Jane Eyre

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Jane Eyre by Charlotte Bronte is an in-depth novel about a complex young woman. The reader follows Jane Eyre from an unjust childhood through a strenuous adolescence and into an accomplished adulthood. Bronte creates diverse settings that are significant to Jane’s character including the education, discipline, and acceptance of death she takes from Lowood, the profound love she develops in Thornfield, and the joyous discovery in Ferdean of a renewed and completed life.


Jane was sent to Lowood School at a very young age after the unfair treatment she endured from birth. This school was run by a ridged man who demanded the institution be strict and not the least bit indulgent. Here, Jane learns how to speak French and improve her reading and writing skills. She takes a step beyond learning mere information from books and into a cherished friendship with Helen Burns. Helen not only teaches Jane about friendship but also about the concept of death. “I am very happy Jane; and when you hear that I am dead, you must be sure and not grieve…We all must die one day.” Eyre is comforted by Helen’s words of strength as she faces certain death. Burns’ last words tell of her belief in God and acceptance of departing from this life “I can resign my immortal part to him without any misgiving. God is my father; God is my friend; I love him; I believe he loves me.” This last conversation leaves an impression on Jane and has her questioning the existence of a higher being.


Thornfield is an immense yet eerie mansion where Jane develops enduring relationships and becomes once again exposed to extreme wealth. It is at Thornfield where she attaches herself to her pupil and falls desperately in love with Mr. Rochester. Eyre struggles with outward appearances, a baffling mystery, and entertains the idea of marriage. She unwillingly comes to deeply care for Mr. Rochester and discovers heartache when she is forced to leave him. “My hopes were all dead…I looked at my love…it shivered in my heart…it could not derive warmth from his breast.” This emotional quote describes the anguish Jane is put through as she must learn to cope with the breakup of her engagement. This pivotal scene is filled with intense pain as Eyre comes to grips with her moral obligation to depart from her dearest friend and ideal soul mate. Her exit from Thornfield is by far the most difficult and strenuous trial that Jane overcomes.


Ferndean is the last and most jovial setting in the novel. The name brings connotations of regeneration and rebirth of life to mind. Jane reunites with her lost love and becomes a proud mother as every void in her life is filled. “My Edward (Mr. Rochester) and I, then, are happy and the more so, because those we most love are happy likewise.” This quote shows the much deserved peace and pleasure Eyre receives from the final chapter in her life. Jane Eyre undergoes powerful tribulations that make her a stronger person and give her the ability not only to survive, but also thrive.


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Wheelchair

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Assume that you use a wheelchair and are about to start your first day in college. But wait. Much of your college campus is not accessible for persons who use wheelchairs. How do you feel? What will you do about the situation?


Knowing of my disability beforehand, I probably would not have chosen a college campus that would not provide the accommodations that I require. A college campus would be a very important place for me, since it is where would attend my classes, lectures, and spend time at the library. Therefore, if the college campus was not accessible for me, I would not have chosen such a campus.


However, in the case that I was not aware of this problem prior to attending this college, I would definitely make my feelings and opinions known to the deans of the school. I would let them know that it is unfair for them to not provide for the needs of students who have disabilities. I would express my disappointment in the college and the necessity of providing the proper services and access for all individuals.


After I make my feelings aware to them, I would see if they would consider making some changes to the campus. If they decide to do so, I would feel pleased that I was able to make some changes for future students with disabilities. However, if they fail to make any changes, I would seriously consider whether I should attend this college, because obviously they do not care to provide for all their students.


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Advanced Modern Journal

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Advanced Modern Journal � //0


As I began to read Merce Cunningham’s article, “Space, Time and Dance”, one particular statement immediately jumped out at me “The dance is an art in space and time. The object of the dancer is to obliterate that.” This is a very bold declaration, but I couldn’t agree with Cunningham more. Many times, dance is thought of as just movement itself, rather than movement existing in and moving through space and time. By forgetting about these two key elements, much is lost in the dance. As a dancer, it is important to always be aware that you are moving through space and time. But at the same time, it is crucial to not let the space and time act as limits or boundaries on the movement. As Cunningham says “The dance is free to act as it chooses…”


The reason that I connected so strongly with this article is because I just recently began to realize the importance of space and time within my own movement. Before I arrived at Muhlenberg last fall, I had never been exposed to modern dance before. Because it was such a new art form for me, I wasn’t completely aware of all that this dance form encompasses. I was used to competition and Broadway style jazz, which although I still enjoy doing it, has a tendency to be somewhat mindless movement meant to show off how many turns and jumps you can do. So when I took my first modern class in college, I was surprised at the fact that we concentrated so much on our mind, our surroundings and the intentions of our movement rather than just working on the technical side of the movement itself. These ideas were all very new to me, so I had a hard time trying to think about everything while still dancing. But as the year progressed, I began to get used to the idea of the body, mind, time and space working as one, and I now realize how much concentrating on all those aspects at once can really add to my movement.


In his article, Cunningham also speaks of the formal methods of choreography � mind following heart, form following content and movement following music. He refutes these ideas, saying that modern dance itself is meant to discover and invent new movement for contemporary reasons. I found these ideas to be particulary true after performing and rehearsing modern pieces for the first time. I can still remember coming to my first modern rehearsal last year and expecting to simply learn choreography already set to movement and rehearse it until it was perfect. But as I entered the studio, my choreographer asked us to play improvisational games which were then turned into movement phrases. Again, this was a very new idea to me, but I was awestruck at the fact that it is possible to create dance by simply doing what comes naturally to you. Most of the movement that was eventually performed was movement I had never done or seen before, but that was what made it so special. I really appreciated and enjoyed the fact that I was executing new and unique movements and that those movements were created for us, the dancers in the piece.


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After performing in my first modern dance concert, I came to the understanding that dance is not just turning, jumping and smiling, but it is � as Cunningham says � “a spiritual exercise in physical form, and that what is seen, is what is.” I believe that modern dance is a unique art that allows dancing to be what it should be, free movement within space and time. And if looked for, dancing is found all around us, from rolling out of bed in the morning, to walking to class; for “Dancing is a visible action of life”.





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meh

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The Articles of Confederation were origionally written to set up a basic from of government for the newly formed United States of America. Many had problems adapting to this written form of government, especially Conservatives. Overall, the Articles of Confederation did no provide ab adequate plan for the government, and did not fulfil all the needs of a growing nation.





