143 Matching Annotations
  1. Jun 2022
    1. As my colleague Robin Paige likes to say, we are also social beings in a social world. So if we shift things just a bit to think instead about the environments we design and cultivate to help maximize learning, then psychology and sociology are vital for understanding these elements as well.

      Because we're "social beings in a social world", we need to think about the psychology and sociology of the environments we design to help improve learning.

      Link this to: - Design of spaces like Stonehenge for learning in Indigenous cultures, particularly the "stage", acoustics (recall the ditch), and intimacy of the presentation. - research that children need face-to-face interactions for language acquisition

  2. Apr 2022
    1. This is not a path I'd recommend for small-to-medium-sized teams, but if you're inside a large organization committed to making SPAs with high walls between front-end and back-end departments, it might make sense.
    1. Pagination with Arabic numerals on both sides of a page was probably first used in a 1513 edition of Niccolò Perotti’s Cornucopiae. This commentary on Martial’s epigrams offered a wide- ranging commentary on every word that Martial used and was valued as the most sophis-ticated Latin dictionary of its time. But since the words were discussed in the order in which they appeared in Martial’s poems, a powerful alphabetical index was essential. The printer Aldus Manutius of Venice explained the novelty of using page numbers in his index: “a very copious index in which each word that is sought can most easily be found, since each half page throughout the whole work is numbered . . . with arithmetical numbers.”
    2. On leaf numbering in the Middle Ages, see Saenger (1996), 258, 275–76, and Stoneman (1999), 6. Saenger notes nonetheless that printing created the context in which leaf numbering flourished in both print and manuscript.

      Leaf numbering was seen in the Middle Ages, but printing in the Renaissance greatly increased the number of books with page numbers.

  3. Mar 2022
    1. A page object is a data structure that provides an interface to your web application for the purposes of test automation. For example, it could represent a single HTML page, or perhaps even a fragment of HTML on a page.
    2. A page object wraps an HTML page, or fragment, with an application-specific API, allowing you to manipulate page elements without digging around in the HTML.
  4. Feb 2022
    1. They struggle because they believe, asthey are made to believe, that writing starts with a blank page.

      Writing does not begin with the blank page!

    2. What can we do differently in the weeks,months or even years before we face the blank page that will get usinto the best possible position to write a great paper easily?
  5. Jan 2022
    1. Persisting across apps Your notifications can persist across multiple apps / page reloads, as long as they use this library. This is useful for a scenario where you show a notification and then redirect the browser to a different application, or trigger a full reload of the page. This is completely automatic and uses session storage.
  6. Dec 2021
    1. The main feature of iA Writer is not having many features. The program is, essentially, a white rectangle, where the user can do little else but type in a custom monospaced font. There are no headers, footers, drawing tools, or chatty paper-clip assistants. The bare-bones interface uses special characters in a simple formatting language called Markdown to bold, italicize, or otherwise transform text—a way of encouraging writers to keep their hands on the keyboard and their minds on their work.

      Using a completely blank page as the start of any creative endeavor is a miserable choice for writing. Start with some other object and annotate either on it or next to it. Look at something else as a base. Starting with blank nothing is a recipe for loneliness and disaster. So-called distraction free writing tools are the worst.

      Didn't Ernest Hemmingway analogize staring at a blank page like facing a white bull? There is a litany of quotes about writers facing the blank page.

      Why not, instead, use the advice of ancient rhetors by starting with the best? Become a bee and collect the best materials for your honey first. If we don't look to them, then perhaps follow the lesson taught by Benjamin Franklin on writing or the same lesson repeated in the movie Finding Forrester. Start with someone else's work and rewrite that until you find your own words. This is what makes writing while annotating so easy and simple. You've got a nice tapestry of textures to begin your work.

      Giving birth to something fully formed as if from the head of Zeus is a fallacy. It only works for the gods.

    1. Deeply importing Svelte components is not supported. Either import all components from one entrypoint, or always stick to deep imports, otherwise it could cause multiple instance of the Svelte library running.
    1. violencia de género

      «Todo acto de violencia sexista que tiene como resultado posible o real un daño físico, sexual o psíquico, incluidas las amenazas, la coerción o la privación arbitraria de libertad, ya sea que ocurra en la vida pública o en la privada».

