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Muggles' Guide to Harry Potter/Major Events/Triwizard Tournament

Overview
The Triwizard Tournament is a recently revived competition pitting three major European wizarding schools against one other, although it is also meant to foster magical cooperation. The schools, listed below, share the responsibility of hosting the tournament, and the heads of the schools sit on the judging panel.

From Harry Potter and the Goblet of Fire, pg. 187 (US Edition), pg. 165 (UK edition) the exact description of this tournament was:

'A very exciting event, an event that has not been held for over a century ... was first established some seven hundred years ago as a friendly competition between the three largest European schools of wizardry: Hogwarts, Beauxbatons, and Durmstrang. A champion was selected to represent each school, and the three champions competed in three magical tasks. The schools took it in turn to host the Tournament once every five years, and it was generally agreed to be a most excellent way of establishing ties between young witches and wizards of different nationalities - until, that is, the death toll mounted so high that the Tournament was discontinued.'

Event Details
The tournament was introduced some 700 years ago. After being banned for many years due to the increasingly dangerous tasks, the Triwizard Tournament has been revived.

As mentioned in the overview, there are three schools participating:

 * Hogwarts School of Witchcraft and Wizardry
 * Beauxbatons Academy of Magic
 * Durmstrang Institute

Judges grade the champions' performance on each task. The Heads of the three participating schools are customarily judges; Hermione reads this in a history book about the Tournament, and that all three school Headmasters were injured in a Tournament task mishap involving a Cockatrice. In the book Harry Potter and the Goblet of Fire, the judges were:

 * Ludovic Bagman (Ministry of Magic, Department of Magical Games and Sports)
 * Bartemius Crouch, Sr. (Ministry of Magic, Department of International Magical Cooperation)
 * Albus Dumbledore (headmaster of Hogwarts)
 * Igor Karkaroff (headmaster of Durmstrang)
 * Olympe Maxime (headmistress of Beauxbatons)

The selection of the champions from each participating school is done through a magical object called the Goblet of Fire. The Goblet is a large, roughly hewn wooden cup, brimming with dancing blue flames. The selection process is described by Dumbledore:

''"Anybody wishing to submit themselves as champion must write their name and school clearly upon a slip of parchment and drop it into the goblet. Aspiring champions have twenty-four hours in which to put their names forward. Tomorrow night, Hallowe'en, the goblet will return the names of the three it has judged most worthy to represent their schools. The goblet will be placed in the entrance hall tonight, where it will be freely accessible to all those wishing to compete. To ensure that no underage student yields to temptation, I will be drawing an Age Line around the Goblet of Fire once it has been placed in the entrance hall. Nobody under the age of seventeen will be able to cross this line... I wish to impress upon any of you wishing to compete that this tournament is not to be entered into lightly. Once a champion has been selected by the Goblet of Fire, he or she is obliged to see the tournament through to the end. The placing of your name in the goblet constitutes a binding, magical contract. There can be no change of heart once you have become a champion. Please be very sure, therefore, that you are wholeheartedly prepared to play before you drop your name into the goblet."''

The term champion does not mean the winner of the tournament. It instead refers to a contestant; this is an ancient usage, dating back to the days of chivalry. An army, or a king, could choose a champion who would fight for them; that champion would then meet an opposing champion, and the contest would be decided by single combat between the two. In this context, then, the Goblet is selecting the champion who will do battle to protect the school's good name.

Traditionally, there are three champions, as the tournament's name implied. Somehow, a fourth Champion was chosen.

 * Beauxbatons Champion - Fleur Delacour
 * Durmstrang Champion - Viktor Krum
 * Hogwarts Champion - Cedric Diggory (Hufflepuff)
 * Hogwarts Champion - Harry Potter (Gryffindor)

It is unknown initially how Harry's name was entered into the Goblet, or how he was selected; Dumbledore asks whether he had put his own name into the Goblet or had an older student do it for him, and Harry stated that he had not. Professor Moody suggests that Harry's name could have been submitted as the sole contender for a non-existent fourth school, but it would take a powerful wizard who could hoodwink the Goblet into believing that there were, in fact, four schools.

Before the tournament begins, the Weighing of the Wands takes place to examine each Champion's wand to ensure that it is in proper working order. The Champions will, of course, be depending on their wands as their sole tool in the Tasks, and so it is necessary to ensure that each is in perfect working order. The Wands Weighing was performed by Mr. Ollivander, expert wand-maker and owner of Ollivander's Fine Wands in Diagon Alley.

 * Cedric Diggory - 12 1/4 inches, ash, pleasantly springy, containing a single hair from the tail of a male unicorn
 * Fleur Delacour - 9 1/2 inches, inflexible, rosewood, containing a hair from the head of a veela (her grandmother)
 * Harry Potter - 11 inches, holly, containing a feather from the tail of a phoenix
 * Viktor Krum - Gregorovitch creation. 10 1/4 inches, hornbeam and dragon heartstring, quite rigid

The Tournament has three Tasks. The First Task takes place on 24 November. The Second Task is on 24 February, and the Third Task on 24 June. Additionally, the Triwizard Champions are expected to lead off the Yule Ball, which Harry, who had never danced before, considered a fourth and unexpected task.

Notable Consequences
It is uncertain exactly why this happens, but having been forced into the Tournament, Harry determines that he must not only compete, but attempt to win, against wizards significantly his senior. Harry's attempt to win the Tournament becomes the driving force for almost all of the book.

Harry's being entered into the Tournament is part of the reason that Sirius returns to England. This also proves a concern for Harry, as he believes himself responsible for Sirius' decision, and his putting himself at risk. This does not stop Harry periodically asking Sirius for help with the Tasks, help which Sirius is largely unable to provide.

Harry becoming a Champion is totally unexpected; initially at least, nobody is sure how this is done. Harry's championship leads to a certain amount of friction between the Heads of the three schools involved; Madame Maxime and Igor Karkaroff both seem to believe that it was done deliberately, and that Albus Dumbledore had some hand in it. At the very least, they suspect him of having failed to draw the Age Line correctly, as that should have prevented Harry, who was then underage, from putting his name in. Moody is the only one who seems to have recognized that the Goblet would have had to be bewitched to issue a fourth name.

Initially, only two people, possibly four, at Hogwarts believe that Harry did not put his own name into the Goblet. Hermione, the morning following the selection of the Champions, brings Harry toast and offers to walk around the lake with him, understanding that he does not want to brave either the Great Hall or the Common Room. While they are walking around the lake, Hermione says that she could tell by the look on Harry's face when his name was announced that he had not put his own name in the Goblet. Hagrid also says that the look on Harry's face showed that it was a total surprise to him that he was picked. Professor Dumbledore may believe that Harry had no intention of entering; his questions as to whether Harry had someone else put his name into the Goblet seem "pro forma", more to satisfy any question the other Judges might have. And Professor Moody seems to accept Harry's story immediately, but the others there present discount Moody because of his well-known paranoia. Professor McGonagall seems to be reserving judgement. Among those who don't believe Harry's innocence are Professor Snape and, most troubling to Harry, Ron. Harry is discouraged by the discovery that Ron can believe Harry is lying to him. This, coupled with a campaign of disparagement headed by Draco Malfoy, will make Harry's life miserable for a large part of the book.

The attention outside Hogwarts caused by his selection as Champion is also unwelcome to Harry. Not only does he have to deal with members of Hufflepuff house who feel he is acting to steal some of their glory, and with those in other houses and amongst the teachers who feel that he is trying to seek out yet more fame for himself, he has attracted the attention of Rita Skeeter, who seems to delight in writing scurrilous pieces about anyone who will sit still for her, and many who won't. Over the course of the story, Rita will write a horrible story about Harry, another about Hagrid, and a third about Hermione. All three stories, appearing either in the Daily Prophet or Witch Weekly, will have serious ill-effects on their subjects and their relationship with others.

Analysis
An interesting note is that cheating, while not officially condoned, is widely considered a traditional part of the tournament.

The reader should pay particular attention to Bartemius Crouch in the first meeting with the four Champions. We note that by the interpretation of the rules that Mr. Crouch provides, anyone could be entered into the Tournament against their will. It will be instructive to compare Mr. Crouch's interpretation with Dumbledore's speech of the night before.

We should note that the Wand Weighing Ceremony does not actually involve determining how much each wand weighs. The term likely was chosen for its assonance, coupled with a more arcane use of the word. A dictionary definition of the word "weigh" includes the definition: "to evaluate in the mind; consider carefully in order to reach an opinion, decision, or choice: to weigh the facts; to weigh a proposal."

Although the Tournament is a competition, it was also revived to help foster international magical cooperation. The three schools, Hogwarts, Beauxbatons, and Durmstrang, are culturally and academically unique, and they have little interaction with one another in the usual course of affairs. Whether the tentative bonds that have been established are a strong enough alliance to unite them in the fight against Voldemort remains to be seen, although individual friendships, and a few romances, have been formed.

As mentioned, Harry does accept that he must compete in the Tournament. We note that it is never explained why Harry decides that, more than simply entering the Tournament, he must try to win against wizards senior to him. It is well worth studying how the author limns the personalities of the three other Champions, and has their characters play off Harry's to build the determination in him to show them what he is made of. This is particularly of interest because it is never mentioned, but is simply absorbed by the reader, until by the time of the First Task, the reader simply accepts that Harry is going to do his level best to win, because he has no other choice.

Questions

 * 1) Why was the Triwizard Tournament revived after so many years? Why was it discontinued in the first place?
 * 2) What is the Tournament's purpose?
 * 3) Why was Harry chosen as a Champion, even though he was ineligible to enter? How was this accomplished?

Greater Picture
The Weighing of Wands, which seems to be a minor event in the Triwizard Tournament, actually gives Harry a clue in Harry Potter and the Deathly Hallows: he has a vision of Voldemort searching for something, and he has been uttering Gregorovitch's name. At Bill Weasley and Fleur Delacour's wedding he is reminded by Viktor Krum, another wedding guest, that Gregorovitch is a wand maker, a fact that had come out at the Weighing. From this he deduces, incorrectly as it turns out, that Voldemort might wish to have another wand commissioned. His later determination that Voldemort wants a specific wand that Gregorovitch knew about is, however, accurate.

As mentioned, Harry's being selected as a Champion causes an estrangement between Harry and Ron. This will continue until the end of the First Task, when Ron will discover the magnitude of the tasks that Harry is facing, and will conclude that Harry did not want to enter the Tournament and risk his life. At the same time, the campaign of belittlement that Draco had started will taper off, though we will never be sure whether it is because of the exceptionally fine showing by Harry in the First Task, or whether Cedric Diggory has requested that his followers stop harassing Harry.

Bill and Fleur's wedding is another consequence of the Tournament: they meet when Bill and his mother visit Harry before the Third Task, and that leads to a romance that ends in the wedding.

Another notable consequence is that Cedric Diggory is murdered during the third task. Voldemort is brought back to full life; it becomes apparent that the course of the Tournament has been subverted to bring Harry to Little Hangleton so that his blood can be used in the potion that restored Voldemort. Minister for Magic Cornelius Fudge, believing that releasing this news will result in his own downfall, dismisses this news. This becomes the official Ministry platform, and we are told later that the Ministry has stated that Cedric accidentally died due to carelessness. This in turn will set up a large part of the next book, Harry Potter and the Order of the Phoenix, as the Ministry paints Harry and Dumbledore as untrustworthy, in order to devalue any information they might release.

