text:
Talk:Music Theory/Chord Structures

Correct/clarify
Where the article mentions C     Bm7b5 E7   (I     II  V) and the two following. Are the numbers correct? Not II I V? Does it need to be clarified illiterates like me? And if B is I and C is II, how is E V and no IV? Ahhh 80.225.5.48 11:33, 27 July 2006 (UTC)

Bm7b5 E7(b9) can be looked at as a II-V in the key of A major or A minor, yet in this case it resolves to the I chord in C major. The E7 Resolves to the Cmajor chord with adeceptive cadence.

Scope of page
This page should be distinguished as mostly applicable to jazz theory/harmony. Chord Progression is the main name (in common practice style) for what is here called chord structure. Also, the use of chord symbols is almost exclusively used for jazz charts and analyses. Common practice style uses (in my experience) the Roman Numeral analysis. The use and inclusion of extensions here I think might be confusing without a preceding discussion about what they are and from whence they are derived (tertian harmony - adding successive thirds on top of triads, etc.) And their use in common practice was limited mostly to 9ths, and then really only in later common practice, and THEN really only as unresolved suspensions or accented appogiatura. See Debussy for 'tensions beyond 9ths. --A.J. 16:03, 28 May 2007 (UTC)

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

title: Talk:Music Theory/Chord Structures


text: Unicode/Character reference/12000-12FFF

title: Unicode/Character reference/12000-12FFF


text: Category:Book:Unicode

title: Category:Book:Unicode


text:
User:Gmcclel

Gary McClellan Details at http://www.gdma.com

title: User:Gmcclel


text:
Gnuplot

gnuplot is a command-line driven multiplatform plotting program. Despite the name, it is not associated with GNU project and is not covered by GNU GPL. The source code license is a gratis one, but not a copyleft one; "Permission to modify the software is granted, but not the right to distribute the complete modified source code."

Usage
gnuplot can be used interactively, in batch mode, or embedded in (scripted by) another program, such as GNU Octave.

 * Interactively, run gnuplot at the command line.
 * In batch mode, run gnuplot input.plt (where input.plt is the name of the input file) at the command line.
 * In another program, use that program’s plotting facilities – gnuplot will be called transparently.
 * For use in one’s own programs, one can run gnuplot via popen, or use a library that wraps gnuplot for the programming language. These wrapper libraries exist for C, C++(e.g. Gnuplot-iostream, gnuplot-cpp) Python, Perl, Java, Fortran95, and others.

Example
As very simple usage, start gnuplot and type: plot sin(x) exit This will display a plot of the sine function, and then exit.

Outline
To plot a function or functions:
 * define the function;
 * determine the range of inputs and outputs;
 * determine the style for the region and the graphs;
 * plot it (using the plot function)

To plot data, collect the data in a file instead of defining a function.

Plain
Unsetting the default decorations will yield a completely plain graph area: unset title unset key unset xtics unset ytics set border 0 These fields can now be set individually, if desired.

Percentage
To format an axis as a percentage, multiply the number by 100 and suffix a “%” symbol using format, as in: set format y "%g %%" plot "dat1.txt" using 1:($2*100)

Piecewise-defined functions

 * See: Piecewise function

Several ways are possible.

The ? operator
One can plot piecewise-defined functions in gnuplot with the ternary condition operator (?:). For instance, one can manually define the absolute value function by: f(x) = x > 0 ? x : -x Read this as “if…then…else”: “if x is greater than 0, then $$f(x)=x,$$ else $$f(x)=-x.$$”

One can chain these, for instance by: f(x) = x < 1 ? 1 \     : x < 2 ? 3 \             : 5 This corresponds to the piecewise function
 * $$f(x)=\begin{cases}

1 & \text{if } x < 1 \\ 3 & \text{if } x \geq 1 \text{ and } x < 2 \\ 5 & \text{otherwise} \end{cases}$$

For piecewise functions, you will likely want many samples, so that discontinuities appear as vertical lines, and corners appear sharp, so: set sample 1001 (Using 1001 instead of 1000 avoids artifacts of having a sample point appear directly on a discontinuity, which can introduce "stair steps.")

plot each function individually
Or you can plot each function individually, like you appear to be doing now.

f(x) = a1*x**2+b1*x+c1 for x in [t11,t12] f(x) = a2*x**2+b2*x+c2 for x in [t21,t22] f(x) = a3*x**2+b3*x+c3 for x in [t31,t32] .... .... ... where t11<=t12<=t21<=t22, etc.

Parametric mode
Better yet, switch to parametric mode, map a common t interval [0:1] to your individual t ranges, and then:

x1(t) = t11+t*(t12-t11) ...

plot x1(t), f1(x1(t)), x2(t), f2(x2(t)), ... plot each function individually

Source files
gnuplot allows one to load files via the load command, or by passing them as arguments on the command line. This is very useful for complicated graphs.

There is no official standard extension, but some semi-official extensions are used:
 * <tt>.plt, .gnu, .gpi,</tt> or <tt>.gih</tt> for general gnuplot files;
 * <tt>.dat</tt> for data;
 * <tt>.fnc</tt> for function definitions.

For formatting source code, two useful pieces of syntax are:
 * comments: The hash (<tt>#</tt>) character starts inline comments, which continue to the end of the line.
 * line continuation: A trailing backslash (<tt>\</tt>) is a line continuation character, and allows one to split a long expression over multiple lines. One can also indent/line up the continuing lines for legibility (as in piecewise functions), as initial whitespace is ignored.

Debugging
For debugging a gnuplot file, it is often useful to:
 * Change the terminal to interactive (instead of outputting to a file), by commenting out <tt>set terminal</tt> and <tt>output</tt> lines.
 * Start gnuplot interactively, then <tt>load</tt> the file in question.
 * Put <tt>pause -1</tt> (pause until carriage return) at the end of the file, then run it from the command line.
 * Alternatively, run gnuplot with the <tt>-persist</tt> command line switch, so gnuplot exits, but the window persists.
 * Make the file itself executable, by shebang (<tt>#!</tt>) notation (depends on exact path):
 * 1) !/usr/bin/gnuplot -persist

Syntax highlighting
vim has automatic syntax highlighting for gnuplot (gnuplot.vim) as long as the file extension is.

Alternatively, other file extensions, such as <tt>.plt</tt>, can be added in the usual autocommand way: au BufNewFile,BufRead *.plt,*.gnuplot setf gnuplot

Also see a github repository compatible with pathogen's auto filetype detection features.

Color

 * colorspec
 * palette
 * color sequence

colorsequence
Syntax:

set colorsequence {default|classic|podo}

Offline help:

help set colorsequence

 * cycle set:

9 cycle set:

code

 * gnuplot/src/getcolor.c
 * gnuplot/src/graphics.c
 * gnuplot/src/color.c

Generating Wikimedia graphs

 * See: How to create graphs for Wikipedia articles: gnuplot

To generate graphs for Wikimedia:
 * Store your code in a file, preferably with comments
 * Use high quality (vector graphic) SVG output.
 * Generate the SVG.
 * Optionally post-process.
 * Upload the graph and source code to Wikimedia Commons.

Details follow.

gnuplot options
Here is a sample header: set terminal svg enhanced size 300 300 set samples 1001 # high quality set border 31 linewidth .3 # thin border set output "filename.svg" (The file name should be changed to something more descriptive, though this is not strictly necessary.)

This will create an SVG which is nominally 300 × 300, a common Wikimedia display size: it is easiest to make graphs whose nominal size is the expected display size, but beware that images can and are resized, and that this affects thickness and legibility – if using a large nominal size, so that it will likely be resized down, use large fonts and thick lines.

Beware that with horizontal writing, the y-axis labels will likely take up more space (horizontally) than the x-axis labels take (vertically), and thus a nominally square graph will have an actually graphing area which is slightly taller than it is wide.

One can set the font via: set terminal svg enhanced size 300 300 fname "Times" fsize 36

Technical details

 * set terminal svg: sets output to be an SVG file
 * enhanced: means to use enhanced text output, when Greek letters are needed. a table can be found [here].
 * size 300 300: sets the nominal size of the SVG as 300 × 300
 * set samples 1001: this sets many samples for high quality; the 1001 (instead of 1000) is so that a sample is unlikely to land directly on a pixel or discontinuity, which can cause aliasing. If you have unexpected aliasing, try changing this to 1002 or 1003, as that will move all sample points, possibly fixing the problem.
 * set border 31 linewidth .3: “31” is 1111 in binary, meaning “all borders”; use “3” (0011) in binary for just the lower and left borders. The thin linewidth makes the border less prominent, emphasizing the line. [Note, 31 actually is 11111 in binary. The fifth bit is irrelevant to this example and the example should be rewritten with 15 instead of 31.]  Note, use interactive gnuplot command "help set border" to see an explanation of what each bit controls.
 * set output "filename.svg": This sets the output file name. In normal use, choose a filename more descriptive of file contents.

Post-processing
One may wish to post-process the SVG, either in a vector graphics program such as Inkscape, or by hand (as SVG files are text). This can be useful to add annotations which would be otherwise hard to produce in gnuplot, or one may incorporate the plot as one component of a larger or more complex figure.

Wikimedia Commons Upload

 * Please use the template <tt></tt> to flag it as made with gnuplot.
 * The source code may be included in the “Source” section of the description (if brief), or more often in a separate <tt>== gnuplot source ==</tt> section.
 * The source is most legible if wrapped in Syntax highlighting via:
 * If you use text, it may be translated – please use the template <tt></tt> to indicate that translation is possible.
 * Alternatively, minimize the use of text (place in a separate caption) to aid reuse of the image in other languages.

Design considerations
There are a number of design considerations in graphs, considered as information graphics. A good resource are the works and writings of information graphic designers, such as the highly regarded works of Edward Tufte: his The Visual Display of Quantitative Information is most relevant for graphs, but his and others other work can be insightful and inspiring.

The first consideration is what to graph, and whether a graph is the best way to convey certain information: graphs can be unexpectedly useful, or conversely, a graph may not be the best way to convey information. Further, how a graph is connected an integrated with other material is a question – is it referred to? Described and discussed?

