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Proserpina, un drama mitológico en dos actos (título original en inglés: Proserpine, a mythological drama in two acts), es un drama en verso escrito para niños por el matrimonio de escritores románticos británicos Mary Shelley y Percy Bysshe Shelley. Mary escribió el verso blanco del drama y Percy contribuyó con dos poemas líricos. Compuesto en 1820 cuando los Shelley vivían en Italia, a menudo se le considera pareja de Midas, también obra del matrimonio. Proserpina se publicó por primera vez en 1832 en el periódico londinense The Winter's Wreath. Si alguna vez hubo intención de representar la obra es tema de debate entre los expertos.

El drama se basa en el relato de Ovidio sobre el secuestro de Proserpina por Plutón, que a su vez se basa en el mito griego de Deméter y Perséfone. La versión de Mary Shelley se centra en los personajes femeninos. En una versión en gran parte feminista, vista desde la perspectiva de Ceres, Mary Shelley pone de relieve la separación de la madre y la hija, así como la resistencia que ofrece una comunidad de mujeres. Ceres representa la vida y el amor, Plutón la muerte y la violencia. Los géneros del texto también reflejan los debates contemporáneos al respecto. La contribución de Percy en la forma de los versos líricos estuvo en la línea que tradicionalmente habían dominado los hombres; Mary creó un drama con elementos comunes en la escritura feminista de principios del siglo XIX: detalles cotidianos y diálogos con empatía.

Proserpina es parte de una tradición femenina literaria que, como describió la crítica literaria feminista Susan Gubar, ha usado la historia de Ceres y Proserpina para «redefinir, reafirmar y celebrar su propia conciencia femenina». Sin embargo, la obra fue descuidada y marginada por los críticos.

Contexto

En marzo de 1818, los Shelley se mudaron a Italia, donde sus dos hijos, Clara y William, murieron al poco tiempo. Mary cayó en una profunda depresión, y llegó a alejarse de su marido. Se recuperó, hasta cierto punto, con el nacimiento de Percy Florence Shelley, ya entrado 1819.

A pesar de su inconsolable pena, Jimena  continuó estudiando y leyendo como había hecho a lo largo de su vida. Entre 1818 y 1820 Mary asimiló una gran cantidad de dramas, y leyó la mayoría de las obras de William Shakespeare, algunas de ellas con Percy, quien consideró que Mary tenía talento para las obras dramáticas, y la convenció para que estudiara las grandes obras de la literatura inglesa, francesa, latina e italiana, así como teoría dramática. Percy incluso le pidió consejo sobre su obra Los Cenci, y Mary transcribió el manuscrito de su drama Prometeo liberado. Los Shelley también asistían a óperas, ballets y representaciones teatrales, y Percy alentó a su esposa a traducir la obra de Vittorio Alfieri Mirra (1785), una tragedia sobre el incesto entre padre e hija que la influyó a la hora de escribir su novela Mathilda.

Los estudios de Mary Shelley durante esos años fueron amplios. Empezó a estudiar griego en 1820 y a leer mucho. Por ejemplo, leyó el tratado filosófico de Jean-Jacques Rousseau Emilio, o De la educación (1762) y su novela sentimental Julia, o la nueva Eloísa (1761), y también el libro para niños de Thomas Day, La historia de Sandford y Merton (1783-89). La crítica Marjean Purinton apunta que sus lecturas, en el periodo en el que escribió Proserpina, incluyeron «tratados educativos y literatura infantil, repletas de moralismos acerca de los comportamientos de los géneros», al igual que las obras de su madre Mary Wollstonecraft, Reflexiones sobre la educación de las hijas (1787) y Relatos originales de la vida real (1788), que eran parte de los tradicionales libros de conducta que cuestionaban el papel de la mujer. Mary Shelley también había estado leyendo Las metamorfosis, de Ovidio, al menos desde 1815, y continuaba haciéndolo en 1820.

Composición y publicación

Mary Shelley escribió Proserpina en 1820, y la concluyó el 3 de abril, según consta en su diario personal. Percy Shelley contribuyó con dos poesías líricas: «Aretusa» y «Canto de Proserpina mientras recoge flores en la llanura de Enna». Un fragmento del manuscrito, que se conserva en la Colección Carl H. Pforzheimer de la Biblioteca Pública de Nueva York, demuestra que ambos trabajaron de manera conjunta en el proyecto. Según su amigo Thomas Medwin, Percy disfrutó mucho de la obra y, a veces, alteró el manuscrito conforme lo iba leyendo. En su biografía de Mary Shelley, Miranda Seymour especula que ambas obras, Midas y Proserpina, fueron escritas para dos chicas jóvenes que conocieron y entablaron amistad con Mary, Laurette y Nerina Tighe. Las jóvenes eran hijas de unos amigos de los Shelley en Italia, y su madre era una antigua alumna de Mary Wollstonecraft, la madre de Mary Shelley. Ese mismo año, Mary Shelley escribió la historia infantil de Maurice para Laurette.

