Text Features Quotes

Charlie: There's this really neat feature on your phone called, "read receipts." If you're going to ignore texts, you should probably turn that off. ;)

Every reader’s experience of every work is unique, largely because each person will emphasize various elements to differing degrees, and those differences will cause certain features of the text to become more or less pronounced. We bring an individual history to our reading, a mix of previous readings, to be sure, but also a history that includes, but is not limited to, educational attainment, gender, race, class, faith, social involvement, and philosophical inclination. These factors will inevitably influence what we understand in our reading, and nowhere is this individuality clearer than in the matter of symbolism.

In one hallway, the floor gleaming parquet and the ceiling festooned with golden cherubs, there was a boy in a grumpy cat mask and biker boots, not involved in any sexual activity, legs crossed and leaning against the wall. As a bevy of faeries passed the boy, giggling and groping, the boy scooted away. Alec remembered being younger, and how overwhelming large groups of people had seemed. He came over and leaned against the wall beside the boy. He saw the boy texting, PARTIES WERE INVENTED TO ANNOY ME. THEY FEATURE MY LEAST FAVORITE THING: PEOPLE, ALL INTENT ON MY LEAST FAVORITE ACTIVITY: SOCIAL INTERACTION. “I don’t really like parties either,” Alec said sympathetically. “No hablo italiano,” the boy mumbled without looking up. “Er,” said Alec. “This conversation is happening in English.” “No hablo ingles,” he said without missing a beat. “Oh, come on. Really?” “Worth a shot,” said the boy. Alec considered going away. The boy wrote another text to a contact he had saved as RF. Alec could not help but notice that the conversation was entirely one-sided, the boy sending text after text with no response. The last text read VENICE SMELLS LIKE A TOILET. AS A NEW YORKER, I DO NOT SAY THIS LIGHTLY. The weird coincidence emboldened Alec to try again. “I get shy when there are strangers too,” Alec told the kid. “I’m not shy,” the boy sneered. “I just hate everyone around me and everything that is happening.” “Well.” Alec shrugged. “Those feel like similar things sometimes.” The boy lifted his curly head, pushing the grumpy cat mask off his face, and froze. Alec froze too, at the twin shock of fangs and familiarity. This was a vampire, and Alec knew him. “Raphael?” he asked. “Raphael Santiago?” He wondered what the second-in-command of the New York clan was doing here. Downworlders might be flooding in from all over the world, but Raphael had never struck Alec as a party animal. Of course, he was not exactly coming off as a party animal now. “Oh no, it’s you,” said Raphael. “The twelve-year-old idiot.” Alec was not keen on vampires. They were, after all, people who had died. Alec had seen too much death to want reminders of it. He understood that they were immortal, but there was no need to show off about it. “We just fought a war together. I was with you in the graveyard when Simon came back as a vampire. You’ve seen me multiple times since I was twelve.” “The thought of you at twelve haunts me,” Raphael said darkly. “Okay,” Alec said, humoring him. “So have you seen a guy called Mori Shu anywhere around here?” “I am trying not to make eye contact with anyone here,” said Raphael. “And I’m not a snitch for Shadowhunters. Or a fan of talking to people, of any kind, in any place.” Alec rolled his eyes.

Thus Spoke Zarathustra (German: Also sprach Zarathustra, sometimes translated Thus Spake Zarathustra), subtitled A Book for All and None (Ein Buch für Alle und Keinen), is a written work by German philosopher Friedrich Nietzsche, composed in four parts between 1883 and 1885. Much of the work deals with ideas such as the "eternal recurrence of the same", the parable on the "death of God", and the "prophecy" of the Overman, which were first introduced in The Gay Science. Described by Nietzsche himself as "the deepest ever written", the book is a dense and esoteric treatise on philosophy and morality, featuring as protagonist a fictionalized Zarathustra. A central irony of the text is that the style of the Bible is used by Nietzsche to present ideas of his which fundamentally oppose Judaeo-Christian morality and tradition.

There should be a message retrieval. Some kind of feature that allows someone to take back a stupidly written text before the recipient reads it.

One helpful way of identifying these kingdom features is to examine closely the "preview" passages in the Bible. Pop a movie into your DVD player, and you'll first see previews of coming attractions. Similarly, throughout the Bible are previews of the "feature film": the kingdom of God in all its consummated fullnness. These texts offer us glimpses into what live will be like in the new heavens and new earth.

these kind of features are strong indicators of a strong oral tradition, that the writing was more an aid of what people have already memorized, that you went to the text already knowing what it should say.

and fueled their mutual passion for the great Romantic texts—Goethe’s Sorrows of Young Werther and Novalis’s Hymns to the Night—which featured protagonists suffering in equal measure from lost loves and undirected ambition.

In Dialektik der Aufklärung discussions of Kant's ideas feature more than those of any other philosopher. Those discussions, however, rarely attempt to understand the argumentative structure of Kant's Philosophy. Kant's ideas are invoked largely as an aide to gaining greater insight into the broader phenomenon of the evolution of modern reason. The text's treatment of Kant's work is, as a consequence, fragmentary and partial. Neither scholarly accuracy nor systematic reconstruction plays a role in Horkheimer and Adorno's methodology.

Not prepared to recognize where, when, or what he is living, the Australian consciously and subconsciously directs his artificial environment to be uncommitted, tentative, temporary, a nondescript economic-functionalist background on which he can hang the features which for the moment appeal to his wandering, restless eye.

Christian reformism arose originally from the ability of its advocates to contrast the Old Testament with the New. The cobbled-together ancient Jewish books had an ill-tempered and implacable and bloody and provincial god, who was probably more frightening when he was in a good mood (the classic attribute of the dictator). Whereas the cobbled-together books of the last two thousand years contained handholds for the hopeful, and references to meekness, forgiveness, lambs and sheep, and so forth. This distinction is more apparent than real, since it is only in the reported observations of Jesus that we find any mention of hell and eternal punishment. The god of Moses would brusquely call for other tribes, including his favorite one, to suffer massacre and plague and even extirpation, but when the grave closed over his victims he was essentially finished with them unless he remembered to curse their succeeding progeny. Not until the advent of the Prince of Peace do we hear of the ghastly idea of further punishing and torturing the dead. First presaged by the rantings of John the Baptist, the son of god is revealed as one who, if his milder words are not accepted straightaway, will condemn the inattentive to everlasting fire. This has provided texts for clerical sadists ever since, and features very lip-smackingly in the tirades of Islam.

Interpretation first appears in the culture of late classical antiquity, when the power and credibility of myth had been broken by the “realistic” view of the world introduced by scientific enlightenment. Once the question that haunts post-mythic consciousness—that of the seemliness of religious symbols—had been asked, the ancient texts were, in their pristine form, no longer acceptable. Then interpretation was summoned, to reconcile the ancient texts to “modern” demands. Thus, the Stoics, to accord with their view that the gods had to be moral, allegorized away the rude features of Zeus and his boisterous clan in Homer’s epics. What Homer really designated by the adultery of Zeus with Leto, they explained, was the union between power and wisdom. In the same vein, Philo of Alexandria interpreted the literal historical narratives of the Hebrew Bible as spiritual paradigms. The story of the exodus from Egypt, the wandering in the desert for forty years, and the entry into the promised land, said Philo, was really an allegory of the individual soul’s emancipation, tribulations, and final deliverance. Interpretation thus presupposes a discrepancy between the clear meaning of the text and the demands of (later) readers. It seeks to resolve that discrepancy. The situation is that for some reason a text has become unacceptable; yet it cannot be discarded. Interpretation is a radical strategy for conserving an old text, which is thought too precious to repudiate, by revamping it. The interpreter, without actually erasing or rewriting the text, is altering it. But he can’t admit to doing this. He claims to be only making it intelligible, by disclosing its true meaning. However far the interpreters alter the text (another notorious example is the Rabbinic and Christian “spiritual” interpretations of the clearly erotic Song of Songs), they must claim to be reading off a sense that is already there.

In meditation which is a continuous flow of staying in the state at all times and in every circumstance there is neither suppression nor production of dwelling and proliferation; if there is dwelling, that is the dharmakaya’s own face and if there is proliferation, that is preserved as the self-liveliness of wisdom, so, “Then, whether there is proliferation or dwelling,” Whatever comes from mind’s liveliness as discursive thoughts, be it the truth of the source—afflictions of anger, attachment, and so on—or the truth of unsatisfactoriness—the flavours of experience which are the feelings of happiness, sadness, and so on—if the nature of the discursive thoughts is known as dharmata, they become the shifting events of the dharmakaya, so, “Anger, attachment, happiness, or sadness,” That does not finish it though; generally speaking if they are met with through the view but not finished with by bringing them to the state with meditation, they fall into ordinary wandering in confusion and if that happens, you are bound into cyclic existence by the discursive thoughts of your own mindstream and, dharma and your own mindstream having remained separate, you become an ordinary person who has nothing special about them. Not to be separated from a great non-meditated self-resting is what is needed . . . Additionally, whatever discursive thought or affliction arises, it is not something apart from dharmakaya wisdom, rather, the nature of those discursive thoughts is actual dharmakaya, the ground’s luminosity. If that, which is called ‘the mother luminosity resident in the ground’, is recognized, there is self-recognition of the view of self-knowing luminosity previously introduced by the guru and that is called ‘the luminosity of the practice path’. Abiding in one’s own face of the two luminosities of ground and path become inseparable is called ‘the meeting of mother and son luminosities’ so, “The previously-known mother luminosity joins with the son.

