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IB English/Commentary

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How to write a Poetry Commentary
In order to write a IB Paper 1 commentary, the following guidelines must be followed. For the IB commentary, you are expected to explain a given poem or prose. While it is not to be confused with a detailed explanation as you might expect in college which would be anywhere from 5-15 pages in length, the commentary is less formulaic and structured than the World Literature papers, but at the same time, it adheres to formal standard English.

There are several disagreements as to what constitutes a commentary. Some hold that by nature, it is not formal--it can be a running "commentary"(hence the term, "commentary") of what the examinee sees in a given poem. Though this approach runs the risk of seeming like a literary version of a grocery list, as long as the examinee sees some overarching, organizing method--an idea, concept, or literary device that the poet uses to hold the poem together cohesively--the commentary need not be as tightly formulaic as the five paragraph thesis paper (which is generally despised in most circles because it discourages divergent thinking).

Others say that this organic approach makes it impossible to surmise any actual literary analysis. A beginning "thesis" of the poem's focus, followed by organizing the analysis into patterns, strands, or organizational groups, makes it easy to follow a persuasive, holistic presentation.

All agree, however, on the paramount importance of framing one's literary analysis within the terms and devices of poetry; one must both identify literary elements, analyze its purpose and effect, and speak intelligently as to tone, diction, structure, mood, and form.

Below are some literary devices to get you started.
 * Accent: refers to the stressed portion of a word. An accent is used to place emphasis on a word. '''
 * Note''': accent and stress can be used interchangeably.
 * Allegory: A description that has a second, usually moral meaning.
 * Alliteration: is the repetition of initial (at the beginning) CONSONANT sounds (if it's a vowel repetition, you would call it assonance. Assonance includes any repetition of a vowel sound in any part of the word. It usually occurs in the middle of words).
 * Allusion: refers to an event from an external content. It is understandable only to those with prior knowledge of the reference in question (as the writer assumes the reader has).
 *  Apostrophe: Something that addresses an object or person or idea who is not present as though he/she/it could reply.
 * Antithesis: The juxtaposition of contrasting words or ideas to create a feeling of balance (e.g Too black for heaven, and yet too white for hell)
 * Assonance: The repetition of vowel sounds may also add to euphony.
 * Aubade: Poetry referring to either the dawn, a love song or about parting lovers.
 * Ballad: A form of poetry in a specific meter meant to be sung. There is always a repeating refrain and it is always narrative in form. See below for more information.
 * Blank verse: Iambic Pentameter that doesn't rhyme. (Much of Shakespeare's plays for example were written in blank verse.)
 * Caesura: A cut or break in a line, could be a comma or a semicolon.
 * Cacophony: Harsh sounding and generally unpleasant.
 * Consonance: The repetition of consonant sounds NOT in the beginning of a word (which would be alliteration). Enforces relation.
 * Continuous Form: Lines follow each other without any type of structural organization except by blocks of meaning.
 * Didactic Poetry: Poetry with a directly morally teaching purpose.
 * Ethos: the validity of the source or narrator/ speaker.
 * Euphony: Pleasant sounding.
 * Extended Figure: An apostrophe, simile, metaphor, etc. which is developed throughout a poem.
 * Imagery: Language which appeals to each of the five senses.
 * Visual imagery: Sight. The most frequent type.
 * Aural or auditory imagery: Sound.
 * Olfactory imagery: Smell.
 * Gustatory imagery: Taste.
 * Tactile imagery: Touch, tangibility.
 * Organic imagery: Human sensations, hunger for example.
 * Irony: Dramatic or otherwise, conveying an aspect that is intrinsically unexpected or self-contradictory.
 * Metaphor: A comparison between two unlike things without using the words "like" or "as".
 * Onomatopoeia: Words which are written to mimic a sound. (SHAZAM! SPLAT! PLOP!)
 * Paradox: A statement which appears to contradict itself but makes sense (usually in an abstract sense).
 * Personification: Animals and inanimate objects are given human characteristics.
 * Phonetic Intensive: A word whose sound emphasizes its meaning.
 * Prose: Language which is not in meter.
 * Refrain: A repeated line, phrase, sentence, etc. which appears throughout a poem.
 * Rhetorical Poetry: Poetry written in superfluous language with the intention of being overdramatic.
 * Scansion: The process of measuring verse.
 * Simile: The comparison of two subjects using "like" or "as" or something similar
 * Sonnet: See link.
 * Tone: The writer's attitude toward the subject.

Advanced Vocabulary for the Daring
 * Anaphora: Repetition of the same word or words from the beginning of sentences, lines, or phrases.
 * Ars Poetica: A poem about poetry
 * Conceit: The comparison of two dissimilar things. "Shall I compare thee to a summer's day"
 * Dramatic monologue: Narrator speaks to himself. The speaker is not the author.
 * Epiphany: A realization or comprehension of the essence of something.
 * Feminine Rhyme: Two syllable (Disyllabic) rhyme consisting of stressed syllable followed by unstressed
 * Incantation: Use of words to create an archaic effect. (Opening scene of Macbeth and the Weird Sisters)
 * Incremental repetition: Repetition of succeeding stanzas with small substitutions of changes.
 * Masculine rhyme: Monosyllabic rhymes.
 * Metonymy: Substitutes the name of one thing with something closely associated with it.
 * Synecdoche: Substitutes a part of one thing to represent the whole, or vice versa.
 * Pathetic fallacy: A reflection of the action/events through nature/weather. (A thunderstorm during the creation of Frankenstein's monster sequence)
 * Persona: The character created by the narrator.
 * Synaesthesia: A blending of sensations.
 * Trope: A way of extending the meanings of words beyond the literal.

Types of Poems

 * Alexandrine: Twelve-syllable poetic line of French origin.
 * Couplet: A poem or section consisting of two successive lines, usually rhyming and having the same meter and often forming a complete thought.
 * Elegy: A poem of loss and consolation.
 * Panegyric: Praise for an individual, a group of people, or a body.
 * Sonnet: A poem of fourteen lines, usually following a strict rhyme scheme/structure.
 * Stichic: A poem which is a continuous sequence of lines without any division into stanzas.
 * Villanelle: 19 lines divided into 6 stanzas 5 of 3 and 1 of 4.
 * Apostrophe: A poem directed to a person or thing not present/alive.
 * ballads:

Step 1: Reading the Poem

 * Read the poem silently once. Take a mental note or actually write down if you can't remember any impressions, emotions, or confusions the poem may originally stir.
 * Read the poem once more; try to understand its meaning or the course of events it may describe.
 * Read the poem aloud if possible. If you're in an exam room you can read the poem under your breath. Take note of the tone and speed of the poem.
 * Read the poem again and take notes about the literal and figurative context of the poem. This should include its meaning on the literal level and any figurative meanings it may include.
 * Read the poem again, this time looking for literary devices. These should be, but not limited to:
 * Imagery
 * Assonance
 * Consonance
 * Onomatopoeia and Phonetic Intensive words
 * Metaphors, Similes, and Personifications.
 * Juxtaposition and Contrast
 * Once you're sure you've found these literary devices, proceed to look further for:
 * What does the title suggest- is it related to our understanding of the poem?
 * Note: Compare your first impression of the title to its actual meaning.
 * Does the poem have an apostrophe?
 * Are sections cacophonic or euphonic? If so, do the previous literature features make them so?
 * Is there any irony?
 * Does the poem have an extensive figure?
 * Is there a refrain?
 * Next, once you've gone through the poem's meaning and its literary devices- it's time to look for form!
 * Note: Knowing a poem's scansion is not necessarily required. You don't need to state this poem is written in dactylic hectometre, but it’s pretty obvious if a poem is written in iambic pentameter and counting meter isn't too difficult.
 * Is the poem in a continuous form, a stanzaic form, or a fixed form? (Such as a Ballad or a Sonnet)
 * Take note of the poem's structure- how many stanzas, how many lines, etc.
 * Make extra note of the author's tone and how this influences the poem.