    2. Esa “formación” del hombre, que lo conduce a una estructura de la personalidad de tipo psicopático

      No existe un perfil único de maltratador. Tampoco se trata de hombres agresivos ni de psicópatas. Nuestro estudio pone en cuestión los estereotipos relacionados hasta ahora con la conducta y los rasgos del maltratador, como puede ser el consumo de sustancias tóxicas y de alcohol, la vivencia de experiencias traumáticas en la edad infantil o los problemas psíquicos. En este último aspecto, los datos del patrón de personalidad de un grupo de maltratadores basados en el inventario clínico multiaxial Millon-II señalan a la compulsividad como rasgo más destacado de estas personas; no obstante, el percentil no supera el grado de normalidad, por lo que se descarta la posibilidad de una psicopatología.

  7. Nov 2021
  8. Oct 2021
    1. DIRECTORY (in progress): This post is my directory. This post will be tagged with all tags I ever use (in chronological order). It allows people to see all my tags, not just the top 50. Additionally, this allows me to keep track. I plan on sorting tags in categories in reply to this comment.

      External links:

      Tags categories will be posted in comments of this post.

  9. Sep 2021
    1. The world opened up, and it was with great joy that I responded, "I know the thing what you speak exact now.Talk me more, plus, please, plus."

      i think he realizes that to speak a language doesnt only mean you have to know basic words. you have to undersatnd the flow of it the reasoning behind it. just becasue it sounds insulting doesnt mean that it is.

    2. You exhaust me with your foolishness and reward my efforts with nothing but pain, do you understand me?"

      does she mean im sick of you not understanding what i mean but understand what i say ?

    3. Over time, it became impossible to believe that any of us would ever improve. Fall arrived, and it rained everyday. It was mid-October when the teacher singled me out, saying, "Every day spent with you is like having acesarean section." And it struck me that, for the rst time since arriving in France, I could understand every wordthat someone was saying

      he is starting to realize maybe her words that are insulting dont mean what they sound like. in order to speak a language you have to know not everything means what is sounds like .

    4. My only comfort was the knowledge that I was not alone. Huddled in the smoky hallways and making the mostof our pathetic French, my fellow students and I engaged in the sort of conversation commonly overheard inrefugee camps

      atleast he isnt alone . seems like there is noone competing against eachother the teacher basically has it out for everyone

    5. Refusing to stand convicted on the teacher's charges of laziness, I'd spend four hours a night on my homework,working even longer whenever we were assigned an essay. I suppose I could have gotten by with less, but I wasdetermined to create some sort of an identity for myself. We'd have one of those "complete the sentence"exercises, and I'd fool with the thing for hours, invariably settling on something like, "A quick run around thelake? I'd love to. Just give me a minute to strap on my wooden leg." The teacher, through word and action,conveyed the message that, if this was my idea of an identity, she wanted nothing to do with it.

      trying really hard to make himself stand out. spending alot of time on his work maybe going above and beyond. its all for nothing though teacher doesn't seem amused

    6. he teacher proceeded to belittle everyone from German Eva, who hated laziness, to Japanese Yukari, who lovedpaintbrushes and soap. Italian, Thai, Dutch, Korean, Chinese--we all left class foolishly believing that the worstwas over. We didn't know it then, but the coming months would teach us what it is like to spend time in thepresence of a wild animal. We soon learned to dodge chalk and to cover our heads and stomachs whenever sheapproached us with a question. She hadn't yet punched anyone, but it seemed wise to prepare ourselves againstthe inevitable.

      he is transitioning from what he is going through to what he went through through the class. teacher seems pretty mean towards the students and a little bit aggressive

    7. When called upon, I delivered an effortless list of things I detest: blood sausage, intestinal pâté, brain pudding.I'd learned these words the hard way. Having given it some thought, I then declared my love for IBM typewriters,the French word for "bruise," and my electric oor waxer. It was a short list, but still I managed to mispronounceIBM and afford the wrong gender to both the oor waxer and the typewriter. Her reaction led me to believe thatthese mistakes were capital crimes in the country of France.

      he thought he was doing well until he mispronounced ibm and learns that it was a mistake he shouldn't of made because of how the teacher was ridiculing every single student he was confused as to why the teacher was referring to objects as genders it just didn't make sense to him

    8. While the optimist struggled to defend herself, I scrambled to think of an answer to what had obviously becomea trick question. How often are you asked what you love in this world? More important, how often are you askedand then publicly ridiculed for your answer? I recalled my mother, ushed with wine, pounding the table lateone night, saying, "Love? I love a good steak cooked rare. I love my cat, and I love . . ." My sisters and I leanedforward, waiting to hear our names. "Tums," our mother said. "I love Tums.

      he realized at this moment he was screwed becasue of the teachers attitude towards everyone. he was reminded of his childhood and how he felt towards his mother.