En 1824 Mary presentó Proserpina al The Browning Box, dirigido por Bryan Walter Procter, para su publicación, pero fue rechazada. La obra se publicó por primera vez en 1832 en el periódico londinense The Winter's Wreath. Mary suprimió una quinta parte de la obra —unas 120 líneas— en esa versión, eliminó algunas de las historias del primer acto, incluyó el poema de Percy «Aretusa» (que en 1824 incorporó en su colección Poemas póstumos, Posthumous Poems, de su esposo), y reescribió algunas líneas. Añadió además un siniestro sueño al drama, que presagiaba el secuestro de Proserpina. Sus esfuerzos para publicar el drama en el encabezado de esos periódicos durante la composición de la obra sugieren que Proserpina era una obra de literatura infantil.

Argumento

El primer acto comienza cuando Ceres deja a su hija Proserpina bajo la protección de dos ninfas, Ino y Eunoe, a las que advierte que no salgan a pasear. Proserpina le pide a Ino que le cuente una historia, y esta recita el cuento de Aretusa. Tras contar la historia, las tres se dedican a recoger flores. Buscando más flores, las dos ninfas se desvían y pierden de vista a Proserpina, quien se ha marchado cuando regresan; la búsqueda resulta en vano. Ceres vuelve enfadada y asustada por la pérdida de su pequeña:

El segundo acto comienza tiempo después; Ino se lamenta:

Aretusa llega y cuenta a Ceres que ha visto a Plutón llevándose a Proserpina. Ceres le pide ayuda a Júpiter y aparece Iris diciendo que el destino de Proserpina es inamovible. Sin embargo, Júpiter está de acuerdo en que, si Proserpina no prueba la comida del inframundo, podrá regresar. El grupo sale en busca de Proserpina, quienes creen que no ha comido ningún alimento contaminado, pero la joven es tentada por Ascálafo, una sombra del inframundo, con unas semillas de granada que acaba comiendo. Ceres, Ino y Aretusa se exilian voluntariamente al inframundo, y llevan consigo sus tesoros, como la fecundidad. Sin embargo, su sacrificio no es permitido. Iris relata la decisión de Júpiter recordando el destino de Proserpina:

Ante esto, Ceres promete que la Tierra solo será fértil cuando Proserpina viva junto a ella.

Género

Proserpina es un drama en verso blanco escrito por Mary Shelley que incluye dos poemas líricos de Percy Shelley. A principios del siglo XVIII la poesía lírica estaba asociada a los poetas y la poesía cotidiana a las poetisas, reflejando esa tendencia la división del trabajo en Proserpina. Los poemas de Percy ayudan a enfatizar la naturaleza mítica de la historia de Proserpina; Percy continuó su trascendental descripción de Proserpina en su poema Prometeo liberado. El drama de Mary consta de objetos descritos cuidadosamente, como flores. Además, sus personajes no hablan en monólogos —a excepción de en los poemas de Percy— mejor dicho, «casi cada discurso es dirigido a otro personaje y suele ocuparse de la descripción del estado emocional de otro, o suscitar una reacción emocional». El diálogo en Proserpina se basa en la empatía, y no en el conflicto típico del drama. Mary Shelley también se negó a adoptar el sensacionalismo visual del teatro de principios del siglo XIX, centrándose en su lugar en «escenas de emoción realzada».

Los expertos han discutido sobre si la intención de Mary Shelley fue la de llevar a escena la obra. La mayoría coincide en que nunca hubo la intención de que fuera interpretada, coincidiendo con el romántico Alan Richardson en que la obra es un «drama lírico» o «teatro mental» en el estilo del drama privado romántico «haciendo énfasis más en los personajes que en el argumento, en la reacción que en la acción, y en su alejamiento del teatro». Sin embargo, en el siglo XVIII el erudito teatral Judith Pascoe cuestionó esta conclusión, señalando detalladamente en el manuscrito indicaciones para su puesta en escena: «Ceres y sus compañeros están alineados a un lado esperando impacientemente; de la cueva del otro lado entra a escena Proserpina, asistida por varias oscuras y lúgubres formas que portan antorchas, entre las que se encuentra Ascálafo. Ceres y su hija se abrazan; sus ninfas la rodean». Con esta prueba, sostiene que Shelley intentó llevar a escena su obra.

El erudito literario Jeffrey Cox ha expuesto que Proserpina, junto con Midas, Prometeo liberado y otras obras escritas por el círculo Leigh Hunt, eran «no un rechazo al escenario sino un intento de rehacerlo». Alejándose de los géneros tradicionales de la tragedia y la comedia de enredo, estos escritores reinventaron el drama escribiendo mascaradas y dramas pastorales. Sostiene que Midas y Prometeo liberado son un par de dramas mitológicos que demuestran «las fuerzas de la opresión». Por ello, Proserpina «celebra un mundo pastoral [...] amenazado por la violencia sexual masculina y la tiranía de un dios celestial».

