text:
Astrodynamics/Fundamental Laws

Newton's Laws of Motion

 * First Law (Law of Inertia):A body in motion tends to remain in motion in the same speed and direction unless acted upon by an external force. A body at rest tends to remain at rest unless acted upon by an external force.
 * Second Law (Law of Force):The rate of change of the speed of an object, its acceleration, is proportional to the force applied on that object, and occurs in the same direction as that force.
 * Third Law: To every action there is always an equal but opposite reaction.

The second law is typically written by the equation $$F = ma$$, where $$a$$ is the acceleration of the object, $$m$$ is the mass of the object, and $$F$$ is the amount of force applied. However, the second law also stipulates that the acceleration has a direction associated with it, and that direction is the same as the direction of the applied force. We must re-write this equation using vectors to account for the direction of the force and the acceleration. We can write this instead as $$\boldsymbol{F} = m\boldsymbol{a}$$, where the bold indicates the quantity has been vectorised. We will not define specifically what items these vectors contain, because as we will see shortly, it is very much dependent on the problem.

In space, there is never a single force acting on an object: gravitational pulls from all objects in the universe play some role. However, because the force that gravity exerts on an object decreases with the square of the distance, objects that are very far away produce negligible force, and can typically be ignored. However, consider a situation of a satellite orbiting around the earth: that satellite is being affected by gravity from the earth, from the moon, and to a lesser extent from the sun. We can sum these forces together to produce a more general form of the second law:

 * $$\sum \mathbf{F} = m \mathbf{a}$$

The third law also produces an interesting result, and one that is going to shape many calculations. In space travel there are two types of motion: powered and un-powered. In a powered device, such as a rocket, for the body to be "pushed" forward, it must push something backward with equal force. In the case of a rocket, burnt fuel is pushed out the back of the rocket, in order to move the body of the rocket forward. As a result of the third law, any powered space craft will have non-constant mass, which will introduce additional complexity into our calculations. If we have two bodies, 1 and 2, and they are pushing against each other, we can say that the force exerted by body 1 on body 2 is equal in magnitude, but opposite in direction, from the force exerted by body 2 on body 1. In other words, we can say:

 * $$\mathbf{F}_{12} = -\mathbf{F}_{21}$$

We will use these laws throughout the book.

Newton's Law of Universal Gravitation
Newton's law of gravity is another common law, and one that is of prime importance in the study of astrodynamics. Stated in its most simple form, the law of gravity is:

 * $$\mathbf{F}_g = -\frac{Gm_1m_2}{r^2}\hat{\mathbf{r}}$$

We know that the law of gravity is directional, that is that the force of gravity works to pull two bodies together, along the straight line between them. The image below shows two bodies, M1 and M2 being attracted to each other through the force of gravity acting along the line between their centres of gravity:

The force acting on M1 is denoted as F12, and the force acting on M2 is denoted as F21. We know from Newton's third law of motion that the two forces must be equal in magnitude, but opposite in direction:

 * $$\mathbf{F}_{12} = -\mathbf{F}_{21}$$

Because the direction of the force is important, we vectorize the law of universal gravitation equation as well:

 * $$\mathbf{F}_g = -\frac{Gm_1m_2}{r^2} \frac{\mathbf{r}}{r}$$

Where r is the distance vector between the two bodies, and r is the scalar distance between the two. Fg is the force vector of gravity.

Gravitational Constant
The big G is called the gravitational constant. It is equal to:

 * $$ G = 6.67428 \times 10^{-11} \ \mbox{m}^3 \ \mbox{kg}^{-1} \ \mbox{s}^{-2} \, $$

Significance
Although Newton's law of gravity is not exact as compared to relativity, it is often used as it provided great results for most cases. One simple consequence of this law is the idea of an escape velocity, which will shortly be derived. The concept of the escape velocity signifies that it's not a force, nor height that needs to be achieved to escape the pull (gravitational influence) of a planet or orbiting body.

Kepler's Laws of Planetary Motion

 * First Law:The orbit of a planet is an ellipse with the sun at one of the foci of that ellipse.
 * Second Law:The line joining the planet to the sun sweeps out equal areas in equal periods of time.
 * Third Law:The square of the planet's period is proportional to the cube of its average distance from the sun.

As we remember from algebra, an ellipse is a conic section formed from two foci, where the sum of the distances from the ellipse to each focus is equal. The sun is at one focus, or any body that is being orbited, and the other focus is an imaginary point in space. It is important to mention that Kepler's law also extent to a circle which is a special case of an ellipse.

This picture is an orbit in the form of an ellipse with the sun at one of the foci. We call the focus that contains the central body the prime focus, and the other focus, which has no physical significance as the secondary focus.

This picture is a demonstration of Kepler's second law:

As we can see, for the line joining the planet (dashed lines) to sweep out triangular sections of equal areas, it must move slower as the planet gets further from the sun. When the planet is closer to the sun, it must be traveling faster in order to sweep out equal areas in equal time. This follows exactly as expected from Newton's laws of motion and gravity where the force is greater near the prime focus, thus the acceleration is larger and hence the velocity.

For a similar example, consider a bouncing ball. The ball is moving slowest at the top of its arc, and continues to gain speed as it travels downward towards the Earth. As the Earth moves away from the sun, gravity decelerates the planet. When the planet is moving towards the sun, gravity is accelerating the planet.

Kepler's third law can be easily illustrated by comparing the average distances of solar system bodies and their orbital periods to Earth's. Expressed in astronomical units and years the orbital period is the semi-major axis raised to 3/2 power.

title: Astrodynamics/Fundamental Laws


text:
Guide to Social Activity/The Catch

Men are infinitely complex. Yes, they may be partly governed by certain primitive urges, but they are also capable of the height of feeling that produced Byron and Pushkin, the immensity of genius that characterised Einstein and Bohr, and the generosity of spirit that became Gandhi and Booth.

Been dumped recently? Only know grief from men in Your life? Don't despair for while such transgression is true for many men most of the time, and all men some of the time, there is another side to the other half.

Know your Target
Men have a number of general tendencies that it is important to be aware of. Following these pieces of advice will help:
 * Be yourself. On pragmatic and moral grounds there is no basis for insincerity. You are who you are because you govern your life.
 * Contain yourself. This however does not mean that you need to reveal or lay out on a plate everything that you sense or think or feel or believe. Keep some things back. A certain tentative restraint in a woman is frighteningly attractive.
 * Relax. Remember that if it doesn't work it doesn't work. Have fun, and remember, the process takes time for a reason.  Look beyond the tree and wait for the forest to come into view.  You have as much time as you make it, to decide for sure if anything is permant.
 * But now DO SOMETHING. If there are no guys where you are, go or wait patiently. If there is a guy, spend time around him. Let him know somehow. If there is more than one guy in your life, decide on one.
 * Let him know. Use your own judgement.  Think to yourself, "What if..."  Well?
 * Offer ideas and input when suggested If you want to do something, don't expect him to have all the answers. Don't assume too much in this area.  If you really need to size up the situation, it'll be clear the more you interact and get to know each other.  If you have something you like to do, offer it. (See Relax)
 * Don't miss the blindingly obvious.
 * Say "yes". Maybe it will come out of the clear blue sky, or maybe you've been waiting for years, but when he asks you out, then remember to say "yes".
 * The massive secret: Don't be put off. Sometimes men just don't see it. Sometimes there are other things happening in their life. Sometimes there might be a relationship that he had not intended to get entangled up, or maybe he simply hadn't met you yet. Often, in the present author's experience, the girl walked away just as she had began to be properly appreciated. Patience is a necessary virtue and against any setback it is important not to be put off.

Don't

 * Burn the bridge
 * Things may not be right/work out until later, much later. You can't see far enough down the road to know for sure.  At any rate, the bad blood you instill ends up hurting you just as much in the long run.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Guide to Social Activity/The Catch


text:
Wikibooks talk:Naming policy

Proposal to Remove Grandfathering Provision
I think that with the new naming convention being in place for over two years now it no longer makes sense to have some of our old books under the old naming convention. I think for consistentency it would be better for the project to have all books under the same system. I would like to open a proposal to remove this clause from the naming policy and invite comments from the community.

Just as a bit of background I removed this clause back in July and following objections from David Carey have now restored my change and am formally proposing it here. Our discussion on the subject can be seen above. As I have said to David I do not want to reopen a debate about which naming convention is the better, that discussion has been had already and I don't think we need to spend any more time on it. What I am proposing is having adopted the slash convention as our choice we should now bring all books under the same convention. --AdRiley (talk) 06:47, 10 September 2008 (UTC)

 * [[Image:Emblem-fun.svg|15px]] I agree because consistency is important, and dependency on it has grown both in the mediawiki software and within Wikibooks. I also believe dependency on the slash convention will only continue to grow. Having read David Carey's comments, I believe "Wikibooks is not paper" is relevant, however maybe we could be trying to encourage the mediawiki developers to either make the DISPLAYTITLE magic word more flexible or add a new magic word to allow changing the displayed heading title completely so the displayed name can be different from the page name without having any side effects. --dark lama  12:39, 10 September 2008 (UTC)
 * We've already had a discussion on the merits of the various naming conventions. Now that we have a decision, consistency is certainly useful, an will likely be needed in the future for software feature requests such as mw:Extension:AllBooks. What we are currently discussing is the grandfathering provision. Given that this policy has been in effect for a long time, I see absolutely no reason that the provision should remain. Any books still lingering should be updated as they are found regardless of age; the provision should be removed. — Mike.lifeguard | talk 13:49, 10 September 2008 (UTC)
 * The documentation for mw:Extension:AllBooks implies it already handles books with the "colon naming convention". --DavidCary (talk) 03:04, 26 September 2008 (UTC)
 * I don't think it can handle books which use ":" as a normal character while also using "/" as part of the naming convention. --dark lama  17:14, 26 September 2008 (UTC)
 * You may be right. However, the documentation for mw:Extension:AllBooks says "This extension will list all books in a Wikibooks wiki when using two of the most common naming schemes:  and  ." --DavidCary (talk) 03:01, 1 October 2008 (UTC)

 * Agree. Massing page move can be done using bots. It would be great having the same naming policy on all Wikibooks projects, this would help developing tools and extensions working on books. --Ramac (talk) 12:47, 11 September 2008 (UTC)
 * Agree. The benefits (kinetic and potential) clearly outweigh any disadvantages. --Jomegat (talk) 13:41, 11 September 2008 (UTC)
 * Disagree. Wikibooks is not Wikipedia (WB:NOTWP). "Unlike wikipedia or wiktionary — which are essentially very large books with a single manual of style — the individual wikibooks found on Wikibooks can be written in vastly different styles, according to what best suits the topic and the preference of the authors." -- WB:LMOS. Jomegat alludes to "clear kinetic and potential benefits" -- could someone please spell them out (or link to some previous discussion about them)? I agree that the nifty "automatic backlink at the top of the page" is one good reason for using the slash style, but that alone is not enough to mandate using it for every book. --DavidCary (talk) 05:25, 12 September 2008 (UTC)
 * For example, sysop can move a book and automatically move all subpages of the book; more over, lot of book-related tools need a clear naming policy to work on books (i.e. mw:Extension:AllBooks has problems due the different naming policies used on various wikibooks). More over the manual of style talks about capitalization of titles, categories or so on; following the naming convention has some advantages, and no disvantages. The problem is not the preference of t he author or what best suits the topic, but the software and the organization of books :-). --Ramac (talk) 07:20, 12 September 2008 (UTC)
 * I agree that mw:Extension:AllBooks has problems with some kinds of book organization. How is that is relevant to this discussion about banning the "colon naming convention", which as far as I can tell is *not* a problem for mw:Extension:AllBooks? --DavidCary (talk) 03:04, 26 September 2008 (UTC)
 * comment Rather than "reopen a debate", may I ask for a link to that debate, a link to where "We've already had a discussion"? Years ago, there was a consensus vote to keep the colons for some books (Policies and guidelines/Vote/Naming policy). Having made that decision, why change now? Has there been some more recent "debate" and "discussion" of which I remain blissfully ignorant? If consensus truly has changed, then that's fine. But when proponents of one option claim that the consensus supports banning all other options, while the only evidence I see (admittedly years out of date) shows that the consensus preferred some sort of compromise -- those claims rub me the wrong way. --DavidCary (talk) 03:04, 26 September 2008 (UTC)
 * David, as I have said above there is no new discussion to link to. This is it.  The reason we feel that consesus supports the slash option is that for two and a half years every new book on this project has been created under the slash convention.  This means that for anyone who has joined the project in that time (which includes myself) the slash convention is the only convention we have ever known.  So "on the ground" the colon naming convention has gone.  Further in all the time I have been working on the project and through all the books I have moved onto the new convention this is the first comment that I have seen from anyone on the colon/slash debate.  I feel the colon naming convention is part of wikibooks history and it is now time to move forward with one convention, not two. --AdRiley (talk) 08:00, 26 September 2008 (UTC)

