For Rachel Magshamhrain
This essay has two mottoes, and both are riddles. The point of the first, from Hölderlin's drama Empedocles, is quickly felt: "Nichts ist schmerzlicher . . . denn Leiden zu enträtseln" (Nothing is more painful . . . than unriddling suffering). 1 The second, by Lionel Trilling, reads: "To comprehend unconditioned spirit is not so very hard. . . ." I am thinking of how easy readers make it for themselves when they grasp unthinkingly the moment of alleged enlightenment in the Old Commandant's penal process. "But," continues Trilling, "there is no knowledge rarer than the understanding of spirit as it exists in the inescapable conditions which the actual and the trivial make for it." 2 In writing about allotria and excreta in "In the Penal Colony," I shall be writing about certain nonsimple forms of the trivial (allotria) and the actual (excreta), two products of human activity whose ontological status is by no means evident. 3
Put the most radically serious quest for justification side by side with foolishness and nonsense: put the strongest, most intensely-felt life side by side with inattentiveness and giddy play. Allotria troubles the consciousness of every reader of "In the Penal Colony." There is a good deal of difference between how this story has come down to us, as a systematically pure and grave conceptual meditation on the one hand; and, on the other, how it actually reads. Then we will be struck by the emphasis on such matters as blood and vomit and sputum and muck and oil and the disposal system laid out to contain them; and we will be struck by the high jinks, horseplay, capers, antics (it turns out that there are a great many words for this neglected category) imbricated in this construction.
"Allotria" means what's irrelevant (das Nicht-Sachgemäße), what's nonsensical (Unfug)--clowning about, cutting up--exactly what the officer in "In the Penal Colony" calls "childish nonsense" (den Unsinn eines Kindes) when he is unable to convince the explorer of the value of the penal system he represents. I quote:
It did not look as if the officer had been listening. "So you did not find the procedure convincing," he said to himself and smiled, as an old man smiles at childish nonsense and yet pursues his own meditations behind the smile. 4
Not to find the procedure convincing--a serious matter, seriously argued--is, the officer concludes, senseless resistance. But to note this is to smile and "pursue [one's] own meditations behind the smile." Perhaps this is explicit instruction on how we are to read allotria in "In the Penal Colony," read the several pages in the story dramatizing such childish nonsense, for we are beset by them, and they are a hermeneutic puzzle. For example:
The explorer, down below, watched the [officer's] labor uninterruptedly, his neck grew stiff and his eyes smarted from the glare of sunshine over the sky. The soldier and the condemned man were now busy together. The man's shirt and trousers, which were already lying in the pit, were fished out by the point of the soldier's bayonet. The shirt was abominably dirty, and its owner washed it in the bucket of water. When he put on the shirt and trousers both he and the soldier could not help guffawing, for the garments were of course split up behind. Perhaps the condemned man felt it incumbent on him to amuse the soldier, he turned around and around in his slashed garments before the soldier, who squatted on the ground beating his knees with mirth. All the same, they presently controlled their mirth out of respect for the gentlemen. ["IPC" 162]
Or, again:
The soldier and the condemned man did not understand at first what was happening, at first they were not even looking on. The condemned man was gleeful at having got the handkerchiefs back, but he was not allowed to enjoy them for long, since the soldier snatched them with a sudden, unexpected grab. Now the condemned man in turn was trying to twitch them from under the belt where the soldier had tucked them, but the soldier was on his guard. So they were wrestling, half in jest. ["IPC" 163]
"Childish nonsense," "beating his knees with mirth," "gleeful," "half in jest," what is the meaning of such things? They occur at a moment of utter crisis. After all, the officer is about to lay himself on the machine!
One or two things further to this "allotria"--this other Otherness, other to allegory (allos: Greek for "other" [we shall see that allotria is other to pedantry]): it has a past. I did not say it's named as such in Kafka (it is in Thomas Mann's Doctor Faustus: As a schoolboy, Adrian Leverkühn, the serious composer, would not be suspected of it). 5 But the thing is readily enough identified in Kafka's story--as "childish nonsense"--and the thing itself is found throughout Kafka's work: in Metamorphosis, for example, it is what Gregor Samsa practices en route to consolidating his identity as a vermin, playfully taking bits of food in his mouth and then spitting them out, aimlessly navigating the junk in his room. Allotria is the compulsory life content of the vermin--as long as he is not yet being tortured to death. It is also something that Kafka flashes out of the narrator's relation to his composition (the semiosis), as when Gregor is shown casting a bewildered glance upwards to the wall where the photograph hangs of Gregor Samsa, Army lieutenant, his hand on his short sword, ready to impale his dreadful Other. Or when Joseph K. stares wonderingly at the tourist who has come to arrest him in a safari suit replete with pockets, pleats, buttons, straps--the name of this captor is Franz! 6 And, most famously, now again at the level of the mimesis: the antics of the twin assistants in The Castle. It is the sort of thing that made Kafka's audiences laugh aloud at his readings, but they did not laugh when he read "In the Penal Colony" in Munich in 1916 (a woman is said to have fainted). "In the Penal Colony" is no laughing matter.
One historical use of the term "allotria" might help to conceptualize it. None other than John Wesley writes:
We have no right to dispose of anything we have, but according to His will, seeing we are not proprietors of any of these things; they are all, as our Lord speaks, allotria, belonging to another person; nor is anything properly our own, in the land of our pilgrimage. We shall not receive ta idia, our own things, till we come to our own country. 7
This allotria is the nontrivial inauthentic as such, and a good deal more significant than "time-wasting." It is lent us by God. The Wesley passage points up the odd dual nature of the thing: it is above and also below the civilized norm: it is divine and it is improper. More, if it is an essential quality of Gregor Samsa and all vermin (Ungeziefer) then it cannot be returned to God, as being (MHG. ungeziber, unziver) "unsuited for sacrifice," unacceptable to God. 8
Why does Kafka allow, indeed encourage, such displays of attotria? The answer is overdetermined--at least. For him it is bound to the theater; one crux is the story as theater. The operation of the torture machine is ein Spiel--a play. "And then the performance begins" (Und nun beginnt das Spiel), says the officer [106, "IPC" 147]); later we hear of the parliamentary assembly, too, as a "Schaustellung," a mise-en-scene or "public spectacle" (115, "IPC" 158). 9 The events of "In the Penal Colony" comprise a theatrical play, with the chief spectator in a cane chair in the orchestra, the whole a kind of amphitheater, with palisades, as you recall from the outset. And--to say this directly--allotria belongs on the principle that, if this is a scene, then any amount of stage business is permissible. Indeed, you will scarcely find a longer work of Kafka's without its complement of stage business. This is the legacy of his highly developed instinct for play and performance of the demotic kind: his heroes are almost never artists but they are artistes-- trapezists, cabaret singers (the mouse Josephine), hunger artists--circus performers, parts of the theater of alternative communication: staged, distantiated, fictional conveyances of feeling, everything opposite to the immediate conversational discourse which, as Kafka said, drained the life out of him.
Even the death-dealing machine itself clowns in a parody of the Taylor speedup system and the circus performance: it collapses as an extravagant excretion of its gears, as in the circus an endless quantity of persons are expelled from a small hidden space in a red volkswagen. Here we verge on a crossing of allotria and excreta, allotria itself being a sort of excrescence on the normal social essence. 10 But I delay discussion of this element--waste matter, dejecta--until after spelling out a further motive or two for Kafka's vaudeville. His vaudevillian practice, in principle admissible, marks his modernity as such--an impertinent mixing of genres and levels of communicated feeling, medial feeling (we may think of artistes themselves as yet odder types of medial communication). The point is that for all its impropriety and distastefulness, allotria works distractingly, and its plain function is the way it may work as relief from terror. I cite a sentence from The Picture of Dorian Grey, which may prove Wilde's usefulness to readings of Kafka. Dorian Grey, having heard a disturbing idea,
listened, open-eyed and wondering. . . . He watched it [a bee] with that strange interest in trivial things that we try to develop when things of high import make us afraid, or when we are stirred by some new emotion for which we cannot find expression, or when some thought that terrifies us lays sudden siege to the brain and calls on us to yield. 11
There is another motive. In his diary entry of 9 February 1915, Kafka complained of "In the Penal Colony." He had written the story in the late fall of 1914 in the course of writing or failing to write The Trial but had not sought to publish it, in good part because he thought he'd botched the ending. Further evidence of this assumption is the presence in the diary entries for August 1917 of a number of sketches of alternative endings, none of which Kafka used. In the course of this essay, however, I shall have recourse to refer to several of them.
I said he had botched the ending of "In the Penal Colony" and to his mind he had botched the whole of it too; on 4 September 1917, he wrote to Kurt Wolff: "Perhaps there is some misunderstanding concerning the 'Penal Colony.' I have never been entirely wholehearted in asking for it to be published.  12
If we rely on Kafka's evaluation, this worm alludes to a certain "element" which he saw--it appears--in the story he began writing in February 1915 that he calls the "dog story," which has not survived. (This is not, of course, the splendid "Investigations of a Dog," written in 1922). This "dog story," if this is indeed the story that Kafka is thinking of when he continues his diary entry with the words, "Just now read the beginning," is "in spite of all its truth wicked, pedantic, mechanical, a fish barely breathing on a sand bank [trotz aller Wahrheit böse, pedantisch, mechanisch, auf einer Sandbank ein noch knapp atmender Fisch]" (11:77). 13 "Mechanical," "sand bank," and "fish" might be clues that he is also or, indeed, directly thinking of "In the Penal Colony." For the words "mechanical" and "pedantic," we substitute "allegory" and "abstraction"--this is what the scholar Ingeborg Henel has done, as representing to excess one tendency of Kafka's art--as opposed to the liveliness that Kafka saw in abundance in "The Stoker," the first chapter of his "American novel" Der Verschollene (He who was never again heard from). 14 It is not hard to guess what Kafka might have meant by pedantry, allegory, or abstraction in the case of "In the Penal Colony": it is the machine and the law and the scenes of political wrangling conjured by the officer, none of which has its foot in lived experience or which could be said to arise from "the translation of an idea into an image, pure construction." 15 But we are not obliged to be satisfied with his own judgment; it is much too cursory, and it leaves out too much of what in the story is not of the order of allegory but rather of allotria. Portions of this work, a constellation, dance on the border of conceptual knowledge: mimetic allotria, bodily excreta, odd signs; randomly functioning allusions; plays on words that have been expelled from the circle of communication and made thing-like; and the bag of fragmentary, unincorporated endings.
Allotria is a key term, as that being beside the point, that going off topic, that is unrecoverable as allegory. Itself an insubstantial irrelevance, allotria both is and is attracted to elements that are extruded and expunged from healthy, directed life--its excreta. Children and madmen, who are drawn to excreta, whose play is so much excreta, cannot but seem foolish--or worse--in the eyes of adults. They are at best distractions from, at worst obstacles to, the rational conduct of life. So it will not come as a surprise that Kafka is guilty because "on his own admission he is depraved and takes pleasure in filth [Schmutz]." 16 I now come to some excremental oddities in "In The Penal Colony" (I use the word "excremental" in its various senses of "superfluous," "non-nutritive," and "of matter to be evacuated"), and am in this way looking askance at and away from the story's great themes of just sentencing, truthful writing, canonical law, torture, and illumination. But we will be making a return.
The excremental speaks for itself--or does it? In this story--and in the history of its versions--the process of excretion functions as a species of speech . . . uncannily: it is the body's mute howl of pain, its resistance to being evacuated of its substance. It is a marker of the body, of man's embodiedness, of the all-too-tender and recalcitrant flesh that will not submit to discipline. It expresses itself as a protest. What is then disgusting about such expressions, such excreta, may be their half-living character: they are remains of the body even as they leave the body, neither at first alive nor dead, an unwonted revelation (outside) of the body (an inside). Hence, they are forbidden objects of curiosity and an inducement, to the nonsqueamish, to play--allotria. 17
In the second half of this essay, I want to fill in a quadrilateral: the fact of allotria and excreta at the order of the mimesis; and allotria and excreta at the order of the semiosis--I mean, the relation of the author-cum-narrator to the act of composition or scription. There is allotria in "In the Penal Colony" at the order of the composition, at the order of the tropes, in Kafka's aberrant literalization of the metaphor "dog." This is a rhetorical play, and it connects to serious matters, belongs to an economy involving the political. Consider the metaphor of the prisoner as dog. We are, after all, here in the Tropen, the tropics--setting for a scene of political terror--and we are also among the tropes, turns of phrase. The apparent allotria of tropic play belongs to an economy of the political administration of torture.
Consider politics, further. Consider it as the decent (or indecent) application of power to persons, especially as this power is produced, stored and conveyed by institutions--viz. the "apparatus" or "machinery" of the law in "In the Penal Colony" and the apparatus or machinery of (the very story) "In the Penal Colony." This interinvolvement of the two sorts of power is plain in the first paragraph, which situates the apparatus of the torture machine and its spectators in its sandy amphitheater. The most graphically represented of the spectators and indeed participants is the prisoner, "a stupid-looking, wide-mouthed [wide-muzzled (breitmäuliger)] man with bewildered [abandoned by authority (verwahrlostem)] hair and face"--an animal-like creature, guarded ["led about" would be truer] by a soldier, "who held the heavy chain controlling the small chains locked on the prisoner's ankles, wrists, and neck, chains that were themselves attached to each other by communicating links" ("IPC" 140).  Kafka depicts this in the striking manner that is at once typical and still enigmatic, as we shall see. The text continues: "In any case [additionally (übrigens)--there is a world of significance in this harmless conjunctive phrase], the condemned man looked so like a submissive dog [so hündisch ergeben] that one might have thought he could be left to run free on the surrounding hills and would only need to be whistled for when the execution was due to begin" (ibid.). Doggishly submissive (hündisch ergeben) is a metaphor. But the intensifier so added on to hündisch ergeben literalizes that metaphor: the prisoner is now no different from a dog. There are two interinvolved processes here, one political and one rhetorical. The man is brutalized by a violent application of political power; and the metaphor, too, is submitted to a kind of violence in being robbed of its floating status as trope and more or less literalized.
I say "more or less" literalized, for as becomes evident after a moment's reflection on this process, every metaphor is an unsettled semantic force-field. This is a Kafkan awareness par excellence. To tamper with the relation between tenor and vehicle--thing compared and comparison--is to generate monsters (even independently of the literal meaning of the metaphor "dog"); so even more is at stake here than that a man has been turned into a dog. The aberrant literalizing of the metaphor suggests that he has been turned into a monstrous collage of dog features and man features outside of any ordinary scale of things--neither man nor dog, he is rendered more brutal than a man, more monstrous than a dog.
This literalizing moment was a crucial one for Kafka in the story. He hated, as I said, the ending of "In the Penal Colony"; and unlike the case of "The Metamorphosis," whose ending he also hated, he left behind several fragmentary versions of possible alternatives in his diaries. These are extraordinarily lurid. One reads:
"What?" said the explorer.
The explorer felt too tired to give [any further] commands or [indeed] to do anything. He merely took a handkerchief from his pocket, gestured as if he were dipping it in the distant bucket, pressed it to his brow and lay down beside the pit [this emphasizes the excrement-containing pit and bucket]. He was found in this position by the two men the Commandant had sent out to fetch him. He jumped up when they spoke to him as if revived. With his hand on his heart he said, "I am a cur [Hundsfott] if I allow that to happen." But then he took his own words literally [wörtlich] and began to run around on all fours. From time to time, however, he leaped erect, shook the fit off, so to speak [riß sich förmlich los], threw his arms around the neck of one of the men [and] tearfully exclaimed, "Why does all this happen to me!" and then hurried back to his post. [D 178; G 11:152]
This diary entry dates from 7 August 1917; he had written "In the Penal Colony" three years earlier, ca. 15 October 1914. Notice the administration of political authority and also the mad, foolish play with rative language (allotria of the signifier). This play returns, too, to the first paragraph of the story but here, as an unincorporated fragment, remains excreted.
I want to dwell on this relation of the play with rhetoric and the seriousness of the political administration of terror. In these examples from the beginning and end of the story, the will and the ability to tamper with the metaphor goes to the artist, who obtains thereby an extraordinary rhetorical power not without marginal political power (since this metaphorical labeling lends itself to political use). This monstrous literalization is the rhetorical equivalent of the political, where the political--in this our painful modernity--has come to mean the construction of types of men and women by the application of force and the constructive destruction of men and women as persons as good as dead: vermin, outlaws, rogues.
I do not claim that Kafka says that the political and the rhetorical are involved in one another, duplicate one another, or cause one another. Yet he does show this complication happening. Thus I claim, simply, that it takes place. The word-play that has a great deal to do with torture-play is not merely marginal to the text and its time. But the effort to say what this connection is in truth--whether, as Cultural Studies has it, the political play contains and comprehends the rhetorical play; or whether the rhetorical play, marginally outside politics, in turn provokes political acts and a subtle knowing representation of political acts (J. M. Coetzee writes of "the freedom of textuality, however meager and marginal that freedom may be")--Kafka's story cannot say this. 18
