Using Parentheses In Quotes

Princess Nell had to reconstruct them, learning the language, which was extremely pithy and made heavy use of parentheses.

Nell had to reconstruct them, learning the language, which was extremely pithy and made heavy use of parentheses. Along the way, she proved what was a foregone conclusion, namely, that the system for processing this language was essentially a more complex version of the mechanical organ, hence a Turing machine in essence.

Modernism was based on a kind of arrogance ... and led designers to believe that if they thought of something cool, it must be considered universally cool. That is, if something's worth doing, it's worth driving into the ground to the exclusion of all other approaches. Look at the use of parentheses in Lisp or the use of white space as syntax in Python. Or the mandatory use of objects in many languages, including Java. All of these are ways of taking freedom away from the end user "for their own good". They're just versions of Orwell's Newspeak, in which it's impossible to think bad thoughts. We escaped from the fashion police in the 1970s, but many programmers are still slaves of the cyber police.

You want to stay here and sleep your life away? That's it?" "If you knew what would make you happy, wouldn't you do it?" I asked her. "See, you do want to be happy. Then why did you tell me that being happy is dumb?" she asked. "You said that to me more than once." "Let me be dumb," I said, glugging the NyQuil. "You go be smart and tell me how great it is. I'll be here, hibernating." Reva rolled her eyes. "It's natural," I told her. "People used to hibernate all the time." "People never hibernated. Where are you getting this?" She could look really pathetic when she was outraged. She got up and stood there holding her stupid knockoff Kate Spade bag or whatever it was, her hair pulled back into a ponytail and crowned with a useless, plastic, tortoiseshell headband. She was always getting her hair blown out, her eyebrows waxed into thin, arched, parentheses, her fingernails painted various shades of pink and purple, as though all of this made her a wonderful person. "It's not up for discussion, Reva. This is what I'm doing. If you can't accept it, then you don't have to.

It’s natural,” I told her. “People used to hibernate all the time.” “People never hibernated. Where are you getting this?” She could look really pathetic when she was outraged. She got up and stood there holding her stupid knockoff Kate Spade bag or whatever it was, her hair pulled back into a ponytail and crowned with a useless, plastic, tortoiseshell headband. She was always getting her hair blown out, her eyebrows waxed into thin arched parentheses, her fingernails painted various shades of pink and purple, as though all of this made her a wonderful person.

Today I saved Brody Carmichael’s life! Mina penned the jubilant words into her blue spiral notebook with her favorite ballpoint pen. She faithfully used the same pen when writing all of her entries in the hope that it would change her luck and she could write something good in her notebook—like today. Mina stared at the words written before her in her sloppy script and felt a pang of guilt. She started to close the notebook but paused in thought. It didn’t feel right. It didn’t seem…truthful. With a heavy hand and a heavy heart, she added in parentheses next to her

Regular expressions are widely used for string matching. Although regular-expression systems are derived from a perfectly good mathematical formalism, the particular choices made by implementers to expand the formalism into useful software systems are often disastrous: the quotation conventions adopted are highly irregular; the egregious misuse of parentheses, both for grouping and for backward reference, is a miracle to behold. In addition, attempts to increase the expressive power and address shortcomings of earlier designs have led to a proliferation of incompatible derivative languages.

A Poetry Reading at West Point I read to the entire plebe class, in two batches. Twice the hall filled with bodies dressed alike, each toting a copy of my book. What would my shrink say, if I had one, about such a dream, if it were a dream? Question and answer time. “Sir,” a cadet yelled from the balcony, and gave his name and rank, and then, closing his parentheses, yelled “Sir” again. “Why do your poems give me a headache when I try to understand them?” he asked. “Do you want that?” I have a gift for gentle jokes to defuse tension, but this was not the time to use it. “I try to write as well as I can what it feels like to be human,” I started, picking my way care- fully, for he and I were, after all, pained by the same dumb longings. “I try to say what I don’t know how to say, but of course I can’t get much of it down at all.” By now I was sweating bullets. “I don’t want my poems to be hard, unless the truth is, if there is a truth.” Silence hung in the hall like a heavy fabric. My own head ached. “Sir,” he yelled. “Thank you. Sir.