I feel I should point out that indignation about policy evolving over time without exhaustive debate and straw polls etc is a bit silly. Policy is what we do - sometimes it is written down, and sometimes it is up-to-date. In the past two years the community has gradually grown accustomed to the slash convention, as well as to changing books which don't use that convention. Changing the policy is long overdue and shouldn't be hindered without good reason, which I have yet to see here. — Mike.lifeguard | talk 15:37, 26 September 2008 (UTC)

I think it should also be pointed out that despite the grandfather clause people have moved old books using the ":" convention to the "/" naming convention without it becoming an issues until now. This suggest that people want old books to use the same naming convention even though the books are not required to. What this means is that there are probably only a few books left now that this clause could apply to. Of course I and others involved in this discussion might be the only ones who've made these moves. --dark lama  17:09, 26 September 2008 (UTC)

Some authors prefer the " " colon convention, and have already listed what I consider "good reasons" (Wikibooks talk:Naming policy, Policies and guidelines/Vote/Naming policy, Wikibooks talk:Naming policy/Archive 2). Changing the policy to support those authors is long overdue, and shouldn't be hindered without good reason, which I have yet to see here.

I think it should be pointed out that, even though some people think that "The colon convention could potentially interfere with the creation of new wiki projects, and new namespaces.", the evidence is 2 to 0 in the opposite direction. The Cookbook namespace was created from pages with titles that began with "Cookbook:". Then the Wikijunior namespace was created from pages like "Wikijunior:New Title Policy". --DavidCary (talk) 03:01, 1 October 2008 (UTC)
 * David, you seem to be straying back towards attacking the slash convention again, which is what I meant when I said I didn't want to reopen that debate. You talk about users who like the colon convention, if these users exist then why have they not proposed a change to the policy to allow both conventions?  At the moment do they only work on old books where they can use colons? --AdRiley (talk) 08:54, 1 October 2008 (UTC)
 * Despite any past issues concerning the use of the slash convention, consensus was that the slash convention should be used for any new books. Most of the past issues seemed to be concerned about publishing books in print form despite that Wikibooks is not paper. Changes to reflect the medium used is not uncommon from what I have seen. The creation of the two namespaces did cause problems, behind the scenes the developers had to correct the entries for all pages in the two namespace because namespaces are referred to by id, rather than part of the page title in order to become accessible again, similar problems existed when Wikiversity was made a interwiki prefix, pages beginning with Wikiversity: had to be renamed in order to become accessible again. Many solutions have been found and proposed for working around any perceived disadvantages to the slash convention. More technical problems exist with the colon convention because of its internal uses within the mediawiki software than is caused by using the slash convention. Can we get back on track as AdRiley suggested, as to whether to remove the Grandfather clause or not. I don't think any consensus on allowing the colon convention in new books is going to happen. --dark lama  19:25, 1 October 2008 (UTC)

 * I have been asked "You talk about users who like the colon convention, if these users exist then why have they not proposed a change to the policy to allow both conventions?".
 * The naming policy -- from the time it was first made policy in 2006 until today (except for 9 July 2008 - 10 September 2008) -- already does allow both conventions, at least for pre-existing books.
 * Perhaps proposing a change to allow  convention for new books would be a good idea.
 * The mw:Extension:AllBooks says that  is one of the 2 most common naming schemes. How is that possible if users who like the colon convention don't exist? --DavidCary (talk) 22:59, 4 October 2008 (UTC)
 * I'd disagree with such a change. The comment about the 2 most common naming schemes is due to what was observed from a quick look at a list of pages, and didn't consider things like whether a page was a redirect. --dark lama  12:51, 5 October 2008 (UTC)
 * I suppose move-subpages is yet another reason subpages are preferred. — Mike.lifeguard | talk 01:12, 6 October 2008 (UTC)

 * We've converted 2 colon-convention books to namespaces. I am not surprised that some technical difficulties were discovered in that process.
 * We've converted zero slash-convention books to namespaces or sister projects. I am not surprised that zero technical difficulties were discovered in that process.
 * I don't see how any conclusion can be drawn from those 2 facts about "more technical problems exist" with one or the other.
 * Can I draw the conclusion that "users who like the colon convention" do, in fact, exist?
 * Can I draw the conclusion that the kind of author who creates pages with the colon convention is more likely to be working on the sort of book that grows so large that people convert it to a new namespace or sister project?
 * Isn't that exactly the kind of author we want to attract? --DavidCary (talk) 16:25, 30 October 2008 (UTC)
 * I don't know where you're getting your figures. I've personally converted perhaps 5 whole books and at least 20 or 30 partial books from colon to slash convention and had no difficulties. Indeed, once that's done, it's possible to move the whole book all at once. I think that alone is argument enough. I don't see your line of argument going anywhere - nobody else seems to agree with you. — Mike.lifeguard | talk 01:01, 31 October 2008 (UTC)
 * I agree with Mike in that I'm not sure we are going anywhere with this argument: we have been discussing this for nearly 2 months now and I don't think either side seem to be convinving the other to their point of view.  Also we seem to have a fairly low number of contributors to the disucsion which I feel leans towards my original thought that the majority of people aren't really that bothered.  Would anyone object if we give this discussion another 10 days (so it has been up for two whole months) and then move it to a formal vote?  --AdRiley (talk) 08:36, 31 October 2008 (UTC)
 * I'd say there's no need for a formal poll - the discussion here is clear enough to me. Yet another reason to use subpages will be coming once some hardware issues are resolved. The new search supports searching in subpages. — Mike.lifeguard | talk 18:26, 31 October 2008 (UTC)

OK so I count 5 in favour: AdRiley, darklama, Mike.lifeguard, Ramac, Jomegat; 1 opposed: DavidCary. I am going to close this as carried and remove the clause. --AdRiley (talk) 13:43, 11 November 2008 (UTC)

 * Since Mike is pretty smart, but he didn't know where I'm getting my figures, I expect that future readers will also be just as mystified. Apparently I was too vague earlier. So I'm going to spell them out:
 * The Cookbook namespace was created from pages with titles that began with "Cookbook:". Then the Wikijunior namespace was created from pages like "Wikijunior:New Title Policy". Also the Wikiversity sister project was created from pages with titles that began with "Wikiversity:". Darklama, earlier on this section of this page, said that there were "problems" during this process, and I am inclined to believe him.
 * Total: 2 namespaces and a sister project were created from wikibooks that used a colon.
 * As far as I can see, zero namespaces or sister projects were created from wikibooks that used the slash convention.
 * That's where I got the "2 to 0" figures I alluded to earlier.
 * --DavidCary (talk) 04:49, 15 January 2009 (UTC)
 * Actually Wikijunior books used the slash convention and were named like Wikijunior_Animals before becoming its own namespace. Also StrategyWiki was started from game guides here that used the slash convention. So really its 2 for 2. --dark lama  21:15, 16 January 2009 (UTC)
 * As if it matters. — Mike.lifeguard | talk 22:11, 16 January 2009 (UTC)
 * Doesn't really matter to me, but does seem to matter to DavidCary, so I figure DavidCary would appreciate more accurate information. --dark lama  14:33, 18 January 2009 (UTC)
 * Sorry, that was directed to him in the first place. For that to actually be an argument, you'd need to prove that these projects' success was actually a function of whether they used colons or slashes which seems increasingly unlikely and irrelevant. — Mike.lifeguard | talk 03:07, 19 January 2009 (UTC)

Image: -> File: ?
Just visiting this page, the "tips" section referred to a PDF version of the book being called "Image:bookname.pdf". But as the Image namespace is now renamed to File:, and PDF's arent really images, I've edited this to "File:". If it should stay as "Image:" then please revert. FT2 (Talk 17:11, 13 February 2009 (UTC)

Page casing
''See also the earlier page casing discussion at Wikibooks talk:Manual of Style. --DavidCary (talk) 12:43, 24 August 2009 (UTC)''

The page [ currently] states that both book and page titles must use title casing. While I see many benefits in a consistent casing scheme for book titles, I feel we should leave sub-page casing up to contributors to individual books. Looking through the archives, I could find no discussion that demonstrates any sort of community consensus on this particular issue (though I did not read the entire archives).

Unless someone sees a solid argument for a Wikibooks wide policy on sub-page title casing, I'll give this a rewrite soon. --Swift (talk) 18:56, 29 April 2009 (UTC)

 * I know I'm guilty of moving books to title casing, but really now that I take a look, I can't find where it mentions title casing at all in this policy. Perhaps we are both thinking of WB:MOS where it mentions title casing and sentence casing, and how title casing is preferred. IOWs title casing seems to be a community standard assumed to be policy, but which isn't. --dark lama  23:32, 29 April 2009 (UTC)

 * In fact, the MOS doesn't even say that title casing is preferred, it says that some people prefer title casing while others prefer sentence casing.

 * I think the one MOS section that mentions casing is a section about book titles. It does seem, though, to be trying to say more than it actually does say:  it says to "be consistent for books you are editing".  This might be construed to mean that the page titles within a book should follow the same convention as the title of that book, but that's not the only thing it might mean.  It could also mean that if the main title of a book uses title casing, then a subtitle for the book should also use title casing — and after using title case for the book title one could then use sentence casing for the chapters and sections of the book.  In my own non-wikibooks writing I prefer to use sentence casing for section titles, chapter titles, and even paper titles, reserving title casing for book titles.

 * BTW, we're using — deliberately, at least on my part — sentence casing in the Conlang book (though I see one error, at a glance, and of course the book title is noncommittal since it's only one word). --Pi zero (talk) 12:41, 30 April 2009 (UTC)

 * Wow, I guess I misread this. Anyway, it seems this could be clearer. I'll leave a note on this.
 * As for the consistency recommendation, I've always understood it as just whatever combination of title/sentence casing for the various parts (title, sub-pages, sections, etc.) which the book contributors want. Personally, I prefer title casing for titles, and sentence casing for everything else. --Swift (talk) 21:01, 30 April 2009 (UTC)

 * Title casing for a book's title, as it states on the main page that this talk page corresponds to, avoids conflicts in the category names books use and category names subjects use. See Categories for a definition of the terms. What you as an editor do with the subpages is up to you. Just be consistent throughout the book. -- Adrignola talk contribs 02:20, 23 July 2009 (UTC)

''Please continue the page casing discussion at Wikibooks talk:Manual of Style. --DavidCary (talk) 13:12, 24 August 2009 (UTC)''

Misleading / confusing
The whole "slash" policy is misleading, as it is listed in the welcome message left on my user page. I'm contributing to the Cookbook, which still uses the "colon" style. No mention of that is made here, but probably should be. Otherwise, the entire cookbook needs to be converted, which seems silly.—D'Ranged 1 talk 06:51, 31 August 2012 (UTC)
 * You are confusing two things. "Cookbook" (and Wikijunior) is a different namespace so the colon is part of referencing the namespace not part of the book structure. For example, Castles of England/Norman Castles is really "mainspace:Castles of England/Norman Castles". You don't see "mainspace:" because in effect mainspace has a null name. However, in the Cookbook and Wikijunior you need to specify the namespace - an example is Wikijunior:World War II/Blitzkrieg. If I moved this Wikijunior book into the mainspace it would appear as "World War II/Blitzkrieg", in line with the naming policy. QU TalkQu 12:13, 31 August 2012 (UTC)
 * As the title for this section reads, yes, it's confusing. I don't understand the difference between a namespace and a book title, apparently. Isn't "Cookbook" the title of the book? If so, shouldn't chapters be "Cookbook/Acorn Squash", not "Cookbook:Acorn Squash"? There is some discussion above about the Cookbook and Wikijunior being converted to namespaces from the colon titling scheme, but again, it's all confusing. If I'm just reading the policy in the welcome message, and assuming that the title of the book I'm contributing to is "Cookbook", then I read it as saying that my contributions should be titled "Cookbook/Acorn Squash". Sorry if I'm being a pain, but it is confusing! Thanks.—D'Ranged 1 talk 04:35, 1 September 2012 (UTC)

 * Part of your confusion may be because namespaces are a software grouping of pages, while books are a logical grouping of pages.