First off, the Articles of Confederation stated that the National Government could not establish an army or navy. This caused the United States much worry, and eventually problems that would lead to the ratification of the Constitution. Many people didnt like the idea that their nation didnt have the power to raise a defense or source of assurance against potential enemy


1000pm - The drive home seemed really short. I began to get edgy as usual, i cant go a single day anymore without being a dick. My legs were really sore from earlier, and i had a bad sore throat, so yeah. I make myself feel really stupid. In a comatose state, i just sorta sat and talked. It was really nice being in a car, i dont know why but it just was. Not really much to comment on the ride home, it was really similar to the ride there. Cept this time i got to ride in the front with lacie and her dad. I liked it that way better. Less space, but i dunno it was cool.


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im real tired i think ill go to bed. I took lots of pictures of the show, so ill have those posted hopefully within the next week. The Thursday pictures havent gotten developed yet, so those will have to wait a bit too.





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In what ways does drawing intrude in the development of architectural forms?

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Architectural drawing is a representation of an object that is yet to be realized. It is a medium from an idea to a tangible object, which means an idea has to be somehow drawn before it is built. In this way, an architectural drawing dictates what the building is going to be like.


Functionalist tradition of Modern Architecture suggested rationality, technological advanced and perfectly functional system that is based entirely on the carefully quantified needs and requirements of its users. It sought to present itself as the perfect model of the human experience. Thus, the drawing that it used to represent itself ought to be able to accentuate this perfectly image of Modern Architecture, which has in turn had an impact on the final form of the building it produced.


Modernist, like Le Corbusier, proposed the idea, “form follow function”, which means the functionability of a building should be the foremost consideration before the form. During the period, axonometric and isometric projections drawings were preferred because they represent practicality and functionability of a building much better than perspectical drawings. Due to the reason that axonometric and isometric projections drawing are easier to generate straight lines instead of curve lines, Modern architectural form has therefore always ended up as cubic or orthogonal in nature. In addition, these projections drawing have also resulted in the form of the modern buildings where decoration is not important. Thus, Modern buildings are mostly plain, cubical, and perhaps identical.


As time has changed, old architectural style has gradually been taken placed by the new styles and new movements; the style of drawing being adopted in architectural profession has undergone a transformation as well. New movement founded, to deliberately oppose the Modern movement, with the goal of dissolving the fixed and determined forms of the Modern. Deconstructivism as one of them seeks to reveal the dynamic formal possibilities that lay within the program offered by the institution and its context. Unsurprisingly, axonometric and isometric projections drawing that were preferred by the Modern movement has not been seen to be adopted by Deconstructivism. Instead, new drawing styles, especially those generated by computer technology are preferred.


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Architectural drawing as representation is a form of communication. Like other sort of communications, it also suffers from distortion due to human error and limitation. Therefore, a drawing does not always fully represent the actual design idea of the designer. A more serious problem would be the deformation of the role of architectural drawing.


This role of the architectural drawing as a representation has changed overtime and has become a seemingly separate entity from the object it represents. Like other visual art, architectural drawing now emphasizes on visual effect. It does not matter weather it represents the actual idea, but as long as it looks good.


This phenomenon is most probably caused by the continuing pressure of society where architect should produce something that looks good. “Architects are artistic people.” And it is a shameful thing for architects to produce something that looks ordinary, dull, and boring. The emerge of computer graphic that can produce fancy and fascinating image has even worsen the condition. The gap between representation and reality is now bigger. Architecture is now suffered from, according to Evan, vastly idealization, distortion or transmogrification. To rescue architecture from this bondage is to get rid of the over-dependency on architectural drawing. It is to get back to the fundamental where drawing is essentially a representation but not the protagonist of a true architecture.


Daniel Libeskind’s drawing which can be found in Hays anthology is perhaps a good example. I personally can’t see what exactly is suggested by his incomprehensible sketches. They certainly look good, but I am afraid they are probably just aesthetic without content. Like the story of the “emperor’s new clothes”, no one dares to say they can’t see or they don’t understand because they think they are smart, or they fear people might know they are actually unintelligent. It might be offensive to say that Daniel Libeskind’s sketches are like the “emperor’s new clothes”, but they are for me, confusing and deceiving.


Architectural drawing is to convey and to make clear, not to confuse. It is the ‘architecture’ that architects are designing, not the drawing. Architecture suggests something spatially tangible, something that should be able to be experienced visually and physically in three-dimensional form. If two-dimensional architectural drawing is to be taken too seriously, even being overly emphasized than the end product, the true hidden potential of architecture will be suppressed and limited.





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georgia

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[AMMENDED INSTRUCTIONS FOR FREEWARE VERSION]





SEE THE INTERNET SECTION TOWARD THE END


ChesStat.DOC


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Except for the Freeware version(InetChes.exe), ChesStat.exe is


Copyrighted by Michael D. Sperry, Sr. and cannot be distributed without


his express permission. Orders should be accompanied by a


check or money order for $4 (includes shipping) made to


Michael Sperry, CEO of S.I.S. at 706 Sycamore Pl., New


Orleans, La. 70118. Questions may be directed to


Zorro16@new-orleans.neosoft.com (on internet).


The disks are not copy protected and the files thereon can be


copied to a hard disk or to backup floppies with the standard


DOS commands. Copy all of the following files from the program


disk into a directory named CSTAT which must be only one


branch from your root directory. (CCSTAT).


N/AChesStat.lha


N/Alha.exe


N/Ainstall.bat


N/A FOR FREEWARE


The next step is to change to the directory CCSTAT and


then type install and [Enter]. The install batch file will


unarchive the program and data files.


The following files should be present in the CSTAT directory after the


install program is finished. Additional files may also be present.


1. ChesStat.EXE - The EGA and VGA program version.


. CONVERT.DOC - Convert program documentation.


. CONVERT.EXE - Program to convert algebraic text single


or combined files to ChesStat.gms format


in a batch run mode.


4. CONVALGB - Overlay file MUST BE IN CURRENT


DIRECTORY!!! when executing CONVERT.EXE


5. CHESSTAT.DOC - This file


6. README.DOC - Last minute updates. (May or may not be


present.)


