Too many go too deep into the idea of "atomic notes" without either questioning or realizing their use case. What is your purpose in having atomic notes? Most writing about them online talk about the theoretical without addressing the underlying "why".

They're great for capturing things on the go and having the ability to re-arrange and reuse them into much larger works. Often once you've used them a few times, they're less useful, specially for the average person. (Of course it's another matter if you're an academic researcher, they're probably your bread and butter.) For the beekeepers of the world who need some quick tidbits which they use frequently, then keeping them in a larger outlined document or file is really more than enough. Of course, if you're creating some longer book-length treatise on beekeeping, then it can be incredibly helpful to have them at atomic length.

There's a spectrum from the small atomic note to the longer length file (or even book). Ask yourself, "what's your goal in having one or the other, or something in between?" They're tools, choose the best one for your needs.

For rare words in Latin, articles may include all surviving attestations of those words. Typically only a representative selection of attestations are included in most articles which is indicated in the text by two "crossed cigars" before the lemma (or headword).

Within the TLL's work they consider the work on each headword to be an "article" which are also individually credited.

Texas Constitution articles

The secret meeting held to replace the Articles of Confederation by the US Constitution goals.

Ashinoff and Abu-Akel propose an equivalence between "flow" and "hyperfocus". They mention later in this paper that "flow" is more often used in positive psychology literature whereas "hyperfocus" is more often used in psychiatric literature. Even so, they also qualify that they may just appear to be the same (ie, descriptively similar) while having a different cause (ie, mechanism of action).

Sir Karam Bales ✊ 🇺🇦. (2022, January 29). 1/🧵Some questionable stats, studies and statements over past 6 week Examples and evaluation First of all its worth looking at the impact some studies and articles have had in recent months https://t.co/o83T5fJW2N [Tweet]. @karamballes. https://twitter.com/karamballes/status/1487240863835119617

==>l’échantillon de l’étude est est extrêmement limité, l’étude n’est pas répliqué et elle ne permet pas de retirer de résultats concluants

AAI. (2022, January 29). More than seventy peer-reviewed #COVID-19, #SARS, and #MERS @J_Immunol articles are #FreeToRead http://ow.ly/lwTr50Hyu5F #immunology #ReadTheJI https://t.co/7Hi4g8ZySp [Tweet]. @ImmunologyAAI. https://twitter.com/ImmunologyAAI/status/1487425781647216646

This is a great looking collection of articles on network science.

COVID-19 Living Evidence. (2020, October 23). Weekly update of COAP As of 23.10.2020, we have indexed 80588 publications: 8902 pre-prints 71686 peer-reviewed publications Pre-prints: BioRxiv, MedRxiv Peer-reviewed: PubMed, EMBASE https://t.co/RaDy1Wm4Hq https://t.co/FYRaYPe8oG [Tweet]. @evidencelive. https://twitter.com/evidencelive/status/1319578431848353793

DEFINITE ARTICLES

bunta bi – the door

ganaar gi – the fowl

jigeen ji – the woman

nit ki – the person

nda li – the water pot

muus mi – the cat

suuf si – the earth

ween wi – the breast

xale yi – the children

nit ñi – the people

xale bi – the child (right here)

xale ba – the child (over there)

xale bu bon – the bad child (the child who is bad)

ndaw si – the girlfriend

ndaw li – the messenger

doom ji – the child

doom bi – the fruit

(definite article - indefinite article)

bi – ab

gi – ag

mi – am

si – as

wi – aw

yi – ay

The top IMDB films fit into 2 basic clusters, and 4 main clusters (this project used K-means with a target of 5 but actually clusters 1 and 2 both fit the crime category, and all except Cluster 3 are centred around violence).

1. War whilst with Family and at home (violence external whilst passively defending the safety of the self/family)
2. Crime (violence on a smaller scale)
3. New York crime family / mafia (violence in the family)
4. Musicals (non-violence)
5. War as soldiers (violence on a large scale on the front lines)

If this list is representative of the human psyche we have only 2 basic modes of being: Violence / Musical.

British Journal of Social Psychology. (n.d.). Wiley Online Library. https://doi.org/10.1111/(ISSN)2044-8309

whereas some individuals may have radical beliefs but are not members of a radical movement, and do not carry out violent actions.

Practicing unconditional other acceptance, people accept that sometimes people do exceptionally bad things, as the terrorist and suicide bombers do, but still they are not what they do.

Practicing unconditional other acceptance, people accept that sometimes people do exceptionally bad things, as the terrorist and suicide bombers do, but still they are not what they do.

whereas some individuals may have radical beliefs but are not members of a radical movement, and do not carry out violent actions.

Our culture is defined by the music we listen to, and the way it is portrayed in the media. Every culture around the world has a different style of song or dance that represents their traditions. Culture can not only be changed through popular songs, but is best represented through music. One of the best ways to understand a foreign culture is by listening to the music that is favorable among the people whose culture you are trying to understand. Music is one of the most powerful forms of art between cultures.

Music has the power to redefine cultures. We can see this through generational differences between song preferences. For example, American country music back in the late 1900s has a much different feel and style compared to country music now in 2019. While keeping within the same genre, this style of music touches upon different subjects, and uses different instruments, sounds and lyrics. Even early hip-hop has evolved from its beginnings. Hip-hop music is considered the most popular music as of right now, but it has not always been that way. Each generation favors different types of genres of music, and it is clear which backgrounds over the years have favored certain genres of music. As much as music can differentiate cultures, and generations, music can bring people of completely different background together by its artistic flavor and general popularity throughout the mainstream media.