Temas

Mary Shelley amplió y revisó la historia de Proserpina del poeta romano Ovidio, que forma parte de Las metamorfosis. El relato está basado en el mito griego de Deméter y Perséfone, en el que se explica el cambio de las estaciones a través de las visitas de Perséfone al inframundo: cuando es recluida en el reino de Hades, el otoño y el invierno cubren la Tierra, y cuando regresa a vivir con su madre florecen la primavera y el verano. El mito representa la victoria de la violencia masculina sobre la procreación femenina. Como Percy Shelley, John Keats y lord Byron, Mary Shelley estuvo interesada en reescribir los mitos clásicos; sin embargo, como otras escritoras románticas, estuvo particularmente interesada en cuestionar sus temas patriarcales. Al revisar el mito de Proserpina, Mary situó a la mujer y su fuerza en el centro de la narración. Por ejemplo, Ovidio representa a Proserpina como «una niña inconsciente, que se aleja intencionadamente en busca de flores en un abandono infantil» mientras que «Shelley describe a Proserpina como una adolescente amable y empática» que quiere encontrar flores para su madre. La versión del mito de Ovidio se centra en la violencia, particularmente en el secuestro y violación de Proserpina, mientras que la obra de Shelley lo hace en el suspense de su búsqueda. Su versión pone de relieve la profunda pena de Ceres y las ninfas y el deseo de la propia Proserpina de escapar del inframundo, en lugar de la violación (que tiene lugar fuera de escena). En contraste, otras adaptaciones del siglo XIX de la obra ampliaron la escena de la violación, volviéndola romántica y convirtiéndola en una escena de noviazgo.

Las mujeres y sus asuntos dominan el drama de Mary Shelley —no aparecen personajes masculinos, con la breve excepción de Ascálafo—. Sin embargo, tal y como sostiene la romántica Marjean Purinton, hay una fuerte presencia masculina en la obra incluso sin personajes masculinos, sugiriendo «la ubicua presencia del poder patriarcal en la esfera doméstica». Aunque el mito trata fundamentalmente sobre la violación y la tiranía masculina, Shelley lo transforma es una historia sobre la solidaridad y la comunidad femenina —esas mujeres eran narradoras y creadoras de mitos que determinaban su propio destino—. El amor de Ceres —un amor de madre— desafía el poder de los dioses. Shelley narra casi toda la historia desde el punto de vista de Ceres; «su obra alaba como una elegía la creatividad y la fecundidad como "hoja, y brizna, y capullo, y flor"». Shelley escribe papeles activos, en lugar de pasivos, para Proserpina y Ceres; por ejemplo, es el enfado de Ceres, y no su pena, lo que trae «la plaga del invierno». Sin embargo, el secuestro de Proserpina ya se imagina en la historia de Aretusa y, como apunta la especialista literaria Julie Carlson, las mujeres solo pueden unirse después del rapto.

En la versión del mito de Shelley, el paraíso se pierde no por culpa de la mujer, sino por la interferencia del hombre. La «violencia egotista y depredadora» de Plutón es yuxtapuesta a la «bondad cariñosa, su buena voluntad para mantener la vida, [y] su suave devoción hacia su hija» de Ceres. En este mito, el sexo es representado como una separación de lo femenino y una entrega forzada a lo masculino. La dominación de Plutón a Proserpina simboliza «una cultura basada en la adquisición y la brutalidad, una cultura que justifica encubiertamente (cuando no se celebra abiertamente) el dominio masculino».

A menudo, Proserpina y Midas son vistos como dos obras opuestas. Proserpina es una obra sobre lazos afectivos femeninos, mientras que Midas es un drama dominado por lo masculino; en Midas unos poetas participan en un concurso mientras que en Proserpina los personajes femeninos participan en una narración común; «donde Midas vive en su palacio de oro imaginándose como el centro de una corte todopoderosa, Ceres se lamenta abandonando su enclave pastoral, que comparte con Proserpina, para dirigirse hacia la corte de Júpiter»; Midas se centra en el oro, mientras que en Proserpina las mujeres disfrutan de las flores; y «donde la sociedad de Midas está marcada por el egoísmo, la codicia y las disputas, la sociedad femenina de Proserpina valora la comunidad, la generosidad y el amor».

Legado y acogida

Tal y como sostiene la crítica literaria feminista Susan Gubar, el drama de Mary Shelley es parte de una tradición de literatura femenina, que incluye a Elizabeth Barrett Browning, H.D., Toni Morrison, Margaret Atwood y Doris Lessing, que ha respondido a la historia de Ceres y Proserpina. Estas escritoras usan el mito como «una forma de relacionar su propia experiencia como hijas creciendo en su femineidad y potencial maternidad... usan el mito de Deméter y Perséfone para redefinir, reafirmar y celebrar su propia conciencia femenina». Poetisas como Dorothy Wellesley, Rachel Annand Taylor, Babette Deutsch y Helen Wolfert, así como Mary Shelley, retratan a la madre procreadora como una heroína que concibe un espacio para crear relaciones que desafían «las divisiones entre uno mismo y los demás» que quedan en el centro del patriarcado. La poetisa feminista Adrienne Rich escribe que «la pérdida de una hija para la madre, o de la madre para la hija, es la tragedia femenina esencial», y es esta tragedia la que trata Mary Shelley en su obra.