Amanda leaned forward in her chair, entranced by the deep, booming voice of this new professor. The light cast by the limelight lantern threw his angular face into sharp relief. What captivating facial bone structure... Full lips formed words in a tone that made the features of a neuron sound utterly entrancing. She rather thought she could be content to spend the entire morning listening to him read the index of her anatomy text.

This is a field in which there is in some sense no original, no real or right text, but only variants; a world in which, therefore, the meaning of the individual example lies outside itself. The "art" of the horror film, like the "art" of pornography, is to a very large extent the art of rendition or performance, and it is understood as such by the competent audience. A particular example may have original features, but its quality as a horror film lies in the way it delivers the cliché.

Great God! why did I not then expire! Why am I here to relate the destruction of the best hope and the purest creature of earth? She was there, lifeless and inanimate, thrown across the bed, her head hanging down, and her pale and distorted features half covered by her hair. Everywhere I turn I see the same figure—her bloodless arms and relaxed form flung by the murderer on its bridal bier. Could I behold this and live? Alas! life is obstinate and clings closest where it is most hated. For a moment only did I lose recollection; I fell senseless on the ground.

Getting Started Setting up your Kindle Oasis Kindle controls Status indicators Keyboard Network connectivity VoiceView screen reader Special Offers and Sponsored Screensavers Chapter 2 Navigating Your Kindle The Kindle Home screen Toolbars Tap zones Chapter 3 Acquiring & Managing Kindle Content Shop for Kindle and Audible content anytime, anywhere Recommended content Managing your Kindle Library Device and Cloud storage Removing items from your Kindle Chapter 4 Reading Kindle Documents Understanding Kindle display technology Customizing your text display Comic books Children's books Images Tables Interacting with your content Navigating a book Chapter 5 Playing Audible Books Pairing a Bluetooth audio device Using the Audible Player Audiobook bookmarks Downloading Audible books Audiobook Library Management Chapter 6 Features X-Ray Word Wise Vocabulary Builder Amazon FreeTime (Amazon Fire for Kids in the UK) Managing your Amazon Household Goodreads on Kindle Time to Read Chapter 7 Getting More from Your Kindle Oasis Carrying and reading personal documents Reading Kindle content on other devices Sharing Using your Kindle with your computer Using the Experimental Web Browser Chapter 8 Settings Customizing your Kindle settings The Settings contextual menu Chapter 9 Finding Additional Assistance Appendix A Product Information

At the moment, most organizations remain stuck in the productivity quicksand of the hyperactive hive mind workflow, content to focus on tweaks meant to compensate for its worst excesses. It’s this mindset that leads to “solutions” like improving expectations around email response times or writing better subject lines. It leads us to embrace text autocomplete in Gmail, so we can write messages faster, or the search feature in Slack, so we can more quickly find what we’re looking for amid the scrum of back-and-forth chatter. These are the knowledge work equivalents of speeding up the craft method of car manufacturing by giving the workers faster shoes. It’s a small victory won in the wrong war.

There is no single text, perhaps, that is more consistently the object of humanist contempt than the book of Genesis. The creation of the cosmos in six days; Adam and Eve in the Garden of Eden; Noah’s flood: here are stories that have long served as prime exhibits in the contention that religion is merely a farrago of childish nonsense. This is why Genesis can pretty much be guaranteed not to feature in round-ups of the ancient texts that humanists are prepared to acknowledge as influences. Yet humanists, no less than Jews or Christians, are indelibly stamped by it. In fact, if there is a single wellspring for the reverence they display towards their own species, it is the opening chapter of the Bible.

Dissection ... teaches us that the body of man is made up of certain kinds of material, so differing from each other in optical and other physical characters and so built up together as to give the body certain structural features. Chemical examination further teaches us that these kinds of material are composed of various chemical substances, a large number of which have this characteristic that they possess a considerable amount of potential energy capable of being set free, rendered actual, by oxidation or some other chemical change. Thus the body as a whole may, from a chemical point of view, be considered as a mass of various chemical substances, representing altogether a considerable capital of potential energy.

is difficult, from a present-day standpoint, to appreciate the intoxicating effect of Hegel’s thought on a generation of educated Prussians. It was not a question of Hegel’s pedagogical charisma – he was notorious for standing hunched over the lectern reading out his text in a halting and scarcely audible mumble. According to an account by his student Hotho, who attended Hegel’s lectures at the University of Berlin, ‘his features hung pale and loose upon him as if he were already dead.’ ‘He sat there morosely with his head wearily bowed down in front of him, constantly leafing back and forth through his compendious notes, even as he continued to speak.’ Another student, the future Hegel-biographer Karl Rosenkranz, recalled laborious paragraphs punctuated by constant coughing and snuff-taking.

As one of the most pervasive forms of cultural narrative in industrialized societies, commercial film serves as an extremely powerful vehicle of myth… To some extent the scripts that do get picked up manage to be supported because they already articulate a culture’s social imaginary – the prevailing images a society needs to project about itself in order to maintain certain features of its organization. This social imaginary is not simply encoded in a film or decoded by the viewer from the film’s formal structures. Rather, the mythic meanings of films are the effect of a social and dynamic process of meaning-making in which their production and reception participate. Any film text comes to make sense by means of the historically available modes of intelligibility – a variety of assumptions about reality – through which the spectator chains together the film’s signifiers into a meaningful story.

        Soon after becoming a reader of the Liberator, it was my privilege to listen to a lecture in Liberty Hall by Mr. Garrison, its editor. He was then a young man. of a singularly pleasing countenance, and earnest and impressive manner. On this occasion he announced nearly all his heresies. His Bible was his text-book--held sacred as the very word of the Eternal Father. He believed in sinless perfection, complete submission to insults and injuries, and literal obedience to the injunction if smitten "on one cheek to turn the other also." Not only was Sunday a Sabbath, but all days were Sabbaths, and to be kept holy. All sectarianism was false and mischievous--the regenerated throughout the world being members of one body, and the head Christ Jesus. Prejudice against color was rebellion against God. Of all men beneath the sky, the slaves, because most neglected and despised, were nearest and dearest to his great heart.

The discords of our experience--delight in change, fear of change; the death of the individual and the survival of the species, the pains and pleasures of love, the knowledge of light and dark, the extinction and the perpetuity of empires--these were Spenser's subject; and they could not be treated without this third thing, a kind of time between time and eternity. He does not make it easy to extract philosophical notions from his text; but that he is concerned with the time-defeating aevum and uses it as a concord-fiction, I have no doubt. 'The seeds of knowledge,' as Descartes observed, 'are within us like fire in flint; philosophers educe them by reason, but the poets strike them forth by imagination, and they shine the more clearly.' We leave behind the philosophical statements, with their pursuit of logical consequences and distinctions, for a free, self-delighting inventiveness, a new imagining of the problems. Spenser used something like the Augustinian seminal reasons; he was probably not concerned about later arguments against them, finer discriminations. He does not tackle the questions, in the Garden cantos, of concreation, but carelessly--from a philosophical point of view--gives matter chronological priority. The point that creation necessitates mutability he may have found in Augustine, or merely noticed for himself, without wondering how it could be both that and a consequence of the Fall; it was an essential feature of one's experience of the world, and so were all the arguments, precise or not, about it. Now one of the differences between doing philosophy and writing poetry is that in the former activity you defeat your object if you imitate the confusion inherent in an unsystematic view of your subject, whereas in the second you must in some measure imitate what is extreme and scattering bright, or else lose touch with that feeling of bright confusion. Thus the schoolmen struggled, when they discussed God, for a pure idea of simplicity, which became for them a very complex but still rational issue: for example, an angel is less simple than God but simpler than man, because a species is less simple than pure being but simpler than an individual. But when a poet discusses such matters, as in say 'Air and Angels,' he is making some human point, in fact he is making something which is, rather than discusses, an angel--something simple that grows subtle in the hands of commentators. This is why we cannot say the Garden of Adonis is wrong as the Faculty of Paris could say the Averroists were wrong. And Donne's conclusion is more a joke about women than a truth about angels. Spenser, though his understanding of the expression was doubtless inferior to that of St. Thomas, made in the Garden stanzas something 'more simple' than any section of the Summa. It was also more sensuous and more passionate. Milton used the word in his formula as Aquinas used it of angels; poetry is more simple, and accordingly more difficult to talk about, even though there are in poetry ideas which may be labelled 'philosophical.

Less is not known as a teacher, in the same way Melville was not known as a customs inspector. And yet both held the respective positions. Though he was once an endowed chair at Robert’s university, he has no formal training except the drunken, cigarette-filled evenings of his youth, when Robert’s friends gathered and yelled, taunted, and played games with words. As a result, Less feels uncomfortable lecturing. Instead, he re-creates those lost days with his students. Remembering those middle-aged men sitting with a bottle of whiskey, a Norton book of poetry, and scissors, he cuts up a paragraph of Lolita and has the young doctoral students reassemble the text as they desire. In these collages, Humbert Humbert becomes an addled old man rather than a diabolical one, mixing up cocktail ingredients and, instead of confronting the betrayed Charlotte Haze, going back for more ice. He gives them a page of Joyce and a bottle of Wite-Out—and Molly Bloom merely says “Yes.” A game to write a persuasive opening sentence for a book they have never read (this is difficult, as these diligent students have read everything) leads to a chilling start to Woolf’s The Waves: I was too far out in the ocean to hear the lifeguard shouting, “Shark! Shark!” Though the course features, curiously, neither vampires nor Frankenstein monsters, the students adore it. No one has given them scissors and glue sticks since they were in kindergarten. No one has ever asked them to translate a sentence from Carson McCullers (In the town there were two mutes, and they were always together) into German (In der Stadt gab es zwei Stumme, und sie waren immer zusammen) and pass it around the room, retranslating as they go, until it comes out as playground gibberish: In the bar there were two potatoes together, and they were trouble. What a relief for their hardworking lives. Do they learn anything about literature? Doubtful. But they learn to love language again, something that has faded like sex in a long marriage. Because of this, they learn to love their teacher.