Interestingly, perhaps, it is through the Ministry that the Tournament has been subverted. We will learn that Bartemius Crouch had been placed under the Imperius Curse and was acting in Voldemort's interests in the early part of the year. This explains his unwell appearance in the Hallowe'en meeting with the Champions, and explains also his interpretation of the rule book that seems designed to force Harry to enter the Tournament against his will. Barty Crouch, Jr. had been brought into Hogwarts to monitor the situation, quite possibly was the agent who hoodwinked the Goblet, and ends up murdering his own father and concealing the body.

While this does not come out until the end of the book, Harry's becoming a Champion will be seen as a godsend by Ludo Bagman. Ludo, being on the wrong end of a number of bets he had made on the Quidditch World Cup match, will bet on Harry to win the tournament with his creditors, mostly Goblins. We will see Ludo clumsily offering to help Harry with the Tasks, help which Harry will refuse, and we will see that Ludo consistently gives Harry full points at the completion of a Task. However, as Harry and Cedric touch the Cup at the same instant, the Goblins will claim that Harry and Cedric tied for the win, and Ludo will decamp as he does not have funds to pay his new debts either.

Harry will be deemed to have won the Tournament, in the end, but as it resulted in the death of Cedric, Harry will not want the prize money. He will instead give it to the Twins, who will use it to fund their magical joke shop. Products of the joke shop will be useful to Harry in the fifth, sixth, and seventh books.


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Brewing/Milling

The milling of the malted barley is a very important step. Milling is done to better allow the mashing liquor to access the centre of the barley. This allows the enzymes secreted by the aleurone layer to act upon the starchy endosperm (see Figure).It is important that the grain husk remain intact, as the husks are used to form a filter bed during lautering, the process where the sweet wort (pronounced wert) is run off from the mashed grains.

At the end of milling, the brewer should be left with a range of fragments of barley, and largely intact husks, but no whole grains. There should be little flour, as this leads to haze in the final beer and is poorly retained by the husk bed in the lautering process. It is also important that most of the endosperm is broken up, as this aids enzymatic action due to exposure of a greater surface area of endosperm, and leads to better conversion of the starch to sugars.

Large diameter (8") smooth rollers running at different speeds are preferred. Smaller grain mills can be made with slotted or knurled rollers but the mill gap must be set wider to avoid crushing the husks. Typical hobby grain mills have rollers with a diameter of 1.5 inches. These rollers are knurled so the small rollers will pull the grain through. Because of the smaller area of contact between the rollers and the grain the gap between the rollers must be closer than larger rollers. Also the knurling on the rollers will shread the husks more than larger rollers.

It is also quite possible to mill barley in a kitchen mortar and pestle - although this is exceptionally tedious. A typical kitchen mortar and pestle can handle about 150g of grain at a time, and a typical 5% alcohol beer might take 6kg of malt to make 19 litres. However, the mortar and pestle approach allows a home brewer to experiment with grain mashing, without the expense of a mill.

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

title: Brewing/Milling


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User talk:RohitUpadhyay

Welcome
It's good to see you got all set up! Let me know if you need anything, and I will be glad to help out. --Whiteknight (talk) (current) 20:39, 20 April 2006 (UTC)

title: User talk:RohitUpadhyay


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User talk:This is so sad that it came to this,

Heh, very persistant eh, these accounts have been blocked for good too. Whopper 21:31, 20 April 2006 (UTC)


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User talk:Je viens

I now can see you are serious about making wikipedia fall...Well...looks like I'll have to go a step further. Whopper 21:35, 20 April 2006 (UTC)

title: User talk:Je viens


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User:Two weeks block isn't enough. I should get indef.

You got it. Whopper 21:36, 20 April 2006 (UTC)


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User:JSJohnson

Why medical school?
Quite simply, because you must first learn in order to teach.

Just before my ten-year high school reunion I felt a bit listless. Six years in U.S. Army Intelligence as an Arabic linguist and computer specialist had not been what I had always imagined they would be. Intelligence and the world of espionage consist of long hours of tedium interrupted by short bouts of panic. Although I have very few interesting stories to share, it is unfortunately necessary that I not share them at all. Suffice it to say, Army Intelligence wasn't what I was after.

Leaving the military I made a halfhearted attempt at getting my undergraduate degree, but I was still adrift and had no idea what to study. I took a stab at a communications degree at the Metropolitan State College of Denver, but my heart wasn't in it. Instead I was swept up into the Dot-Com boom, and I was suddenly working sixty to eighty hour weeks designing web front-ends for distributed training applications. (People who used Dell's "Educate-U" software from about 2000-2002 may have seen some of my handiwork.) When the bubble burst, I moved on, still drifting listlessly through a half-lived life.

I was living in Alabama when I got out of computers. My company laid me off so that they could hire someone else for $20,000 a year less (desperate programmers were the bitterest fruit of the Dot-Com aftermath) but they gave me a nice severance and I wasn't very upset. During the process of looking for a new job I realized that I had hated my old one. I despised the constant criticisms, their ignorance of the field -- I was disgusted by the industry and disillusioned completely. It was time to move on.

After briefly considering law school, I ruled it out. No one who knew me well could see someone with my personality as a lawyer, but everyone who knew me could definitely see me as a teacher. I love to learn, and I am really good at sharing my knowledge with others. I'm bright, inquisitive, cheerful and sociable. Even my twin sister -- already a teacher herself -- agreed that I would make an outstanding educator of young minds.

It was with this in mind -- the plan to finally return to college and finish my degree to become a teacher -- that I went to my ten-year reunion. Since I was living in Alabama, and the reunion was in Illinois, I stayed the night at my older brother's apartment in Indianapolis the day before the reunion.

What a great thing that ended up being for my family.

While I was there I discussed my plans with my brother. He agreed that I would make an excellent teacher, but he worried, what would I do with students who didn't want to learn? How would I handle public school kids who had no interest in gaining knowledge themselves, but plenty of interest in disrupting other kids' educations? I didn't have an answer for him, but he had one for me: he said that I should teach students who really, really want to learn.

Why not be a medical school professor?

The cost of medical school wasn't an issue, because MD/PhD students get free tuition. My abilities and intelligence were not in question, because I'm (almost) as smart as he is and he was already doing it (his MD/PhD). The only question was, would I sacrifice and study and perservere long enough (more than a DECADE) in order to teach the best and brightest, most ambitious and hardworking students in the nation (or even in the world)? The answer was, and still is, HECK YEAH!

It's been a few years, and I can't even begin to compare the quality of the experiences I've had to any other part of my life. I've learned so much, and yet I've learned there is so much more to learn. I've had the chance to actually help write a laboratory manual for freshman biology students, and this summer I'll be working in a hospital. Next fall I'll be doing research -- real, meaningful, active research -- in a biomedical research laboratory. Assuming my MCAT comes out okay I'll be a med student in a year and a PhD student two years after that. Best of all, I will be the second medical student in our family but not the last -- my twin sister has decided to quit her job as a junior high school teacher and become a doctor, too!

I believe in Wikipedia and in Wikibooks, and I'm glad to contribute to projects here. Long before I was a contributor I was a user, and I'm glad to do so because it helps me practice the vital skill of explaining complicated things in an understandable way. I'm also glad that what I write down will be available for others to use for their own edification, because I see Wikibooks as a great way for me to pass on what I've learned -- as little as that has been up to this point -- to whomever needs it whenever they need it (provided they have an Internet connection).

If my story or anything I've written in Wikibooks or Wikipedia has helped you in any way, I'd like to say thank you for letting me be a (very, very, very small) part of your education and your life.

Cheers! ~ Justin

(BTW, If you are wondering if I'm the same person as username:JustinJohnson -- yes, I am, but I had account issues...)

UPDATE: The MCAT came out just fine! Instead of a hospital, I'm volunteering in a clinic, and instead of waiting for fall to do real research I've started this summer. It's a lot of fun and even kind of exciting, though I'll bet not everyone would feel that way. Happy third birthday, Wikibooks!

title: User:JSJohnson


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User:D C McJonathan

David Clarkson McJonathan-Swarm likes to think of himself an Edwardian in his eclecticism and eccentricity and his interests reflect this. Technically 'retired' and collecting a pension following the physically disabling injuries sustained from the impact of a tractor trailer to his Mazda RX-7 in 1991. His wife alleges that "he is busier now than when he worked full-time and we had five sons at home." To many he is known simply as "Mack" or "Doc."

Fascinated by history his entire life, a medical researcher, photographer, and biographer he started writing bios for some of the 'famous' listings at Find A Grave which he discovered from a Google search on Erik Rhodes. Finding many persons that he had known, socially and through broadcasting in New York City listed, he started to submit 'Better Bios' on the Find A Grave Forums thread. Many times his reference searches would bring up Wikipedia which finally led to his presence here. After his friend and partner Robert Denning's obituary appeared in The New York Times and on AP wire feed it was included in recent deaths on Wikipedia, but the lack of a biography was noted for both him and their common mentor Edgar de Evia. These were his first new articles.

Contestant on To Tell The Truth playing himself. "Numerologist" Episode 152-2 Sequence 757 taped 2/20/73 Host: Garry Moore Panel: Tom Kennedy, Peggy Cass, Bill Cullen, Kitty Carlisle.

Guest on What's My Line? playing himself. U.S. syndication (1968-1975) Panel included: Arlene Francis,

A frequent guest on the Long John Nebel Show, in the early 1970s, both before and after Nebel's marriage to Candy Jones. He did over 600 radio and television shows during this period which included ABC News, The Tomorrow Show with Tom Snyder, The Amazing Kreskin, The Joey Adams Show and was represented for broadcasting by Patricia Kurland of Patrician Productions.

Most of his new pages are persons he has known or of whom he has personal knowledge, that would not otherwise be available, and which can be added to the research of public information. His interest in obsession with both Find A Grave and now Wikipedia are driven by the desire to see that the past be remembered and its lessons learned.

New pages on Wikipedia
Leave a new message.

title: User:D C McJonathan


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User:Korg

m:User:Korg

title: User:Korg


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Talk:Hebrew/Intro to Verbs

Untitled
Shouldn't the fourth binyan, Reflexive, be "to eat him/herself" instead of "to be digested" if it's the verb "to eat" applied on the subject, by the subject? 84.50.168.227 00:42, 21 April 2006 (UTC)
 * This system of verb templates has many inconsistencies, particularly in the template-to-meaning correspondence. Therefore, "hit'akkel" (הִתְאַכֵּל) does not mean "he ate himself" or "it ate itself" as expected, but rather "it was digested". BTW, in this case the spelling הִתְעַכֵּל with Ayin is much more popular. 88.155.194.120 21:04, 25 August 2006 (UTC)

Gramer mistakes
As a native Hebrew speeker, I feel obligated to inform you that there are many mistakes in this article. the main one is that the writer chose to demanstrate benianym in this way: to eat= pa'al פעל, which is wrong. in Hebrew, a word only has a binyan if it has זמן וגוף. to eat, However would be translated to לאכול which is a שם פעולה mining that it has no binyan. sorry for the bad explation.