    9. The second Anna learned from the rst and claimed to love sunshine and detest lies. It sounded like a translationof one of those Playmate of the Month data sheets, the answers always written in the same loopy handwriting:"Turn-ons: Mom's famous ve-alarm chili! Turnoffs: Insincerity and guys who come on too strong!!!

      very cliche he probably felt like she was boring

    10. Oh, really," the teacher said. "How very interesting. I thought that everyone loved the mosquito, but here, infront of all the world, you claim to detest him. How is it that we've been blessed with someone as unique andoriginal as you? Tell us, please."

      very sarcastic towards the student

    1. Do Quick ResearchDo Quick ResearchAsyouread,youmightrunintoideas,words,orphrasesyoudon’tunderstand,orthetextmightrefertopeople,places,oreventsyou’reunfamiliarwith

      if you are reading and dont understand a certain word or place always google it or do your research so you can have a better understanding of what the author is writing about . if you dont do this you can find yourself lost and confused or take something out of text, not understand what they are talking about .

    2. Conclusions

      when finishing a paper make sure to add transition phrases such as " finally" , " so", " in conclusion".

    3. Thebody:

      Make sure to add facts and personal stories if you can that support the main idea of what you are writing about.

    4. Themainideaorthesis

      In this section make sure to include a summary of what you'll be writing about. an introduction to the paper. restate your main idea in your conclusion as well.

    5. titles always give you a clue to the authors’topic.

      if you read the title you will know more or less what the rest of the page story, essay or book will be about. make sure your title is what your paper will be about

    6. The main idea comes at the beginning, the bodyparagraphs support the main idea, and the conclusion wraps up the whole thing

      This is good to know and remember so you know what to look for when reading something. i have to make sure to have these 3 components when writing any kind of essay.

    7. WriterGoodwritingbeginswithgoodreading

      basically in order to become a good writer you must understand how to read and what you are reading.

  10. Jun 2021
    1. Dans le contexte contemporain, et si l’on conçoit que publier signifie en premier lieu « rendre public, mettre à la disposition du public » avant « exposer, étaler (des livres) » puis plus précisément « faire paraître un écrit » (Rey 2011)

      Auriez-vous la page ? Pour l'édition, j'ai noté 2011 comme précisé dans la bibliographie, mais je ne trouve pas son équivalent sur internet, préférez-vous que je laisse 2011 ou que je change pour 1993 ?

  11. May 2021
    1. Everyone loves the thing that interacts. SPAs or Single Page Applications are the straightforward concepts of it. When you use Facebook or Twitter, it interacts with you dynamically by bringing new data from the web server. This way, you do not need to reload the entire page to get the new data or content.
  12. Apr 2021
    1. .mainContent {  -webkit-user-select: none; -moz-user-select: none; -ms-user-select: none;  user-select: none; }

  13. Mar 2021
  14. Feb 2021
    1. A plans and pricing comparison page ... without the prices?!

    1. Now let me ask you, do you write JS for a single page application differently from a "traditional" web application? I sure hope you do! In a "traditional" application, you can get away with being sloppy because every time the user navigates to a new page, their browser destroys the DOM and the JavaScript context. SPAs, though, require a more thoughtful approach.
    2. Turbolinks is a Single-Page Application Turbolinks doesn't just give you some of the benefits of a single-page app. Turbolinks is a single page app. Think about it: When someone visits your site, you serve them some HTML and Javascript. The JavaScript takes over and manages all subsequent changes to the DOM. If that's not a single-page app, I don't know what is.
    3. Our app is mostly about displaying pages of static information. We crunch a lot of data to generate a single error report page.
    4. Honeybadger isn't a single page app, and it probably won't ever be. SPAs just don't make sense for our technical requirements.
    1. The "World Population", "Born with No Access to the Gospel Today", "Deaths without Christ Today" counters are sobering.