Another danger is that—as is already happening to some extent—authors and editors run scared and go to absurd lengths to avoid giving offence. (An American editor rejected Polar, a picture book about a toy polar bear which is published in England by Andre Deutsch, on the ground that the text, written by Elaine Moss, states explicitly that the bear is white). A demand to avoid stereotypes can easily become in effect a demand for a different stereotype: for instance that girls should always be shown as strong, brave and resourceful, and that mothers should always have jobs and never, never wear an apron. And books written to an approved formula, or with deliberate didactic aim, do not often have the breath of life. Some members of women’s groups in North America have published their own anti-sexist books, featuring such characters as fire-fighting girls or boys who learn to crochet. Good luck to them; but those I have seen are far below professional standard. ("Are Children's Books Racist and Sexist?" from Only Connect, 2nd ed., 1980)

inbox. It was from Ogden Morrow. The subject line read “We Can Dance If We Want To.” There was no text in the body of the e-mail. Just a file attachment—an invitation to one of the most exclusive gatherings in the OASIS: Ogden Morrow’s birthday party. In the real world, Morrow almost never made public appearances, and in the OASIS, he came out of hiding only once a year, to host this event. The invitation featured a photo of Morrow’s world-famous avatar, the Great and Powerful Og. The gray-bearded wizard was hunched over an elaborate DJ mixing board, one headphone pressed to his ear, biting his lower lip in auditory ecstasy as his fingers scratched ancient vinyl on a set of silver turntables. His record crate bore a DON’T PANIC sticker and an anti-Sixer logo—a yellow number six with a red circle-and-slash over it. The text at the bottom read Ogden Morrow’s ’80s Dance Party in celebration of his 73rd birthday! Tonight—10pm OST at the Distracted Globe ADMIT ONE I was flabbergasted. Ogden Morrow had actually taken the time to invite me to his birthday party. It felt like the greatest honor I’d ever received. I called Art3mis, and she confirmed that she’d received the same e-mail. She said she couldn’t pass up an invitation from Og himself

The Murder of Roger Ackroyd, written by Christie in 1926, is perhaps the most quintessential golden-age murder mystery ever written in absolutely every way—except one. But it is this one spectacular difference that sets it apart from other books of the era and that catapulted Agatha Christie into the upper echelons of the genre. In fact, as the ending was so unorthodox and apparently broke the rules of the Detection Club’s oath—tongue-in-cheek though they were—there was a movement to expel Christie from the club entirely! Only a vote by fellow female crime writer Dorothy L. Sayers saved her. If this doesn’t make you intrigued to read the book, you don’t need to just take my word for it—in 2013, nearly ninety years after its publication, the British Crime Writers’ Association voted it the best crime novel ever, calling it “the finest example of the genre ever penned.” It features typical golden-era elements within the text, like a floor plan of all the rooms of the house and heavily buried clues, and I’m of the opinion that the only way to do this particular book justice is to read it. Don’t watch an adaptation, don’t listen to an audiobook, and don’t use an e-reading device and deny yourself the pleasure of the rustling pages peppered with nuance. Buy a copy of the book and read it. It’s the only way you can read between the lines of this clever tale.

I am assured that this is a true story. A man calls up his computer helpline complaining that the cupholder on his personal computer has snapped off, and he wants to know how to get it fixed. “Cupholder?” says the computer helpline person, puzzled. “I’m sorry, sir, but I’m confused. Did you buy this cupholder at a computer show or receive it as a special promotion?” “No, it came as part of the standard equipment on my computer.” “But our computers don’t come with cupholders.” “Well, pardon me, friend, but they do,” says the man a little hotly. “I’m looking at mine right now. You push a button on the base of the unit and it slides right out.” The man, it transpired, had been using the CD drawer on his computer to hold his coffee cup. I bring this up here by way of introducing our topic this week: cupholders. Cupholders are taking over the world. It would be almost impossible to exaggerate the importance of cupholders in automotive circles these days. The New York Times recently ran a long article in which it tested a dozen family cars. It rated each of them for ten important features, among them engine size, trunk space, handling, quality of suspension, and, yes, number of cupholders. A car dealer acquaintance of ours tells us that they are one of the first things people remark on, ask about, or play with when they come to look at a car. People buy cars on the basis of cupholders. Nearly all car advertisements note the number of cupholders prominently in the text. Some cars, like the newest model of the Dodge Caravan, come with as many as seventeen cupholders. The largest Caravan holds seven passengers. Now you don’t have to be a nuclear physicist, or even wide awake, to work out that that is 2.43 cupholders per passenger. Why, you may reasonably wonder, would each passenger in a vehicle need 2.43 cupholders? Good question. Americans, it is true, consume positively staggering volumes of fluids. One of our local gas stations, I am reliably informed, sells a flavored confection called a Slurpee in containers up to 60 ounces in size. But even if every member of the family had a Slurpee and a personal bottle of

The relationship between the famous and the public who sustain them is governed by a striking paradox. Infinitely remote, the great stars of politics, film and entertainment move across an electric terrain of limousines, bodyguards and private helicopters. At the same time, the zoom lens and the interview camera bring them so near to us that we know their faces and their smallest gestures more intimately than those of our friends. Somewhere in this paradoxical space our imaginations are free to range, and we find ourselves experimenting like impresarios with all the possibilities that these magnified figures seem to offer us. How did Garbo brush her teeth, shave her armpits, probe a worry-line? The most intimate details of their lives seem to lie beyond an already open bathroom door that our imaginations can easily push aside. Caught in the glare of our relentless fascination, they can do nothing to stop us exploring every blocked pore and hesitant glance, imagining ourselves their lovers and confidantes. In our minds we can assign them any roles we choose, submit them to any passion or humiliation. And as they age, we can remodel their features to sustain our deathless dream of them. In a TV interview a few years ago, the wife of a famous Beverly Hills plastic surgeon revealed that throughout their marriage her husband had continually re-styled her face and body, pointing a breast here, tucking in a nostril there. She seemed supremely confident of her attractions. But as she said: ‘He will never leave me, because he can always change me.’ Something of the same anatomizing fascination can be seen in the present pieces, which also show, I hope, the reductive drive of the scientific text as it moves on its collision course with the most obsessive pornography. What seems so strange is that these neutral accounts of operating procedures taken from a textbook of plastic surgery can be radically transformed by the simple substitution of the anonymous ‘patient’ with the name of a public figure, as if the literature and conduct of science constitute a vast dormant pornography waiting to be woken by the magic of fame.

And indeed at the hotel where I was to meet Saint-Loup and his friends the beginning of the festive season was attracting a great many people from near and far; as I hastened across the courtyard with its glimpses of glowing kitchens in which chickens were turning on spits, pigs were roasting, and lobsters were being flung alive into what the landlord called the ‘everlasting fire’, I discovered an influx of new arrivals (worthy of some Census of the People at Bethlehem such as the Old Flemish Masters painted), gathering there in groups, asking the landlord or one of his staff (who, if they did not like the look of them; would recommend accommodation elsewhere in the town) for board and lodging, while a kitchen-boy passed by holding a struggling fowl by its neck. Similarly, in the big dining-room, which I had passed through on my first day here on my way to the small room where my friend awaited me, one was again reminded of some Biblical feast, portrayed with the naïvety of former times and with Flemish exaggeration, because of the quantity of fish, chickens, grouse, woodcock, pigeons, brought in garnished and piping hot by breathless waiters who slid along the floor in their haste to set them down on the huge sideboard where they were carved immediately, but where – for many of the diners were finishing their meal as I arrived – they piled up untouched; it was as if their profusion and the haste of those who carried them in were prompted far less by the demands of those eating than by respect for the sacred text, scrupulously followed to the letter but naïvely illustrated by real details taken from local custom, and by a concern, both aesthetic and devotional, to make visible the splendour of the feast through the profusion of its victuals and the bustling attentiveness of those who served it. One of them stood lost in thought by a sideboard at the end of the room; and in order to find out from him, who alone appeared calm enough to give me an answer, where our table had been laid, I made my way forward through the various chafing-dishes that had been lit to keep warm the plates of latecomers (which did not prevent the desserts, in the centre of the room, from being displayed in the hands of a huge mannikin, sometimes supported on the wings of a duck, apparently made of crystal but actually of ice, carved each day with a hot iron by a sculptor-cook, in a truly Flemish manner), and, at the risk of being knocked down by the other waiters, went straight towards the calm one in whom I seemed to recognize a character traditionally present in these sacred subjects, since he reproduced with scrupulous accuracy the snub-nosed features, simple and badly drawn, and the dreamy expression of such a figure, already dimly aware of the miracle of a divine presence which the others have not yet begun to suspect. In addition, and doubtless in view of the approaching festive season, the tableau was reinforced by a celestial element recruited entirely from a personnel of cherubim and seraphim. A young angel musician, his fair hair framing a fourteen-year-old face, was not playing any instrument, it is true, but stood dreaming in front of a gong or a stack of plates, while less infantile angels were dancing attendance through the boundless expanse of the room, beating the air with the ceaseless flutter of the napkins, which hung from their bodies like the wings in primitive paintings, with pointed ends. Taking flight from these ill-defined regions, screened by a curtain of palms, from which the angelic waiters looked, from a distance, as if they had descended from the empyrean, I squeezed my way through to the small dining-room and to Saint-Loup’s table.