Other media that can be an alternative to a graph, or support it, include: Often it is useful to portray the same information in several ways.
 * text, either running text, a list, or an isolated single item (pull quote)
 * tables
 * schematic diagrams
 * animations (possibly animated graphs)
 * photographs

A second question is how many graphs to use.
 * Most obviously one may use a single, large, detailed graph, and this is often appropriate, such as if the details of the data are important.
 * Alternatively, consider using small multiples – several small graphs to make a point, through repetition and variation, analogous with written “compare and contrast”.
 * It is especially helpful to align graphs or place them on a grid, so the eye can easily switch between them.
 * Presenting the same data on different scales can also be revealing; a simple example is shown at estimated sign, where the same data is shown on an absolute scale and relative scale.
 * One can also use graphs in-line, as in sparklines.

Beyond these general considerations, there are finer questions:
 * Which range of data to display?
 * What scale to use? For example, should the range of the graph area agree with the range of the data (maximizing use of space), or should the range be larger, providing context? Often a log scale or log-log scale is appropriate, but may be confusing to novice readers.
 * How to distinguish data? What color and line styles to use?
 * How prominent to make various data – how thick or thin to make different lines, how large to make text?

Other Wikimedia resources

 * gnuplot at Wikipedia
 * How to create graphs for Wikipedia articles has a section on gnuplot
 * The book Ad Hoc Data Analysis From The Unix Command Line has a chapter on Quick Plotting With gnuplot
 * commons :
 * commons:Category:Gnuplot diagrams has many examples of gnuplot graphs, many with source code.
 * Images with Gnuplot src code

External resources

 * gnuplot Central – homepage
 * l Official documentation (PDF)
 * Reference card
 * FAQ
 * domain_coloring ( gnuplot)

Gnuplot

title: Gnuplot


text:
Wikijunior:Languages/Quenya

What writing system(s) does this language use?
Quenya is a constructed language invented by British author John Ronald Reuel Tolkien. His most well-known books are the Lord of the Rings series and the Hobbit. Tolkien uses Quenya as well as other languages he created in many of his books. This language uses a special kind of a writing system named Tengwar. "Tengwar" in Quenya means "letters". Letters of the Tengwar script are different than those of the Roman alphabet, which is used for writing English. However, it is possible to write Quenya using the letters of the Roman alphabet, too. Quenya uses the following letters:

 * a, á, b, c, d, e, é, f, g, h, i, í, l, m, n, o, ó, p, q, r, s, t, u, ú, v, w, x, and y.

There are also several combinations of these letters used to represent other tengwar: ny, ty, ly, gw, nw, cw (which is usually spelled as qu), etc.

Since the Roman alphabet is not the original alphabet used for writing Quenya words, some differences may appear when two different persons write the same word using the letters of the Roman alphabet. For example, some would write cirya (ship), while the others would write kirya. You may also find the letter e having two little dots over it: ë. This does not affect the pronunciation, but is used sometimes to mark the letter e when it is final in a word: minë (one).

How many people speak this language?
There are many people who study this language for fun. In Tolkien's stories, Quenya is spoken by some Elves and Humans in the lands named Middle-Earth and Valinor. However, very few people actually speak the language.

Where is this language spoken?
Tolkien has created a world just like ours, named Arda. There are many peoples living in Arda, and Quenya is the language of the Elves. Some Elvish peoples speak other languages such as Sindarin, Telerin, and Nandorin, just like how not all humans speak the same languages. The other Elvish languages are all similar to Quenya because Tolkien created them as related languages. Many human languages are related also, for example Spanish, Portuguese, and Italian are all similar because they are related languages.

People who studied Quenya for fun usually use it for writing poems and songs as it is said to be a pleasant and musical-sounding language.

What is the history of this language?
Already when J.R.R. Tolkien was young, around the year 1900, he got involved in a made-up language some of his friends had invented, and soon he was inventing languages of his own. He loved languages and had a talent for them, and he came to especially like Welsh and Finnish. As he grew up, and became a professor, he kept pursuing this love of language. He wrote an academic paper about Beowulf, an ancient epic in the language Anglo-Saxon, in which he maintained that it was beautiful poetry. The language Anglo-Saxon, also called Old English, is an ancestor of the modern English language from a thousand and more years ago, and Anglo-Saxon, and Beowulf, were usually treated as dry academic subjects; but Tolkien was fluent in Anglo-Saxon and so was able to see beauty in the ancient epic. He also wrote about inventing languages, which he said would never truly flourish as an art form as long as it was practiced in secret. He told the Esperanto community that a language must have a mythology behind it; otherwise the language would remain lifeless.

For his own languages, over many decades he created a detailed mythology. His two principle invented languages, entwined with this mythology, were based largely on the two languages that especially inspired him: Welsh and Finnish. Those two languages aren't closely related in real life; but in Tolkien's mythology, his two languages based on them, Sindarin and Quenya, were spoken by two races of elves, and were both descended from a common ancestor language called Primitive Quendian.

Eventually he got a book published, telling a story within his mythology, called The Hobbit, which was successful. Later he wrote a bigger book —in fact, it's usually published in three volumes— called The Lord of the Rings. The Lord of the Rings was a huge success, and made Tolkien wealthy in his later years. For decades after, movie-makers tried to find a way to turn The Hobbit and The Lord of the Rings into movies, and eventually it was done successfully, in the twenty-first century.

But all those stories were motivated by the languages Tolkien spent his entire life creating, rather than the languages being created for the stories. In a letter to his son Christopher in 1958, he wrote,
 * Nobody believes me when I say that my long book is an attempt to create a world in which a form of language agreeable to my personal aesthetic might seem real. But it is true. An enquirer (among many) asked what the L.R. [The Lord of the Rings] was all about, and whether it was an allegory. And I said it was an effort to create a situation in which a common greeting would be elen si-'la lu-'menn omentielmo ["A star shines on the hour of our meeting"], and that the phrase long antedated [pre-dated] the book.

In the early 1990s, the internet made it possible for people all over the world who invent languages to contact each other, and discuss their common interest in creating languages. Language creation is now being practiced in the open, rather than in secret, and is beginning to flourish as an art form. As Tolkien said could not happen while language creation was only done in secret. And many of the people who do it were first introduced to the idea by Tolkien's stories.

Tolkien kept working on the Quenya language throughout his life, improving it right up until his death. Because of this, early Quenya words and grammar were very different from the way they would end up at the end of Tolkien's life. And it all started with a childhood love of language that he never gave up.

Who are some famous authors or poets in this language?
Quenya is usually used for writing poems, stories, and songs.

J.R.R. Tolkien (1892 – 1973) is the creator of Quenya and several other Elvish languages. His son, Christopher Tolkien, continued publishing Quenya-related material after his father's death.

Helge K. Fauskanger and Thorsten Renk are considered some of the best researchers of Tolkien's languages today. They wrote textbooks of Quenya and Sindarin languages, and articles about Tolkien's languages.

What are some basic words in this language that I can learn?

 * Elen síla lúmenn' omentielvo - A star shines on the hour of our meeting.  (In other words: "Hello.")
 * aran - king
 * tári - queen
 * Elda - Elf
 * Eldar - Elves
 * atto ar mamil - Dad and Mom
 * malta - gold
 * ondo - stone, rock
 * cár - head
 * masta - bread
 * Anar - Sun
 * Isil - Moon
 * lírë - song
 * laire - poem

Numbers

 * minë 1
 * atta 2
 * neldë 3
 * canta 4
 * lempë 5
 * enquë 6
 * otso 7
 * tolto 8
 * nertë 9
 * cainen 10
 * minquë 11
 * rasta 12

Colours

 * carnë - red
 * culuina - orange
 * fána or fánë - white (like clouds)
 * helwa - pale blue
 * laiqua - green
 * laurëa - golden
 * lossë - white (like snow)
 * luin - blue
 * malina - yellow
 * morë or morna - black
 * ninquë - white
 * silma - silver, shining white
 * sindë or sinda - grey
 * varnë - dark brown

What is a simple song/poem/story that I can learn in this language?
Try to learn this little song from "The Lord of the Rings" named Rhyme of Lore:

 Hallë ciryar ar hallë arani neldë lúr neldë, man tuncet Atalantello or i úlëa eär? Otso eleni ar otso ondor ar minë ninquë alda. *

 * * - translation to Quenya by David F. Ponessa

It sounds like this:  Halle keeryar ar halle aranee nelde loor nelde man toonket atalantello or ee oolea ear otso elenee ar otso ondor ar meene neenkwe alda

And that means:  Tall ships and tall kings Three times three, What brought they from the foundered land Over the flowing sea? Seven stars and seven stones And one white tree.

title: Wikijunior:Languages/Quenya


text:
User:Jowe~enwikibooks

book smell good.

title: User:Jowe~enwikibooks


text:
User talk:Emeka Amanze

Come introduce yourself at the new users page. If you have any questions, you can ask there or contact me personally. --George D. Bozovic talk 16:05, 27 July 2006 (UTC)

title: User talk:Emeka Amanze


text:
User:ZeChinaman

hi Chinese-Canadian student

In Hamilton, Ontario and goes to Westdale Secondary School

taught (my pos was TA but teacher let me teach anyways) beginner mandarin to non-native speakers for about a year ish (yes even though i'm still in high school...it's beginner mandarin)

other things i can write about (or somewhat knowledgable with)
 * most RTS games...chances are, i've played them
 * western music history baroque- early 20th century (i.e. to debussy)
 * chinese history...just the basic gist...no extra detailed facts or anything...i've just read 上下五千年 waaaay too many times
 * ontario public school system :P...see my eng wiki page :P

accounts on wikibooks eng wiki chinese wiki commons

Things I work on...ish
 * Westdale Secondary School
 * Fuzhou, Jiangxi

userpage is here

title: User:ZeChinaman


text:
Talk:C Programming/Error handling

Untitled
too far stretched an intro it becomes. Compilation overview is great but this... should go somewhere near the end

int dividend = 50; int divisor = 0; int quotient;

if(divisor == 0) { // Handle the error here... }

quotient = (dividend/divisor);

// Handle the error here...