Comments
This article could use a lot of improvement.

a) Binyanim are word formation rules. Except for Pual and Hufal, a verb's binyan provides useful hints as to what a word might mean, but it does not determine it.  Pual is always the passive of Piel with the same root.  Hufal is always the passive of Hifil with the same root.  Otherwise you really need to look the word up in the dictionary.  You can't use the buinyan to guess the meaning any more than you can redict that the verb "nationalize" in "France nationalized the airline industry" means that the government is taking over ownership and management of the airline industry from private owners.  For that you need a dictionary and maybe a history lesson.

More often than not the word is only loosely related to the core idea of it root. There is no particular reason why the Pa-al of the root פתח means "to physically open something" but "the piel means to develop something". Or another example: the Paal of יצא means to physically go out from a location but the Piel means to commercially export a product.

Personally, I question the wisdom of making binyanim your starting point. The drivers of verb inflection are rules for adding suffixes and prefixes that cut across all binyanim. All binyanim follow the same rules. Most of these rules are purely phonetic. The few that are not have to do with properties that are shared across many binyanim, e.g. whether or not the first letter counts as a prefix letter or part of the root.

Binyanim don't help all that much in generating the principal parts of a verb either, that is, the uninflected stems. Most of the rules that govern the inflection have to do with verbal features that cut across binyanim. For example, any verb that has an מ prefix in the present, makes its future by replacing the מ with the future prefix letter. That rule applies simultaneously to hifil, hufal, piel, pual, and hitpael. Memorizing one rule is a lot easier than learning five identical rules one for each binyan. Even though the rules are identical the student doesn't know why. Since they don't know why they think they have to memorize the rule five times rather than just check for an מ on the present that either is dropped or changes the ה in the past.

b) Verbs with weak letters. The only letters that ever get dropped from verb roots are ל י נ ה ו and in some cases the third root letter when the last two root letters are the same.  The gutterals you list are classified as weak letters due to a slew of vowel changes that need to take place to account for the the special phonetic qualities of gutterals.  The letters אעח never drop out (unless you include Mishnaic Hebrew's sometimes treatment of final א as final ה ) 84.229.127.135 (discuss) 15:56, 20 June 2012 (UTC)

title: Talk:Hebrew/Intro to Verbs


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Cookbook:Seafood Kebabs with Zhoug Sauce

| Israeli Cuisine

This recipe is for charcoal-grilled squid, prawn, and fish kebabs in zhoug (a spicy dipping sauce that can be used in a variety of different ways). The original recipe called for octopus, but it's been expanded with good results. Also, note that the original recipe didn't call for white wine in the marinade.

Kebabs

 * ½ kg large prawns/shrimp, peeled and deveined
 * ½ kg fish fillets, cut into 2½ cm (1 in) cubes
 * ½ kg squid, cleaned and cut into 2½ cm (1 in) pieces

Marinade

 * 5 cloves garlic, peeled and finely chopped
 * 2 bay leaves
 * 2 jalapeños, seeded and finely chopped
 * 1 cup (240 ml) lemon juice
 * 1 tsp ground black pepper
 * ¾ cup (180 ml) extra virgin olive oil
 * ¾ cup (180 ml) dry white wine

Zhoug sauce

 * 1 cup (240 g) coriander leaves, washed, dried, and chopped
 * 1 cup (240 g) parsley, washed, dried, and chopped
 * 1 tsp caraway seeds
 * 1 tsp cumin seeds
 * 1½ tsp cardamom seeds
 * 1 tsp black peppercorns
 * 1 tsp garam masala
 * 8 cloves garlic, peeled and crushed
 * 8 jalapeños, seeded and chopped (adjust the quantity according to your heat tolerance)
 * ¼ cup (60 ml) extra virgin olive oil

Procedure

 * 1) Combine all the marinade ingredients in a nonreactive (glass or ceramic) mixing bowl. Add the seafood and mix to coat well. Refrigerate overnight.
 * 2) Dry roast the cumin, caraway and cardamom seeds for 2–3 minutes in a cast iron skillet or wok over low heat. Cool, then add the peppercorns and pound in a mortar and pestle to a fine powder.
 * 3) In a blender or food processor, blend the coriander, parsley, spices, garlic, chilli peppers and olive oil together with ½ cup water until a thick, smooth paste is formed.
 * 4) Transfer the paste into a saucepan, heat until it starts bubbling, then reduce the heat and simmer, stirring constantly, until the water is evaporated. Cool, transfer to an airtight container and chill.
 * 5) Remove the seafood from the marinade and drain in a colander. Save the marinade for basting the kebabs later. Thread the seafood onto skewers or satay sticks.
 * 6) Char-grill the kebabs over hot coals, basting and turning every few minutes. It should take about 10 minutes to cook.
 * 7) Serve with the zhoug sauce as a dipping sauce.


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Cookbook talk:Seafood Kebabs with Zhoug Sauce

This is my first entry to a wikibook. It's going to take some time before I get the formatting right. Hints, suggestions, etc are most welcome.

Cheers, Rotwang (posted 21 April 2006)

Further comments: I've made a few false starts re: formatting, but now have it conforming to the CookBook standard. Mostly. I still need to add links, etc.

Rotwang 14:08, 23 April 2006 (UTC)


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Java Programming/Scope

Scope
The scope of a class, a variable or a method is its visibility and its accessibility. The visibility or accessibility means that you can use the item from a given place.

Scope of method parameters
A method parameter is visible inside of the entire method but not visible outside the method.

In code listing 3.14,  is visible within the entire   method but not in the   and the   methods.

Scope of local variables
A local variable is visible after its declaration until the end of the block in which the local variable has been created.

Access modifiers
You surely would have noticed by now, the words, and  at the beginning of class's method declarations used in this book. These keywords are called the access modifiers in the Java language syntax, and they define the scope of a given item.

For a class

 * If a class has public visibility, the class can be referenced by anywhere in the program.
 * If a class has protected visibility, the class can be referenced only in the package where the class is defined.
 * If a class has private visibility, (it can happen only if the class is defined nested in another class) the class can be accessed only in the outer class.

For a variable

 * If a variable is defined in a public class and it has public visibility, the variable can be referenced anywhere in the application through the class it is defined in.
 * If a variable has protected visibility, the variable can be referenced only in the sub-classes and in the same package through the class it is defined in.
 * If a variable has package visibility, the variable can be referenced only in the same package through the class it is defined in.
 * If a variable has private visibility, the variable can be accessed only in the class it is defined in.

For a method

 * If a method is defined in a public class and it has public visibility, the method can be called anywhere in the application through the class it is defined in.
 * If a method has protected visibility, the method can be called only in the sub-classes and in the same package through the class it is defined in.
 * If a method has package visibility, the method can be called only in the same package through the class it is defined in.
 * If a method has private visibility, the method can be called only in the class it is defined in.

For an interface
The interface methods and interfaces are always. You do not need to specify the access modifier. It will default to. For clarity it is considered a good practice to put the keyword.

The same way all member variables defined in the Interface by default will become  once inherited in a class.

Summary
The cases in bold are the default.

Utility
A general guideline for visibilities is to only make a member as visible as it needs to be. Don't make a member public if it only needs to be private.

Doing so, you can rewrite a class and change all the private members without making compilation errors, even you don't know all the classes that will use your class as long as you do not change the signature of the public members.

Field encapsulation
Generally, it is best to make data private or protected. Access to the data is controlled by setter and getter methods. This lets the programmer control access to data, allowing him/her to check for and handle invalid data.

In the code section 3.51, the  method will only change the value of   if the new name is not null. Because  is conditionally changing name, it is wise to return a boolean to let the program know if the change was successful.

Question 3.15: Consider the following class.

List the fields and methods of this class that can be renamed without changing or even knowing the client classes.

Every field or method that is public can be directly called by a client class so this class would return a compile error if the field or the method has a new name.

title: Java Programming/Scope


text:
Adventist Youth Honors Answer Book/Recreation/Archery

1. Identify the parts of a bow.
Handle, riser, arrow rest, upper limb, lower limb, belly, back, window, recurve, bow nock, string loop, string, serving, kisser button, nocking point, brace height or fist mele, sight, sling.

2. Identify the parts of an arrow.
Nock, index, index or "cock" feather, hen feathers, shaft, spine, crest, point-tip-pile.

3. Name and explain the safety rules for archery.

 * Don't shoot straight up.
 * Never run on the archery range.
 * Approach the target from the side, not the front so you don't get poked by the arrows sticking out of the target.
 * Be sure your equipment is in good working order.
 * Be aware of who is around you at all times.
 * Don't "hide" behind the target.
 * Don't walk in front of another archer.
 * Don't talk on the shooting line.
 * While loading your bow be sure that the arrows are always pointing toward the target.

4. Correctly and safely string a bow.
There are three basic ways of stringing and unstringing a bow. Two of them are safe, and one is not. The unsafe method is also presented because it is very commonly practiced. It is presented here so that you can recognize when another person is using it, and by so doing, placing himself at risk. If you see someone using this method, please educate them.

1. Bow Stringer
A bowstringer is a device that makes it safe and easy to string a bow. The archer steps on the bow stringer and then pulls the bow upward causing it to flex. This brings the tips of the bow closer together, and the string can then be looped over the string notch.

2. Step through
In this method; the archer begins by placing one end of the string into the string notch on the lower limb of the bow. The archer then "steps into" the bow by placing the right leg between the bow and the string, locking the bottom limb of the bow around the right calf and foot. The bow's belly should be to the archer's left, and the bottom tip should rest against the left side of the archer's right foot. The outside of the right knee will then be in a position to brace the bow near its handle. As the right hand is used to flex the bow and the left hand is used to loop the string around the upper string notch. This method can damage your bow if done incorrectly. This is the least favored way of the 3 stringing options.

Push Pull

Though the push pull method of stringing is safe for your bow and has been popularized for that reason, it is very dangerous to the archer since, as you can see in the photo, the top limb is directly aligned with your head, and any slip while using this method can result in permanent eye damage and even death, especially from recurve bows since the back of a recurved limb creates a point which acts as a force multiplier. Children should never be taught this method of stringing a bow and even experienced professional bow technicians have been injured through its use. We present the method here so that if you see someone using it, you can educate them. Do not use this method to string a bow.

The bow is placed as shown in the picture. The bottom "bow nock" will be up against the instep of the shoe. By pushing with the palm of the top hand and pulling with the bottom hand the bow is bent. The fingers of the top hand pluck the string on or off.

Always Check the String
When you have strung the bow, turn it away from you 180 degrees to check the string. That way if the string slips off, the bow will kick out away from you. Whichever method for stringing a bow is selected, it is important to check both ends of the bow to ensure that is has been strung properly. Do this whether you have strung it yourself or if someone else has strung it for you. The string on an improperly strung bow can come off when the bow is drawn, potentially causing injury.

a. Arm guard
Hitting your arm is one of the unpleasantries of archery. You can protect yourself with an armguard while learning how not to hit your arm. A leather or plastic armguard with elastic bands should be placed on the inside of your forearm just below your elbow. If you have a slight hyperextension to your elbow you can purchase a long armguard which will cover the inside of your entire bow arm.

b. Finger tab or glove
The purpose of a finger tab or glove is to protect the archer's finger from the string.

There are several types of finger tabs available. The "Marshall" style has one hole and the "Western" style has two holes. Either one works fine. They should be trimmed to fit the archer.

