This article introduces Hanami–formerly known as Lotus–and compares its features with regular and component based Rails. I will assume you are familiar with the Ruby on Rails conventions.
Hanami is a modular rack compliant Ruby web framework promoting applications incremental design and separation of concerns beyond classical MVC.
The conventional MVC Rails structure fits simpler use cases and when their complexity increases you can use ingenuity in the form of component based Rails to achieve application modularity sometime as a stepping stone to service oriented architecture.
Preamble
Using Hanami for rapid prototyping would be a mistake–Ruby on Rails is a much better fit for that leveraging its vast pool of plugins.
Many Rails projects I saw had a plugin based prototype foundation making long term development a daunting plugin customization.
Usually at the foundation of larger Rails plugins there are framework agnostic Ruby gems and rack middlewares–like Warden at the core of Devise–that can be used to accelerate development in Hanami.
Multi application approach
Hanami helps understanding what the whole project does by supporting sub applications.
An example could be a memory game project where users can play games created by a team of game designers and with an API to publish leaderboards to mobile devices. This project domain can be broken up in to three applications: a gamezone
application where users play games, a workshop
application where game designers create games and an api
application to publish game statistics to mobile devices. The assumption is they all share some domain logic and database connection so breaking them up in to three projects at the start will create more development overhead then benefits.
Hanami
Hanami can serve such a project with its default container architecture. When the time comes for a portion to be deployed and developed in isolation it supports single applications with its application architecture.
Having all the applications as one codebase speeds up project development and it’s great that Hanami architecture supports that at its core.
Some people might quickly dismiss this as impossible in Ruby on Rails but that’s wrong.
Rails
It’s true that in a conventional Rails project this is impossible to achieve–all your code lives inside /app
and there is no way to set more applications boundaries. In simple cases this is not a problem–you could have a gamezone controller a workshop controller and an api controller but that’s rarely the case and even when it starts like that requirements will change and expand.
So for larger more complex domains–or for applications started small and grew over time–missing the boundaries makes it hard to understand what the whole project does and to migrate one of those portions to its own service.
To solve this problem a few years ago people started leveraging Ruby gems and Rails engines in what is called component based Rails architecture.
A high level component can simulate a Hanami application boundary in Rails–to find out more about this read a component based primer.
Hanami directory structure
Let’s generate our memory_game
project in Hanami–the default application would be called web
but can be overridden when first running the generator:
hanami new memory_game --application=game_zone
The directory structure at this point is:
├── Gemfile
├── Gemfile.lock
├── Rakefile
├── apps
├── config
├── config.ru
├── db
├── lib
└── spec
Let’s add a workshop
application to allow our staff to create games leaving game_zone
focused on the web gaming experience:
hanami generate app workshop
the apps have the following directory structure:
├── application.rb
├── config
├── controllers
├── public
├── templates
└── views
All the Hanami applications share some domain logic and persistence–more about that later.
Application routing
The Hanami applications routes are mounted via config/environment.rb
:
require 'rubygems'
require 'bundler/setup'
require 'hanami/setup'
require_relative '../lib/memory_game'
require_relative '../apps/game_zone/application'
Hanami::Container.configure do
mount GameZone::Application, at: '/'
end
Mounting multiple Hanami applications on the same segment doesn’t work like mounting engines in Rails–only the first one will be served.
Hanami::Container.configure do
mount GameZone::Application, at: '/'
mount Workshop::Application, at: '/'
end
In the example above the routes provided by Workshop
will not be found. This means the mounted routes must be unique segments and you must leave the greedier one at the end, for example:
Hanami::Container.configure do
mount Workshop::Application, at: '/workshop'
mount GameZone::Application, at: '/'
end
The routing syntax is reminishent of Rails and you will find a dose–not an overdose–of magic in Hanami.
# apps/APPLICATION_NAME/config/routes.rb
get '/', to: "games#index" # => will route to GameZone::Controllers::Games::Index
to avoid the longer:
get '/', to: GameZone::Controllers::Games::Index
Controller actions
In Hanami the controller actions are classes as opposed to Ruby on Rails class instance methods. This helps defining their single responsability and prevent bloated code sharing too much logic–in Hanami you can share controller action logic with a prepare
block and callbacks.
module GameZone::Controllers::Games
class Index
include Hanami::Action
expose :games
def call(params)
@games = Game.all
end
end
end
Controller action instance variables will not be handed to the view template unless exposed–the params
and errors
variables are exposed by default. In the example above @games
wouldn’t be available to the view without the expose :games
.
Domain logic and persistence layer
Hanami is ORM agnostic but it provides hanami models a structured persistence framework with entities and repositories ideal in more complex domains where using ActiveRecord would be unsuitable–but Hanami won’t get in your way if that’s what you need. Just remember the “When to use” paragraph in Patterns of Enterprise Application Architecture:
Active Record is a good choice for domain logic that isn’t too complex, such as creates, reads, updates, and deletes. Derivations and validations based on a single record work well in this structure.
For that reason Hanami models delegate validation at the controller action level–you can read the full explanation here.
You won’t find /models
inside the /apps
directory–the application generator will build a properly namespaced structure in /lib
and since Hanami does not have autoloading it must be required from config/environment.rb
:
require_relative '../lib/memory_game'
Keep in mind the generators will add default require statements.
Adding more domain logic with gems
With Ruby namespaces alone you have some modularity but you can’t enforce a dependency structure and in complex domains your classes will end up creating a tangle of dependencies hard to follow. You can use ruby gems to handle your dependency structure.
In this example I assume my application domain has significant logic related to calculating level progression using a statistical model so inside a components
directory in the repository root I create two gems: level_progression
, bayesian_model
. The first depends on the latter and it will resolve that dependency internally without concerning the rest of the application. I only need to add the local gem level_progression
to the Hanami application Gemfile
:
path 'components' do
gem 'level_progression'
end
And require 'level_progression'
in config/environment.rb
. Now my actions can use:
calculator = LevelProgression::Calculator.new(last_score, current_score, bonus)
calculator.next_level
This same approach can be used in Rails and is a trait of component based Rails architecture.
Views and templates
In Hanami the separation between a controller action and its view layer is also well defined. The framework provides a model-view class linked to the controller action class that can act as a presenter in simple domains or instantiate more presenters in complex cases.
# apps/web/views/games/index.rb
module GameZone::Views::Games
include GameZone::View
class Index
end
end
The view will only have access to variables explicitly exposed from the controller action. There is no call to render–the framework takes care of passing from controller action to the apropriate view.
A GameZone::Views::Games::Index
view class will expect a template templates/games/index.[format].[engine]
. What Rails calls views are called templates in Hanami and support popular Ruby templating like erb, haml, slim and more.
View helpers
In Rails you have a plethora of helpers available in your views. Hanami has a vast list of helpers added trough the optional Hanami::Helpers
module–all are private so you must define an explicit interface in your view.
For example using format_number
directly in a template like:
<%= format_number game_session.current_score %>
will raise NoMethodError: undefined method 'format_number'
. Instead it must be wrapped in a current_score
helper method in the view like this:
# apps/game_zone/views/game_sessions/show.rb
module GameZone::Views::GameSessions
include GameZone::View
class Show
def current_score
# I am assuming the GameZone::Controllers::GameSessions::Show
# to expose game_session
format_number game_session.current_score
end
end
end
Then called in the template with:
<%= current_score %>
Hanami counterpart to Rails’s custom helpers is based on plain Ruby and well explained in its dedicated guides section. If you have larger more complex custom helpers you can still adopt the intention revealing helpers strategy.
Final thoughts
Hanami isn’t an overnight hack–it’s been under development for over one year, its semantic versioned API is stable, people are using it in production and you can see passion and attention to detail in its modular design, automated tests, and documentation.
Now you might wonder who’s the winner? Hanami and regular Rails excel in different areas knowing what your application needs is critical.
If are working on a production Rails application before thinking to migrate it to Hanami evaluate component based architecture.
Before committing to Hanami check for outstanding github issues some might be blocking you as well as missing features your might got used to from Rails. Luca and the team are helpful and inclusive if you want to contribute on fixing outstanding bugs–if after reading the Hanami documentation you have questions the chatroom is a fast way to get feedback.
I hope the article has sparkled interest in what Hanami has to offer. I only scratched the surface and skipped topics like testing, caching, migrations, sessions all covered in detail in Hanami excellent guides.
I am looking forward to hear other Ruby and Rails developers feedback on Hanami.


Research Journal of Summoner Noctisse:
First Guideline: Shakiel must always be confronted alone. He appears when a single person attempts to commune with the tablet. Therefore, if he's attacked by a person other than the original summoner, he disappears.
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Neuroplasticity
Neuroplasticity is the idea that the brain is not a static object, it is a plastic one, capable of growth and change. Neural pathways in our brain are what allow us to accomplish the tasks we set out to do, and there are countless amounts of them, a pathway for walking, a pathway for typing, a pathway for talking, everything we do.
For a long time it has been stated that when an individual reaches adulthood that their brain becomes fixed, and that potential for learning diminishes dramatically, see the age old saying "You can't teach an old dog new tricks". But in the last several decades more and more research has been going into the concept of Neuroplasticity, and how it can be used not just for learning, but in fields like medicine, helping people recover from debilitating physical injuries, or in psychology and helping people recover from trauma, or even things like stress, anxiety or depression.
By practicing an activity we start to form Neural pathways for it, we strengthen the existing pathways, and depending on how we practice we can even link those pathways together.
Neuroplasticity can be increased in a variety of ways, from travelling, learning an instrument, reading fiction, or even sleeping. All of these activities encourage growth or connection between neurons in your brain, strengthening our neuroplasticity!
Interesting resource I found on Neuroplasticity
The Growth Mindset
The Growth mindset goes hand in hand with the concept of Neuroplasticity. At its core the Growth Mindset is about how our attitude towards things we want to achieve can impact our success. Moved from a fixed mindset about intelligence and what is possible to a growth mindset, understanding that intelligence is an attribute that can be changed in many studies has shown a significant increase in performance and results.
Research by Carol Dweck in an elementary school in America on the Growth Mindset showed some very interesting results about the role of teachers in contributing to a growth mindset. The type of encouragement given to students actually affected their ability to solve given problems. Students who were praised simply for being smart actually ended up being able to solve less problems on average than students who were praised for their hard work and the effort they put in. Encouraging effort rather than innate ability was key in fostering a growth mindset in students, and paid off when looking at the results.
Currently in my learning journey I'm still trying to change from having a fixed mindset to having a growth mindset. Ingrained habits are difficult to break, but through getting help from other people, and being able to succeed in challenges presented to me I initially thought were impossible have really helped me push into belief that I can do these things, that I can adapt and learn.
An interesting resource I found on the Growth Mindset