7. ENDGAMES.GMS - See the ENDGAME STUDIES section.


8. COMBINE1.GMS - Approximately 100 Selected Games.


. COMBINE.GMS - Approximately 75 Selected Games.


10. ANALYSIS.GMS - Selected Analyses


11. FISSPA.GMS - Fischer vs Spassky, 1!


1. SPANNER.EXE - A terminal program for Chess by Phone


1. SPANNER.DIR


14. SPANNER.DEF


Indicates copyrighted material, all right reserved. The rest


are shareware.


ChesStat.doc - ChesStat is provided with help screens which


are available by pressing the F1 key when the help available


message is displayed at the bottom of the screen. These, plus


the tips provided herein should be sufficient to begin


quickly.


1. ChesStat runs much faster from a hard drive, and can


access an unlimited number of games as long as they are


all in the same directory. ChesStat is limited to


approximately 17 games simultaneously from a 60K floppy


drive. Note that combined files (those with many games


combined) load and are analyzed faster than the same


number of games in separate files. Things really zip if


the files are put in a RAM Drive, or if there is a 104K


Disk Cache in use.


. The ANSI.SYS driver should be installed in CONFIG.SYS


prior to starting CSTATE. See your DOS Manual for


instructions to invoke ANSI.SYS.


N/A . To start ChesStat when the program is in the same


directory as the game files [the current directory only]


type ChesStat and [Enter].


N/A 4. To start ChesStat with the files in the current directory


and the program on a different drive or directory, type


[DRIVE][PATH]ChesStat and [ENTER]. Example


CCSTATChesStat.


5. The Main Menu appears, along with the title screen.


Examine the options shown by the Main Menu. This is the


central control screen, and you must pass through it to


switch between the options shown. Be careful not to press


the [Esc] key here unless you wish to EXIT the program.


Help is available by pressing the [F1] key.


a. The Entry Mode allows manual entry of games and


loading of existing game files. Help is available


by pressing the [F1] key. As many as 100 games can


be loaded (F), depending on available memory, each


appended to the growing group. The group can then


be saved (F10), or the individual files archived


(F5). Only the last game appended can be modified


once the group is formed. Unwanted games can be


marked, and will not be saved with the group. The


option to save each game individually is prompted


as each game is marked (F5). Either enter a file


name at this point or press [Enter] to abort the


individual game save. Games can be scanned at the


users preferred speed. The Help Screen shows all


control key assignments. Note that [Ins] and [Del]


play a major role in stepping forward and backward


through moves.


ChesStat is Mouse compatible in all entry modes.


The left button selects a piece to move (under the


cross hairs) and also drops the piece under the new


cross hair position the second time pressed.


Pressing the left and right buttons at the


same time takes back a move. Pressing the right


button alone makes the next move, if one is already


recorded.


You can jump to any move number in a game by


hitting [Alt-J] and the by entering M7 where 7 is


the seventh move of the game.


N/A b. The Analysis Mode has two important differences


from the Entry Mode.


First, the load command [F] is dramatically


different. It will only load those files in which


there is a POSITION identical to the one shown by


the game board AND which comply with the FILTER


criteria selected by the user after pressing [F].


The program will look for the specified letters or


numbers in the combinations given which match any


portion of the information stored in the relevant


fields of the database. For example If the user


specifies SIC in the opening field, the program


will search and find all SICILIAN games which also


contain the position of the game board, regardless


of move number. It will also find all SICK


openings with a matching position, because SICK


contains SIC. Similar criteria apply to the other


filter fields.


To bypass a field (no criteria) just hit [Enter]


when the cursor reaches the field and leave it


blank. Any criteria in any field will further


reduce the number of matching games.


The ratings field is special. If you wish to find


all games played between two GMs with ratings


between 700 and 750, regardless of position or


opening do the following


Press [Alt P] in the analysis mode to toggle the


Ignore Position? message to read YES. Note that


this must read NO when searching for a displayed


position match.


Press [F] to initiate the search load.


Press [Enter] as many times as it takes to reach


the White Rating.


Enter 700 750.


Press [Enter] until you reach the Black Rating


field.


Enter 700 750.


Press [Enter] through all of the remaining fields.


The program will do the rest.


Note that if more matches are found than memory can


hold, the remaining matches can be examined by


again pressing the [F] key. This process can


continue indefinitely until no more matches are


found, or you cancel by pressing [Alt R].


N/A c. The Tree Mode


The second Major feature of the analysis mode is


the Tree Mode. If two or more games are loaded in


the analysis mode, pressing the [F] key will


toggle between the Analysis Tree Mode and the


Analysis Data Mode. The Tree mode shows the next


move variations from the game board position, AND


the game numbers where each variation can be found.


Jump to the game number of the variation you like


([Alt J] then G7 [Enter] for Game 7), then toggle


back to the Data Mode for a look at the Stats!


d. The Position Mode


The Position Mode can be used to setup a position


for a database search. Help is available with the


[F1] key. Piece entry is fast and easy, and is


adequately explained by the Help Screen.


N/A Endgame Studies


A number of endgame studies are provided free. The format


for storing the free studies allows searching for


specific piece counts, and placements. The Ignore


Position flag should be set to YES if an exact


position match is not required. Note that the field names


do not exactly comply with the data stored in them for an


endgame study.


Board Printouts


Before starting CHESSTAT you must load the GRAPHICS.EXE


program, which is one of the supplemental programs


provided by with DOS. Use the following procedure to


print a position


1. Invoke GRAPHICS.EXE from your DOS directory.


. Invoke ChesStat.


. Select the position of interest in the usual manner.


5. Make sure your printer is in the IBM graphics mode.


6. Hit your Print Screen button(s).


APPLIED TO InetChes.exe


Chess by Modem


A recent addition to InetChes includes the ability to


play over the phone with a friend who also has InetChes .1.


A Chat feature is included which allows messages to be


exchanged during play. (The Internet connection will be discussed


later.)


To access these features, you should follow this


procedure.


1. Call your friend using Spanner. To do this,


the called person must set his modem in the auto-


answer mode by typing ATS0=1- [ENTER] after


starting the terminal program. The caller must dial


through his terminal programs dialing procedure.


Once the modems are synchronized, establish that


you can see each others typing ([Alt E] usually


outs you in a mode where you can see your own


typing too). Then, type [ALT-U] to access the batch file


CHESSBAT.BAT which executes InetChes.exe.