Addressing this rhetorical dimension of the story entails addressing one sort of play, one form of the marginal, that has the power to usurp center stage. We must now look at the disgusting, and then at three textual cruxes triggered once more by rhetorical details. All bear on the process of reading a work interrupted by allotria and excreta.
"'Read it,' said the officer. 'I can't,' said the explorer" ("IPC" 148). There is no information on how the victim's reading process is to take place; it requires a strenuous and ultimately frustrating effort of interpretation on our part. The writing is of two types--the first is called "the actual [real] script(ure) [die wirkliche Schrift]" and "the [authentic] script(ure) itself [die eigentliche Schrift]"; the second type of writing is ornamental, consisting of "embellishments [Verzierungen]" (107; "IPC" 149). One might be inclined to call the second type inauthentic, secondary, derivative, employing the semiotic model of the metaphor. The real, authentic meaning is borne along, as the tenor, by the trope--the metaphor as such--which then might pass away, its semantic work as vehicle having been done. But this cannot be right; this is not the function of the embellishment, since reading the ornament is essential to the work of justice, to "the kind of sentence we pass [the form of our judgment--die Form unseres Urteils]" (103, "IPC" 144). The form is not complete, the essence of the punishment does not happen until the ornament, too, has been deciphered. Nor is there any suggestion that the embellishments, rightly deciphered, amount to getting the message--the sentence as violated commandment is different from its embellishments--but not essentially different. 19 In the Tropen, in the tropics, all are tropes (Tropen): the designation of the real, the authentic sentence, is already gnawed on by this secondary and derivative function; and so we are inclined to ask, Of what are they the res, the fictive (after all not real or authentic) script? But we are unable to say more than that they are essential. This is artistic (kunstvoll), beautiful but nonsimply beautiful handwriting, "no calligraphy [keine Schönschrift] for schoolchildren" (107, "IPC" 149). He clearly signifies something within what the officer calls "das Gesamturteil [the general or broad-gauged judgment]" (109, "IPC" 151), but what?
Perhaps it signifies, in the sense of mirroring--or completing a structural parallel with--the function of the ostensibly trivial (allotria) and excremental in the story as such--the curlicues and embellishments being equivalent to the plethora of "useless" details. They are marginal and excremental, suspending any possible assertion of the precedence, as essential, of issues of justice over the other issues of art and aesthetics. Here we are returned to the historical dispute among modes of criticism and modes of literary classification, within Kafka studies, in respect to "In the Penal Colony." Is it, as a story of a punishment that raises substantial questions of law and justice and just sentencing, to be classified with those other stories of Kafka (as Kafka explicitly intended), with "The Metamorphosis" and "The Judgment"; or should it be classified with, par excellence, "A Hunger Artist," as a story of art and performance for which no audience any longer exists? 20 "Nor did the colony itself betray much interest in this execution": this citation immediately resonates with the opening of "A Hunger Artist" (100, "IPC" 140). But these are structural formalities. The matter of the embellishment poses the crucial question: if the epistemological status, as we say, of the ornamental script(ure) is undecidable, if the relation of trope to diegesis is unfathomable, what then is the status of the understanding that is given to the prisoner's faculty of reason (der Verstand) in the sixth hour?
This question has hardly ever seemed to be stated as a problem before. In the sixth hour the culprit grasps his sentence--so runs the conventional understanding--but does he? Surely not. First, because the process requires a twelve-hour deciphering; second, because what Kafka (unlike his English translator) has written is, the process requires a twelve-hour "deciphering [Entziffern]" . This phrase immediately calls attention to the signifier (Ziffer), but you would not think so, reading the Muirs's translation of "es geschieht ja nichts weiter, der Mann fängt bloß an, die Schrift zu entziffern" as, "Nothing more happens than that the man begins to understand the inscription [the script(ure)]" ("IPC" 150). What is wrong is a tendency that this translation betrays; this "to understand" recalls the rational enlightenment provoked in the sixth hour, when enlightenment comes to the most dull-witted (Verstand geht dem Blödesten auf), encouraging us to conclude that the event of understanding coming alive is equivalent to the truth of an ethical commandment being grasped by reason (ibid.). And that truth is? Whatever it is, it is not the truth of the verdict. One must consult the German! The moment of ecstasy is not that of understanding the script(ure); it is a moment of recognizing that here there is script to be deciphered. "Script(ure) [Die Schrift]," as the Prison Chaplain in The Trial informs Joseph K., this writing made deep, "is unchanging, invariant [ist unveränderlich]." 21 We deal then not with combustion of the script (à la Walter Benjamin) but with the ineradicability of a fact: here there is writing; here is the task of the translator. But if the prisoner deciphers the script with his wounds, and if at the end of things the prisoner is (virtually) nothing more than his wounds, then perfection of justice consists in the wounds deciphering the wounds or, equivalently, the script deciphering the script, leaving no margin free for rational enlightenment or any other manner of interpretation. "How the inscription takes form on the body [wie sich die Inschrift im Körper vollzieht]" is by no means equivalent to the "happening of justice" (daß Gerechtigkeit [geschieht])," if by the latter is meant the prisoner's understanding of his sentence (106, 111). He cannot understand his sentence until he is emptied out of his substance, until he has been excreted. 22
In this analysis I am associating the concepts of understanding and interpretation as they have traditionally been associated in a German hermeneutical tradition marked especially by Friedrich Schlegel and Friedrich Schleiermacher. The concept of "decoding," however, with its connotations of automaticity and of transformation only, or chiefly, along the axis of the material signifier constitutes a departure. Here, one could well think of Kafka's aphorism against interpretation, written in 1922: "It is enough that the arrows fit exactly in the wounds that they have made" (D 206; G 11:203).
We as readers of Kafka remain concerned with our access to an understanding of what genuinely, authentically, occurs within the Gesamturteil of the story as a whole. It is the question of whether it is possible for us to achieve any proper understanding of the prisoner's tormented reading process as such. And here I want to call attention to two minor, marginal, rather excremental cruxes at the order of scription--one parenthesis and one (following the authority of Max Brod) crossing-out. Excreted matter has an exact semiotic correlative in the parenthesis: it is excluded from the sentence while it still belongs to the economy of the sentence the way that excreta--noticed, half-organic, half-alive stuff--belongs to the economy of the body. The parenthesis is unique as a syntactical element in requiring no corresponding adjustment in the sentence as a whole in order to accommodate it, just as there is a provision in every body for excreted matter that does not disturb the economy of the whole and permits it to function as it normally and otherwise functions.
The parenthesis occurs at the close of the mutilation of the officer. The passage reads, as we carry over Kafka's parenthesis from the edition (and only the edition) of Paul Raabe: "And here, almost against his will, he had to look at the face of the corpse. It was as it had been in life; no sign was visible of the promised redemption; what the others had found in the machine the officer had not found; the lips were firmly pressed together, the eyes were open, with the same expression as in life, the look was calm and convinced, through the forehead went the point of the great iron spike." [121, "IPC" 166] Thereafter come the three asterisks and the unsatisfactory ending.
Who says--and on what authority--that the officer found no trace of the promised redemption? The officer remains convinced; he has not registered the shortfall in the promised redemption. But he is the only authority we have for the existence of any such redemption. I suggest that the uncertainty of the claim that "no sign was visible of the promised redemption" in the death of the officer is marked, emphasized by the parenthesis. Within it is contained the (incomplete) excremental at the order of rhetoric. This is an odd detail of a sort found to my knowledge in no other work of Kafka--a "detail" of utter importance. It is a paradoxical construction, implying, to begin with, a sort of tentativeness of utterance. For what is the meaning of the marker "parenthesis" except that of an addition, an "übrigens," a remainder, an only secondary reflection, whose retention in the body of an argument is a matter that cannot be allowed to disturb the writer, who has more serious, forward-looking concerns? The argument, as it is constituted without the parenthesis, takes precedence: the writer will not undertake to integrate the parenthetical matter; and yet, in this instance, regarding the question of whether the officer found meaning in his ordeal--No, not a trace of it was to be found!--is of crucial importance. It is the story's leading idea. How can one find the story's leading idea between parentheses?
It is as if what's contained in the parenthesis, a bracketing off--meaning non-pertinence, what's off the point, scarcely belonging--were itself provisory only, subject to revision, even to reversal. And yet--or, precisely--what is here at stake is nothing less than the meaning of the whole. Was there ever in truth such a procedure as the glorious operation of the machine? was there ever so worthy an alternative to the inefficient justice of liberal states? could a death ever be justified in the consciousness of the victim in this way? could the truth of one's derelict life ever be inscribed on the heart? 23 And could, incidentally, Nietzsche's account of the genealogy of morals be affirmed--was there ever a moment of dawning moral enlightenment powerful enough to irradiate and transre an entire people? Sane societies require a token of hope, the promise of a future. Accordingly, the punishment in the penal colony is such a token, because it promises a transration of an entire community before death.
These are some of the questions taken up in a parenthesis in "In the Penal Colony" as published--overwhelming questions to which Kafka's answers are belied by his parenthesis--questions reviewed and answered differently in the three or four fragmentary endings. I shall therefore address one more pertinent item from these diary manuscripts in the event of a moot crossing-out. The text of these endings in the latest Fischer, so-called manuscript edition, a printed transcription by and large faithful to the manuscripts, gives as the diary entry for 8 August 1917: "Und wenn auch alles unverändert war, der Stachel war doch da, krumm hervorragend aus der geborstenen Stirn" (G 11:353). In (my) English, this reads: "And even if everything was unchanged, the spike was still there, protruding crookedly from his shattered forehead." But if you read the standard English translation of the diaries, you get instead: "And even if everything remained unchanged, the spike was still there, crookedly protruding from his shattered forehead as if it bore witness to some truth" (D 178; emphasis added). The addition of this last phrase is explained in a footnote of Max Brod, Kafka's editor and literary executor: "The clause, 'as if it bore witness to some truth,' was struck out by Kafka in the manuscript" (D 322). So this footnotation "as if it bore witness to some truth," having, then, precisely parenthetical status, returns to a crossing out (leaving in the empirical state of affairs of the transmission of the manuscript the perplexing uncertainty about whether Kafka's intention in having crossed out the phrase "as if [his shattered forehead] bore witness to some truth" is to be respected). If respected, the sum of things is left intact and pure and no trace of the promised redemption was indeed to be seen. But it is equally compelling to preserve this velleity (it is not preserved in the manuscript edition)--to find in the officer's report the positive substance of justice--for it would convey a most important indecision and nostalgia and intense imaginative yearning in Kafka, he who had written (while still young) of his desire to write his being into the depths of the paper and to draw up that writing into him.
The words "as if it bore witness to some truth" are remarkable ones to cross out. Kafka's own reading confirms the reader's suspicions. This is not a story about true sentencing but about its disappearance, its traceable disappearance in the intricacies and hollow places of fiction. Throughout, the narration of (principally) the reception--on the part of the Explorer--of the narration produced by a fanatic of a ceremony who can no more than imply that a prisoner's (attempt at) deciphering the truth of his sentence is achieved with his death. The truth of this procedure is then nullified when it is empirically enacted by the same fanatic on himself. But what we have lost as an "acquist of true experience," we have gained as a tolerable experience of the trivial of allotria and the excremental. 24 What is tasteless in the actual and trivial is etiolated, bled of its loathsome horror, by this multiplication of narrative foci and foyers--a gesture which, by driving truth out of art, enlarges its scope. In this work the tastelessness of trifling allotria and the excremental (a kind of expressiveness) are symbols together of the distasteful that now has a place in art and can be borne. Its "meaning" is reflexive only. It points to the vast, unlimited--because truth-bled--order of the signifier in art. This is a conclusion perfectly consistent with Hegel's view of the end of art as the end of an art that would need to be validated by the truth it can now no longer represent.
Stanley Corngold is Professor of German and Comparative Literature at Princeton University. He is the author of The Fate of the Self; Franz Kafka: The Necessity of Form; Complex Pleasure; and co-author of Borrowed Lives. He has edited the Norton edition of Kafka's Metamorphosis. His next work will be Franz Kafka: Lambent Traces.
1. Friedrich Hölderlin, Sämtliche Werke (Kohlhammer: Stuttgart, 1961), 4:21.
2. Lionel Trilling, "Introduction" to Anna Karenina, cited in Leon Wieseltier, "Get Smart: Lionel Trilling's Exhilarating Pursuit of Moral Realism," review of The Moral Obligation to Be Intelligent, Los Angeles Times Book Review, 11 June 2000, 4.
3. According to Malcolm Pasley and Klaus Wagenbach, Kafka composed "In the Penal Colony" between 4 and 18 October 1914. Sämtliche Erzählungen, ed. Paul Raabe (Frankfurt a. M.: Fischer Taschenbuch, 1970), 398. Citations in German from this edition of "In the Penal Colony [In der Strafkolonie]" will be given in the text of this essay as page numbers in parentheses.
4. Franz Kafka, "In the Penal Colony," in Franz Kafka: The Complete Stories, ed. Nahum N. Glatzer, trans. Willa and Edwin Muir (New York: Schocken, 1971), 160; hereafter abbreviated "IPC".
5. "Kretzschmar hatte nichts dagegen und begünstigte es sogar, daß dieser von Gescheitheit vibrierende Jüngling auch musikalisch vorauseilte und sich mit Dingen zu schaffen machte, die ein pedantischer Mentor als Allotria verpönt haben würde [would have forbidden as time-wasting]." Thomas Mann, Doktor Faustus (Frankfurt a.M.: Fischer Taschenbuch, 1991), 101. For an English language version, see Doctor Faustus, trans. H. T. Lowe-Porter (New York: Vintage, 1948), 73.
6. So much for Theodor W. Adorno's claim that Kafka's characters are all subaltern (all "Gestalten der Subalternität") in "Aufzeichnungen zu Kafka," in Prismen: Kulturkritik und Gesellschaft (Frankfurt a.M.: Suhrkamp, 1955, 324. Cf. "Notes to Kafka," in Prisms, trans. Samuel and Shierry Weber (London: Spearman, 1967), 259.
7. John Wesley, The Good Steward, Sermon 51. Available from www.ccel.org/w/wesley/sermons/sermons-html/serm-051.html; INTERNET.
8. Kafka studied medieval German literature at the University of Prague in 1902. Klaus Wagenbach, Franz Kafka, Eine Biographie seiner Jugend (1883-1912) (Bern: Francke, 1958), 100. He assiduously consulted Grimm's etymological dictionary; cf. Max Brod, Über Franz Kafka (Frankfurt a. M.: Fischer, 1966), 110, 213.
9. This word is, incidentally, conspicuous in the opening scene of The Trial describing K.'s arrest. Franz Kafka, Der Proceß, Roman, in der Fassung der Handschrift, ed. Malcolm Pasley (Frankfurt a.M.: S. Fischer, 1990), 15.
10. Allotria and excreta have this in common: they are distinctively nonexclusively human, being common to both human beings and animals, especially to children and childlike beings who have no natural dislike of what Kafka calls Schmutz--what adults term physically and morally filthy.
11. Oscar Wilde, ed. Isobel Murray (New York: Oxford University Press, 1989), 65.
12. Franz Kafka, Letters to Friends, Family, and Editors, trans. Richard and Clara Winston (New York: Schocken, 1977), 137; Franz Kafka, Briefe 1902-1904, ed. Max Brod (Frankfurt a.M.: Fischer, 1958), 159.
13. The English quotation comes from The Diaries of Franz Kafka, 1914-1923, trans. Martin Greenberg (New York: Schocken, 1949), 114-5; hereafter abbreviated D. The German quotation comes from Franz Kafka, Tagebücher, Band 3, 1914-1923, Franz Kafka, Gesammelte Werke in zwölf bänden, Nach der Kritischen Ausgabe, ed. Hans-Gerd Koch (Frankfurt a. M: Fischer Taschenbuch Verlag, 1994, 11:77; hereafter abbreviated G.
14. Kafka Handbuch in zwei Bänden, ed. Hartmut Binder (Stuttgart: Alfred Kröner, 1979), 229.
15. Ibid.
16. Detlev Kremer, Kafka: Die Erotik des Schreibens (Frankfurt a. M.: Athenäum, 1989), 7.
17. This life-in-death connects to the peculiar life-in-death of the corpse of the officer at the close. The face of the corpse "was as it had been in life" ("IPC" 166). Mark Anderson has written most suggestively of this aspect of the piece, "the existential condition of being caught between death and life," in "The Ornaments of Writing: 'In the Penal Colony,'" in Kafka's Clothes: Ornament and Aestheticism in the Habsburg Fin de Siècle (Oxford: Clarendon Press, 1992), 187-8.
18. Coetzee writes of history as "a society's collective self- interpretation of its own coming-into-being," against which "the freedom of textuality, however meager and marginal that freedom may be," might be asserted. J. M. Coetzee, Doubling the Point: Essays and Interviews, ed. David Attwell (Cambridge, Mass.: Harvard University Press, 1992), 206.
19. Recall the phrase: "Jetzt geschieht Gerechtigkeit" . Also see Friedrich Kittler on Faust's feckless attempt to interpret the sign of the Earth Spirit. "For once, Faust does not just glimpse and gaze at signs. The first unperformable stage direction in European theatrical history declares that 'he seizes the book and mysteriously pronounces the sign of the spirit.' 'Mysteriously,' indeed. This event, speaking out loud, is possible for books composed of letters, but not for a collection of magic ideograms . . . ." Discourse Networks 1800/1900 ed. David E. Wellbery, trans. Michael Metteer, with Chris Cullens (Stanford, Calif.: Stanford University Press, 1990), 6.
20. See Margot Norris, "Sadism and Masochism in Two Kafka Stories," Modern Language Notes 93 no. 3 , 430.
21. Franz Kafka, Der Proceß, ed. Malcolm Pasley (Frankfurt a.M.: Fischer, 1990), 298.
22. The hunger artist nourishes himself on his own flesh; the flesh of the culprit in "In the Penal Colony" is scraped out of his body and excreted as so much useless blood and tissue.
23. "I will put my law in their inward parts, and write it in their hearts" (Jer. 31.33). Cited in Malcolm Pasley, "In the Penal Colony," in The Kafka Debate: New Perspectives for our Time (New York: Gordian, 1977), 302.
24. The phrase is Milton's, at the very close of Samson Agonistes; to Samson is attributed "new acquist / Of true experience," John Milton, Complete Poems and Major Prose, ed. Merritt Y. Hughes (New York: The Oydssey Press, 1957), 593.