Step 2: Looking for Detail

 * Now that you've found the poem's literal and figurative meanings, its form, and its literary devices - it's time to get to work!
 * Make connections - in what ways do the poem's literary devices add to the poem's meaning?
 * What effect does the writer's tone have on the reader's perception of the poem?
 * What effect does meter and form have on meaning?

An excellent way of keeping your entire commentary in focus is, asking yourself these simple yet significant questions:

1) What's being said (content, maybe theme, character, ideas, relationships, love, peace etc.)

2) How is it being said (stylistic devices, rhyme, structure, diction, etc.)

3) So What? (I.e. for what ends, purposes, extrapolation chances, personal connection and response, etc.)

Remember it's not a grocery list of memorized terms- barfed out in a time period of 2 hours. It is supposed to be an intricate and insightful response to what you as a reader, understand from the text, the author's intended message. The planning phase is perhaps the most important, even more important than the writing phase (which comes naturally succeeding it, if planning goes well the written should be equally responsive).

Step 3: Structuring your Commentary

 * There is no definitive structure to a poetry commentary; this isn't like writing a history essay. However, structure is an important aspect in writing a poem commentary and you can prepare yourself in advance by having some notion of the order in which you will write. Here is an example of a possible essay structure:
 * Note: Everyone is different, if you want to write your poetry commentary in a different form, by all means do so- this is merely a suggestion aimed at guiding your writing.

 * Introduction
 * State the poem's title, author, and a small introduction to the poem's overall literal meaning.
 * State the poem's form, and any important literary devices which appear throughout it.
 * Write about an important aspect of the poem which you will further discuss in your wildcard paragraph and eventually conclude in your last paragraph.

 * Paragraph One: Structure and Narration
 * Briefly mention the poem's structure. Make note of the use of Enjambment or the juxtaposition of words.
 * Write about the poem's meter and its speed.
 * Make note of the poem's speaker (do not use narrator) and his/her tone.

 * Paragraph Two: Meaning
 * State the poem's literal meaning.
 * State the poem's figurative meaning.

 * Paragraph Three: Devices
 * Write about the poem's literary devices.
 * Write about important themes present in the poem.

 * Paragraph Four: Combine
 * Write how literary devices and meaning interconnect.
 * This paragraph should begin to bring things together.

 * Paragraph Five: The Wild Card
 * Introduce an important theme or aspect of the poem in great detail. This could be a refrain, an extended figure or an apostrophe.

 * Conclusion
 * The conclusion should combine the Wild Card with the above paragraphs. In this case, one could talk about how literary devices or the poem's structure aid in supporting an extended figure.

Here is another suggestion for a structure which requires about 10-15 minutes of planning, but is still just as efficient-
 * Introduction
 * State the poem's title, author, and a small introduction to the poem's overall literal meaning.
 * If any, state the relevance of the background of the author (i.e. their philosophies, causes, a message..)
 * Construct a 'map' to your answer. Concisely, write one sentence on each idea that will be put forth in the essay

 * Paragraph One: Idea One
 * Use PETER
 * Point: State the point you are trying to prove, e.g. The conflict in the extract symbolizes change
 * Evidence: Give evidence for the conflict by quoting
 * Technique: State the literary features
 * Elaboration: Develop your point further and give a deeper explanation on your point. Also state the reason for the point that the author was trying to make, or the reason for which the literary feature was used
 * Response: Describe the emotions or ideas evoked into the reader, if any

 * Paragraph Two: Idea Two
 * e.g. Point: The first person narrative is used to gain empathy from the reader.
 * (Follow the same pattern as used for the first idea)

(An ideal commentary has 3-5 ideas. Remember to focus more on developing the ideas than to have more of them. 3 well developed ideas will fetch more marks than 6 baseless points.)

 * Conclusion
 * (Off record: One must realize that a conclusion is usually just the introduction which is paraphrased with a more conclusive tone and possibly a fact or two more!)
 * The conclusion must contain a brief summation of all the points you have made and why were they the most important. It could also include some personal interpretation that you are not confident about adding in the body of your essay.

Step 4: Example Commentary
- Confused? Don't be! Here everything will be made clear as together we'll decipher a poem. Our poem of choice is The Daffodils by William Wordsworth.

I wandered lonely as a cloud
 * That floats on high o'er vales and hills,

When all at once I saw a crowd,
 * A host, of golden daffodils;

Beside the lake, beneath the trees,

Fluttering and dancing in the breeze.

Continuous as the stars that shine
 * And twinkle on the Milky Way,

They stretched in never-ending line
 * Along the margin of a bay:

Ten thousand saw I at a glance,

Tossing their heads in sprightly dance.

The waves beside them danced, but they
 * Out-did the sparkling waves in glee:

A Poet could not but be gay,
 * In such a jocund company:

I gazed--and gazed--but little thought

What wealth the show to me had brought:

For oft, when on my couch I lie
 * In vacant or in pensive mood,

They flash upon that inward eye
 * Which is the bliss of solitude;

And then my heart with pleasure fills,

And dances with the daffodils.

 * Try to do it by yourself first- even if roughly.

 * Ready?
 * First impression: The poem is extremely euphonic and uses quite a bit of pleasant imagery. When spoken, it rolls off the tongue naturally. This reinforces the poem's joyful tone which proceeds through out the poem except for momentarily in the fourth stanza where the first two lines are cacophonic. The poem deals with an extended figure which may be considered an apostrophe.

 * Structure: The poem is in a stanzaic form of four stanzas of six lines each. The rhyming scheme alternates at first, ABAB, but ends in a rhyming couplet CC which adds to the euphony of the poem and the ease at which it's spoken. The lines are in iambic tetrameter.
 * Note: Meter can be found by counting the syllables in each line and simply dividing them by two. If this is the same for each line, then the poem is written in a specific meter.
 * Speaker: The speaker is obviously the poet himself. By sharing his own first experiences with such a crowd of daffodils the reader gains the same first impressions.
 * Literal Meaning: The poet recalls his first experience of seeing such a wondrous crowd of daffodils beside a bay. The blowing wind moves them in an awesome formation, a spectacle of nature of which the poet remembers in order to lift his spirits.
 * Figurative Meaning: Everyone has had their good experiences in life. Perhaps it's the sensation of getting a new dog or seeing a beautiful bird take flight. It's important for us to remember those experiences, in times when we are down.

 * Imagery: Lots of visual imagery
 * "Golden daffodils" (4)
 * "Sparkling waves" (14)
 * "stars that shine / and twinkle on the milky way" (7-8)
 * Kinesthetic imagery
 * "Fluttering and dancing in the breeze" (6)
 * "Tossing their heads in sprightly dance" (12)
 * "The waves beside them danced" (13)
 * Metaphors and Similes
 * "I wandered lonely as a cloud" (1)
 * "Continuous as the stars" (7)
 * Personification of the Daffodils
 * I saw a crowd / a host, of golden daffodils (3-4)
 * Tossing their heads in sprightly dance (12)
 * In such a jocund company (16)
 * Assonance
 * A host of golden daffodils (3)
 * Beside the lake, beneath the trees (6)
 * For oft when on my couch (19)
 * heart with pleasures fills (23)
 * Alliteration
 * Beside... beneath... breeze (5-6)
 * stars...stretch...shine (7-8)
 * glee...gay...gazed...gazed (13-15)
 * Repetition:
 * Dance (6), (12), (13), (24)
 * Gazed (15)

 * Wildcard: Importance of the Speaker
 * The speaker shows a great tranquility and appreciation of nature. The juxtaposition of the first two lines of the last paragraph with the rest of the poem and the use of the word "couch" suggest unhappiness with the material surroundings.