NOTE ONE PLAYER SHOULD PERFORM THIS PROCEDURE AT LEAST FIVE


SECONDS BEFORE THE OTHER.


The program will first try to determine if the communications


is full duplex or half duplex. One end will experience 5


seconds of a RED field left of the chess board. This is normal


and shows the connection is present. Two programs doing this


simultaneously on each end may convince each other there is an


echo when there is not. If problems in communication become


apparent, one user should exit and re-start.


N/A . Change to the directory containing ChesStat and


execute ChesStat.


. At InetChess Main Menu, strike M for Modem


setup. Enter your Comm Port number.


N/A 4. From the Main Menu, access the Game Entry Mode


[F4].


5. Initiate the Chat Mode by pressing the space bar,


tying your message and then [ENTER]. You should


establish who will play white. The Black player


MUST IMMEDIATELY place his pieces at the bottom of


the board using [Alt-V], otherwise the moves will


not synchronize.


6. Begin Play, and Enjoy the game!


7. The program checks the position on each board and will


initiate automatic error recovery if the boards get out of


synch. If you suspect a move has been missed, just do nothing,


and the program will slowly retract moves on the computer with


the most moves made until the boards match. Note that this may


have the effect of retracting one or more of your moves, so


watch out for it.


CLOCKS


The clocks start when playing by modem as white makes his first


move. To toggle the clocks on and off, just hit the T key. Note


that the clocks are reset by the board reset command [Alt R], but


reset must be done by both computers.


INTERNET PLAY! INCLUDED WITH FREEWARE VERSION


Edit the file spanner.dir with a text editor to include your


internet access number.


Run Spanner.exe and type [ALT-P] to enter your connection


parameters. N,8,1 connection is required, but the baud rate,


communications port and modem strings are variable according to


your system. After entering the correct info type the F7 key to


save it.


In Spanner, [ALT-D] shows the directory. Enter the item number for


internet, or enter the number manually.


After logging onto internet using the ANSI TERMINAL SETTING, type


alk name@address to initiate the internet chat mode. After


connection is established, confirm that you can converse with your


opponent by typing hello name. Now would be a good time to settle


who will play black and what the time control will be. Remember


black must type [ALT-V] inside of InetChes to put his black pieces


on the bottom.


From here on out, play will be as described in the Play by Modem


Section above. Expect a few more beeps, delays and automatic


position synchronization retractions because of the inherently


flaky nature of Internet communications.


APOLOGIES


InetChes may freak without both a white King and a Black


King on the board. In the position mode, its OK to temporarily


have two Kings of the same color, but there should be at


least one. So, always place the King in its new position


first, BEFORE DELETING IT FROM ITS ORIGINAL POSITION!





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System Information

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This topic describes the file formats for


raster and vector fonts used by the Windows


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operating system. These file formats may be


used by smart text generators in some support


modules for the graphics device interface


(GDI). Vector formats, however, are more


frequently used by GDI than by the support


modules.


Organization of a Font File


Raster and vector font files begin with


information that is common to both types of


file and then continue with information that


differs for each type. These font files are


stored with an .FNT extension.


In Windows versions .0 and later, the


font-file header for raster and vector fonts


includes six new members dFlags, dfAspace,


dfBspace, dfCspace, dfColorPointer, and


dfReserved1. All device drivers support the


fonts in Windows .x. However, not all drivers


support those in versions .0 and later.


In Windows, font files for raster and vector


fonts include the glyph table in the


dfCharTable member, which consists of


structures describing the bits for characters


in the font file.The use of -bit offsets to


the character glyphs in the dfCharTable member


enables fonts to exceed 64K, the size limit of


Windows .x fonts.


Because of their -bit offsets and


potentially large size, the newer fonts are


designed for use on systems that are running


Windows versions .0 and later in protected


(standard or 86-enhanced) mode and are using


an 8086 (or higher) processor whose -bit


registers can access the character glyphs.


Typically, newer drivers use the newer version


of a font only when both of these conditions


are true.


Font-File Structure


Font information is found at the beginning of


both raster and vector font files.


Following are the members of the TFONTINFO


structure


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dfVersion ³ The version (0x000 or 0x000) of the file.


dfSize ³ The total size of the file, in bytes.


dfCopyright ³ Copyright information.


dfType ³ The type of font file. This information is organized


³ as follows


Byte ³ Description


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Low-order ³ Exclusively for GDI use. If the low-order


³ bit of the word is zero, it is a bitmap


³ (raster) font file. If the low-order bit


³ is 1, it is a vector font file. The


³ second bit is reserved and must be zero.


³ If no bits follow in the file and the


³ bits are located in memory at a fixed


³ address specified by the dfBitsOffset


³ member, the third bit is set to 1.


³ Otherwise, the bit is set to zero. If the


³ font is realized by a device, the


³ high-order bit of the low-order byte is


³ set. The remaining bits in the low-order


³ byte are then reserved and set to zero.


High-order ³ Reserved for device use and is always


³ set to zero for standard fonts realized


³ by GDI. Physical fonts that set the


³ high-order bit of the low-order byte may


³ use this byte to describe themselves. GDI


³ never inspects the high-order byte.


dfPoints ³ The nominal point size (that is, the number


³ identifying the point size) at which this character


³ set looks best.


dfVertRes ³ The nominal vertical resolution (that is, the number


³ identifying the vertical resolution), in dots per


³ inch, at which this character set was digitized.


dfHorizRes ³ The nominal horizontal resolution (that is, the number


³ identifying the horizontal resolution), in dots per


³ inch, at which this character set was digitized.


dfAscent ³ The distance from the top of a character-definition


³ cell to the base line of the typographical font. The


³ dfAscent member is useful for aligning the base lines


³ of fonts with different heights.


dfInternalLeading ³ The amount of leading inside the bounds set by the


³ dfPixHeight member. Accent marks can occur in this


³ area. The designer can set the value to zero.


dfExternalLeading ³ The amount of extra leading that the designer requests


³ the application to add between rows. Since this area


³ is outside the font proper, it contains no marks and


³ is not altered by text-output calls in either opaque


³ or transparent mode. The designer can set the value to


³ zero.