"UI programming is groovy with event streams and behaviors." - me
| Rather than ... | why not ... |
| bind a callback to an event and mutating state | map a function over an event stream |
| keeping UI details in mutable state | express your UI's behavior as a function of time and event streams |
Bind jQuery event streams and behaviors.
Behave.jqueryInputB() .map(function(val) { return val.toUpperCase(); }) .changes() .subscribe(Behave.inputSink());
Bind backbone event streams and behaviors.
var model = new Backbone.Model({foo: "baz"}); Behave.backboneModelB(model) .map(function(currModel) { return currModel.get("foo") }) .subscribe(Behave.inputSink()); model.set({"foo" : });
Polling-based animations use the same API and push-based events.
Behave.time
.map(function(dt) { return Math.floor(36*Math.abs(Math.sin(dt.getTime() / 1000.0))); })
.changes({pollMillis: 50})
.subscribe(function(v) { grow.attr("style", "font-size: " + v + "pt"); });
Now head over to the repo on github or read the the annotated source code


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Adspace is a smart contract which enables Function Island to host privacy-friendly, image-title-text-and-link style advertising on the Function Island family of websites and domains.
These "Adspaces" can be bought by anyone, for a starting rate of 2,000 TRX per day. Fill in the details, pay the fees and it's yours for the selected term!
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Please be sure to back up your keys and/or seeds - Nobody can help you recover your crypto, except you!