Watch the video data
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Installation, data structure, architecture


-
Nike Sneakers
Black and Orange High Tops
When orange meets black. Nike on another amazing combination of colors inspired by Autumn that can be worn in any situtation.
299$
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Revolt Red White Trainers
Nike x Revolt team up to create this amazing red black and white combination in a very limited edition.
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EditTextViewController
class EditTextViewController: UIViewController, UITextViewDelegate
View controller used to edit text files.
-
View created from IB managing size of
textView
.Declaration
Swift
@IBOutlet weak var placeholderView: UIView!
-
Text view containing opened text.
Declaration
Swift
var textView: UITextView!
-
File opened.
Declaration
Swift
var file: URL!
-
Text storage managing syntax highlighting.
Declaration
Swift
var textStorage = CodeAttributedString()
-
Highlightr managing syntax highlighting.
Declaration
Swift
var highlightr: Highlightr!
-
Langauge used to highlight code.
Declaration
Swift
private var language_: String?
-
Langauge used to highlight code but with correct format.
Declaration
Swift
var language: String?
-
Setup textView.
Declaration
Swift
func setupTextView()
-
MARK: - View controller
UIViewController
‘sviewDidLoad
function.Call
setupTextView
function.Declaration
Swift
override func viewDidLoad()
-
UIViewController
‘sviewDidAppear(_:)
function.Open
file
and highlight it.Declaration
Swift
override func viewDidAppear(_ animated: Bool)
-
Declaration
Swift
override func viewDidDisappear(_ animated: Bool)
-
Save file locally and upload it if is necessary.
Declaration
Swift
@IBAction func save(_ sender: Any)
Parameters
sender
Sender object.
-
Insert tab into textView.
Declaration
Swift
@objc func insertTab()
-
Change editor’s theme.
Declaration
Swift
@IBAction func changeTheme(_ sender: Any)
-
Set text color for theme
Declaration
Swift
func setTextColor()
-
Dismiss keyboard.
Declaration
Swift
@objc func dismissKeyboard(_ sender: UIBarButtonItem)
Parameters
sender
Sender Bar button item.
-
Resize
textView
when will show keyboard.Declaration
Swift
@objc func keyboardWillShow(_ notification:Notification)
-
Resize
textView
when will hide keyboard.Declaration
Swift
@objc func keyboardWillHide(_ notification:Notification)


Oluwafemi Oyedeji
About
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Lok is a student at UC San Diego, where she majors in Computer Science and she is a RA for Warren College.
Paper submitted to PRAGMA regarding Internet of Things and its usage in musuem settings.


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A key always has a specified length.
Further information:


NOBODY'S FOOL A film review by Scott Renshaw Copyright 1995 Scott Renshaw
Starring: Paul Newman, Jessica Tandy, Bruce Willis, Dylan Walsh, Melanie Griffith, Pruitt Taylor Vince. Screenplay/Director: Robert Benton.
Maybe it's envy, maybe it's years of Hollywood trying to sell every pretty boy or gorgeous girl as the Next Big Thing, and maybe it's some combination of the two. For whatever reason, both moviegoers and critics alike seem to have incredible difficulty acknowledging that attractiveness and talent could go hand in hand. Paul Newman was nearly sixt before it became widely acknowledged that there was more to this guy than his famous blue eyes; he could actually act. When he won as Best Actor in 1987 for THE COLOR OF MONEY, it was widely considered a lifetime achievement award, but apparently Newman had at least one more trick up his sleeve: NOBODY'S FOOL, a small, quiet drama driven by Newman's delightfully weathered lead performance.
Newman plays Donald "Sully" Sullivan, an often-unemployed construction worker living in the sleepy upstate New York town of North Bath. After suffering an on-the-job knee injury, Sully's days are largely spent playing poker, bantering with his landlady (Jessica Tandy) and trying to squeeze some compensation out of the construcion company's owner Carl Roebuck (Bruce Willis). But during this holiday season, there are other opportunities. In town for Thanksgiving is Sully's son Peter (Dylan Walsh), a son he's had an uneasy relationship with since Sully left the family when Peter was a baby. Peter is having marital troubles of his own, and when Peter stays in town with his own son, Sully has the chance to look back on his life and begin to take on some degree of responsibility for it.
Writer/director Robert Benton has a gift for making low-key, relationship-based films (KRAMER VS. KRAMER, PLACES IN THE HEART), and NOBODY'S FOOL is a worthy heir to that tradition. Benton uses his snow-covered locations beautifully, practically turning North Bath into one of the characters in the story. In many ways, NOBODY'S FOOL is as much about North Bath as it is about Sully. This is a town where everyone really does know everyone else, where local disputes are settled by a judge (Philip Bosco) who addresses people by their first names, and where a guy like Sully, to all outward appearances a loser in life, is still treated with a basic respect for his independent mind. When a local banker attempts to bring a theme park to North Bath, it is a demonstration of a fundamental misunderstanding of what the town is about: a sense of family.
That connectedness makes the relationships between characters in NOBODY'S FOOL a rare joy. There is not a mean-spirited moment to be found, because even the characters who don't get along treat each other as fellow humans. Sully's feud with Carl is one of the few external conflicts in the film, manifested primarily in a game of stealing a snow-blower back and forth, but even that exchange is essentially good-humored. It's one of the things that makes Sully so appealing as a character: as ornery as he can be, he always treats people decently. His paternal relationship with sadsack co-worker Rub (Pruitt Taylor Vince) is a pleasure to watch unfold, and a simple moment when Sully helps a senile older woman back to her home is handled without an ounce of condescension. It's ironic--and perhaps part of the point of NOBODY'S FOOL--that the one relationship which seems forced is that between Sully and Peter. Still, there's something strangely satisfying about a meeting between an estranged father and son which doesn't include a shouting match or tears.
However, the main reason Sully is so appealing is Paul Newman. He has reached a point in his career where he doesn't really play characters any more; instead, he slips into them like the flannel shirts Sully favors. That is in no way meant to belittle what Newman does as an actor. The fact is that he makes it all look effortless, as though he's really been Sully all his life, and someone just happened to turn the camera on at this moment. The background for the character (an abusive father, his own abandonment of his family) seems almost tacked on so the movie seems to be about something more, but Newman doesn't really need it. What we are watching is the story of a man who is somehow coming to terms with all the choices he has made in his life, and choosing to move forward rather than stand in place. It's Newman's gift that he can do all that with a well-placed sigh and a twinkle in those eyes.
On the Renshaw scale of 0 to 10 twinkles: 8.
-- Scott Renshaw Stanford University Office of the General Counsel
.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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{% extends "base.html" %} {% block content %} Password Reset Forgotten your password?  Enter your e-mail address below, and we'll send you an e-mail allowing you to reset it.


What is this madness?
Micromeet lets you quickly generate lots of small meetings — a.k.a., "micromeetings" — instead of one large meeting.
Why?
If you have the good fortune to be part of an organization that regularly schedules numerous and extraordinarily long meetings, then you know that scheduling conflicts, distractions, and personal interruptions are inevitable.
Rather than schedule one long meeting, Micromeet helpfully lets you create a contiguous block of micromeetings in 10 second increments.
For example, rather than schedule one two-hour meeting, you might use Micromeet to create a much more convenient block of 120 micromeetings in 30 second increments.
Why??!?!??
This allows your enthusiastic attendees to opt out of these micromeetings for important activities such as:
I'm sold! How do I utilize this innovative tool?
It's easy! First, use the fields on the Details tab to enter the following information:
If you'd like, you can also use the fields on the Schedule tab change the date and time of the micromeetings.
(Note: The step above is optional; Micromeet defaults to the current date, and pre-selects everyones' favorite meeting time: 12:00PM to 1:00PM).
Finally, click one of the two download buttons:
My organization doesn't allow external network access. How can I positively synergize Micromeet with my cross-platform corporate initiatives in this scenario?
You're in luck: Micromeet is open source!
You can download Micromeet from the Micromeet GitHub page and install it directly on your organization's intranet.
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Micromeet is built with the following:


EvaluationGrid¶
-
class
cvextend.
EvaluationGrid
(gridcv, score_grid)[source]¶ Bases:
object
A class that given a fitted sklearn.BaseSearchCV object returns the best estimator’s performance on a separate test set for each score. Requires original X and y used for training.
- Parameters
gridcv (
object
) – A fitted sklearn.model_selection.GridSearchCV or sklearn.model_selection.RandomizedSearchCV instancescore_grid (
object
) – A cvextend.ScoreGrid instance
Methods Summary
add_info
(data, **info)Add information to a dict-like
Given a BaseSearchCV.cv_results_ object, find the estimator hyperparameters that had the best performance for each of the score_grid scores.
get_fitted_estimators
(X_train, y_train)Given an the best estimator hyperparameters explicitly refit each estimator.
get_object_fullname
(obj)Given an object, return a string of module.class.name
get_scores
(X_test, y_test, **info)Given a BaseSearchCV.cv_results_ object with results of all parameter combinations, return a list of dictionaries containing the best hyperparameters for each combination of score and Pipeline step.
process_result
(result, step_names)Given original results dict or df as given by BaseSearchCV and pipeline step names, enchances the results with the type of each transformer or estimator from each step of the pipeline.
refit_score
(X_train, y_train, X_test, …)Finds the best hyperparameters for each estimator, refits them on X_train and y_train and reports the performance on X_test and y_test
Methods Documentation
-
static
add_info
(data, **info)[source]¶ Add information to a dict-like
- Parameters
data (
dict-like
) – Object to add information to**info (
dict
) – Key-value pairs to be added
-
get_best_params
()[source]¶ Given a BaseSearchCV.cv_results_ object, find the estimator hyperparameters that had the best performance for each of the score_grid scores. An estimator is a combination of each Pipeline step type.
-
get_fitted_estimators
(X_train, y_train)[source]¶ Given an the best estimator hyperparameters explicitly refit each estimator. Is used when refitting after nested cross- validation.
- Parameters
X_train (
array-like
) – Array of training datay_train (
array-like
) – Target relative to X_train
-
static
get_object_fullname
(obj)[source]¶ Given an object, return a string of module.class.name
- Parameters
obj (
object
)- Returns
fin_str (
str
)
-
get_scores
(X_test, y_test, **info)[source]¶ Given a BaseSearchCV.cv_results_ object with results of all parameter combinations, return a list of dictionaries containing the best hyperparameters for each combination of score and Pipeline step.
- Parameters
X_test (
array-like
) – Array of testing datay_test (
array-like
) – Target relative to X_test**info (
dict
ofstr
) – Info to be added to final score object (e.g. dataset name)
-
static
process_result
(result, step_names)[source]¶ Given original results dict or df as given by BaseSearchCV and pipeline step names, enchances the results with the type of each transformer or estimator from each step of the pipeline.
- Parameters
result (
dict
) – The original results of BaseSearchCV.cv_results_step_names (
list
) – The str names of the pipeline steps of the estimator given to BaseSearchCV for fitting.
- Returns
result (
dict
) – Enchanced result objectgroup_type_keys (
list
) – List of keys of newly added entries
-
refit_score
(X_train, y_train, X_test, y_test, **info)[source]¶ Finds the best hyperparameters for each estimator, refits them on X_train and y_train and reports the performance on X_test and y_test
- Parameters
X_train (
array-like
) – Array of training datay_train (
array-like
) – Target relative to X_trainX_test (
array-like
) – Array of testing datay_test (
array-like
) – Target relative to X_test**info (
dict
ofstr
) – Info to be added to final score object (e.g. dataset name)