dfItalic ³ Whether the character-definition data represents an


³ italic font. If the flag is set, the low-order bit is


³ 1. All other bits are zero.


dfUnderline ³ Whether the character-definition data represents an


³ underlined font. If the flag is set, the low-order bit


³ is 1. All other bits are zero.


dfStrikeOut ³ Whether the character-definition data represents a


³ strikeout font. If the flag is set, the low-order bit


³ is 1. All other bits are zero.


fWeight ³ Specifies the weight of the characters in the


³ character-definition data, on a scale of 1 through


³ 1000. A dfWeight value of 400 specifies a regular


³ weight.


dfCharSet ³ The character set defined by this font.


dfPixWidth ³ The width of the grid on which a vector font was


³ digitized. For raster fonts, if the dfPixWidth member


³ is nonzero, it represents the width for all the


³ characters in the bitmap. If the member is zero, the


³ font has variable-width characters whose widths are


³ specified in the array for the dfCharTable member.


dfPixHeight ³ The height of the character bitmap for raster fonts or


³ the height of the grid on which a vector font was


³ digitized.


dfPitchAndFamily ³ The pitch and font family. If the font is variable


³ pitch, the low bit is set. The four high bits give


³ the family name of the font. Font families describe


³ the general look of a font. They identify fonts when


³ the exact name is not available. The font families are


³ described as follows


Family ³ Description


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FF_DONTCARE ³ Unknown.


FF_ROMAN ³ Proportionally spaced fonts with


³ serifs.


FF_SWISS ³ Proportionally spaced fonts without


³ serifs.


FF_MODERN ³ Fixed-pitch fonts.


FF_SCRIPT ³ Cursive or script fonts. (Both are


³ designed to look similar to


³ handwriting. Script fonts have joined


³ letters; cursive fonts do not.)


FF_DECORATIVE ³ Novelty fonts.


dfAvgWidth ³ The width of characters in the font. For fixed-pitch


³ fonts, this value is the same as the value for the


³ dfPixWidth member. For variable-pitch fonts, it is the


³ width of the character X.


dfMaxWidth ³ The maximum pixel width of any character in the font.


³ For fixed-pitch fonts, this value is the same as the


³ value of the dfPixWidth member.


dfFirstChar ³ The first character code defined by the font.


³ Character definitions are stored only for the


³ characters actually present in the font. Use this


³ member, therefore, when calculating indexes for either


³ the dfBits or dfCharOffset member.


dfLastChar ³ The last character code defined by the font. All


³ characters with codes between the values for the


³ dfFirstChar and dfLastChar members must be present in


³ the character definitions for the font.


dfDefaultChar ³ The character to substitute whenever a string contains


³ a character that is out of range. The character is


³ given relative to the dfFirstChar member so that the


³ dfDefaultChar member is the actual value of the


³ character less the value of the dfFirstChar member.


³ The dfDefaultChar member indicates a special character


³ that is not a space.


dfBreakChar ³ The character that defines word breaks for word


³ wrapping and word-spacing justification. The character


³ is given relative to the dfFirstChar member so that


³ the dfBreakChar member is the actual value of the


³ character less that of the dfFirstChar member. The


³ dfBreakChar member is normally minus the value of


³ the dfFirstChar member (the ASCII space character).


dfWidthBytes ³ The number of bytes in each row of the bitmap. This


³ value is always even so that the rows start on word


³ boundaries. For vector fonts, this member has no


³ meaning.


dfDevice ³ The offset in the file to the string giving the device


³ name. For a generic font, this value is zero.


dfFace ³ The offset in the file to the null-terminated string


³ that names the face.


dfBitsPointer ³ The absolute machine address of the bitmap. This is


³ set by GDI at load time. The value of the


³ dfBitsPointer member is guaranteed to be even.


dfBitsOffset ³ The offset in the file to the beginning of the bitmap


³ information. If the third bit in the dfType member is


³ set, the dfBitsOffset member is an absolute address of


³ the bitmap (probably in read-only memory).


³ For raster fonts, the dfBitsOffset member points to a


³ sequence of bytes that make up the bitmap of the font.


³ The height of the bitmap is the height of the font,


³ and its width is the sum of the widths of the


³ characters in the font, rounded up to the next word


³ boundary.


³ For vector fonts, the dfBitsOffset member points to a


³ string of bytes or words (depending on the size of the


³ grid on which the font was digitized) that specify the


³ strokes for each character of the font. The value of


³ the dfBitsOffset member must be even.


dfReserved ³ Not used.


dfFlags ³ The bit flags that define the format of the glyph


³ bitmap, as follows


Pitch value ³ Address


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DFF_FIXED ³ 0x0001


DFF_PROPORTIONAL ³ 0x000


DFF_ABCFIXED ³ 0x0004


DFF_ABCPROPORTIONAL ³ 0x0008


DFF_1COLOR ³ 0x0010


DFF_16COLOR ³ 0x000


DFF_56COLOR ³ 0x0040


DFF_RGBCOLOR ³ 0x0080


dfAspace ³ The global A space, if any. The value of the dfAspace


³ member is the distance from the current position to


³ the left edge of the bitmap.


dfBspace ³ The global B space, if any. The value of the dfBspace


³ member is the width of the character.


dfCspace ³ The global C space, if any. The value of the dfCspace


³ member is the distance from the right edge of the


³ bitmap to the new current position. The increment of a


³ character is the sum of the A, B, and C spaces. These


³ spaces apply to all glyphs, including DFF_ABCFIXED.


dfColorPointer ³ The offset to the color table for color fonts, if any.


³ The format of the bits is like a device-independent


³ bitmap (DIB), but without the header. (That is, the


³ characters are not split into disjoint bytes; instead,


³ they are left intact.) If no color table is needed,


³ this entry is NULL.


dfReserved1 ³ Not used.


dfCharTable ³ An array of entries for raster, fixed-pitch vector,


³ and proportionally spaced vector fonts, as follows


Font type ³ Description


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Raster ³ Each entry in the array


³ consists of two -byte


³ words for Windows .x


³ and three -byte words


³ for Windows .0 and


³ later. The first word


³ of each entry is the


³ character width. The


³ second word of each


³ entry is the byte


³ offset from the


³ beginning of the


³ TFONTINFO structure to


³ the character bitmap.