For once, I have a chance to talk about this story … Picture an old whore dazed by an excess of men; she and this story of mine share some features. It’s like a text written on parchment and scattered all over the world; it’s brittle, patched up, no longer recognizable, infinitely rehashed — and yet look at you, sitting beside me and hoping for something new, something never heard before.

Key features Always write in small chunks (also-called blocks ). Unlike many paragraphs, only one topic per chunk. Nothing extra. Chunks can contain several sentences. Label very chunk with an informative, relevant, short, bold-face title. Standards for organizing and sequencing large documents. Diagrams and illustrations can be chunks. Use them. Possible to cluster most of the 40 sentence types into seven categories: procedure, process, structure, concept, fact, classification, principle. Another 160 chunk-types available for Report Documents and Scientific and Technical Reports. About 400,000 technical and business writers world-wide have been taught to write structured writing since 1969.

To access the sharing feature from within a book, tap the Share in the Menu on the Reading toolbar. To share an excerpt from a book, simply press, hold, and drag your finger across the screen to select the desired text, then tap Share. Select the sharing option you want to use from the list.

To access the sharing feature from within a book, tap the Share icon on the Reading toolbar. To share an excerpt from a book, simply press, hold, and drag your finger across the screen to select the desired text, then tap Share. Select the sharing option you want to use from the list.

So the first step is to make your site relevant and useful. There are two broad components of SEO: On-page and Off-page optimization. Your on-page footprint includes your: Website structure Hosting Domain URL Website content (text, pictures, video, audio) Then you add crucial usability factors like: Enhanced security Website speed Mobile responsiveness Ease of navigation Structured data layouts Couple that with conversion factors like web funneling and you can have a strong relevant on-page content. These conversion factors include: Call to action features Freshness of content Time on site New online technologies like: Live chat Integration with relevant third-party software Off-page SEO is comprised of linkages, references and signals from other websites to yours. There can be multiple ways in which websites reference you – you can be part of: Leading medical directory sites Forums, blogs Bookmarking and article sites Social media Images or video sites Online newspapers Magazines Local directories And others There are multiple ways you can get links from these sites, and together they form your offsite optimization score. How

class Indenter: def __init__(self): self.level = 0 def __enter__(self): self.level += 1 return self def __exit__(self, exc_type, exc_val, exc_tb): self.level -= 1 def print(self, text): print(' ' * self.level + text)

The billions of texts, tweets, photos, videos, and other postings tsunami-ing in all directions in response to the general panic featured some helpful information, the way in negotiating a nearly impenetrable rain forest you might every so often come across an edible piece of fruit. The good news was that the internet democratized and facilitated the sharing of information, and that was the bad news, as well....On the one hand, useful information might have been pouring in from everywhere; on the other, you had to stir through the stew of journalism and entertainment and horseshit and noise to find it. And anything was probably more comforting than the official story, which seemed perpetually to be 'We're working on it,' and with so many more appealing options out there reality was being abandoned the way you might walk away from farmland that had lost its water source.

Barthes announced, “I am not lovingly gazing toward an Oriental essence—to me the Orient is a matter of indifference, merely providing a reserve of features whose manipulation—whose invented interplay— allows me to ‘entertain’ the idea of an unheard-of symbolic system, one altogether detached from our own.” The lesson of Japan for Barthes was “the possibility of difference, of a mutation, of a revolution in the propriety of symbolic systems.” Like Wilde, Barthes does not locate Japaneseness in a place called Japan. But if for Wilde Japaneseness offered a new way of seeing, for Barthes, more complexly, Japan offered a new way of seeing himself being seen, which resulted in a new relationship to language. About himself, Barthes wrote, “The author has never, in any sense, photographed Japan. Rather, he has done the opposite: Japan has starred him with any number of ‘flashes’; or better still, Japan has afforded him a situation of writing.” Japan allowed Barthes to “descend into the untranslatable . . . until everything Occidental in us totters and the rights of the ‘father tongue’ vacillate—that tongue which comes to us from our fathers and which makes us, in our turn, fathers and proprietors of a culture which, precisely, history transforms into ‘nature.’”3 Barthes’s growing sense of the “repressive value” of text as the “level” at which “the morality and ideology of a society are above all invested” animated his delight in a Japanese “situation” that allowed freedoms he associated with images to trump the authority of text in the West.4 Reflecting later on this book about the “system of signs I call Japan,” Barthes emphasized that it “occupied a moment in my life when I felt the necessity of entering completely into the signifier, i.e., of disconnecting myself from the ideological instance as signified, as the risk of the return of the signified, of theology, monologism, of law.

The Star workstation he shepherded to launch was an amazing accomplishment. Enclosed in a squat beige-colored box which, like its ancestral Alto, slid on casters under a desk, the machine came packed with features no one had ever seen before and few envisioned in a commercial office machine. These included a bitmapped screen (in “muted blue,” as Xerox promotional literature described it at the time), a mouse (“an electronic pointing device”), windowed displays, and “What You See Is What You Get” document preparation. The bundled functions included text processing, a drawing program, the first integrated “help” program, and electronic mail. By far the system’s most striking feature was its graphical user interface, the stylized display that communicated with the user via the bitmapped screen. This arrangement of icons and folders built around what the Star designers called the “desktop metaphor” is so familiar today that it seems to have been a part of computing forever. But its pioneering implementation on the Star included some capabilities that had yet to resurface on the market nearly two decades later. Text, formulas, and graphics could all be edited in the same document. (Compare today’s “integrated” software, in

this system was so entrenched, publication websites had dismantled their home pages to the point that they often featured only a few stories on the screen at a time, with a maximum of images and a minimum of text. When I browsed them, I felt like an unexpected visitor, someone who wasn’t supposed to be there. The sites all but shouted: Don’t you know you’re supposed to be on Facebook or Twitter!?

I have a message on Snapflash. I downloaded that app about four months ago—I heard about the kids at school using it, because it has the feature of text messages and images disappearing exactly sixty seconds after you open them.

Does It “Really” Need to Be an Email? By this point, you’ve probably figured out that I love email. Well, in spite of my love for email marketing, not every communication needs to be an email. In fact, there are times when emails really aren’t the best solution. So, if not email, what else? Other solutions include: In-App messages like popups, sidebars, site notifications, chat messages, browser or push notifications, desktop notifications, text messages, and even product tours and onboarding flows. Email is great when the user isn’t currently using your product. It’s great to drive them back in, but when they are right there using your product, you can’t expect them to be checking their emails at the same time. Before setting up a new email campaign, ask yourself if email is the best way to achieve your objective and drive the user behavior you seek. Maybe a popup or site notification would be more effective. Users can’t typically unsubscribe from popups, sidebars, site notifications, chat messages, or onboarding flows. They are usually better embedded into your app and more contextual. Because of this, they tend to reach users more directly than email can. That means that they can often be more effective to influence user behaviors. Push notifications, desktop notifications, and text messages still have some novelty to them. They can also reach users in different contexts from email. Although sometimes it’s better to use a different communication type, sometimes combining email with other options is the best way to go. For this reason, it’s important to consider the mix. For example, an email followed on-site by an In-App message, or an onboarding flow followed by an email summing up the process may be more effective than a single email. It will allow you to follow up on user actions, and make it really clear what needs to get done. By breaking down the steps one at a time, there’s more chances for users to learn. At LANDR, we often followed feature launch emails on-site with In-App messages. This helped to keep communications simple and goal-focused (one goal per message). The email was about getting people in the product, while the In-App message was about getting them to engage with the product. This approach allows you to evaluate and optimize each step of the process independently. Automation platforms like Intercom, ActiveCampaign and HubSpot generally allow you to combine messaging types. If your platform doesn’t currently have site messaging or onboarding functionalities, you may have to use multiple tools in conjunction in order to maximize results. This will make it trickier to track pacing, sequencing, and goals but it isn’t impossible. You also need to consider tracking effort when adding new communication types to your mix. As your program becomes more complex, it can be easy to lose track of the overall user experience: Are your users getting spammed? Are you creating a disjointed customer experience? Test things from your users’ perspective. Keep an eye out for social media messages and support requests as you do. In the next chapter we will look at setting up automations to minimize issues and maximize outcomes.

The first known published text of the classic fairy tale "Beauty and the Beast" was written by Gabrielle-Suzanne Barbot de Villeneuve in 1740 and collected in her compilation La Jeune Américaine et les contes marins. To say that the story met with favor is an understatement. By 1756, "Beauty and the Beast" was so well known that Jeanne-Marie Leprince de Beaumont wrote an abridged edition of it that would become the popular version included in collections of fairy tales throughout the nineteenth century (although Andrew Lang went back to de Villeneuve's original for his groundbreaking anthology The Blue Fairy Book, first published in 1891 as the beginning of a twelve-book series that would revolutionize the anthologizing of fairy tales for young read ers). Fifteen years later. Jean-François Marmontel and André Ernest Modeste Grétry adapted de Villeneuve's story as the book for the opera Zémire et Azor. the start of more than two centuries of extraliterary treatments that now include Jean Cocteau's famous 1946 film La Belle et la Bête, Walt Disney's 1991 animated feature Beauty and the Beast, and countless other cinematic, televi sion, stage, and musical variations on the story's theme. More than 4,000 years after it became part of the oral storytelling tradi tion, it is easy to understand why "Beauty and the Beast" continues to be one of the most popular fairy tales of all time, and a seemingly inexhaustible source of inspiration for artists working in all mediums. Its theme of the power of unconditional love is one that never grows old.