{% extends 'site-layout.html' %} {% block title %} - {{ page_title }} {% endblock %} {% load staticfiles %} {% block content %}
Jennyli.ca is a mortgage agent service located in Waterloo and kitchener area. The web site was launched in 2010.
The features includes:
Doing online search engine optimization is as important as put the website on line. We help you the analysis you current visitors, development you online advertisement plan.
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We are seasoned web design team. Give us a call, we will meet you in person to understand your needs. We offer free consultation and guide to plan your site.
You pay the service only when your are happy with our initial design.
We are seasoned web design team. Give us a call, we will meet you in person to understand your needs. We offer free consultation and guide to plan your site.
You pay the service only when your are happy with our initial design.
Doing online search engine optimization is as important as put the website on line. We help you the analysis you current visitors, development you online advertisement plan.
If you don't have time and knowledge to execute it, we can help you get it done in a reasonable price range.
Doing online search engine optimization is as important as put the website on line. We help you the analysis you current visitors, development you online advertisement plan.
If you don't have time and knowledge to execute it, we can help you get it done in a reasonable price range.
Doing online search engine optimization is as important as put the website on line. We help you the analysis you current visitors, development you online advertisement plan.
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2.1 97-112
Ever since modernists such as T. S. Eliot misrepresented (or perhaps miscomprehended) the work of Dante Gabriel Rossetti, the intellectual structure of his art--both painting and poetry--has been seriously obscured. The problem is sharply focussed in Rossetti's connection to Dante and his circle. For Eliot and those who took up his way of thinking, Rossetti had a weak understanding of stilnovista poetry and almost no understanding of Dante: his mind was too sentimental, his emotions too fleshly, his language too loose and Victorian. Yet the judgment that Rossetti lacks intellectual rigor, now widespread, runs against earlier views. Indeed, the argument was mounted specifically to counter certain received ideas, to challenge the programmatic quality of Rossetti's art, and to contradict Rossetti's famous commitment to "fundamental brainwork." 1 As everyone has always known, however, Rossetti's is--spectacularly--an art of the body. Before 1920 or so people were able to negotiate that basic paradox in Rossetti's work. Afterwards not.
I'd like to carry us back across the divide opened by Eliot--back to the cultural moment when Rossetti's work centered the movement that ushered in modernism proper. This reconsideration will ultimately allow us to make a critical return to the subject of modernism. The differentials that separate Rossetti from his immediate inheritors can usefully be seen not as deficiencies in Rossetti or his work, but as forecasts of the critique that postmodernism would eventually raise against the modernist project.
My argument will extrapolate that foundational concept of Rossetti (and through him, of the Aesthetic Movement in general): "fundamental brainwork." Drawn from his concern with artistic technique, the word "brainwork" subtly undermines the distinction between idea and act, or theory and method. The "brainwork" of a disciplined artisanal practice organizes the artist's intuitive and emotional insights. As we shall see when we examine Rossetti's crucial connection to Dante, the famous declaration in "The House of Life"--"Thy soul I know not from thy body, nor/ Thee from myself, neither our love from God" 2 --expresses exactly what Rossetti has in mind. In this case the terms are--as so often with Rossetti--erotic. 3
Rossetti's purposes are expressed very clearly in his famous pair of sonnets "Mary's Girlhood," written to accompany his first Pre-Raphaelite picture The Girlhood of Mary Virgin. We should recall that the painting was itself a manifesto about art, as one sees in the heated controversy that followed its exhibition in 1849.
When it was shown at the Free Exhibition, the painting's implicit argument was underscored by the presence of a slip of goldfaced paper he attached to the frame. Two sonnets were written on the golden slip, as follows:
This is that blessed Mary, pre-elect
God's Virgin. Gone is a great while, and she
Was young in Nazareth of Galilee.
Her kin she cherished with devout respect:
Her gifts were simpleness of intellect
And supreme patience. From her mother's knee
Faithful and hopeful; wise in charity;
Strong in grave peace; in duty circumspect.
So held she through her girlhood; as it were
An angel-watered lily, that near God
Grows, and is quiet. Till one dawn, at home
She woke in her white bed, and had no fear
At all,--yet wept till sunshine, and felt awed;
Because the fullness of the time was come.
These are the symbols. On that cloth of red
I' the centre is the Tripoint: perfect each
Except the second of its points, to teach
That Christ is not yet born. The books--whose head
Is golden Charity, as Paul hath said--
Those virtues are wherein the soul is rich:
Therefore on them the lily standeth, which
Is Innocence, being interpreted.
The seven-thorn'd briar and the palm seven-leaved
Are her great sorrow and her great reward.
Until the end be full, the Holy One
Abides without. She soon shall have achieved
Her perfect purity: yea, God the Lord
Shall soon vouchsafe His Son to be her Son. 4
Formally these texts come as a two-handed engine for interpreting the meaning of the painting. The first sonnet identifies the subject, her primitive historical position, her moral and mythological character within the medieval context of Maryolatry. But even as the second sonnet brings forward its elaborate symbolic interpretation of the pictured details, it no more operates as a Christian interpretation than the first sonnet. Rather, the second sonnet locates the historicality of all these materials, identifying them as "medieval." This identification comes through the act of stylistic analysis performatively displayed in the poetry's consciously antiqued style.
So the sonnets are not so much an interpretation as the representation of an interpretive field. Attached to the painting's frame, the sonnets label the work as "medieval." Their technique appears most dramatically in the mannered self-consciousness of verses like these:
Therefore on them the lily standeth, which
Is Innocence, being interpreted.
The artificial style is a quasi-allegorical signal referencing an idea of the medieval-archaic. In such a context, the symbolistic potential of the imagery gets broken down. The verse turns what might have been (in a medieval context) a symbol into the briefly annotated index of a symbol. Twentieth-century writers and theorists will make much of what Rossetti is doing here; they will call it "laying bare the device." For an agnostic like Rossetti, the critical presentation of Christian materials allows him to construct his contemporary artistic manifesto. The manifesto is performative, the image of a pastiche of an antique set of signs.
This manifesto argues that "meaning" is not a function of concepts and general ideas but of particular (artistic) practices. Highlighting the apparent medievalism of his subject matter, Rossetti historicizes the whole symbolic field. More important still, he forces us to think about those historical materials in specifically artistic terms. So the Christographic symbology becomes the form of an artistic expression and style rather than the vehicle of religious concepts and ideas. Rossetti thereby urges the otherwise Christian symbology to carry purely aesthetic and artisanal significance. Rossetti's sonnets and their associated painting are not about Catholic or Christian matters, they are about Art: specifically, about what he called "the Art Catholic," a phrase in which the word "Catholic," self-consciously historicized through an obsolete grammar, gets opened to its root (and secular) meaning. 5
A brief excursus on the immediate context of Rossetti's work is useful, for it will help to explain why he occupied the programmatic vanguard of the early Pre-Raphaelite movement. The Pre-Raphaelite Brotherhood's emphasis upon meticulous and accurate rendering of painterly details provoked a novel tension in their work. Whereas the Pre-Raphaelite subject often carried weighty allegorical and religious meanings, those tradition-borne symbolic structures tend to move out of focus as the eye is assaulted from every quarter by all kinds of arresting details, many hardly relevant to the apparent or nominal subject. In his treatment of such details Rossetti differs sightly but significantly from both Holman Hunt and John Everett Millais. In The Girlhood of Mary Virgin, for example, Rossetti does not load the painting with detail, he formally structures his details so that they carry a general burden of meaning about the significance of painterly detail in itself. 6 This is why his painting is such an effective painterly statement about the ability of art to embody and express meaning in nonsymbolic ways. The same kind of ordered formality, as we have seen, governs the presentation of the medieval symbology in the sonnets.
Rossetti's difference from Hunt and Millais is quite instructive. Their early work provoked the hostility of people like Charles Dickens partly because of their remarkable attention to close rendering of physical and historicist detail. Viewers were particularly dismayed at the details in paintings on moral and religious subjects. If these particulars were not "mean, odious, repulsive, and revolting" in themselves, they distracted the attention from the main subject's "religious aspirations . . . elevating thoughts . . . or beautiful associations." 7 Such at any rate was the charge.
Ruskin defended Hunt's The Awakening Conscience against these objections on two grounds, one general, one particular. The details, he argued, were dramatically appropriate "in this instance," i.e., they represented the realistic rings "of a mind which has been fevered by violent and excessive excitement." This special pleading, needless to say, scarcely addresses the real issue of "the general propriety of such treatment," as Ruskin called it. That "general propriety" is, of course, a recurrent topic in Modern Painters; and Ruskin's argument is that the artist's primary attention must always be directed to the work as such, to the act of painting. The modern painter's true subject is never the nominal subject, it is the artist's own artistic fidelity and devotion. For Ruskin, Hunt is one of those contemporary "poetical" artists bent upon "inventing the story as they painted it." 8 The nominal subject only lives by virtue of the expressive vigor of the artist and his work.
So if an apparent excess of detail can detract from the painting's nominal subject, it simultaneously urges the viewer to reformulate the subject in other (i.e., in aesthetic) terms. Ruskin's defence of the Pre-Raphaelite Brotherhood registers his awareness of this pictorial urgency in their work. In this respect, Rossetti's secular and polemical stylistic manner has a clear parallel with the explicitly devotional work of Hunt. The more we focus on the details, the more reflexive (rather than reflective) the works become. The "story" they tell is the act of painterly invention; Ruskin calls such work "poetical" exactly because he reads it in this aesthetic way. In this sense, Hunt's The Awakening Conscience and The Light of the World are less the names for subjects in the paintings than they are the names of the paintings themselves. These paintings bring their light to the world, whose aesthetic conscience is meant to be awakened through the experience. The light of the world is art itself, the awakening conscience is a redeemed aesthetic sense (whether in the artist or in the viewer).
I am speaking of these works, you will say, in twentieth-century terms; and of course Pre-Raphaelite art is not Action Painting. But this later vocabulary is useful for calling attention to the decidedly polemical-aesthetic quality of Pre-Raphaelite work. If the Pre-Raphaelites did not break completely with representational tradition, they were determined to undermine some of its most fundamental premises. The conceptual character of their work comes not from an aggressive abstraction, as in modernist art, but from a hyper-realism that anticipates certain postmodern styles. The Pre-Raphaelite program encouraged artists to handle their traditional subjects with greater imagination. Through their notorious attention to detail, Pre-Raphaelite painters were trying to break into free acts of inventiveness. The sympathetic viewer of the period--in this case, paradigmatically, John Ruskin--responds in kind. In The Awakening Conscience Ruskin's conscience is also awakened:
There is not a single object in all that room--common, modern, vulgar (in the vulgar sense, as it may be), but it becomes tragical, if rightly read . . . . Nay, the very hem of the poor girl's dress, at which the painter has labored so closely, thread by thread, has story in it, if we think how soon its pure whiteness may be soiled with dust and rain, her outcast feet failing in the street. 9
That is criticism in the sentimental style of the period. And if it might be argued that "This [kind of talk] is allowing fancy excessive liberty" with the painter's work, 10 it should also be said that its freedom corresponds to what happens in the painting, which treats its nominal subject in an equally "excessive" fashion. In each case the excess signals a new kind of devotional activity: on one hand a devotion to painterly practice, on the other to the practice of criticism. Both are, in Ruskin's terms, "poetical"; indeed, they are moral and religious because they are, first of all, "poetical."
Rossetti's critical intelligence as an artist lies essentially in this: that he sought a programmatic expression for a new kind of artistic representation. He is extremely self-conscious both as a technician and, in much of his work, as a polemical theorist. More than that, because the polemic is being made on behalf of art as a nonconceptual form of understanding, Rossetti is most theoretical in his explanations when he expresses himself in artistic (rather than conceptual) terms. So he will interpret a painting by writing a sonnet, or a poem by making a painting. So he will elucidate the poetry of Dante and his circle by translating them into equivalent poems. Rossetti constructs an argument in images for the procedure of arguing by images.
Eliot's celebrated 1929 essay on Dante exorcises Rossetti's translations as "Pre-Raphaelite tapestry" 11 --the phrase being a kind of objective correlative that means "brainlessly decorative." The judgment is especially damning, from Eliot's viewpoint, because his essay celebrates Dante's art exactly for its conceptual virtues. Dante's poetry is stronger than Shakespeare's, he argues, because the one works within a coherent conceptual framework while the other does not.
If we recall Rossetti's general approach to his translations, we can see the problem a reader like Eliot is immediately going to have:
The life-blood of rhymed translation is this,--that a good poem shall not be turned into a bad one . . . . Poetry not being an exact science, literality of rendering is altogether secondary to this chief aim. I say literality,--not fidelity, which is by no means the same thing. 12
To the polemical modernist critic, judgment here is all but foregone since Rossetti works in a style--decorative and rhetorical--that was the precise object of modernist attack. Rossetti's poetry will always turn good early Italian poems into bad Victorian ones. The wholesale repudiation of Rossetti's translations--like the widespread praise they received before Eliot's essay--reflects a cultural predisposition, not a dependable judgment about the work itself.
Let me observe in passing that Rossetti's translation program implicitly summons some kind of aesthetic value judgment, whether favorable or not. His collection prizes and means to collect the "good poem," not just verse that might have some purely historical interest. And his translator's rule lays upon him the obligation to write good poetry in his turn. It is a bold move, and one that Ezra Pound would imitate, though he was not always very gracious in acknowledging his debt to Rossetti's theoretical lead. It was also a move that laid Rossetti open to Eliot's line of attack; for if a serious change in poetic style and taste were to become culturally canonized, as in fact happened in the mid-twentieth-century, then Rossetti's work would no longer even have its own ground--artistic fidelity--to stand on.
When scholars have tried to assess Rossetti's translations objectively, the consensus is far more favorable than not. 13 Of course the difficulty of translating syllabic into accentual verse is formidable. Furthermore, the cultural distance separating Rossetti's world from Dante's is perhaps even more daunting. First of all--as is well known--serious medieval thought (say Dante's and Cavalcanti's) and serious Victorian thought (say Rossetti's and Ruskin's) are all but incommensurable. Indeed, it is the absoluteness of the differential here that helps to explain the nineteenth-century's (historicist) fascination with the middle ages.
A second great difficulty is purely linguistic. Stilnovista Italian is refractory in part because its immediate poetical heritage sometimes displayed a diction littered with shards of corrupted Latin and early Italian dialectal forms. The so-called Sicilian School, centered at the court of Frederick II in Palermo, began the vernacular move against this linguistic inheritance. The "sweet new style" of the stilnovista movement culminates the effort to purify vernacular poetry of its linguistic crudities. Indeed, some of the most spectacular stilnovista moments come when the stylistic and linguistic issues are held in the foreground. Stilnovista verse is commonly far more strict and even stiff in its formalities than the Sicilian and troubadour writings it builds upon. In this respect, the highly polished and often mannered correctness of Rossetti's verse style clearly aims to represent the spirit of the poetry he was translating.
There is no question, I think, that Rossetti understood the problem he was confronting and that he proposed an impressive scheme for addressing the difficulty. Because the scheme is grounded in what Rossetti calls "paraphrase," we are apt to imagine--this was Eliot's imagination--that Rossetti's irreligious (or nonreligious) translation is a travesty of Dante. But this is to misunderstand what Rossetti is trying to "paraphrase." He is not after a contemporary equivalent for the theology or a conceptual content of the verse. What he wants is a contemporary equivalent of its form and style, its way of making an argument through images.
Rossetti's procedure is evident in all of his translations, not just the work with Dante. I give one typical but peculiarly salient illustration--a passage from Giacomo Pugliesi, an "early Italian poet" of the sicilian school:
Madonna, chi lo tene lo suo viso
in sua balia?
Lo vostro insegnamento e dond'è miso?
E lo tuo franco cor chi me l'ha priso,
[oi] don[n]a mia?
Ov'è Madonna? e lo suo insegnamento?
La sua bellezza, e la sua canoscianza? 14
Rossetti renders the passage as follows:
Who hides that smile for which my heart is sore,
And drowns those words that I am longing for,
Lady of mine?
Where is my lady, and the lovely face
She had, and the sweet motion when she walk'd?
In one sense this is deliberate mistranslation. But the move is programmatic and goes to the very heart of what Rossetti believes can and should be done when a specifically poetical translation is being undertaken for these kinds of pre-modern texts. In such cases one's primary obligation is to seek a "paraphrase" for the poetry-as-such--a paraphrase that holds strictly to the level of the poetic signifiers. To "paraphrase" this text's conceptual "content," in Rossetti's view, is to find a conceptual form that short circuits any move to non-formal or non-sensuous levels of expression.
Criticism inspired by Eliot will therefore deplore translations that fashion sensuous equivalents for the "moral and spiritual" ideas of medieval verse. Rossetti's sins of omission are said to be even worse. In the Pugliesi passage, for instance, it is argued that Rossetti "seems to have disliked or been bored by the convention of the lady as teacher or moral guide." 15 This view comes because the translation gives no literal equivalent for the key word "insegnamento." But the truth in this case is highly revealing. Rossetti hasn't ignored Pugliesi's word, he has "translated" it by distributing its meaning--his understanding of its meaning--across the entire surface of the passage. Rossetti translates back through the root (segno) of the evolved moral term (insegnamento).
This kind of move, recurrent in the translations, defines the self-conscious physicality of their style. Approaching a word such as "insegnamento" as an icon rather than a concept, Rossetti reads it as an allegorical sign whose meaning lies not in what it means, but in how, and in the very fact that it means. The procedure is the precise equivalent of what we saw earlier in The Girlhood of Mary Virgin and its associated sonnets. In translating, Rossetti always moves toward rative equivalents. So here he reads Pugliesi in radically formal terms, as if the Italian text were a language of pure signifiers. He therefore transforms the sequence of what might otherwise be taken for abstract terms, "insegnamento . . . bellezza . . . canoscianza," into a ral language of seductive gesture: "The lovely face / She had, and the sweet motion when she walked." In Rossetti, what Pugliesi's Donna teaches is an art of embodied practice.
The form of Rossetti's translations implicitly makes an argument about the character of stilnovista poetry. He takes its moral and philosophical terminology as a ral system readable by those who have a Dantescan "intelletto d'amore." 16 For him, the stilnovisti poets (and Dante pre-eminently) harrowed the symbolic order by a root and branch literalizing process. So Dante's Beatrice is for Rossetti a literal form of love. If Dante's ideological horizon translated Beatrice into elaborate conceptual equivalents--and it most certainly did--Rossetti took all the equivalents at face value. They are for him decorative additions to the central (artistic) event: not truths but forms of truth. Exactly the same should be said of any biographical or historical equivalents--Beatrice as Beatrice Portinari, for example. All such forms are "symbolic" and "interpretational" shapes fashioned by the further adventures of an idealizing imagination. For Rossetti, Dante's importance lies not in his ideology as such, whether philosophical/theological or historical/realistic, whether Catholic or--as his father thought--Masonic. It lies in his art, and in his work's implicit argument that knowledge, expressed in and through the res of art, is revealed as a practice. The order of images is primary, as is the authority of the signifiers. Love itself, the supreme good, begins when one submits to that order, which demands performance. Knowledge is a continual process of knowing, Love of loving; and Art is a continual process of inventing forms that display those ideal human acts.
When Rossetti's translations are examined at the level of the word and the phrase, then, we can understand the sharp divergence of opinion about the quality of the translations. An aesthetic sensibility will tend to respond favorably, a moral or philosophical one will not. The issue here is strictly stylistic--though nonetheless crucial for that very reason, since Rossetti's translations argue that the meaning of Dante's work was fundamentally a matter of form and style, that its "content" was best taken as a ra and image of its performative truth. The modernist attack on the translations took the form of an attack on their style. Rossetti typically leaves the order of the signifieds to fend for themselves, or treats them as second order signifiers. Rossetti turned to Dante because he found in his work a renascence of the authority of the signifiers. The stilnovista translations, in this respect, were a series of exercises by which Rossetti trained himself to approach writing in a purely formal and decorative way. This technical approach anticipated the methods of many modernists, and was all the more dangerous, to a sensibility like Eliot's, for that very reason. For Rossetti's translations are grounded at a profane (Victorian) distance from medieval Catholicism; indeed, they assume that the ideological gulf between the middle ages and the nineteenth century is absolute. If religion and morality change, however, the practice of art persists. This practice is what lies open to translation. To be true to Dante and his circle, then, demands aesthetic translation. One good poem deserves another.