Handle the error with what code? Please. --193.77.22.121 16:41, 27 July 2006 (UTC)

Where the problem usually is if there comes an message "command not found"? --212.149.219.87 14:30, 15 May 2007 (UTC)

Don't have to answer. Problem solved. - 212.149.219.87 15:51, 15 May 2007 (UTC)

I have made several edits. is defined to be 1 in C (not in C++ though), so I removed it from the call to  and forced the arg type passed in to be an   (even though the compiler would probably assign it that type). is not always set if  fails so the code now displays a hard-coded message. The code was returning 1 to indicate failure which is a bad idea, it should return the value  (which may be 1, or it may not, it's implementation dependent - on VAX/VMS systems 1 indicates success). 0 can be used for successful exit (in VAX/VMS that is converted to 1 and returned) or. I've added a space after each use of  as a stylistic hint that it is not a function call. I'm assuming this C book is teaching Standard C as much as possible because I notice specific mentions of UNIX etc. where non-Standard use of C is demonstrated, which is good. -- Mickraus 23:58, 27 October 2007 (UTC)

The first example
In the first example, why are the directives:

used at all?
 * #include  and
 * #include

The function call "strerror( errno )" is never made in the example code, even though it is mentioned in the preceding paragraph.

On a slightly unrelated topic, I ran the example code, and received a malloc failed response.

I have 8 GB of RAM on my system.My OS is 64 bit windows 7. I think it should be mentioned in the comments of the example; or in an appropriate place in the preceding text; that this example will (most likely) fail if you have less than 2 gb of RAM on a "32 bit system". And most likely this example will fail if you have less than 16 gb of RAM on a "64 bit system".

V-a-xvi (talk) 03:12, 23 November 2010 (UTC)

 * I just ran a modified version of this example and it works as expected, and I assume that its an oversight in the example that the line puts(strerror(errno)) is not included. I've corrected the example as I think appropriate.

 * V-a-xvi (talk) 19:35, 24 November 2010 (UTC)

Pointers
You include code that uses pointers before you ever introduce the concept of pointers. I think this is likely to be confusing, even though people can always read ahead or google it. Finsternish (discuss • contribs) 19:03, 24 August 2015 (UTC)

Signals
The signals section here is very incomplete; it starts off well, but then suddenly ends before explaining how `signal` actually works, or even its syntax, or what `SIGINT` is, etc., which leaves the reader with a useless example (that would be useful if explained).

As with my other comments, I'll come back and fix it once I understand it. :) Meatnordrink (discuss • contribs) 14:08, 13 January 2021 (UTC)

Agreed, the signals section leaves a lot to be desired. Furthermore, please stop using functions that are not signal-safe in signal handlers. In particular, printf and exit are not safe to call there! --188.98.119.31 (discuss) 09:15, 22 March 2021 (UTC)

title: Talk:C Programming/Error handling


text:
User:Andreasc~enwikibooks

Andreas Czink
TODO

title: User:Andreasc~enwikibooks


text:
Cookbook:Chocolate Chip Cookies (Gluten-Free)

| Desserts

These gluten-free chocolate chip cookies use sweet rice flour, also known as glutinous rice flour. Don't be fooled by the name; there's no gluten in glutinous rice flour (or any rice flour, for that matter). This flour, like most gluten-free flours, is easy to find if an Asian grocery can be located. It can also be found in many boutique grocery stores, such as Trader Joe's or Whole Foods. Other gluten-free flours may be substituted, but be prepared to adjust the amount of flour needed to compensate for variations in starchiness.

It should go without saying, for any household coping with celiac disease, that it is imperative to make sure all your ingredients, work surfaces, and utensils are free of gluten contamination. Special care should be taken with compound ingredients such as baking powder; make sure its ingredients list does not include gluten-containing items such as modified food starch.

The cookies are pictured to the right with various additions to the dough. Experimenting is encouraged, but please be careful choosing additions. Some of the cookies pictured have oats added, which introduce trace amounts of gluten and are not safe for celiacs.

Ingredients

 * ½ cup (1 stick / 120 ml) butter
 * ½ cup (120 ml) white granulated sugar
 * ½ cup (120 ml) brown sugar
 * 2 ea. (100 g) eggs
 * ½ tsp vanilla extract
 * 1¼ cup (300 ml / 1 cup + 2 tablespoons) sweet rice flour
 * 1 tsp xanthan gum
 * ¾ tsp baking powder
 * ½ tsp baking soda
 * Chocolate chips (as many as you like)

Equipment

 * Large mixing bowl
 * Stand mixer and bowl (or a hand-held mixer and a medium mixing bowl)
 * Wooden spoon
 * Cookie sheet
 * Non-stick silicone baking sheet liner (Silpat, etc.)

Procedure

 * 1) Preheat oven to 350°F (180°C).
 * 2) Mix the sweet rice flour, xanthan gum, baking powder and baking soda in a large mixing bowl.
 * 3) In a smaller mixing bowl or stand mixer, cream the butter, sugar, and brown sugar. Add the eggs and vanilla and continue mixing.
 * 4) Add the wet ingredients to the dry ingredients and mix thoroughly with a wooden spoon. Don't worry about over-mixing; since there is no gluten in the flour, there is no danger of overworking it.
 * 5) Fold in the chocolate chips.
 * 6) Line cookie sheet with silicone mat and spoon on balls of dough, about 1½ inches (4 cm) in diameter.
 * 7) Put cookie dough in the fridge for 30–40 minutes or into the freezer for 10–20 minutes.
 * 8) Bake until golden brown.

Notes, tips, and variations

 * These will likely take longer to bake than gluten-containing cookies—perhaps about 25 minutes. Baking time will depend on the flour you use, since the protein content of the flour will determine the rate of browning from the Maillard reaction.
 * The silicone baking sheet liner is important, as these cookies tend to stick to the pan more than most. If you don't have one, parchment paper might also work.


text:
IB Music/Exam/Listening Paper

The Listening Paper consists of 4 questions for Standard Level candidates and 5 questions Higher Level candidates, to be answered in 2 hours and 2 hours 30 minutes respectively. It is divided into section A and section B, with an additional section C for Higher Level candidates. All questions are worth 20 marks each. Candidates will have to bring in unmarked scores of the prescribed works, but will be provided with a CD with unidentified tracks.

 Section A  (Standard and Higher Level)

This section has recently been reformed for the May 2015 examination session. Candidates can take unmarked scores of the prescribed works into the examination room. No listening tracks will be provided. The first two questions are each based on one of the two prescribed works, and both the Standard and Higher Level candidates have a choice between the two. It was previously two compulsory questions on the two set pieces. The third question is one in which a comparison between the two prescribed works is required for higher level students only. As a result of this, standard level students can study only one of the set works, significantly increasing the knowledge base for one piece.

Prescribed Works

The prescribed works for the 2011 and 2012 examinations are "El Salón México" by Aaron Copland and "Symphony No. 41 in C Major, K.551 ("Jupiter")" by Wolfgang Amadeus Mozart.

The prescribed works for the 2013 and 2014 examinations are "Yellow River Piano Concerto" by Yin Chengzong and Yu Wanghua (based on Xian Xinghai's "Yellow River Cantata") and "Symphony No. 1 in D Major, Op. 25 ("Classical Symphony")" by Sergei Prokofiev.

The prescribed works for the 2015 and 2016 examinations are "Petite Messe solennelle" by Gioachino Rossini and "An American in Paris" by George Gershwin.

The prescribed works for the 2017, 2018 and 2019 examinations are "Brandenburg Concerto, No. 2 in F Major(BMV 1047)" by Johann Sebastian Bach and "Dances of Galanta" by Zoltan Kodaly.

The prescribed works for the 2020 examinations are "Symphony No. 94 "Surprise"" by Franz Joseph Haydn and "Rhapsody on a Theme of Paganini" by Sergei Vasilyevich Rachmaninoff.

Section B (Standard and Higher Level)

The four questions in this section are based on extracts on an accompanying CD provided during the examinations. These can be from any time period, genre or culture. Questions are usually along the following lines: 'Describe what you hear in this extract, relating to appropriate issues concerning musical, structural and contextual characteristics.' Standard Level candidates have a choice between question 3 and 4 (3 has a score with it and 4 does not), but must additionally answer questions 5 and 6 (based on jazz, pop and/or world music). Higher Level candidates must do the same but the question numbers with be 4 and 5, and 6 and 7 respectively.

title: IB Music/Exam/Listening Paper


text:
User:Jamesrp

Wikibooks Articles * IB Music Listening Paper

Planned Wikibooks Articles * IB Music Solo Performance * IB Music Group Performance * IB Music Composition

title: User:Jamesrp


text:
Java Programming/Generics

Java is a strongly typed language, so a field in a class may be typed like this:

This ensures that, only  objects can be put in the field and a   can't occur at runtime, only compile-time error can occur. Unfortunately, it can be used only with  objects. If you want to use the same class in another context with s, you have to generalize the type like this:

But you will have  at runtime again and you can't easily use your field. The solution is to use Generics.

Generic class
A generic class does not hard code the type of a field, a return value or a parameter. The class only indicates that a generic type should be the same, for a given object instance. The generic type is not specified in the class definition. It is specified during object instantiation. This allows the generic type to be different from an instance to another. So we should write our class this way:

Here, the generic type is defined after the name of the class. Any new identifier can be chosen. Here, we have chosen T, which is the most common choice. The actual type is defined at the object instantiation:

Although each object instance has its own type, each object instance is still strongly typed:

A class can define as many generic types as you like. Choose a different identifier for each generic type and separate them by a comma:

When a type that is defined with generic (for example, ) is not used with generics (for example,  ) is called a raw type.

Generic method
A generic type can be defined for just a method:

Here a new identifier (D) has been chosen at the beginning of the method declaration. The type is specific to a method call and different types can be used for the same object instance:

The actual type will be defined by the type of the method parameter. Hence, the generic type can't be defined only for the return value as it wouldn't be resolved. See the Class section for a solution.

Question 4.8: Consider the following class.

What will be displayed on the console?

is typed as a string.