Significance is built through the use of many expressive and symbolic forms: rituals, ceremonies, stories, and music. An organization without a rich symbolic life grows empty and barren. The magic of special occasions is vital in building significance into collective life. Moments of ecstasy are parentheses that mark life’s major passages. Without ritual and ceremony, transition remains incomplete, a clutter of comings and goings; “life becomes an endless set of Wednesdays” (Campbell, 1983, p. 5).

Surely a young beauty like yourself is lonely, too. It can be a part of the game, if you like.” “Get off,” she said, thoroughly done with this. His answer was to lean in closer. So she kneed him in the groin. As hard as she could. “Aw, ow, dammit!” He doubled over and thudded onto his knees. Jane brushed off her knee, feeling like it had touched something dirty. “Aw, ow, dammit indeed! What’re you thinking?” Jane heard hurried footsteps coming down the stairs. It was Mr. Nobley. “Miss Erstwhile!” He was barefoot in his breeches, his shirt untucked. He glanced down at the groaning man. “Sir Templeton!” “Ow, she kicked me,” said Sir Templeton. “Kneed him, I kneed him,” Jane said. “I don’t kick. Not even when I’m a ninja.” Mr. Nobley stood a moment in silence, looking over the scene. “I hope you remembered to shout ‘Ya’ when taking him down. I hear that is very effective.” “I’m afraid I neglected that bit, but I’ll certainly ‘ya’ from here to London if he ever touches me again.” “Miss Erstwhile, were you perhaps employed by your president’s armed forces in America?” “What? Don’t British women know how to use their knees?” “Happily, I have never put myself in a position to find out.” He stared at the prostrate Sir Templeton. “Did he hurt you?” “Frankly, your arm-yanking earlier was worse.” “I see. Perhaps you should retire to your chambers, Miss Erstwhile. Would you like me to escort you?” “I’m fine,” she said, “as long as there aren’t any other Sir Templetons lurking upstairs.” “Well, I cannot give Colonel Andrews a glowing reference, but I believe the way is safe.” She stepped closer to Mr. Nobley and whispered, “Are you going to out me to Mrs. Wattlesbrook for the servants’ quarters lurking?” “I think,” he said, nudging the prostrate Sir Templeton with his foot, “that you have suffered enough tonight.” Mr. Nobley smiled at her, the first time she had seen his real smile. She wouldn’t go so far as to call it a grin. His lips were closed, but his eyes brightened and the corners of his mouth definitely turned up, creating pleasing little cheek wrinkles on either side as though the smile were in parentheses. It bothered her in a way she couldn’t explain, like feeling itchy but not knowing exactly where to scratch. He was not particularly amused, she saw, but smiled to reassure her. Wait, who wanted to reassure her? Mr. Nobley or the actual man, Actor X? “Thanks. Good night, Mr. Nobley.” “Good night, Miss Erstwhile.” She hesitated, then left, Sir Templeton’s groans following her up the stairs. On the second floor, Aunt Saffronia was emerging from her room, clutching a white shawl over her nightgown. “What was that noise? Is everything all right?” “Yes. It was…your husband. He was being inappropriate.” Aunt Saffronia blinked. “Inebriated?” “Yes.” She nodded slowly. “I’m sorry, Jane.” Jane wasn’t sure if Aunt Saffronia was speaking to Jane the niece or Jane the client. For the first time it didn’t matter; both Janes felt exactly the same. She acknowledged the apology with a nod, went to her room, and locked the door behind her. She thought she was angry but instead she plopped herself down on her bed, put her face in her pillow, and laughed. “What a joke,” she said, sounding to herself like the movie incarnation of Lydia Bennet. “I come for Mr. Darcy, fall for the gardener, and get propositioned by the drunk husband.” Tomorrow would be different. Tomorrow she would play for real. She was going to drive full force into the game, have a staggering good time, and kick the nasty Darcy habit for good. She fell asleep with the ticklish thought of Mr. Nobley’s smile.