 * The wiki software identifies each page in the wiki by a namespace, a colon, and a pagename. There are "magic words" for extracting these parts:   in the wiki markup of a page expands to the name of the namespace, and  in the wiki markup expands to the pagename.  For example, this talk page is in namespace "", and its pagename is "".  One of the namespaces of the wiki is referred to (by people) as the mainspace; its namespace name is actually the empty string, and you can omit the colon between the (empty) namespace name and the pagename.  You could refer to, say, the main page of the Using Wikibooks book as Using Wikibooks, thus: Using Wikibooks.

 * The software also supports grouping together all the pages in a single namespace whose pagenames all consist of the same prefix followed by a slash and then some other stuff. For example, here are all the pages in Wikijunior space whose pagenames begin with "Solar System" and then a slash: Special:PrefixIndex/Wikijunior:Solar System/.

 * Books are logical groupings of pages, which are meant to be understood by readers as a coherent whole. Usually, the name of a book consists of namespace, colon, and pagename without slashes in it.  Subpages of the book then have the book name followed by a slash and some other stuff.  This is taking advantage of the groupings provided by the software.

 * Just to complicate things further, there was one book so sprawling that we have given it its own namespace, and everything in that namespace is part of that one book: Cookbook.  So the entire Cookbook namespace is a single book, while the Wikijunior namespace is a bunch of separate books.  --Pi zero (discuss • contribs) 11:51, 1 September 2012 (UTC)

title: Wikibooks talk:Naming policy


text:
Go/How to Learn

Introduction
Go is a learning game. You learn something every time you sit down to play, and every player has a truly unlimited potential to learn more. The emphasis on learning is part of what makes the game enjoyable. There is no question that go is a competitive game, but when players respect each other enough to appreciate what they have to learn from one another and the game they play, there is a cooperation of learning which enriches the experience. Because go is also a philosophical game, lessons learned on the goban often apply to other areas of life. Attributes such as open-mindedness, flexibility, humility, honesty, and respect are truly important and helpful to your go game, and just as beneficial to life in general. Improving your go game is satisfying and enjoyable in its own right, but as you learn you should also be on the outlook for larger life lessons that just happen to be illustrated in stones.

As enjoyable as it is, there are parts of learning go that can be challenging, even frustrating. Many novice players have had the experience of playing their first games with an enthusiastic, more experienced friend, and hopelessly losing every game. Because there is so much to learn in go, and because those lessons learned can immediately and dramatically affect the quality of one's play, even modest gradiations in skill (particularly for novices) can be insurmountable hurdles. The handicap system helps to some extent, but does have its limitations.

The purpose of this chapter is to give guidance to the beginning player on how to progress -- what sorts of games to play, what to study, what to focus on learning at what stage, etc.

The standard board for playing go has 19 by 19 intersection points, but may not be good for the real first-timers. Both the complexity and the duration of the game would make it hardly enjoyable. That is the reason why smaller boards are preferred for learning and tutoring. The traditional way is to start with a board of 9 by 9 for the first couple of games. After getting some experience and learning the basics of go tactic the player may step on the slightly larger board, 13 by 13. Here one can learn the most simple elements of the go strategy. A good number of games should be played on this board, too.

Games on the 9X9 board

This is smallest board which used for teaching the real beginners traditionally. Combined with the proper amount of handicap the game will be enjoyable for both players. Games are relatively short, and both the size and complexity can be overviewed by the unexperienced players. The players are fighting each other very quickly, so this board is very good to teach go tactics.

Games on the 13X13 board

The medium sized board increases the complexity, but not too much. Having learnt some elements of the tactics we are ready to start with the basic elements of the go strategy.

Games on the 19X19 board

The full complexity and beauty of the game waits for us. The starting point of a long learning curve.

The reader at this moment may ask how many games should one play on the smaller boards to learn and develop at the optimal rate. Though it is a very important issue, the answer is not straightforward. It depends on one's dedication to learn, on the fighting spirit and on the amount of time we are ready to use for playing go. The clear sign that one reached the appropriate strength to step a level higher is the ease and proficiency of using the basic tactics and strategies. A good tutor will see it. It's a good idea to have somebody teaching us the game.

title: Go/How to Learn


text:
Talk:Python Programming/Input and Output

A very reasonable code on this page:

import sys for line in sys.stdin: print line,

but here is what I am getting back:

for line in sys.stdin : IOError: [Errno 9] Bad file descriptor

?????

Problem?
Is this guide out of date or something, cause when I put in "print raw_input 'What is your name?'" in my Python3.0 command line, it returns a syntax error.
 * Yes, somewhat. It has a note saying that in Python 3.x, you need to use "input" instead of "raw_input". I'm having a problem with EOFError instead of syntax error. It mentions that it happens if it terminates prematurely, but I don't know how to not make it end prematurely? 194.82.177.16 (discuss) 09:38, 17 October 2011 (UTC)


text:
Astrodynamics/In-Plane Orbit Changes

Spacecraft Orientation
To change your orbit in space, you must first determine what direction your spacecraft is pointing. The "forward direction," or the direction in which you are moving, is usually labeled "Prograde" The opposite direction is usually labeled "Retrograde".

Hohmann transfer
A Hohmann transfer is a transfer between two coplanar orbits with two burns. In a two-body system, it is almost always the most efficient transfer between two circular orbits in terms of ΔV.

Orbital transfers can be "Near Hohmann," meaning that they are still efficient, but not the most efficient. An example of a near Hohmann transfer orbit would be the Mars Reconnaissance Orbiter transfer orbit.

Bi-Elliptic transfer
A bi-elliptic transfer is a method to move an orbit to another. It can only be more efficient than a hohmann transfer in the case that the ratio of the final to initial semimajor axes is above 11.94. Hohmann transfers always take less time to complete than bi-elliptic transfers.

Spiral transfer
Low thrust spiral transfers are used when a low thrust engine such as an ion thruster or a solar sail is available. Such thrusters continuously add ΔV and require more total ΔV than Hohmann transfers.

Orbit Plane changes
Orbital plane changes are conducted at a point between the current and desired orbital planes called a node, which is where the current orbit intersects the line of intersection of the two planes, or the "Line of Nodes." There are two nodes at which this can take place, which can be either ascending or descending, depending on the direction from which they are approached. To change the plane on a descending node, you orient your spacecraft properly so that the thrust is propelling you in a direction referred to as "Orbit Normal." Your orbital plane will then start to align itself with the desired plane. To correct the plane at an ascending node, simply orient your spacecraft in the opposite direction, or "Orbit Anti-normal."

Orbit Phasing
Orbit phasing is the adjusting of the true anomaly of a spacecraft's orbit, which can be done to conduct a rendezvous between two spacecraft. It is done by going into a certain phasing orbit that will change the true anomaly by an angle called the phasing angle. If the spacecraft is behind the target position in the same orbit, then a smaller orbit is required to "catch up" to the position. If the spacecraft is ahead of the target position, then the spacecraft will have to go into a larger orbit to "slow down" to that point.

Orbit Synchronization
For a spacecraft to dock with a space station, it must first synchronize its orbit with the station, or, in other words, "Hone in" on the station. This is done by executing orbital phasing burns to change the orbital period of the spacecraft, so that it begins to "catch up" to the station. When the station is within the desired range, another burn is executed to zero out the spacecraft's velocity relative to the station. After the relative velocity has been reduced to near zero, docking maneuvers are conducted.

title: Astrodynamics/In-Plane Orbit Changes


text:
Jet Propulsion

This book intends to provide an introduction to jet propulsion at the undergraduate level.

A jet engine is an air-breathing internal combustion engine often used to propel high-speed aircraft. Jet engines, like rocket engines, use the reaction principle in that they accelerate a mass in one direction and, from Newton's third law of motion, experience thrust in the opposite direction. However, jet engines use air to burn fuel while rocket engines use stored oxidizer. Air-breathing provides higher performance in terms of thrust per unit of propellant and allows the highest endurance. Jet engines hold the current aircraft records for non-refueled distance (26,389.3 miles in 76 hours 45 minutes GlobalFlyer).

Frank Whittle received a British patent for the jet engine in 1930 and Hans von Ohain received a German patent in 1935. The first jet aircraft was the Heinkel He178 flown in 1939 with a von Ohain engine producing 4.9kN of thrust.

More History
The main jet engine types are the turbojet (core flow), turbofan (ducted fan powered by core), turboprop (propeller powered by core), ramjet (aerodynamic ram compression only), and pulsejet (unsteady dynamic compression).

Part I: Core Engineering

 * Fluid Mechanics - Basic Principles
 * Jet engine Thermodynamic cycles
 * Aerodynamic analysis
 * Stage by stage 1D Analysis
 * Combustion
 * Propellants
 * Control and stability
 * Performance

Part II: Component Engineering

 * Intakes
 * Compressors
 * Combustors
 * Turbines
 * Nozzles
 * Structures
 * Rotating machinery
 * Control Systems
 * Accessories

Part III: Case studies

 * Model jet engines
 * Civil high bypass turbofan
 * Military low bypass turbofan
 * Jet on a chip
 * Unducted fan
 * Geared high bypass turbofan
 * Lift jet turbofan
 * VLJ turbofan

Resources

 * /Materials/
 * /Manufacturing/
 * /Applications/
 * /Environmental/
 * /Manufacturers/
 * CFM International
 * General Electric
 * Honeywell
 * Pratt & Whitney (United Technologies)
 * SNECMA
 * Rolls-Royce
 * Williams International (WI)
 * /Future/
 * /Example Problems/
 * /Glossary/
 * /Bibliography/

Sister books

 * Fluid Mechanics
 * Space Transport and Engineering Methods
 * Rotorcraft Fundamentals
 * Becoming a Private Pilot

title: Jet Propulsion


text:
Jet Propulsion/Compressors

Axial Compressors
In axial compressors the fluid flows mainly parallel to the rotation axis. They are widely used in gas turbines. Axial flow compressors have large mass flow capacity and high efficiencies, but have a smaller pressure rise per stage than centrifugal compressors. Most commercial jet engines used in transport employ axial compressors. Smaller engines such as those used in helicopters use centrifugal compressors which provide larger pressure ratios.

Axial compressors can achieve pressure ratios of about 2 per stage, limited by the blade velocity and diffusion capability. With aspirated blades providing better boundary layer control much higher pressure ratios can be achieved.

Axial compressors have higher mass flow per frontal area, and this is a major advantage for jet aircraft.

Centrifugal Compressors
Although the inlet flow to a centrifugal compressor is more or less axial, the rotor exit flow is in a radial direction. Downstream of the rotor, a diffuser slows the flow down to recover static pressure. The diffuser also normally restores the flow to a more axial direction , ready for the next process (e.g. another centrifugal compressor or reverse flow combustor).

Although high stage pressure ratios (more than 10:1) are achievable, rotor stress considerations significantly limit the stage pressure ratio that can be used when the overall pressure ratio is high (e.g 30:1).

Nowadays, centrifugal compressors are less commonly used in jet aircraft. Their prime applications are in small turbojets/turbofans and turboprop/turboshaft engines, where the simplicity, compactness, lower weight and lower cost are needed.

