1812. The house was still owned by the Fitzhughs, who were relatives of Anne's and let the impoverished family live there, it would appear, for free. By this time, "wood fires and smoky lamps left the walls sooty and peeling," according to Elizabeth Brown Pryor's Reading the Man: A Portrait of Robert E. Lee Through His Private Letters. Rooms were rented to "gentlemen boarders, who shared a kitchen and other amenities with the Lees." The house was sold in 1820 and again in 1824, but the Lees were apparently in residence until at least 1825. At the time of Anne's death in 1829, she was living at Ravenswood, the Fitzhugh plantation near present-day Annandale in Fairfax County.
After passing through other hands, the house was acquired in 1942 by Archibald MacLeish, the poet, playwright, and, from 1939 through 1944, Librarian of Congress. Before MacLeish sold it in 1945, he entertained diplomats, statesmen, and other poets, including Carl Sandburg. In 1967, after learning that its owner wanted to build townhouse lots on the site, the nonprofit Lee-Jackson Foundation (then called the Stonewall Jackson Memorial Foundation) bought the half-acre property.
"We are the 17th owners of this house," says Mark Kington, a telecom investor who, with U.S. Sen. Mark Warner and others, was a cofounder of the venture capital firm Columbia Capital. In 2000, the Kingtons bought the house for $2.5 million from the Lee-Jackson Foundation, whose officials had realized they could no longer afford the upkeep on the house. "There was some opposition to the sale," Mark recalls, "but the decision the foundation made was in the best interests of the house."
The Kingtons "have always viewed ourselves more as stewards of the property than as owners of it," Mark says. "We like the fact that it has become a private home again, which is the reason it was built in the first place."
But there were challenges. "When we acquired the house, there was termite damage to the main frame supporting the roof, and the flashing around the fireplaces was leaking," Mark says. "There was a snow storm the winter after we got the house, and our architect told us that, without the work we had done, the roof wouldn't have survived."
Restored to its original condition wherever possible, the house today looks much as it would have during its glory days, although Mark notes it does have new air conditioning, heating, plumbing, and wiring, as well as an eat-in kitchen suitable for entertaining. There's a two-car garage, and, depending on need, at least six bedrooms. "A house like this is like one of your children," Mark says. "There's always something to do, something to work on, and even at 200-plus years old, it's never finished."
Master bedroom.
A remarkable amount of the original materials are intact. More than 40 layers of paint were stripped away, and the original mantelpieces, plaster friezes, and cornices have been restored. Unique features that lend character and charm remain. On the front door, for example, the original brass box lock, believed to have been manufactured in England for John Potts, was "installed upside down," according to a 2000 Historic Structures Report, "presumably because the lock was made for a door of opposite hand." Not to worry: Restored to its original condition, the same lock is still there—and still upside down.
The side and rear yards are once again landscaped "good gardens." Set into the masonry wall in what was the summer kitchen is a cast-iron oven that also dates back to the time of the house's construction. The oven bears the stamp "Stratton/73 Cheapside/London," an ironmonger shop that Mark says still has the bill of sale in its files. "The oven is in good working order," he adds, opening the door to peek in. "You can use it to make pizza."
After calling the place home for two decades, the Kingtons are ready to let someone else take over; represented by Washington Fine Properties, the house is on the market. "Our kids are grown, and we don't really need an 8,000-square-foot home anymore," Mark says. "We wanted to get this house ready for the next 200 years, and we feel we have done that." Now, Ann adds, "It's time for someone new to enjoy it."
This article originally appeared in our June 2019 issue.
June 2019 issue History in the market Alexandria Property Robert E. Lee
Thank you for this delightful story and sharing this historic home with us. I am related to the William FitzHugh mentioned, and as such, also related to Robert E. Lee. It's always nice to learn a little more about my Virginia family history. Amazing that it is for sale again, as a REALTOR, I would love to be on the buy side of that deal - or better yet, purchase the home myself. In any case, I hope the new owners will treat it with the obvious care, attention to detail, and love that the Kingtons have.
Tyler FitzHugh Ohta 181 days ago
A Remarkable Renovation (of Lee's Boyhood Home)
Being a southerner and native Virginian, I so enjoyed reading about Lee's boyhood home in Alexandria, Virginia, at 607 Orinoco Street in Old Town.