  15. Nov 2020
    1. So, how does an SPA work? JavaScript loads in the browser and loads data from an API. Most of the rendering is done on the client Side. But search engine bots have a hard time indexing the page because it doesn't have much without JS.
  16. Oct 2020
    1. Service pages are the single most important page type, as they provide quick access in plain language to the services provided to residents.

      Link to research [ Link to style guide] (http://insert-your-link-here.com)

    1. We will also need to make a tweak to our package.json file to ensure that if we reload on a page we have navigated to, for example, /blog, we will not receive a server error and it will load the appropriate route.
  17. Sep 2020
  18. Jul 2020
    1. The next step is to link the canonical article to the AMP page. This is achieved by including a <link rel="amphtml"> tag to the <head> section of the canonical article.
    2. Canonical linking in regular HTML pages is a common technique for declaring which page should be considered the preferred page when multiple pages include the same content.
    1. Every AMP document needs to have a link referencing the "canonical" version of that document. We'll learn more about what canonical pages are and different approaches to canonical linking in the Making your page discoverable step of this tutorial.
  19. May 2020
    1. Not building a static site? No worries there, React Static works as an SPA too, even if there is only a single index.html file.
    1. You might try this extension: https://github.com/andreicristianpetcu/google_translate_this It does the same thing in the same way as Page Translator and likely will be blocked by Mozilla, but this is a cat and mouse game worth playing if you rely on full-page in-line language translation.
    1. Team Chat on any Webpage to Discuss Issues, Feedback: Inverse

      Am instalat extensia și mi-am făcut conturi cu dinu.laurentiu@gmail.com si laurentiu.test01@gmail.com. NU consider că extensia/aplicația este de păstrat... nu arată rău, dar nu aduce NIMIC ÎN PLUS FAȚĂ DE HYPOTHES.IS

    1. Invite other people to your organization Inverse is designed for everyone, but built with groups and teams in mind. Use your organization code in Settings to invite people to your organization.

      Se pot crea echipe (Organizații) care să comenteze împreună pe o anumită pagină web

  20. Mar 2020
    1. Single Page Applications: The Rise of Web Apps in 2020

      If you want an excellent user engagement between your application and them, single page web apps is the best choice. To offer the best real-time experience to the users, web apps like Google-Maps use single page application.

    1. How Single Page Application Can Benefit Your Business?

      The definition of single-page web apps lies exactly in their words. It has only one page, which means the whole page gets load only for one time. Later when users request any data only that data will be updated not the whole page.

  21. Feb 2020
  22. Dec 2019
    1. Easiest Approach To Garner Attention Of Prospective Customers

      The biggest struggle is to attract customers and make them stay on your platform. You need to find out ways through which you can keep your website the most happening one. Almost every business owner is in a sort of competition to look for ways through which he or she can make his or her brand progress at a faster pace.

      In the digital world, a business cannot make a progress without practicing marketing techniques. There is a need to use strategies that can boost the overall effectiveness and increase the productivity of a brand. Every brand tends to attract customers through ways that can enhance the productivity of the entire business. From using content marketing to making the most of pay-per-click, the strategies do not end and you have to dig out ways through which you can make the most out of each campaign.

      Even the Wikipedia page editor knows that the core technique to bring more traffic to your platform is to carry out a competitive analysis of the market and find out what the customers/readers truly want. You have to dive into the market and get close to your audience. You have to know what they have to say about your product and find out the effective ways to promote your services in order to bring out maximum outcomes.

      Apart from knowing the audience, you have to find out which branding style is most suitable for your business. You need to use the one that has the most potentials. So, try utilizing content marketing and search engine optimization techniques if you want to keep your investment minimal and outcomes maximum.

      You will need a list of advanced tools and detectors to assist your campaign and evaluate if everything si going smoothly or not.

  23. Nov 2019
  24. Oct 2019
    1. Facebook, with over 2.23 Billion monthly active users, is an ocean full of just the right customers for your business. For all brands and creators looking to expand their business and be visible in the densely crowded market, Facebook is a blessing. Targeting specific customers, customizing audience, creating look alike audience and tapping into fresher markets is easier with Facebook business. Knowing how to create a Facebook business page brings along a lot of unexplored opportunities for brands aspiring to become top stars on digital media.

      Knowing how to create a Facebook business page brings along a lot of unexplored opportunities for brands aspiring to become top stars on digital media.