 * Great! Now that we've written down the basic aspects of the poem- it's time for us to connect their meanings and effects!

The Commentary

"The Daffodils" by William Wordsworth describes the poet's sight of a spectacular field of daffodils situated by a bay. He uses worldly imagery to magnify such a small feat of nature in an attempt to demonstrate how both nature and memories are important in dealing with many of the woes of a modern society. The personified daffodils are the center of the poem which is written in a stanzaic form with a consistent rhyming scheme. Through the use of literary devices and intensive visual and kinesthetic imagery, the reader is able to adopt the same feeling of awe at this simplistic spectacle as once felt by the poet.

The poem is written in stanzaic form of four stanzas each consisting of six lines with each line written in iambic tetrameter. For the first four lines of each stanza, the rhyming scheme alternates as ABAB, but ends with a rhyming couplet. This stanzaic form serves to reinforce the poem's euphony, with the ending the consistent rhyming scheme serving to ensure that the poem progresses smoothly. Indeed, the structure of the poem may even serve to reflect the extended figure of the poem, for like the daffodils, we too are entranced by the product of its general simplicity. The poem is told through the eyes of the poet himself.

The poem describes in detail, a simplistic wonder of nature, a "crowd, / a host, of golden daffodils" (3-4) situated "along the margin of a bay" (10). The daffodils "dance" (6) and though not mentioned directly, this dance is most likely caused by the wind. The poet is amazed at two things, the sheer number of daffodils, comparing their numbers to the number of stars in "the milky way" (7) and the intricate dance that they produce. He then states that the waves of the lake also danced, most likely ripples once again caused by the wind, but the effect the wind had on the flowers "Out-did the sparkling waves in glee"(13). The sight was so beautiful that the poet "gazed and gazed" (17), clueless of the "wealth" (18) gained from the experience. From then on, when the Poet is in a "vacant mood" (20), he recalls this experience in his mind and his "heart [fills] with pleasures" (23) as he too "dances with the daffodils" (24).

(Note: this commentary isn't the best example... the use of the quotes at the end is exactly what IB doesn't want. Additionally it's far too short - a commentary should be about one thousand words. This commentary also do not develop a line of reasoning, and do not use sufficient reasoning and explanations to support the author's claim. Maybe try to write one yourself would be the best way to learn!)

Sources http://courses.durhamtech.edu/perkins/aris.html

title: IB English/Commentary


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Ada Programming/Tutorials

This page contains a list of other Ada tutorials on the Net.

 * 1) Ada Programming, available on Wikibooks, is based on the Ada 2005 standard and currently being updated to Ada 2012.
 * 2) Introduction to Ada at learn.adacore.com is an interactive web tutorial based on Ada 2012. It has editable and compilable examples.
 * 3) Lovelace is a free (no-charge), self-directed Ada 95 tutorial available on the World Wide Web (WWW). Lovelace assumes that the user already knows another algorithmic programming language, such as C, C++, or Pascal. Lovelace is interactive and contains many short sections, most of which end with a question to help ensure that users understand the material. Lovelace can be used directly from the WWW, downloaded, or run from CD-ROM. Lovelace was developed by David A. Wheeler.
 * 4) AdaTutor is an interactive Ada 95 tutorial that was distributed as a public-domain Ada program and has been converted to a web tutorial.
 * 5) The Ada-95: A guide for C and C++ programmers is a short hypertext tutorial for programmers who have a C or C++ style programming language background. It was written by Simon Johnston, with some additional text by Tucker Taft. PDF edition.
 * 6) Dale Stanbrough's Introduction is a set of notes that provide a simple introduction to Ada. This material has been used for a few years as a simple introduction to the language.
 * 7) Coronado Enterprises Ada 95 Tutorial: shareware edition.

|Tutorials

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

title: Ada Programming/Tutorials


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User talk:Nil Einne

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. Kellen T 15:22, 25 April 2006 (UTC)
 * Please also check out the Cookbook policy page and the Cookbook talk pages.

Yeah, I won't be replacing French units in recipes (please don't call them 'metric'; after all, the word just means 'measurement,' and any system could thus be called 'metric') anymore. I will be adding real units to them, though. Eadmund 00:44, 11 May 2006 (UTC)

title: User talk:Nil Einne


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User:Meghdut

Meghdut is Bangla Wordpress

title: User:Meghdut


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Radiation Oncology/Breast/Recurrence

Patterns of failure
General:
 *  Joint Center for Radiation Therapy (JCRT) (1968-85) - PMID 2033433, 1991 — "Regional nodal failure after conservative surgery and radiotherapy for early-stage breast carcinoma." Recht A et al. J Clin Oncol. 1991 Jun;9(6):988-96.
 * Retrospective. 1624 pts. Stage I-II treated with breast conserving therapy. Median f/u 77 months.
 * Regional nodal failure was first site of failure in 2.3%.
 * For pts undergoing axillary dissection and RT to the breast only: Axillary failure was 2.1% for those who were node negative and 2.1% for those with 1-3 positive nodes. Supraclavicular recurrence in 1.9% (N0) and 0% (1-3 LN).
 * For cN0 pts without axillary dissection treated with breast + axilla RT: Axillary failure 0.8% and supraclavicular failure 0.3%.
 * Salvage after failure: only 47% of pts achieved control after treatment for a nodal relapse.

Supraclavicular

 * Germany (1978-88) - PMID 8276654, 1994 — "The prognostic significance of the supraclavicular lymph node metastases in breast cancer patients." Kiricuta IC et al. Int J Radiat Oncol Biol Phys. 1994 Jan 15;28(2):387-93.
 * Retrospective. 21 pts with supraclav metastasis at diagnosis and 38 pts who developed supraclav mets after therapy. Compared with 20 pts with M1 disease at diagnosis and 278 pts who later developed distant mets.
 * Survival of pts with supraclav mets was similar to those with M1 disease. 2-yr and 5-yr OS was 52% and 34% with SCLV at diagnosis vs 50% and 16% with M1 disease at diagnosis.

After mastectomy:
 * PMID 3002595, 1986 — "The significance of supraclavicular fossa node recurrence after radical mastectomy." Fentiman IS et al. Cancer 1986 Mar 1;57(5):908-10.
 * 35 pts. Survival intermediate between single nodule and multiple nodule groups.

Prediction

 * 2006 NSABP PMID 16720680 -- Gene Expression and Benefit of Chemotherapy in Women With Node-Negative, Estrogen Receptor-Positive Breast Cancer. (Paik S, J Clin Oncol. 2006 May 23; [Epub ahead of print])
 * Prospective PCR gene-assay of 21 genes (RS score). Used 651 tissue blocks from NSABP-20 patients. 227 tamoxifen, 424 tamoxifen + chemotherapy. Patients ranked "low", "intermediate", or "high" for distant recurrence risk
 * High RS score: large benefit from chemotherapy, absolute decrease in 10-year recurrence rate 28%
 * Intermediate RS score: unclear benefit
 * Low RS score: no benefit from chemotherapy, absolute decrease in 10-year recurrence rate -1.1%
 * Conclusion: The RS assay not only quantifies the likelihood of breast cancer recurrence in women with node-negative, estrogen receptor-positive breast cancer, but also predicts the magnitude of chemotherapy benefit.