Wildcard Types
As we have seen above, generics give the impression that a new container type is created with each different type parameter. We have also seen that in addition to the normal type checking, the type parameter has to match as well when we assign generics variables. In some cases this is too restrictive. What if we would like to relax this additional checking? What if we would like to define a collection variable that can hold any generic collection, regardless of the parameter type it holds? The wildcard type is represented by the character <?>, and pronounced Unknown, or Any-Type. Any-Type can be expressed also by. Any-Type includes Interfaces, not only Classes. So now we can define a collection whose element type matches anything. See below:

Upper bounded wildcards
You can specify a restriction on the types of classes that may be used. For example,  only allows objects of class   or a subclass. For example, to create a collection that may only contain "Serializable" objects, specify:

The above code is valid because the class is serializable. Use of a class that is not serializable would cause a compilation error. The added items can be retrieved as  object. You can call methods of the  interface or cast it to. The following collection can only contain objects that extend the class.

Lower bounded wildcards
specifies a restriction on the types of classes that may be used. For example, to declare a Comparator that can compare Dogs, you use:

Now suppose you define a comparator that can compare Animals:

Since  are , you can use this comparator to compare Dogs also. Comparators for any superclass of Dog can also compare Dog; but comparators for any strict subclass cannot.

The above code is valid because the  class is a supertype of the   class. Use of a class that is not a supertype would cause a compilation error.

Unbounded wildcard
The advantage of the unbounded wildcard (i.e. ) compared to a raw type (i.e. without generic) is to explicitly say that the parameterized type is unknown, not any type. That way, all the operations that implies to know the type are forbidden to avoid unsafe operation. Consider the following code:

This code will compile but this code may corrupt the collection if the collection only contains strings:

This situation could have been avoided if the  method was defined with an unbounded wildcard:. With this signature, it is impossible to compile a code that is dependent of the parameterized type. Only independent methods of a collection (, ,  ,  ,  , ...) can be called. For instance,  could contain the following code:

Class
Since Java 1.5, the class  is generic. It is an interesting example of using generics for something other than a container class. For example, the type of String.class is, and the type of Serializable.class is. This can be used to improve the type safety of your reflection code. In particular, since the  method in Class now returns T, you can get more precise types when creating objects reflectively. Now we can use the  method to return a new object with exact type, without casting. An example with generics:

The same code without generics:

Motivation
Java was long criticized for the need to explicitly type-cast an element when it was taken out of a "container/collection" class. There was no way to enforce that a "collection" class contains only one type of object (e.g., to forbid at compile time that an  object is added to a   that should only contain  s). This is possible since Java 1.5. In the first couple of years of Java evolution, Java did not have a real competitor. This has changed by the appearance of Microsoft C#. With Generics Java is better suited to compete against C#. Similar constructs to Java Generics exist in other languages, see Generic programming for more information. Generics were added to the Java language syntax in version 1.5. This means that code using Generics will not compile with Java 1.4 and less. Use of generics is optional. For backwards compatibility with pre-Generics code, it is okay to use generic classes without the generics type specification. In such a case, when you retrieve an object reference from a generic object, you will have to manually cast it from type Object to the correct type.

Note for C++ programmers
Java Generics are similar to C++ Templates in that both were added for the same reason. The syntax of Java Generic and C++ Template are also similar. There are some differences however. The C++ template can be seen as a kind of macro, in that a new copy of the code is generated for each generic type referenced. All extra code for templates is generated at compiler time. In contrast, Java Generics are built into the language. The same code is used for each generic type. For example:

Both these objects appear as the same type at runtime (both 's). The generic type information is erased during compilation (type erasure). For example:

is transformed by erasure into:

Question 4.9: Consider the following class.

Which lines will generate a compile error?

 * Line 9:  does not extend.
 * Line 10:  is not a superclass of.
 * Line 13:  can't be instantiated.
 * Line 15:  does not extend.
 * Line 16:  can't be instantiated.

Programmation Java/Types génériques

title: Java Programming/Generics


text:
User talk:80.58.205.46

Hello and welcome to Wikibooks!

Here are some tips to help you get started:
 * You can sign your name on Talk and vote pages using four tildes, like this: ~~~~.
 * Remember to conduct any editing experiments in the sandbox.
 * Check out our help page if you need additional help.
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Take a look at Naming policy
 * See list of templates which can save your time
 * Remember to maintain a Neutral point of view.
 * Explore, be bold in editing pages, and have fun!

You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Staff lounge, IRC channel or ask me personally on my talk page.

Good luck! --Wur-dene 19:37, 27 July 2006 (UTC)

title: User talk:80.58.205.46


text:
User talk:Annschro

Hello and welcome to Wikibooks!

Here are some tips to help you get started:
 * You can sign your name on Talk and vote pages using four tildes, like this: ~~~~.
 * Remember to conduct any editing experiments in the sandbox.
 * Check out our help page if you need additional help.
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Take a look at Naming policy
 * See list of templates which can save your time
 * Remember to maintain a Neutral point of view.
 * Explore, be bold in editing pages, and have fun!

You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Staff lounge, IRC channel or ask me personally on my talk page.

Good luck! --Wur-dene 19:38, 27 July 2006 (UTC)

title: User talk:Annschro


text:
User:Wur-dene

I'm here to help.

title: User:Wur-dene


text:
User talk:Lar

Hi, I am Larry Pieniazek, I like LEGO and I am not notable. I edit more on the English Wikipedia than anywhere else, so for best results either mail me, or leave me a message on my talk page there: w:User_talk:Lar... thanks!

title: User talk:Lar


text:
User:Lar

Hi, I am Larry Pieniazek, I like LEGO and I am not notable. I edit more on the English Wikipedia than anywhere else, so for best results either mail me, or leave me a message on my talk page there: w:User_talk:Lar... thanks!

title: User:Lar


text:
Adventist Youth Honors Answer Book/Arts and Crafts/String Art

1. Describe the following: string craft, symmography, geometric stitchery.

 * String Craft: String Craft is making something (craft or art) out of string.

 * Symmography:Symmography is creating 3D designs with string without knotting or knitting.

 * Geometric Stitchery: Geometric Stitchery is like Symmography but instead of using nails to hold the string on the surface of the media you use a needle or precut holes to go through the surface and come out to a new point in the media. Much like sewing on a patch.

3. Name three ways to prepare wood for string art.
There are many ways to prepare the wood for string art:
 * Paint: Paint covers the wood and gives you a smooth surface with the color(s) of your choice.
 * Stain: Stain changes the color of the wood while still showing the nature and texture of the wood. Stained wood can be lacquered or varnished to make it glossy.
 * Lacquer: Lacquer (clear) protects the wood without changing its color. It leaves a glossy finish.
 * Felt: Cover the wood with felt. Use staples on the back or a thin, even coat of white glue on the front.  Dots of glue will show through, so if you are going to use glue, it must be spread evenly, as if you were painting with it.  Stretch the felt over the wood tightly, eliminating all wrinkles.

Once the wood has been finished, the string artist will drive small nails partway into the board. These nails are the points around which the strings are run. When setting the nails, at least half the nail should be left exposed above the wood. Care must be taken to drive the nails to a sufficient depth so that they do not pull out when placed under tension by the string. The project will look far better if all the nails are set to the same height, and if they are perfectly vertical.

If you have difficulty setting the nails (big fingers plus little nails equal trouble!) try holding the nail in place with a pair of needle nose pliers.

It is a good idea to draw the pattern out on paper first. Then tape the paper over the wood and drive the nails through it. Once the nails are in place, the paper should be removed. It is tempting to leave the paper in place to serve as a guide while running the string, but this temptation should be resisted. It is nearly impossible to remove the paper without removing at least some of the string. Do yourself a favor and remove the paper before running the string.

To begin, anchor the first string to the first nail using a slip knot. Tug on it to be sure it will hold before spending a lot of time running the string. If it pulls loose halfway through the design, it will be difficult to salvage all that hard work.

a. Filled circle

 * In a 'Filled circle', the string would cross the center point of the circle. There would be no empty space in the center area of the circle.

b. Hollowed circle

 * In a 'Hollowed circle', the string would not go pass the center point of the circle. There would be no string in the center area of the circle.

c. Star

 * The hollow and filled circles are also of a star design.

d. Edging

 * Edging basically edges or outlines the design.

e. Curve from within

 * When you curve from within the string covers some part of the inside curve.

f. Curve from without

 * The Curve from within and Curve from without are two different types of edging. In the example here, we are using a circle. Edging basically edges the design. When you curve from within the string covers some part of the inside curve. When you curve from without the string does not cross the space on the inside of the curve (because the nails in the wood keeps them on the outside of the curve).

5. Complete one original string art hanging on wood for display.

 * This is your part. Enjoy!


text:
User:Bigtop/Signature

Big  top

title: User:Bigtop/Signature


text: Adventist Youth Honors Answer Book/Recreation/Swimming - Beginner


text:
Talk:Java Programming/Generics

I am wondoring where the name 'Generics' comes from. Does anyone knows? Ervinn 21:07, 27 July 2006 (UTC)

Use Generics other than Collection classes
Is there a need to use Generics other than using it for Java Collections? I am looking for an example ,other than Java Collection classes, where the use of Generics would be handy. Currently I do not see one. Ervinn 15:49, 18 August 2006 (UTC)

Things that are needed
Subanark (talk) 23:54, 2 August 2008 (UTC)
 * Generic type parameter in throws clause
 * Subclasses of Throwable cannot be generic
 * Cannot create arrays of generic types or pass generic types as arguments to varargs.
 * Generic constructors
 * special compiler handling of the getClass method:
 * Deep generics (a list that contains either lists of Strings or Objects):
 * Generics and autoboxing:
 * Generics and inner classes

Needed
Sections for the following structures are needed:

 void method(T parameter);

 void method(T1 t1, T2 t2);

title: Talk:Java Programming/Generics


text:
Talk:C Sharp Programming/Variables

In section 2.1 (Predefined Types), value and reference types are introduced but not well explained. Since this is a "basic" introduction, it would be helpful to have these terms explained. Similarly, the concept of boxing needs further explanation. - Fly4free

Section 1.3 (Parameters) needs to be altered to better explain the difference between values and references being passed into methods. Since value types and reference types are discussed in later sections, this section may need to be discussed later in the document. -- Dm7475

As I have done with other pages, I am going to go through this page and change the examples that are used to be more simple so that the meaning of the example is not lost in the complexity of it. We have to remember that although many of the people who read this have programmed before, some haven't, so using a IO Operation for the example for variables may be too advanced. ---Tetsuo86 12:39, 24 July 2007 (UTC)

Is the bool type in c# really 32 bits? That seems ludicrous.