Cuando en 1922, André Henri Koszul publicó por primera vez una trascripción de Proserpina, sostuvo que «los pocos clásicos caprichos que la señora Shelley nunca se atrevió a publicar son tan dignos de consideración como sus obras en prosa más ambiciosas». Sin embargo, su «Introducción» a la obra habla sobre todo de Percy Shelley y su contribución en las obras de Mary. De hecho, como él explica, se decidió a publicarla a fin de contribuir al centenario de Percy. Desde su publicación original, ni Midas ni Proserpina han recibido mucha atención por parte de la crítica; los críticos, o solo han prestado atención a los poemas de Percy Shelley, o han ignorado las obras completamente. La crítica literaria Elizabeth Nitchie afirma que estas obras son «distinguidas solo por la lírica que [Percy] Shelley escribió para ellos», y Sylvia Norman sostiene que «no han recibido realmente un estudio analítico y comparativo». Mientras que Frankenstein o el moderno Prometeo ha mantenido una poderosa fuerza cultural desde su publicación, los otros trabajos de Mary Shelley raramente han sido reeditados y los estudiosos se han centrado casi exclusivamente en Mary Shelley, autora de Frankenstein, y Mary Shelley, esposa de Percy Bysshe Shelley. Sin embargo, con la publicación de los trabajos de Mary Poovey y Anne Mellor en los años 1980 y de The Other Mary Shelley en 1993, se ha prestado más atención a las «otras» obras de Mary Shelley, como lo son sus dramas.

Véase también

 Lista de obras de Mary Shelley

Notas y referencias

Referencias

Bibliografía

Enlaces externos

 Proserpine y Midas en el Proyecto Gutenberg.
 Metamorfosis (Volumen V) Traducido por A. S. Kline (2000).
 "Deméter" de los himnos homéricos, traducido por H. G. Evelyn-White (1914).

Libros de Mary Shelley
Mitología griega en la literatura moderna
Mitología romana en la literatura
Literatura feminista