³ For Windows .0 and


³ later, the second and


³ third words are used


³ for the offset.


Fixed-pitch vector ³ Each -byte entry in


³ the array specifies the


³ offset from the start


³ of the bitmap to the


³ beginning of the string


³ of stroke specification


³ units for the


³ character. The number


³ of bytes or words to be


³ used for a particular


³ character is calculated


³ by subtracting its


³ entry from the next


³ one, so that there is a


³ sentinel at the end


³ of the array of values.


Proportionally-spaced vector ³ Each 4-byte entry in


³ the array is divided


³ into two -byte fields.


³ The first field gives


³ the starting offset


³ from the start of the


³ bitmap of the character


³ strokes. The second


³ field gives the pixel


³ width of the character.


³ One extra entry at the


³ end of the character


³ table describes an


³ absolute-space


³ character, which is


³ guaranteed to be blank.


³ This character is not


³ part of the normal


³ character set.


³ The number of entries


³ in the table is


³ calculated as follows


³ (dfLastChar -


³ dfFirstChar) + . This


³ number includes a


³ spare, the sentinel


³ offset.


facename ³ An ASCII character string that constitutes the name of


³ the font face. The size of this member is the length


³ of the string plus a null terminating character.


devicename ³ An ASCII character string that constitutes the name of


³ the device if this font file is for a specific one.


³ The size of this member is the length of the string


³ plus a null terminating character.


bitmaps ³ Character bitmap definitions. Unlike the old font


³ format, each character is stored as a contiguous set


³ of bytes.


³ The first byte contains the first 8 bits of the first


³ scan line (that is, the top line of the character).


³ The second byte contains the first 8 bits of the


³ second scan line. This continues until the first


³ column is completely defined. The subsequent byte


³ contains the next 8 bits of the first scan line,


³ padded with zeros on the right if necessary (and so


³ on, down through the second column). If the glyph is


³ quite narrow, each scan line is covered by one byte,


³ with bits set to zero as necessary for padding. If the


³ glyph is very wide, a third or even


³ fourth set of bytes can be present.


³ Character bitmaps must be stored contiguously and


³ arranged in ascending order. The bytes for a 1-pixel


³ by 14-pixel A character, for example, are given in


³ two sets, because the character is less than 17 pixels


³ wide


³


³ 00 06 0 10 0 0 0 F 0 0 0 00 00 00


³ 00 00 00 80 40 40 40 C0 40 40 40 00 00 00


³ Note that in the second set of bytes, the second digit


³ of the byte is always zero. The zeros correspond to


³ the thirteenth through sixteenth pixels on the right


³ side of the character, which are not used by this


³ character bitmap.


Version-Specific Glyph Tables


The dfCharTable member for Windows .x has a


TGLYPHENTRY structure with the following


format


GlyphEntry struc


geWidth dw ? ; width of char bitmap, pixels


geOffset dw ? ; pointer to the bits


GlyphEntry ends


The dfCharTable member in Windows .0 and


later is dependent on the format of the glyph


bitmap. The only formats supported are


DFF_FIXED and DFF_PROPORTIONAL.


DFF_FIXED


DFF_PROPORTIONAL


GlyphEntry struc


geWidth dw ? ; width of char bitmap, pixels


geOffset dd ? ; pointer to the bits


GlyphEntry ends


DFF_ABCFIXED


DFF_ABCPROPORTIONAL


GlyphEntry struc


geWidth dw ? ; width of char bitmap, pixels


geOffset dd ? ; pointer to the bits


geAspace dd ? ; A space, fract pixels (16.16)


geBspace dd ? ; B space, fract pixels (16.16)


geCspace dw ? ; C space, fract pixels (16.16)


GlyphEntry ends


Fractional pixels are expressed as -bit


signed numbers with an implicit binary point


between bits 15 and 16. This is referred to as


a 16.16 (sixteen dot sixteen) fixed-point


number.


The ABC spacing in the following example is


the same as defined previously. However,


specific sets are defined for each character


DFF_1COLOR ; 8 pixels per byte


DFF_16COLOR ; pixels per byte


DFF_56COLOR ; 1 pixel per byte


DFF_RGBCOLOR ; RGB quads


GlyphEntry struc


geWidth dw ? ; width of char bitmap, pixels


geOffset dd ? ; pointer to the bits


geHeight dw ? ; height of char bitmap, pixels


geAspace dd ? ; A space, fract pixels (16.16)


geBspace dd ? ; B space, fract pixels (16.16)


geCspace dd ? ; C space, fract pixels (16.16)


GlyphEntry ends


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John Phillip Souza

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John Philip Sousa was born in 1854, the third child of ten. He was born in Washington, D.C. His parents were immigrants. John


Antonio Sousa was his dad. He was originally from Spain, even though his parents were Portugese in origin. His mom, Maria Elisabeth


Trinkhaus came to America from Bavaria.


John was a talented youngster. At the tender age of 6 he was studying music. He learned to play many types of instruments; the


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violin, piano, cornet, alto horn, flute, baritone. Like his father, who played the trombone in the U.S. Marines Band, John, too, learned to play the trombone. John also spent time studying voice.


John was a rather mischevious teen. At the age of 1 John tried to run away to join the circus. Dad was not all that impressed


with John and made him enlist in the Marines. While in the service he published Moonlight on the Potomac Waltzes. That was his first published composition and the beginning of a very successful career. After spending 8 years in the Marines, he was discharged.


John found the love of his life in 187. Jane van Middleworth Bellis became Mrs. John Philip Sousa that year. Together they travelled to Europe four times. On one voyage back, John was inspired to write the Stars and Stripes Forever. Three of their trips to Europe were for performances, another trip was as a vacation. While they were on vacation Sousas promoter, David Blakely died.


In 18 John named his band Sousas New Marine Band. Needless to say, Washington was not pleased with the name and Sousa had to rename his band. He had a couple of great tours with the Marine Band but was convinced to go into the civilian sector to create another band.


As stated earlier, Sousa was a prolific writer. He wrote 15 songs and conducted many , many more. His most memorable song was Stars and Stripes Forever. It is song that many children remember by singing be kind to your web-footed friends.... In his lengthy career he conducted over 100 operettas, 11 suites, and concert pieces.