Dedicated to providing non-partisan research rooted in evidence and expertise.
Who we are
The External Environmental Economics Advisory Committee (E-EEAC) acts as an independent committee dedicated to providing up to date, non-partisan, economic research on environmental issues that pertain to EPA policy. The E-EEAC was established in the wake of the dissolution of the original EEAC, a scientific advisory committee under the Environmental Protection Agency, in June 2018. The members of the E-EEAC believe that, despite the retirement of the internal committee, the results of economic research remain crucial to the process of drafting economically feasible environmental policy.
Like its predecessor, the E-EEAC consists of economists and scientists who use their expertise to analyze the benefits and costs of environmental policy. The goal of the E-EEAC is to operate in this capacity until the EPA is ready to reconstitute an internal economic advisory committee. While the structure of the E-EEAC has changed, the members of this committee are dedicated to ensuring that relevant environmental economic research is readily available to the public on this website


Another short one. As mostly anyone that has had to maintain an OpenStack cluster will know, many of the OpenStack
services has the ability to report notifications via the message bus. These notifications will be enabled in most
production deployments but DevStack doesn’t enable them by default. Fortunately enabling them is pretty painless. If we
wanted to enable the notifications in, say, Keystone, we can do so by configuring the following in
/etc/keystone/keystone.conf
:
[oslo_messaging_notifications]
transport_url = rabbit://stackrabbit:***@***:5672/
driver = messagingv2
These options are provided by the oslo.messaging project, which virtually every OpenStack service harnesses.
Once you’ve enabled them though, you what can you do with them? Using the messagingv2
means they’re published over the
AMQP message bus (and the message is enveloped, which is the difference to messaging
), however, they’re not exposed
via HTTP APIs or similar. We could whip out a telemetry tool like Ceilometer but that seems overkill for a
quick bit of debugging. Well it turns out oslo.messaging provides utilities for both creating notifications and
listening to them. Writing a listener is relatively simple:
import json
import logging
from oslo_config import cfg
import oslo_messaging
cfg.CONF()
logging.basicConfig(level=logging.INFO)
LOG = logging.getLogger()
URL = 'rabbit://stackrabbit:***@***:5672/'
class NotificationEndpoint:
def _notify(self, ctxt, publisher_id, event_type, payload, metadata):
LOG.info('notification received %s:%s' % (publisher_id, event_type))
output = json.dumps(
{
"payload": payload,
"publisher_id": publisher_id,
"event_type": event_type,
},
indent=4,
)
print(output)
audit = _notify
debug = _notify
info = _notify
warn = _notify
error = _notify
critical = _notify
sample = _notify
def main():
transport = oslo_messaging.get_notification_transport(cfg.CONF, url=URL)
targets = [oslo_messaging.Target(topic='notifications')]
endpoints = [NotificationEndpoint()]
server = oslo_messaging.get_notification_listener(
transport,
targets,
endpoints,
executor='threading',
)
LOG.info("messaging starting")
server.start()
LOG.info("messaging started")
server.wait()
LOG.info("exit")
if __name__ == '__main__':
main()
If you run this and then, say, attempt to authenticate with invalid credentials, you’ll see notifications arriving:
{
"payload": {
"typeURI": "http://schemas.dmtf.org/cloud/audit/1.0/event",
"eventType": "activity",
"id": "68c5b24b-89f0-5c93-abe4-5c3d6651fb00",
"eventTime": "2023-07-07T15:52:00.496156+0000",
"action": "authenticate",
"outcome": "failure",
"observer": {
"id": "08d95fde312344debbcc00106b139995",
"typeURI": "service/security"
},
"initiator": {
"id": "78fab588d9d34900a6c59fc22f3a2049",
"typeURI": "service/security/account/user",
"host": {
"address": "***",
"agent": "openstacksdk/1.3.0 keystoneauth1/5.2.1 python-requests/2.31.0 CPython/3.11.4"
},
"request_id": "req-0126be50-db3a-4975-a814-d717a5fdfdf8",
"user_id": "***",
"username": "***"
},
"target": {
"id": "fc220ce7-2787-5152-bf81-9943cb8ee24b",
"typeURI": "service/security/account/user"
}
},
"publisher_id": "identity.stephenfin-devstack",
"event_type": "identity.authenticate"
}
This can be extremely valuable for debugging since notifications will expose things that aren’t necessarily obvious from logs.