The television serial's immense popularity set the stage for the violent Hindu nationalist campaigns, in which Rama appeared as Rambo, his delicate features and gentle smile replaced by a muscular mien and grimace, and The Ramayana itself became a central text in the the nationalists' attempt to weld Hinduism's plural traditions into a monotheistic religion.

The Glendale Bear, affectionately known as Meatball for his successful raids of area homes in search of Costco meatballs, became famous for his neighborhood break-ins, and for the image a live news helicopter captured of the bear startling an unsuspecting resident while he texted on his phone. Meatball also had his own Twitter account and conversed there regularly with P-22 about the challenges of urban living. Ultimately, because of his affinity for human food and relaxing in backyard hot tubs, this smarter-than-average black bear had to be captured in 2012 and sent to the animal sanctuary Lions, Tigers, and Bears in San Diego County, where he now resides. The story, however, has a happy ending, as the residents of Glendale, aware their habits of leaving out trash and pet food might have made them culpable in his fate, promised to mend their ways and even raised funds for a bigger enclosure for Meatball. For the 2014 Rose Bowl Parade, Glendale created a float themed “Let’s Be Neighbors,”featuring Meatball in his famous trash-can pose. As Patricia Betancourt from the City of Glendale office said, “Glendale citizens, because of Meatball’s influence, are now dedicated to being good neighbors to wildlife.

Capturing excerpts from emails: Most popular notes apps include a feature that allows you to forward any email to a special address, and the full text of that email (including any attachments) will be added to your notes.

Botox" In a friendly exchange with a shopper in a grocery story line, she joyfully declared: “Today is my 50th birthday!” I said, “It looks like the hands of Time have touched your face gently. Happy birthday!” “The hands of Time weren’t gentle on me, my dear. What you see are the wonders of botox,” she said. “They say it freezes face features and expressions. Is that true?” I inquired half-jokingly. “At this stage of my life, it makes no difference. I no longer need any expressions. There is nothing worth smiling for or frowning upon. I spent decades expressing in every physical and verbal way possible, all in vain,” she said. Her words were followed by a hopeless giggle that reminded me of the philosopher who wrote that as we advance in age, our fears are replaced with giggles. She then continued, “There is a time when you discover that all verbal and physical expressions are futile. In everyone’s life, there’s one defining event that freezes everything in their lives. Anything that happens after that event is no more than desperate and hopeless attempts to pretend that we are okay.” Before I managed to find the appropriate words, the cashier called on her. The timing was ideal as words froze on my tongue just like the botox freezes features and expression in a world in which words and expressions are of no use anymore. [Original text published in Arabic on October 14, 2024 at ahewar.org]

the text box (see screen shot in Step #5) that there is a bullet. This might be fine for listing items, but when you want to type a paragraph, this feature can be annoying. To eliminate bullets, click on the text box. Choose Bullets and Numbering from the

To access the sharing feature when you select text, press and hold on text, then drag your finger across the screen to select it.

So if you absorb his or her flesh, you become them, just as if you absorb the flesh of Christ, you should become a little bit nonviolent, more than you were before. If you understand this text, you also perceive that it cannot have been put there by people who want to fool us. We can discover in these sayings tremendous aspects that no one has yet discovered that fit the Christian meaning. Like the stone that the builders rejected. So therefore faith is highly linked to the text; that must be something a little bit Protestant in me. It is Christ himself who assumes the responsibility of quoting that psalm[35], saying "explain it to me, explain the relationship with me.” We haven't deciphered it yet. It should be enough for everybody to understand that Christianity is not a text like others where part of its truth is still hidden but decipherable. This is the sort of thing that can restore the damaged faith of our time.   We’re talking about two types of religion. One fundamentally deifies scapegoating. Therefore, it ultimately deifies violence itself. When I called my second book Violence and the Sacred, it really meant that the sacred is nothing but violence; it's only insofar as you don't see this that violence is the sacred. The real sacred – or let us say the holy, let's not use the same word – is love, divine love: not human love, which is a miserable imitation of divine love, but real divine love. Mysteriously, God is using human violence to bring the human animal to the level where we will try to teach it love. Humanity is therefore going through a violent phase, which is archaic religion. There is the animal at the bottom, there are the violent religions, and then there is the religion of love. Are we going to understand it or not? In some ways, I say only in some ways, the symbolism of violence, the sacred, looks more like God’s love to us, in our weakness, in our violence, than anything else. We don't reach that total violence in a way that we represent in our archaic religions. But in some ways archaic religion has features, real features of divinity, since it reconciles in a certain context. Oh, this sounds dreadful, but we don't want to worship violence. Christ teaches us that we have to worship only love, but we have to understand that worship of violence is a series of steps towards love. This is why I say revelation takes into account the whole history of human religion.   SB:

When preachers seek to identify the under-the-sun features of a biblical text, they are looking for the Context of Reality (COR). By the Context of Reality, I mean the mutual life environment that contemporary believers and unbelievers share in common with those to or about whom the biblical text was written that teaches us about the nature of reality. Locating the COR says to people, “This is what life is like.” The primary question a preacher asks when seeking to identify the COR of a biblical passage is: What under-the-sun features does this text reveal that my listeners share in common with those to (or about whom) the text was written?

In Modern world internet technology is getting advance day by day. Uship is also getting advance day by day. This script helps the customer to find a way to book their shipment online. Uship clone script is a script. Which helps the customer to find a way to book their shipment online? Uship clone script is very easy to use. As an admin customer can use this script to start his own online business to help other customer’s to give the way for booking their shipment online. Anyone can use this script. This script is available for all World Wide Web customers. It also provides you 365*24*7 customer support. Uship clone script basic server installation is free. Customer can store unlimited data with the help of this script. In this script there are two sections available. First admin dashboard and second one is Master Control. In this service customer can check in which country our service is available or not. As an admin customer can add city or state in which the service should be available or not. In this script customer can check full detail info for example like: - Receiver detail, pickup dates, delivery dates and shipment details. Admin Dashboard: - As an admin customer can cheq. How many users are registered in a day? In shipment active and shipment undelivered option as an admin customer can cheq how much shipment delivered and undelivered are available in a day or week. In payment option customer can cheq how many payments received or not received in a week. As an admin customer can check all Web enquires which is received by customer through E-mail. In this active or inactive quote option admin can manage all transporter posted shipment quote, admin can make active or inactive quote. Master Control: - section there is some different option available for example likes category, payment gateways, Add Vehicle, Add notice board, country list, mails template, news list and so many other options are available. In add notice board option any customer can any notice regarding the product and in show notice board option customer can check all kinds of notice. There is news section on frontend where customer can add news about your company. What’s new or what are you doing and know you clients or visitors about your company. In payment gateway info option admin can manage payment gateway settings. In the admin panel customer can see payment status of all users. In slider setting admin can manage front slider banner and also admin can change slider, image text. In this script there is one service option available. In this option customer can check what Kind of service facilities available. In this script customer needs to enter a consignment detail with online tracking feature and then customer get his own complete website. Uship clone script also provide you a all static pages like Home, About Us, privacy policy, Term and condition, New shipment, Find delivers, login, My account and contact us.

Answer, yeah I know it... We were for little period of time texting nothing else... no friendship is available as a feature but you are talking about relationship and marriage are you right with your mind?

Business Plan Writers If you need a business plan in less than a week, our consulting service can help! Our business plan consultants will create a business strategy that will impress your investors. We looked at all the best business plan writing services and compared their features and pricing. Here is our in depth comparison and recommendations. A business plan writing service is a team of business experts that take your ideas & numbers, combine it with some of their own research and produce a professional, well-formatted business plan. We looked at the 3 top business plan writing services and compared their features and pricing. From start-up guidance to operations consulting, your company can become more successful with the support of one of our business consultants. First, let our team learn more about your business and listen to your needs. Then, we’ll identify key areas of opportunity, and help you to implement the right business plan and strategy for the growth of your company. It was a good startup. It had a good idea and, much more important, a market window, differentiation and experience to make it happen. One of my first engagements in business planning was as business plan consultant to a startup with three experienced founders. I met with them several times, listened always, and did their business plan. I built the financial model, wrote the text, and produced the document as a business plan document. But I wasn’t part of the team.

alt.sex.stories The newsgroup quickly became one of the most popular text-based newsgroups (i.e. not intended for posting binary files) on Usenet. Amateur writers of all sorts began posting fictional “erotic stories” and finding a worldwide audience for their work. However, because of the very nature of unmoderated newsgroups, alt.sex.stories soon found itself a repository for a great number of poorly-written, sometimes barely coherent “stroke” stories consisting of a few sentences or paragraphs. The average quality of the stories posted to the newsgroup seemed somewhat lower and more crude than the stories seen in pornographic magazines and books, and this state of affairs continues to the current day.[citation needed] Yes, the “stroke” stories certainly undermined the credibility of the newsgroup that had produced stories such as “Balling Lil’ Sis,” “Showtime - Part 6 Featuring Jennifer Love Hewitt and a Vanna White Lookalike,” and “Alex and Brian,” which features the immortal sentence “‘Shhhhhhh, if you do as i say you wont get this!’ he said as he pulled out a 12 inch dildo with the name ‘MegaMan’ on it.

Programmers who have worked with (or even just seen applications developed in) libraries such as Borland’s TurboWindows (for DOS) will be familiar with how many of these features can look very attractive in text-​mode consoles.