Parameter
It currently reads:
 * Since this is the default for the C# compiler, it is not necessary to use.

that comment was added 2008-Dec-25 (Merry Christmas indeed!). Could someone please complete the thought? --Walter Görlitz (talk) 20:55, 2 June 2010 (UTC)

title: Talk:C Sharp Programming/Variables


text:
User:Jechasteen

Jonathan Chasteen (born July 29, 1986) is currently a student of Music Education and Theory and Composition, and also an active musician in the Riverside, CA area. Jonathan specializes in the following areas:
 * Trombone and Euphonium
 * Acoustic Guitar
 * Music Theory
 * Electronic composition techniques, e.g. Logic 7 and Sibelius 3

Pertinent Undergraduate Courses

 * MUS114/115, 124/125, 214/215, 224/225 - Music Theory I-IV and Ear-training Labs
 * MUS353 - Music Composition
 * MUS108 - Jazz History
 * MUS090 - University Choir and Orchestra, Trombone, 4 Semesters
 * MUS096 - Jazz Band, Lead Trombone, 4 semesters
 * MUS097 - Concert Band, Principal Euphonium and Principal Trombone, 4 semesters
 * MUS098 - Choral Union, Alto Trombone, 4 Semesters
 * MUS080 - Trombone Private Lessons, 4 Units

title: User:Jechasteen


text:
User talk:Molcow

You replaced my user page with a notice that I am a sockpuppet. This accusation is unfounded, and I am assuming it was made in bad faith. I have looked through your contribution history, and I dont see anything that is blatantly vandalism, but I have some reservations. If i determine that you are a vandal, I will have you blocked from editing wikibooks. --Whiteknight (talk) (projects) 22:33, 27 July 2006 (UTC)

 * That's it, you've been blocked. 2 weeks, and If you continue what you have been doing once the block is over, I will block you forever. If you feel this is wrong, or that you aren't a vandal, you can send me an email HERE to try and make your case. I won't hold my breath, however. --Whiteknight (talk) (projects) 11:55, 28 July 2006 (UTC)

title: User talk:Molcow


text:
Muggles' Guide to Harry Potter/Characters/Cornelius Fudge

Overview
Cornelius Oswald Fudge is the Minister for Magic, which makes him the senior government official of the Wizarding world. He seems to have decided that he should adopt the dress of a government minister, as befits his office, but like so many wizards, does not quite understand the details of Muggle garments; in the books, one of his signature possessions is his lime-green bowler hat.

Philosopher's Stone
Cornelius Fudge is entirely off-stage in this book. It is mentioned that he is perpetually summoning Professor Dumbledore to London for consultation, and that Fudge became Minister for Magic when Dumbledore turned down the offer.

Chamber of Secrets
Fudge appears briefly in this book, only long enough to accuse Hagrid of opening the Chamber of Secrets, and place him under arrest. Fudge's behavior in this vignette is already enough to show him as a pompous bureaucrat. He is also present when Lucius Malfoy arrives with an order for Dumbledore's dismissal.

Prisoner of Azkaban
When Harry arrives at The Leaky Cauldron after catching a ride on the Knight Bus, Fudge meets him at the door, much to Harry's shock. Apparently, Fudge has been involved in some effort to find Harry, and is relieved that he has appeared. Fudge takes him to a private room, has the innkeeper, Tom, bring tea, and tells Harry, who has been dreading punishment for his unauthorized use of magic, that it could have happened to anyone, and that it will be forgotten. He goes on to ask if Harry would spend the remainder of his summer vacation there at the Leaky Cauldron, and in Diagon Alley, staying clear of the Muggle side of the inn. He also suggests that Harry should expect to stay at Hogwarts over Christmas and spring breaks, and is politely disbelieving when Harry says he would much rather do that. However, when Harry, taking courage from Fudge's apparent expansiveness, asks Fudge to sign his Hogsmeade permission slip, Fudge refuses, fumbling out some sort of excuse.

Fudge re-appears in Hogsmeade at Christmas, where we see him discussing the current state of affairs with Professor Flitwick, Professor McGonagall, Hagrid, and Madam Rosmerta. Harry, who is in Hogsmeade without permission, must hide under the table. When Rosmerta complains the Dementors are affecting her business, Fudge explains they are necessary because Sirius Black is so dangerous. Rosmerta mentions that Sirius and James Potter were great friends once, always in the Three Broomsticks together. This surprises Harry. Fudge says that not only was Sirius James' best friend, but also best man at his wedding and Harry's godfather. As the conversation continues, it is learned that James and Lily knew Lord Voldemort was hunting them and went into hiding. They used the Fidelius charm to conceal themselves and appointed Sirius their Secret-Keeper. Dumbledore, aware someone close to them was leaking secrets, offered to be their Secret-Keeper, but they declined. Barely a week later, Voldemort killed James and Lily, although he met his own demise in baby Harry. Obviously Black, tired of playing double agent, had thrown his lot in with Voldemort but, after his defeat, had to flee for his life. Peter Pettigrew, another Potter friend, caught up to Black the next day and accused him of betraying James and Lily. Black killed him and twelve Muggle bystanders with a single curse. Only Pettigrew's bloodstained robes and a severed finger were left. Black was sentenced to Azkaban, where he remained until his escape. It is believed he is now trying to reunite with Voldemort, perhaps after killing Harry to prove his loyalty.

Finally, when Sirius Black is captured, Fudge appears again to take custody of him. He accepts Professor Snape's version of the story at face value, refusing to believe Harry's and Hermione's protestations of Sirius' innocence and the presence of Peter Pettigrew. After Black escapes, Snape returns to the hospital wing with Fudge alongside, insisting that Harry had something to do with Sirius' escape. Harry states that he was locked into the hospital wing for the entire time that Snape was away, and Fudge expresses the belief that Snape has become somewhat unhinged. Professor Dumbledore, who is present, says that Snape has just suffered a disappointment.

Goblet of Fire
We first see Fudge when we enter the Top Box at the Quidditch World Cup with Harry and the Weasley family. Fudge is exasperated because his opposite number, the minister for magic from Bulgaria, apparently speaks no English, and Fudge has been trying to communicate with him by sign language all day. Also present is Lucius Malfoy, there as Fudge's guest, in gratitude for a large donation that Malfoy has just made to St. Mungo's Hospital. At the end of the match, the Bulgarian minister comments that it was a good match, and says that he had not told Fudge that he spoke English because it was so comical watching him try to act out his meaning.

We see Fudge again when Bartemius Crouch appears on the outskirts of the Forbidden Forest, apparently insane, and then vanishes. Foul play is suspected, of course, and Fudge apparently arrives at the school in order to use Dumbledore's and Professor Moody's input to support placing blame. Harry, standing outside Dumbledore's office door, hears Fudge suggesting that Madame Maxime, the headmistress of Beauxbatons Academy, may be at fault, because of her parentage. Harry is caught eavesdropping, and says that Madame Maxime was nowhere in sight, and she would be hard to miss after all. Fudge, Moody, and Dumbledore depart to look at the place where Mr. Crouch had been seen, leaving Harry alone in Dumbledore's office.

With Crouch missing and Percy Weasley, his assistant, in some disgrace, Fudge himself takes on the task of judging the Third Task of the Triwizard Tournament. When Harry and Cedric Diggory emerge from the maze, Fudge tries to disguise the fact that Cedric has been murdered, saying he is only injured. Summoned to Professor Moody's office to interrogate Barty Crouch Jr., Fudge feels that he must bring a Dementor with him; the Dementor administers the Kiss to Crouch immediately, making it impossible for Fudge to hear his confession directly and destroying a valuable piece of evidence. He then dismisses Harry's story of the return of Voldemort, saying that it can't be true. At one point, talking to Dumbledore, he almost seems to plead with him, asking Dumbledore to confirm that it can't have happened; but when Dumbledore remains unshakable, Fudge decides that Dumbledore has chosen to stand against the Ministry and they have reached a parting of ways.

Order of the Phoenix
Fudge rightly believes that if Lord Voldemort has returned, his tenure in office will end. In order to deny what Albus Dumbledore, Harry Potter, and Severus Snape have told him and shown him, Fudge has to come up with an alternate explanation; and the explanation he apparently comes up with is that Dumbledore has decided to become Minister for Magic and has set himself up as an enemy of the Ministry. To defend himself against this contrived threat, Fudge must discredit Dumbledore and Harry, so he apparently engineers the removal of Dumbledore from the Wizengamot, replacing Dumbledore himself. He also leans on the Daily Prophet so that they will print stories that disparage Harry and Dumbledore, thus attempting to ensure that anything that they say can be easily discredited.

All of this is happening behind the scenes. The first time we actually see Fudge in the story is when Harry is at his hearing for his unauthorized use of magic. Fudge has apparently convened the full Wizengamot for the hearing, and is acting as combination head judge and prosecutor. He has decided Harry's guilt, and even in the face of evidence from Dumbledore and Arabella Figg that there were Dementors present, thus making the use of magic justified under the law, insists on bringing up irrelevant information that he feels bolsters the Ministry case against Harry. In the end, however, the panel of judges rules that Harry's use of magic was justified. Fudge sullenly declares him cleared of all charges, and leaves. As Harry departs the courtroom with Arthur Weasley, they run into Fudge and Lucius Malfoy, who is evidently about to make a large donation for something. After exchanging a few barbs with Mr. Weasley, Lucius suggests that he and Fudge should adjourn to Fudge's office, and let Arthur go about his business.

Fudge does not directly appear through much of the rest of the book; instead, he arranges the passage of Educational Decree Number Twenty Two, providing that the Ministry can appoint teachers to fill vacancies at Hogwarts when the Headmaster is unable to fill them himself. Using this decree, Fudge appoints Dolores Umbridge to the school as teacher of Defence Against the Dark Arts. Umbridge apparently has been given the prime mission of preventing the students from learning any useful jinxes, as the class is taught theory only, and apparently from a book that stresses negotiation rather than defence. Harry guesses that this is because Fudge fears that Dumbledore wants to become Minister for Magic himself, and so he is trying to prevent Dumbledore's school from creating an army that can be used against Fudge; Sirius Black later confirms this belief. Fudge also acts to increase his control over Hogwarts indirectly, by issuing new Educational Decrees that grant ever more powers to Umbridge.