I wonder if you could do a similar historic update of what I understand was Robert E. Lee's home during the Civil War, on East Franklin Street in Richmond, near the historic St. Paul's Episcopal Church, where he worshipped during that time?
Susan Durham 187 days ago
Can one visit Lee's boyhood home?
Can one visit Lee's boyhood home? Is it open to the public, if so, what are its hours?
If not, are private showings possible, if so, who does one contact to arrange?
Many years ago I did a drive-by, when it was a museum, but seldom open so was unable to go inside.
WAYNE J ROWE 187 days ago
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In turns Robert E. Lee's boyhood home, a boarding house, and a museum, this Alexandria estate has seen its share of history. Read more
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text:
CHERRYFIELD PUBLIC LIBRARY
NEW on the Shelves
The library's mission is to provide education, entertainment, and support to the community through technology, staff, materials, programming, and classes.
It is the library's purpose to provide a safe and friendly community gathering space for everyone. We provide services geared towards our mission statement to help all who pass through our doors and those who just sit in the parking lot to use the WiFi.
Staff- Cara E. Sawyer- Library Director
Board- Stephanie VerWey- President
Cindy Smith- Vice President
Zandra Campbell- Secretary
Heather Carney- Treasurer
The Cherryfield Free Public Library was instituted in 1837 and its founders were: Louisa Upton, Eliza Nickels, Mary Upton, and Elizabeth Kingsley. The library was started and sustained in its infancy by independent subscriptions and public entertainments. The first librarian was Mrs. Mary L. Upton. In 1898, through efforts of the Woman's League, the town took the library in charge thus making it a public institution.
By 1905, the library contained over 1000 choice volumes and Mrs. Mary L. Wakefield was the librarian. It was situated in a room in the Dr. Van Wart building were it stayed until 1947. In 1947, the library moved to the Sunday School room of the Congregational Church. A corporation was formed in 1950 enabling the trustees to buy the so called American Peat building on Main Street. This building is three doors down from our present location. In 1973, the Board of Trustees of Cherryfield Academy offered the Academy building to the town for a central Town Office location. Provisions attached to the offer were that if the town accepted the offer, the Public Library would have a room in the building. The library remained in the Academy building until January 2006 when we moved into our present location at 35 Main Street.
The Union Trust Bank closed their Cherryfield branch December 31, 2004. Early in 2005, the bank approached some of the members of the library board of trustees to inquire if we would be interested in the bank building as a home for the library. They would give us the building if we could show that we could raise enough money to rehab the building and keep it up and running. We started fundraising right away and by
June we had raised the money. The rehab started in September 2005. The ribbon cutting ceremony was held on December 10, 2005. We closed the library for the week between Christmas and New Years to move the books to their new home. We reopened on January 3, 2006.
We now have over 8000 books, audio books, DVDs, and 6 computers with internet access. The future looks very bright for the Cherryfield Free Public Library.
A more detailed history is available at the Cherryfield Free Public Library for anyone who may be interested in it.
Material for this history was taken from the following:
1905 Cherryfield Town Register ~ compiled by Mitchell & Campbell
A History of the Cherryfield Library ~ compiled by Myra McEntire & E. Virginia Grant


text:
Determining subjectivity in text: The case of backward causal connectives in Dutch
M.T. Pit
Language, Literature and Communication
This article addresses the question of how to systematically determine the degree of subjectivity expressed in a text, more specifically, the degree of subjectivity expressed in causal coherence relations. The main hypothesis is that the distribution of Dutch backward causal connectives (want, omdat, aangezien, and doordat) can be explained by the degree of subjectivity of the participant primarily involved in the causal relation (the causally primary participant or CP). The notion of subjectivity is defined on the basis of 2 different conceptions of subjectivity: speaker subjectivity and perspective. On the basis of this notion, a set of 8 text features is established, namely the CP's role in the causality, his or her nature, the mode in which his or her words or thoughts are represented, referential choice (presence and type of referential expression), and predicate features (tense, voice, polarity). This set of features is subsequently applied to an analysis of backward causal connectives in Dutch. The results of a series of corpus analyses are reported. The results show that the distribution of these connectives can successfully be explained in terms of the concept of subjectivity as developed in this article, and they underline the importance of investigating the expression of the self in text. Copyright © 2006, Lawrence Erlbaum Associates, Inc.