 * 2004 NSABP PMID 15591335 -- A multigene assay to predict recurrence of tamoxifen-treated, node-negative breast cancer. (Paik S, N Engl J Med. 2004 Dec 30;351(27):2817-26. Epub 2004 Dec 10.)
 * Prospective PCR gene-assay of 21 genes (RS score). Used 668 tissue blocks from NSABP-14 patients. BCA node-negative, on tamoxifen. Patients ranked "low", "intermediate", or "high" for distant recurrence risk
 * Patient proportions: low 51%, intermediate 22%, high 27%
 * 10-year recurrence rate: low 7%, intermediate 14%, high 30% (recurrence score independently predictive)
 * Conclusion: The recurrence score has been validated as quantifying the likelihood of distant recurrence in tamoxifen-treated patients with node-negative, estrogen-receptor-positive breast cancer.

Treatment

 * Limited data available
 * Probably reasonable to re-treat with 45-50 Gy, or if hyperthermia with 30-35 Gy

General:
 * Multi-Institutional; 2008 (1993-2005) PMID 17869019 -- "Multi-institutional review of repeat irradiation of chest wall and breast for recurrent breast cancer." (Wahl AO, Int J Radiat Oncol Biol Phys. 2008 Feb 1;70(2):477-84. Epub 2007 Sep 14.)
 * Retrospective. 8 institutions. 81 patients treated with repeat RT for breast/CW recurrence. Median dose first RT 60 Gy. Median dose second RT 48 Gy. Median interval 3.2 years. Most pts treated to the chest wall. Concurrent HT 54%, concurrent chemo 54%. Median F/U 1 years
 * 54 of 81 pts (or 2/3) had gross disease present.
 * Outcome: CR 57%; no variable predictive, but trend for hyperthermia benefit (67% vs. 39%, p=0.08). 1-yr local DFS 66% (median LDFS 31 m); DFS 53% for those with gross disease, 100% for no gross disease.
 * Toxicity: Late Grade 3/4 5%
 * Conclusion: Repeat RT to CW is feasible, acceptable toxicity, and encouraging response rates

 * Germany; 2002 (1987-96) - PMID 12153940 — "Radiotherapy in the treatment of locoregional relapses of breast cancer." Schuck A et al. Br J Radiol. 2002 Aug;75(896):663-9.
 * 5-yr OS 43%. Chest wall recurrences associated with improved survival.

Salvage Breast Conservation
There is a scant amount of published information on treatment of IBTR with salvage breast conserving surgery as opposed to salvage mastectomy, but SBCS is feasible in selected patients. There does not appear to be a loss of survival to those treated with SBCS, but they are at risk for continued local recurrences.

 * Yale; 2005 ( PMID 16199315 -- "Ipsilateral breast tumor recurrence after breast conservation therapy: outcomes of salvage mastectomy vs. salvage breast-conserving surgery and prognostic factors for salvage breast preservation." (Alpert TE, Int J Radiat Oncol Biol Phys. 2005 Nov 1;63(3):845-51.)
 * Retrospective. 146 pts with IBTR after BCS+RT. Of these, 30 refused mastectomy and opted for salvage breast-conserving surgery (SBCS); the other 116 underwent salvage mastectomy (SM). Of SM pts, 28 pts had multicentric disease (known prior to surgery by mammogram or PE).
 * Median f/u 13.8 yrs. OS 64.5% at 10 yrs overall (SM, 65.7%; SBCS, 58.0; NS). No difference in rate of DM (30%) between groups. Local recurrence: 19% (SBCS) vs 4% (SM).
 * Half of pts with BRCA1/2 mutations had multicentric disease at time of mastectomy.
 * Conclusion: Long-term survival is possible after IBTR. Salvage mastectomy represents the standard of care, but SBCS appears feasible in select pts (favorable biology). Survival does not appear to be compromised by SBCS. There does not appear to be a Pts with BRCA1/2 mutations are less appropriate for SBCS. Pts treated with SBCS are at continued risk for subsequent IBTR.

 * Marseille (France); 1988 (1963-86) PMID 3129175 Full text -- "Results of wide excision for mammary recurrence after breast-conserving therapy." (Kurtz JM, Cancer. 1988 May 15;61(10):1969-72.)
 * Retrospective. 118 pts treated with BCS+RT for breast cancer developed local recurrence. Of these, 52 pts with recurrences < 2cm (with no skin changes and no signs of rapid growth) were selected for salvage breast conserving surgery with wedge resection (+/- axillary dissection). 96% of these recurrences were near the original tumor (true recurrence).
 * Median 6 yrs. OS 79% at 5 yrs, 64% at 10 yrs (from date of 2nd surgery). DM in 27%. Freedom from breast recurrence 78%
 * Second local or regional recurrence in 23% (12 of 52; 10 - breast alone; 1 breast + nodes; 1 nodes only) at median interval 36 months. 10 of 12 second recurrences were operable
 * In 10 of 18 pts undergoing axillary dissection, positive nodes found.
 * Conclusion: wedge resection of small in-breast recurrence results in acceptable alternative to salvage mastectomy.

Supraclavicular node recurrence

 * MDACC; 2011 (1975-1994) PMID 21168284 -- "Long-term outcomes in patients with isolated supraclavicular nodal recurrence after mastectomy and doxorubicin-based chemotherapy for breast cancer." (Reddy JP, Int J Radiat Oncol Biol Phys. 2011 Aug 1;80(5):1453-7.)
 * 47 pts (treated prospectively on clinical trials) developed SCLV recurrence with or without other locoregional recurrence (but no DM). Compared outcomes with pts who had LRR not involving SCLV lymph nodes.
 * 3-yr DM-free survival 40% (SCLV) vs 54% (non-SCLV); OS 49% vs 69%; both SS.
 * Isolated SCLV recurrence: 23 pts had isolated SCLV recurrence. Overall survival was similar to those with isolated CW recurrence. 5-yr OS 25%.
 * Conclusion: "Although breast cancer recurrence with SCV involvement carries a high risk of distant metastasis and death, among women with recurrence limited to the SCV alone, overall survival after isolated SCV recurrence can be long (25% >5 years)."

 * Italy - PMID 16446058, 2006 (1995-2002)"Prospective multicenter study of combined treatment with chemotherapy and radiotherapy in breast cancer women with the rare clinical scenario of ipsilateral supraclavicular node recurrence without distant metastases." Pergolizzi S et al. Int J Radiat Oncol Biol Phys. 2006 May 1;65(1):25-32.
 * Prospective, non-randomized. 44 pts. Treated with doxorubicin or taxol based chemo x 6 courses and RT to 60 Gy to "involved field." RT given between 3rd and 4th cycles of chemo.
 * Overall response 94.9%. Median TTF 28 months and MS 40 months. 5-yr OS 35% and DFS 20%.

 * Netherlands, 2003 (1984-94) - PMID 12833449 — "Detection, treatment, and outcome of isolated supraclavicular recurrence in 42 patients with invasive breast carcinoma." Van der Sangen MJ et al. Cancer. 2003 Jul 1;98(1):11-7.
 * 42 pts with isolated SCLV failure after axillary dissection. Treated with various modalities
 * CR achieved in 83%, but of these 34% developed a second SCLV relapse. 5-yr OS (based on date of sclv recurrence) was 38%.