Rules for the Use and Arrangement of Words The following rules for the use and arrangement of words will be found helpful in securing clearness and force. 1. Use words in their proper sense. 2. Avoid useless circumlocution and "fine writing." 3. Avoid exaggerations. 4. Be careful in the use of not ... and, any, but, only, not ... or, that. 5. Be careful in the use of ambiguous words, e. g., certain. 6. Be careful in the use of he, it, they, these, etc. 7. Report a speech in the first person where necessary to avoid ambiguity. 8. Use the third person where the exact words of the speaker are not intended to be given. 9. When you use a participle implying when, while, though, or that, show clearly by the context what is implied. 10. When using the relative pronoun, use who or which, if the meaning is and he or and it, for he or for it. 11. Do not use and which for which. 12. Repeat the antecedent before the relative where the non-repetition causes any ambiguity. 13. Use particular for general terms. Avoid abstract nouns. 14. Avoid verbal nouns where verbs can be used. 15. Use particular persons instead of a class. 16. Do not confuse metaphor. 17. Do not mix metaphor with literal statement. 18. Do not use poetic metaphor to illustrate a prosaic subject. 19. Emphatic words must stand in emphatic positions; i. e., for the most part, at the beginning or the end of the sentence. 20. Unemphatic words must, as a rule, be kept from the end. 21. The Subject, if unusually emphatic, should often be transferred from the beginning of the sentence. 22. The object is sometimes placed before the verb for emphasis. 23. Where several words are emphatic make it clear which is the most emphatic. Emphasis can sometimes be given by adding an epithet, or an intensifying word. 24. Words should be as near as possible to the words with which they are grammatically connected. 25. Adverbs should be placed next to the words they are intended to qualify. 26. Only; the strict rule is that only should be placed before the word it affects. 27. When not only precedes but also see that each is followed by the same part of speech. 28. At least, always, and other adverbial adjuncts sometimes produce ambiguity. 29. Nouns should be placed near the nouns that they define. 30. Pronouns should follow the nouns to which they refer without the intervention of any other noun. 31. Clauses that are grammatically connected should be kept as close together as possible. Avoid parentheses. 32. In conditional sentences the antecedent or "if-clauses" must be kept distinct from the consequent clauses. 33. Dependent clauses preceded by that should be kept distinct from those that are independent. 34. Where there are several infinitives those that are dependent on the same word must be kept distinct from those that are not. 35. In a sentence with if, when, though, etc. put the "if-clause" first. 36. Repeat the subject where its omission would cause obscurity or ambiguity. 37. Repeat a preposition after an intervening conjunction especially if a verb and an object also intervene. 38. Repeat conjunctions, auxiliary verbs, and pronominal adjectives. 39. Repeat verbs after the conjunctions than, as, etc. 40. Repeat the subject, or some other emphatic word, or a summary of what has been said, if the sentence is so long that it is difficult to keep the thread of meaning unbroken. 41. Clearness is increased when the beginning of the sentence prepares the way for the middle and the middle for the end, the whole forming a kind of ascent. This ascent is called "climax." 42. When the thought is expected to ascend but descends, feebleness, and sometimes confusion, is the result. The descent is called "bathos." 43. A new construction should not be introduced unexpectedly.

It then progresses onto more challenging and commonly misused marks, like commas, apostrophes, hyphens, dashes, and parentheses.

Nevertheless, it is good style to use parentheses to clarify what operators are operating upon what expressions. Perhaps the only precedence you can truly count on other programmers knowing without looking up is that multiplicative operators, *, /, and %, have a higher precedence than the additive ones + and -

In principle it's possible to leave out all empty parentheses in calls to functions defined in Java or Scala 2. However, it's still recommended to write the empty parentheses when the invoked method represents more than a property of its receiver object. For instance, empty parentheses are appropriate if the method performs I/O, writes reassignable variables (vars), or reads vars other than the receiver's fields, either directly or indirectly by using mutable objects. That way, the parameter list acts as a visual clue that some interesting computation is triggered by the call.