To understand Rossetti's poetry in this way is to recognize the mistake in Nicolette Gray's conclusion about Rossetti's way with images. Gray understands that Rossetti learned a "method of images" from Dante. 17 But she goes on to argue that Rossetti lacked a crucial "map" for organizing his intense images. "The place of the particular images must be seen against the background of an order in the abstract ideas in the mind" (RDO, 28-29). When Gray looks at Rossetti's surfaces, she observes the extreme play of the detail: "the very intensity of the presentation stresses its particularity, its momentariness, Rossetti cannot put it in the clear light of day, like Dante's other illustrator Botticelli" (RDO, 29). But Gray is mistaken. Rossetti has simply chosen to "put it in the clear light" of a "day" that is not medieval. Rossetti has a "map," a conceptual scheme for organizing his materials. The map is the critical program of historicist analysis.
This is a strictly formal way of approaching Dante's poetry. It may be disapproved for any number of reasons, of course. What cannot be said is that it lacks either procedural or abstract rigor. And what cannot be gainsaid is that it allowed Rossetti to appropriate one of the most startling and innovative features of Dante's early writing. In this case we are still dealing with matters of poetic form, but the formalities involve larger procedural operations. 18
Rossetti's habits of revision are notorious. He worked and reworked both his paintings and his poems obsessively--not as if to refashion them for different audiences and occasions, though he did do this, but as if his efforts might finally achieve some ideal perfection. These localized reworkings replicate Rossetti's habit of thinking and rethinking the organization of his collections of poems. The case of the 1870 Poems is exemplary, as is the centerpiece of that volume and of Rossetti's poetical work as a whole: "The House of Life" sonnet sequence. In 1869-70 alone Rossetti played with a bewildering series of possible orderings for the poems in the volume, and for the sonnets in the sequence (which formed one section of the volume).
"The House of Life" sonnets are especially important to consider here because the sequence is structured in terms of an implicit narrative. The story involves a young man, an artist, and two (at least two) idealized women. The young man's love for one of the women succeeds to his love for the second. The first woman dies--it is not entirely clear if her death occurs before or after his second love--and the events radically intensify the man's erotic yearning for perfect love. This new desire is haunted by feelings of guilt and remorse, and dominated by ambiguous images of death and otherworlds.
Now this sequence, like Dante's Vita Nuova, has often been read as poetically heightened autobiography. The key historical equivalents--the persons, the dates, the places--are in each instance well known. Indeed, there is little doubt that Rossetti took the Vita Nuova as a model and precursor, if not even a forecast, of his sonnet sequence. Each work tells a story of an artist's quest for ideal love. Each quest centers in the image of an ideal woman, and in each case death intervenes in a dramatic and decisive way. Dante has a kind of second love as well, the "screen lady" (or, as in Rossetti, the screen ladies) to whom he addresses some of his poetry. Finally, both works are organized reflexively. Looking back upon past events, both construct an explication of the secret meaning of those events--a meaning both works represent as implicit in the events from the beginning, though at the time the meaning was unknown or unapparent.
For all these similarities, of course, the emotional structure of the two works is very different. This difference is crucially located in the status of each poet's doubled love. Dante's screen lady is never a serious object of his devotion; she is a device, a means by which he can conceal his true love from worldly understandings and curiosities. Rossetti, by contrast, is fully devoted to the beloved and the innominata, and his double attachment defines what it means to be "Lost on Both Sides." So while the Vita Nuova unfolds an unambiguously redemptive action, "The House of Life" closes in an obscure and troubled "one Hope," "alone." That difference exactly marks the belatedness of Rossetti's work, and the self-consciousness with which he undertakes his Dantescan pursuit. Indeed, Dante is important for Rossetti partly because he represents the ideal of an integral imagination.
Nowhere do we see Rossetti following Dante more closely than in the way he (re)organizes his poetry. "The House of Life" (in its first published form) tells a story of events that can be interpreted as falling roughly between 1860 and 1871, its key date being the death of the poet's wife in February 1862. The real-time composition of the sequence as a whole begins in 1869 and is never really completed. Rossetti published two versions, one in 1870, the second in 1881, though he constructed many more.
The Vita Nuova's story has been similarly circumscribed, its key date falling in June 1290, the month of Beatrice Portinari's death. The story it tells begins in 1274 when Dante first sees Beatrice (he is nine years old, she is eight). For nine years--according to the Vita Nuova's retrospective prose account--he haunts her presence, trying to see her whenever he can. Then in 1283 she gives him her famous "salutation." This event throws him wholly under the dominion of love. A year or so after Beatrice's death Dante begins to compose the Vita Nuova. He completes the work sometime between 1292-1295.
Rossetti clearly understood--and came to understand even more deeply--the key formal innovation of Dante's poetical autobiography. He knew that most of the poems inserted in the Vita Nuova narrative were not written for the reasons and with the meanings supplied by the autobiographical interpretation. Indeed, many of the poems--for example the crucial first sonnet--were written entirely apart from the Beatricean circumstances--not to say the Portinarian circumstances--that dominate the Vita Nuova. That interpretive frame is supplied retrospectively--is initiated, in fact, through the Vita Nuova itself.
Dante does not conceal this structure of the autobiography, though his revelation is oblique--presumably in order to separate those who have intelligence of love from those who do not. "A ciascun'alma presa" is an explicit request for an interpretive response from others: they are to write back to him ("mi rescrivan") what they make of the dream as it is represented in the poem. The set of answering sonnets is now well-known, the most famous being from Cavalcanti, Cino, and Dante da Maiano. These responses mirror Dante's sonnet, which is the initial interpretive act.
When he narrates all this in the Vita Nuova, Dante says that "the true meaning of that vision was not then perceived by anyone, though it be now evident to the least skillful" (EIP, 228). That is to say, the passage of time has exposed the full structure of events--the Beatricean scheme--that explains the dream. More than this, the Beatricean plot also gives new life and meaning to Dante's poetry. It makes possible not only the work titled Vita Nuova, but the marvelous new life announced and revealed there. So the Vita Nuova's first sonnet "now" ("ora," ca. 1292) begins to tremble with thoughts Dante did not have when he wrote it in 1283. In this respect the total experience gravitating around this first sonnet defines the Vita Nuova's entire structure of meaning.
So far as Rossetti is concerned, two matters are especially important. The first appears in his translation--or his "mis"translation--of the opening lines of Dante's sonnet:
To every heart which the sweet pain doth move,
And unto which these words may now be brought,
For true interpretation and kind thought . . . . (EIP, 227)
The freedom of this rendering is sharply located in the third line, which corresponds to Dante's "mi rescrivan suo parvente." Rossetti's rendering seems to me brilliant--a perfect example of what he meant by "fidelity" rather than "literality" in translation. 19 When Dante's "mi rescrivan" becomes "true interpretation," Rossetti is defining interpretive truth--meaning--as poetry. Just as human events are most revealed through poiesis, the "true interpretation" of a poem is another poem.
Secondly, when Rossetti translates the Vita Nuova according to this theory of translation, he is explicitly aligning himself with Dante and his circle. Dante says in his autobiography that the dream's meaning is "ora . . . manifestissimo." Rossetti's poetical translation thereby translates Dante's "ora" to the "now" of Rossetti's nineteenth century. In doing so, it implicitly defines the "ora" as an eternal now, a moment in and out of any historical time, a moment that arrives with the arrival of a poetical act.
The act may appear either as vision or revision: dream or text, poem or translation, a new work or a reconstitution. The latter are in certain respects the most dramatic instances of Rossettian art in its vita nuovan mode. In "The House of Life," for example, as in the Vita Nuova, many poems were written years before the sequence was even thought about--in certain cases, years before Rossetti had even met Elizabeth Siddal or Jane Burden Morris. A poem like "Lost on Both Sides," written in 1854 but first published in 1869 as part of "The House of Life" project, illustrates what Rossetti had learned from his study of the Vita Nuova. When Dante places his early poems in the interpretive context of the Vita Nuova, the meaning of the poems shifts radically. That shift in meaning locates one of the central subjects of the sequence as a whole: the revelation of a fatality in Dante's life and work, and of secret meanings in his writings that only get exposed when his life's fatalities unfold over time. Rossetti treats his own poetry in the same way. "The House of Life" mixes early poems, from the 1840s and early 1850s, with later ones; and the mixture, as in Dante, forces the early poems to yield up their hidden meanings. Furthermore--and the parallel with Dante is again very clear--the mixture works to suggest that every "present" moment of a poem or work of art is pregnant with unknown futurities. So the poems as they appear in the 1870 "House of Life" will undergo another meaning-shift when they reappear in the 1881 version.
Those futurities are especially important for Rossetti because his work is tormented by its own desires. Fate in Dante is the revelation of a prevenient benevolence, whereas in Rossetti Fate is ominous precisely because one can't determine the moral value of the signs. One only sees that they have moral value. Rossetti learned from Dante a method for revealing the prophetic power of artistic forms of expression. From that comes the "visionary" quality of his work: the understanding that forms and images possess powers in themselves, powers that cannot be comprehended or even entirely controlled by the artist who is their medium. But Rossetti's visions are not governed by a religious ideology, as Dante's are. He understood Dante's faith, but his understanding was strictly a "critical" one.
The vision conveyed through Rossetti's work is therefore religious in tone but skeptical in its understanding. While Dante reveals the presence of spiritual forces in the human world, Rossetti's work argues that the world is a kind of incarnate spiritual manifold. This way of thinking is not at all pantheistic because the locus of the spirit is not on the nonhuman plane but exactly on the human one. Inhabiting (and even incarnating) a spiritual state in this way carries a paradoxical consequence: that one cannot establish a fixed perspective on one's condition, whether from below or from above. Every vantage is provisional, relativity is the permanent rule of order. Hence the intensity and particularity of the Pre-Raphaelite images.
And (finally) hence too the portentous and even threatening character of so much of Rossetti's work, especially the later work; as if it were declaring, with Hamlet, that
There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy.
The Rossetti one sees in this essay is a re whose methods closely correspond to many we associate with twentieth-century writing, modernist as well as postmodernist. Pater, Wilde, the early Yeats and the early Pound all took Rossetti as a fundamental point of departure. Pater's superb "Dante Gabriel Rossetti" (1883, 1889) set Rossetti apart as the most original poet of the age, the one writer who had made truly novel technical and artistic advances. "At a time when poetic originality in England might seem to have had its utmost play," Pater writes, Rossetti came "with a structure and music of verse, a vocabulary, an accent, unmistakably novel." 20 To emphasize the technical basis of Rossetti's originality is in itself to argue Rossetti's "modernism." But when Pater goes on to elaborate the specific features of that originality, one sees why so many early twentieth-century writers found Rossetti an important resource.
Three matters are especially significant. First, Pater emphasizes the extreme self-consciousness of Rossetti's work--what Pater calls the "genuine intellectual structure" displayed in his writing (PR, 496). Rossetti makes technique--his artistic practice--a central subject. Second, Rossetti's work invents a whole new vocabulary and method of images. This centers in Rossetti's "care for minute and definite imagery" derived from his study and translation of the early Italian poets (PR, 490). Here Rossetti anticipates not merely the Imagist movement but the materialist "thing-tradition" that so dominates twentieth-century writing. 21 Third, Rossetti develops what Pater calls a "mythopoeic" method from his study of the Middle Ages (PR, 492): that is, his work unfolds a revelation of "the ideal aspects of common things" (PR, 397).
Given these features of his work, we might well puzzle over Rossetti's virtual disappearance from the discourse of modernism. The event is explicable, however, if we recall two of the most salient cultural facts of English-language modernism: first, the centrality of a certain way of reading of Joyce's work; second, the dominance that Eliot's Christian reading of modernism had in the schools.
The Rossetti-Joyce connection is located in the re of Stephen Dedalus, whose villanelle in A Portrait of the Artist as a Young Man establishes his Rossettian credentials. The poem is regularly read as the emblem of a romanticism that imprisons Stephen. In Ulysses Joyce will dramatize an artistic method that has escaped the dead end of Stephen's Pre-Raphaelite allegiances. This is a perfectly just reading, although it can lead to far more problematic interpretations (e.g., the unequivocal celebration of Molly and Leopold Bloom over against the tormented and brilliant Stephen). Rossetti's adherence to the romantic tradition is close and deep, nor does he make any programmatic refusals of that tradition, as the modernists tend to do. From our later twentieth-century perspective, however, one might well want to argue that Rossetti's romantic allegiances--especially his Sehnsucht and radical skepticism--begin to reveal features of his work that seem distinctly postmodern. The argument would proceed through a total recovery of the romantic heritage, not just the modernized romanticism of "strong poets" that was served up in response to early modernist criticism. Unlike both of the latter, Rossetti's is a contaminated romanticism, one in which the poet comes to resemble Tennyson's Ulysses, who became a part of all that he had met: all, the best as well as the worst. Debasement is a self-conscious feature of Rossetti's work from the outset; far from being a sign of artistic failure, however, it is the ground of the originality Pater discerned. It is equally the forecast of his postmodernism.
Eliot celebrated Joyce's Ulysses in a famous review-essay where he sketched the technical achievement of the book, its "mythic method" whereby art was, he said, once again made possible for the modern world. 22 The argument is especially interesting in light of Pater's celebration of a corresponding mythic method in Rossetti. Eliot's refusal to follow Pater here can and probably should be explained through the special character Eliot assigned to the "myth" represented in the work of Dante. Pater explicitly links Rossetti's "mythopoeic" method to Rossetti's study and understanding of Dante. But for Eliot, it is one thing to erect an arbitrary running parallel with a pagan text like the Odyssey or with primitive solar myths like those explicated by Sir James Frazer. To treat Dante's work in equivalent ways, which is exactly what Rossetti did, is implicitly to argue that the Christian mythos has no special historic privilege. Rossetti's Dante is a technical resource and inspiration, not a repository of fundamental moral truth. Rossetti therefore treats his "Art Catholic" in purely artistic terms, the way Joyce used Homer. But for Eliot, it is exactly Rossetti's technical approach to Dante and the Christian mythos flowing through him that makes Rossetti a dangerous and finally an impossible model.
Jerome J. McGann is John Stewart Bryan Professor of English at the University of Virginia. This essay reflects his major current project, an online hypermedia research archive of the complete works, textual as well as visual, of Dante Gabriel Rossetti.
1. T. Hall Caine, Recollections of Dante Gabriel Rossetti (Roberts Bros.: New York, 1883), 249.
2. "Heart's Hope," sonnet V, in D. G. Rossetti, The Works of Dante Gabriel Rossetti, ed. William Michael Rossetti (London: Ellis, 1911); hereafter abbreviated WDGR.
3. The following works, though not cited specifically, were also consulted and used: Ron D. K. Banerjee, "Dante Through the Looking Glass: Rossetti, Pound, and Eliot," Comparative Literature 24 : 136-149; Walter Butterworth, Dante Gabriel Rossetti in Relation to Dante Alighieri (London: Sheratt and Hughes, 1912); Carol T. Christ, Victorian and Modern Poetics (Chicago: University of Chicago Press, 1984); Charles Dickens, Household Words, Copyright Edition, (Leipzig: Tauchnitz, 1851); Johanna Drucker, The Visible Word. Experimental Typography and Modern Art, 1909-1923 (Chicago and London: University of Chicago Press, 1994); William E. Fredeman, Pre-Raphaelitism. A Bibliocritical Study (Cambridge, Mass.: Harvard University Press, 1965); John Dixon Hunt, The Pre-Raphaelite Imagination 1848-1900 (Lincoln, Neb.: University of Nebraska Press, 1968); Dominic Manganiello, T. S. Eliot and Dante (Basingstoke and London: Macmillan Press Ltd., 1989); Mario Marti, Storia dello Stil Nuovo, 2 Vols. (Lecce: Edizione Milella, 1972); Jerome McGann, Black Riders. The Visible Language of Modernism (Princeton: Princeton University Press, 1993); B. J. Morse, "Dante Gabriel Rossetti and Dante Alighieri," Englische Studien 68 (1933-34): 227-248; Anne Paolucci, "Ezra Pound and Dante Gabriel Rossetti as Translators of Guido Cavalcanti," Romantic Review 51 : 256-267; Dante Gabriel Rossetti, The Letters . . . , ed. Oswald Doughty and John Robert Wahl, 4 vols. (Oxford: The Clarendon Press, 1965); James Eustace Shaw, Essays on the Vita Nuova (Elliott Monographs in the Romance Languages and Literature, ed. Edward C. Armstrong, no. 25) (Princeton and Paris: Princeton University Press and Les Presses Universitaires de France, 1929); Virginia Surtees, The Paintings and Drawings of Dante Gabriel Rossetti (1828-1882), A Catalogue Raisonné, 2 vols. (Oxford: The Clarendon Press, 1971); Janet Camp Troxell, "The 'Trial Books' of Dante Gabriel Rossetti," reprinted from The Colophon in The Princeton University Library Chronicle 33 (spring, 1972): 177-192; Maurizio Vitale, Poeti della Prima Scuola (Arona: Paideia, 1951); Charles Williams, The re of Beatrice. A Study in Dante (London: Faber and Faber, 1943).
4. "Mary's Girlhood," WDGR.
5. David Riede, Dante Gabriel Rossetti Revisited (New York: Twayne, 1992), 26-27.
6. Richard Stein calls this formality Rossetti's "ritual of interpretation". His shrewd phrase calls attention to the clear pictorial formality of Rossetti's paintings and poems, especially in the works of the first half of his career. See his The Ritual of Interpretation. The Fine Arts as Literature in Ruskin, Rossetti, and Pater (Cambridge, Mass.: Harvard University Press, 1975), especially 130-143, where he discusses Rossetti's "Sonnets for Pictures." In The Girlhood of Mary Virgin, for example, the compositional structure is sharp and clean: it is organized around the trellis at which St. Joachim is working. More crucially, the trellis itself is constructed upon a central crucifix design.
7. "Old Lamps for New Ones," Household Words, 15 June 1850.
8. John Ruskin, Modern Painters, in The Works, Library Edition, ed. Edward T. Cook and Alexander D. O. Wedderburn. 39 Vols. (Longmans, Green, & Co.: London, 1903-12), iv.7.18.
9. Ibid.
10. The critique is by D. S. R. Welland, in The Pre-Raphaelites in Literature and Art (George G. Harrap & Co. Ltd.: London, 1953), 27, where he also quotes the Ruskin passage.
11. T. S. Eliot, Selected Essays 1917-1932 (London: Faber and Faber, 1932), 273.
12. D. G. Rossetti, The Early Italian Poets, from Ciullo d'Alcamo to Dante Alighieri (1100-1200-1300) . . . . (London: Smith, Elder and Co., 1861), viii; hereafter abbreviated EIP.
13. Perhaps the best treatment of Rossetti's translation project is in Robert R. Edwards, "Guinizelli's Readers and the Strategies of Historicism," Philological Quarterly 71 (fall 1992): 419-436.
14. In Gianfranco Contini, ed., Poeti del Duecento (Milano e Napoli: Riccardo Ricciardi, n.d.), I:147. A literal translation of the Pugliesi reads as follows:
My lady, who holds your face in his power?
or your understanding, where is it?
and your noble heart that so captured me,
oh my lady?
where is my lady and her wise instruction,
her beauty, and her knowledge?
15. Elizabeth J. Gitter, "Rossetti's Translations of Early Italian Lyrics," Victorian Poetry 12 : 355.
16. Dante Alighieri, Vita Nuova, 4th edition (Milan: Garzanti, 1984), with a commentary by Edoardo Sanguineti.
17. Nicolette Gray, Rossetti, Dante, and Ourselves (Faber and Faber: London, 1947), 45, 52; hereafter abbreviated RDO.
18. For a somewhat different approach to Rossetti's appropriation of Dante see Barbara Munson Goff, "Dante's La Vita Nuova and Two Pre-Raphaelite Beatrices," The Journal of Pre-Raphaelite Studies 4 no. 2 (May, 1984): 100-116, especially 102-5.
19. Rossetti does not "literally" render Dante's third line ("in cio che mi rescrivan suo parvente"); in particular, he introduces the term "interpretation", which is nowhere in Dante, and he leaves out the "literality" of "writing back". The move is so effective because it displays--indeed, it enacts--Rossetti's understanding that "interpretation" is or ought to be an active event, more a "rewriting" than a reading. Dante's friends are poets, they "interpret" his poetry by writing other poems. For Rossetti, this is being faithful to the original poetic impulse. His own method of translation is a similar act of faithfulness, rather than "literality".
20. Quoted in Jerome H. Buckley, ed., The Pre-raphaelites (Modern Library, Random House: New York, 1968), 489; hereafter abbreviated PR.
21. In England this tradition of a poetics of opacity is specifically born in the Pre-Raphaelite movement: see McGann, Black Riders, The Visible Language of Modernism (Princeton: Princeton University Press, 1993), especially chapter 1 ("Thing to Mind: The Materialist Aesthetic of William Morris"); and see also Johanna Drucker's parallel examination of the non-English tradition in The Visible Word.
22. T. S. Eliot, "Ulysses, Order, and Myth," The Dial 75 (November 1923): 480-83.
.