In small size axial compressor, the aerofoils on the rear stages are not very rugged, because they are too thin (a bit like razor blades). Consequently a centrifugal compressor is often used as the rear stage on a small compressor. Common configurations are axial-centrifugal or, at really small sizes, double centrifugal (i.e. two centrifugal compressors in series). At small sizes, centrifugal compressors are more efficient than the equivalent axial units.

Their very design limits their use. They are only used in small engines because of the fact that they're made of a relatively heavy piece of metal that spins at very high speed (30'000 RPM and more). That creates an extreme centrifugal force. Today's materials cannot endure the force that would be generated by a compressor of more than three to five feet in diameter.

One disadvantage of an centrifugal compressor is the relatively large overall diameter across the diffuser unit, which can pose installation problems.

Diagonal or Mixed Flow Compressors
As the name might suggest, a diagonal (or mixed) flow compressor is a cross between an axial and centrifugal compressor, where the flow takes a diagonal route through the compressor, exiting diagonally (rather than radially) at a significantly higher higher mean radius than at inlet. The compression process is part axial and part centrifugal.

So far, only a few examples of these units have been tested worldwide. They do, however, offer the advantage of a relatively high pressure ratio per stage, without the need for a relatively large diameter exit diffuser, which can cause installation problems.

title: Jet Propulsion/Compressors


text:
Jet Propulsion/Axial compressors

Axial compressors are compressors in which the fluid flows mainly parallel to the rotation axis. They are widely used in gas turbines. Axial flow compressors have large mass flow capacity and high efficiencies, but have a smaller pressure rise per stage than centrifugal compressors. Most commercial jet engines used in transport employ axial compressors. Smaller engines such as those used in helicopters use centrifugal compressors which provide larger pressure ratios.

A typical axial compressor has a rotor which looks like a fan with contoured blades followed by a stationary set of blades, called a stator. Some designs also have inlet guide vanes.

Energy Exchange between rotor and fluid
The relative motion of the blades relative to the fluid adds velocity or pressure or both to the fluid as it passes through the rotor. The fluid velocity is increased through the rotor, and the stator converts kinetic energy to pressure energy. Some diffusion also occurs in the rotor in most practical designs.

The increase in velocity of the fluid is primarily in the tangential direction (swirl) and the stator removes this angular momentum.

The pressure rise results in a stagnation temperature rise. For a given geometry the temperature rise depends on the square of the tangential ../Mach number/ of the rotor row. Current turbofan engines have fans that operate at Mach 1.7 or more, and require significant containment and noise suppression structures to reduce blade loss damage and noise.

Velocity Diagrams
The blade rows are designed at the first level using velocity diagrams. The velocity diagram shows the relative velocities of the blade rows and the fluid.

The axial flow through the compressor is kept as close as possible to Mach 1 to maximize the thrust for a given compressor size. The tangential Mach number determines the attainable pressure rise.

The blade rows turn the flow through and angle ß and larger turning allows a higher temperature ratio, but requires higher solidity.

Modern blades rows have lower aspect ratios and higher solidity.

Compressor maps
A compressor map shows the performance of a compressor and allows determination of optimal operating conditions. It shows the mass flow along the horizontal axis, typically as a percentage of the design mass flow rate, or in actual units. The pressure rise is indicated on the vertical axis as a ratio between inlet and exit stagnation pressures.

A surge or stall line identifies the boundary to the left of which the compressor performance rapidly degrades and identifies the maximum pressure ratio that can be achieved for a given mass flow. Contours of efficiency are drawn as well as performance lines for operation at particular rotational speeds

Compressor efficiency
Compressor efficiency defines the performance of the machine. isothermal, adiabatic, and volumetric efficiency are referred for the performance of compressor.

Stage performance parameters
Corrected speed

Corrected mass flow

Multi stage compressors
Multistaging is done to reduce the total work input required for pressurization. This is achieved by facilitating intercoolers between stages of compression, intended to bring done the operating temperatures close to isothermal compression.

Compression stability
Operating efficiency is highest close to the stall line. If the downstream pressure is increased beyond the maximum possible the compressor will stall and become unstable.

Typically the instability will be at the Helmholtz frequency of the system, taking the downstream plenum into account.

title: Jet Propulsion/Axial compressors


text:
Multibody Mechanics/Angular Velocity

Angular velocity is a vector which describes the rotation rate of a reference frame relative to another reference frame.

Typically the Greek letter $$\omega$$ (omega) is used exclusively to represent angular velocities (and many authors also use $$\Omega$$). In this text the angular velocity of frame "B" relative to "A" is denoted as   $${}^A\vec{\omega}^B$$.

The angular velocity vector is defined such that any vector $$\vec{\zeta}$$ which is fixed (constant) in the local frame "B" (reference frame) has its time derivative in another frame "A" expressed with a cross product as   $$\frac{{}^Ad}{dt}\vec{\zeta} = {}^A\vec{\omega}^B \times \vec{\zeta}$$.

This relationship is not difficult to prove, however doing so is of little practical use and is deferred to the end of this discussion. It is useful to note that since vectors can be expressed as linear combinations of basis vectors, this relationship finds its way into of the expression for a the derivative of a general vector (including angular velocity itself).

Angular velocity is not

title: Multibody Mechanics/Angular Velocity


text:
Jet Propulsion/Glossary/Stagnation temperature

The temperature at a stagnation point in a fluid flow. See gas dynamics.


text:
Jet Propulsion/Stagnation point

A point in a flow where the velocity is zero, where any streamline touches a solid surface at an angle.

title: Jet Propulsion/Stagnation point


text: Template:Multibody Mechanics/Multibody Notation


text:
Jet Propulsion/Streamline

In fluid dynamics, a streamline is a line which is everywhere tangent to the velocity of the flow. This implies that if u is the velocity vector at a point and dr is the vector in the direction of the streamline, then their cross product is zero.

u x dr = 0.

This translates to,

$$ \frac{dx}{u} = \frac{dy}{v} = \frac{dz}{w} $$

where u = ui + vj+ wk and dr = dxi + dyj + dzk.

title: Jet Propulsion/Streamline


text:
Jet Propulsion/Solidity

Solidity is defined as the sum of the chord lengths of a rotor blades defined by the circumference at the same radius.

title: Jet Propulsion/Solidity


text:
Jet Propulsion/Mach number

Mach number (Ma) is defined as a ratio of velocity to the velocity of sound in the ../Free stream/.

title: Jet Propulsion/Mach number


text:
Jet Propulsion/Free stream

The properties of the fluid far enough away from the body in motion that the body's effect is negligible.

title: Jet Propulsion/Free stream


text:
Jet Propulsion/Turbofan

A shrouded fan powered by a turbine.

A gas turbine engine that has a shrouded fan whose flow bypasses the core. The relative size of the fan is captured by the bypass ratio.

title: Jet Propulsion/Turbofan


text:
Jet Propulsion/Bypass ratio

The ratio of turbofan bypass mass flow to the engine core mass flow in a turbofan engine.

As the name suggests, this is the ratio of the air which bypasses the engine core and flows round the outside of the engine and exits via the nozzle. In a modern, high bypass ratio engine, bypass ratios can be as high as 85%.

title: Jet Propulsion/Bypass ratio


text:
User:RonaldB

Contact me here: RonaldB

title: User:RonaldB


text: Jet Propulsion/Turbojet

title: Jet Propulsion/Turbojet


text:
Template:Spoiler

Spoiler warning: Plot and/or ending details follow.

title: Template:Spoiler


text:
Template:Endspoiler

Spoilers end here.

title: Template:Endspoiler


text:
Climate Change/Mitigation Strategies/Carbon Sinks

 * Limestone is one form of carbon sink. It is generated as ocean organisms generated micorscopic shells which collect on the bottom.  As the ocean get more carbon dioxide mixed in it, rather than oxygen, then it tends to re-dissolve the limestone back into carbon dioxide and dissolved calcium.

 * Soil humus and peat is another form of carbon sink. Though it has been noted that in some types of warmer climate conditions soil humus is broken down faster than it forms.


text:
User:Tobias Dahinden

Hello I'm http://de.wikipedia.org/wiki/Benutzer:Tobias_dahinden

Or visit http://www.ika.ethz.ch/td

Main-Topics: Cartography, Map production, SVG, Kanton Uri (Switzerland)

title: User:Tobias Dahinden


text:
Dog Care/Grooming

This is part of the Dog Care Wikibook.

Bathing
Bathing is an important part of the overall grooming process.

Brushing is often recommended before bathing, to remove dead skin and loose hair. Human shampoos are generally not recommended, due to pH differences between humans and dogs.

Here are some general steps:

 * Rinse the dog completely.
 * Apply the shampoo on dog's back. Lather well. Repeat for belly, legs and tail.
 * Short-haired dogs can be scrubbed in a circular pattern. It may be easier to wash medium-length haired with a back-and-forth motion; longer-haired dogs in the direction of hair growth.
 * A washcloth can be used to wash the dog's sensitive head and face.
 * Rinse again, holding the water with one hand as you work out the soap with another.
 * Run your hand all along the dog to remove excess water. Squeeze longer hair to remove excess water.
 * Towel-dry. Use a hair dryer on longer haired dogs, but use a very low heat setting because of the sensitivity of the dog's skin to heat.

Many use an indoor tub for dog bathing. For many home owners this can be burdensome, especially with large dogs. If you have an outside dog, chances are they may be particularly more dirty than an inside dog. Getting your large, dirty dog inside can be difficult and messy. You can always wash your dog outside with a water hose. It is important to be conscious of the outside temperature and the temperature of your outside faucet water.

It may be useful to purchase an elevated dog bath tub that brings the dog up to the level of the human, not vice versa. The ability to wash your dog without bending down or getting on your knees is not only convenient, but less stressful on your body. Many tubs also have straps to hold your dog inside the tub and prevent them from slipping and hurting themselves. A simple search for dog bath tub will reveal many providers of quality tubs especially for bathing your dog. They can also substitute for a grooming table.

title: Dog Care/Grooming


text:
User talk:Withinfocus

Welcome back?
Of course, you might not see this for another five years... but do feel free to stop in and visit, eh? Chazz (talk) 16:57, 17 November 2015 (UTC)
 * I'm about the only one reliably active on there these days, alas, as PNWRaven seems to be working elsewhere in the Wikiverse... and I've changed direction on it a little bit, as we were not really adding value (IMHO) by simply being encyclopedic; I'm now putting more effort into highlighting the things that make the writing so captivating. As much as I can, anyway, I'm am engineer in real life. Other than that, I'm doing well, haven't let Panic drive me away yet <grin>... still keeping busy. Chazz (talk) 17:36, 18 November 2015 (UTC)

title: User talk:Withinfocus


text:
User:Jim Henry

 * My Wikipedia user page
 * My Esperanto Wikipedia user page
 * My home page

title: User:Jim Henry


text:
Corset/Bibliography/French

../Old French/

A

 * d'Aincourt, Marguerite. Etudes sur le costume féminin. Paris: Rouveyre et G. Blond, n.d. [c. 1885].

L

 * ERNEST LEOTY, Le Corset a travers les ages

B

 * Fontanel, Beatrice. Corsets et soutiens gorge: L'Epopée du sein de l'antiquité a nos jours. Paris: Editions de La Martinière, 1992.

title: Corset/Bibliography/French


text:
Corset/Bibliography/English

../Old English/

A
Cosimo, Eleanora e Don Garzia, ed. Kirsten Aschengreen Piacenti. Florence: Centro di Firenze, 1993. ISBN 0896760839
 * Adler, Kathleen, and Marcia Pointon. The Body Imaged: The Human Form and Visual Culture Since the Renaissance. Cambridge University Press, 1993. ISBN 0521447682
 * Ambrose, Bonnie Holt. The Little Corset Book. New York: Costume & Fashion Press, 1997. ISBN 0896761304
 * Arnold, Janet. "Cut and Construction." In Moda alle corte dei Medici gli abiti restaurati de
 * Arnold, Janet., Patterns of Fashion, 1. London: Macmillan, 1972. ISBN 089676026X
 * Arnold, Janet., Queen Elizabeth's Wardrobe Unlock'd. Leeds: Manley, 1988. ISBN 0901286206

B
London: Phaidon, 1964. ISBN 0714833657
 * Baudelaire, Charles. The Painter of Modern Life and Other Essays. Trans. Jonathan Mayne.