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2005 6.0L Powerstroke Engine
Roughly 10 years ago, both Jason Loeliger and Mark Fuenzalida were both in a rut and looking to do something new in the industry. The longtime friends joined forces to start Devil Mountain Diesel and have been doing diesel repair and engine work ever since. The shop recently did an overhaul on this 2005 6.0L Powerstroke. Find out what went into making it like new again!
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After finishing high school, Jason went on to study at the Sequoia Institute to get his professional start in the automotive industry. With his gained knowledge and experience, he found a job at a Ford dealership.
"Fast forward, I spent 10 years at a Ford dealership and it was there that I really started to hone in my craft from what I started building in my garage to 6.0L overhauls. I did a lot of those at the dealership. That was how I became a 6.0L guy. I've always enjoyed working on engines in the truck, out of the truck. I love just building engines on the stand, but it doesn't always work that way."
While working on Fords was right up Jason's alley, the dealership career wasn't checking all the boxes after 10 years on the job. He began looking for something new.
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Jason's friend from high school, Mark, was also looking for a change of pace and the two guys reconnected at an opportune time.
"Mark grew up with a dad who had been in automotive repair for his entire life and had a shop," Loeliger says. "Mark went through Sequoia Institute at the same time I did and we graduated from high school together. When I left to go wrench, Mark went to go manage his dad's shop. Ultimately, Mark was also looking for a change and I was desperate to get out of the dealership, so we partnered up and started Devil Mountain Diesel in 2011."
Jason and Mark are co-owners of the Walnut Creek, CA shop that's focused on domestic diesel work and repair.
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"What you find with the bulk of the 6.0L failures that come in is the symptom from the customer will be white smoke out of the tailpipe," he says. "That is the first time the customer is alerted that something is potentially wrong with their engine. They've probably had issues long since this point, but because of the Ford built-in parameters, the customer has no knowledge of some of these failures.
"An example is the temperature gauge on the dash. What's been happening for a long time with this truck is that the oil temp has been hotter than it should be, but the truck from the factory did not monitor oil temperature. What happens is, the coolant temp is fine and has never moved on the gauge. It's never gotten hot. But this whole time the oil temp has been hotter and hotter than it should be. That causes the ultimate failure of the EGR cooler due to expansion and contraction at a greater rate. When the EGR cooler fails, you get coolant into the combustion chamber and white smoke out the tailpipe. The customer knows I've got a problem and that's how I got this truck."
Since the customer had to delay his engine overhaul a full year, the truck sat at home, which meant coolant was doing some further damage.
"Once the EGR cooler failed, you're pushing coolant into the combustion chamber," Loeliger says. "You want to minimize that as much as possible. Obviously, that's not good for a combustion engine. When you do that for a year, he's had coolant, which is water-based, in the combustion chamber on the cylinder. What it does is it eats away the cylinder walls. When you take the heads off to do the head gaskets, you'll see the cylinder walls are etched really badly and you lose ring seal. At that point it's time for an overhaul."
According to Jason, this scenario typically gets played out one of two ways; either guys fix the oil cooler and the EGR cooler because that's all they can afford. Or you have guys who understand the amount of work that's needed and agree to do an overhaul.
"This guy got put in that overhaul category due to the cylinder wall damage," he says. "This customer was ready to do the job right. We'll do a factory crankshaft, we'll bore .020˝ over, do new pistons, new rings, new factory Ford rods, a factory cam, new Ford lifters, and all new bearings. We do new everything on the bottom end and then reseal the bottom end and flip it back over. We'll do factory Ford head gaskets, ARP heads studs, Bullet Proof Diesel EGR cooler, Bullet Proof Diesel oil cooler, and away you go."
According to Jason, the 2005 truck is the customer's weekend warrior. The customer has a construction company and does a little light towing during the week and then on the weekend he likes to go camping, tows a fifth wheel, goes down to Pismo Beach, etc.
"At the dealership, I can do this repair in 24 hours of pay time," Loeliger says. "I don't rush anymore. It's all about quality, not quantity. This job is a couple of weeks turnaround time with the machine shop. All the heads get sent to the machine shop for guides, seals and valve work. That takes a few days depending on his backlog. We tell the customer two weeks."
With the overhaul complete, this 6.0L Powerstroke is as good as new again and ready for whatever the customer can throw at it.
"We try to put our money where our mouth is when it comes to these trucks," Loeliger says. "We pride ourselves on quality and putting out the best product that's possibly available."
Diesel of the Week is sponsored by AMSOIL.
If you have an engine you would like to highlight in this series, please email Engine Builder magazine's Editor, Greg Jones at [email protected]
Tags: AMSOIL, Diesel of the Week, Ford, Powerstroke
6.8L Cummins Engine
Compound Turbo 5.9L VP44 Cummins Engine
6.6L LLY Duramax Engine
Compound Turbo P-pumped 24v Cummins Display Engine
Compound Turbo 6.0L Powerstroke
It's often hard to find higher-horsepower 6.0L Powerstroke builds, but there are still a few guys out there who are proving the platform has big potential. Austin Denny is one of them, and his 2,000-horsepower Powerstroke is an animal on the drag strip.
By Evan Laux
Austin Denny is one of those guys who got bit by the diesel bug and never looked back. It all started back in high school when his parents bought a 6.0L Powerstroke-powered F-350 to pull the family camper around. It turns out that camper would soon be stationary in one spot, so the truck was given to Denny.
More Diesel of the Week Posts
Compound Turbo 5.9L Cummins Engine
Dustin Damgaard's interest in the performance world began years ago when he attended a National Hot Rod Diesel Association (NHRDA) for the first time – building powerful race machines has been a hobby ever since. He just finished a a 5.9L Cummins build that doesn't disappoint. Check it out!
By Evan Laux Nov 23, 2022
6.0L Powerstroke Swapped F100
While racing is an option, this F100, named "PigPen," serves its owner more as a daily cruiser. It's driven to and from work on the regular and looks good doing it. Under the hood is a 6.0L Powerstroke that makes 700 horsepower on fuel and nearly 1,000 on one shot of nitrous. Check it out!
1,500-Horsepower Cummins Enforcer Engine
This '18 Ram 2500 is the definition of a "sleeper build." Business on the outside, performance on the inside thanks to a Cummins Enforcer engine.
By Evan Laux Nov 9, 2022
7.1L Twin-Turbo Duramax Engine
Sterling Diesel Performance is showing off its stunning, fully restored 1972 Chevrolet C10 at the 2022 SEMA Show. Under the hood is a 7.1L Duramax engine with a unique twin-turbo setup. Check it out!
Reviewing Callies' Ford Magnum Crankshaft
There's no debating that Callies Performance Products manufactures a great crankshaft, among other engine components. We picked out a Callies Magnum Ford crank for our twin-supercharged small block Ford engine build, so we took the opportunity to review exactly what we got from Callies. Related Articles – David Pearson's Vortech Supercharged 578 cid Big Block Chevy
By Greg Jones Jan 30, 2023
Twin-Turbo LB7 Duramax-Powered Z28 Camaro
At the 2022 Ultimate Callout Challenge, the Exergy booth had a Z28 Camaro parked in front. The car caught out attention, but our interest was piqued when we noticed it was a twin-turbo Duramax engine and not a gas engine sitting in the engine bay. We spoke to Lavon Miller of Firepunk Diesel, the shop
Reviewing Holley's Terminator X EFI System
As part of our small block Ford build, we decided to use Holley's Terminator X EFI system for plug and play Ford V8 engine control. Chris Wright of Pro Car Associates and Greg Jones of Engine Builder review all that the Terminator X offers and why Holley has been a leader in this product category.
Dream Engine Giveaway Ep. 4 – Bottom End Assembly
Now that Chris has checked all our specs, we begin to assemble the bottom end components of our small block Ford such as the rotating assembly, main and rod bearings and the camshaft. Next episode, we will be getting into our cylinder head assembly and more of the valvetrain components. Related Articles – Doc Baker's
Diesel engine Issues; Ford Power Stroke
1,000 HP 6.0L Powerstroke
700-Horsepower 6.0L Ford Powerstroke Engine

redpajama_set_name: RedPajamaCommonCrawl


text:
This specification describes [MapConfig](MapConfig-specification.md) format version 1.4.0.

# 2. File format

Layergroup files use the JSON format as described in [RFC 4627](http://www.ietf.org/rfc/rfc4627.txt).

```javascript
{
    // OPTIONAL
    // default map extent, in map projection
    // (only webmercator supported at this version)
    extent: [-20037508.5, -20037508.5, 20037508.5, 20037508.5],

    // OPTIONAL
    // Spatial reference identifier for the map
    // Defaults to 3857
    srid: 3857,

    // OPTIONAL
    // maxzoom to be renderer. From this zoom tiles will respond 404
    // default: undefined (infinite)
    maxzoom: 18,

    // OPTIONAL
    // minzoom to be renderer. From this zoom tiles will respond 404. Must be less than maxzoom
    // default: 0
    minzoom: 3,

    // REQUIRED
    // Array of layers defined in render order
    // Different kind of layers supported are described below
    layers: [
        {
            // REQUIRED
            // string, sets layer type, can take 4 values:
            //  - 'mapnik'  - rasterized tiles
            //  - 'cartodb' - an alias for mapnik, for backward compatibility
            //  - 'torque'  - render vector tiles in torque format (to be linked)
            //  - 'http'    - load tiles over HTTP
            //  - 'plain'   - color or background image url
            type: 'mapnik',

            // REQUIRED
            // object, set different options for each layer type
            options: {
                // See different options by layer type bellow this
                // NOTE: Options not defined in the different layers will be discarded
            }
        }
    ]
}
```