The "archers glove" covers the finger tips and secures around the archer's wrist.

c. Quiver
A quiver by definition is "anything that holds arrows". There are several types of quivers including:
 * The side quiver which hangs from a belt
 * The back quiver which hangs from the shoulder.
 * The side quiver which hooks onto a pocket.
 * The pocket quiver.
 * The ground quiver which sits on the ground.

d. Bow sling
The purpose of a bow sling is to keep you from dropping your bow. There are two types of bow slings: the wrist sling and the finger sling.

A wrist sling is a strap that is connected to your bow for you to put your hand through while gripping your bow.

A finger sling is a 2 inch string with a loop at each end. After gripping your bow the loops go over the thumb and your index finger.

e. String kisser
The string "kisser" is a point on the string that touches your lip or corner of your mouth.

If you are using a "center draw" (see, Anchor) the string is in the middle or your chin and the middle of your nose. A "kisser" would be a small disc on the string that would touch your lip. This assures a vertical alignment of your bow.

Creative Idea: Use a foldable to record / organize this information. Go here http://www.youtube.com/watch?v=b6K0RnlNM7E to learn how.

a. The stance
The stance is the position the feet and body assume when addressing the target.

Setting your feet is the first step in setting up a good shot. A good foundation is important in anything, especially in archery.

First, lay an arrow pointing toward your target and perpendicular to the shooting line. Second, place your feet straddling the shooting line with your toes slightly touching the arrow.

Your feet should be placed approximately the same distance apart as your shoulders as a starting point. Once you find a comfortable stance it is important to remember where to put your feet each time you return to the shooting line.

b. Nocking the arrow
To place an arrow on the bowstring. The attachment to the rear of an arrow which is placed on the bowstring and holds the arrow on the string.

There are two ways to put and arrow on the string. One is right and one is wrong. The index feather or "cock" feather should point away from the bow. This feather is usually a different color than the other two which are also known as "hen" feathers. Doing this allows the hen feathers to gracefully clear the bow. If the "index" feather is pointed toward the bow it will kick out away from the bow as it tries to clear the bow during the shot.

The picture shows the most common way of placing the fingers on the string. The thumb and small finger should not be involved in the shot in any way or fashion. they should be relaxed and folded down as if you were saying "I'm THREE years old".

After nocking the arrow, place three fingers on the string. Two under the arrow and 1 over the arrow then slide them together, lightly touching the arrow. The string should be at the first joint near the end of your fingers. This is a starting point. Competitive archers try to get the string at the very end of their fingers for a quicker release but this takes years of training.

c. The draw
This is the act of pulling the string back. The archer should start with the bow arm pointed directly at the target before pulling the string. Some young archers like to pull the string while raising their bows but this is a waste of energy and creates fatigue while shooting. Be very deliberate with little wasted motion.

d. The anchor
The "anchor" is a combination of points to which the bowstring and/or the index finger of the drawing hand are drawn to on the face and neck. There are multiple ways of "Anchoring" the string after you have drawn the bow. I will give you the two most common ones.

The Side Draw: Hunter or Field Style - Pull the string back so the index finger of your string hand touches the corner of your mouth. This places the arrow directly beneath the eye that you are aiming with. This is recommended for all beginners. As archers continue to progress and put an aiming device on their bow they can progress to the next one.

The Center Draw: Target or Olympic Style - Pull the string hand under your jaw so the string is in the middle and in front of the chin. The string should also touch the nose. The string hand is in line with and directly under the jaw bone. The above picture is my oldest son Mark, Jr who is currently training for the Olympics.

Remember that anchoring in the same place and the same way every time is critical no matter how you choose to anchor.

e. The hold and aim
To superimpose a sight pin on the center of a target or, when not using a sight, the placement of the tip of the arrow on a particular point for a given distance. Hold means to get everything locked into place and be sure that you are ready to release the arrow. There should be a straight line from the back elbow right through the arrow to the back of the bow (see photo).

Aim is the process of deciding when to let go of the string. An archer without a sight uses an "instinctive" method or guessing how high or low to aim.

A sight is a reference point for aiming but is only useful if the archers shoots the same way every time.

An archer without a sight can use a sighting method called "point of aim". Contact me at West's Archery and I can teach you how to use this.

f. The release

The release is the act of allowing the string to leave the fingers.

The release is the most important part of the shot. It is when everything comes together in a fraction of a second. The best way to perform the release is to just relax the fingers. As the arrow goes toward the target, the string hand should go in exactly the opposite direction. My Youngest son, Aaron, is demonstrating this in the photo.

g. The follow-through
"Follow through" refers to the movement of the drawing hand and arm after the release.

Once the archer has released the arrow, nothing should move. The archer must give the arrow time to clear the bow. To insure this, instruct your archers to wait until the arrow hits the target before moving at all. In the picture you can see that my release hand goes in the exact opposite direction as the arrow. Making sure that your shoulders don't collapse is very important. Also, notice that I am still aiming, long after the arrow is gone.

7. Why is it necessary to have an arrow "nocking point" properly positioned on the bow string?
If the nocking point is too high, the arrow will be pointed "down" and come out of the bow low.

If the nocking point is too low, the arrow will be pointed "up" and come out of the bow high.

Nock rings can be placed on the bow to allow for consistency. A bow square and nock pliers can be used to set the nocking point properly.

==8. Using a standard (Olympic bow) score one of the following: a. Indoors: 30 arrows (5 rounds) at 18 meters score 50 points on a 60 cm. target. b. Outdoors: 30 arrows (5 rounds) at 25 meters score 170 points on a 122 cm. target. ==

A standard "Olympic Bow" is a recurve (not compound) bow with no more than 3 stabilizer extensions, a sight, and a clicker. An archer must use fingers and not a mechanical release and may not have a string peep sight or magnified aiming device.

We have recommended that the NAD waive the scoring requirements for the "Beginning" archery honor. Everyone should be able to get this honor regardless of athletic skills. We have been given approval to grant the honors this way. That is what allowed us to teach over 1,000 pathfinders this honor at the Faith on Fire Pathfinder Camporee in Oshkosh, Wisconsin in 2004.

9. Know and practice the archery safety rules.

 * Don't shoot straight up.
 * Never run on the archery range.
 * Approach the target from the side, not the front so you don't get poked by the arrows sticking out of the target.
 * Be sure your equipment is in good working order.
 * Be aware of who is around you at all times.
 * Don't "hide" behind the target.
 * Don't walk in front of another archer.
 * Don't talk on the shooting line.
 * While loading your bow be sure that the arrows are always pointing toward the target.


text:
Adventist Youth Honors Answer Book/Recreation/Archery - Advanced

a. Aluminum shaft target arrows
Aluminum can be made straighter than wood because it does not have a grain and is more durable. However, at the time this honor was written, carbon arrows had not hit the archery scene. Carbon is considered to be more durable than aluminum.

There are 4 types of arrow shafts: Wood, fiberglass, aluminum, carbon.

The carbon arrows are preferred by top archers for their ability to stay straight to .001% straightness. Aluminum arrows were considered best until the mid 1980's.

b. Bow level
A bow level is like any other level. It is a bubble telling you when you have reached a complete vertical or horizontal plane. Bow levels were designed to let the archer know when the bow was straight up and down. These, however, are not allowed in Olympic competition.

c. Bow sight
This is a mechanical device that allows you to aim. It has the ability to adjust for windage (left and right) or elevation (up and down). It is only effective if the archer is shooting the same way every single time. Otherwise, it is useless.

d. Bow sling
The purpose of a bow sling is to keep you from dropping your bow. There are two types of bow slings: the wrist sling and the finger sling.

A wrist sling is a strap that is connected to your bow for you to put your hand through while gripping your bow.

A finger sling is a 2 inch string with a loop at each end. After gripping your bow the loops go over the thumb and your index finger.

e. Bow square
This is a tool that clips onto the string and aligns with the arrow rest to allow you to place the nocking point on the correct spot on the sting.

f. Bow stabilizer(s)
This is a rod or combination of rods that extend out from the bow to be used for the elimination of torque. They vary in length and weight. While most stabilizers all do the same thing, each archer has their preference based on the stability of the shot.

g. Clicker
A mechanical device, usually metal, mounted on the window of the bow used to tell the archer that they are at a full draw by making a "click" sound.

h. Flexible arrow plate
This is an arrow rest which can be adjusted further or closer to the bow, further or closer to the archer and moves out of the way as the arrow passes through the bow allowing for a cleaner shot.

i. Kisser button
 A string kisser is a small protrusion placed on the bowstring as an additional reference point. It touches the archers lips, teeth or nose at full draw.

The string "kisser" is a point on the string that touches your lip or corner of your mouth.

If you are using a "center draw" (see, Anchor) the string is in the middle or your chin and the middle of your nose. A "kisser" would be a small disc on the string that would touch your lip. This assures a vertical alignment of your bow.

j. Plastic arrow fletching
Although nothing flies like the feather God created, plastic feathers or "vanes" can be made exactly the same because they are made from a mold. Getting feathers to match by weight and size is difficult on one arrow and even harder to match a dozen. Vanes are more durable and not susceptible to weather conditions.

k. String peep
An aperture in a small round piece of plastic or metal which is set between the strands of a string above the nocking point to sight through and in line with the bow sight.

This is small ring or loop mounted on the string for the eye to look through while sighting. This is one of the items not allowed in Olympic competition.

3. Explain what is meant by arrow spine.

The arrow's resistance to bending classified by hanging a 2lb weight at the center of an arrow resting on two supporting points 26" apart, and measuring the amount of the bend.

"Spine" refers to the weight and flexibility of the shaft and it's relationship to the weight of the bow.

The arrow spine should be matched to the weight of the bow. Spines that are too heavy come out of the bow sluggishly when shot by a light weight bow. Spines that are too weak come out flexing and tweaking as they leave a bow that is too strong.

4. Read the following chapters in The National Archery Association Instructor's Manual:
This chapter covers problems such as hitting your arm, incorrect stress on the release fingers, etc. This chapter provides tips on how to achieve absolute stillness from the point of release to arrow clearance and the effect body alignment has on this process. This chapter shows how to adjust the arrow rest, pressure button, string height and nocking point height to achieve good arrow flight out of the bow.
 * a. Problem Correction
 * b. Advanced Shooting
 * c. Bow Tuning

It also describes how the arrow clears the bow, eliminating "nock high", "nock low", left or right clearance problems.

Reading these chapters is lengthy but worthwhile to perfect your shooting. The book was published in 1974, but you may be able to find a used copy at Amazon.com or other online booksellers.

==5. Using a standard (Olympic bow) score one of the following: a. Indoors: 30 arrows (5 rounds) at 70.8 feet (18 meters) score 200 points on a 23.6 inch (60 cm) target. b. Outdoors: 30 arrows (5 rounds) at 196.8 feet (50 meters) score 200 points on 48 inch (122 cm) target.==

A standard "Olympic Bow" is a recurve (not compound) bow with no more than 3 stabilizer extensions, a sight, and a clicker. An archer must use fingers and not a mechanical release and may not have a string peep sight or magnified aiming device.

6. Review and practice the archery safety rules.

 * Don't shoot straight up.
 * Never run on the archery range.
 * Approach the target from the side, not the front so you don't get poked by the arrows sticking out of the target.
 * Be sure your equipment is in good working order.
 * Be aware of who is around you at all times.
 * Don't "hide" behind the target.
 * Don't walk in front of another archer.
 * Don't talk on the shooting line.
 * While loading your bow be sure that the arrows are always pointing toward the target.


text:
Russian/Appendix

The appendix is a place for things you would normally find at the end of a language textbook: conjugation of verbs, cardinal and ordinal numbers, charts of cases, and the like.