-
7-9-2013 President Ellen Johnson Sirleaf , has sent a message of condolence to the President and People of the Federal Republic of Nigeria .
-
7-9-2013 In her message to President Goodluck Jonathan , President Sirleaf expressed profound regret and deepest sorrow over the sad news of the death of more than 30 people , mainly students , when suspected Islamist militants , believed to be from Boko Haram , set ablaze a dormitory in Potiskum , Yobe State , Northern Nigeria on Saturday , July 6 , 2013 .
-
7-11-2013 This came as a suspected drug trafficker excreted 54 wraps of cocaine he ingested in Brazil .
-
7-17-2013 Makonene was killed on July 17 , last year , and his body was found the following day by residents on the shores of Lake Kivu in Nyamvumba Sector , Rubavu District .
-
7-19-2013 He lamented that following total blockage of illegal routes , smugglers in the state have evolved new tactics of smuggling banned commodities through the use of motorcycles . ''
-
7-26-2013 Katsina -- The Nigerian Customs Service , Katsina State Command has intercepted banned goods comprising rice , vegetable oil and drugs worth over N500 million , deputy comptroller general in-charge of enforcement , Mr. Saka Yunusa Alao , has said .
-
8-3-2013 Consumers are faced with about 80 per cent chances of buying fake products in a market where second hand goods are preferred as original .
-
8-3-2013 These products pose grievous threats to both survival of local industries and the health of consumers .
-
8-3-2013 With thousands of porous and unmanned routes and ineffective restrictions , these substandard goods are brought in from outside Nigeria just as local faking operations are relentless depending on the product .
-
8-28-2013 The crackdowns are in line with the leadership 's zero tolerance policy , instituted a few years ago with the ultimate objective of cleansing the nation of drug and drug-crime related activities .
-
9-5-2013 According to the International Policy Network report , fake tuberculosis and malaria drugs alone are estimated to kill 700,000 people globally each year . ''
-
10-13-2013 The market which boasts of more than 5,000 business outlets in a vast area of land has become a battling ground for artisans who are also trying to earn a source of living .
-
10-13-2013 Every nook and cranny of the market which is one of the largest markets in the country and draws visitors beyond Nigeria is cramped with shops .
-
10-23-2013 Before now , only 52 stocks that were in the market-making basket experienced a daily price swing of 10 per cent , while others outside the basket were allowed only five per cent movement .
-
11-11-2013 The Lagos command of the National Drug Law Enforcement Agency -LRB- NDLEA -RRB- has foiled an attempt by a 38-year-old single lady to smuggle 645 grammes of cocaine hidden in a female hand bag out of the country to Turkey .
-
11-29-2013 Authorities of Nigerian Custom Service and NAFDAC have destroyed seized drugs with duty paid value of N560 million in Katsina State .
-
11-29-2013 The seized drugs were smuggled into the state through different border entry points to the state .
-
12-11-2013 The Nigeria Customs Service -LRB- NCS -RRB- , Sokoto Command , comprising Kebbi , Sokoto and Zamfara states , has recorded 104 seizures worth about N101 million from January 2013 till date .
-
12-21-2013 Every one wonders whether officials of the National Drug Law Enforcement Agency -LRB- NDLEA -RRB- saddled with the responsibility of curbing the scourge are actually on ground .
-
1-10-2014 Lagos -- Operatives of the National Drug Law Enforcement Agency -LRB- NDLEA -RRB- have arrested a 39 year-old Congolese with fake dollar notes .
-
1-28-2014 Expenditure for budget year 2012/13 totaled US$ 593 million , an increase of 22 percent over the previous year and annual average growth of 28 percent over the seven-year period .
-
1-28-2014 Core revenue -LRB- tax revenue , non-tax revenue and grants -RRB- increased by an average of 29 percent each year , and total revenues , including contingent revenue and on-budget borrowing , rose from US$ 148 million in FY2006/7 to US$ 559 million in FY2012/13 .
-
1-28-2014 Additional off-budget financing through grants and loans to support programs and projects amounted to a disbursed amount of US$ 499 million , representing about 83 percent of the aid projection of US$ 567 million .
-
2-14-2014 Narcotic officers made the discovery during inward screening of cargoes on Qatar Airline flight .
-
2-19-2014 The Nigeria Customs Service -LRB- NCS -RRB- have arrested a notorious Nigerien drug kingpin , Abubakar Woru , 45 , with a car loaded with 681 rolls of tramadol capsules in Katsina State .
-
3-1-2014 The seized goods include assorted cigarettes , rice , soap , various drugs 31 vehicles and herbicides amongothers .
-
3-13-2014 A perspective on the country 's economic and financial markets During the embryonic stage , it was poultry , livestock , maize and other crops and agriculture products that made up the largest part of the stock markets in the United States of America .
-
3-13-2014 In the rapid development of any emerging economy like ours , self sufficiency in the production of the staple food for such country should be a priority on the national development agenda .
-
3-29-2014 Operatives of the National Drug Law Enforcement Agency -LRB- NDLEA -RRB- yesterday arrested a 34 years old man with 120 grammes of heroin hidden in his anus at the Murtala Muhammed International Airport , -LRB- MMIA -RRB- Lagos .
-
4-9-2014 The National Drug Law Enforcement Agency -LRB- NDLEA -RRB- has arrested a food vendor , Chinelo Okorom Lynnette , 36 , in Lagos while attempting to smuggle 685 grammes of cocaine inserted in her private part into the country .
-
5-3-2014 A 35-year-old caterer in Lagos has been nabbed ffor attempting to smuggle cannabis hidden inside noodles to her boyfriend in prison .
-
4-26-2014 To reduce everything to PDP-APC tangle is to miss the point and sell short the expected virtues of inspirational leadership .
-
5-8-2014 Others include four by 20 container load of rice containing 1,758 bags of 50kg each valued at N21 .66 million ; three truck load of poultry products containing 3 , 759 cartons worth N36 , 086 million .
-
5-28-2014 Almost every week , one or more of these cocaine-carrying '' mules '' is arrested at the airport .
-
7-17-2014 Much as some students take drugs out of peer pressure , some times it 's out out of frustration .
-
6-12-2014 By Evelyn Usman Lagos -- Attempt by four foreigners and a Nigerian to smuggle 1,020.5 kg compressed dried weeds suspected to be cannabis from Ghana into Nigeria through the waterways , has been foiled , following their arrest by the Marine Unit of the National Drug Law Enforcement Agency , NDLEA yesterday .
-
6-12-2014 By Eugene Agha Lagos -- Officers attached to the Marine Unit of the National Drug Law Enforcement Agency -LRB- NDLEA -RRB- foiled an attempt by a West African drug syndicate to smuggle Ghanian brand of Indian hemp into Nigeria , it was gathered .
-
7-7-2014 International investigators established that proceeds from the drugs were to be used to finance global terrorist networks .
-
7-23-2014 The suspect , who hid the drugs in his bag was detected by the anti drug agency at the departure hall of MMIA , Lagos while attempting to board an Ethiopian Airline flight to Malaysia .
-
7-30-2014 Confirming the arrest in a statement , NDLEA Head of Public Affairs , Mitchell Ofoyeju , said the suspect who concealed the drugs in various food items was arrested at the Murtala Muhammed International Airport -LRB- MMIA -RRB- Lagos .
-
7-30-2014 Commenting on the arrest , the Chief Executive of the NDLEA , Ahmadu Giade , expressed delight with the arrest , noting that the suspect would have faced capital punishment if caught with the drugs in China . ''
-
8-18-2014 The suspects specialise in shipping illicit drugs into Nigeria from Ghana .
-
8-25-2014 According to police , the 47 year old -LRB- names withheld for legal purposes -RRB- was smuggling a kilogramme of cocaine in her undergarments .
-
9-9-2014 Chief Executive of the National Drug Law Enforcement Agency -LRB- NDLEA -RRB- Ahmadu Giade has ordered close monitoring of passengers and goods on Nigeria-Brazil route .
-
9-13-2014 THISDAY gathered that Servest staff is not on hand at any time to receive people 's complaint or to solve any problem .
-
9-18-2014 According to the anti drug agency , the arrest took place at Lagos airport during the outward screening of Arik Air passengers to South Africa .
-
9-29-2014 County commissioner Nelson Marwa said some of the car bazaars in the county are now under 24-hour surveillance on suspicion of being used as collection and transportation centres for drugs .
-
10-30-2014 The National Drug Law Enforcement Agency -LRB- NDLEA -RRB- at the Murtala Muhammed International Airport -LRB- MMIA -RRB- on Thursday said it had arrested three suspects and seized 14.6 kg of cocaine .
-
10-31-2014 According to the NDLEA the drugs were hidden inside female foot wears and laptop bags from Brazil through Abu Dhabi .
-
10-31-2014 By Evelyn Usman Three Brazil-based Nigerians have been arrested at the Murtala Mohammed International Airport , MMIA , Lagos , with drugs suspected to be cocaine worth N131 million , concealed in female footwears and laptop bags .
-
10-31-2014 Reacting to the arrest , Chairman/Chief Executive of the NDLEA , Ahmadu Giade , said that arrest and prosecution of drug traffickers would continue until the country was completely free of illicit drugs .
-
10-31-2014 By Chris Agabi Lagos -- Officials of the National Drug Law Enforcement Agency -LRB- NDLEA -RRB- at the Murtala Muhammed International Airport Lagos have discovered 14.650 kg of high grade Brazilian cocaine valued at over N131 million hidden inside female footwears and laptop bags .
-
10-31-2014 On his part , Agu Ifeanyi Kingsley said he travelled to Brazil six months ago in search of greener pastures but regretted it as his condition was not better as anticipated .
-
11-4-2014 Suddenly the drug became popular among Nigerian drug users for its capacity to enhance sexual performance and for its medical property as a painkiller .
-
11-4-2014 Without proper clean up and disposal , toxic waste from the meth production process can remain present and active for years .
-
11-4-2014 The quest for sex to prove a point among school age , especially university students , was not helping matter .
-
11-4-2014 A kilogramme of cocaine sells for N3 million but goes for N12 million at its peak .
-
11-4-2014 This was the warning bell that foretold the possibility of illegal meth factories flourishing within the country unknown to many .
-
11-14-2014 A Mombasa court on Thursday -LRB- November 13th -RRB- ordered police to process the extradition of four suspected drugs traffickers to the United States .
-
11-14-2014 There has been increased concern about East Africa 's growing importance as a smuggling hub , with the United Nations Office on Drugs and Crime highlighting in a recent report the increasing number of '' ; large seizures '' ; of Afghan heroin off the coast of East Africa .
-
11-18-2014 NDLEA Head of Public Affairs , Mitchel Ofoyeju , in a statement , said the drug was concealed in one of the bags found with the suspect . ''
-
11-21-2014 MCAZ director Gugu Mahlangu said locally produced medical products are likely to cost more than imports because of the high cost of production as most raw materials are being sourced from outside the country .
-
11-22-2014 Local drug consumption usually revolves around the softer drugs .
-
11-22-2014 Most of the narcotics that are usually intercepted by the authorities are usually the '' ; softer '' ; ones : cannabis -LRB- marijuana -RRB- and potent illicit brew , mostly from neighbouring countries .
-
11-24-2014 Its costs over the same period came to Sh61bn up from Sh52bn the previous year .
-
11-26-2014 By Muazu Elazeh The Kaduna/Katsina Command of the Nigeria Customs Service yesterday handed over drugs with duty paid value of N347 .9 million to NAFDAC for destruction .