  25. Sep 2019
  26. Aug 2019
  27. Apr 2019
    1. The majority of the annotations on this page draw from the following critical editions of The War of the Worlds, which will be cited and tagged according to the last name(s) of the editor(s) of that edition:

      DANAHAY: Martin A. Danahay. The War of the Worlds. Broadview Press, 2003.

      HUGHES AND GEDULD: David Y. Hughes and Harry M. Geduld, eds. A Critical Edition of The War of the Worlds: H. G. Wells’s Scientific Romance, with Introduction and Notes by David Y. Hughes and Harry M. Geduld. Indiana UP, 1993.

      MCCONNELL: Frank McConnell, ed. The Time Machine and The War of the Worlds: A Critical Edition. Oxford UP, 1977.

      STOVER: Leon Stover. The War of the Worlds: A Critical Text of the 1898 London First Edition, with an Introduction, Illustrations and Appendices. McFarland and Company, Inc, 2001.

      Madeline Gangnes has added additional annotations and resources, especially those that address materials related to Pearson's Magazine and adaptations of the text. They are cited with their source(s) (where applicable) and tagged as GANGNES.

    2. This page incorporates several elements. Its main body is a transcription of the text of the third installment of H. G. Wells's novel The War of the Worlds as it was published in Pearson's Magazine in June of 1897. This text was created by Madeline Gangnes by comparing the Project Gutenberg text with the digital facsimiles of Pearson's Magazine generously hosted by HathiTrust. Facsimile pages of the installment are interspersed throughout this page. Each image includes a detailed caption in order to facilitate text-to-speech accessibility. Textual markers that indicate the beginning and end of each page's text are incorporated for text-to-speech and to make clear which text corresponds to which page of the magazine.

    1. The majority of the annotations on this page draw from the following critical editions of The War of the Worlds, which will be cited and tagged according to the last name(s) of the editor(s) of that edition:

      DANAHAY: Martin A. Danahay. The War of the Worlds. Broadview Press, 2003.

      HUGHES AND GEDULD: David Y. Hughes and Harry M. Geduld, eds. A Critical Edition of The War of the Worlds: H. G. Wells’s Scientific Romance, with Introduction and Notes by David Y. Hughes and Harry M. Geduld. Indiana UP, 1993.

      MCCONNELL: Frank McConnell, ed. The Time Machine and The War of the Worlds: A Critical Edition. Oxford UP, 1977.

      STOVER: Leon Stover. The War of the Worlds: A Critical Text of the 1898 London First Edition, with an Introduction, Illustrations and Appendices. McFarland and Company, Inc, 2001.

      Madeline Gangnes has added additional annotations and resources, especially those that address materials related to Pearson's Magazine and adaptations of the text. They are cited with their source(s) (where applicable) and tagged as GANGNES.

    2. This page incorporates several elements. Its main body is a transcription of the text of the second installment of H. G. Wells's novel The War of the Worlds as it was published in Pearson's Magazine in May of 1897. This text was created by Madeline Gangnes by comparing the Project Gutenberg text with the digital facsimiles of Pearson's Magazine generously hosted by HathiTrust. Facsimile pages of the installment are interspersed throughout this page. Each image includes a detailed caption in order to facilitate text-to-speech accessibility. Textual markers that indicate the beginning and end of each page's text are incorporated for text-to-speech and to make clear which text corresponds to which page of the magazine.

    1. The majority of the annotations on this page draw from the following critical editions of The War of the Worlds, which will be cited and tagged according to the last name(s) of the editor(s) of that edition:

      DANAHAY: Martin A. Danahay. The War of the Worlds. Broadview Press, 2003.

      HUGHES AND GEDULD: David Y. Hughes and Harry M. Geduld, eds. A Critical Edition of The War of the Worlds: H. G. Wells’s Scientific Romance, with Introduction and Notes by David Y. Hughes and Harry M. Geduld. Indiana UP, 1993.

      MCCONNELL: Frank McConnell, ed. The Time Machine and The War of the Worlds: A Critical Edition. Oxford UP, 1977.

      STOVER: Leon Stover. The War of the Worlds: A Critical Text of the 1898 London First Edition, with an Introduction, Illustrations and Appendices. McFarland and Company, Inc, 2001.