Discourse Processes
https://doi.org/10.1207/s15326950dp4102_3
10.1207/s15326950dp4102_3
Dive into the research topics of 'Determining subjectivity in text: The case of backward causal connectives in Dutch'. Together they form a unique fingerprint.
Subjectivity Psychology 100%
Causal Arts and Humanities 50%
Text Arts and Humanities 50%
Connectives Arts and Humanities 50%
Expression Arts and Humanities 25%
Referential Arts and Humanities 25%
Speaker Arts and Humanities 12%
Corpus Arts and Humanities 12%
Pit, M. T. (2006). Determining subjectivity in text: The case of backward causal connectives in Dutch. Discourse Processes, 41(2), 151-174. https://doi.org/10.1207/s15326950dp4102_3
Pit, M.T. / Determining subjectivity in text: The case of backward causal connectives in Dutch. In: Discourse Processes. 2006 ; Vol. 41, No. 2. pp. 151-174.
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doi = "10.1207/s15326950dp4102_3",
journal = "Discourse Processes",
Pit, MT 2006, 'Determining subjectivity in text: The case of backward causal connectives in Dutch', Discourse Processes, vol. 41, no. 2, pp. 151-174. https://doi.org/10.1207/s15326950dp4102_3
Determining subjectivity in text: The case of backward causal connectives in Dutch. / Pit, M.T.
In: Discourse Processes, Vol. 41, No. 2, 2006, p. 151-174.
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AU - Pit, M.T.
N2 - This article addresses the question of how to systematically determine the degree of subjectivity expressed in a text, more specifically, the degree of subjectivity expressed in causal coherence relations. The main hypothesis is that the distribution of Dutch backward causal connectives (want, omdat, aangezien, and doordat) can be explained by the degree of subjectivity of the participant primarily involved in the causal relation (the causally primary participant or CP). The notion of subjectivity is defined on the basis of 2 different conceptions of subjectivity: speaker subjectivity and perspective. On the basis of this notion, a set of 8 text features is established, namely the CP's role in the causality, his or her nature, the mode in which his or her words or thoughts are represented, referential choice (presence and type of referential expression), and predicate features (tense, voice, polarity). This set of features is subsequently applied to an analysis of backward causal connectives in Dutch. The results of a series of corpus analyses are reported. The results show that the distribution of these connectives can successfully be explained in terms of the concept of subjectivity as developed in this article, and they underline the importance of investigating the expression of the self in text. Copyright © 2006, Lawrence Erlbaum Associates, Inc.
AB - This article addresses the question of how to systematically determine the degree of subjectivity expressed in a text, more specifically, the degree of subjectivity expressed in causal coherence relations. The main hypothesis is that the distribution of Dutch backward causal connectives (want, omdat, aangezien, and doordat) can be explained by the degree of subjectivity of the participant primarily involved in the causal relation (the causally primary participant or CP). The notion of subjectivity is defined on the basis of 2 different conceptions of subjectivity: speaker subjectivity and perspective. On the basis of this notion, a set of 8 text features is established, namely the CP's role in the causality, his or her nature, the mode in which his or her words or thoughts are represented, referential choice (presence and type of referential expression), and predicate features (tense, voice, polarity). This set of features is subsequently applied to an analysis of backward causal connectives in Dutch. The results of a series of corpus analyses are reported. The results show that the distribution of these connectives can successfully be explained in terms of the concept of subjectivity as developed in this article, and they underline the importance of investigating the expression of the self in text. Copyright © 2006, Lawrence Erlbaum Associates, Inc.
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Pit MT. Determining subjectivity in text: The case of backward causal connectives in Dutch. Discourse Processes. 2006;41(2):151-174. doi: 10.1207/s15326950dp4102_3


sangu.me 9 out of 10 based on 699 ratings. 2,206 user reviews.
Find great deals on eBay for Dodge Charger Radio in Other. Shop with confidence.
The 1978 79 Dodge Magnum. 2005 2008 Dodge Magnum • paring the 1978 and 2005 Dodge Magnums. Updated Feb. 2017. The mid sized Dodge Magnum lasted only two years before being replaced by the smaller Dodge Mirada.