@(newUser: models.User)
@import emails.email_template
@email_template {
Your account has been approved! |
Dear @newUser.getName,
Congratulations, your account on Careers From Here has been approved.
Now you can login and access our video library and, most importantly, share your own experience with students
by recording an interview.
Use this email address and password you've specified when registering to
log in. Thanks!
Yours,
Careers From Here team
|
}


Duration
20 minutes
Goals
The primary goal of this lab is to use nested StackLayout
s to arrange the views in a UI.
Required assets
The provided Part 02 Resources folder contains a subfolder named Start that contains starter code. The Completed folder has a solution you can use to check your work. Please make sure you have these folders before you begin.
Steps
Explore the starter code
The starter solution contains a fully functional "Tip Calculator" app. Your goal in this first part is simply to explore the app.
- Open the starter solution in the Part 02 Resources/Start folder.
- Run the app on a platform of your choice.
-
Enter a number into the
Entry
control - the app should then look similar to the image shown below: - Work with the app for a minute or two to get a feel for its behavior.
- Stop the app.
- Open MainPage.xaml.
-
Notice that all of the views are placed into one vertical
StackLayout
. - If you would like to, feel free to open MainPage.xaml.cs and look at the code; however, you will not need to modify the code-behind during the exercise.
Improve the UI
Your goal is to use nested StackLayout
s to improve the UI of the Tip Calculator app.
There is no single "correct" answer here. Use your judgment to produce a UI that looks good to you. Below is a screenshot of the Completed project that you can use as a goal.
The screenshot of the Completed project shown above may be sufficient to allow you to complete the lab. If you would like addition guidance, please use the steps below. Run the app after each step so you can see the effect.
-
Add
Padding
to the page to avoid overlap of the UI and the iOS status bar. TheTop
value for thePadding
should be at least20
. The code shown below will yield a uniformPadding
of 40 units:<ContentPage ... Padding="40">
-
Use a horizontal
StackLayout
to group theLabel
that says "Bill" with theEntry
field as shown below:<StackLayout Orientation="Horizontal"> <Label Text="Bill" ... /> <Entry ... /> </StackLayout>
-
Use a horizontal
StackLayout
to group theLabel
that says "Tip" with theLabel
namedtipOutput
. -
Set a
Margin
on theStackLayout
you just added. The top should be 20 units while the left, right, and bottom values should be 0 (see below).<StackLayout Orientation="Horizontal" Margin="0,20,0,0"> ... </StackLayout>
-
Use a horizontal
StackLayout
to group theLabel
that says "Total" with theLabel
namedtotalOutput
. -
Use a horizontal
StackLayout
to group theLabel
that says "Tip Percentage" with theLabel
namedtipPercent
. -
Set a
VerticalOptions
value ofEndAndExpand
on theStackLayout
you just added (see below).<StackLayout Orientation="Horizontal" VerticalOptions="EndAndExpand"> ... </StackLayout>
-
Use a horizontal
StackLayout
to group theButton
with text of "15%" and theButton
with text "20%". -
Use a horizontal
StackLayout
to group theButton
with text of "Round Down" and theButton
with text "Round Up". -
Set a
HorizontalOptions
value ofCenterAndExpand
on all four of theButton
s (see below).<Button HorizontalOptions="CenterAndExpand" ...>
Summary
In this exercise, you used nested StackLayout
s to improve the aesthetics of an
existing UI. StackLayout
is the simplest layout panel, yet it is powerful enough
to produce a reasonable UI.


Contributing to Mail
==============
Hi there, I welcome pull requests! Here are some thoughts on how to get your pull request merged quickly:
- Check the Reference RFCs, they are in the References directory, so no excuses.
- Check for a ticket on GitHub, maybe someone else has the problem too
- Make a fork of my GitHub repository
- Run the specs. We only take pull requests with passing tests, and it’s great to know that you have a clean slate: `bundle && bundle exec rake`
- Add a spec for your change. Only refactoring and documentation changes require no new specs. If you are adding functionality or fixing a bug, we need a spec!
- Test the spec at least against MRI-1.9.2 and MRI-1.8.7
- Update the README if needed to reflect your change / addition
- With all specs passing push your changes back to your fork
- Send me a pull request
Note, specs that break MRI 1.8.7 will not be accepted.
At this point you’re waiting on us. We like to at least comment on, if not accept, pull requests within three business days (and, typically, one business day). We may suggest some changes or improvements or alternatives.
Some things that will increase the chance that your pull request is accepted, taken straight from the Ruby on Rails guide:
- Tell me you have tested it against more than one version of Ruby, RVM is great for this. I test against 7 rubies before I push into master.
- Use good, idiomatic, strcutred and modular code
- Include tests that fail without your code, and pass with it
- Update the documentation, the surrounding one, examples elsewhere, guides, whatever is affected by your contribution
Syntax:
- Two spaces, no tabs.
- No trailing whitespace. Blank lines should not have any space.
- Prefer &&/|| over and/or.
- MyClass.my_method(my_arg) not my_method( my_arg ) or my_method my_arg.
- a = b and not a=b.
- Follow the conventions you see used in the source already.
And in case we didn’t emphasize it enough: we love specs!


{% seo %}
@JGStew
Some of my thoughts.
Edit This Page
GitHub Profile
LinkedIn Profile
Tweets by @jgstew
{{ page.title }}
{% include anchor_headings.html html=content %}


Wash hands. Wash taps. Wash hands. Wash sink. Wash hands. Wash countertop. Wash hands. Wash inner door knob. Wash hands. Wash outer door knob. Wash hands. Wash soap dispenser. Wash hands. Then you are clean. Then all is forgiven. Then you can go forth into the world. Be normal. Be like them.
I turn the taps. The water comes hissing out. Next comes the soap. I lather it on my skin. It's tiny bubbles form and pop in synchronicity. The water washes away soap. Cleans these hands. Next is the taps. They clean with ease. Now, wash hands.
Like a hand grenade, water droplets spray over the taps. Start over. Wash hands. Wash taps. Wash hands. Wash sink. Wash hands. Wash countertop. Wash hands. Wash inner door knob. Wash hands. Wash outer door knob. Wash hands. Wash soap dispenser. Wash hands.
Again, I start. Lathering soap on my skin. Washing hands. Washing taps. This time the water remains placid. I go to wash the sink.
This time the water rebels. It sprays droplets over the taps. Again. Wash hands. Wash taps. Wash hands. Wash sink. Wash hands. Wash countertop. Wash hands. Wash inner door knob. Wash hands. Wash outer door knob. Wash hands. Wash soap dispenser. Wash hands.
The ritual begins again. Each time I am foiled. Each time the water sprays on the taps. So again I begin. Time comes to an end, but the water still flows forth from the tap. I hold my hands to the light. They are red. They are dried. They are cracked. They are bleeding?
The blood oozes its way over my hands. Spilling in to the sink. Enough blood, to turn an ocean red. I must clean these hands. Wash away the blood.
I lather the soap to my skin. Bubbles form and pop. I wash it all away. The soap is gone. But the blood doesn't go. I wash again. The blood remains. A new ritual forms.
Wash hands. Bleed. Wash hands. Bleed. Wash hands. Bleed. Bleed.
Bleed.


Take care of JS errors
Demo page.
See some results in console and network inspector.
Make fake error
Make error


Project Header Text:
Previews Folder: {{settings.projectRootPath}}/
Downloads Folder: {{settings.projectRootPath}}/
Use night theme for delivery
Your project folder '{{settings.projectRootPath}}' is not available. Please upload a folder via ftp, or go back to the projects page and create an empty repository.
Last saved: {{data.revisionStamp | date : 'short'}}


... Wow it's been a WEILONG time since I last cubed... I don't even know AOLONG it’s been!!! ... :D
PB:17 seconds
Condition: Extremely broken in, Well maintained
Have had my Aolong V2 for 2 years now.
Is extremely well broken in but unfortunately still has the clicky feeling I extremely dislike.
It is my got-to cube for traveling.
PB: 16 seconds
Condition: Well worn, extremely well maintained
Have had my Aolong V1 for about a year and a half.
With bit of lube and tensioning, it is clearly my best performing cube.
Unfortunately, even with these advantages,
whether from the color scheme or some other variable,
my times with this cube are extremely inconsistent, even if I do hold my overall best PB on this cube.
PB: 18 seconds
Condition: Abandoned, Sandy, Unmaintained
When I initially got my Weilong I was extremely pleased with it's performance.
However, when compared to the Aolong family this cube pales in comparison. It is sluggish,
extremely boxy and unwieldly, and generally not a very forgiving cube.