 * Brombert, Beth Archer. Edouard Manet: Rebel in a Frock Coat. Boston: Little, Brown, 1996. ISBN 0316109479
 * Brooks, Peter. Body Work: Objects of Desire in Modern Narrative. Cambridge, Mass. and London: Harvard University Press, 1993. ISBN 0674077253
 * Brownmiller, Susan. Femininity. New York and London: Simon & Schuster, 1986. ISBN 0449901424
 * Buck, Anne. Dress in Eighteenth-Century England. London: Batsford, 1979. ISBN 0841905177

C

 * Carter, Alison. Underwear: The Fashion History. New York: Drama Books, 1992. ISBN 0896761207
 * Chenoune, Farid. Beneath It All: A Century of French Lingerie. New York: Rizzoli, 1999. ISBN 0789310201
 * Clayson, Hollis. Painted Love: Prostitution in French Art of the Impressionist Era. New Haven and London: Yale University Press, 1991. ISBN 0300047304
 * Coffin, Judith G. The Politics of Women's Work: The Paris Garment Trades, 1750-1915. Princeton University Press, 1996. ISBN 0691034478
 * Cohen, Sarah R. Art, Dance and the Body in French Culture of the Ancien Regime. Cambridge University Press, 2000. ISBN 0521640466
 * Cooley, Arnold J. The Toilet and Cosmetics in Ancient and Modern Times, with a Review of Different Theories of Beauty. [London, 1866] New York: Burt Franklin, 1970. ISBN 0833706535
 * Cox, Caroline. Lingerie: A Lexicon of Style. New York: St. Martin's, 2000. ISBN 0312271417
 * Crane, Diana. Fashion and Its Social Agendas: Class, Gender, and Identity in Clothing. Chicago and London: University of Chicago Press, 2000. ISBN 0226117995
 * Cunnington, C. Willett, and Phyllis Cunnington. The History of Underclothes. Originally published, London: A. Joseph, 1951; rev. ed. A. D. and Valerie Mansfield, London: Faber and Faber, 1981. ISBN 0-486-27124-2

E
Old English books: E

 * Etcoff, Nancy. Survival of the Prettiest: The Science of Beauty. New York: Doubleday, 1999. ISBN 0385479425
 * Ewing, Elizabeth. Dress and Undress: A History of Women's Underwear. London: Batsford, 1978. ISBN 0713416300

F

 * Farrer, Peter. The Regime of the Stay-Lace: A Further Selection of Letters from Victorian Newspapers. Liverpool: Karn Publications Garston, 1995. ISBN 0951238531
 * Farrer, Peter. Tight Lacing: A Bibliography of Articles and Letters Concerning Stays and Corsets for Men and Women. Liverpool: Karn Publications Garston, 1999. ISBN 0951238582
 * Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. New York: Vintage, 1979. ISBN 0679752552

G

 * Grimble, Frances. The Lady's Stratagem: A Repository of 1820s Directions for the Toilet, Mantua-Making, Stay-Making, Millinery & Etiquette. San Francisco: Lavolta Press, 2009. ISBN 9780963651778.
 * Gibson, Rebecca. The Corseted Skeleton: A Bioarchaeology of Binding.  Switzerland: Palgrave Macmillan, 2020.  ISBN 978-3-030-50391-8

S

 * Valerie Steele, The Corset: A Cultural History. Yale University Press, 2001, ISBN 0300099533
 * Larry Utley, Autumn Carey-Adamme, Fetish Fashion: Undressing the Corset Green Candy Press, 2002. ISBN 1931160066
 * David Kunzle, Fashion and Fetishism, ISBN 0-7509-3808-0

T

 * Tarrant, Naomi. The Development of Costume. London and New York: Routledge, 1994. ISBN 0415080193
 * Thesander, Marianne. The Feminine Ideal. London: Reaktion Books, 1997. ISBN 1861890044

V

 * Vandereycken, Walter, and Ron van Deth. From Fasting Saints to Anorexic Girls: The History of Self-Starvation. New York University Press, 1994. ISBN 0814787843
 * Veblen, Thorstein. The Theory of the Leisure Class. New York: Modern Library, 1934. (Originally published London: Mentor Books, 1899.) ISBN 0486280624
 * Vickery, Amanda. The Gentleman's Daughter: Women's Lives in Georgian England. New Haven and London: Yale University Press, 1998. ISBN 0300102224

Y

 * Yalom, Marilyn. A History of the Breast. New York: Knopf, 1997. ISBN 0679434593

title: Corset/Bibliography/English


text:
Formal Logic/Sentential Logic/Formal Semantics

= Formal Semantics =

English syntax for 'Dogs bark' specifies that it consists of a plural noun followed by an intransitive verb. English semantics for 'Dogs bark' specify its meaning, namely that dogs bark.

In The Sentential Language, we gave an informal description of $$\mathcal{L_S}\,\!$$. We also gave a Formal Syntax. However, at this point our language is just a toy, a collection of symbols we can string together like beads on a necklace. We do have rules for how those symbols are to be ordered. But at this point those might as well be aesthetic rules. The difference between well-formed formulae and ill-formed expressions is not yet any more significant than the difference between pretty and ugly necklaces. In order for our language to have any meaning, to be usable in saying things, we need a formal semantics.

Any given formal language can be paired with any of a number of competing semantic rule sets. The semantics we define here is the usual one for modern logic. However, alternative semantic rule-sets have been proposed. Alternative semantic rule-sets of $$\mathcal{L_S}\,\!$$ have included (but are certainly not limited to) intuitionistic logics, relevance logics, non-monotonic logics, and multi-valued logics.

Formal semantics
The formal semantics for a formal language such as $$\mathcal{L_S}\,\!$$ goes in two parts.

 * Rules for specifying an interpretation. An interpretation assigns semantic values to the non-logical symbols of a formal syntax.  The semantics for a formal language will specify what range of values can be assigned to which class of non-logical symbols.  $$\mathcal{L_S}\,\!$$ has only one class of non-logical symbols, so the rule here is particularly simple.  An interpretation for a sentential language is a valuation, namely an assignment of truth values to sentence letters. In predicate logic, we will encounter interpretations that include other elements in addition to a valuation.

 * Rules for assigning semantic values to larger expressions of the language. For sentential logic, these rules assign a truth value to larger formulae based on truth values assigned to smaller formulae.  For more complex syntaxes (such as for predicate logic), values are assigned in a more complex fashion.

An extended valuation assigns truth values to the molecular formulae of $$\mathcal{L_S}\,\!$$ (or similar sentential language) based on a valuation. A valuation for sentence letters is extended by a set of rules to cover all formulae.

Valuations
We can give a (partial) valuation $$\mathfrak{v}\,\!$$ as:

 * $$\mathrm{P_0}\ :\ \mbox{True}\,\!$$
 * $$\mathrm{P_1}\ :\ \mbox{False}\,\!$$
 * $$\mathrm{P_2}\ :\ \mbox{False}\,\!$$
 * $$\mathrm{P_3}\ :\ \mbox{False}\,\!$$

(Remember that we are abbreviating our sentence letters by omitting superscripts.)

Usually, we are only interested in the truth values of a few sentence letters. The truth values assigned to other sentence letters can be random.

Given this valuation, we say:

 * $$\mathfrak{v}[\mathrm{P_0}]\ =\ \mbox{True}\,\!$$
 * $$\mathfrak{v}[\mathrm{P_1}]\ =\ \mbox{False}\,\!$$
 * $$\mathfrak{v}[\mathrm{P_2}]\ =\ \mbox{False}\,\!$$
 * $$\mathfrak{v}[\mathrm{P_3}]\ =\ \mbox{False}\,\!$$

Indeed, we can define a valuation as a function taking sentence letters as its arguments and truth values as its values (hence the name 'truth value'). Note that $$\mathcal{L_S}\,\!$$ does not have a fixed interpretation or valuation for sentence letters. Rather, we specify interpretations for temporary use.

Extended valuations
An extended interpretation generates the truth values of longer sentences given an interpretation. For sentential logic, an interpretation is a valuation, so an extended interpretation is an extended valuation. We define an extension $$\overline{\mathfrak{v}}\,\!$$ of valuation $$\mathfrak{v}\,\!$$ as follows.

For all sentence letters $$\varphi$$ and $$\psi$$ from $$\mathcal{L_S}:$$

 * $$\mbox{i.} \quad \overline{\mathfrak{v}}[\varphi] = \mathfrak{v}[\varphi].\,\!$$

 * $$\mbox{ii.} \quad \overline{\mathfrak{v}}[\lnot\varphi]\ =\ \begin{cases}\mbox{True} & \mbox{if}\ \overline{\mathfrak{v}}[\varphi] = \mbox{False}; \\ \mbox{False} & \mbox{otherwise (i.e., if}\ \overline{\mathfrak{v}}[\varphi] = \mbox{True).}\end{cases}\,\!$$

 * $$\mbox{iii.} \quad \overline{\mathfrak{v}}[(\varphi \land \psi)]\ =\ \begin{cases}\mbox{True} & \mbox{if}\ \overline{\mathfrak{v}}[\varphi] = \overline{\mathfrak{v}}[\psi] = \mbox{True}; \\ \mbox{False} & \mbox{otherwise}.\end{cases}\,\!$$

 * $$\mbox{iv.} \quad \overline{\mathfrak{v}}[(\varphi \lor \psi)]\ =\ \begin{cases}\mbox{True} & \mbox{if}\ \overline{\mathfrak{v}}[\varphi] = \mbox{True}\ \mbox{or}\ \overline{\mathfrak{v}}[\psi] = \mbox{True}\ \mbox{(or both)}; \\ \mbox{False} & \mbox{otherwise}.\end{cases}\,\!$$

 * $$\mbox{v.} \quad \overline{\mathfrak{v}}[(\varphi \rightarrow \psi)]\ =\ \begin{cases}\mbox{True} & \mbox{if}\ \overline{\mathfrak{v}}[\varphi] = \mbox{False}\ \ \mbox{or}\ \ \overline{\mathfrak{v}}[\psi] = \mbox{True}\ \ \mbox{(or both)}; \\ \mbox{False} & \mbox{otherwise.}\end{cases}\,\!$$

 * $$\mbox{vi.} \quad \overline{\mathfrak{v}}[(\varphi \leftrightarrow \psi)]\ =\ \begin{cases} \mbox{True} & \mbox{if}\ \overline{\mathfrak{v}}[\varphi] = \overline{\mathfrak{v}}[\psi]; \\ \mbox{False} & \mbox{otherwise}.\end{cases}\,\!$$

Example
We will determine the truth value of this example sentence given two valuations.
 * $$(1) \quad \mathrm{P} \land \mathrm{Q} \rightarrow \lnot( \mathrm{Q} \lor \mathrm{R})\,\!$$

First, consider the following valuation:
 * $$\mathrm{P}\ :\ \mbox{True}\,\!$$
 * $$\mathrm{Q}\ :\ \mbox{True}\,\!$$
 * $$\mathrm{R}\ :\ \mbox{False}\,\!$$

(2) By clause (i):
 * $$\overline{\mathfrak{v}}[\mathrm{P}]\ =\ \mbox{True}\,\!$$
 * $$\overline{\mathfrak{v}}[\mathrm{Q}]\ =\ \mbox{True}\,\!$$
 * $$\overline{\mathfrak{v}}[\mathrm{R}]\ =\ \mbox{False}\,\!$$

(3) By (1) and clause (iii),
 * $$\overline{\mathfrak{v}}[\mathrm{P} \land \mathrm{Q}]\ =\ \mbox{True}.\,\!$$

(4) By (1) and clause (iv),
 * $$\overline{\mathfrak{v}}[\mathrm{Q} \lor \mathrm{R}]\ =\ \mbox{True}.\,\!$$

(5) By (4) and clause (v),
 * $$\overline{\mathfrak{v}}[\lnot( \mathrm{Q} \lor \mathrm{R})]\ =\ \mbox{False}.\,\!$$

(6) By (3), (5) and clause (v),
 * $$\overline{\mathfrak{v}}[\mathrm{P} \land \mathrm{Q} \rightarrow \lnot( \mathrm{Q} \lor \mathrm{R})]\ =\ \mbox{False}.\,\!$$

Thus (1) is false in our interpretation.