Home screen, tap the Menu button and select Settings. On the Settings page, tap Reading Options, and then tap Social Networks. Once you have set up the sharing feature, from within a book you can select Share from the secondary toolbar and enter a message and share it with your social network. To access the sharing feature when you select text, press and hold on text, and then drag your finger

... these kind of features are strong indicators of a strong oral tradition, that the writing was more an aid of what people have already memorized, that you went to the text (i.e., Quran) already knowing what it should say.

end of the class he stood in the doorway to block the Frenchman’s exit. “You’re going around the world showing people pictures of how to use condoms?” Cool B asked mockingly. “I’ll show you what to do.” He snatched away the man’s prospectus and, reading from the text, improvised an anti-AIDS rap on the spot in the manner of LL Cool J. The Frenchman was impressed. Within a couple of days, he had arranged for Cool B to record the rap at a downtown nightclub, and the song made him a momentary celebrity among Abidjan youth. It also began his long association with white people—among them Petra, his girlfriend, who eventually went back to Germany, and Éliane de Latour, a French filmmaker who employed him for a while as a researcher on a feature about Abidjan youth. Cool B keeps pictures of them on his wall, and he tries to figure out why, in spite of these connections, he remains stuck in Koumassi. He spends his ample free time and his limited funds at a local Internet café, surfing international dating sites and chat rooms where people he knows have found marriage opportunities that got them out of Africa. Or he visits

Once you have set up the sharing feature, from within a book you can select Share from the secondary toolbar and enter a message and share it with your social network. To access the sharing feature when you select text, press and hold on text, and then drag your finger across the screen to select it. If you select a sentence or multiple words, a dialog box will appear with an option to Share. If you select a single word, a definition of the word displays and options include Search and More. Tap the More button to share the selected text.

rather than attempting to establish one main focalizer, it seems “more appropriate to analyze focalization as a more abstract and variable feature of the text” (2013a:§17).

Every now and then, I think my thoughts are fixed on one thing, and in fact they are not. When this happens, they will quite often clear their throat politely to get my attention, and then let me know what I was really thinking. And as I sat there in Dadeland Mall remembering Dear Doris, I heard a soft but very distinct ahem coming from an unused corner of my brain. I politely turned my focus there, expecting to hear a request for one more slice of the awful pizza. But what I found instead was much, much tastier. So much better, in fact, that I had That Feeling again. Once more I picked up my phone, and this time I had only good feelings about the device. In fact, I regretted ever disliking it—what a marvelous piece of equipment it was! It can take pictures, send text messages, access the Internet, become a GPS or a dictating machine or a hundred other things—and even make phone calls! And on top of all that wonderful possibility, it can send e-mails! Working quickly, I began to use a few of those splendid features. I went online and found a site that allows you to book hotel rooms; I booked one at the Galleon in South Miami under the name of Brian Murphy, the name that had been on my brother’s fake credit card. The site allowed me to pick a room and I chose Room 1221 for no particular reason, pressed confirm, and clicked off.

Once you have set up the sharing feature, from within a book you can select Share from the secondary toolbar and enter a message and share it with your social network. To access the sharing feature when you select text, press and hold on text, then drag your finger across the screen to select it. If you select a sentence or multiple words, a dialog box will appear with an option to Share. If you select a single word, a definition of the word displays and options include Search and More. Tap the More button to share the selected text.

consisting of an initial video presentation of the target dialogue, followed by choral and pair repetition of the text and rule explanation. Students then underwent structured drilling of the chunks within a communicative context, and finally they memorized and performed short dialogues that included the target sequences. … The results indicated a substantial development, with the range and number of the chunks performed by the students doubling over the training period. This approach seems to combine the features of both a communicative approach and (the much maligned) audiolingual one, with its emphasis on memorized dialogues – a case of East meets

usual method. 20. ONLINE BANKING SERVICES Meaning : If a system allows an individual to perform his banking activities at his home, via internet is called Online banking. Now most of the traditional banks are also offering online banking services to the customers. Online banking services in traditional banks enable the customers to perform all usual transactions, such as account transfers, balance inquiries, bill payments, and stop-payment requests, online loan and credit card applications. Customers account information’s can also be accessed at anytime, day or night, and it can be done at any time and from any place. If once the information entered then there is no need to be re-entered for subsequent checks, and future payments can also be scheduled to occur automatically. Advantages of Online Banking Easy and safe - Customer’s can check their account balance and status of their account in online at anytime. Online visits “reduce the impact of an act of fraud. No fee : Many banks offer free bill pay Comfort : Process in online banking is easy and quick. A bank’s location can be easily identified and instantly a person can find the way to reach banks destinations, this system has more features, such as regular cash checks and it provides recent transaction reports including payments, transfers and deposits, and warn you at potential security threats. Fund transfer : Banks facilitates to transfer money from the account of one person to another person’s

Thus, a TT that normalizes ST hybridity, but on the other hand does not introduce TT hybridity in text segments that originally featured narratorial perspective, might comply less with Western stereotypes than a TT that violates target-language rules and norms and thus only translates the author’s subversion of the colonial language but not the narrative function that the absence or presence of linguistic hybridity plays in the ST. This

The flexibility of the compilation, the ability to create bespoke texts from segments of other works, was one of the key features distinguishing the manuscript book world from the age of print, where the order and nature of texts was established before they came into the hands of the purchaser. This loss of autonomy in the creation of books would be one of the major sources of regret among established collectors in the transition from manuscript to print in the fifteenth century.

Table of Contents Chapter 1 Getting Started Setting up your Kindle Kindle controls Status indicators Keyboard Network connectivity VoiceView screen reader Special Offers and Sponsored Screensavers Chapter 2 Navigating Your Kindle The Kindle Home screen Toolbars Tap zones Chapter 3 Acquiring & Managing Kindle Content Shop the Kindle Store anytime, anywhere Recommended content Device and Cloud storage Removing items from your Kindle Managing your Kindle Library Chapter 4 Reading Kindle Documents Understanding Kindle display technology Customizing your text display Comic and manga books Children's books Images Tables Interacting with your documents Chapter 5 Features X-Ray Word Wise Vocabulary Builder Kindle FreeTime (Kindle for Kids in the UK) Managing your Amazon household Goodreads on Kindle Time to Read Chapter 6 Getting More from Your Kindle Carrying and reading personal documents Reading Kindle content on other devices Sharing Using your Kindle with your computer Using the Experimental Web Browser Chapter 7 Settings Customizing your Kindle settings The Settings contextual menu Chapter 8 Finding Additional Assistance

Useful Tеасhіng Fеаturеѕ 1. Text Сhаt Yоu саn use the chatbox, ассеѕѕеd from the bоttоm of thе screen, to ѕеnd mеѕѕаgеѕ tо ѕtudеntѕ durіng сlаѕѕ. You саn соntrоl hоw thе learners uѕе thе сhаt feature bу ѕеlесtіng whо thеу can сhаt wіth from the “More” drорdоwn menu. Bу dеfаult, grоuр сhаt іѕ enabled. You саn choose tо lіmіt learners tо оnlу сhаttіng with you, thе host.  Or, to disable сhаt соmрlеtеlу, уоu ѕhоuld сhооѕе the “Nо оnе” option. Thеrе іѕ nоt a 1:1 ѕtudеnt messaging орtіоn, ѕо уоu dоn’t hаvе to wоrrу аbоut students рrіvаtе messaging each оthеr whіlе уоu’rе trуіng to tеасh.

There are two features of this intriguing text which seem to connect it with much later rituals for ensuring the health of crops. One is the salutation to the earth, ‘be well’, hal wes þu. In Old English this phrase was a common greeting, more usually found in the order wes þu hal, ‘be thou well’. By the twelfth century, this phrase is recorded as a toast, used to wish someone health when presenting them with a cup of drink.18 In time, it became contracted to wassail, and in Middle English it appears both as a toast and a general word for drinking and feasting. In medieval sources, wassailing has no connection to crops. From the sixteenth century onwards, however, there are records from across southern England of the custom of wassailing fruit-trees in the winter season, around Christmas or Twelfth Night, to ensure a good harvest of fruit in the coming year.19 This often involved singing to the trees, beating them with sticks, toasting them with cider or putting pieces of cider-soaked bread in their roots or branches. More than five hundred years separate this Anglo-Saxon field-ritual from the first records of wassailing, so there may be no direct connection between the Old English text and the later custom. However, the use of the phrase hal wes þu as a salutation to the earth is a remarkable similarity, even if it’s just coincidence.

Simple Fast Funnels VS Hubspot There are 2 primary factors to consider when exploring Simple Fast Funnels VS Hubspot… Available Features. Price. Hubspot is a powerful platform, there’s no denying that, but they lack a few features that Simple Fast Funnels offers: 2 way SMS so you can send one way messages to your clients OR interactive messages. You can automate answers or have your customers reach you or customer service directly. Unified messaging. Housing all messages for particular customers in one place lets you simplify customer service. They can text, email, schedule calls or FB message you and you’ll see it all in one location. Simple Fast Funnels customer service has 24/7 chat support and guides you through any hiccups you may experience as you build your funnel. Simplified funnel building. No tech knowledge required. The biggest factor comparing these two platforms however is price: Hubspot charges a small fortune for their good features. Their price is over 10X the cost of Simple Fast Funnels. Simple Fast Funnels saves you thousands, or even tens of thousands yearly and you don’t get less features, you get MORE… We believe you should be able to run your business without paying rates like these. Call us old fashioned if you like. For Hubspot’s premium service, you’ll pay $3,600/month. That’s a lot of revenue to come up with each month just to pay for your operating platform. For Simple Fast Funnel’s premium service, you’ll get the same features and more for $297/month. If you haven’t tried Simple Fast Funnels out yet, we offer a 14 day free trial, that’s how sure we are you’re going to love this service.