COEFFICIENT The nonparametric alternative, Spearman’s rank correlation coefficient (r, or “rho”), looks at correlation among the ranks of the data rather than among the values. The ranks of data are determined as shown in Table 14.2 (adapted from Table 11.8): Table 14.2 Ranks of Two Variables In Greater Depth … Box 14.1 Crime and Poverty An analyst wants to examine empirically the relationship between crime and income in cities across the United States. The CD that accompanies the workbook Exercising Essential Statistics includes a Community Indicators dataset with assorted indicators of conditions in 98 cities such as Akron, Ohio; Phoenix, Arizona; New Orleans, Louisiana; and Seattle, Washington. The measures include median household income, total population (both from the 2000 U.S. Census), and total violent crimes (FBI, Uniform Crime Reporting, 2004). In the sample, household income ranges from $26,309 (Newark, New Jersey) to $71,765 (San Jose, California), and the median household income is $42,316. Per-capita violent crime ranges from 0.15 percent (Glendale, California) to 2.04 percent (Las Vegas, Nevada), and the median violent crime rate per capita is 0.78 percent. There are four types of violent crimes: murder and nonnegligent manslaughter, forcible rape, robbery, and aggravated assault. A measure of total violent crime per capita is calculated because larger cities are apt to have more crime. The analyst wants to examine whether income is associated with per-capita violent crime. The scatterplot of these two continuous variables shows that a negative relationship appears to be present: The Pearson’s correlation coefficient is –.532 (p < .01), and the Spearman’s correlation coefficient is –.552 (p < .01). The simple regression model shows R2 = .283. The regression model is as follows (t-test statistic in parentheses): The regression line is shown on the scatterplot. Interpreting these results, we see that the R-square value of .283 indicates a moderate relationship between these two variables. Clearly, some cities with modest median household incomes have a high crime rate. However, removing these cities does not greatly alter the findings. Also, an assumption of regression is that the error term is normally distributed, and further examination of the error shows that it is somewhat skewed. The techniques for examining the distribution of the error term are discussed in Chapter 15, but again, addressing this problem does not significantly alter the finding that the two variables are significantly related to each other, and that the relationship is of moderate strength. With this result in hand, further analysis shows, for example, by how much violent crime decreases for each increase in household income. For each increase of $10,000 in average household income, the violent crime rate drops 0.25 percent. For a city experiencing the median 0.78 percent crime rate, this would be a considerable improvement, indeed. Note also that the scatterplot shows considerable variation in the crime rate for cities at or below the median household income, in contrast to those well above it. Policy analysts may well wish to examine conditions that give rise to variation in crime rates among cities with lower incomes. Because Spearman’s rank correlation coefficient examines correlation among the ranks of variables, it can also be used with ordinal-level data.9 For the data in Table 14.2, Spearman’s rank correlation coefficient is .900 (p = .035).10 Spearman’s p-squared coefficient has a “percent variation explained” interpretation, similar

Key to the Pronunciations This dictionary uses a simple respelling system to show how entries are pronounced, using the symbols listed below. Generally, only the first of two or more identical headwords will have a pronunciation respelling. Where a derivative simply adds a common suffix such as -less, -ness, or -ly to the headword, the derivative may not have a pronunciation respelling unless some other element of the pronunciation also changes. as in hat //, fashion // as in day //, rate // as in lot //, father //, barn // as in big // as in church //, picture // as in dog //, bed // as in men //, bet //, ferry // as in feet //, receive // as in air //, care // as in soda //, mother /, her // as in free //, graph //, tough // as in get //, exist // as in her //, behave // as in fit //, women // as in time /t/, hire //, sky // as in ear //, pierce // as in judge //, carriage // as in kettle //, cut //, quick // as in lap //, cellar //, cradle // as in main //, dam // as in need //, honor //, maiden // as in sing //, anger // as in go //, promote // as in law //, thought //, lore // as in boy //, noisy // as in wood //, sure // as in food //, music // as in mouse //, coward // as in put //, cap // as in run //, fur //, spirit // as in sit //, lesson //, face // as in shut //, social // as in top //, seat //, forty // as in thin //, truth // as in then //, father // as in very //, never // as in wait //, quit // as in when //, which // as in yet //, accuse // as in zipper //, musician // as in measure //, vision // Foreign Sounds as in Bach // as in en route //, Rodin / / as in hors d’oeuvre //, Goethe // as in Lully //, Utrecht // Stress Marks Stress (or accent) is represented by marks placed before the affected syllable. The primary stress mark is a short, raised vertical line // which signifies that the heaviest emphasis should be placed on the syllable that follows. The secondary stress mark is a short, lowered vertical line // which signifies a somewhat weaker emphasis than on the syllable with primary stress. Variant Pronunciations There are several ways in which variant pronunciations are indicated in the respellings. Some respellings show a pronunciation symbol within parentheses to indicate a possible variation in pronunciation; for example, in sandwich //. Variant pronunciations may be respelled in full, separated by semicolons. The more common pronunciation is listed first, if this can be determined, but many variants are so common and widespread as to be ofequal status. Variant pronunciations may be indicated by respelling only the part of the word that changes. A hyphen will replace the part of the pronunciation that has remained the same. Note: A hyphen sometimes serves to separate syllables where the respelling might otherwise look confusing, as at reinforce //.