Notice
Improvement notice issued to Rochdale Borough Council as a result of poor performance in children's social care services.
PDF , 123KB , 4 pages
Ofsted inspected Rochdale’s arrangements for the protection of children and published a report on 21 December 2012. Ofsted judged the council as ‘inadequate’ overall.
Inadequate performance has also been identified through adoption scorecards for 2012.
The improvement notice we issued on 10 April 2014 replaces this one.
Published: 10 April 2014
Updated: 12 September 2014


When: 07 – 15 September 2017
Where: Hostal Santema, Caldes d'Estrac, Spanien
Costs: 230 EUR
This includes the accommodation, fresh meals cooked by the participants themselves (simple pasta, but also fresh pizza and local fish) and an excursion in the beautiful surroundings.We are happy to announce that the CdE Biomodels will happen again this summer in the great atmosphere of the Hostal Santema, near Barcelona! In contrast to the other CdE Akademies you don’t sign up beforehand to a single course. Instead you will have the opportunity to discuss and advance your recent ideas or research projects (involving bio-modelling), or find inspiration for new ones. The retreat will begin with a pitch of possible group projects where all participants are invited to share their current research problems. It will then commence with focused group work on selected projects during the daytime and lectures/ talks in the evening. We specifically encourage you to participate if
Previous projects were:
Confirmed evening talks:
Click here to see the preliminary Schedule.
Of course there will also be time to relax and enjoy the beautiful Spanish coast!
Among many other alternatives you can:
Contact us for more details about the past years.
We are looking forward to another inspiring Biomodels Retreat!
Your organisers – Cini, Oli, Ron, Sebastian & Steffen


4 references to s_standardMembers
System.Management.Automation (4)
engine\TypeTable.cs (4)
3065
for (int j = 0; j <
s_standardMembers
.Length; j++)
3067
if (string.Equals(memberName,
s_standardMembers
[j], StringComparison.OrdinalIgnoreCase))
3841
foreach (var sm in
s_standardMembers
)
4519
foreach (var sm in
s_standardMembers
)


SIMPATICO A film review by Steve Rhodes Copyright 2000 Steve Rhodes RATING (0 TO ****): * 1/2
The fundamental requirement of a director is that his actors should never appear to be such. In SIMPATICO, based on a play by Sam Shepard, director Matthew Warchus is never able to turn his talented cast into anything approaching real characters. The movie has many an interesting vignette, but never do his actors become flesh-and-blood characters. Instead, the actors strut their stuff and show off their craft but nothing more.
Maybe it's because this play isn't suitable material for a motion picture, or maybe it's because Warchus, whose background is as a stage director, doesn't understand the needs of the cinema. Whatever the reason, SIMPATICO just limps tediously along until the ending credits put it out of its misery.
The story revolves around a decades-old horse racing scam. As a Dumpster Dan of an alcoholic, Nick Nolte plays a loser named Vinnie. Vinnie has the goods in the form of proof of the scam, which he uses to harass his old co-conspirators.
As the wealthy, cigar-chomping Carter, Jeff Bridges plays a Kentucky horse farm owner who's still scamming his way through life. Sharon Stone plays Carter's boozed up wife, Rosie.
Catherine Keener, who can playing working-class types better than just about anyone, is Cecilia, a Payless store clerk, who is Vinnie's girlfriend -- well, kind of. Vinnie is such a filthy, no-account that it's hard to see how anyone could tolerate him for more than a few moments. When pressed, she does admit to kissing him, but only once.
Completely wasted in the picture is Albert Finney as the race commissioner who long ago was set up by Carter and Company.
The only modest tension in the film involves Carter's sale of a soon-to-be-worthless race horse named Simpatico. Lacking any sustained momentum, the movie just ends. Just before the ending, the story interjects a completely predictable, but nevertheless ridiculous, little melodrama. It's the type of pseudo-tragedy that will leave you murmuring to yourself, "Oh, come on!"
SIMPATICO runs 1:46. It is rated R for some strong sexuality and for language and would be acceptable for older teenagers.
Email<EMAIL_ADDRESS>Web: http://www.InternetReviews.com
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Responsively
A modern approach to fluid responsive css with the help of SASS
Because breakpoints are so 2015 🤷
Features
How it works
Viewport units in css is a nice way to make things responsive
A basic approach is to set a property to a viewport unit
//padding will now always be 10% of viewport width
padding: 10vw;
Extending on this basic approach, responsively uses the css calc function to interpolate values between a min-width and a max-width
$value1: 50px;
$value2: 100px;
$min-width: 500px;
$max-width: 1000px;
padding: calc($value1 + ($value2 - $value1) * (100vw - $min-width) / ($max-width - $min-width));
// Compiled css:
// padding: calc(50px + 50 * (100vw - 500px) / 500);
The result is that padding will be:
Fixed at 50px when the browser window is <=500px wide.
...and...
Fixed at 100px when the browser window is >=1000px wide.
While everything between these two sizes is interpolated.
Ex. 75px padding at 750px
Usage
Well, first of you have to actually have SASS in your project
Grab the latest responsively from github
Import the file (note i'm using the scss syntax)
@import "./responsively.scss";
Congratulations, you rule.
Now you are ready to layout responsively.
@import "./responsively.scss";
//If you need to overwrite responsively defaults globally.
$responsively-min-width: 320px; // default is 375px
$responsively-max-width: 900px; // default is 1280px
$responsively-rem-context: 12px; // default is 16px and probably you don't need to change this
// using it
.my-responsive-class{
// $properties: [list] The css properties you want to target.
// $values: [list] The values you want to interpolate between.
@include responsively($properties, $values);
}
A commen usecase is to scale font-size
body{
// font-size now scales between 12px and 17px
@include responsively(font-size, 12px 17px);
}
You can target multiple css properties with the same rule
body{
@include responsively(padding-left padding-right, 10px 25px);
}
Set values for a specific browser width
Either with shorthand syntax
body{
@include responsively(padding-left padding-right, '10px@400px' '25px@800px');
}
Or use alternate, but a little more verbose syntax
body{
@include responsively(
padding-left padding-right,
(
400px: 10px,
800px: 25px
)
);
}
You are not limited to interpolation between only 2 values.
Infact, you can add as many values as you like. Just make sure that the middle ones have a width defined.
body{
@include responsively(
padding-left padding-right,
10px '15px@400px' '20px@500px' 40px
);
}
You can use any unit value you want. Although things tend to get weird. So probably a good idea to stick with rem and px
body{
@include responsively(font-size, 0.8rem 1.4rem);
}
Thank you!
I can't take credit for writing this. Most of this mixin is built on top of other things.
Mostly I just made up a syntax i like, cleaned up some stuff and fixed some errors.
Here's the real mvps:
http://www.sassmeister.com/gist/7f22e44ace49b5124eec
https://codepen.io/stowball/pen/JWoWWz?editors=0100
https://www.smashingmagazine.com/2017/05/fluid-responsive-typography-css-poly-fluid-sizing/
Thanks for putting your code out there. You guys are the best.
Thanks for reading! I hope you can make use of this.


Tournament Arc. Tournament Arc! TOURNAMENT ARC!!!
Wouldn't you rather have dear sweet precious
AuthorBotJunior
judge your tournament?
To select your matchups, hold "ctrl" ("command" on Mac) and click each team you want in the tournament.
Start Tournament?
BEEP


Woman fights school security after teen daughter was sent away for fixing eyelashes
- A video of a Queens College parent fighting the school security guard has since gone viral on social media
- According to the gist, she got involved in the altercation after her daughter was sent away for wearing eyelash extensions
- Many internet users have since taken to the platform to react to the video
A parent standing up for their children is often expected and regarded as the responsible thing to do. However, it appears some parents take this expectation to the extreme and as is with this case, trend for all the wrong reasons.
Currently causing a buzz on social media is a video of a woman fighting a school security guard in broad daylight. According to the gist, the woman whose daughter is a student of the famous Queens College had brought her daughter to school.
However, due to the fact that the teenage girl was spotted with eyelash extensions, she was asked to go back home. Though the details of what exactly was said is quite sketchy, a fight soon ensued between the mother of the girl and one of the security guard.

Read comments below:
"pam_ayy: She just embarrassed herself and her daughter"
"winnieblaq2: Send her home are, something weh u go do tire. Why rush, mtcheew"
"preshhhhh_xo: This security guard sef what’s wrong with them is only eyelashes man the mother sef why is she even embarrassing herself she should just tell her Daugter to take it off cased closed!!!!this is unnecessary Wahala"
"smartochuka: Biko how does the eye lashes affect her studies??"
"worldwide_david: Why will she wear that eye lash to school...that's bad"
Troll attacks actor Adeniyi Johnson after posting throwback photo with his wife
"itz_target1: The daughter should be expelled...... ASAP"
"morenikeji_akanke: Wonders shall never end secondary sch girl on lashes "
"dammyfadeyi: This is not the way to correct a child."
 Contact Legit.ng instantly
Meanwhile, a young Nigerian woman identified as Mary Isaiah Edidem has taken to Facebook to call out a woman identified as Deborah Ekanem. The woman claimed that Ekanem is chasing after her man. In the post shared by Edidem, she warned Ekanem to stay away from her man and stop disturbing him. She added that Ekanem should also stop inviting her man to hotels.
Meet hardworking mother and wife who works as a glass-technician in Abuja | Legit TV