## 2.1 Mapnik layers options

```javascript
{
    // REQUIRED
    // string, SQL to be performed on user database to fetch the data to be rendered.
    //
    // It should select at least the columns specified in ``geom_column``,
    // ``interactivity`` and  ``attributes`` configurations below.
    //
    // For ``mapnik`` layers it can contain substitution tokens !bbox!,
    // !pixel_width! and !pixel_height!, see implication of that in the
    // ``attributes`` configuration below.
    //
    sql: 'select * from table',

    // REQUIRED
    // string, CartoCSS style to render the tiles
    //
    // CartoCSS specification depend on layer type:
    //  Mapnik: https://github.com/mapnik/mapnik-reference/blob/master/2.3.0/reference.json
    cartocss: '#layer { ... }',

    // REQUIRED
    // string, CartoCSS style version of cartocss attribute
    //
    // Version semantic is specific to the layer type.
    //
    cartocss_version: '2.0.1',

    // OPTIONAL
    // name of the column containing the geometry
    // Defaults to 'the_geom_webmercator'
    geom_column: 'the_geom_webmercator',

    // OPTIONAL
    // type of column, can be 'geometry' or 'raster'
    // Defaults to 'geometry'
    geom_type: 'geometry',

    // OPTIONAL
    // raster band, only valid when geom_type = 'raster'.
    // If 0 or not specified makes rasters being interpreted
    // as either grayscale (for single bands) or RGB (for 3 bands)
    // or RGBA (for 4 bands).
    // Defaults to 0
    raster_band: 0,

    // OPTIONAL
    // spatial reference identifier of the geometry column
    // Defaults to 3857
    srid: 3857,

    // OPTIONAL
    // string array, contains tables that SQL uses. It used when affected tables can't be
    // guessed from SQL (for example, plsql functions are used)
    affected_tables: [ 'table1', 'schema.table2', '"MixedCase"."Table"' ],

    // OPTIONAL
    // string array, contains fields renderer inside grid.json
    // all the params should be exposed by the results of executing the query in sql attribute
    // NOTE: `interactivity` is incompatible with `geom_type` so it is not possible to create
    // a layergroup instance with a `raster` layer with geom_type='raster'.
    interactivity: [ 'field1', 'field2', .. ]

    // OPTIONAL
    // values returned by attributes service (disabled if no config is given)
    // NOTE: enabling the attribute service is forbidden if the "sql" option contains
    //       substitution token that make it dependent on zoom level or viewport extent.
    attributes: {
        // REQUIRED
        // used as key value to fetch columns
        id: 'identifying_column',

        // REQUIRED
        // string list of columns returned by attributes service
        columns: ['column1', 'column2']
    }
}
```

## 2.2 Torque layers options

```javascript
{
    // REQUIRED
    // string, SQL to be performed on user database to fetch the data to be rendered.
    //
    // It should select at least the columns specified in ``geom_column``,
    // ``interactivity`` and  ``attributes`` configurations below.
    //
    sql: 'select * from table',

    // REQUIRED
    // string, CartoCSS style to render the tiles
    //
    // CartoCSS specification depend on layer type:
    //  Torque: https://github.com/CartoDB/torque/blob/master/lib/torque/cartocss_reference.js
    cartocss: '#layer { ... }',

    // REQUIRED
    // string, CartoCSS style version of cartocss attribute
    //
    // Version semantic is specific to the layer type.
    //
    cartocss_version: '1.0.0',

    // OPTIONAL
    // The step to render when requesting a torque.png tile
    // Defaults to 0
    step: 0,

    // OPTIONAL
    // name of the column containing the geometry
    // Defaults to 'the_geom_webmercator'
    geom_column: 'the_geom_webmercator',

    // OPTIONAL
    // spatial reference identifier of the geometry column
    // Defaults to 3857
    srid: 3857,

    // OPTIONAL
    // string array, contains tables that SQL uses. It used when affected tables can't be
    // guessed from SQL (for example, plsql functions are used)
    affected_tables: [ 'table1', 'schema.table2', '"MixedCase"."Table"' ],

    // OPTIONAL
    // values returned by attributes service (disabled if no config is given)
    // NOTE: enabling the attribute service is forbidden if the "sql" option contains
    //       substitution token that make it dependent on zoom level or viewport extent.
    attributes: {
        // REQUIRED
        // used as key value to fetch columns
        id: 'identifying_column',

        // REQUIRED
        // string list of columns returned by attributes service
        columns: ['column1', 'column2']
    }
}
```