      Madeline Gangnes has added additional annotations and resources, especially those that address materials related to Pearson's Magazine and adaptations of the text. They are cited with their source(s) (where applicable) and tagged as GANGNES.

    2. This page incorporates several elements. Its main body is a transcription of the text of the first installment of H. G. Wells's novel The War of the Worlds as it was published in Pearson's Magazine in April of 1897. This text was created by Madeline Gangnes by comparing the Project Gutenberg text with the digital facsimiles of Pearson's Magazine generously hosted by HathiTrust. Facsimile pages of the installment are interspersed throughout this page. Each image includes a detailed caption in order to facilitate text-to-speech accessibility. Textual markers that indicate the beginning and end of each page's text are incorporated for text-to-speech and to make clear which text corresponds to which page of the magazine.

    1. The music we listen to highly impacts our decision making, especially as adolescents. Adolescents are extremely impressionable, and the music they listen to has a great impact on how they decide to live their day to day lives. Popular musicians are seen as role models by the people who idolize them, and adolescents may try to represents the songs in which they favor through their actions every day.

      Recent studies have found that adolescents who listen to music that supports substance abuse and violence have a greater chance to act upon what they listen to. What young adults and teenagers listen to through music and popular media will affect their decision making process. Specifically with substance abuse, and there is a direct uptake in use of illegal substances by adolescents who listen to music that promotes such activities. This can cause a whole societal problem considering most of todays popular music among adolescents touches upon substance abuse and violence. Adolescents are extremely impressionable and the music they listen can shape how a person tries to act, or represent themselves.

    1. The majority of the annotations on this page draw from the following critical editions of The War of the Worlds, which will be cited and tagged according to the last name(s) of the editor(s) of that edition:

      DANAHAY: Martin A. Danahay. The War of the Worlds. Broadview Press, 2003.

      HUGHES AND GEDULD: David Y. Hughes and Harry M. Geduld, eds. A Critical Edition of The War of the Worlds: H. G. Wells’s Scientific Romance, with Introduction and Notes by David Y. Hughes and Harry M. Geduld. Indiana UP, 1993.

      MCCONNELL: Frank McConnell, ed. The Time Machine and The War of the Worlds: A Critical Edition. Oxford UP, 1977.

      STOVER: Leon Stover. The War of the Worlds: A Critical Text of the 1898 London First Edition, with an Introduction, Illustrations and Appendices. McFarland and Company, Inc, 2001.

      Madeline Gangnes has added additional annotations and resources, especially those that address materials related to Pearson's Magazine and adaptations of the text. They are cited with their source(s) (where applicable) and tagged as GANGNES.

    2. This page incorporates several elements. Its main body is a transcription of the text of the ninth installment of H. G. Wells's novel The War of the Worlds as it was published in Pearson's Magazine in December of 1897. This text was created by Madeline Gangnes by comparing the Project Gutenberg text with the digital facsimiles of Pearson's Magazine generously hosted by HathiTrust. Facsimile pages of the installment are interspersed throughout this page. Each image includes a detailed caption in order to facilitate text-to-speech accessibility. Textual markers that indicate the beginning and end of each page's text are incorporated for text-to-speech and to make clear which text corresponds to which page of the magazine.

    1. The majority of the annotations on this page draw from the following critical editions of The War of the Worlds, which will be cited and tagged according to the last name(s) of the editor(s) of that edition:

      DANAHAY: Martin A. Danahay. The War of the Worlds. Broadview Press, 2003.

      HUGHES AND GEDULD: David Y. Hughes and Harry M. Geduld, eds. A Critical Edition of The War of the Worlds: H. G. Wells’s Scientific Romance, with Introduction and Notes by David Y. Hughes and Harry M. Geduld. Indiana UP, 1993.

      MCCONNELL: Frank McConnell, ed. The Time Machine and The War of the Worlds: A Critical Edition. Oxford UP, 1977.

      STOVER: Leon Stover. The War of the Worlds: A Critical Text of the 1898 London First Edition, with an Introduction, Illustrations and Appendices. McFarland and Company, Inc, 2001.

      Madeline Gangnes has added additional annotations and resources, especially those that address materials related to Pearson's Magazine and adaptations of the text. They are cited with their source(s) (where applicable) and tagged as GANGNES.