Trading_CalculatedHandlingDiscountType Class Reference
| Inherits from | NSObject |
| Conforms to | PicoBindable |
| Declared in | Trading_CalculatedHandlingDiscountType.h Trading_CalculatedHandlingDiscountType.m |
Tasks
-
discountName
The type of discount that is detailed in the profile.
property
If the selection is EachAdditionalAmount, EachAdditionalAmountOff or
EachAdditionalPercentOff, the value is set in the child element of same
name in CalculatedHandlingDiscount. If the selection is CombinedHandlingFee,
specify the amount in CalculatedHandlingDiscount.OrderHandlingAmount.
If the selection is IndividualHandlingFee, the amount is determined by eBay
by adding the fees of the individual items. -
orderHandlingAmount
If specified, this is the fixed shipping cost to charge for an order,
property
regardless of the number of items in the order.
This field is mutually exclusive with the other amount and percentage
fields within this type.
This field only applies when DiscountName is CombinedHandlingFee. -
eachAdditionalAmount
The packaging/handling cost for each item beyond the first item (where the
property
item with the highest packaging/handling cost is selected by eBay as the first
item). Let’s say the buyer purchases three items, each assigned a
packaging/handling cost of $8, and the seller set EachAdditionalAmount to $6.
The packaging/handling cost for three items would normally be $24, but since
the seller specified $6, the total packaging/handling cost would be $8 + $6 +
$6, or $20.
This field is mutually exclusive with the other amount and percentage
fields within this type.
This field only applies when DiscountName is EachAdditionalAmount. -
eachAdditionalOffAmount
The amount by which to reduce the packaging/handling cost for each item beyond
property
the first item (where the item with the highest packaging/handling cost is
selected by eBay as the first item). Let’s say the buyer purchases three
items, each assigned a packaging/handling cost of $8, and the seller set
EachAdditionalAmountOff to $2. The packaging/handling cost for three items
would normally be $24, but since the seller specified $2, the total
packaging/handling cost would be $24 - (two additional items x $2), or $20.
This field is mutually exclusive with the other amount and percentage
fields within this type.
This field only applies when DiscountName is EachAdditionalOffAmount. -
eachAdditionalPercentOff
The percentage by which to reduce the packaging/handling cost for each item
property
beyond the first item (where the item with the highest packaging/handling cost
is selected by eBay as the first item). Let’s say the buyer purchases three
items, each assigned a packaging/handling cost of $8, and the seller set
EachAdditionalPercentOff to 0.25. The packaging/handling cost for three items
would normally be $24, but since the seller specified 0.25 ($2 out of 8), the
total packaging/handling cost would be $24 - (two additional items x $2), or
$20.
This field is mutually exclusive with the amount fields within this type.
This field only applies when DiscountName is EachAdditionalPercentOff. -
any
(public property)
property
Properties
any
(public property)
@property (nonatomic, retain) NSMutableArray *any
Discussion
(public property)
entry type : PicoAnyElement, wrapper for primitive anyelement
Declared In
Trading_CalculatedHandlingDiscountType.h
discountName
The type of discount that is detailed in the profile.
If the selection is EachAdditionalAmount, EachAdditionalAmountOff or
EachAdditionalPercentOff, the value is set in the child element of same
name in CalculatedHandlingDiscount. If the selection is CombinedHandlingFee,
specify the amount in CalculatedHandlingDiscount.OrderHandlingAmount.
If the selection is IndividualHandlingFee, the amount is determined by eBay
by adding the fees of the individual items.
@property (nonatomic, retain) NSString *discountName
Discussion
The type of discount that is detailed in the profile.
If the selection is EachAdditionalAmount, EachAdditionalAmountOff or
EachAdditionalPercentOff, the value is set in the child element of same
name in CalculatedHandlingDiscount. If the selection is CombinedHandlingFee,
specify the amount in CalculatedHandlingDiscount.OrderHandlingAmount.
If the selection is IndividualHandlingFee, the amount is determined by eBay
by adding the fees of the individual items.
type: string constant in Trading_HandlingNameCodeType.h
Declared In
Trading_CalculatedHandlingDiscountType.h
eachAdditionalAmount
The packaging/handling cost for each item beyond the first item (where the
item with the highest packaging/handling cost is selected by eBay as the first
item). Let’s say the buyer purchases three items, each assigned a
packaging/handling cost of $8, and the seller set EachAdditionalAmount to $6.
The packaging/handling cost for three items would normally be $24, but since
the seller specified $6, the total packaging/handling cost would be $8 + $6 +
$6, or $20.
This field is mutually exclusive with the other amount and percentage
fields within this type.
This field only applies when DiscountName is EachAdditionalAmount.
@property (nonatomic, retain) Trading_AmountType *eachAdditionalAmount
Discussion
The packaging/handling cost for each item beyond the first item (where the
item with the highest packaging/handling cost is selected by eBay as the first
item). Let’s say the buyer purchases three items, each assigned a
packaging/handling cost of $8, and the seller set EachAdditionalAmount to $6.
The packaging/handling cost for three items would normally be $24, but since
the seller specified $6, the total packaging/handling cost would be $8 + $6 +
$6, or $20.
This field is mutually exclusive with the other amount and percentage
fields within this type.
This field only applies when DiscountName is EachAdditionalAmount.
type : class Trading_AmountType
Declared In
Trading_CalculatedHandlingDiscountType.h
eachAdditionalOffAmount
The amount by which to reduce the packaging/handling cost for each item beyond
the first item (where the item with the highest packaging/handling cost is
selected by eBay as the first item). Let’s say the buyer purchases three
items, each assigned a packaging/handling cost of $8, and the seller set
EachAdditionalAmountOff to $2. The packaging/handling cost for three items
would normally be $24, but since the seller specified $2, the total
packaging/handling cost would be $24 - (two additional items x $2), or $20.
This field is mutually exclusive with the other amount and percentage
fields within this type.
This field only applies when DiscountName is EachAdditionalOffAmount.
@property (nonatomic, retain) Trading_AmountType *eachAdditionalOffAmount
Discussion
The amount by which to reduce the packaging/handling cost for each item beyond
the first item (where the item with the highest packaging/handling cost is
selected by eBay as the first item). Let’s say the buyer purchases three
items, each assigned a packaging/handling cost of $8, and the seller set
EachAdditionalAmountOff to $2. The packaging/handling cost for three items
would normally be $24, but since the seller specified $2, the total
packaging/handling cost would be $24 - (two additional items x $2), or $20.
This field is mutually exclusive with the other amount and percentage
fields within this type.
This field only applies when DiscountName is EachAdditionalOffAmount.
type : class Trading_AmountType
Declared In
Trading_CalculatedHandlingDiscountType.h
eachAdditionalPercentOff
The percentage by which to reduce the packaging/handling cost for each item
beyond the first item (where the item with the highest packaging/handling cost
is selected by eBay as the first item). Let’s say the buyer purchases three
items, each assigned a packaging/handling cost of $8, and the seller set
EachAdditionalPercentOff to 0.25. The packaging/handling cost for three items
would normally be $24, but since the seller specified 0.25 ($2 out of 8), the
total packaging/handling cost would be $24 - (two additional items x $2), or
$20.
This field is mutually exclusive with the amount fields within this type.
This field only applies when DiscountName is EachAdditionalPercentOff.
@property (nonatomic, retain) NSNumber *eachAdditionalPercentOff
Discussion
The percentage by which to reduce the packaging/handling cost for each item
beyond the first item (where the item with the highest packaging/handling cost
is selected by eBay as the first item). Let’s say the buyer purchases three
items, each assigned a packaging/handling cost of $8, and the seller set
EachAdditionalPercentOff to 0.25. The packaging/handling cost for three items
would normally be $24, but since the seller specified 0.25 ($2 out of 8), the
total packaging/handling cost would be $24 - (two additional items x $2), or
$20.
This field is mutually exclusive with the amount fields within this type.
This field only applies when DiscountName is EachAdditionalPercentOff.
type : NSNumber, wrapper for primitive float
Declared In
Trading_CalculatedHandlingDiscountType.h
orderHandlingAmount
If specified, this is the fixed shipping cost to charge for an order,
regardless of the number of items in the order.
This field is mutually exclusive with the other amount and percentage
fields within this type.
This field only applies when DiscountName is CombinedHandlingFee.
@property (nonatomic, retain) Trading_AmountType *orderHandlingAmount
Discussion
If specified, this is the fixed shipping cost to charge for an order,
regardless of the number of items in the order.
This field is mutually exclusive with the other amount and percentage
fields within this type.
This field only applies when DiscountName is CombinedHandlingFee.
type : class Trading_AmountType
Declared In
Trading_CalculatedHandlingDiscountType.h


|
About
Resources
Download
|
|
About this Document
|
This document is intended as a "getting started" guide to installing and running the
Apache Lucene web application demo. This guide assumes that you have read the
information in the previous two examples or already know it anyhow. We'll use
Tomcat 4.0.1 as our reference web container. These demos should work with nearly
any container, but it is up to you to adapt them appropriately.
|
|
|
About the Demos
|
The Lucene Web Application demo is a template web application intended for deployment
on Tomcat or a similar web container. It's NOT designed as a "best practices"
implementation by ANY means. It's more of a "hello world" type Lucene Web App.
The purpose of this application is to demonstrate Lucene. With that being said,
it should be relatively simple to create a small searchable website in Tomcat or
a similar application server.
|
|
|
Indexing Files
|
Once you've gotten this far you're probably itching to go.
Let's start by creating the index you'll need for the web examples.
Since you've already set your classpath in the previous examples,
all you need to do is type
"java org.apache.lucene.demo.IndexHTML -create -index {index-dir} ..".
You'll need to do this from a (any) subdirectory of your {tomcat}/webapps directory (make sure you didn't leave off the ".." or you'll get a null pointer
exception).
{index-dir}
should be a directory that Tomcat has permission to read and write, but is
outside of a web accessible context. By default the webapp is configured
to look in /opt/lucene/index for this index.
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Deploying the Demos
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Located in your distribution directory you should see
a war file called luceneweb.war. Copy this to your
{tomcat-home}/webapps directory. You may need to restart
Tomcat.
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Configuration
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From your Tomcat directory look in the webapps/luceneweb subdirectory. If it's not
present, try browsing to "http://localhost:8080/luceneweb" then look again.
Edit a file called configuration.jsp. Ensure that the indexLocation is equal to the
location you used for your index. You may also customize the appTitle and appFooter
strings as you see fit. Once you have finished altering the configuration you should
restart Tomcat. You may also wish to update the war file by typing
jar -uf luceneweb.war configuration.jsp from the luceneweb subdirectory.
(The -u option is not available in all versions of jar. In this case recreate the war file).
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Running the Demos
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Now you're ready to roll. In your browser set the url to "http://localhost:8080/luceneweb"
enter "test" and the number of items per page and press search.
You should now be looking either at a number of results (provided you didn't erase the
Tomcat examples) or nothing. Try other search terms. Depending on the number of items
per page you set and results returned, there may be a link at the bottom that says "more results>>",
clicking it goes to subsequent pages. If you get an error regarding opening the index, then you
probably set the path in "configuration" incorrectly or Tomcat doesn't have permissions to the
index (or you skipped the step of creating it).
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