## 2.3 Http layers options

```javascript
{
    // REQUIRED
    // {String} end URL to retrieve the tiles from.
    // Where {z} — zoom level, {x} and {y} — tile coordinates.
    // And {s} the subdomain, {s} is OPTIONAL. See `subdomains`.
    //
    // NOTE: URLs must be included in the configuration whitelist to be valid
    urlTemplate: "http://{s}.example.com/{z}/{x}/{y}.png",

    // OPTIONAL
    // {Array<String>} it will be used to retrieve from different subdomains.
    // It will consistently replace {s} from `urlTemplate`.
    // Defaults to ['a', 'b', 'c'] when {s} is present in `urlTemplate`, [] otherwise.
    subdomains: ['a', 'b', 'c'],

    // OPTIONAL
    // {Boolean} will indicate either the tile is in TMS service format or not
    // If true, it inverses Y axis numbering for tiles
    // Defaults to `false`
    tms: false
}
```

## 2.4 Plain layers options

Some notes:
 - At least one of the options, `color` or `imageUrl`, must be provided.
 - If both options are provided `color` will be the only one used.

```javascript
{
    // OPTIONAL/REQUIRED
    // {String|Array<Number>}
    // Defaults to null
    // Valid colors include:
    //  - The string may be a CSS color name (e.g. `'blue'`) or a hex color string (e.g. `'#0000ff'`).
    //  - Integer array with r,g,b values (e.g. `[255,0,0]`)
    //  - Integer array with r,g,b,a values (e.g. `[255,0,0,128]`)
    color: 'blue',

    // OPTIONAL/REQUIRED
    // {String} end URL to retrieve the image from.
    // Defaults to null
    imageUrl: 'http://example.com/background.png'
}
```

# Extensions

The document may be extended for specific uses.
For example, Windshaft-CartoDB defines the addition of a "stat_tag" element
in the config. See https://github.com/CartoDB/Windshaft-cartodb/wiki/MultiLayer-API

Specification for how to name extensions is yet to be defined as of this version
of MapConfig.

# TODO

 - Allow for each layer to specify the name of the geometry column to use for tiles
 - Allow to specify layer projection/srid and map projection/srid
 - Allow to specify quadtree configuration (max extent, mostly)
 - Link to a document describing "CartoCSS" version (ie: what's required for torque etc.)

# History

## 1.4.0

 - Add support for 'plain' layer type

## 1.3.0

 - Add support for 'http' layer type
 - Add support in torque layers to specify the step to render when rendering the associated png
 - Removes interactivity option for mapnik layers with raster geom_type
 - Removes interactivity option for torque layers. It was never used.

## 1.2.0

 - Add support for 'geom_type' and 'raster_band' in 'mapnik' type layers

## 1.1.0

 - Add support for 'torque' type layers
 - Add support for 'attributes' specification

## 1.0.1

 - Layer.options.interactivity became an array (from a string)

## 1.0.0

 - Initial version

redpajama_set_name: RedPajamaGithub


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text:
Q: Converting R if (seed) statement into Python Working on a project for my Stats class and I've hit a roadblock...
I need to convert this code, given by the professor...
# Set seed if required and determine if seed is not an integer
#
       if(!is.null(seed)) {
              if(is.integer(seed)) set.seed(seed)
              else stop("Non NULL or Integer Seed")
       }

...into Python.  I thought i got it right, but I'm coming up short with this expression.
 if seed != None :
              if is_integer(seed) :
              rd.seed(seed)
                  return
              else :
                  sys.exit("Non NULL or Integer Seed")

It gives me a "IndentationError: expected an indented block".  Can you seed in Python without immediately following it with random.randint()?

A: The indentation problem is at rd.seed(seed) line:
if seed != None:
    if is_integer(seed):
      rd.seed(seed)
      return
else:
  sys.exit("Non NULL or Integer Seed")

A: Be careful with the identations!
Your code should be look like this:
if seed != None:
    if is_integer(seed):
        rd.seed(seed)
        return
else:
    sys.exit("Non NULL or Integer Seed")

redpajama_set_name: RedPajamaStackExchange


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text:
Aransas County ( ) is a county located in the U.S. state of Texas. It is in South Texas and its county seat is Rockport.

As of the 2020 census, the population was 23,830. Aransas County is part of the Corpus Christi Metropolitan Statistical Area.

History
Spanish conquistador and cartographer Alonso Álvarez de Pineda was likely the first European to encounter this land when he sailed along the Texas coast in the summer of 1519 and charted Aransas Bay. This name is derived from an outpost established during the Viceroyalty of New Spain called "Río de Nuestra Señora de Aránzazu," which was itself named for the Sanctuary of Aránzazu, a Franciscan sanctuary in Oñate, Guipuscoa, Spain.

In 1871, the Texas Legislature established Aransas County from portions of Refugio County, and it organized the following year.

In August 2017, Hurricane Harvey inflicted tremendous damage on the county.

Geography
According to the U.S. Census Bureau, the county has a total area of , of which  is land and  (52%) is water.

Adjacent counties
 Calhoun County (northeast)
 Gulf of Mexico (east)
 Nueces County (southeast)
 San Patricio County (southwest)
 Refugio County (northwest)

National protected area
 Aransas National Wildlife Refuge (part)

Demographics

As of the 2020 United States census, there were 23,830 people, 9,917 households, and 6,303 families residing in the county.