    2. This page incorporates several elements. Its main body is a transcription of the text of the eighth installment of H. G. Wells's novel The War of the Worlds as it was published in Pearson's Magazine in November of 1897. This text was created by Madeline Gangnes by comparing the Project Gutenberg text with the digital facsimiles of Pearson's Magazine generously hosted by HathiTrust. Facsimile pages of the installment are interspersed throughout this page. Each image includes a detailed caption in order to facilitate text-to-speech accessibility. Textual markers that indicate the beginning and end of each page's text are incorporated for text-to-speech and to make clear which text corresponds to which page of the magazine.

    1. The majority of the annotations on this page draw from the following critical editions of The War of the Worlds, which will be cited and tagged according to the last name(s) of the editor(s) of that edition:

      DANAHAY: Martin A. Danahay. The War of the Worlds. Broadview Press, 2003.

      HUGHES AND GEDULD: David Y. Hughes and Harry M. Geduld, eds. A Critical Edition of The War of the Worlds: H. G. Wells’s Scientific Romance, with Introduction and Notes by David Y. Hughes and Harry M. Geduld. Indiana UP, 1993.

      MCCONNELL: Frank McConnell, ed. The Time Machine and The War of the Worlds: A Critical Edition. Oxford UP, 1977.

      STOVER: Leon Stover. The War of the Worlds: A Critical Text of the 1898 London First Edition, with an Introduction, Illustrations and Appendices. McFarland and Company, Inc, 2001.

      Madeline Gangnes has added additional annotations and resources, especially those that address materials related to Pearson's Magazine and adaptations of the text. They are cited with their source(s) (where applicable) and tagged as GANGNES.

    2. This page incorporates several elements. Its main body is a transcription of the text of the seventh installment of H. G. Wells's novel The War of the Worlds as it was published in Pearson's Magazine in October of 1897. This text was created by Madeline Gangnes by comparing the Project Gutenberg text with the digital facsimiles of Pearson's Magazine generously hosted by HathiTrust. Facsimile pages of the installment are interspersed throughout this page. Each image includes a detailed caption in order to facilitate text-to-speech accessibility. Textual markers that indicate the beginning and end of each page's text are incorporated for text-to-speech and to make clear which text corresponds to which page of the magazine.

    1. The majority of the annotations on this page draw from the following critical editions of The War of the Worlds, which will be cited and tagged according to the last name(s) of the editor(s) of that edition:

      DANAHAY: Martin A. Danahay. The War of the Worlds. Broadview Press, 2003.

      HUGHES AND GEDULD: David Y. Hughes and Harry M. Geduld, eds. A Critical Edition of The War of the Worlds: H. G. Wells’s Scientific Romance, with Introduction and Notes by David Y. Hughes and Harry M. Geduld. Indiana UP, 1993.

      MCCONNELL: Frank McConnell, ed. The Time Machine and The War of the Worlds: A Critical Edition. Oxford UP, 1977.

      STOVER: Leon Stover. The War of the Worlds: A Critical Text of the 1898 London First Edition, with an Introduction, Illustrations and Appendices. McFarland and Company, Inc, 2001.

      Madeline Gangnes has added additional annotations and resources, especially those that address materials related to Pearson's Magazine and adaptations of the text. They are cited with their source(s) (where applicable) and tagged as GANGNES.

    2. This page incorporates several elements. Its main body is a transcription of the text of the sixth installment of H. G. Wells's novel The War of the Worlds as it was published in Pearson's Magazine in September of 1897. This text was created by Madeline Gangnes by comparing the Project Gutenberg text with the digital facsimiles of Pearson's Magazine generously hosted by HathiTrust. Facsimile pages of the installment are interspersed throughout this page. Each image includes a detailed caption in order to facilitate text-to-speech accessibility. Textual markers that indicate the beginning and end of each page's text are incorporated for text-to-speech and to make clear which text corresponds to which page of the magazine.

    1. The majority of the annotations on this page draw from the following critical editions of The War of the Worlds, which will be cited and tagged according to the last name(s) of the editor(s) of that edition:

      DANAHAY: Martin A. Danahay. The War of the Worlds. Broadview Press, 2003.

      HUGHES AND GEDULD: David Y. Hughes and Harry M. Geduld, eds. A Critical Edition of The War of the Worlds: H. G. Wells’s Scientific Romance, with Introduction and Notes by David Y. Hughes and Harry M. Geduld. Indiana UP, 1993.