Next, try the valuation:
 * $$\mathrm{P}\ :\ \mbox{True}\,\!$$
 * $$\mathrm{Q}\ :\ \mbox{False}\,\!$$
 * $$\mathrm{R}\ :\ \mbox{True}\,\!$$

(7) By clause (i):
 * $$\overline{\mathfrak{v}}[\mathrm{P}]\ =\ \mbox{True}\,\!$$
 * $$\overline{\mathfrak{v}}[\mathrm{Q}]\ =\ \mbox{False}\,\!$$
 * $$\overline{\mathfrak{v}}[\mathrm{R}]\ =\ \mbox{True}\,\!$$

(8) By (7) and clause (iii),
 * $$\overline{\mathfrak{v}}[\mathrm{P} \land \mathrm{Q}]\ =\ \mbox{False}.\,\!$$

(9) By (7) and clause (iv),
 * $$\overline{\mathfrak{v}}[\mathrm{Q} \lor \mathrm{R}]\ =\ \mbox{True}.\,\!$$

(10) By (9) and clause (v),
 * $$\overline{\mathfrak{v}}[\lnot( \mathrm{Q} \lor \mathrm{R})]\ =\ \mbox{False}.\,\!$$

(11) By (8), (10) and clause (v),
 * $$\overline{\mathfrak{v}}[\mathrm{P} \land \mathrm{Q} \rightarrow \lnot( \mathrm{Q} \lor \mathrm{R})]\ =\ \mbox{True}.\,\!$$

Thus (1) is true in this second interpretation. Note that we did a bit more work this time than necessary. By clause (v), (8) is sufficient for the truth of (1).


text:
Corset/Bibliography/Old English

New English

A

 * Abraham, Karl. "Remarks on the Psycho-Analysis of a Case of Foot and Corset Fetishism" [1910]. In Selected Papers of Karl Abraham, ed. and trans. Douglas Bryan and Alix Strachey. New York: Basic Books, 1960.
 * Adami, J. G., and C. S. Roy. "The Physiological Bearing of Waist-Belts and Stays." The National Review 12, November 1888, 341-9.
 * Anonymous. Beauty: Its Attainment and Preservation. New York: Butterick, 1890.
 * Anonymous. "The Confessions of a Tight-Lacer." Tit-Bits, October 27, 1894.
 * Anonymous. "The Corset." Fortune, March 1938, 95-9,  110-14.
 * Anonymous. "Corsets and Corpulence." London Society, October 1869.
 * Anonymous. "Distortion by Tight-Lacing." In Chambers Miscellany of Useful and Entertaining Tracts, vol. 10. Edinburgh: William and Robert Chambers, 1846.
 * Anonymous. Dress, Health, and Beauty. London: Ward, Lock & Co., 1878.
 * Anonymous. "The History of the Corset." The Queen, December 5, 1863.
 * Anonymous. "The Philosophy of Tight-Lacing." The Saturday Review, December 17, 1887.
 * Anonymous. "Remarkable Case of Displacement of an Enlarged Liver from Tight Lacing:" The Lancet, January 5, 1861.
 * Anonymous. "The Sin and Scandal of Tight-Lacing." The Gentlewoman, December 10, 1892 to March 18, 1893.
 * Anonymous. "Tight Dressing - Corsets." The Mother's Book, August 1838, 170.
 * Anstruther, Elizabeth. The Complete Beauty Book. New York: D. Appleton and Co., 1906.

B

 * Ballin, Ada S. The Science of Dress in Theory and Practice. London: Sampson Low, Marston, Searle, and Rivington, 1885.
 * Ballin, Ada S. "Tight-Lacing:" Womanhood, April 1903.
 * Betts, Helen L., M.D. "Dress of Women in Its Relation to the Etiology and Treatment of Pelvic Disease:" Journal of the American Medical Association x, no. 17 (1888), 509-13.
 * Bulwer, John. Anthropometamorphosis: Man Transformed: The Artificial Changeling, Historically Presented, in the Mad and Cruell Gallantry, Foolish Bravery, Ridiculous Beauty, Filthy Finenesse, and Loathsome Loveliness of Most Nations, Fashioning and Altering Their Bodies from the Mould Intended by Nature; with Figures of Those Transformations ... London: William Hunt, 1653.

C

 * Cannaday, Charles, M.D. "The Relation of Tight Lacing to Uterine Development and Pelvic Disease." American Gynecological and Obstetrical journal S (1895), 632-40.
 * Caplin, Mme Roxey A. Health and Beauty, or Corsets and Clothing Constructed in Accordance with the Physiological Laws of the Human Body. London: Darton & Co., n.d. [1854].
 * Childs, G. B., Esq. On the Improvement and Preservation of the Female Figure: With a New Mode of Treatment of Lateral Curvature of the Spine. London: Harvey and Darton, 1840.

D

 * Davies, Mel. "Corsets and Conception: Fashion and Demographic Trends in the Nineteenth Century." Journal of Comparative Studies in Sociology and History 24 (1982): 611-41.
 * Dickenson, Robert L., M.D. "The Corset, Questions of Pressure and Displacement." New York Medical Journal 46 (1887), 507-16.
 * "Toleration of the Corset: Prescribing Where One Cannot Proscribe." American Journal of Obstetrics and Gynecology 63 (1911), 1023-58.
 * Douglas, Mrs. Fanny. The Gentlewoman's Book of Dress. London: Henry & Co., n.d. [c. 1894].

E

 * E. Ward & Co. The Dress Reform Problem: A Chapter for Women. London and Bradford: Hamilton, Adams & Co.; John Dale & Co., 1886.
 * E.D.M. Figure-Training, or, Art the Handmaid of Nature. London: Ward, Lock and Tyler, 1871.
 * Ecob, Helen Gilbert. The Well-Dressed Woman: A Study in the Practical Application to Dress of the Laws of Health, Art, and Morals. New York: Fowler and Wells, 1893.
 * Entwhistle, Joan. The Fashioned Body: Fashion, Dress, and Modern Social Theory. Cambridge: Polity Press, 2000.

F

 * Farrell-Beck, Jane, Laura Poresky, Jennifer Paff, and Cassandra Moon. "Brassieres and Women's Health from 1863 to 1940." Clothing and Textiles Research Journal 16, no. 3 (1998), 105-15.
 * Farrer, Peter. "Adcock's Riding Belt." Journal of the Northern Society of Costume and Textiles 3 (Spring, 1999. 3-4.
 * Feydeau, Ernest Aime. The Art of Pleasing. Trans. Marie Courcelles. New York: G. W. Carlton & Co., 1874.
 * Finck, Henry T. Romantic Love and Personal Beauty. New York and London: Macmillan, [1887] 1912.
 * Fletcher, Ella. The Woman Beautiful. New York: Brentano, 1900.
 * Flower, William Henry. Fashion in Deformity, as Illustrated in the Customs of Barbarous & Civilised Races. London: Macmillan, 1881.
 * Fogarty, Ann. Wife-Dressing: The Fine Art of Being a Well-Dressed Wife. New York: Julian Messer, 1959.
 * Fowler, Orson S. Amativeness; or, Evils and Remedies of Excessive and Perverted Sexuality; Including Warning and Advice to the Married and Single. New York: O. S. & L. N. Fowler & S. R. Wells, 1846. Repr. Manchester: John Heywood, n.d. [c. 1897].
 * Fowler, Orson S. Intemperance and Tight-Lacing: Founded on the Laws of Life, as Developed by Phrenology and Physiology. New York: O. S. & L. N. Fowler & S. R. Wells, 1846. Repr. Manchester: John Heywood, n.d. [c. 1899].
 * Fowler, Orson S. Tight-Lacing, Founded on Physiology and Phrenology: Or, the Evils Inflicted on Mind and Body, by Compressing the Organs of Animal Life, Thereby Retarding and Enfeebling the Vital Functions. New York: O. S: & L. N. Fowler & S. R. Wells, 1846.

G

 * Gâches-Sarraute, Mme. Inez. Le Corset: Etude physiologique et pratique. Paris: Librairie de l'Académie de Medicine, 1900.
 * Galbraith, Anna M., M.D. Hygiene and Physical Culture for Women. New York: Dodd, Mead, 1895.
 * Gamman, Lorraine, and Merja Makinen. Female Fetishism. New York University Press, 1994.
 * Garb, Tamar. Bodies of Modernity: Figure and Flesh in Fin-De-Siècle France. London: Thames & Hudson, 1998.
 * Garsault, FranCois Alexandre de. Art du tailleur. Paris: Académie des Sciences, 1769.
 * Gau, Colleen Ruby. "Historical Medical Perspectives of Corseting and Two Physiological Studies with Reenactors." Ph.D. diss., Iowa State University, 1998.
 * Gay, Peter. The Bourgeois Experience: Victoria to Freud, vol. I: The Education of the Senses. New York and Oxford: Oxford University Press, 1984.
 * Gifford, Louise. The Joy of Looking Slim. New York: Newman & Sons, 1926.
 * Gilman, Sander. Making the Body Beautiful: A Cultural History of Aesthetic Surgery. Princeton University Press, 1999.
 * Ginsburg, Madeleine. "The Tailoring and Dressmaking Trades, 1700-1850." Costume 6 (1972), 64-71.
 * Godfrey June, Jean. "Waist Land." Vogue (August, 2000), 246-9.

H
New English books: H

 * H. W. Gossard Co. Corsets from a Surgical Standpoint. Chicago: H. W. Gossard Co., n.d. [c. 1910].
 * Haller, John S., and Robin M. Haller. The Physician and Sexuality in Victorian America. Urbana: University of Illinois Press, 1974.
 * Hamby, Wallace B., ed. The Case Reports and Autopsy Records of Ambroise Pare. Springfield, Mass: Charles C. Thomas, 1960.
 * Harlan, Marion. Eve's Daughters: Common Sense for Maid, Wife and Mother. New York: Anderson & Allen, 1882.
 * Harty, H. R., D. R. Cornfield, R. M. Schwartzsteain, and L. Adams. "External Thoracic Restriction, Respiratory Sensation, and Ventilation During Exercise in Men." Journal of Applied Physiology 4 (April, 1999), 1142-50.
 * Haweis, Mrs. Eliza. The Art of Beauty. New York: Harper and Brothers, 1878. Repr. in one vol. with The Art of Dress, New York: Garland, 1978.
 * The Art of Dress. London: Chatto & Windus, 1879. Repr. in one vol. with The Art of Beauty, New York: Garland, 1978.
 * Houze, Rebecca. "Fashionable Reform Dress and the Invention of `Style' in Fin-de-Siècle Vienna." Fashion Theory 4, no. 4 (2000), 1-20.

J

 * Jaeger, Gustav, M.D. Selections from Essays on Health Culture and the Sanitary Woolen System. London: Dr. Jaeger's Sanitary Woolen System, 1884.
 * Jones, Stephanie. "Strictly Fashionable: A Strait-Laced Look at Corsetry." Skin Two 9 (1989), 45-7.