 * Internet Resources
 * Noun declensions
 * Verbs
 * Signs

title: Russian/Appendix


text:
Talk:Russian/Appendix

Interrogative Pronouns, Personal Pronouns, and Possessive Pronouns are all incomplete tables, but a good start, and they have good explanations under them. The tables should be completed and then moved to the appendix, for reference. DettoAltrimenti 09:59, 21 April 2006 (UTC)

title: Talk:Russian/Appendix


text:
User:Danielpi~enwikibooks

Hello. I'm a college student double majoring in film and philosophy. I have a minor in mathematics. I'm a big fan of the wikipedia project, which satisfies my interests in free speech, volunteerism, and the pursuit of knowledge.

My Interests

 * Napoleon Bonaparte
 * World Domination

Cinema
 * The History of Cinema
 * Film Theory
 * Stanley Kubrick
 * Alfred Hitchcock
 * Jean Mitry

Philosophy
 * Analytic Philosophy
 * History of Philosophy
 * Logic
 * Set Theory
 * Philosophy of Language
 * Philosophy of Mind (esp. Cognition)
 * Philosophy of Mathematics
 * Epistemology
 * Conditionals (i.e. material implication, counterfactuals, causation, epistemic priority)
 * Relations
 * Modality and Modal Logic
 * Semiotics and Semantics
 * Bertrand Russell
 * Rudolf Carnap
 * W.V.O. Quine
 * H.P. Grice
 * J.L. Austin

Chess
 * Endgames
 * Positional Play
 * Chess History
 * Aron Nimzowitsch
 * Anatoly Karpov
 * Tigran Petrosian
 * Peter Leko
 * Vladimir Kramnik

Music
 * Avante-garde Music
 * Jazz Music
 * Piano Music
 * J.S. Bach
 * Jan Ladislaw Dussek
 * Alexei Stanchinsky
 * Igor Stravinsky
 * Anton Webern
 * Iannis Xenakis
 * Pierre Boulez
 * Glenn Gould
 * Nathan Milstein
 * Pablo Casals
 * Lennie Tristano

Mathematics
 * Abstract Algebra
 * Continuum Hypothesis
 * Completeness and Incompleteness
 * P=NP Problem

<B>Poetry</B>
 * Fixed Forms and Meter
 * Howard Nemerov
 * Richard Wilbur
 * Robert Frost
 * T.S. Eliot
 * Ezra Pound
 * E.A. Robinson
 * X.J. Kennedy
 * Philip Larkin
 * Theodore Roethke
 * John Hollander
 * Derek Attridge

Wiki Projects
Future projects:

 * Schenkarian Analysis
 * Set Theory
 * Mathematical Logic
 * Cinematography
 * Film History
 * Abstract Algebra
 * Chess Endgames
 * Philosophy of Language
 * Philosophy of Mind
 * Epistemology
 * Music Composition
 * Poetic Meter and Form

title: User:Danielpi~enwikibooks


text:
Cookbook talk:Pierogi I

Naming
Good to know (and to be reflected in text):
 * pierogie is incorrect name of that meal — the proper one is pierogi,
 * pierogi name is in fact spoken in Polish like pierogie and in that what should that name be read,
 * pierogi is the name of that meal and it's plural, so there is no need to use plural in English,
 * pieróg is singular name for one item of this meal.

So the name of that meal should be pierogi (better) or pierógs (v. not recommended) in English.

193.0.96.15 12:08, 21 April 2006 (UTC) Konrad

The main wikipedia article is titled properly as pierogi, so why are the recipies spelled the improper way? —The preceding unsigned comment was added by 74.122.4.148 (talk • contribs) 2007-07-05T04:33:18.

 * Fixed. Webaware talk 00:04, 5 July 2007 (UTC)

Add-Ons
Pierogi with cottage cheese filling are delicious with cream or plain yoghurt (may be sweeted).

The dish with potato filling (ruskie pierogi - Russish pierogi) or with sauerkraut filling are often served with the onion, little amount (we can say: only for decoration ;]) of meat (may be kiełbasa wiejska or other kiełbasa) and a 1-2 spoons of oil (grease, fat?) from pan where onion and kiełbasa was fried.

193.0.96.15 12:08, 21 April 2006 (UTC) Konrad

title: Cookbook talk:Pierogi I


text:
User talk:Vildricianus

For a quick response, please post at wikt:User talk:Vildricianus.

help requested
I have recently finished to write a book on m:b:en:Philosophy of Science in Russian wikibook Философия науки. I want to find somebody to translate it to English. Can you help me with this? P.S. I am interesting to write some books on math and computer science. On math I am currently working on m:b:ru:Знакомство с методом математической индукции and on computer science on Object oriented, m:b:en:Computer programming/Procedural programming and m:b:en:User:Alexsmail/Computer programming/How Objects should be correctly compared in Java (all this is on currently on hold). In my English texts I have a lot of grammar mistakes, so I need somebody to correct one. I want that all that I am writing will be on English. It can be translating of written on another language text or original text.

P.P.S. I have some material on math in Hebrew. Also hebrew wikibook has some material. It can be nice, while not mandatory, if you will know Hebrew too.

Я недавно закончил писать книгу в русском викиучебнике Философия науки. Я хотел бы найти кого-то ктобы перевёл бы его на английский m:b:en:Philosophy of Science. Не могли бы вы мне в этом помочь? P.S. Я хочу написать пару книг по математике и компьютерным наукам (программированию). По математике я начал работать над m:b:ru:Знакомство с методом математической индукции, а по компьютерным наукам над Object oriented, m:b:en:Computer programming/Procedural programming и m:b:en:User:Alexsmail/Computer programming/How Objects should be correctly compared in Java (пока я оставил это). Я пишу на английском со многими грамматическими ошибками, мне нужен кто-то, чтобы их исправлять. Я хочу, чтобы все мои книги были на английском. Это может быть как перевода с другого языка, так и оригинальный, изначально написанный на английском текст. P.P.S. По математике, у меня часть материала на иврите, да и в ивритском викиучебнике можно взять. Было бы прекрасно, если бы вы владели также ивритом. Но вовсе не обязательно. alexsmail 16:01, 26 August 2007 (UTC)

title: User talk:Vildricianus


text:
Cookbook talk:Zupa Ogórkowa (Polish Cucumber Soup)

Naming
This soup should be named zupa ogórkowa (small-caps, unless the names of the meals are written in such way in English ;]).

193.0.96.15 12:21, 21 April 2006 (UTC) Konrad

Yes, for an article heading we would indeed capitalize this in English, just like Chicken Noodle (rosol z kury), or Tomato (pomidorowa), soup. Yuk, yogurt in Zupa Ogorkowa, even sour cream is rarely, rarely added. Next some "chef", will suggest adding catsup, (optionally of course).Dr. Dan 01:45, 3 June 2006 (UTC)

Ingredients
Rice anyone? Had Zupa ogórkowa, in a nice Polish restaurant in Chicago, recently. Instead of potatoes, they used rice. I like the potato variety better, but the rice version wasn't all that bad. Dr. Dan 22:43, 18 June 2006 (UTC)


text:
Cookbook:Placenta Stew

Ingredients

 * ¾ fresh human placenta
 * 1 potato, diced
 * 4 tablespoons fresh parsley
 * 2 carrots, chopped
 * 3 celery, chopped
 * 1 zucchini (courgette), chopped
 * 1 tomato, chopped
 * 1 onion, chopped
 * 1 tablespoon flour
 * 1 teaspoon salt
 * ½ teaspoon powdered paprika
 * 1 pinch ground cloves
 * 1 pinch ground pepper
 * 6–8 coriander seeds
 * Oil

Procedure

 * 1) Roll the placenta in a mix of the flour, salt, paprika, clove, pepper, and 6-8 coriander seeds.
 * 2) Sauté the placenta in 2 tablespoons oil, then add the vegetables and about 1 litre of water.
 * 3) Allow to boil, and then let simmer for an hour.

Warnings

 * As with any meat from uncontrolled sources (such as hunting or scavenging) people should be cautious of risks involved. Certain blood borne diseases can live in blood and tissue outside the body for some time. Be sure that sensible precautions have been taken.

title: Cookbook:Placenta Stew


text:
User:Liftarn

sv:Användare:Liftarn

title: User:Liftarn


text:
Talk:Managing Groups and Teams/Resources

As we add materials to this page, we want to make sure to retain high-quality sources. Gerardo.ok 14:31, 21 April 2006 (UTC)


text:
Radiation Oncology/Toxicity/Lung

Radiation Induced Lung Toxicity

Clinical Grading
RTOG

 * Acute phase (1–2 months post-RT )
 * Exudative: vascular congestion, edema, inflammatory response
 * Clinically silent
 * Intermediate phase (2–9 months)
 * Hyaline membrane formation
 * Type II pneumocyte proliferation
 * Macrophages fill air sacs
 * Continued edema
 * Reparative phase (6–9 months)
 * Type I & II cells depleted
 * Thickened basement membrane
 * Capillary regeneration
 * Late/Chronic (9+ months)
 * Pulmonary fibrosis
 * Type I pneumocytes (nondividing) replaced with scar tissue

SBRT Planning

 * Udine, Italy; 2009 PMID 19954913 -- "Radiation injury of the lung after stereotactic body radiation therapy (SBRT) for lung cancer: A timeline and pattern of CT changes." (Linda A, Eur J Radiol. 2009 Nov 30. [Epub ahead of print])
 * Review of CT findings after SBRT. Different patterns and time-course than conventional fractionation
 * Japanese Radiation Oncology Group; 2006 (1996–2002) PMID 16613661 -- "Characteristics of patients who developed radiation pneumonitis requiring steroid therapy after stereotactic irradiation for lung tumors." (Fujino M, Cancer J. 2006 Jan-Feb;12(1):41-6.)
 * Retrospective. 156 patients, Stage I NSCLC, treated with SBRT. 12 (8%) patients required steroids. 31 patients randomly selected for comparison
 * Outcome: No predictors from age, sex, tumor size, PS, FEV1, %FVC, BED or dose/fraction. V20 was median 8% (7-18%) vs. median 7% (2%-16%)
 * Conclusion: No statistics predictive for development of pneumonitis requiring steroids

IMRT Planning

 * Peking University; 2010 (2005–2006) PMID 20462424 -- "Analysis of clinical and dosimetric factors associated with severe acute radiation pneumonitis in patients with locally advanced non-small cell lung cancer treated with concurrent chemotherapy and intensity-modulated radiotherapy." (Shi A, Radiat Oncol. 2010 May 12;5(1):35. [Epub ahead of print])
 * Retrospective. 94 locally advanced NSCLC (IIIA-IIIB), IMRT 60/30 or 63/35 with concurrent cisplatin-based or paclitaxel-based chemo. Primary outcome Grade 3+ acute radiation pneumonitis (by clinical symptoms and radiographic findings, interfering with ADL, requiring O2) within 6 months after therapy. LKB model used with TD50=30.5 Gy, m=0.3, n=1. Median F/U 10 months
 * Outcome: G3+ pneumonitis 12%. Multivariate analysis NTCP value (<4% 1% vs >4% 43%) and V10 (<50% 6% vs >50% 29%) predictive
 * Conclusion: NTCP value and V10 useful parameters for predicting severe acute radiation pneumonitis