regression line will have larger standard deviations and, hence, larger standard errors. The computer calculates the slope, intercept, standard error of the slope, and the level at which the slope is statistically significant. Key Point The significance of the slope tests the relationship. Consider the following example. A management analyst with the Department of Defense wishes to evaluate the impact of teamwork on the productivity of naval shipyard repair facilities. Although all shipyards are required to use teamwork management strategies, these strategies are assumed to vary in practice. Coincidentally, a recently implemented employee survey asked about the perceived use and effectiveness of teamwork. These items have been aggregated into a single index variable that measures teamwork. Employees were also asked questions about perceived performance, as measured by productivity, customer orientation, planning and scheduling, and employee motivation. These items were combined into an index measure of work productivity. Both index measures are continuous variables. The analyst wants to know whether a relationship exists between perceived productivity and teamwork. Table 14.1 shows the computer output obtained from a simple regression. The slope, b, is 0.223; the slope coefficient of teamwork is positive; and the slope is significant at the 1 percent level. Thus, perceptions of teamwork are positively associated with productivity. The t-test statistic, 5.053, is calculated as 0.223/0.044 (rounding errors explain the difference from the printed value of t). Other statistics shown in Table 14.1 are discussed below. The appropriate notation for this relationship is shown below. Either the t-test statistic or the standard error should be shown in parentheses, directly below the regression coefficient; analysts should state which statistic is shown. Here, we show the t-test statistic:3 The level of significance of the regression coefficient is indicated with asterisks, which conforms to the p-value legend that should also be shown. Typically, two asterisks are used to indicate a 1 percent level of significance, one asterisk for a 5 percent level of significance, and no asterisk for coefficients that are insignificant.4 Table 14.1 Simple Regression Output Note: SEE = standard error of the estimate; SE = standard error; Sig. = significance.

Within minutes, I received a response with punctuation I had never seen before. “Hello (((Weisman))),” wrote “CyberTrump.” Nothing more. Just that. I was sitting at my desk at work. I had some time on my hands as an editor at the Times, since my responsibilities then centered on domestic policy—economics, the environment, poverty—and with the nation consumed in this strange presidential campaign, not a lot of policy making was going on. “Care to explain?” I answered, intuiting that my last name in those triple parentheses must somehow denote my Jewish faith. “What, ho, the vaunted Ashkenazi intelligence, hahaha!” “CyberTrump” came back. “It’s a dog whistle, fool. Belling the cat for my fellow goyim.” With the cat belled, the horde followed. What I didn’t know was that I had unwittingly exposed what was known in the alt-right as “echoes,” those three parentheses that practitioners of online harassment wrapped around Jewish-sounding names on social media. Unbeknown to, well, just about everyone, alt-right anti-Semites had created a Google plug-in that could be used to search double or triple parentheses, since ordinary search engines do not pick up punctuation marks. Haters would slap these “echoes” around Jewish-sounding names of people online they wanted to target. Once a target was “belled,” the alt-right anti-Semitic mob could download the innocuous-sounding Coincidence Detector plug-in from the Google Chrome store, track down targets like heat-seeking missiles, then swarm. “You’ve all provoked us. You’ve been doing it for decades—and centuries even—and we’ve finally had enough,” declared Andrew Anglin, the creator and mastermind of the neo-Nazi website the Daily Stormer. “Challenge has been accepted.” And swarm they did.