In 1968 at the age of 17 years, I started my migration journey to Karachi, leaving my mother, brothers, and sisters for my literary fondness and higher study. I achieved a Bachelor of Arts from Sindh University, Hyderabad, and a Master of Arts and a Law degree from Karachi University. I started my Ph.D. under the guidance of Dr. Aslam Farrukhi. I couldn't complete it, and in 1978, at the age of 26, I migrated to the Netherlands to face The Prisoner Of The Hague; you can read it on Google Book.com in Urdu. The pic that someone so much liked, whom I have loved since the age of eleven; she was ten years older than me, but love does not care about such things. Unfortunately, my destiny brought me to Europe; I betrayed her that I feel and think; she never married and died. I have a gift, a handkerchief that she gave me in 1962, which I always keep with me wherever I go. After six-decade, I saw someone when I was editing an article about her in 2011, with the same features, height, and smile, but unfortunately, this time, she was too young. Surprisingly, whenever I searched my name on Google, I saw her pic displayed with my pics; I clicked the text alongside the pic, not relevant, and the pic went disappeared but not from my heart.

Impact of the mobile phone While 2G and 3G basic and feature phones were tremendously important for people to open their worlds, be able to communicate whenever and wherever they wanted and made life so much easier, 4G enabled the smartphone to revolutionize our lives in ways that go well beyond how we communicate. Besides calling and texting, almost 4 billion people around the world are connected to the mobile internet and use their devices to send money, navigate, book cab rides, follow the news, learn a new language, watch movies, listen to music, play video games, memorialize vacations, and, not least of all, participate in social media.

Difficulties of technical translation: features, problems, rules Technical translation is one of the most important areas of written translation in modern translation practice. Like the interpretation technique, it has its own characteristics and requirements. The need for this type of work is due to economic and scientific and technical progress, as well as the development of international relations. Thanks to technical translation, people share experience, knowledge and developments in various fields. What are the features of this type of translation? What pitfalls can be encountered on the translator's path? You will learn about this and much more from our article. ________________________________________ Technical translation is one of the most difficult types of legal translation. This is due to the large number of requirements for such work. Technical translation includes all scientific and technical texts, documents, instructions, reports, reference books and dictionaries. The texts of this plan contain a lot of specific terminology, which is the main difficulty of technical translation. A term is a word or a combination of words that accurately names a phenomenon, subject or scientific concept, revealing its meaning as much as possible. The most common technical texts in the following areas: • engineering; • defense; • physics and mathematics; • aircraft construction; • oil industry; • shipbuilding, etc. The main feature of technical translation is the requirement for its high accuracy (equivalence). The task of the translator is to convey information as close as possible to the original. Otherwise, distortions may appear in the text, leading to a misunderstanding of important information. Vocabulary selection is carried out carefully and carefully. The construction of phrases should be logical and meaningful. Other technical translation requirements include adequacy and informativeness. It is equally important to maintain the style of such texts. This includes not only vocabulary, but also the grammatical structure of the text, as well as the way the material is presented. Most often, this is a formal and logical style. Unlike artistic translation, where the main task is to convey the content, and the translator can use his imagination, include fancy turns and various figures of speech, the presence of emotionality and subjectivity is unacceptable in technical translation. Let's consider the peculiarities of technical translation in English. According to the well-known linguist and translator Y. Y. Retsker, English technical literature is characterized by the predominant use of complex or complex sentences, which include adjectives, nouns, as well as impersonal forms of verbs (infinitives, gerundial inflections, etc.). Passive constructions are also often found. In this direction, it is permissible to use only generally accepted grammatical structures. Another feature of such texts may be the absence of a predicate or subject and a large number of enumerations. In addition, the finished text should have an appropriate layout equivalent to the original. Let's consider the basic rules of technical translation for a specialist: • knowledge of the vocabulary, grammar and word structure of the foreign language from which the translation is performed (at the level required for understanding the source text); • knowledge of the language into which the translation is performed (at a level sufficient for a competent presentation of the material); • excellent knowledge of the specifics of texts and terminology; • ability to use linguistic and technical sources of information; • familiarity with the specifics of the field

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One attractive, unique feature of the worship services in Georgia was their use of hymns, facilitated by Wesley’s publication of A Collection of Psalms and Hymns in 1737, the first English hymn book published in America. None of the hymns are by Charles, who had not yet been tapped by his poetic muse. These texts, many translated by John from the German, express the heart of a pietism grounded in Scripture and elucidate the themes that are central to Wesley’s spiritual quest—utter dependency upon grace, the centrality of love, and the desire for genuine fire to inflame his cold heart (see Zinzendorf’s bridal song of the soul).

Introduction This book is devoted to the blessed Father, Son, Holy Spirit. Daily working together as unified Godhead for our best interest. Would be incomplete without Jesus direct love bestowed upon me, through a perpetual act of faith in God. Fully trusting Jesus to lead me into a carefully laid-out plan. Dedicating this book to my children: Faith is 6, Christian 11, Christina 12 years old. Izzabella, my niece, is also featured in the story, Sally Saved Three Times. These Children are the inspiration for the characters in the stories. Added some personal experiences acquired during my childhood. Appreciate the support of my Mom, Dad, brother, Jacob, for being here for me the last five years. They helped me through hard circumstances when I needed them the most. Thank You! My second family is at the Erie Wesleyan Methodist Church on the corner of 29th and Liberty. They covered my life with prayer; great friends from the Lord; Supporting me on my journey towards my heavenly home. I am also thankful for Mike Lawrence who encouraged me to keep writing. Thanks, brother! This spectacular close friend of mine wrote the Forward of this book. He is God-given for moral support and prayer. Friends forever from Erie, Pennsylvania! There are scripture references, along with Bible lessons featured in each story. These short stories are ideal for devotions or bedtime stories. Suitable for parents and grandparents to read to children, grandchildren. Forward It is rare today to find Christians who are in love with doing the Lord's service. Many would sit to the side and let others bush-wack the path, but Bryan has always been the one who delights in making the way clear for others. His determination, commitment to producing these writings was encouraging to watch come to fruition. Take time now see for yourself how God is directing these works to provide something sincere, pure, innocent for families to enjoy. A pleasant respite from a sin-sick world. So, please, feel free to find a quiet place today and enjoy them alone or with your family. This body of work calls upon us to take time to be holy. I believe with all my heart that this is the authors intent, the Lord's plan, my hearts prayer that they bless you as much as they have blessed me. May God bless the time and energies sacrificed by the author in its production. Sincerely in Christ, Michael Lawrence. When writing with Shirley Dye on messenger about editing the book, she commented that this book would be a blessing to many people. That is my solemn humble prayer. Short Story Content 1. Mr. B.G. (My Testimony) 2. Trevor Wins Three Times 3. Winning The Man ON Rock-Hill 4. Sally Saved Three Times 5. Jonathan and Family Find God 6. Upright and Prideful Key Text, (Matthew 18:3), “And (Jesus) said, Verily I say unto you, Except ye be converted, and become as little children, ye shall not enter into the kingdom of heaven.

The man had hired a fine-arts painter to create a painting of his building (was he selling a building?), and at first glance it looked like the website for an Italian restaurant. The first question I had when I went to the website was, “Do you serve free breadsticks?” There were a thousand links ranging from contact information to FAQs to a timeline of the company’s history. There were even links to the nonprofits the business supported. It was as though he was answering a hundred questions his customers had never asked. I asked the class to raise their hands if they thought his business would grow if we wiped the website clean and simply featured an image of a guy in a white lab coat painting something next to text that read, “We Paint All Kinds of S#*%,” accompanied by a button in the middle of the page that said, “Get a Quote.” The entire class raised their hands. Of course his business would grow. Why? Because he’d finally stopped forcing clients to burn calories thinking about his life and business and offered the one thing that would solve his customers’ problem: a painter. What we think we are saying to our customers and what our customers actually hear are two different things. And customers make buying decisions not based on what we say but on what they hear.

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The teaching and implications of this text are massive. Ask yourself these questions: In his interactions with the Pharisees, or the crowds, or the Samaritan woman, or Nicodemus, or Peter, or the high priest, did Jesus exhibit extraordinary wisdom and understanding? Were his counsel and insight marked by discernment? Did he fear the Lord and so obey his Father from his heart every step of the way? Yes, indeed, he did. Now ask yourself this question: How would Isaiah 11:2 encourage us to account for these features that marked all of his life and ministry? The answer is that the Spirit rested on him and granted him wisdom, understanding, knowledge, discernment, strength, and resolve to fear God his Father. In other words, these qualities did not extend directly or fundamentally from his divine nature, though divine he surely was! Rather, much as the “fruit of the Spirit” of Galatians 5:22–23 is the outward evidence of the inward work of the Spirit in a believer, so too here these qualities are attributed to and accounted for by the Spirit who rested upon Jesus, empowering him to have the wisdom, understanding, and resolve to obey that he exhibited.

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New photographs have been chosen to complement the text. Because the hall closet running gag remains one of the most memorable aspects of Fibber McGee and Molly, Appendix C has been added which lists all the openings in order and a tally of the openings through the years. Another new feature is Appendix D which lists in chronological order the initial use of running gags, dates of first and last appearances of regular cast members, and other notable occurrences on one of radio’s most famous programs.