2D/3D Planning

 * Results reported vary in technique used, dosimetric parameters, grade of pneumonitis reported, and concurrent use of chemo
 * Concurrent chemo appears to increase risk of pneumonitis
 * Preliminarily, it may be reasonable to use the following guidelines when treating with 3D conformal radiation. These recommendations may not apply to patients treated with intensity modulated radiation therapy (IMRT).
 * MLD (Mean lung dose in Gy): <20 Gy and probably <15 Gy
 * V20 (Volume of lung receiving at least 20 Gy): <30% and probably <25%
 * V30 (Volume of lung receiving at least 30 Gy): <20%
 * Inferior tumor location seems to increase risk for pneumonitis
 * DVH should be calculated on the combination of both lungs - GTV.
 * There is some evidence that V5 may also be predictive of pneumonitis. IMRT typically increases V5, but decreases MLD. It is not yet clear how significant is the hazard of irradiating large volumes to low doses

Radiographic

 * Duke; 2005 PMID 15936538 -- Challenges in defining radiation pneumonitis in patients with lung cancer. (Kocak Z, Int J Radiat Oncol Biol Phys. 2005).
 * Prospective study to evaluate RT-induced lung injury. 251 patients with 6+ months of follow-up
 * 19% developed Grade 2+ SOB requiring treatment with steroids
 * 66% had classic pneumonitis, but 28% had co-founding findings and 6% developed fibrosis
 * Scoring of RT pneumonitis challenging in 28%

Models

 * London (Ontario) (1993–2010) -- Chemo/RT
 * 2013 PMID 22682812 -- "Predicting Radiation Pneumonitis After Chemoradiation Therapy for Lung Cancer: An International Individual Patient Data Meta-analysis." (Palma DA, Int J Radiat Oncol Biol Phys. 2013 Feb 1;85(2):444-50.)
 * Meta-analysis. 836 pts, 12 published sources.
 * Used Lung volume = total lung - GTV (recalculated if other definitions used). Median dose 60 Gy, 2 Gy/fx; all pts treated with concurrent chemo. Median f/u 2.3 yr. Symptomatic pneumonitis in 29.8%; fatal pneumonitis in 1.9%
 * Predictors: Lung V20, use of carbo/taxol (OR 3.33); trend for age.

 * MD Anderson; 2008 PMID 18793959 -- "Analysis of radiation pneumonitis risk using a generalized Lyman model." (Tucker SL, Int J Radiat Oncol Biol Phys. 2008 Oct 1;72(2):568-74.)
 * 576 patients. Time to Grade 3+ pneumonitis computed. Smoking variable included. Lyman model developed
 * Outcome: NTCP estimates up to 27% different with and without smoking variable. Volume parameter n=1, corresponding to mean lung dose
 * Conclusion: Inclusion of nondosimetric risk factors and censored time-to-event data can markedly effect outcome predictions
 * Washington U/RTOG 9311
 * 2007 PMID 17689035 -- "A Nomogram to Predict Radiation Pneumonitis, Derived From a Combined Analysis of RTOG 9311 and Institutional Data." (Bradley JD, Int J Radiat Oncol Biol Phys. 2007 Nov 15;69(4):985-92.)
 * Two data sets (WU 219, RTOG 9311 129)
 * Pneumonitis model developed using one set did not predict for the other set. Combined set developed using MLD and superior-inferior location of tumor
 * NCC Korea (2001–2002) -- Grade 3+
 * 2005 PMID 15703313 -- "Dose-volumetric parameters for predicting severe radiation pneumonitis after three-dimensional conformal radiation therapy for lung cancer." (Kim TH, Radiology. 2005 Apr;235(1):208-15.)
 * 76 patients. Median dose 60/30. Chemo in 75%. Pneumonitis Grade 1 30%, Grade 2 14%, Grade 3 14%, Grade 4 1% (total 60%). For NTCP, used TD50=24.5Gy, m=0.18, n=0.87
 * Univariate: MLD, V20, V30, V40, V50, and NTCP all associated. Multivariate only MLD

 * Duke (1991–1999) -- All Grades
 * 2001 PMID 11597805 -- "Radiation-induced pulmonary toxicity: a dose-volume histogram analysis in 201 patients with lung cancer." (Hernando ML, Int J Radiat Oncol Biol Phys. 2001 Nov 1;51(3):650-9.)
 * 201 patients. Most patients with conventional fields, some with nonaxial and noncoplanar beams. RT dose >60 Gy in 85%. Chemo in 41% pre-RT, 18% concurrent/post-RT. Radiation pneumonitis in 19%. For NTCP model, used TD50=30.5, m=0.3, n=1
 * Predictors: MLD, V30, and NTCP all correlated well on univariate, concordance 64%. No multivariate analysis. H/o smoking protective (SS)

 * Washington University (1991–95) -- Grade 2+
 * 1999 PMID 10487552 &mdash' "Clinical dose-volume histogram analysis for pneumonitis after 3D treatment for non-small cell lung cancer (NSCLC)." Graham MV et al. Int J Radiat Oncol Biol Phys. 1999 Sep 1;45(2):323-9.
 * 99 pts treated with 3D-CRT. 42% had chemo. Endpoint was grade 2 or higher pneumonitis, which occurred in 20% at 2 years
 * RT Technique: CTV included GTV + 7 mm as well as elective nodal volumes. PTV1 was CTV + 7–10 mm. There was also a PTV2 of 7–10 mm around GTV alone. Total Lung DVH includes both lungs with the PTV subtracted out.
 * Predictors at 2 years: V20 only factor; location, Dmax, Dmean, Veff no correlation
 * All Grade 3 had V20 >=32%, all Grade 5 had V20 >35%

 * Multi-institutional -- Grade 2+
 * 1998 PMID 9747813 -- "Radiation pneumonitis as a function of mean lung dose: an analysis of pooled data of 540 patients." (Kwa SL, Int J Radiat Oncol Biol Phys. 1998 Aug 1;42(1):1-9.)
 * 540 patients (lung 399, esophagus 1, lymphoma 78, breast 59, other 3). Dose 20-92 Gy, dose/fraction 1.0-2.7 Gy
 * Significant variability between centers

 * Heidelberg (Germany) -- All Grades
 * 1995 PMID 7673033 -- "Estimation of pneumonitis risk in three-dimensional treatment planning using dose-volume histogram analysis." (Oetzel D, Int J Radiat Oncol Biol Phys. 1995 Sep 30;33(2):455-60.)
 * 66 patients (46 lung, 20 esophagus). Doses 50-60 Gy. Majority no chemo. Pneumonitis 15%. For NTCP model, used TD50=24.5 Gy, m=0.18, n=0.87 for each lung separately

Reviews

 * Fox Chase, 1997 - PMID 9106589 — "Pulmonary radiation injury." Movsas B et al. Chest. 1997 Apr;111(4):1061-76.
 * 1995 - PMID 7713782 — "Injury to the lung from cancer therapy: clinical syndromes, measurable endpoints, and potential scoring systems." McDonald S et al. Int J Radiat Oncol Biol Phys. 1995 Mar 30;31(5):1187-203.

Tips

 * From Lynn Wilson (Yale):
 * TOTAL LUNG: V20 <=30% but <35 acceptable, V10 <=40%, V5 <=60%, and mean lung dose <=17 Gy but <=20 acceptable
 * Subtracts out PTV from total lung volume, and all calcs on uncorrected and corrected lung to evaluate differences. PTV is based in 4D CT/ITV  methodology.

Pulmonary Function

 * Amsterdam; 2005 (The Netherlands) PMID 15936539 -- "Pulmonary function changes after radiotherapy in non-small-cell lung cancer patients with long-term disease-free survival." (Borst GR, Int J Radiat Oncol Biol Phys. 2005)
 * 34 patients had PFTs before RT, at 3 months, 18 months, and 36 months
 * Outcome (3 mo, 18 mo, 36 mo): Decrease FEV1 (NS), 9%, 13%; DLCO -10%, -15%, -22%; alveolar volume -6%, -7%, -16%. No recovery of any parameter
 * Conclusion: Significant decrease in pulmonary function at 3 months, progressive worsening to 18 and 36 months

Pneumonitis In Breast Cancer

 * Historically <=3% with standard RT alone
 * Concern that concurrent or even sequential taxanes may increase pneumonitis risk, though data not clear

With taxanes

 * Harvard
 * 2006 PMID 16243442 -- "Prospective evaluation of concurrent paclitaxel and radiation therapy after adjuvant doxorubicin and cyclophosphamide chemotherapy for Stage II or III breast cancer." (Burstein HJ, Int J Radiat Oncol Biol Phys. 2006 Feb 1;64(2):496-504. Epub 2005 Oct 21.)
 * Retrospective. 40 patients, operable Stage II-III BCA, protocol-based concurrent paclitaxel with RT. Either paclitaxel 60 mg/m2 QW x12 or paclitaxel 135–175 mg/m2 Q3W x4. Standard RT fields
 * Outcome: Weekly paclitaxel dose-limiting toxicity in 25%, including 3 symptomatic pneumonitis. No dose-limiting toxicity with paclitaxel Q3W, but still 8% Grade 2 pneumonitis. Any grade pneumonitis 18% overall; tangents 8% vs. nodal fields 22%
 * Conclusion: Concurrent treatment with paclitaxel not possible weekly; may be possible Q3W, but caution is warranted due to pulmonary injury
 * 2005 PMID 15890579 -- "Is a reduction in radiation lung volume and dose necessary with paclitaxel chemotherapy for node-positive breast cancer?" (Taghian AG, Int J Radiat Oncol Biol Phys. 2005 Jun 1;62(2):386-91.)
 * Retrospective case-control. 41 patients from PMID 11734597 (paclitaxel/RT) compared with 192 controls (standard chemotherapy/RT)
 * Outcome: Pneumonitis in paclitaxel 15% vs. standard chemo 1%. Effective lung tolerance reduced by 24%. No significant dosimetric predictors
 * Conclusion: Use of paclitaxel chemo and RT likely increases incidence of RP
 * 2001 (1993–1999) PMID 11734597 -- "Risk of pneumonitis in breast cancer patients treated with radiation therapy and combination chemotherapy with paclitaxel." (Taghian AG, J Natl Cancer Inst. 2001 Dec 5;93(23):1806-11.)
 * Retrospective. 41 patients treated with RT and adjuvant CT including paclitaxel (given concurrently n=21 or sequentially n=20). Sequentially treated patients received paclitaxel 175 mg/m2 Q3W or 70–80 mg/m2 QW. RT to breast-CW and IM nodes; 30 patients also SCV field. Pneumonitis incidence compared to database
 * Pneumonitis risk: Grade 2-3: paclitaxel 15% vs. control 1% (SS). Mean time-to-pneumonitis 5 months. Sequential use pneumonitis risk 16%, however, majority of patients had IM and regional lymphatics irradiated
 * Conclusion: use of paclitaxel and RT should be undertaken with caution
 * MD Anderson; 2004 PMID 15547180 -- "Clinically relevant pneumonitis after sequential paclitaxel-based chemotherapy and radiotherapy in breast cancer patients." (Yu TK, J Natl Cancer Inst. 2004 Nov 17;96(22):1676-81.)
 * Retrospective. 189 BCA patients enrolled in Phase III trial of T-FAC vs FAC. Clinically relevant radiation pneumonitis scored blindly
 * Outcome: Pneumonitis rate paclitaxel-FAC 5% vs. FAC 4% (NS). Radiographic changes 39% vs. 24% (SS)
 * Conclusion: Patients treated with sequential paclitaxel, FAC and RT have very low rate of clinically relevant radiation pneumonitis
 * Providence Holy Cross, California; 2003 PMID 12603378 -- "Breast-conserving therapy with adjuvant paclitaxel and radiation therapy: feasibility of concurrent treatment." (Ellerbroek N, Breast J. 2003 Mar-Apr;9(2):74-8.)
 * Retrospective. 24 patients. Chemo AC x4 cycles followed by concurrent paclitaxel 175 mg/m2 Q3W with RT. SCV field in 62%
 * Outcome: No cases of pneumonitis
 * Conclusion: Concurrent treatment was well tolerated
 * New York University; 2003 PMID 12610186 -- "Preoperative twice-weekly paclitaxel with concurrent radiation therapy followed by surgery and postoperative doxorubicin-based chemotherapy in locally advanced breast cancer: a phase I/II trial." (Formenti SC, J Clin Oncol. 2003 Mar 1;21(5):864-70.)
 * Prospective. 44 patients, Stage IIB-III LABC. Neoadjuvant paclitaxel 30 mg/m2 BIW + concurrent RT 45/25, followed by MRM
 * Toxicity: Desquamation 7%, hypersensitivity 2%, stomatitis 2%. No pneumonitis reported
 * Conclusion: Twice-weekly paclitaxel and concurrent RT is feasible and effective
 * William Beaumont; 2002 (1998–1999) PMID 12047471 -- "Acute and subacute toxicity associated with concurrent adjuvant radiation therapy and paclitaxel in primary breast cancer therapy." (Hanna YM, Breast J. 2002 May-Jun;8(3):149-53.)
 * Retrospective. 20 patients, concurrent paclitaxel 175 mg/m2 Q3W and RT
 * Outcome: Radiation pneumonitis 20% (PMRT 17%, BCT 33%)
 * Conclusion: Concurrent RT and paclitaxel should be approached cautiously