      MCCONNELL: Frank McConnell, ed. The Time Machine and The War of the Worlds: A Critical Edition. Oxford UP, 1977.

      STOVER: Leon Stover. The War of the Worlds: A Critical Text of the 1898 London First Edition, with an Introduction, Illustrations and Appendices. McFarland and Company, Inc, 2001.

      Madeline Gangnes has added additional annotations and resources, especially those that address materials related to Pearson's Magazine and adaptations of the text. They are cited with their source(s) (where applicable) and tagged as GANGNES.

    2. This page incorporates several elements. Its main body is a transcription of the text of the fifth installment of H. G. Wells's novel The War of the Worlds as it was published in Pearson's Magazine in August of 1897. This text was created by Madeline Gangnes by comparing the Project Gutenberg text with the digital facsimiles of Pearson's Magazine generously hosted by HathiTrust. Facsimile pages of the installment are interspersed throughout this page. Each image includes a detailed caption in order to facilitate text-to-speech accessibility. Textual markers that indicate the beginning and end of each page's text are incorporated for text-to-speech and to make clear which text corresponds to which page of the magazine.

    1. The majority of the annotations on this page draw from the following critical editions of The War of the Worlds, which will be cited and tagged according to the last name(s) of the editor(s) of that edition:

      DANAHAY: Martin A. Danahay. The War of the Worlds. Broadview Press, 2003.

      HUGHES AND GEDULD: David Y. Hughes and Harry M. Geduld, eds. A Critical Edition of The War of the Worlds: H. G. Wells’s Scientific Romance, with Introduction and Notes by David Y. Hughes and Harry M. Geduld. Indiana UP, 1993.

      MCCONNELL: Frank McConnell, ed. The Time Machine and The War of the Worlds: A Critical Edition. Oxford UP, 1977.

      STOVER: Leon Stover. The War of the Worlds: A Critical Text of the 1898 London First Edition, with an Introduction, Illustrations and Appendices. McFarland and Company, Inc, 2001.

      Madeline Gangnes has added additional annotations and resources, especially those that address materials related to Pearson's Magazine and adaptations of the text. They are cited with their source(s) (where applicable) and tagged as GANGNES.

    2. This page incorporates several elements. Its main body is a transcription of the text of the fourth installment of H. G. Wells's novel The War of the Worlds as it was published in Pearson's Magazine in July of 1897. This text was created by Madeline Gangnes by comparing the Project Gutenberg text with the digital facsimiles of Pearson's Magazine generously hosted by HathiTrust. Facsimile pages of the installment are interspersed throughout this page. Each image includes a detailed caption in order to facilitate text-to-speech accessibility. Textual markers that indicate the beginning and end of each page's text are incorporated for text-to-speech and to make clear which text corresponds to which page of the magazine.

  28. Nov 2018
    1. Kompetenzraster des Medienpasses

      Seht euch unter auf dieser Homepage eure Kompetenzbereiche an. Es gibt für JEDEN Kompetenzbereich bereits Materialien.

    2. Zuordnungstabelle

      Prüft, ob die zugeordneten Kompetenzen implementierbar sind - Niemand soll am Ende mehr Arbeit als nötig haben.

  29. Sep 2018
    1. Ceci est une note de page. Elle peut inclure un lien vers une autre page, que celle-ci soit connectée ou non via Hypothes.is. Voyez dans l'URL le préfixe qui assure que l'on peut annoter celle-ci. Mais avec ce blogue on n'en a pas besoin car son auteur a déjà inclus un code permettant de l'annoter par défaut (à condition de s'être créée un compte hypothes.is).

  30. Jun 2018
    1. Today is Privmas Eve

      I'm thinking now that this needs to be a stand-alone page rather than a post. Something timeless rather than a post that scrolls into the past. Thoughts?

  31. Apr 2018
    1. To Save A Mockingbird

      I like the front page being an overview of what has happened both as far as the author and the challenge.

  32. Mar 2018
  33. Feb 2018
  34. Jan 2018
    1. While a traditional discussion forum is separated from the objects being discussed, a more powerful discourse environment is able to incorporate various web objects into discourse to maintain its contexts.

      Same could be said for page bottom comments in online newspapers/magazines.

  35. Dec 2017
    1. Click here

      These instructions will be removed whenever the login portal is live.