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Another, less flamboyant example of this tendency was Dr. Morton Smith of Columbia University. One of the great powerhouses of biblical criticism in the second half of the twentieth century and a mentor to many of today’s top scholars, Dr. Smith was rummaging in the library of Mar Saba Monastery in Israel in 1958 when he found an eighteenth-century scrap of paper containing what purported to be a copy of a “secret” version of the Gospel of Mark. Around the scant twenty lines of text, which feature a certain naked youth whom Jesus raises from the dead and who then “remained with [Jesus] that night, for Jesus taught him the mystery of the Kingdom of God,”1 Smith wove an elaborate theory: that Jesus’ free-love society amounted to a homosexual ecstasy cult. This was too outrageous even to become scandalous, and many scholars dismissed the idea outright, but Smith clung to it and continued to develop it until his death in 1990.

DEVONthink features a clever algorithm that detects subtle semantic connections between distinct passages of text.

The ziggurat was the most dominant building of the temple complex, so it is no surprise that it draws the attention of the author of Genesis. In summary, the project is a temple complex featuring a ziggurat, which was designed to make it convenient for the god to come down to his temple, bless his people, and receive their worship. This understanding of ziggurats makes an important point drawn from the ancient Near Eastern context to clarify the biblical text: the tower of Babel was not built for people to go up, but for the god to come down.

A 2013 study in Computers in Human Behavior featured a series of ten statements such as “I get worried when I find out my friends are having fun without me,” and asked participants to rate themselves from one to five on how well those statements correlated with their own lives. The study found that three-quarters of respondents (mostly college-age students) experienced FoMO. Those who scored higher were more likely to report lower life satisfaction and use social media immediately before and after sleeping, during meals and classes, and to engage in dangerous behaviors such as texting while driving.

Instead of face to face conversation, We soon preferred to chat on our device, Or text a message of our persuasion, Inaudible convenience rather nice, As fit to make a ready occasion, Not half-concerned we pay a growing price, To make a more unnatural creature, Devises that replace the human feature. 27. Indeed, they yield a social substitute, The lonely and excluded dearly seek, That spreads a strange and artificial root, Yet still enjoys a genuine mystique, That works as rapidly as we compute, A dialogue between savant and freak, Beyond our residence a fertile land, Designed to strike our fancy and expand

An expository sermon may be defined as a message whose structure and thought are developed from a biblical text, covering its scope, in order to explain how the features and context of the text disclose enduring principles for faithful thinking, living, and worship intended by the Spirit, who inspired the text.

despite the description in the Egyptian texts of a single event, the migration of the Sea Peoples was at least a half-century-long process that had several phases…. It may have started with groups that spread destruction along the Levantine coast, including northern Philistia, in the beginning of the twelfth century and that were defeated by Ramesses III in his eighth year. Consequently, some of them were settled in Egyptian garrisons in the delta. Later groups of Sea Peoples, in the second half of the twelfth century, succeeded in terminating Egyptian rule in southern Canaan. After destroying the Egyptian strongholds … they settled in Philistia and established their major centers at Ashdod, Ashkelon, Tel Miqne, and other places. These people—the Philistines of the later biblical text—are easily identifiable by several Aegean-derived features in their material culture.78

If you unpack the relationship between people and hedgehogs over the years, it’s not always been an easy one. From the earliest written texts that feature hedgehogs, it seems they’ve been misunderstood. Pliny, writing only a few decades after the birth of Christ, talked with great confidence about hedgehogs catching food by impaling it on their spines: 'They wallow and roll themselves upon apples and such fruit lying under foot, and so catch them up with their prickles, and one more besides they take in their mouth, & so carrie them into hollow trees.' Medieval manuscripts continue the error – the 12th-century Aberdeen Bestiary describes 'The hedgehogs, covered in bristles, roll up in a ball, and carry grapes back to their young by impaling them on their spines.' It seems no one had bothered to actually watch a hedgehog at work.

This issue of Stvar we dedicate to the anniversaries. Each effort that commences from historical years and epochal dates, however, is not only supposed to cope with the legacy and lessons of evoked events and figures, but also to question a certain (dominant) relation to the past and history. In other words, the task is not a commemorative one, that is, a fetishist relation to the epoch of decisive dates and big events, but rather the radical grasping of the materiality of history following its work where social contradictions require that fight for emancipation and progress is to be taken up. What is at stake here is not an academic requiem or a leftist memorial service to the era of revolutions and great revolutionaries; it is all about casting our gaze toward the past in order to better examine those moments where the past opens itself toward the future. The relation toward past, therefore, should contain perspectives of different future. Amputation of the future is nowadays one of the features of many current academic, scientific and ideological discourses. Once this perspective of different future has been eliminated, the resignification of Marx, Luxemburg, Kollontai, Lenin and others becomes possible, because their doctrines and results have been quite depoliticized. On the contrary, it is the memory that calls for struggle that is the main cognitive attitude toward the events remembered in the collected texts in this issue. Not nostalgic or collectionist remembrance but critical memory filled with hope. The main question, thus, is that of radical social transformations, i.e. theory and practice of revolution. In this sense, Marx, Kollontai, Lenin and other Bolsheviks, and Gramsci as well, constitute the coordinates in which every theoretical practice that wants to offer resistance to capitalist expansion and its ideological forms is moving. The year 1867, when the first Volume of Marx’s Capital is brought out in Hamburg, then October 1917 in Russia, when all power went to the hands of Soviets, and 1937, when Gramsci dies after 11 years of fascist prison: these are three events that we are rethinking, highlighting and interpreting so that perspective of the change of the current social relations can be further developed and carried on. Publishing of the book after which nothing was the same anymore, a revolutionary uprising and conquest of the power, and then a death in jail are the coordinates of historical outcomes as well: these events can be seen as symptomatic dialectical-historical sequence. Firstly, in Capital Marx laid down foundations for the critique of political economy, indispensable frame for every understanding of production and social relations in capitalism, and then in 1917, in the greatest attempt of the organization of working masses, Bolsheviks undermined seriously the system of capitalist production and created the first worker’s state of that kind; and at the end, Gramsci’s death in 1937 somehow symbolizes a tragical outcome and defeat of all aspirations toward revolutionizing of social relations in the Western Europe. Instead of that, Europe got fascism and the years of destruction and sufferings. Although the 1937 is the symbolic year of defeat, it is also a testimony of hope and survival of a living idea that inspires thinkers and revolutionaries since Marx. Gramsci also handed down the huge material of his prison notebooks, as one of the most original attempts to critically elaborate Marx’s and Lenin’s doctrine in new conditions. Isn’t this task the same today?

Opera was born in Florence at the end of the sixteenth century. It derived almost seamlessly from its immediate precursor, the intermedio, or lavish between-the-acts spectacle presented in conjunction with a play on festive occasions. Plays were spoken, and their stage settings were simple: a street backed by palace facades for tragedies, by lower-class houses for comedies; for satyr plays or pastorals, the setting was a woodland or country scene. Meanwhile the ever-growing magnificence of state celebrations in Medici Florence on occasions such as dynastic weddings gave rise to a variety of spectacles involving exuberant scenic displays: naval battles in the flooded courtyard of the Pitti Palace, tournaments in the squares, triumphal entries into the city. These all called upon the services of architects, machinists, costume designers, instrumental and vocal artists. Such visual and aural delights also found their way into the theater—not in plays, with their traditional, sober settings, but between the acts of plays. Intermedi had everything the plays had not: miraculous transformations of scenery, flying creatures (both natural and supernatural), dancing, singing. The plays satisfied Renaissance intellects imbued with classical culture; the intermedi fed the new Baroque craving for the marvelous, the incredible, the impossible. By all accounts, no Medici festivities were as grand and lavish as those held through much of the month of May 1589 in conjunction with the marriage of Grand Duke Ferdinand I and Christine of Lorraine. The intermedi produced between the acts of a comedy on the evening of May 2 were considered to be the highlight of the entire occasion and were repeated, with different plays, on May 6 and 13. Nearly all the main figures we will read about in connection with the birth of opera took part in the extravagant production, which was many months in the making: Emilio de' Cavalieri acted as intermediary between the court and the theater besides being responsible for the actors and musicians and composing some of the music; Giovanni Bardi conceived the scenarios for the six intermedi and saw to it that his highly allegorical allusions were made clear in the realization. Jacopo Peri and Giulio Caccini were among the featured singers, as was the madrigal composer Luca Marenzio, who wrote the music for Intermedio 3, described below. The poet responsible for the musical texts, finally, was Ottavio Rinuccini, who wrote the poetry for the earliest operas...

Still, the tone of a 1965 Continental advertising campaign became the norm. The advertisement featured an image of a pencil-skirted rear end leaning away from the viewer. Text alongside the photo read, “Our first run movies are so interesting we hope you’re not missing the other attractions aboard.

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Cyrus also returned the holy vessels of gold and silver that Nebuchadnezzar had taken from the temple in Jerusalem and placed in the Babylonian temple.

Despite organizations such as51 the International Conference on Machine Learning and the American Association for the Advancement of Science (publisher of Science) quickly updating their policies to prohibit the inclusion of AI-generated text and images, not all publishers have taken this stance. Nor have authors necessarily heeded those that exist. For example52, the journal Frontiers in Cell and Developmental Biology published a paper that featured illustrations generated with Midjourney (as disclosed in the article), including one of a rat with four enormous gonads, labeled as “Testtomcels”, and a phallus that was so large it extended past the rat’s head, labeled as “Dissilced”. The rat is gazing lovingly at its “dissilced”. This paper was nominally peer-reviewed, and yet still published. Within twenty-four hours it became the subject of widespread mirth on the internet, and spurred well-deserved suspicion of the peer review process at Frontiers. Three days later, it was retracted, with the note53 that “[t]he article does not meet the standards of editorial and scientific rigor for Frontiers in Cell and Developmental Biology.

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