Introduction
VESCON CONSTRUCTIONS LIMITED is a PRIVATE LIMITED COMPANY founded on 23-Sept 2020 in Nairobi, Kenya. This company was started with a vision to provide the best possible experience and construction services to the clients. The management team of the company sports a diverse portfolio with immense work experience and thorough knowledge of the construction practices in Kenya. At VesconC Ltd., we strive to deliver projects with excellent quality factoring in budget and time. We have a combined experience of working in general construction, civil construction, and roadworks.
One of our directors, Pravin Chowhan is also the director of the company: Shiv Krupa Enterprises limited, and has been undertaking construction work in and around Nairobi since 2016. The list of works taken is enumerated on the projects page.
Vision
To deliver quality construction with honest services for a great value on time.
Mission
-
Our commitment to provide comprehensive building solutions to our
clients, keeping three factors in mind:
- Quality
- Time
- Budget
- Promoting strict adherance to Health and Safety standards.
- Promoting team work and harmonious working relationship amongst staff.
- Committed to building honest client relationships and display highest level of professionality and sincerity.
Our Management Team
Our management team is driven by two working directors who have an industry experience of more than 30 years. They will be directly involved in project management, procurement, and business development activities. The management team continues to gather feedback, identify changes in business environment, review progress, quality and convey the same to the company staff at regular intervals to upgrade their skills.
Objectives
- To become the customer’s most preferred choice by attaining excellence in quality and timely completed value added projects.
- To provide the highest level of service in the construction industry while offering superior craftsmanship to every project we handle.
- To continually innovate, develop and adopt state-of-the art technology in methods and materials to enhance productivity and cost effectiveness.
- To continually improve the competence of our team, and employ diverse, innovative & results oriented personals, motivated to deliver excellence.
- To build a safety culture aimed at continually reducing the frequency severity rate towards achieving zero accidents.
- To identify and mitigate all the environmental impacts arising from our activities, and comply with applicable environmental norms.
- To encourage the employment of local tradespeople and locally produced and distributed materials, wherever possible, on projects.
Completed Projects
K.N.S.D.I.
Labour Contractor
Kenya National Data Infrastructure (K.N.S.D.I.) Administration complex at Rauraka, Nairobi.
K.N.S.D.I.
Labour Contractor
Kenya National Data Infrastructure (K.N.S.D.I.) Administration complex at Rauraka, Nairobi.
Shaba Village Housing
Main Sub-contractor
Completion of fourteen 3BHK/4BHK Houses at Shaba Village, Mlolongo.
Shaba Village Housing
Main Sub-contractor
Completion of fourteen 3BHK/4BHK Houses at Shaba Village, Mlolongo.
Residential House
Main Contractor
Construction of Residential house for Publix Africa Ltd., Narok.
Residential Flat
Main Contractor
Construction of Residential Flat for Bilha Wanjiku on Plot No. LR/CIS/ Oleleshwa 2684, Narok.