Hyperthermia

 * ''Please also see the main hyperthermia page

 * Duke (1994-2001) -- RT +/- hyperthermia
 * Randomized. 109 patients with superficial tumors (<= 3cm depth); breast 65%, H&N 13%, melanoma 10%. Tumors had to be "heatable" on initial HT. Arm 1) RT alone vs. Arm 2) RT + HT. Hyperthermia to >43C x1 hour, 2x/week. RT dose 30-60 Gy if previous RT, otherwise 60-70 Gy in 1.8-2.0 Gy/fx
 * 2005 PMID 15860867 -- "Randomized trial of hyperthermia and radiation for superficial tumors." (Jones EL, J Clin Oncol. 2005 May 1;23(13):3079-85.)
 * Outcome: CR RT 42% vs. RT+HT 66% (SS). Patients with prior RT had most benefit (68% vs. 23%, SS)
 * Toxicity: Well tolerated, 1 Grade III thermal burn
 * Conclusion: Significant local control benefit for HT

 * International Collaborative Hyperthermia Group (1988-1991) -- combined results from 5 PIII trials
 * Randomized. 5 trials merged due to slow accrual, closed early after benefit. 306 patients. Advanced primary or recurrent BCA; 50% active disease outside treatment area. Could have had prior RT. Trials: Dutch Hyperthermia Group (DHG), Medical Research Council (MRC BrI and BrR), European Society of Hyperthermic Oncology (ESHO), and Princes Margaret (PMH). Target hyperthermia 43C. RT given in various fractions.
 * 1996 PMID 8690639 -- "Radiotherapy with or without hyperthermia in the treatment of superficial localized breast cancer: results from five randomized controlled trials. International Collaborative Hyperthermia Group." (Vernon CC, Int J Radiat Oncol Biol Phys. 1996 Jul 1;35(4):731-44.)
 * Outcome: CR RT 41% vs. RT+HT 59% (SS); greatest effect in recurrent lesions in previous RT, where re-irradiation dose was low. 2-year OS ~40% (NS), 74% patients progressed outside HT area during follow-up
 * Conclusion: Combined result demonstrated efficacy of hyperthermia as adjunct to RT for treatment of recurrence

 * Wisconsin; 1991 (1981-1989) PMID 2000551 -- "Hyperthermia and irradiation for locally recurrent previously irradiated breast cancer." (Phromratanapongse P, Strahlenther Onkol. 1991 Feb;167(2):93-7.)
 * Retrospective. 44 patients, locally recurrent previously RT BCA. RT mean 30 Gy (16-56). Hyperthermia goal 43 C for 60 min.
 * Outcome: CR 41%, PR 23%, NR 36%; small tumor s(<= 6cm2) significantly better CR 65% vs. 26%); higher thermal dose (> 50 tumor-minutes at 42.5C) better 53% vs. 14%
 * Conclusion: Higher thermal doses and smaller tumors associated with more favorable response

 * Henry Ford; 1989 (1984-1987) PMID 2642537 -- "Local superficial hyperthermia in combination with low-dose radiation therapy for palliation of locally recurrent breast carcinoma." (Dragovic J, J Clin Oncol. 1989 Jan;7(1):30-5.)
 * Retrospective. 30 patients with locally recurrent BCA (28 prior RT, median dose 50 Gy). RT 32/8 given BIW 4 Gy/fx. HT immediately after RT, goal 43 C for 60 minutes
 * Outcome: CR 57%, PR 36%. Long-term local control 80%. Lesions <5 cm significantly more likely to respond
 * Toxicity: 30% persistent non-healing ulcer (in 80% associated with persistent tumor)
 * Conclusion: Palliative RT + hyperthermia in previously treated CW has value

Systemic therapy

 * CALOR Trial (Chemotherapy as Adjuvant for LOcally Recurrent Breast Cancer; IBCSG 27-02 / BIG 1-02 / NSABP B-37) (closed 2010)
 * 2012 Abstract: San Antonio Breast Cancer Symposium (Dec 2012), Abstract #S3-2. "Chemotherapy prolongs survival for isolated local or regional recurrence of breast cancer: The CALOR trial" (Aebi S).
 * Trial schema Slide presentation Press Release
 * Locoregional recurrence of breast cancer, radically resected (R0 or R1) +/- RT. Can involve breast, chest wall / scar, axillary nodes, IM nodes. No SCLV involvement. Pts randomized to: chemotherapy or observation.
 * Both arms can receive hormonal therapy and/or HER2-directed therapy.
 * RT recommended in all pts. Mandatory for pts with positive margins.
 * Closed early with 162 pts, no interim analysis. (Original sample size 977 pts).
 * Over 50% of original recurrences were in-breast recurrences (IBTR).
 * 5-yr DFS 69% (chemo) vs 57% (no chemo).
 * ER+: DFS 70% vs69%. ER-: 67% vs 35%.
 * 5-yr OS 88% vs 76% (SS).
 * ER+: OS 94% vs 80% (NS). ER-: 79% vs 69% (NS)
 * Conclusion: adjuvant chemotherapy improved DFS and OS. The data are strongest for patients with ER-negative recurrences. Longer follow-up is necessary for pts with ER+ recurrences.

title: Radiation Oncology/Breast/Recurrence


text:
Talk:Data Structures/Hash Tables

no topic
The article in Wikipedia is way better and more in depth than the information given here. It would be an easy improvement if they were merged together.

 * Someone has already done that but not by way of as transwiki, I added the needed attribution to the book. Please check out the text and see if all information is relevant. --Panic (talk) 05:56, 8 June 2010 (UTC)

cryptographic hash comment
The article states: "In fact, even a cryptographic hash does not provide protection against an adversary who wishes to degrade hash table performance by choosing keys all hashing to the same bucket." That depends on the cryptographic hash being used. A few years ago it was shown MD5 was broken when it came to strong collision resistance (it should be hard to find two different messages m1, and m2, such that hash(m1) = hash(m2)), but I don't believe that to be the case with SHA-1, the cryptographic hash used in the example.

title: Talk:Data Structures/Hash Tables


text:
US History/Keywords4

World War II Related
Rommel "do a Rommel" First, Second Battle of the Bulge Battle of Leningrad Battle of Stalingrad Webrovka Franz Jägerstätter ninja White Card Sonman Mine explosion Zog of Albania Under the Blood Banner schlechtes Hasserscheinen

WWII Ideas
Degenerate Art twelf rubber elf age of degeneracy Heil Hits grey blobs Zionistic masons Glacial Cosmology "All the little children love Stalin." teeth of the Dragon life in a cloud

Stalin
Cash and Carry capitalism Red Communist Trotsky Revolution Betrayed Why Stalin Won Spanish Civil War Battle of Stalingrad Iron Curtain Yalta Agreement United Nations NKVD KGB English Racial Theory Joseph Stalin First Secretary freedom from religeon Doctor's Plot "English Racial Theory" "unperson" Kremlin GUM Department Thermonuclear H-bomb Taiwan 1984 Big Brother telescreen containment Stalin.ru Nabokov

Atomic Age
e=mc2 critical mass uranium plutonium neptunium neucleus Albert Einstein Niels Bohr Carl Sandburg atomic bomb quark lepton muon antimatter thermonuclear transcorder device

"Believe in hope"
- The philosophy during this time was to "believe in hope", because it "saved one from doubt, despair, and the Slave World." This was shown in a radio adaptation of A Miracle on 34 th Street, where Kris Kringle emphatically says so. In later times, this attitude came to be associated by some with romanticism. Hope was defined as "A desire of some good, accompanied with an expectation of obtaining it, or a belief that it is obtainable; an expectation of something which is thought to be desirable; confidence; pleasing expectancy."

title: US History/Keywords4


text:
A Neutral Look at Operating Systems/AmigaOS

AmigaOS is the default native operating system of the Amiga personal computer. On top of a basic kernel called Exec, it includes an abstraction of the Amiga's unique hardware, a disk operating system called AmigaDOS, a windowing system called Intuition and a graphical user interface called Workbench.

AmigaOS to version 1.3
The 1.x versions are the original implementation of AmigaOS. They defaulted to a distinctive blue and orange colour scheme which was designed to give high contrast on even the worst of television screens (it could easily be changed by the user). Versions 1.1 consisted mostly of bug fixes. Versions 1.0 and 1.1 were distributed only on floppy disks for the Amiga 1000.