Not a man to sit on the sidelines for long. Sousa joined the Naval Reserves at the ripe old age of 6. He sure was not in it for money. He went in as a lieutenant and only made a buck a month. It was only World War I. Sousas music semed to inspire patriotic behavior. One often hears more of his talent around the Fourth of July.


Sousa died in 1. He was 77 years old and the last thing he conducted was the Stars and Stripes Forever.


How very appropriate that Sousas last piece was the Stars and Stripes Forever. It was the song that made him a legend and an inspiration for so many generations. There is nothing like the sound of the band marching in a Fourth of July parade down Main Street USA. The cymbals clanging, the drums pounding out the heartbeats of every onlooker. The little kids marching in time with sticks bouncing up and down like batons. Sousa gave so much in his music. It was his life, in every way. Today there are bands trying to keep Sousas music alive. The New Sousa Band was begun in 17. They do it the right way. The same style of uniforms, right down to the brass buttons. Very little has changed in the performance of their music which is why they are sanctioned by the heirs of John Sousa. The University of Illinois still maintains the John Philip Sousa Archives. The archives are the place a Sousa devotee can go to learn even more about this great music maker.








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Morocco

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Morocco is located at the northwest of Africa. It is bordered in the north by the Strait of


Gibraltar and the Mediterranean Sea, to the south by Mauritania, and from the east


Algeria, and also bordered in the west by the Atlantic Ocean. This beautiful country


covers 710,850 square kilometers, and its coast extends over ,500 km. The total size of


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Morocco is slightly larger than California. The northern coast and interior lands are


mountainous with large areas of bordering plateaus, intermountain valleys, and rich coastal


plains. The numerous mountains that they have there cause them to have several


earthquakes. Another natural disaster that occurs in In Morocco, traditions and customs differ from one region to another. Its mainly because


of the fact that some Moroccans are Berbers; native Moroccans. Then there are the Arab


Moroccans who reached Morocco from the Middle East during the expansion of Islam.


Another factor is that Morocco has been influenced over centuries by different European


cultures such as the Spanish, French, and English cultures, which have all made their mark


to some extent and whose cultures have been intermingled and incorporated into the


Moroccan culture, adding even more flavor to the already rich Moroccan tradition.


The Berbers of Morocco have many different traditions. As in most villages,


weddings are looked forward to, but the most famous wedding tradition takes place in the


village of Imilchil. All the young people who live in the High Atlas mountains come to


participate in the Moussem, which is a kind of tribal marriage where the brides get to


choose their groom. One can find different lifestyles, crafts, architecture and dress, all


depending on which part of the country you are in.


Some customs of Morocco are that they do all things with their right hands


because they wipe with their left hand. Guest are supposed to eat politely at someone


elses house, however if theyre impolite they most likely wont be invited back to the


house. Also Couscous is always eaten on Friday, and not on other days. They are famous


for their pies as well, which can be up to fifty layers of pastry.


. Market segment analysis


The target market for Marble Slab Creamery is basically any age group. Only 1%


of the people are below the poverty line, which means the rest of the population earns a


regular salary, and can afford to purchase ice cream for themselves, their family, and their


friends. The average skilled and qualified worker receives 1.04-1.8 dirhams. Engineers


or executives receive 6,600-11,000 dirhams.


This concept of fruit-flavored, sweetened iced desserts of ice cream, has a long


history. In medieval Morocco, cooks used honey and fruit juices to flavor snow brought


down from the Atlas mountains. The ice cream they made was called sharbat -- the idea


and word migrated to Italy (sorbetto) and France (sorbet).


The population of the work force in Morocco is 11 million. Therefore, they can


simply afford to buy ice cream. The health of most Moroccans is pretty normal. Their life


expectancy is age 70, so young and old can enjoy the rich tastes of Marble Slab ice cream.


The different flavors of ice cream may be somewhat new to them, but the majority of


people there, have had ice cream before, and can expect to have a new and delightful


taste.


Of the total population of Morocco 61.5% are between the ages 15-64, which is


,518,50 males, and ,640, females. Surveys have shown that in this age group, they


are the ones to purchase more ice cream than any other age group. Since they earn and


have money, they are more likely to spend it. It is also shown the people in this age group


will go out with friends more and want a place to hang out. They will need a place to go,


and Marble Slab is the perfect place for them. So with the combination of having money


and needing a place to go, surveys show they will look for a place to eat.


. Analysis of potential location


This Marble Slab Creamery franchise will be located in Casablanca, Morocco. It


will be established in an urban area, in the center of the town by the hotelsMorocco is periodic droughts.


The population of Morocco is 1,167,78. Ninety-nine percent are Arab-Berber,


.07% are of other nationality, and .0% are Jewish. Thirty percent of the populations are


under the age of fourteen, while the majority of the population; sixty-two percent are between the ages of fifteen to sixty-four. Only 4.7% are over the age 65. The population


growth rate is 1.68%. The birth rate is .6/1,000 for every 1000 individuals. The death


rate is 46.4 deaths/1000 live births. The average life expectancy in Morocco is at age 70.


For females it is 7, and for males it is 67. The major religion is Muslim. Only 1.1% are


Christian, and .0% are Jewish. 4.7% of the populations are literate. The major language


is Arabic, Berber dialects, and French; which is often spoken there for business,


government, and diplomacy uses.





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analysis on annabel lee

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It was many and many a year ago,


Line 1 Long ago,


- Since the main theme is the speaker?s inability to let go of Annabel Lee?s death, this line shows that he to this day, still makes reference to when they met. Consequently, it means that he in spite of everything cannot move on with his life.


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In a kingdom by the sea,


Line Somewhere near the sea,


-The speaker uses the sea to describe a place of fairy-tale and enchantment. That corresponds to the theme as well, because in his mind, what they had was truly a fairytale.


That a maiden there lived whom you may know


Line A girl well-known lived there


-He introduces Annabel Lee as a ?maiden? which goes with the mythical aspect of the poem. Her charm is shown through the words ?whom you may know?, because the speaker renders her to be so well-loved and hence, well-known.


By the name of Annabel Lee;


Line 4 Her name was Annabel Lee.


-His constant repetition of Annabel Lee demonstrates his love affair with her, even when she is no longer living. He reiterates her name throughout the poem to show the reader the magnitude of his fascination for her.