K

 * Kayne, Madame. The Corset in the Nineteenth and Eighteenth Centuries. Brighton: Greenfields, n.d. [c. I932].
 * Kenealy, Dr. Arabella. "The Curse of Corsets." The Nineteenth Century and After, January 1904, 131-7.
 * Kern, Stephen. Anatomy and Destiny: A Cultural History of the Human Body. Indianapolis and New York: Bobbs-Merrill, 1975.
 * King, Mrs. E. M. Rational Dress, or, the Dress of Women and Savages. London: Kegan, Paul, Trench & Co., 1882.
 * Krafft-Ebing, Dr. Richard von. Psychopathia Sexualis, with Especial Reference to the Antipathic Sexual Instinct: A Medico-Forensic Study. Trans. F J. Rebman from the 12th Ger. (1886) ed. Brooklyn, New York: Physicians and Surgeons Book Co., 1926, 1934.
 * Kunzle, David. "The Corset as Erotic Alchemy: From Rococo Galanterie to Montaut's Physiologies." In Woman as Sex Object: Erotic Art, 1730-1970, ed. Thomas Hess and Linda Nochlin. New York: Art News Annual, 3 8, 1972.
 * Kunzle, David. "Dress Reform as Antifeminism: A Response to Helene E. Roberts's `the Exquisite Slave'." Signs: Journal of Women in Culture and Society 2 (Spring, 1977), 570-79.
 * Kunzle, David. Fashion and Fetishism: A Social History of the Corset, Tight-Lacing, and Other Forms of Body Sculpture in the West. Totowa, New Jersey: Rowman and Littlefield, 1982.
 * Kyoto Costume Institute. Visions of the Body: Fashion or Invisible Corset. Kyoto Costume Institute, n.d. [2000].

L

 * Ladies' Sanitary Association. Wasps Have Stings; or, Beware of Tight-Lacing. London: Ladies' Sanitary Association and John Morgan, n.d.
 * Liddell Hart, Sir Basil. "Scrapbooks." Liverpool John Moores University Learning and Information Services, Special Collections.
 * Limner, Luke [John Leighton]. Madre Natura Versus the Moloch of Fashion. London: Chatto & Windus, 1874.

M
New English: M

 * Machray, Robert. "Fashions in Waists." The Lady's Realm, December 1902.
 * Maciet Collection, "Scrapbooks." Paris: Bibliothèque des Arts Décoratifs. Unpublished archive.
 * Mactaggart, Peter, and R. Ann Mactaggart. "Ease, Convenience and Stays, 1750-1850." Costume 13 (1979), 41-51.
 * Peter and R. Ann Mactaggart, "Half a Century of Corset Making: Mrs. Turner's Recollections." Costume 11 (1977). p. 123. Quoted in ihid, p. 126
 * Mactaggart, Peter. "Half a Century of Corset Making: Mrs. Turner's Recollections." Costume 11 (1977), 123-32.
 * Mactaggart, Peter. "Some Aspects of the Use of Non-Fashionable Stays." In Strata of Society Costume Society Conference, 20-28. London: Costume Society, 1973.
 * Manley, T. H., M.D. "The Corset: Its Use and Abuse with Tight-Lacing." The Virginia Semi-Monthly, September 9, 1898, 302-6.
 * Martin, Peter. Wasp Waists: A Study of Tight-Lacing in the 19th Century and Its Motives. London: Published by the author, 1977.
 * Martin, Richard, and Harold Koda. Infra-Apparel. New York: The Metropolitan Museum of Art, 1993.
 * Mason, Michael. The Making of Victorian Sexuality. New York: Oxford University Press, 1994. ISBN 0198122470
 * Maynard, Elise. "Fatal Corsets, or the Perils of Tight-Lacing." Womanhood, April 1903.
 * Melzer, Sara E., and Kathryn Norberg, eds. From the Royal to the Republican Body. Berkeley, Los Angeles, London: University of California Press, 1998.
 * Moers, Ellen. The Dandy. New York: Viking, 1960.
 * Montaigne, Michael de. The Complete Works of Montaigne. Trans. Donald M. Frame. Stanford University Press, 1948.
 * Morris, Bernadine. "A History of Discomforts, Told by Corsets." The New York Times, October 1, 1980.

N

 * Nead, Lynda. The Female Nude: Art, Obscenity, and Sexuality. London and New York: Routledge, 1992.
 * Nye, Robert. Masculinity and Male Codes of Honor in Modern France. Berkeley, Los Angeles, London: University of California Press, 1993.

O

 * O'Followell, Dr. Ludovic. Le Corset. Etude historique: His toire-médecine-hygiène. Preface by Paul Ginisty. 2 vols. Paris: A. Malosne, 1905, 1908.

P

 * Pacteau, Francette. The Symptom of Beauty. London: Reaktion Books, 1994.
 * Page, Christopher. Foundations of Fashion: The Symington Collection: Corsetry from 1856 to the Present Day. Leicester: Leicestershire Museums, 1981.
 * Parey [Pare], Ambroise. The Work of That Famous Chirurgian Ambroise * Parey. Trans. by Thomas Johnson. London: Richard Cotes, 1649.
 * Pellegrin, Nicole. Les Vêtements de la liberté. Paris: Alinea, 1989.
 * Perrot, Philippe. Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century. Trans. Richard Bienvenu. Princeton University Press, 1994. Originally published as Les Dessus et les dessous de la bourgeoisie: Une histoire du vêtement au XIXe siècle. Paris: Arthème Fayard, I 98 I . La Travail des apparences, ou les transformations du corps féminin X VIIIe-XIXe siècles. Paris: Seuil, 1984.
 * Phelps, Elizabeth Stuart. What to Wear? Boston: James R. Osgood, 1873.
 * Pictorial History of the Corset. Vol. 1: The Early Period; Vol. 2: From 1880 to 1914; Vol. 3 : From 1915 to 1929. Brooklyn Museum Art Library. Unpublished archive.
 * Pointon, Marcia. Naked Authority: The Body in Western Painting, 1830-1908. Cambridge University Press, 1990.
 * Porter, Roy, and Lesley Hall. The Facts of Life: The Creation of Sexual Knowledge in Britain, 1650-1950. New Haven and London: Yale University Press, 1995.
 * Pritchard, Mrs. Eric. The Cult of Chiffon. London: Grant Richards, 1902.

R

 * Rabelais. The History of Gargantua and Pantagruel. Trans. J. M. Cohen. Harmondsworth: Penguin, 1969.
 * Rational Dress Association. The Exhibition of the Rational Dress Association: Catalogue of Exhibits and Lists of Contributors. London: Rational Dress Association, 1883.
 * Raverat, Gwen. Period Piece: A Cambridge Childhood. London: Faber and Faber, 1952.
 * Ray, Constance. "The Corset and the Form Divine." Chicago Sunday Tribune, December 18, 1932, 6.
 * Reade, Charles. A Simpleton. Boston: Dana Estes, n.d. [c. 1873].
 * Ribeiro, Aileen. The Art of Dress: Fashion in England and France, 1750-1820. New Haven and London: Yale University Press, 1995.
 * Ribeiro, Aileen. Dress and Morality. New York: Holmes and Meier, 1986.
 * Ribeiro, Aileen. Dress in Eighteenth Century Europe, 1715-1789. London: Batsford, 1984.
 * Ribeiro, Aileen. Fashion in the French Revolution. London: Batsford, 1988.
 * Riegel, Robert. "Women's Clothes and Women's Rights." American Quarterly 15 (Fall, 1963), 397.
 * "Rita." Vanity! The Confessions of a Court Modiste. London: T. Fischer Unwin, 1901.
 * Rittenhouse, Anne. The Well-Dressed Woman. New York and London: Harper & Brothers, 1924.
 * Roberts, Helene E. "The Exquisite Slave: The Role of Clothes in the Making of the Victorian Woman." Signs: Journal of Women in Culture and Society 2 (Spring, 1977), S S4-69.
 * Roberts, Helene E. "Reply to David Kunzle's `Dress Reform as Antifeminism'." Signs: Journal of Women in Culture and Society 3 (Winter, 1978), 519-20.
 * Roberts, Mary Louise. Civilization Without Sexes: Reconstructing Gender in Postwar France, 1917-1927. Chicago and London: University of Chicago Press, 1994.
 * Roche, Daniel. The Culture of Clothing: Dress and Fashion in the Ancien Regime. Trans. by Jean Birrell. Cambridge University Press, 1994.
 * Roux, Charles. Contre le corset. Paris: E. Brière, 1855.

S

 * Santé, Madame de la. The Corset Defended. London: T. E. Carler, 1865.
 * Schultze-Naumberg, Paul: Die Kultur des weiblichen Körpers als Grundlage der Frauenkleidung. Jena, 1901.
 * Schwartz, Gerhard S., M.D. "Society, Physicians, and the Corset." Bulletin of the New York Academy of Medicine 55, no. 6 (June, 1979), 551-90.
 * Seeker, Miss. Monographie du corset. Louvain: Imprimerie Lefevre, frères et soeur, 1887.
 * Severa, Joan. Dressed for the Photographer: Ordinary Americans and Fashion, 1540-1900. Kent, Ohio: Kent State University Press, 1995.
 * Shep, R. L. Corsets: A Visual History. Mendocino, Calif.: R. L. Shep, 1993.
 * Sibson, Francis. On the Mechanism of Respiration. London: R. & J. E. Taylor, 1846.
 * Sigourney, Mrs. L. H. "On Health - to Mothers." The Mother's Book, August 1838, 189.
 * Simon, Marie. Les Dessous: Les Carnets de la mode. Paris: Chêne-Hachette, 1998.
 * Singer, Sydney Ross, and Soma Grismaijer. Dressed to Kill: The Link Between Breast Cancer and Bras. Garden City, N.Y : Avery, 1995.
 * Singh, Devendra. "Adaptive Significance of Female Physical Attractiveness: Role of Waist-to-Hip Ratio." Journal of Personality and Social Psychology 65, no. 2 (1993), 293-307.
 * Singh, Devendra and Suwardi Luis. "Ethnic and Gender Consensus for the Effect of Waist-to-Hip Ratio on judgement of Women's Attractiveness." Human Nature 6, no. I (1995), 51-65.
 * Singh, Devendra and Robert K. Young. "Body Weight, Waist-to-Hip Ratio, Breasts, and Hips: Role in Judgements of Female Attractiveness and Desireability for Relationships:" Ethnology and Sociobiology 16 (1995), 483-507.
 * Smith, Hugh, M.D. Letters to Married Ladies, to Which Is Added a Letter on Corsets, by an American Physician. New York: E. Bliss and E. White, 1827.
 * Smith, W. Wilberforce, M.D. "Corset Wearing: The Medical Side of the Attack." Aglaia, July, 1893, 7, and Spring, 1894, 31-5.
 * Smith, W. Wilberforce, M.D. "On the Alleged Differences between Male and Female Respiratory Movements." British Medical Journal (October 11, 1890).
 * Soemmerring, Samuel Thomas von. Über die Wirkungen der Schnürbruste. Berlin, 1793.
 * Sorge, Lynn. "Eighteenth-Century Stays: Their Origins and Creators." Costume 32 (1998), 18-32.
 * Stables, Gordon, M.D. The Girl's Own Book of Health and Beauty. London: Jarrold, 1892.
 * Stanton, Domna. The Aristocrat as Art: A Study of the Honnête Homme and the Dandy in Seventeenth- and Nineteenth-Century French Literature. New York: Columbia University Press, 1980.
 * Steele, Frances Mary, and Elizabeth Livingston Steele Adams. Beauty of Form and Grace of Vesture. London: B. F Stevens, 1892.
 * Steele, Valerie. Fashion and Eroticism: Ideals of Feminine Beauty from the Victorian Era to the jazz Age. Oxford and New York: Oxford University Press, 1985. 1996.
 * Steele, Valerie. Fetish: Fashion, Sex, and Power. Oxford and New York: Oxford University Press,
 * Steele, Valerie. "Le Corset: A Material Culture Analysis of a Deluxe French Book." Yale Journal of Criticism 11, no. 1 (1998), 29--38.
 * Stewart, Mary Lynn. For Health and Beauty: Physical Culture for Frenchwomen, 1880s-1930s. Baltimore and London: Johns Hopkins University Press, 2001.
 * Stratz, Christian. Die Frauenkleidung und ihre naturliche Entwicklung. Stuttgart, 1900.
 * Summers, Leigh. "The Sexual Politics of Corsetry, 1850-1900." Ph.d. diss., University of Melbourne, I999.