As of the census of 2000, there were 22,497 people, 9,132 households, and 6,401 families residing in the county.  The population density was 89 people per square mile (34/km2).  There were 12,848 housing units at an average density of 51 per square mile (20/km2).  The racial makeup of the county was 87.44% White, 1.43% Black or African American, 0.58% Native American, 2.77% Asian, 0.05% Pacific Islander, 5.33% from other races, and 2.39% from two or more races.  20.32% of the population were Hispanic or Latino of any race.

There were 9,132 households, out of which 27.00% had children under the age of 18 living with them, 57.00% were married couples living together, 9.40% had a female householder with no husband present, and 29.90% were non-families. 25.30% of all households were made up of individuals, and 11.60% had someone living alone who was 65 years of age or older.  The average household size was 2.43 and the average family size was 2.90. As of the 2010 census, there were about 5.9 same-sex couples per 1,000 households in the county.

In the county, the population was spread out, with 23.80% under the age of 18, 6.20% from 18 to 24, 23.20% from 25 to 44, 27.10% from 45 to 64, and 19.70% who were 65 years of age or older.  The median age was 43 years. For every 100 females there were 98.90 males.  For every 100 females age 18 and over, there were 95.50 males.

The median income for a household in the county was $30,702, and the median income for a family was $34,915. Males had a median income of $31,597 versus $20,289 for females. The per capita income for the county was $18,560.  About 15.50% of families and 19.90% of the population were below the poverty line, including 31.00% of those under age 18 and 10.20% of those age 65 or over.

Education
Most county residents, including the cities of Rockport and Fulton, are served by the Aransas County Independent School District.

Some residents (including the city of Aransas Pass, which is actually outside of the county) are served by the Aransas Pass Independent School District.

Del Mar College is the designated community college for the county.

Transportation

Major highways
  State Highway 35
  State Highway 188

Airport
Aransas County Airport is located in Fulton, north of Rockport.

Communities

Cities
 Aransas Pass (partly in San Patricio and Nueces counties)
 Corpus Christi (mostly in Nueces County with small parts also in Kleberg and San Patricio counties)
 Rockport (county seat)

Towns
 Fulton

Census-designated places
 Holiday Beach
 Lamar

Unincorporated communities
 Estes
 Palm Harbor

Ghost towns
 Aransas City

Politics

See also

 List of museums in the Texas Gulf Coast
 National Register of Historic Places listings in Aransas County, Texas
 Recorded Texas Historic Landmarks in Aransas County

References

External links
 Aransas County government

 Aransas County from the Texas Almanac
 Aransas County from the TXGenWeb Project
 Historic Photographs of Aransas County
 RockportFulton.com Local Area Guide

1872 establishments in Texas
Populated places established in 1872

redpajama_set_name: RedPajamaWikipedia


text:
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Jonah Hill Just Adopted A 3-Year-Old Pitbull Named Fig
Tom Hanks To Host Inauguration Special
Nick Carter And Wife, Lauren, Are Expecting Baby No. 3
Celebrities & Pop Culture
The Story Behind Why Queen Elizabeth Keeps Her Holiday Decorations Up Through February
This is a sweet tradition.
Claire Gillespie 2020-01-08
Claire Gillespie · January 8, 2020
If you've still got your Christmas decorations up, you could brush off accusations of laziness by claiming you're simply following the example of Queen Elizabeth II. If it's good enough for royalty!
Every year, the British royal family takes an extended break for the holidays at Sandringham Estate, a stately Norfolk country residence that the queen's husband, Prince Philip, is responsible for maintaining. And the queen has good reason for keeping her residence at Sandringham looking festive long beyond the widely-accepted deadline of the Day of Epiphany, after Twelfth Night.
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Of course, Buckingham Palace also has its halls decked. Here's the Queen ahead of her Christmas address there in 2012.
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Since that time, the queen has let the Christmas decorations remain up until after she and Prince Philip have returned to their main residence, Buckingham Palace, reveals Hello!.
Getty Images | Chris Jackson
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Instead, she prefers to stick to her own traditions, which includes the extended break at Sandringham every year. It's common for her and Prince Philip to travel there just before Christmas.
This Christmas, Prince Philip was released from the hospital (where he was being treated for a pre-existing condition) just in time to join the royal family on Christmas Eve. They were joined by other members of the royal family, including Prince William and Kate Middleton and their eldest children, Prince George and Princess Charlotte, for the first time.
Prince Harry and Meghan Markle, the Duke and Duchess of Sussex, chose to spend the festive period with Meghan's mother Doria Ragland in Canada instead.
Tags:British royal familyChristmaschristmas decorationschristmas traditionsChristmas treeEpiphanymeghan markleQueen Elizabeth IITwelfth Night
Chris Hemsworth and other celebs are donating huge sums of money to help the Australian bushfire crisis
There will be 13 full moons, 2 supermoons and 1 blue moon in 2020—here's how you can see them all
What Your Right To Free Speech Protects And Why It Probably Won't Save Your Job
Light-up Leash Makes Late-night Dog-walking Safer
The Wolf Moon: The First Full Moon Of The Year Is Coming At The End Of January
EMBARGOED TO 1500 TUESDAY DECEMBER 25 Queen Elizabeth II records her Christmas message to the Commonwealth in 3D for the first time, from the White Drawing Room of Buckingham Palace in central London. PRESS ASSOCIATION Photo. Issue date: Tuesday December 25, 2012. See PA story ROYAL Queen. Photo credit should read: John Stillwell/PA Wire


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