it's been 2 days now that this keeps showing up everytime i open Battlelog no matter i go on my profile, platoon page or the forum it keeps showing up and all the updates do not show up when they actually arrive... I'm not sure what's wrong or what i have to do
BrainFooLong
Administrator
That have nothing todo with BBLog.
Its the Battlelog Web-Plugin, you need to install it.
Goto EA/DICE if you have problems with this.
ORFK
Global Moderator
Heimdallr
please use a smaller signature!
your one is unnormally oversized.


Final Destination (6/10)
These days, teen slasher flicks are expected to be self-referential and ironic. But in a strange reversal, Final Destination seeks to defy the new convention by approaching the genre straight (although the writers couldn't resist naming characters after film-makers such as Hitchcock, Lewton, Browning and Murnau). In this return to pre-Scream horror movie making, characters just go about the traditional business of getting hacked to bits without spending half the time discussing what would happen if they were in a slasher flick.
The story has a premise that could have come straight out of The Twilight Zone. A group of high-school students is about to leave on a school trip to France. While in the aircraft on the tarmac waiting to take off, Alex (Devon Sawa) has a premonition in which the aircraft explodes after take-off. He panics and is removed from the plane, along with a few fellow students and a teacher. Sure enough, the plane explodes, and all onboard are killed. When bizarre and wickedly entertaining accidents start disposing of the survivors one by one, Alex realises that the killer is not one of those Freddie Krueger or Candyman amateurs, but is the scythe-wielding Big D himself, determined to restore natural order by dispatching those who cheated death in the aircraft.
As the film progresses, we wonder not only which member of the young cast is next going to meet his or her end, but what grisly new twist on slicing, mangling or skewering is going to be involved. Some of the deaths are ludicrously protracted and involve everyday objects taking on a life of their own, controlled by the unseen killer like a deadly and perversely funny game of Mousetrap. Just to keep us on our toes, director and co-writer James Wong, who cut his teeth on the X-files, gives us one death that is shockingly abrupt.
Final Destination is a formulaic horror flick for the Saturday night popcorn crowd, with flashes of inventively gruesome fun.
-- Gary Joneswww.bohr.demon.co.uk
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Special Projects
This story is part of a series of specially designed stories that represents some of the best journalism The Post has to offer. Check out the rest of the special projects here.
8/23/2018
The best part of going to back to campus is, of course, back-to-school shopping. Each year, a few pieces become must-haves for the fall, whether they’re for going to class, relaxing on the weekend, or glamming up for a night out. Here are 11 pieces to be sure to include in your back-to-school wardrobe this year:
(Alex Driehaus | PHOTO ILLUSTRATION)
Take a page from Ariana Grande’s book and invest in a solid pair of thigh-high boots in a neutral shade. They take any outfit from classroom to night-out material, from an oversized hoodie to a mini skirt and crop top.
With the return of the ‘90s grunge style, denim jackets have made their comeback for both men and women. Whether you prefer oversized or cropped and embroidered, they’re the perfect accessory to throw on for your early morning walks to class or late night walks home from drinks with friends.
Two-piece sets are totally on trend, and it’s obvious why. Take the work out of digging through your closet to find tops and bottoms that match, and find a two-piece set in a fun pattern like checkers or a bright solid.
For those lazy days in class, elevate your campus style with a pair of stylish shorts. They’ll be as comfortable as your Nike runners, but with a much more polished look, and they can just as easily be dressed up as they are dressed down.
An essential to keep in your dorm or apartment closet is a blazer for class presentations, job and internship interviews, Greek functions and more. Buying one in an exciting color or pattern will make your business casual look a little much more fun while keeping it classy. And guys — this goes for you, too. Ditching your staple (and boring) plain black for something just a little snazzier like a bold solid or a subtle paisley or stripe pattern will surely make you stand out from the crowd.
Bodysuits have been a lasting trend, and they seem to be worth the struggle of getting them on and off. They’re another piece that look great dressed up and down. Pair them with high-waisted jeans and stylish sandals for class and then swap those for a skirt and strappy heels for a night out.
T-shirt dresses are an easy way to look more put together than you might feel. They’re a great piece for keeping cool and comfy in classrooms and look great paired with your favorited sneakers.
Take advantage of the popularity of athleisure and cop a cropped hoodie from your favorite athletic-wear brand like Adidas or Nike. It’ll keep you cozy and cute, whether you’re on your way to a workout or out for Sunday brunch.
Tube tops are another blast from the past, but a solid-colored one can go a long way. Show off your summer tan in white and accessorize with a choker to channel major Instagram-model energy.
Speaking of accessories, another easy way to elevate any look is to add a simple pair of gold hoops. The bigger the better.
Add a soft, sexy touch to plain tees and tanks by letting a lacy bralette show around your collar bones. Fun colors like deep red can add a pretty, feminine touch to your favorite basics.
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Tools Used
- Rhino ( 2D & 3d Design)
- Rhino Wip ( Parametric Design)
- Rhino Wip ( Parametric Design) | 200 mb
- Cut Studio (Vinyl Cutting)
Rhino WIP (Grasshopper)
Rhino WIP ( Grasshopper) is used for design which is having co relation setup. We can design a conenction with its value so it automatically change on refrance to other. You can go through tutorial of Rhino Grasshopper.In Mac you need to Download Rhino WIP from https://www.rhino3d.com/download/rhino-for-mac/5.0/wip You need License to run.
Taking a Point and than setting connection and commands
You can set formula and its value by connecting them to one another
Now as taking ahed you can joint to diffent values and commands with refrence and connecting them to make a final output
Different tabs and slider is available in which you can put value and start making formula.