Images

 * New England Journal of Medicine, Images in Clinical Medicine 2009

title: Radiation Oncology/Toxicity/Lung


text:
Portuguese/Contents/BPL1/Primeira lição

Genders and articles
In grammar, nouns (Portuguese: "substantivos") are all words that give names to things. Some Indo-European languages (like Portuguese) present grammatical genders (Portuguese: "gêneros gramaticais), meaning that every single word has a specific gender. In English words are either masculine, feminine or neutral, but only singular personal pronouns distinguishes genders: "he", "she" and "it", respectively. The grammatical gender in English coincides with the "natural gender": masculine nouns are those that name men or male animals, feminine nouns are those that name women and female animals, neutral nouns are all those that are not male nor female.

Unlike English, Portuguese has no neutral gender (nouns are either masculine or feminine) and there is not actually a rule for determining what the gender of a noun is. Every single noun (people, animals, even inanimate objects and places) has a specific gender. For example, the word "mesa" (table) is a feminine noun, but the word "prato" (dish) is a masculine noun. The gender of each noun must be learned, although there is a rule of thumb that does help you to greatly minimize the amount of mistakes that can be made - you will meet it in the next few paragraphs.

Portuguese articles and adjectives also have masculine and feminine forms. Their gender is determined by the noun they are with (masculine nouns must be linked to masculine articles and adjectives, and feminine nouns to feminine articles or adjectives). Looking at a word's article, it is possible to say which is the gender if the noun. The definite articles in Portuguese are:

Unlike English, grammatical gender isn't always correlated to sexual gender; it is sometimes correlated, but it is not a rule.
 * a mulher ("the woman") – "mulher" is a feminine noun.
 * o homem ("the man") – "homem" is a masculine noun.
 * a criança ("the child") – "criança" is a feminine noun, but it is used both for boys and girls.

There is a tip about determining the gender of a singular noun: the last vowel of a noun is often the same as that of the definite article of its gender. It means that nouns ending in -o are mostly masculine, and nouns ending in -a are mostly feminine.
 * a casa ("the house") – "casa" is a feminine noun.
 * o almoço ("the lunch") – "almoço" is a masculine noun.
 * a caixa ("the box") – "caixa" is a feminine noun.
 * o quarto ("the room") – "quarto" is a masculine noun.

Portuguese indefinite articles are easier to learn than the definite ones. Let's look at them:

 * uma mulher ("a woman")
 * um homem ("a man")
 * uma criança ("a child")
 * uma casa ("a house")
 * um almoço ("a lunch")

The plural form of the indefinite article has the meaning of the english "some".
 * umas caixas ("some boxes")
 * uns quartos ("some rooms")

It is worth calling attention to the fact that um and uma are also the numerals for the English one - in Portuguese, numerals also accord to the gender of the noun they refer to.

Exercises
Homem (men) is masculine and mulher (women) is feminine. What is the article of...

 * (os) men are tall.
 * (as) women

Personal pronouns
There are eight personal pronouns (Portuguese: "pronomes pessoais") in standard Portuguese:

Some of these are unusual or absolutely not used in common Brazilian Portuguese. The pronoun "vós" is never used colloquially (even in European Portuguese), either in formal language or in informal language; however, you will find it in classic literary work. Also, in some dialects, the pronoun "tu" is no longer used. Instead of the second-person pronouns, one may use the address pronouns (Portuguese: "pronomes de tratamento") "você" (singular) and "vocês" (plural). Despite being second person pronouns (meaning "you" and "you all"), they behave as third person pronouns (all address pronouns behave the same way).

The pronoun "nós" is becoming increasingly avoided by many people (especially the younger) in colloquial language, although a significant portion of the population still uses it. Instead, "a gente" (literally: "the people") is used. Though it actually means "we", it is a feminine noun, and behaves as a third person singular "pronoun".

Languages such as Italian, German, Polish and even Portuguese have special words to address people politely. In Italian, Lei is used for addressing both a man and a woman, generally an unknown or someone we know but are not intimate with; in Polish one has Pan for men and Pani for women. In Portuguese, it is customary to address older people, or anyone we would want to be respectful with, by o senhor (the male form, equivalent to the english "sir") and a senhora (the female form, equivalento to "madam"). These words mean, respectively, "the sir" and "the madam". When using the vocative, the articles ("o" and "a") are removed.

 * Senhor, que horas são? ("What time is it, sir?")
 * Com licença, senhora, qual o nome desta rua? ("Excuse me madam, what is the name of this street?")
 * Como a senhora está? ("How are you?", polite)

However, do not address people by senhor or senhora unless they are of a certain age, or if they are in an important position. Brazilians tend to be very informal and many people might find it strange to be addressed by senhor or senhora. As a matter of fact, they might even feel old - and they will let you know it sometimes, albeit with a great dose of good humor!

Adjectives and nouns
Portuguese nouns, just like English ones, are inflected in singular and plural forms. As said before, adjectives must have the same gender of the noun they are connected to. Adjectives must also have the same grammar number (singular, plural) of their nouns.

In normal situations, the adjectives are put after the noun, but they may be put before. Putting the adjective before the noun may cause a different interpretation, or may sound weird to a native speaker. This is because putting an adjective before a noun is mostly used in literary work.

To turn the vast majority of common nouns and adjectives to their plural form, just add -s at the end of the word.
 * a pessoa elegante ("the elegant person")
 * as pessoas elegantes ("the elegant people")

All adjectives which end in -o also change in gender. To turn them into their feminine forms, change the final -o to -a. The gender of some nouns which end in -o may be changed the same way.
 * o menino cansado ("the tired boy")
 * os meninos cansados ("the tired boys")
 * a menina cansada ("the tired girl")
 * as meninas cansadas ("the tired girls")

You will also find many nouns and adjectives that end with an r. Such nouns are generally masculine; the female form will usually take an a:
 * o pintor ("the painter", male)
 * a pintora ("the painter", female)
 * o professor ("the teacher", male)
 * a professora ("the teacher", female)

Other plurals
Some adjectives that end in -z take -es for forming the plural.
 * o indivíduo feliz ("the happy person")
 * os indivíduos felizes ("the happy people")

Most nouns and adjectives ending in -l have their last syllables stressed. The plural of such words is made by changing the -l for -is.
 * o código penal ("the penal code")
 * os códigos penais ("the penal codes")

Some nouns ending in -l don't have their last syllable stressed (marked by the circumflex or by the acute accent), so they don't get -is for pluralizing. Instead, they get -es, just like words ending in -z.
 * o cônsul ("the consul")
 * os cônsules ("the consuls")

Of course, there would be exceptions to the simple rule. One of them is when a noun ends with -ão, which becomes ões:
 * o avião ("the airplane")
 * os aviões ("the airplane")
 * o balão ("the balloon")
 * os balões ("the balloons")

Augmentative form
This ending can also be used to for the augmentative form of nouns. Used colloquially, it can also be an enhancement to the quality expressed by the adjective, but only in the masculine:
 * amarelo ("yellow")
 * amarelão ("intense yellow")
 * bonito ("handsome")
 * bonitão ("very handsome")

The feminine version of this "superlative" form would be -ona. The grammatically correct form used generally would be to add "muito" (very) before the adjective, or the append the suffix -íssimo:

 * alto ("tall", "high")
 * muito alto ("very tall", "very high")
 * altíssimo ("extremely tall")

as opposed to altão, which would be a colloquial but very common form for muito alto.

Copula verbs ('ser' and 'estar')
Copula verbs (Portuguese: verbos de ligação) are verbs which mean "to be". Portuguese make a distinction between two copula verbs: "estar" and "ser". While "estar" denotes a non-permanent situation (like "to stand" or "to stay"), "ser" denotes a permanent situation.

 * estar feliz ("to be happy") – being happy is not a permanent situation.
 * ser feliz ("to be happy") – being happy is a permanent situation.

The copula verb "estar" is also used with places (where it happens) and "ser" is used with time (when it happens).

 * estar aqui ("to be here")
 * ser noite ("to be night")

Verb 'estar'
Portuguese verbs conjugate or inflect, having different forms for each grammatical person. Most verbs follow one of three regular conjugation patterns. There are several irregular verbs; the two copula verbs are irregular. The first verb you will learn is "estar" in the simple present. Portuguese grammar calls this tense present indicative (Portuguese: presente do indicativo).

 * Eu estou feliz! ("I am happy!")
 * Nós estamos alegres. ("We are happy.")

As seen before, the adress pronouns "você" and "vocês" behave as third-person pronouns, so they get third-person inflected verbs. A similar phenomenon happens with "a gente", which gets the third person singular. Paradoxically, if you use the third person plural form with "a gente", people will frown at you!

 * A gente está alegre! ("We are happy!")
 * Tu estás aqui! ("You are here!")
 * Você está lá. ("You are there!")

When having lots of subjects, the conjugation is that of the equivalent personal pronoun.