He returns directly to our story at the point where Harry's Defence Against the Dark Arts group, "Dumbledore's Army", is broken up by the actions of Marietta Edgecombe. Umbridge calls him in to witness the capture and punishment of the group, who are supposedly meeting in direct violation of Educational Decree Number Twenty-Four, which prohibits unapproved student groups. Fudge is dismayed to find that the only meeting of which they have direct evidence actually occurred before the Decree was made, and therefore is not in violation, and is further upset when Miss Edgecombe refuses to repeat the story she had told Professor Umbridge, instead silently maintaining that there had been no meetings since the first. However, Umbridge does finally retrieve the Dumbledore's Army membership list, and Dumbledore quietly agrees that, as Fudge had supposed, Dumbledore was creating a private army. However, when Fudge demands that he give himself up, Dumbledore refuses; in the ensuing, brief battle, Fudge, along with Umbridge and the Aurors Fudge has brought, are rendered unconscious and Dumbledore escapes. Fudge, on regaining his senses, runs off thinking that he is chasing Dumbledore.

At this point, Fudge manages to get Umbridge appointed Headmistress. However, she is unable to enter the Headmaster's office, remaining in her original office.

Finally, at the end of the battle at the Ministry, Fudge actually sees the returned Voldemort, who is rescuing Bellatrix Lestrange, one of his supporters. Fudge blusters at Dumbledore, but eventually must concede that Dumbledore and Harry were right all along, and that Voldemort has returned. In the last chapter, a flustered Fudge gives a statement to the Prophet that Voldemort has returned. His statement was meet with immediate alarm, dismay and outrage.

Half-Blood Prince
At the beginning of this book, we find out that Cornelius Fudge has been sacked as the Minister for Magic in favor of Rufus Scrimgeour, though he has stayed on as Scrimgeour's assistant. He appears in the Muggle prime minister's office at the start of the book, to brief the Muggle Prime Minister on the current state of affairs in the Wizarding world and introduce Scrimgeour. When the Prime Minister asks why they can't eliminate the threat by using magic, it is Fudge who points out that the other side has magic also. During his conversation with the Prime Minister, Fudge makes mention of having written to Dumbledore twice a day in the past fortnight. It is later revealed that in a desperate bid to remain in office, Fudge wrote to Dumbledore to set up a meeting between himself and Harry to gain his support, but Dumbledore, knowing Harry would never agree to such an offer, ignored him. He has very little additional role to play in this book, though he does attend Dumbledore's funeral.

Deathly Hallows
Though Fudge does not appear in this book he is mentioned a few times. His fate after the Ministry is taken over by Death Eaters is unknown.

Strengths
Though it takes seeing Voldemort with his own eyes, Fudge does admit that he was wrong. Umbridge conceals from Fudge the fact that she ordered the dementors to attack Harry and later plans to do the same with her use of the Cruciatus Curse, implying that Fudge has at least enough morals that he would disapprove of these actions if he knew about them. He also showed clear disapproval at Lucius Malfoy's order for Dumbledore's dismissal despite his esteem for the former.

Though nowhere near Dumbledore's level, Fudge may be a reasonably skilled wizard in his own right. He at the very least seemed competent enough in his abilities to challenge Dumbledore, though it should be noted that he only did so with Umbridge, Dawlish, and Shacklebolt's assistance (and that all four were defeated rather quickly).

Weaknesses
Cornelius Fudge is first and foremost a politician. His primary concerns are the viability of his post and his popularity. When faced with the inconvenient truth of Voldemort's return, Fudge chooses to deny the danger to the Wizarding World. Instead, he labors to discredit those who, in his opinion, threaten his political power. Ultimately he shows himself to be paranoid, self-centered, corrupt and without scruples. He also appears to be somewhat gullible, being easily duped by Lucius Malfoy and apparently oblivious to Umbridge's true nature. Fudge is an egotistical man who always thinks he's right and never admits he's wrong, even when he knows he is wrong.

Relationships with Other Characters
Nowhere in the books do we see Fudge in anything except his political persona. If he has relationships based on anything except political advantage, we remain unaware of them. We note that his relationship with Dumbledore is seen to change over the story arc: Hagrid tells us that Fudge is perpetually seeking Dumbledore's advice in Harry Potter and the Philosopher's Stone, but at the end of Harry Potter and the Goblet of Fire, Cornelius determines that accepting Dumbledore's statement would be political suicide, and so turns against him. This rift likely can never heal, as Dumbledore wisely comments at one point that "it is far easier to forgive someone for being wrong, than to forgive them for being right." Added to the fact that Dumbledore was right about Voldemort, is the fact that Fudge lost office almost immediately after Voldemort's return was independently confirmed, a loss for which he almost certainly would blame Dumbledore, and we can guess that Fudge likely never spoke to Dumbledore again. We suspect that Fudge's motive for attending Dumbledore's funeral was equally political.

Analysis
Cornelius Fudge is presented from the beginning as a classic politician, whose planning horizon extends no further than his own re-election. While it is not safe to guess at his motivations, we can see that he is modeled on any of a large number of politicians active in democratic governments throughout the world. The author has clearly studied the ways of politicians, and has amplified the self-serving characteristics in order to make a thoroughly unpleasant, shallow "leader" for the Wizarding government.

This being nominally a series of books for children, one may wonder why the author chose to install such a venial government? Our introduction to the Ministry is Hagrid's comment in Harry Potter and the Philosopher's Stone, about the Ministry of Magic messing up again. One can hear echoes of this statement at very nearly every family breakfast table most mornings, as the daily newspaper is perused. Perhaps part of the intent is to illuminate the reasoning behind the utterance. Alternately, perhaps this portrayal of the Wizarding government's failings is a way to enlighten children as to why they should not blindly trust the government. Fudge's obvious self-serving nature, seen in these books without the intervening shielding layers of "spin-doctors" and mass media common in the Muggle world, can be held up for comparison with the antics of real politicians. As the books' story arc progresses, and the Ministry is ever-more exposed, the reader may be able to draw tighter parallels between the morning expression of distrust of the government and the actual actions of the people involved in it.

On a completely irrelevant note: In October 2013, a narwhal tusk was auctioned off that had been ''Presented to Cornelius Fudge. Master at Arms. By his mess mates as a mark of respect and esteem on his leaving H.M.S London at Zanzibar to retire from the service. September 1881.'' The owner of the tusk had written to J. K. Rowling to ask if there was any connection, and she responded that there was none she was aware of.

Questions

 * 1) Why does Cornelius Fudge not like Albus Dumbledore?


text:
Talk:Human Physiology/The cardiovascular system

Discussion
I think the idea of moving lymph to immunity is good- I also think that this chapter has a lot of repeating information said different ways- maybe that's part of the reason it seems so long Stephanie greenwood 17:15, 19 March 2007 (UTC)

Should we remove the stuff about the lymph system since it has to do a lot with immunity and put it in there?Danseyffert 04:14, 18 March 2007 (UTC) I have been doing some research on this subject and the other phys books have alot of anatomy in them also. I think it is necessary and needs more detail, but I could be wrong. It is a very long chapter though and maybe we should reduce some of it. I am not sure where either. Danseyffert 03:56, 18 March 2007 (UTC) I feel like this chapter is huge!! I just don't know where to start as far as removing things- Suggestions would be really helpful. I know that the anatomy is important but it seems like that is all this chapter is. I also agree with Trevan, let's improve the EKG section and take some of the anatomy out. Let me know your opinion Stephanie greenwood 03:31, 18 March 2007 (UTC)

I have added a brief blub on cardiac muscle contraction. I also think there needs to be more on an the EKG portion considering it is important for nurses to know.Trevan5 14:34, 15 March 2007 (UTC)

Images

 * Are you talking about u a new image onto the server, or using an existing image in your book? I can walk you through both processes, if you can be a little more specific. --Whiteknight (talk) (projects) 22:35, 31 July 2006 (UTC)

I have found a number of images that you can use here:

And there are a whole bunch of other quality pictures to be found at commons:Category:Heart. Look at the code of this message to see how i included these pictures (you make a link to the image title). Let me know if you have any questions. --Whiteknight (talk) (projects) 16:58, 4 August 2006 (UTC)

Lymphatic system
I like the lymphatic part besides it is in the book for this chapter. Elizabeth Durham


text:
User:Pyenos~enwikibooks

Helo, free world!

Linux Shell Programming

title: User:Pyenos~enwikibooks


text:
Talk:Principles of Economics/Opportunity Cost

This is the content from Microeconomics/Opportunity Cost, which should be deleted after merged with this page.

Formally, opportunity cost is the cost of the next best forgone alternative. That is, it is the cost that one incurs by taking a specific decision rather than some other. For example, assume that I have $5.00 with me, and I have two choices how to spend that money: buy a movie ticket or eat lunch. If I choose to buy a movie ticket, then the forgone alternative was buying lunch with that same money. This is just a small example of opportunity cost using money. However, there are more interesting examples. Opportunity cost is a result of scarcity. Any limited resource will incur an opportunity cost. In the previous example, the scarce resource is money; there is a finite amount available to me, and I can do only one thing with it. Opportunity cost is important in topics such as life insurance, which provides a hedge against the opportunity cost (in terms of income that will never be earned) of someone's death. Opportunity cost is also the 'unseen' or intangible cost incurred by a person when undertaking an endeavor. For example, time that could be used working and earning money could be the opportunity cost to someone who is a full-time student. The limited resource here is the student's time, which is "spent" in study rather than in earning income. A final example is the case of a family business. If a family member works in the business without a salary, there are two opportunity costs involved. The opportunity cost to the business is the wage that it would have paid another non-family employee. Alternatively, the opportunity cost to the family member is the wage she would have recieved if she were working elsewhere.

DettoAltrimenti 01:52, 28 July 2006 (UTC)


text:
Talk:Principles of Economics/Supply And Demand Model

The following pages need to be merged here.

Microeconomics/Supply and Demand Macroeconomics/Supply and Demand

"The principle of supply and demand is one of the best-known principles of economic theory. It was first posited by Jean-Baptiste Say, an 18th-century Classical Political Economist who suggested that demand and supply are interrelated. His theory was that the higher demand there is for something, the more people want it. The more that people want it (the more they value it), the more they are willing to pay for it. For example: There are 100 dolls and 400 people that want those dolls. Since there are more people that want dolls than there are dolls, people will pay more money for them.