Plastic bottles are everywhere. Collect your nearest bottles.
Use our maps to locate your nearest buyer - may that be another person or a shop.
For every plastic bottle you sell - you receive a CoboCoin.
Everyone is talking about it: HOW do we solve the "plastic-crisis" of the 21st century? Oceans, roads, deserts, and more are filled with it. Countries that contribute the most to the crisis are not able to design solutions and people don't have enough incentives to change the plastic mess. CoboCoin aims to fill this gap by allowing anyone to earn money in exchange for cleaning up our environment.
CoboCoin is an ERC-20 token. Plastic bottles may be exchanged for CoboCoin and can further be cashed out to real money.
In Mexico alone 82% own a mobile phone, while 46% utilize common financial services (debit, credit..). CoboCoin can be earned by anyone and is safely kept on our Ethereum blockchain. All you need is a phone.
Anyone can buy and sell. Companies, people, artists. We aim to make increase the utility of plastic.
CoboCoin is a ERC-20 token built on the Ethereum platform. We utilize open source software and frameworks like Zeppelin, Truffle, Ganache and Solidity.
“Our active Slack Community discusses updates, new features, and advocates for sustainable blockchain technology initiatives. ”
Join our newsletter for information, updates, and more.


Welcome Customer!
Cras justo odio, dapibus ac facilisis in, egestas eget quam. Fusce dapibus, tellus ac cursus commodo, tortor mauris condimentum nibh, ut fermentum massa justo sit amet risus.
Adoption Application Form
Pets
Cras justo odio, dapibus ac facilisis in, egestas eget quam. Fusce dapibus, tellus ac cursus commod
Some quick example text to build on the card title and make up the bulk of the card's content.
- LabBreed
- Dapibus ac facilisis in
- Morbi leo risus
- Porta ac consectetur ac
- Vestibulum at eros
Some quick example text to build on the card title and make up the bulk of the card's content.
Some quick example text to build on the card title and make up the bulk of the card's content.
Some quick example text to build on the card title and make up the bulk of the card's content.
Some quick example text to build on the card title and make up the bulk of the card's content.
Some quick example text to build on the card title and make up the bulk of the card's content.


Pizza Styles All Around
Take a Look
| Neopolitan | Chicago Deep Dish | New York Thin |
|---|---|---|
|
Neopolitan pizza, the classic. Originated in Naples, Italy. Made with simple ingredients and cooked in a stone, wood-fire oven. |
Chicago Deep Dish pizza is an exercise in the extreme. A heavy, flaky crust encases all but the top of a sea of cheese, sauce, and meats. |
New York Thin pizza is what many americans think of when they think of pizza. A thin, crispy crust with cheese and various toppings. |


Progress Note
Patient
Carlos Lopez
(33) M
×
Patient details
Carlos Lopez
1982-06-03
Male
555-564-6564
Problem
Neck pain
Headaches
Diabetes
Active problem to record progress
Clinical examination
Progress note
Plan
Cancel
Save


Hi...
just assembled the temp node and got the sketcg open in arduino IDE.... bit it says i need print_to_serial.ino and i have looked but not found it anywhere... sure its me that have missed something
/bo
Archived Forum |
|
where to get print_to_serial.inoSubmitted by boelle on Wed, 17/04/2013 - 21:53Hi...
just assembled the temp node and got the sketcg open in arduino IDE.... bit it says i need print_to_serial.ino and i have looked but not found it anywhere... sure its me that have missed something
/bo » |
Re: where to get print_to_serial.ino
If you got your sketches from the git repo, I think print_to_serial.ino should be in the same directory and automatically open in the IDE.
If you didn't get the sketches through git, well, get them through git. Serious. It's so convenient.
Re: where to get print_to_serial.ino
i did get them from there..... just copied the raw text
Re: where to get print_to_serial.ino
looked through git.... did not see it...
Re: where to get print_to_serial.ino
google found it:
https://github.com/openenergymonitor/emonTxFirmware/blob/master/emonTx_temperature_examples/emontx_temperature_power/print_to_serial.ino
Re: where to get print_to_serial.ino
> i did get them from there..... just copied the raw text
I'm not sure but we may be confusing git and github.
I meant install git on your computer, create a new directory where you want to work, then use git to synchronize with the files on the git repository.
On linux, it's dead easy. Move to the directory, then issue command
$ git clone url_of_the_repo
I don't know about other platforms. Since the command line under windows is less than rudimentary, you'd rather use a GUI, but the principle is the same.
If you're not familiar with git or other versioning systems, you may be interested in having a look at it. It's helpful.
Now, if you want to take one thing at a time, leave this for a little later, and at least pick up all files at once.
See here: https://github.com/openenergymonitor/emonTxFirmware
There's a ZIP button you can use to download all the code in one archive. Much better than picking files one by one.
Git makes it even better, it tracks your changes, manages merges with newer versions, etc.


Testing
Early in the 21st Century, THE TYRELL
CORPORATION advanced Robot evolution
This just in...
finance results.
.


Icons
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Icons
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Flags
Bolivia, Plurinational State of
Bonaire, Sint Eustatius and Saba
Congo, the Democratic Republic of the
Falkland Islands (Malvinas)
Micronesia, Federated States of
United Kingdom of Great Britain and Northern Ireland
South Georgia and the South Sandwich Islands
Heard Island and McDonald Islands
British Indian Ocean Territory
Iran, Islamic Republic of
Korea, Democratic People's Republic of
Lao People's Democratic Republic
Saint Martin (French part)
Macedonia, the former Yugoslav Republic of
Saint Pierre and Miquelon
Saint Helena, Ascension and Tristan da Cunha
Sint Maarten (Dutch part)
French Southern Territories
Tanzania, United Republic of
United States Minor Outlying Islands
Saint Vincent and the Grenadines
Venezuela, Bolivarian Republic of


System Setup and Matlab Resources
Matlab Resources
All projects in this course will be done in Matlab. Matlab is available (for Windows, Mac, and Linux) to students for free through Terpware. Be sure to get the Computer Vision Toolkit, as we’ll use it in later projects.
Tutorials
Introduction to Matlab:
- Getting Started with MATLAB.
- Interface overview.
- How to write a script/program.
- Introduction to Matlab (code), from Brown CSCI1290.
Writing good code:
- Techniques to improve performance, from Mathworks.
- Vectorization is especially important. Here’s an overview from Mathworks.
- Debugging in Matlab, from Mathworks.


About Us
Bubble Under is a group of enthusiasts based in the south-west UK who meet up fot diving trips in the summer months whaen the weather is good and the bacon rolls ae flowing. We arrange weekends away as small groups to cut the sosts of accomodation and travel and to ensure that everyone gets a trustworthy dive buddy.
Although we're based in the south-west, we don't dtay on our town turf: past diving weekends away have included trips up ti Scupa Flow in Scotland and to Malta's numerous wreck sites.
When we're not diving, we often meet up in a local to talk avout our recent adventures (ANY excuse, eh?)
This turtle was spotted swimming around the Great Barrier Reef (Queensland, Australia) quite gracefully, despite having had a large chunk taken out of its right side, presumably in a shark attack.


Here you can see my publically uploaded files and also upload file to my Drive. Just scroll down and explore :)
Click here to Upload
Uploaded files can be viewed here
Ok, if you're here for the first time, spend few mins and explore more about me. Clicking here will redirect you to my website!