Version 1.2 was the first to have Kickstart on a ROM and Workbench on one or two floppy disks. Workbench was then booted from floppy disk or installed on a hard disk on later machines. The early Kickstarts were still available on floppies for Amiga 1000 owners. These versions were shipped in ROM with the A500, A1500, CDTV (1.3 only) and A2000. Version 1.2 of Kickstart fixed many bugs, greatly improving the stability of the system, and added AutoConfig support which could automatically configure expansion boards. Release 1.3 had few changes to Kickstart (mainly to enable autobooting hard disks) but had many improvements in Workbench, including a much faster file system for hard disks, an improved CLI, and various extra programs.

AmigaOS 1.4
Kickstart/Workbench 1.4 was a beta version of the upcoming 2.0 update and never released, but the Kickstart part was shipped in very small quantities with early Amiga 3000 computers, where it is often referred to as the "Superkickstart ROM". In these machines it is only used to bootstrap the machine and load the Kickstart that will be used to actually boot the system. The appearance is similar to that of 2.0 and higher, with just minor differences. It is, however, possible to dump out of the OS selection screen by clicking where one would expect to see a close gadget. This will cause the machine to boot Kickstart 1.4 using either the wb_2.x: partition, or from a floppy.

AmigaOS to version 2.1
Kickstart/Workbench 2.0 introduced a lot of major advances to the Amiga operating system. Gone was the harsh blue and orange colourscheme, replaced with a much easier on the eye grey and light blue. The Workbench was no longer tied to the 640×256 (PAL) or 640×200 (NTSC) display modes, and much of the system was improved with an eye to making future expansion easier. For the first time, a standardised "look and feel" was added. This was done by creating the Amiga Style Guide, and including libraries and software which assisted developers in making conformant software. Technologies included the GUI element creation library gadtools, the software installation scripting language Installer, and the AmigaGuide hypertext help system.

AmigaOS to version 3.1
3.x was another major update. Updates included:

 * A universal data system, known as datatypes, that allowed programs to load pictures, sound and text in formats they didn't understand directly, through the use of standard plugs (see object-oriented operating system)
 * A system-standard localization system, allowing the user to make an ordered list of preferred languages; when a locale-aware application runs, it asks the operating system to find the catalog (a file containing translations of the application's string) best matching the user's preferences
 * Colour remapping for low-colour display modes
 * Improved visual appearance
 * Better support for background images

AmigaOS to version 3.9
Along with this update came a change in the way people referred to the Amiga's operating system. Rather than specifying "Kickstart" or "Workbench", the updates were most often referred to as simply "AmigaOS".

Updates included:

 * CD filesystem support as standard
 * Distribution on CD instead of floppy disk
 * Supplied with TCP/IP stack, web browser, and e-mail client
 * Improved GUI, called "ReAction"
 * AVI/MPEG movie player (OS3.9)
 * Support for hard disks larger than 4Gb (a limitation from 1.x)
 * HTML documentation
 * MP3 and CD audio player (OS3.9)
 * Dock program (OS3.9)
 * Improved Workbench
 * Find utility (OS3.9)
 * ASync workbench (no more waiting for files to be copied)

AROS
AROS Research Operating System is an attempt to clone the AmigaOS API in a portable open-source operating system. Although not binary compatible with AmigaOS (unless running on 68k), users have reported it to be highly source code compatible.

See AROS wikibook.

AmigaOS 4.x
A new version of AmigaOS is being developed by Hyperion Entertainment under license from Amiga, Inc. The 4.0 version will be a major update a decade after the last official release.

Main features planned for AmigaOS 4.0:

 * Tripos legacy code finally removed
 * Improved TCP/IP networking
 * Fully skinnable GUI
 * Virtual memory
 * Limited memory protection
 * CD/DVD writer support, including Mt. Rainier
 * Integrated debugger
 * Integrated viewer for PDF and other document formats
 * Enhanced shared library model
 * Support for PowerPC (native) and 68k (emulated JIT) applications
 * Improved input device support
 * Support for modern hardware devices
 * New USB stack
 * New PCI stack
 * New interface module (replaces the jump table of classic AmigaOS)
 * Stack enlargement
 * Resource tracking
 * Faster memory allocation system, similar to what’s used on Solaris
 * 2 GB file limit removed
 * New version of AmiDock with plug in support
 * New CDFilesystem with Joliet and HFS support, DVDRW support
 * HDToolbox replacement
 * New HD Recovery tool
 * Added support for Truetype and Postscript fonts, with optional anti-aliasing
 * Integrated Picasso 96 2D Graphics API
 * Integrated Warp3D 3D Graphics API
 * Integrated AHI Sound API

MorphOS
MorphOS is a PowerPC native operating system, originally created when the future of the Amiga looked uncertain. It provides binary compatibility with system-friendly AmigaOS applications. A version which runs on Classic Amigas with PPC accelerator cards has been released.

MorphOS is a mixed proprietary and open source operating system produced for the Pegasos, Efika, Mac and AmigaOne hardware platforms by a core development team and contributors. The OS itself is proprietary. Several libraries and other parts are open source, such as Ambient (the desktop interface).

It currently runs only on PowerPC processors by Freescale and IBM while still supporting the original AmigaOS MC680x0 applications via its proprietary task-based emulation solution and most of the newer, PPC/AmigaOS applications using API wrappers. It is API-compatible with AmigaOS 3.1 but implements many enhancements that bring it up to date, and a modern GUI based on MUI.


text: Adventist Youth Honors Answer Book/Nature/Cats (North American Division)


text:
User talk:216.54.49.138

Hello and welcome to wikibooks! i notice that you have been changing some of the format on the Solar sytem pages. Unfortunately some of you changes are wrong. We don't capatalise every word in a subheading for example. This is why I reverted you. Theresa knott 20:20, 25 April 2006 (UTC)

title: User talk:216.54.49.138


text:
Final Cut Pro/FXScript

FXScript is the scripting language used by Apple's Final Cut Pro video editing program.

This book is intended to help flesh out some of the things that are not clear in Apple's documentation for FXScript.

Input
Use input statements to set up the controls for the script. The controls provide the initial user settings for the script.

Controls:
 * Angle:Dial and text box.
 * CheckBox:True/False check box.
 * Clip:Drop box for video clip or still image.
 * Color:Color selection.
 * FontList:Popup list of fonts.
 * Label:Text in the name column.
 * Point:Choose a point.
 * Popup:Popup list.
 * RadioGroup:Radio Button group.
 * Slider:Slider and text box.
 * Text:Text box.
 * Title:Displays the desired text.

title: Final Cut Pro/FXScript


text:
Wikijunior talk:Big Book of Fun Science Experiments

Funnieness
Lets just make all the sub-titles funny. It seems like the right thing to do! Examples:

Red Cabbage Indicator: Red cabbage indicator is great for showing if something is acid or alkali. It's that freak'n exciting!

Pinhole cameras: Want to be able to look at the sun and solar eclipses without destroying yours eyes to such a state that you will never be able to see again? Then this is for you!

Electricity with Lemons: Yeep, those juices you put in your highly conductive drinking water have the potential to store electricity! Amazing!

Making rainbows in liquids: Have the time and skill to remain still in order to see pretty colors in liquids? Then this is most certianly for you!

Build your own periscope: WOW! It now takes even LESS energy to look around corners. What an age we live in!

Power a boat with ordinary soap: The best part is: it is a boat powered with ordinary soap!

Make a fantastic Squirting Egg: Want to annoy other people by squirting them with eggs and not even put enough energy into it to crack an egg? Then this is for you!

Make a spinning paper helicopter: You can make a helecopter out of paper! Do you need any other reason to do this experiment?