Alfred Marshall, a famous neoclassical economist, went further in the mid-20th century and argued developed a mathematical model of supply and demand. The two variables in this theory are price and amount."{Introduction to Economics}

DettoAltrimenti 01:56, 28 July 2006 (UTC)


text:
Shell Programming

This book has an unclear focus but seems to be about Unix shell programming, prossibly of sh shell.

Contents

 * /Introduction/
 * /What is shell/
 * /Features/
 * /What is portable shell syntax?/
 * /Structure of a shell program/
 * /Expansions/
 * /Control statements/
 * /Condition types/
 * /String comparison/
 * /Arithmetic comparison/
 * /File conditional/
 * /If/
 * /while/
 * /until/
 * /for/
 * /example code using control statements/
 * /expr command/
 * /eval command/
 * /Regular expressions/
 * /I/O Redirection/
 * /Arrays/
 * /Text processing/
 * /Optimization/
 * /See also/
 * /Concept Index/

Related books

 * Bourne Shell Scripting
 * Bash Shell Scripting
 * C Shell Scripting

title: Shell Programming


text:
Muggles' Guide to Harry Potter/Characters/Fawkes

Overview
Fawkes is a phoenix owned by Albus Dumbledore.

Philosopher's Stone
Fawkes is not directly present, though it becomes apparent later that one of only two feathers he ever gave to Mr. Ollivander is the core of Harry Potter's wand, and the other one is the core of Lord Voldemort's wand.

Chamber of Secrets
We are introduced to Fawkes initially when Harry is called into Albus Dumbledore's office; Fawkes, looking very ill, is then at the end of his life and bursts into flame while Harry watches, appalled. This is Harry's first exposure to the phoenix; he doesn't realize that Fawkes will be reborn shortly from his own ashes.

In the climactic battle with the returning Tom Riddle, Fawkes appears in response to Harry's declaration of faithfulness to Dumbledore. Fawkes brings with him the Sorting Hat, and pecks the Basilisk's eyes out so that Harry will not be destroyed by them. When Harry takes an envenomed wound from the basilisk, Fawkes sheds tears on it and heals Harry. And finally, he lifts Harry, Ron, Ginny, and Professor Lockhart out of the Chamber of Secrets and returns them to safety.

Prisoner of Azkaban
Fawkes is not mentioned in this book; we assume that he is sitting on his perch in Professor Dumbledore's office, but Harry has no reason to visit Dumbledore's office during the course of the year.

Goblet of Fire
Fawkes does not appear to directly play a significant role in this book. He appears briefly when Harry makes two visits to Dumbledore's office. During the second visit, which occurs after a confrontation between Harry and Voldemort accompanied by his Death Eaters, Fawkes heals Harry's injured leg with his tears.

Prior to this visit, Harry and Voldemort attempt to duel using their wands. Two spells - an Expelliarmus from Harry, and an Avada Kedavra from Voldemort - intercept each other in mid-flight, and an unusual effect occurs: Priori Incantatem. Harry and Voldemort are surrounded by a web of light strands, which is then accompanied by phoenix song - Harry recognizes this song as the same music that he heard in the Chamber of Secrets. It is not explicitly Fawkes' music, but it is clearly phoenix song.

The Priori Incantatem effect is explained by Dumbledore during Harry's second visit to his office; Harry and Voldemort's wand cores are phoenix feathers, both of which were given to Ollivander by Fawkes.

Order of the Phoenix
Dumbledore wakes Fawkes up so that he can be warned if anyone is approaching while Harry and the others are being sent to Number 12, Grimmauld Place. Fawkes delivers the message to Molly Weasley that Arthur Weasley is injured, provides a warning of Professor Umbridge's approach, and then delivers the message from Molly to Sirius Black and the Weasley children that Arthur is safe.

Fawkes carries Dumbledore away from Hogwarts after Cornelius Fudge and the Aurors Kingsley Shacklebolt and Dawlish attempt to put him under arrest.

In the climactic battle at the Ministry, Fawkes saves Dumbledore from Voldemort's killing curse by swallowing the spell. This, of course, kills him, but he regenerates instantly as a chick. When Dumbledore returns to his office, the first thing he does is tenderly place Fawkes into the bed of ashes under his perch.

Half-Blood Prince
Fawkes is largely unseen this year. Although Harry makes many visits to Dumbledore's office, Fawkes is only mentioned in the narrative in passing.

Shortly after Dumbledore's death, Fawkes takes flight around Hogwarts, singing his music. The main characters clearly identify his music as a lament: eerie and beautiful, yet speaking of loss and despair. Later in the evening, Fawkes apparently departs, as the phoenix lament stops.

His location is not known at the end of Half-Blood Prince.

Deathly Hallows
Fawkes is mentioned only in passing, in the discussion of how to destroy a Horcrux. Apparently, a Horcrux will mend itself if it can do so by ordinary magical means; one of the few things that can destroy it is Basilisk venom, because the only thing that can heal that is Phoenix tears, and the Phoenix is definitely not ordinary magic.

Strengths
His tears have healing powers.

He can carry immensely heavy loads.

He cannot die - If he sustains fatal wounds he will merely burst into flames and be reborn from the ashes.

He can teleport from one place to another instantly, regardless of magical enchantments that prevent Apparition/Disapparition. This is used very rarely; we only see it in Harry Potter and the Order of the Phoenix, when Dumbledore sends Fawkes on a number of errands following Harry's dream of the snake, and when Dumbledore escapes arrest.

Relationships With Other Characters
"They make amazingly loyal pets." Fawkes is Dumbledore's pet, following instructions from him and assisting him in a number of ways. It appears Fawkes also extends this loyalty to Harry, so long as Dumbledore is alive, as Harry is loyal to Dumbledore.

Analysis
In Muggle mythos, witches and wizards tend to have animal familiars, much as Muggles have pets. Possibly the belief is that as we ascribe human-like characteristics to our pets, so must wizards; but with the advantage of magical powers, wizards may be able to enhance the characters of their companion animals to make them more helpful to their owners. We have seen earlier that Hogwarts allows bringing pets, to a limit of one; we see that all three of the principal characters have pets (Harry has Hedwig, Ron starts with Scabbers, then adopts Pigwidgeon, and Hermione has Crookshanks), and Neville has Trevor. We also have seen that Percy has Hermes, and Draco may have a pet eagle owl. It is not surprising, then, that Dumbledore would have a pet, and we could guess a fairly exotic one, given his age and stature, both in the story and in the Wizarding world. What better than a phoenix?

It is worth note, perhaps, that the various attributes ascribed to phoenixes in Harry Potter and the Chamber of Secrets are not part of the Muggle myth. We do note that every attribute ascribed here to Fawkes is used in the story. It is uncertain whether Fawkes was planned to be in attendance at the duel at the end of Harry Potter and the Order of the Phoenix, or whether he was added at the last minute, but it is to the author's credit that he seems organic to that battle.

We are told that Fawkes has only ever provided two of his feathers for wand cores. These wands are owned by Harry and Voldemort respectively. This "twin wand" issue will allow Harry to hold his own against Voldemort in the duel in the cemetery in Harry Potter and the Goblet of Fire, and will prove a major distraction to Voldemort in the final book.

Questions

 * 1) Phoenixes are immortal. The person to whom he was loyal (Dumbledore) passes at the end of book 6. Where is Fawkes now?

Greater Picture
The cycle of renewal that is the life of a Phoenix may symbolize the renewal that Dumbledore himself went through as a younger man, when he was forced to react to the way his youthful, idealistic plans had been subverted. In the final book, we will learn that Dumbledore and Gellert Grindelwald had considered overthrowing the Wizarding world's governing structure in favour of one that would allow wizards and Muggles to co-exist in full knowledge each of the other, with wizards ruling all "for the greater good". When Grindelwald perverted this idea into an excuse for dominating and destroying Muggle civilization in Europe, Dumbledore was eventually forced to duel his one-time best friend. This no doubt either caused his decision, or cemented an earlier resolve, to avoid leadership, including the post of Minister for Magic once offered to him.


text:
Muggles' Guide to Harry Potter/Major Events/Sirius' Death

Overview
Lord Voldemort implants a false vision into Harry's mind to trick Harry into believing Sirius is being tortured at the Department of Mysteries within the Ministry of Magic. Despite Hermione's warnings that the vision may be false and leading him into a trap, Harry, accompanied by Ron, Hermione, Ginny, Neville, and Luna Lovegood, rushes to London. Inside the Department of Mysteries, the group is ambushed by Death Eaters. The students fight for their lives and are nearly defeated when Order of the Phoenix reinforcements, including Sirius, arrive to help.

As a battle ensues, Sirius faces off with his Death Eater cousin, Bellatrix Lestrange, in a room containing a raised stone dais in the center of a sunken pit. Upon the dais is a stone archway, covered with a tattered black veil. Sirius is hit by Bellatrix's curse, and his stunned body arcs into the air and floats through the archway, disappearing behind the veil. Harry expects Sirius to reappear on the other side, but he never does. Harry attempts to go after him but is restrained by Remus Lupin, who tells him Sirius is dead. Harry is forced to admit that his godfather is gone.

Event Details
Exhausted from studying for OWL exams, Harry falls asleep during his History of Magic exam. He dreams that Voldemort is in the Ministry of Magic, where he is torturing Sirius Black. Having previously had similar dreams that contained real events, Harry concludes that this dream, also, is real, and demands that Hermione and Ron assist him in rescuing Sirius. Hermione suggests that Voldemort could be setting a trap for Harry, so Harry decides to use the Floo network to see if Sirius is still at Headquarters.

Harry breaks in to Professor Umbridge's office to use her fireplace, the only one unmonitored by the Ministry. There, he talks to the House-Elf, Kreacher, who says that Sirius will never return from the Department of Mysteries. Immediately after this, he is caught by Umbridge, along with Ron, Hermione, Luna Lovegood and Ginny, who had volunteered to help distract Umbridge and the students, and Neville, who was simply in the wrong place at the wrong time.