And this maiden she lived with no other thought


Line 5 Annabel Lee lived to know just one thing


-This line shows that they revolved their world around one another. The speaker explains that when they were together, their initial purpose was to love each other. He even continued to do so after her death.


Than to love and be loved by me.


Line 6 She would love and be loved, too.


-The speaker clearly loved Annabel Lee and she did, too. This line wholly explains their undying love for each other, which incidentally is another theme of the poem.


I was a child and she was a child,


Line 7 We were kids,


-This line shows their innocence and draws the reader more into the poem. It also explains the kind of love they share, which was pure and untainted.


In this kingdom by the sea;


Line 8 (repetition of line )


But we loved with a love that was more than love-


Line Our love was stronger than love


-The speaker means to say that their love was more than anything in this world. Nothing could surpass it, not even her death.


I and my Annabel Lee;


Line 10 Annabel and I


-The words he uses to phrase this also shows his love for her. To the speaker, Annabel Lee belonged to him, thus explains his usage of the word ?my?. For this reason, she still was his even after she was taken away from him.


With a love that the winged seraphs of heaven


Line 11 Amid the angels in heaven


-The speaker uses the word ?seraphs? to describe the angels, which qualifies as being odd. This should give the reader a clue of the things ahead.


Coveted her and me.


Line 1 That surrounded us


-With the word ?coveted?, the speaker is hinting out that the angels were in fact envious. They had reason to be jealous of something they did not possess, which was their love.


And this was the reason that, long ago,


Line 1 And because of that


-Again, the speaker makes reference to the past. The words he chooses to express his emotion clearly involve bitterness and delusion.


In this kingdom by the sea,


Line 14 (repetition of line )


A wind blew out of a cloud, chilling


Line 15 Cold winds came, freezing Annabel Lee


-This line shows the early stages of Annabel Lee being taken away from the speaker. It is also a good example of the imagery Poe used, because a gloomy representation soon comes to mind.


My beautiful Annabel Lee;


Line 16 She had beauty


-Once more, he emphasizes her belonging to him. The speaker also accentuates her magnificence.


So that her highborn kinsman came


Line 17 Her relatives came


-Kin signifies family, so therefore it?s concluded that Annabel?s family came and took her away. They arrived because they were troubled with the thought of Annabel being threatened.


And bore her away from me,


Line 18 They took her away


-You can feel the speaker?s sadness by the words he chooses. He took it personally, as well as he should have, that she was no longer there with him.


To shut her up in a sepulcher


Line 1 To put her in a tomb


-He chooses words that have a somewhat aggressive connotation. This line gives more indications that she is going to die.


In this kingdom by the sea.


Line 0 (repetition of line )





The angels, not half so happy in heaven,


Line 1 The angels weren?t satisfied


-This line shows that the angels above for whatever reason, decided to take Annabel Lee away. The speaker resents them heavily soon afterwards. The angels? action not only was cruel, but it too marked his ?death.?


Went envying her and me-


Line They envied us


-The angels were aware of the love they shared and that prompted them to want something like it. Since they knew they couldn?t have it above, they decided to take it away from them below.


Yes!- that was the reason (as all men know,


Line Everyone knows


-This explains the well-know fact why Annabel Lee died. That of course, was due to the angels? jealousy.


In this kingdom by the sea)


Line 4 (repetition of line )


That the wind came out of the cloud by night,


Line 5 The wind came out at nigh


- This marks the wrath of the Angels. The speaker?s tone becomes uneasy and fearsome for Annabel Lee.


Chilling and killing my Annabel Lee.


Line 6 Killing Annabel Lee


-This point in the poem is where all madness ensues. The speaker becomes so caught up with her death, that he stops living. He becomes so torn that he cannot even save himself.


But our love it was stronger by far than the love


Line 7 Our love was stronger


-Again; he goes and says that their love was stronger. Because he knows this, he cannot accept her loss.


Of those who were older than we-


Line 8 Than those who are older


-His sarcastic tone proves that he had something to prove to people; particularly older people. Young people are often accused to being incapable of love; the speaker strongly opposes that thought with this line.


Of many far wiser than we-


Line Than those who are wiser, too.


-The speaker says that not even being sensible matters when it comes to love. The wiser were smarter, but they didn?t know what it was to truly love.


And neither the angels in Heaven above,


Line 0 Not even the angels


-Although the angels took Annabel Lee away, they can?t take her spirit away from his. She will forever be a part of him, and he makes that very well noted.


Nor the demons down under the sea,


Line 1 Or the demons below


-The speaker goes on to say that even the devil can?t mislead him with their love. It?s too great of a thing and this shows his commitment to her. It bounds them together, even after her death.


Can ever dissever my soul from the soul


Line Can ever separate my soul from hers.


-He?s basically saying their soul is one. He will always love her and nothing else matters.


Of the beautiful Annabel Lee.


Line My beautiful Annabel Lee.


-Even after her death, he still talks of her like she?s alive. This shows his unwillingness to overcome the grief of her death.


For the moon never beams without bringing me dreams


Line 4 I always dream


-This line shows that he still dreams of her. To him, she is very much alive in his head, so this contributes to the exceedingly said theme of his inability to let her go.


Of the beautiful Annabel Lee;


Line 5 (repetition of live )


And the stars never rise but I feel the bright eyes


Line 6 I still feel her presence with me


-Even death can?t come between them. This is eerie because he talks about her in present tense, when clearly he shouldn?t be.


Of the beautiful Annabel Lee;


Line 7 (repetition of line 5)


And so, all the night-tide, I lie down by the side


Line 8 I lay down


-The speaker is basically saying that he even now, looks at her for comfort. She is the only love that he?s ever known.


Of my darling- my darling- my life and my bride,


Line Next to my darling


-His break in the rhyme scheme indicates that he really wanted a point to be proven. In his mind frame, she was his life and will continue to be. Consequently, that prevents him from having a life of his own.


In the sepulcher there by the sea,


Line 40 Near the tomb


-He goes on to say that he lies next to her tomb. This shows that he can?t take himself away from her, even when she is in a tomb.


In her tomb by the side of the sea.


Line 41 Inside her tomb


- The speaker doesn?t have a reason to live anymore. He has become a ghost, in the sense that he is spiritless without his precious Annabel Lee. A feeling of immense pity goes out to the speaker, because her death was even more of a greater loss to him than it was to her.





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