 * Eu e você ("I and you" are "we") estamos aqui. ("I and you are here")
 * Tu e ele ("you and he" are "you all") estais aqui. ("You and he are here")
 * Você e ele ("you and he" are "you all") estão  aqui. ("You and he are here")

For turning a sentence to the negative form, just put the adverb "não" (not) before the verb. For turning a sentence to the interrogative forms, don't change the place of verbs as you do in English.

 * Eles estão lá. ("They are there.")
 * Eles não estão lá. ("They are not there.")
 * Eles estão lá? ("Are they there?")
 * Eles não estão lá? ("Are they not there.")

As the verb changes for each person, one can take the pronoun out of a sentence. Portuguese grammar calls this phenomenon hidden subject (Portuguese: sujeito oculto). The hidden subject is a widely used element both in informal and formal speech.

 * Eu estou elegante. / Estou elegante. ("I am elegant.")
 * Nós estamos elegantes. / Estamos elegantes. ("We are elegant.")

The hidden subject is meant to be used only with first-person and second-person forms of inflected verbs. Using it for the third person, might cause some confusion, since "vocês" and "eles/elas" take the same verbal form.

 * Você está feliz? / Está feliz? ("Are you happy?")
 * Ele está feliz? / Está feliz? ("Is he happy?")
 * Ela está feliz? / Está feliz? ("Is she happy?")
 * A gente está feliz? / Está feliz? ("Is she happy?")
 * Vocês estão felizes? / Estão felizes? ("Are you all happy?")
 * Eles estão felizes? / Estão felizes? ("Are they happy?")
 * Elas estão felizes? / Estão felizes? ("Are they happy?")

When one hides a third-person singular subject, it can be either "ele" (he), "ela" (she), "você" (you) or even "a gente" (we), and when one hides a third-person plural subject, it can be either "eles" (they), "elas" (they) or "vocês" (you all). Grammatically it is called indeterminate subject (Portuguese: sujeito indeterminado). However, in colloquial Brazilian Portuguese, a hidden subject of third person is always meant to be "ele" or "ela" - colloquially, the hidden subject is not used for plural forms at all.

Colloquial form of some pronouns and the verb 'estar'
This is quite important to understand colloquial Brazilian Portuguese, independently of the dialect one considers. You will only very rarely hear the verb "estar" fully pronounced. Only a few people will pronounce it fully and not sound pedantic. Instead, most of the time you will hear their contracted forms.

The contracted form of "você" is "cê" (plural: "cês"), and the contracted forms of the verb "estar" are obtained simply by removing the initial syllable ("es") from the fully conjugated form. So, if someday you are walking through the streets of Brazil and you hear someone asking on the phone:

 * Onde cês tão?

you won't panic. Instead, you'll have that enlightened smile of someone who knows that the question was

 * Onde vocês estão?

However, it is important to know that "você" is usually but not always contracted. Generally, after "para" (for), and as a vocative, "você" is not contracted:

 * Eu trouxe este presente para você. ("I brought you this gift.")
 * Você! É, você! Me ajude aqui, por favor! ("You! Yes, you! Please help me here!")

Continuous tense
In English, the continuous tense (Portuguese: tempo contínuo) is formed by combining "to be" with the present participle of a verb. In Portuguese, it is formed the same way, with the auxiliary verb "estar". The present participle is called gerund (Portuguese: gerúndio) by Portuguese grammar. The infinitive verbs are preceded with "to" in English. In Portuguese, all of them end in -r. To form the gerund tense, just change their -r to -ndo.

 * Eu estou andando. ("I am walking.")
 * Por que vocês estão sorrindo? ("Why are you all smiling?")

title: Portuguese/Contents/BPL1/Primeira lição


text:
Cookbook:Eggplant and Tahini (Moutabbal)

Moutabbal (baba ghanouzh) is an eggplant and tahini dip.

Ingredients

 * 1 large ripe eggplant (aubergine)
 * 2–3 tablespoons (30–45 g) tahini
 * 1–2 lemons, juiced and strained
 * 2–3 cloves fresh garlic
 * Salt
 * Olive oil

Procedure

 * 1) Roast the eggplant on open flame. If your stove is electric, split the eggplant lengthwise, place face down on a cookie sheet, and bake in a hot oven on the top rack 30–45 minutes. For open flame roasting, use a fork to turn often. The skin should wrinkle and char, and flesh will shrivel and become soft. When eggplant is completely soft all over, remove to a bowl, slash once or twice to drain out bitter juice, and let rest until cool enough to handle. Some cooks suggest cooling the eggplant inside a brown paper bag.
 * 2) Cut off stem and peel away skin. Scrape flesh into bowl of food processor or blender. Add garlic, tahini, lemon juice and process. Quantities depend upon size of eggplant and your preferences–please taste frequently. Salt to taste.
 * 3) Serve at room temperature, drizzled with olive oil, and garnished with a black or green Mediterranean olive or sprigs of cilantro or parsley.

Notes, tips, and variations

 * If you don't have a food processor or blender, the eggplant is quite easy to mash by hand. Mash the garlic with the flat of a broad knife, then mince it fine. Some cooks prefer mashing by hand to mechanical means as the blades of food processors can break the seeds, which releases undesirable bitter flavours. If you have a mortar and pestle, mash the garlic with salt into a paste. A large mortar and pestle can be used to mash all ingredients.


text:
User:Duskcrimson

Hello, My name is Dusk Crimson, I am an IT specialist, I am 30 years old and I love basic sciences, especially physics. I also have a blog: Travelogue: Expedition To The Physicsland

Dusk H. Crimson 18:52, 21 April 2006 (UTC)

title: User:Duskcrimson


text:
Theatre and Acting/Objectives, Obstacles, Tactics

Objective
The actor must find out what his or her character "wants." "I want," "I need," "I must have" statements help the actor to solidify the motivations behind the character's actions and emotions.

The obstacle is what stands in the way of the objective.

Super Objective Broad overall objective for a character that works throughout the play. Provides a through line and arc for the character.
 * I need love
 * I need to have power.
 * I want security.
 * I want to find the love of my life.
 * I want peace.
 * I want a family.

A "need" is stronger than a "want" and is usually the stronger choice because it creates more drive for an actor. Objective Every scene has an "Objective". This is best formatted (for the actor) as what you want to get from the other person in the scene.
 * I need you to worship me.
 * I need you to love me.
 * I need you to give me my power back.
 * I desire validation.

Actions
The strategy used to achieve your objective. A character will use a certain action to get their objective. They switch actions when they feel it is not working anymore. Make sure when you pick actions that you are using playable words (use ACTIVE VERBS.)

Good Examples
 * To scold

 * To taunt

 * To cheer up

 * To scare

 * To seduce

 * To bribe

 * To bargain

 * To flirt

 * To corrupt

Not So Good Examples
 * To understand

 * To complicate

 * To imagine

 * To cry

 * To feel

 * To yell

 * To run

The not so good examples are DEAD END actions. Dead end tactics do not work through the other characters on stage(your identifiable partner). There is a big difference between "I am angry at her" (what are you going to do about it?) and "I want to destroy her."


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LaTeX/Links

The following list documents some of the other LaTeX resources available on the Web:

Community

 * The TeX Users Group Includes links to free versions of (La)TeX for many kinds of computers.
 * UK-TUG The UK TeX Users' Group
 * TUGIndia The Indian TeX Users Group
 * [news:comp.text.tex comp.text.tex] Newsgroup for (La)TeX related questions
 * CTAN A comprehensive archive with hundreds of TeX add-on packages and programs
 * TeX—LaTeX StackExchange A question-answer forum dedicated to TeX-related topics

Tutorials/FAQs

 * Tobias Oetiker's Not So Short Introduction to LaTex2e: http://www.ctan.org/tex-archive/info/lshort/english/lshort.pdf also at http://web.archive.org/web/20010603070337/http://people.ee.ethz.ch/~oetiker/lshort/lshort.pdf
 * Peter Flynn's beginner's guide (formatting): http://www.ctan.org/tex-archive/info/beginlatex/beginlatex-3.6.pdf
 * The AMS Short Math Guide for LaTeX, a concise summary of math formula typesetting features: http://www.ams.org/tex/amslatex.html
 * amsmath users guide (PDF) and related files: http://www.ctan.org/tex-archive/macros/latex/required/amslatex/math/
 * LaTeX Primer from the Indian TeX Users Group: http://sarovar.org/projects/ltxprimer/
 * LaTeX Primer: http://www.maths.tcd.ie/~dwilkins/LaTeXPrimer/
 * PSTricks--fancy graphics exploiting PDF capabilities: http://sarovar.org/projects/pstricks/
 * PDFScreen--create LaTeX PDF files that have navigation buttons used for presentations: http://sarovar.org/projects/pdfscreen/
 * David Bausum's list of TeX primitives (these are the fundamental commands used in TeX): http://www.tug.org/utilities/plain/cseq.html
 * Leslie Lamport's manual for the commands that are unique to LaTeX (commands not used in plain TeX): http://www.tex.uniyar.ac.ru/doc/latex2e.pdf
 * The UK TeX FAQ: List of questions and answers that are frequently posted at comp.text.tex https://www.texfaq.org
 * LearnLaTeX.org online tutorial: https://www.learnlatex.org
 * TeX on Mac OS X: Guide to using TeX and LaTeX on a Mac http://www.rna.nl/tex.html
 * Text Processing using LaTeX: http://www-h.eng.cam.ac.uk/help/tpl/textprocessing/
 * The (La)TeX encyclopaedia: http://tex.loria.fr/index.html
 * Hypertext Help with LaTeX: http://www.giss.nasa.gov/tools/latex/index.html
 * EpsLatex: a very comprehensive guide to images, figures and graphics http://www.ctan.org/tex-archive/info/epslatex.pdf
 * The Comprehensive LaTeX Symbol List (PDF): http://www.ctan.org/tex-archive/info/symbols/comprehensive/symbols-a4.pdf
 * Comprehensive List of Mathematical Symbols (PDF): https://mathvault.ca/wp-content/uploads/Comprehensive-List-of-Mathematical-Symbols.pdf
 * Getting to Grips with LaTeX (HTML): Collection of Latex tutorials taking you from the very basics towards more advanced topics http://www.andy-roberts.net/misc/latex/index.html
 * Chapter 8 (about typesetting mathematics) of the LaTeX companion: http://www.macrotex.net/texbooks/latexcomp-ch8.pdf
 * Overleaf: Learn LaTeX in 30 minutes https://www.overleaf.com/learn/latex/Learn_LaTeX_in_30_minutes
 * Art of Problem Solving: LaTeX Symbols https://artofproblemsolving.com/wiki/index.php/LaTeX:Symbols

Reference

 * LaTeX Project Site
 * The Comprehensive TeX Archive Network Latest (La)TeX-related packages and software
 * TeX Directory Structure, used by many (La)TeX distributions
 * Natural Math converts natural language math formulas to LaTeX representation
 * Obsolete packages and commands
 * Lamport's book LaTeX: A Document Preparation System

Templates

 * A resource for free high quality LaTeX templates for a variety of applications
 * High-quality LaTeX templates for journals, CVs, resumes, papers, presentations, assignments, letters and project reports
 * LaTeX template for writing PhD thesis, 2007
 * UCL computer department thesis template
 * UT thesis template, 2006
 * A template that supports an easy conversion to *.odt (*.doc), *.pdf and *.html in one run, 2009

title: LaTeX/Links