Umbridge summons Professor Snape to provide Veritaserum to determine who Harry was talking to; Snape refuses. Harry, remembering that Snape is a member of the Order of the Phoenix, tries to pass a message to him, but does not seem to be successful. Hermione convinces Umbridge that Harry had been working with Professor Dumbledore and the students to create a weapon, and leads Harry and Umbridge into the Forbidden Forest. Hermione deliberately leads them into Centaur territory, knowing Umbridge's feelings about "half-breeds". When the Centaurs find them, Umbridge insults and attacks them, and as a result is captured and carried away into the woods. Harry and Hermione narrowly avoid the same fate when Grawp, looking for his half-brother Hagrid, stumbles into the clearing, and invites an attack by the Centaurs.

While they are considering their next move, they are met by the other four students who, having overpowered the Inquisitorial Squad that had been holding them, have followed Harry and Hermione. When Harry insists on going to London to save Sirius, Luna suggests flying there on the school's Thestrals (winged horse-like creatures). Though Harry tries to eliminate some of the students, Thestrals keep arriving, attracted by the scent of Grawp's blood on Harry and Hermione. Once there are sufficient Thestrals for all the students, Harry can no longer explain leaving some of them out of the rescue attempt, so all six mount up and fly to London.

Entering through the Visitor's entrance to the Ministry, Harry is alarmed to find the watch-wizard inexplicably absent. Following his recurring dreams through the year, Harry leads the group to the Department of Mysteries, and after several false paths, into a large room filled with many wooden shelves containing glass orbs. Reaching the place where he believed he had seen Sirius and Voldemort, he finds nobody there. Ron notices a glass sphere with Harry's and Voldemort's names on it. Just as Harry grasps it, Death Eaters, led by Lucius Malfoy, appear, demanding he hand over the sphere. On Harry's silent command, the students blast the shelves, shattering many of the orbs. They run from the Death Eaters, but end up separated. Harry, Hermione, and Neville are attacked by four Death Eaters, and Hermione is knocked out, while Neville's wand and nose are broken; in a separate group, Ginny's ankle is broken and Ron is hit with a spell that makes him seem drunk. They re-group, but are attacked again; in the retreat, Ron is attacked by brains floating in a glass tank, and Ginny and Luna are knocked out.

Harry tries to make his stand alone in a room with a stone archway containing a veil. Neville, ineffectively trying to help, is quickly captured and tortured by Bellatrix Lestrange. As Harry is on the verge of surrendering the orb, several members of the Order of the Phoenix, including Sirius Black, arrive and start dueling the Death Eaters. Tonks fights with Bellatrix but is injured. Sirius takes on his cousin Bellatrix, taunting her that she can fight better. Albus Dumbledore arrives and stops most of the fighting, but Bellatrix and Sirius continue. She casts a powerful curse, blasting him in the chest and sending him through the veiled arch. When he fails to reappear on the other side, Harry sadly realizes Sirius is dead.

Notable Consequences

 * Harry loses another father figure. He has already lost his father and his impression of his father, and has lost contact with Lupin; the reader may be wondering how many times this will happen, especially considering Arthur Weasley's near brush with death in this book.

 * Harry chases Bellatrix Lestrange into the Ministry Atrium. In his battle with Bellatrix, he uses the Cruciatus curse. This marks Harry's first time using an Unforgivable Curse.

 * Voldemort appears and comes to Bellatrix' assistance. Dumbledore also arrives to protect Harry, and duels directly with Voldemort. Many Ministry wizards, summoned by Dumbledore, arrive in time to see Voldemort in person. This is unequivocal proof that Voldemort has returned, vindicating Dumbledore and Harry. This is expected to result in the Ministry finally taking an active stance against Voldemort.

 * The Death Eaters remaining in the Room of the Veil, and presumably the disabled ones who did not take part in that battle, have openly declared themselves and are sent to Azkaban. As one of them is Lucius Malfoy, we can expect this to have some effect on Draco. The reader may wonder how likely they are to stay in Azkaban, given that the Dementors have entered Voldemort's service.

 * During the battle with Dumbledore, Voldemort briefly takes over Harry's mind, challenging Dumbledore to kill him by killing Harry. Harry, seeing death as the only way to re-unite with his parents and particularly Sirius, welcomes death. This desire for death, and the love Harry feels for Sirius in particular, causes Voldemort to leave Harry's mind.

 * Harry blames Dumbledore for Sirius' death and rages at the Headmaster in his office following the battle at the Ministry. However, Harry initially overlooks his own rash behavior and his reluctance to learn Occlumency that allowed Voldemort to penetrate his mind and manipulate him. He also fails to realize that Sirius' unstable mental state and careless actions ultimately contributed to his own death.

 * Harry also blames himself for Sirius' death, however, he directs his anger at Snape and Dumbledore to ease his guilt.

 * Harry's rage at Dumbledore may be part of what allows Dumbledore to realize his mistake in not telling Harry what was going on. Dumbledore had simply informed Harry, through Snape, that he was to learn Occlumency, and had not explained why. It is as part of making amends for that, and other omissions, that Dumbledore now, finally, speaks of the Prophecy and what it means to Harry.

 * Harry will try a number of things to regain contact with Sirius, including the magic mirror that Sirius gave him at Christmas, and hopeful discussions of the nature of ghosts with Nearly Headless Nick. It will be his talking with Luna Lovegood about the Veil that Sirius had fallen through, and how both he and Luna had heard the voices on the other side, that will give him the most peace.

Analysis
After Sirius' death, Dumbledore and Harry speak in Dumbledore's office for an entire chapter. During that conversation, we learn much, but by no means all, of the background of the battle that is going on.

Dumbledore first explains that the fault for Sirius' death lies with him, as he should have been more forthcoming with Harry as to what was happening. Having heard of Harry's dreams in July and May the previous (school) year, Dumbledore believed there was a link between Harry's mind and Voldemort's, presumably caused by the abortive attempt by Voldemort to kill Harry, but he was then unsure of its precise nature. With Voldemort re-embodied, he now believes that the link would be stronger, and he has taken steps to distance himself from Harry, so as to prevent Voldemort from using the bond between them as a weapon against either or both of them. He never explained to Harry what he was doing, which had left Harry feeling abandoned. When the link became undeniable at Christmas, when Harry perceived Voldemort's attack on Arthur Weasley, Dumbledore, still without explanation, had sent Snape to teach Harry Occlumency, not realizing that the hatred between Harry and Snape was far too deep to allow instruction in something so complex.

Dumbledore also reveals that a prophecy had been made about Harry and Voldemort. Harry has been marked (by Voldemort) to face a final mortal combat with the Dark Lord. This revelation appears to bring Harry and Dumbledore closer. The prophecy's revelation and its effect on Harry hold great importance in the overall picture.

Harry's various reactions to Sirius' death are also worthy of note, as they seem to be a direct, literal interpretation of the classic five stages of grief. Harry first attempts to chase Sirius through the veil, insisting that he isn't dead, in full denial. When Lupin manages to convince Harry of the truth, he quickly turns to anger. While Harry has been exhibiting significant anger issues through the entire Harry Potter and the Order of the Phoenix, his explosions of rage here, first at Bellatrix (fairly), then particularly at Dumbledore (unfairly), are extreme even by his standards, culminating in Harry's demolition of Dumbledore's office contents and bellowing his lack of desire for continued membership in the human race. After Dumbledore succeeds in calming Harry, he leaves Dumbledore's office and enters a depression lasting until shortly before the Leaving Feast, when he tries bargaining, first hoping Sirius will return as a ghost, then trying to contact him through the enchanted mirror Sirius had given him. Finally, following a conversation with Luna Lovegood, Harry, reaches acceptance, first tentatively at the conclusion of Harry Potter and the Order of the Phoenix, then more conclusively in the opening chapters of Harry Potter and the Half-Blood Prince.

Questions

 * 1) What does the veiled arch represent?
 * 2) Who is ultimately responsible for Sirius' death? Is more than one person to blame?
 * 3) What was the whispering Harry and Luna heard coming from the veil? What could it mean?

Greater Picture
Sirius' death is a huge loss for Harry, and as we will see in the early part of the next book, he reacts by isolating himself. As he recovers from this blow, Harry realizes that Voldemort used his godfather to get to him, and he fears his friends will always be in mortal danger as long as Voldemort lives. This may be part of the reason Harry allows himself to get closer to Dumbledore: he believes Dumbledore, "the only one he (Voldemort) ever feared," will not be attacked by Voldemort, so friendship with Harry will not imperil him.

It is because he is trying to protect Ginny from this avenue of attack that he will attempt to end their budding romantic relationship at the end of Harry Potter and the Half-Blood Prince. More information is available in the articles about Harry's and Ginny's relationships.

Given that this link between Voldemort and Harry exists, we might wonder why Dumbledore feels able to speak so freely with Harry following the battle in the Ministry. It is mentioned above that Voldemort is repelled by Harry's longing for death and love of Sirius when Voldemort occupies his mind during the battle. Dumbledore, recognizing the reason for Voldemort's abrupt departure, now believes that Voldemort will not choose to re-enter Harry's mind, a place that he finds "extremely uncomfortable," as Dumbledore remarks in the next book. It is likely that Dumbledore initially does not know how long Voldemort's reluctance will last, but believes that he has at least long enough to bring Harry fully up to date. He seems guardedly pleased but unsurprised in the next book when Harry confirms that his scar has not been troubling him since these events.

We will learn in Harry Potter and the Deathly Hallows that the link between Harry and Voldemort is actually a shard of Voldemort's soul that had broken off when Voldemort attempted to murder Harry, and adhered to Harry's soul. Given that the link is something other than the exercise of Legilimency, and that it is in fact attached rather directly to Harry's soul, it is quite possible that Occlumency would have no effect. As Occlumency appears to be intended to prevent another from reading one's mind, and the specific issue we are trying to prevent is another impressing his thoughts in one's mind, it is uncertain whether Occlumency would be the appropriate technique in any case.

Harry will use the Resurrection Stone to summon Sirius' shade, as well as Lupin's and his parents' shades, as he leaves Hogwarts to meet his doom in the final book. It seems it is then that he finally reaches closure in his understanding of Sirius' death, as he is then preparing for his own imminent death.