text:
Poseidon! An Upside Down Musical at Edge Theatre
Poseidon! An Upside Down Musical
Edge Theatre
5451 N. Broadway Chicago
It's New Year's Eve and a group of hardcore fans have gathered for their annual viewing of the greatest film ever - The Poseidon Adventure, the story of the capsize of the SS Poseidon on New Year's Eve, and the handful misfit passengers that decide to climb to the top of the ship - which is now the bottom. As the story progresses the viewers become one with the film. POSEIDON! An Upside-Down Musical is part parody, part homage - and a look at how movies can leave their mark on you.
Presented by Hell in a Handbag Productions
Thru - Apr 28, 2019
Show Type: Musical
www.handbagproductions.org/
Poseidon! An Upside Down Musical Reviews
"...Derek Van Barham's direction and Breon Arzell's choreography both commit to a more-is-more aesthetic, which plays nicely off the poor-theater inventiveness of Christopher Rhoton's scenic design. (I particularly liked how the production handled the man-falling-through-skylight sequence.) It takes a little while to find its sea legs, but Poseidon's affection for the original cruising matches course with a�� sharp dissection of its cliches."
Kerry Reid
Time Out Chicago - Somewhat Recommended
"...But even this cast can't overcome David Cerda's hokey script, which has aged less gracefully than Cerda and Scott Lamberty's loony, melodic score. The show's message remains compelling: The right movie at the right time can save a person's life. Poseidon!'s framing device is a New Year's Eve gathering of Poseidon Adventure megafans hosted by a woman named Toni (a luminous Caitlin Jackson); the origin story of her fandom has a bracing pathos. Less refreshing are the numerous NAMBLA-adjacent wisecracks peppered throughout the script, which are part and parcel of Poseidon!'s commitment to lo-fi, self-aware camp. Once the ship turns over-in a rollicking DIY sequence-the return on all those winks and nudges starts to diminish."
"...This is a wonderful, campy, over-the-top production-just what audiences have come to expect from every Hell in a Handbag production. David Cerda, so busy with several projects going at the same time, has put his trust in Derek Van Barham, his terrific artistic support crew and his talented, large cast. The result is an hilarious musical production that pays homage to the disaster films of the 1970's. And, just remember, don't leave early. Because it ain't over until the fat lady swims!"
The Fourth Walsh - Highly Recommended
"...So much to love about this voyage! Although you don�t have to see the movie to enjoy the jokes and singing, your appreciation of the clever layers of snark will be enhanced by watching or re-watching it. POSEIDON! An Upside Down Musical is Hell in a Handbag�s origin story. See where Chicago camp started, get aboard this sinking ship!"
Katy Walsh
Chicagoland Musical Theatre - Highly Recommended
"...It's overall a gaudy and fun twenty-year hurrah for a Chicago theatrical institution. Hell in a Handbag may not have invented camp, but they've made their own recognizable brand of it for nearly twenty years, and they show no sign of stopping. So why not jump in the water and ride the wave while you can, see how it all began?"
Patrick O'Brien
Chicago On Stage - Recommended
"...No one is going to come into something called Poseidon: An Upside Down Musical expecting powerful epiphanies and serious theatre; you know before you go in that it's going to be a campy and funny show. In that you will not be at all disappointed. This is classic Hell in a Handbag-quite literally. It was their first big hit and now, playing at the Edge Theatre (which itself would be at home on a cruise ship), it is perfectly situated to do the job again. By the time you reach the finale ("Keep On Climbing") you'll have been thoroughly entertained, though you might want to forego cruising for a few years."
Karen Topham
Poseidon! An Upside Down Musical Photo Gallery


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A look back at concerts since Susquehanna Folk was founded in 1985.
Let's also give a hand to the fine local acts who have graced our coffeehouse stage through the years! Please visit their websites, go out to their gigs, buy their music, support what they're doing. Listen local!
A special 'tip of the hat' goes to sound engineer Hank Imhof, who makes the music sound even better, and to our volunteers who do so much. Grazie!
The Dalton Brothers - a mini-reunion of our own Jess Hayden's childhood family band!


Good and fresh food for reasonable price. Good opening hours!
A family restaurant, the food is excellent and afordable. Service is also very good. As I was there on January 6th, clients were treated with free Roscón de Reyes as dessert, a very nice touch to end the Christmas holidays. Highly recommended.
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