N1person 21:12, 25 April 2006 (UTC)

 * I like it!  Make it so! Theresa knott 21:31, 25 April 2006 (UTC)

 * Remember the audience; we are writing for 8-11 year olds, so the word freak'n, while not a swearword as such, is not appropriate. Furthermore, encouraging negative character traits or actions such as "Want to annoy people...?" should surely be avoided. Ditto graphic hyperbole:

"...without destroying yours eyes to such a state that you will never be able to see again?"

Surely replace with: "...without hurting your eyes?" Editus Reloaded 17:36, 12 June 2007 (UTC)

Science behind each experiment
We should include a section with each article about the sceince behind each experiment. That way you aren't just, "making pretty colours".

N1person 23:03, 23 May 2006 (UTC)

 * OK, I'm looking for a good point to start editing Wikibooks and this looks right up my street. I guess I'll start from the top and work down. Editus Reloaded 17:37, 12 June 2007 (UTC)

 * I agree! The point of this site is to learn! Fruit Boy (talk) 18:13, 29 December 2007 (UTC)

Yea, There appears to be an Air of Cynicism just lurking around, Not sure why.

Hazard advisory?
I just happened upon this page by chance. The experiments are interesting. In my quick look round I saw no single warning of hazard. This was also true when the ingredients included hydrochloric acid. I strongly urge that inclusion of specific, appropriate hazard warnings.
 * You do not need anyone's permission to do that yourself. In fact, we would be grateful if you were to do just this! --Jomegat (talk) 19:26, 16 March 2010 (UTC)


text: User talk:12.159.67.101

title: User talk:12.159.67.101


text:
Bartending/Cocktails/B-52 with Bombay Doors

The B-52 with Bombay Doors is a layered and part of the B-50 series.

Ingredients

 * 1 part Coffee Liqueur
 * 1 part Irish Cream
 * 1 part Grand Marnier
 * 1 part Bombay Gin

Garnish

 * none

Glass

 * Pousse-café glass

Procedure

 * 1) Make pousse-café

Related cocktails

 * B-50 series
 * B-51
 * B-52
 * B-52 with Bombay Doors
 * B-53
 * B-54

B-52 med Bombay Doors


text:
Bartending/Cocktails/B-51

The B-51 is a layered and part of the B-50 series.

Ingredients

 * 1 part Kahlua
 * 1 part Irish Cream
 * 1 part rum (traditionally a 151 proof, hence B-51)

Garnish

 * none

Glass

 * Pousse-café glass

Procedure

 * 1) Make pousse-café

Related cocktails

 * B-50 series
 * B-51
 * B-52
 * B-52 with Bombay Doors
 * B-53
 * B-54

B-51

title: Bartending/Cocktails/B-51


text:
Bartending/Cocktails/B-53

The B-53 is a layered and part of the B-50 series.

Ingredients

 * 1 part Kahlua
 * 1 part Sambuca
 * 1 part Grand Marnier

Garnish

 * none

Glass

 * Pousse-café glass

Procedure

 * 1) Make pousse-café

Variations

 * Replacing Grand Marnier with Triple Sec yields a B-57[Needs checking]

Related cocktails

 * B-50 series
 * B-51
 * B-52
 * B-52 with Bombay Doors
 * B-53
 * B-54

B-53

title: Bartending/Cocktails/B-53


text:
Bartending/Cocktails/B-54

The B-54 is a layered and part of the B-50 series.

Ingredients

 * 1 part Kahlua
 * 1 part Irish Cream
 * 1 part Grand Marnier
 * 1 part Green Crème de Menthe

Garnish

 * none

Glass

 * Shot glass

Procedure

 * 1) Shake with ice.
 * 2) Strain into shot glass.

Related cocktails

 * B-50 series
 * B-51
 * B-52
 * B-52 with Bombay Doors
 * B-53
 * B-54

B-54

title: Bartending/Cocktails/B-54


text:
Bartending/Cocktails/B-57

The B-57 is a layered and part of the B-50 series.

Ingredients

 * 1 part	Kahlua
 * 1 part	Triple Sec
 * 1 part	Sambuca

Garnish

 * none

Glass

 * Pousse-café glass

Procedure

 * 1) Make pousse-café

Related cocktails

 * B-50 series
 * B-51
 * B-52
 * B-52 with Bombay Doors
 * B-53
 * B-54
 * B-57

title: Bartending/Cocktails/B-57


text:
Overcoming Procrastination/Print version

= Introduction =

= Consequences =

= Characteristics =

= Causes =

= Eliminating Procrastination =

= Chronic Procrastination =

= Resources =

= GNU Free Documentation License =


text:
User talk:220.233.92.170

Hello, and welcome to Wikibooks! I see that you've deleted some text from a few pages, and it's been enough to raise an alarm among some of the regular contributers. Please try not to delete things that other people have written. Thank you. --Whiteknight (talk) (current) 22:25, 25 April 2006 (UTC)

title: User talk:220.233.92.170


text:
User:Picaroon9288~enwikibooks

The next sentence is true. The previous sentence is false.

I'm just a Wikipedian reserving his username here...

title: User:Picaroon9288~enwikibooks


text:
User:Derek Parnell

Located in Melbourne, Australia.

Involved in the computing industry since 1972, from operating IBM mainframes through programming, systems programming, and systems architecture.

Currently (2006)
 * an enthusist for the D programming language and Euphoria programming language
 * employed as product manager for a number of banking systems (Admerex Limited)

title: User:Derek Parnell


text:
Muggles' Guide to Harry Potter/Magic/Reparo

Overview
Reparo is a spell for fixing broken things, for example a glass bowl that has broken into several pieces. It can also be used to counter the effects of the Diffindo charm.

Extended Description
This spell was first used by Arthur Weasley on Harry's glasses in Harry Potter and the Chamber of Secrets, shortly after Harry's exit from Knockturn Alley, though the incantation is not heard there. Curiously, it is also the last spell we see actually cast in the series.

This spell is used a number of times through the series to repair things – dropped glass or china bowls, broken windows, torn bags, or torn books, for instance.

Analysis
It is only in the final book of the series that we learn that it can be used to repair magical items, when Hermione tries to mend Harry's wand with it, and later when Harry successfully mends his own wand. Until that point, only non-magical items had been repaired with this charm.

This spell seems to be useful only for inanimate objects – it is not used on Harry's broken wrist, for example. (Though the charm that is used on his wrist in Harry Potter and the Chamber of Secrets does not have the desired effect...)


text:
Talk:Muggles' Guide to Harry Potter/Magic

Categories
Should the potions (love potion, Draught of Living Death, etc.) that are listed under Devices be put in a seperate category strictly for potions? Saberiel 04:14, 26 April 2006 (UTC)
 * Leave potions as they are, under devices. -Matt 20:19, 26 April 2006 (UTC)

Mudblood
should there be a separate page for "Mudblood", as it is merely a pejorative for "Muggle-Born" or "Half Blood"?... its like having a page for "Jew" and then one for "Kike" Draganta 15:02, 30 April 2006 (UTC)
 * True. The page is a redirect now and its listing on the Magic page is gone. -Matt 00:50, 1 May 2006 (UTC)
 * I disagree. It's an offensive term for either of those, and it's not even mentioned in Half-blood. -- Jokes Free4Me 15:50, 21 August 2006 (UTC)
 * Mentioning it in one place is all that should be done, though. If we want to cut out those other names and consolidate them all onto one page, I have no problem with that. We just don't want to have too much confusion with definitions and cross-referencing. -within focus 19:29, 21 August 2006 (UTC)

Missing pages
Some of the pages that can be found here are not in this "index of 'Magic' pages". -- Jokes Free4Me 12:12, 27 July 2006 (UTC)
 * Would you like to add them to the index then? I'll be going through and templating most of the pages that have been stubbed out shortly. -Matt 13:22, 27 July 2006 (UTC)
 * I would have done that instead of placing this message, but i don't think i have enough time for adding them myself. :( Although I hope I will be able to do it in a few days, if noone else will. -- Jokes Free4Me 13:53, 27 July 2006 (UTC)
 * Almost done. Now only Cruciatus (soon to be redirect) and Floo Powder remain. -- Jokes Free4Me 15:50, 21 August 2006 (UTC)

Ven?mous Tentacula
Yes, I know it's misspelled... but that is how it is spelled in the book. I checked, because it bugged me as well.