T

 * Taliaferro, V H. "The Corset in Its Relations to Uterine Disease." Atlanta Medical and Surgical Journal 10 (1873), 683-93.
 * Tillotson, Mary E. Progress Versus Fashion. Vineland, New Jersey, 1873.
 * Tramar, La Comtesse de [Marie-Fanny de Lagarrigue, Baronne d'Ysarn de Capdeville, Marquise de Villefort] . Le Bréviaire de la femme: Pratiques secretes de la beauté. Paris: Victor Havard, 1903.
 * Treves, Frederick, F.R.C.S. The Dress of the Period in Its Relation to Health. London: Allman & Son, for the National Health Society, n.d. [1882].

U

 * Uzanne, Octave. L'Art et les art ifices de la beauté. Paris: F Juven, 1902.

V

 * Valverde, Mariana. "The Love of Finery: Fashion and the Fallen Woman in the Nineteenth-Century Social Discourse." Victorian Studies (Winter, 1989), 169-89.
 * Vigarello, Georges. "The Upward Training of the Body from the Age of Chivalry to Courtly Civility." In Fragments for a History of the Human Body, Part Two. Zone 4, ed. Michel Feher with Ramona Naddaff and Nadia Tazi. New York: Urzone, 1989.
 * Viterbo, Georges. "Corset et féminisme: " Les Dessous Elégants, September 1904, 155-6.
 * Viterbo, Georges. "Les Corset-ceintures pour hommes." Les Dessous Elégants, August 1904, 138-9.

W

 * W. B. L. [William Barry Lord]. The Corset and the Crinoline. London: Ward, Lock and Tyler, n.d. [1868]. Repr. as The Freaks of Fashion. London: Ward, Lock and Tyler, 1871.
 * Walker, Mrs. A. Female Beauty, as Preserved and Improved by Regimen, Cleanliness and Dress. London: Thomas Hust, 1837.
 * Waugh, Norah. Corsets and Crinolines. London: Batsford, 1954-
 * Welch, Margaret. "Corsets Past and Present." Harper's Bazaar, September 1901, 450-54.
 * Witkowski, Dr. G. J. Anecdotes historiques et réligieuses sur les seins et l'aillaitement comprenant l'histoire du décolletage et du corset. Paris: A. Maloine, 1889.
 * Wood-Allen, Mrs. Mary, M.D. What a Young Woman Ought to Know. New rev ed. Self and Sex Series. Philadelphia: Vir Publishing, [1899] 1913 -
 * Woolson, Abba Gould, ed. Dress Reform: A Series of Lectures Delivered in Boston, on Dress as It Affects the Health of Women. Boston: Roberts Brothers, 1874.

Z

 * Zilliacus, Benedict. The Corset. Trans. Fred A. Brewster. Helsinki: Frencskellska Try Okeri Ab, 1963. ASIN B0007JY0HS

Periodicals

 * The Corset and Underwear Review
 * Les Dessous Eléegants
 * Englishwomen's Domestic Magazine
 * The Family Doctor
 * Hygeia. "Does Tight-Lacing Really Exist?" The Family Doctor, September 3, 1887.
 * "Tight-Lacing in Brighton and Parisian Schools." The Family Doctor, December 24, 1887.
 * Figaro-Modes
 * The Gentlewoman
 * Harper's Bazaar
 * Harper's and Queen
 * journal des Dames et des Modes
 * The Lady's Magazine
 * The Lady's Realm
 * The Lancet
 * Anonymous. "Tight-Lacing Again." The Lancet, January 10, 1880, 75.
 * Anonymous. "Tight-Lacing." The Lancet, June 6, 1868, 729-30.
 * Anonymous. "Tight-Lacing." The Lancet, May 28, 1881, 877.
 * Anonymous. "Corsets and Tight Lacing:" The Lancet, June 25, 1887.
 * Anonymous. "Death from Tight Lacing." The Lancet, May 23, 1869, 675.
 * Anonymous. "The Effects of Tight Clothing." The Lancet, August 3, 1889, 23
 * Life
 * Punch
 * The Queen
 * Rational Dress Society's Gazette
 * Society
 * Sylvia's Home Journal
 * La Vie Parisienne
 * Vogue

title: Corset/Bibliography/Old English


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Jet Propulsion/Velocity diagrams

A velocity diagram for a blade row describes the velocity changes of the fluid as it passes through the row.

The blade velocity is shown in blue. The incident flow shown in green is axial and the relative velocity to the blades is shown by vector addition of the blade and fluid velocities. The blade turns the flow through an angle but leaves the axial velocity unchanged, resulting in a higher total velocity. Subtracting the blade velocity from the exit relative velocity shown in orange gives the exit actual velocity.

This blade row then causes an increase in fluid velocity and an increase in energy, hence it is a compressor rotor. For a turbine rotor the situation at the exit and entrance would be reversed and energy would be extracted from the fluid by the blade row.

For stators the blade velocity is zero, and hence no energy is added or subtracted from the fluid under ideal conditions.

title: Jet Propulsion/Velocity diagrams


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Cookbook:Latte di Suocera (Lemon Cream Liqueur)

Latte di suocera, translated as mother-in-law's milk, is an Italian alcoholic beverage. La suocera (the mother-in-law) is as proverbial in Italy as she is anywhere else, and Italians (especially daughters-in-law) have come up with all sorts of ways to keep them content (one of the most popular items in candy stands at fairs is addormenta suocere, candied nuts that supposedly send mothers-in-law off into a deep sleep). Latte di suocera makes for a nice after dinner drink and will also work very well over vanilla ice cream.

Ingredients

 * 1 ⅛ pounds (500 g / 2 ⅛ cups) white granulated sugar
 * 1 pint (568 ml) whole milk
 * 1 pint (568 ml) grain alcohol
 * Grated zest of an organically-grown lemon
 * ½ vanilla bean, split lengthwise

Procedure

 * 1) Combine all the ingredients in a wide-mouthed jar, and screw the lid on tightly.
 * 2) Shake well, and place the jar in a cool, dark place.
 * 3) Shake once a day for 8 days.
 * 4) Filter the liquid and bottle it.
 * 5) Stopper the bottle, put it in a cool dark place, and let it rest for a month before serving.


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Wikijunior:Solar System/Uranus/Titania

Titania is the largest moon of the planet Uranus. The closest view we have of this moon came in 1986 when the Voyager 2 spacecraft flew by Uranus.

How big is Titania?
This moon is 1,578 km wide (981 miles). Titania is less than half the size of the Earth's moon. The total surface area of this moon is only a little larger than the area of Australia.

What is the surface like?
The surface of Titania is barren and there is no atmosphere. The ground on the surface is covered by dirty ice that has been mixed with rock. There are many craters which are formed when a rock from space collides with the moon, leaving a bright white patch surrounding the hole. Near the top of this moon is a large crater that has a double ring.

There are also long valleys on the surface that were formed when the interior heated up and expanded. This left what are called rifts in the surface. The longest of these valleys runs for a distance of about 1,000 km.

How long is a day on Titania?
It takes 8.71 Earth days for Titania to complete one full rotation. That is about 8 days and 17 hours.

How long is its orbit around Uranus?
Titania completes one full orbit around Uranus each day. That orbit takes 9991 Earth days to finish. Titania is tidally locked, meaning it always keeps the same side facing toward Uranus. This is very similar to how our Moon always keeps the same side facing the Earth.

What is it made of?
Nearly half of the moon is made of frozen water. The rest is rock and a mixture of frozen gas.

How much would Titania's gravity pull on me?
Newtons describe how hard gravity is pulling you down. On Earth, if you weigh 51 kilograms or 112 pounds, your weight is 500 newtons. We only use newtons for some special purposes, when we are really interested in how hard we push down on something because gravity is pulling us.

Your weight in newtons would be less on Titania, only about one twenty-sixth of what it is on Earth. To find your weight in newtons as you stand on Titania, just take your weight on Earth, and if that weight is in kilograms, multiply it by 3/8. If that weight is in pounds, divide it by 6 to get newtons. But then you'll have to add in the weight of your spacesuit as well, because that is pressing down on the surface just like you are.

Who is it named after?
The English poet and play author William Shakespeare once wrote a play called a Midsummer-Night's Dream. In this play there was a mythical woman named Titania who was the wife of Oberon and was also the Queen of the Faeries. Uranus also has a moon called Oberon which was named after Titania's husband.

The name of this moon is similar to Saturn's moon Titan. However Titan was named after a race of giants from Greek mythology.

How was it discovered?
This moon was discovered in 1787 by the English astronomer Sir William Herschel. This man also discovered Uranus and its moon Oberon. The name for this moon was suggested by Sir Herschel's son, John Herschel, in 1852.

Wikijunior Sonnensystem/ Uranus/ Titania

title: Wikijunior:Solar System/Uranus/Titania


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Guide to Social Activity/Stubborn Difficulties

"I think I'm ugly"
In as much as there is an objective element to attractiveness, this may well be the case. Remember, however, these five important principles:
 * There is a very large subjective element to attractiveness as well.
 * Physical attractiveness is not the only aspect of you that a guy cares about.
 * Goodness beautifies a person. A joyful countenance, an upbeat and outgoing personality, and a mind or heart that are genuinely engaged or concerned with or about other things and people, will make you more attractive.
 * Take care of your appearance. Make the best of what you've got. Perhaps you aren't Sophie Marceau, but by being disciplined in 'doing the basics' (washing, brushing and deodourising), you can make an improvement.
 * Bide your time. Strange though it may seem, and contrary to the popular contemporary media, women often get more attractive with age.

"No one would approve"
If your society, friends or family won't approve then the following advice might help:
 * Decide on the morality of your move. If you are offending some higher law, then suffer in silence and wait another spring.
 * Grasp the thorn. Let those that disapprove know first. Don't go behind folks backs. Don't ask for advice if you're not prepared for it.
 * Listen to them. Maybe he is a waste of time, abusive or capricious. Does their point of view ring true?
 * Cool off. Sometimes family approval just takes time. Are you prepared to outwait those who object? Are you prepared to take the time to see what truth there is in their opinions.
 * Make your position clear. Stand your ground. Your beloved, if he is true, will hurt as much as you do; but be prepared for the consequences. See en:w:Romeo and Julliet!
 * And if he really means all that to you: elope.

"He just doesn't notice me"

 * This isn't necessarily true. He might be as nervous as you are.
 * Also, he might have a reason not to notice you (is he in a relationship?)


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Cookbook:Beef Heart Kabobs (Anticuchos)

| Cuisine of Peru

Peruvian anticuchos are a type of grilled skewered meat, often made with beef heart. The dish is one of the most popular in Peru, and it is often sold by street vendors and accompanied by corn-on-the-cob and portions of cold boiled potato with a spot of chili sauce. Those whose tastes do not extend to trying beef heart may substitute any good cut of red meat, though this is not the authentic Peruvian style.

Ingredients

 * 1 beef heart
 * 2 cloves of garlic
 * ¼ cup of ground spicy red chili
 * 2 cups of brown vinegar
 * 1 teaspoon of ground cumin
 * 1 teaspoon of achiote (annatto)
 * 1 teaspoon of salt
 * 1 teaspoon of ground black pepper

Procedure

 * 1) Place all the above ingredients, other than the heart, in a bowl and mix thoroughly.
 * 2) Clean the heart, removing all fat. Cut into bite-sized cubes. Place the heart pieces into the marinade mixture, and leave to marinate for about 10 hours or overnight. The heart should be completely covered by the marinade.
 * 3) After marinating, thread the meat onto skewers. If desired, at this stage some additional ingredients such as bell peppers (capsicum) or corn-on-cob (cut to a similar size to the heart) may be also added to the skewers.
 * 4) Cook the skewers on a barbecue grill, turning frequently while brushing with the marinade mix. When the meat is well done, remove skewers from grill and serve immediately.

Artes culinarias/Recetas/Anticucho

title: Cookbook:Beef Heart Kabobs (Anticuchos)