Shall I leave it as is, or change it back to what the book has? -- Chazz 22:23, 15 August 2006 (UTC)

 * In that case, i'm sorry to have been too bold; i had merely searched Wikipedia for both forms, and the misspelled one didn't come up with anything. Now for settling this: i'd like * to try checking in a different version [i'm unable to help with this :-(, sorry], and if the two versions agree, we'll use the misspelled name. If they disagree, we'll check a third version. :-D -- Jokes Free4Me 12:56, 16 August 2006 (UTC)

 * (*) better wording: i'd like us to try checking

 * Hmm. Okay; what version of the book (Chamber of Secrets) are you working from? I don't have mine here at the moment; I'll post my version tonight. I think this discussion should be on the Venomous Tentacula talk page... I'll post it there. -- Chazz 17:58, 16 August 2006 (UTC)

 * Umm, no, not really. I don't have appropriate sources, since all the HP books i own are translations, and their quality is not what i would have wished... So i have been working mainly from my memories of the story, from Wikipedia articles, and from existing text already in the page i was editing. At least i have HP6 borrowed from a distant friend (i'll be giving it back soon), that's why i had asked about it regarding Hallowe[']en. -- Jokes Free4Me 21:12, 16 August 2006 (UTC)

 * For what it's worth, I'm working from the Bloomsbury / Raincoast 1998 edition (UK/ Canadian). I understand that the American editions have extra text that was cut from the UK editions. Chazz 08:18, 22 August 2006 (UTC)

A question has come up about the spelling of this plant's name. In my edition (Chamber of Secrets, chapter 6), it is spelled "Venemous Tentacula"; Jokes Free4Me has corrected that to "Venomous Tentacula", that being accepted Muggle spelling, and apparently also being how it is spelled in his version.

Could you be a tie-breaker? I think this discussion will end up on the Venomous Tentacula discussion page... Chazz 18:06, 16 August 2006 (UTC)

 * I've made my comment here regarding this. If it's misspelled, let's correct it. -within focus 21:08, 16 August 2006 (UTC)

Luna Lovegood
Should there be pages for "Heliopath", "Blibbering Humdinger", and "Umgubular Slashkilter", which are all mentioned as being real by Luna Lovegood? --Whoop whoop pull up Bitching Betty 21:26, 6 April 2011 (UTC)
 * Also "Nargles", Dirigible Plums, and whatever it is that makes you lose track of what you were saying? Good question... I've not bothered to date because they got only passing mention, where the Snorkack seems to be re-introduced periodically as a specific indicator of the Lovegood lunacy. But many things are present that get no mention at all, except in Fantastic Beasts and Where to Find Them. If you want to add them, feel free, but please use the Magic framework from Muggles' Guide to Harry Potter/Frameworks as the article starting point, and also, if you would be so kind as to add them to the All Pages collection, I'd deeply appreciate it. Chazz (talk) 22:55, 6 April 2011 (UTC)
 * Done. --Whoop whoop pull up Bitching Betty 16:36, 16 April 2011 (UTC)

Ghosts?
Should ghosts be included in "Creatures"? Ghosts are dead humans, and it doesn't seem entirely appropriate to have them in the same section as giant spiders and two-legged fish.
 * Umm... we'd want a separate section for ghosts, werewolves, and possibly vampires, those being human conditions as well, but they still would be a subsection of magic. A matter of moving them on this page only, I think. I'll do that. Chazz (talk) 18:37, 16 April 2011 (UTC)

Thank you
I would really love to thank the creator of this page. It really is very useful for Harry Potter and magic lovers like me .Naveen Badri (discuss • contribs) 15:18, 18 April 2012 (UTC)

Confringo
I think a spell named Confringo is missing from this page.Can anyone add it please? Naveen Sridharan (discuss • contribs) 08:34, 25 May 2012 (UTC)

 * It's there -- under Spells, which are of course in alphabetical order. Chazz (talk) 15:05, 25 May 2012 (UTC)

 * Sorry..I noticed it just now...Naveen Sridharan (discuss • contribs) 10:00, 26 May 2012 (UTC)


text:
User:TechGS

TechGS

title: User:TechGS


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Talk:Signals and Systems/Filter Implementations/Butterworth

what could be the right tools for designing a filter with just the rigtht parameters.137.101.132.114 08:16, 26 April 2006 (UTC)
 * I'm not entirely sure I know what you are talking about. Generally, when you have a given set of parameters, you need to plug them into the specific equations that govern the specific type of filter you are designing. We don't have many of the equations here in this book yet, however. --Whiteknight (talk) (current) 18:17, 26 April 2006 (UTC)


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User talk:87.203.232.111

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title: User talk:87.203.232.111


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Educational Technology Innovation and Impact/Assistive Technology/Speech Recognition Software

Speech recognition software, often referred to as Voice recognition software is very useful for people who are better at speaking than writing. A piece of software that recognises what you are actually saying and transcribes it for you, gone are the days of messy handwriting! Think about it, a computer has no problems with spelling and presents your thoughts and idea's perfectly for you. You would not have to write and then manually type out your thoughts ever again.

Speech recognition is an area that has progressed rapidly over the last few years. However, it still has its limitations. For example the dyslexic website bring it to our attention that in order to use the piece of software people have had to go through an often lengthy process, sometimes taking up to an hour for the software to recognise your own voice (Dyslexic Website 2006)

This process may be appealing to people that have a speech impediment, however, for someone who is an avid or fluent reader this can be a very painstaking way of getting the computer to discriminate between your voice and someone else’s.

We must remember that computers cannot recognise and transcribe a conversation. The text needs to be dictated, which is an art form in itself. The computer cannot recognise "uums" and "ahhs" and so each spoken word must be clearly dictated to the machine.

The more recent dictation software that has been developed by Dragon, who are the world leaders in speech recognition software estimate full stops and commas for the dictator. This is a major breakthrough for speech recognition software users. The most used software being the ‘Dragon Naturally Speaking’, its developers Dragon claim that it allows you to speak up to 160 words per minute whilst maintaining 99% accuracy (Speech Recognition Website 2006)

There are various ways that you can dictate to a computer, for example the most common method used is to dictate directly into your PC using a headset microphone connected into the soundcard or USB. The Dragon product allows complete mobility and users can even dictate into hand held devices such as PDAs or a Tablet PC and then synchronize the mobile device to a PC so the software can transcribe the voice file into a normal text document.

Originally the early versions of speech recognition software were aimed at people with disabilities such as dyslexia. The new pieces of software such as ‘Naturally Speaking’ can create 900 word documents in less than 6 minutes. So the advantages are endless and more and more professions are choosing this purely to increase the efficiency of their business.

References: http://www.speechrecognition.com/dns8.php (accessed 26 April 2006) http://www.dyslexic.com/dictcomp.htm (accessed 26 April 2006)


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User:DaGizza

Hi I came from Wikipedia (my main account is there) and am looking to expand my areas of Wiki-writing.

To do

 * Create Cricket, base it on Football (Soccer)
 * Improve HSC study texts.
 * Create States of India and States of Australia

title: User:DaGizza