Wonderful to see thinking in this direction. I'm thinking many layers of annotations for different purposes--both human and machine readable.

All that I have given up to this let them serve as examples of the way in which the Connaught peasant puts his love-thoughts into song and verse, whether it be hope or despair, grief or joy, that affect him. (147)

In these final lines of the book, the reader is offered Hyde’s selection of songs as a faithful and complete insight into vernacular Connacht song about the theme of love. Moreover, Hyde suggests that in reading this anthology one achieves a good degree of familiarity with an idealized, essentially native ‘Connaught peasant’.

Although speakers in the songs are variously male and female, and the reasons for separation from absent lovers differ, the experience of love is fairly uniform throughout. It is a sore experience of unrealized desire. That scenario produces a pronouncedly virtuous image of the ‘Connaught peasant’ for a number of reasons.

The reader encounters deep loyalty where admiration is unstinted by forbiddance of love because of emigration, lack of requital, or death. ‘Úna Bhán,’ for example, is preceded by a long passage explaining how deeply a bereaved lover missed the fair Úna after, until he himself passed away. Also, Hyde’s anthology is particularly rich in its examples of similes drawn from the natural world. See ‘my love is of the colour of the blackberries’ (5) in ‘If I Were to Go West’, ‘I would not think the voice of a thrush more sweet’ (27) in ‘Long I Am Going,’ and ‘My love is like the blossom of the sloe on the brown blackthorn’ (31) in ‘An Droighneán Donn’. In the vivid rendering of these images, the beauty of the desired lover is stressed, and the delicate sensibility of the speaker is inherently implied. The Connaught peasant is thoroughly valorized as a result.

Accounting for consistencies among what anthologies include, and among what they exclude, can highlight their organizing agenda. One obvious example in the area of Irish Studies is the Field Day Anthology controversy, detailed in depth by Caitríona Crowe in The Dublin Review: https://thedublinreview.com/article/testimony-to-a-flowering/

In the case of Hyde’s Love Songs, consistencies among excluded material strengthen our perception of how actively he sought to contrive an estimable image of the Connaught peasant. Though Hyde claims his selection is emblematic of the love-thought of that idealized personage, he does not provide any examples of la chanson de la malmariée. This variety of song is so widespread that Seán Ó Tuama, who was the principal authority on the theme of love in Irish folksong, included it as one of five major genres in his article ‘Love in Irish Folksong’ (in the book Repossessions: Selected Essays on the Irish Literary Heritage. Such songs are an expression of grief by a young woman unhappily married to an elderly man.

If we are to view the songs anthologized by Hyde in a broader context of Connacht songs about love, an awareness of the chanson de la malmariéé is required. Faoi Rothaí na Gréine (1999) is a relatively recently published collection of Connacht songs. The collecting work was done in Galway between 1927 and 1932 by Máirtín Ó Cadhain, and latterly edited by Professor Ríonach Uí Ógáin. ‘An Droigheán Donn’, ‘Úna Bhán’, and ‘Mal Dubh an Ghleanna’ are common to Faoi Rothaí na Gréine and Love Songs of Connacht. The inclusion in the former of two famous songs of the malmariée genre, ‘Dar Mo Mhóide Ní Phósfainn Thú’ (I Swear I Wouldn’t Marry You), and ‘Amhrán an Tae’ (The Tea Song) demonstrate the strong presence of that genre in the ‘love-thought’ of vernacular Connacht song.

This way of framing discussion of Love Songs of Connacht invites close interrogation of Hyde’s biases. The choice of material for inclusion and exclusion is ideologically cohesive, to the specific end of creating a valorous image of the idealized native peasant. In my M.A. thesis, I might further refine the line of argument pursued in this annotation, and use it as the basis on which to build a discussion of Hyde’s particular ideological motivations.

This website provides important context for the exploration of a research question I am addressing in my M.A. thesis preparation.

The portrayal of female personages in revivalist literature sets them in signally passive roles. This is most clearly at issue in the work of that period’s two foremost dramatists. In W.B. Yeats’ Cathleen Ni Houlihane, the female protagonist does not pursue her own course of action, but rather serves to inspire male heroism (P.J. Mathews discusses the play’s portrayal of female passivity at length in a piece, see http://www.rte.ie/centuryireland/index.php/articles/literature-and-1916). In The Only Jealously of Emer and The Countess Cathleen the value of women to society is achieved through acts of self-sacrifice for the benefit of significant male others (Christina Wilson has argued similar points in great detail: http://chrestomathy.cofc.edu/documents/vol5/wilson.pdf).

In John Millington Synge’s Riders to the Sea, we encounter a blending of the taste for passive female characters with a revival fascination with the rural west. Old Maurya’s reticence and stern faith in God, following the drowning of her five sons, established her as the moral centre of her native Aran community. Her monologue in the play’s ending concentrates our attention on the community’s willingness to surrender to tragic fate, which is always threatened by the danger of the sea (the play is available to read online at this link: http://www.one-act-plays.com/dramas/riders_to_the_sea.html).

What is interesting to me is that images of a massive female subject, favoured by Abbey playwrights who sought to stress the cultural specificity of Ireland, differ strongly with some prominent portrayals of the female subject in vernacular literature in Irish. In my annotation of this archive, I will provide examples of some genres of folk song – composed by females, and traditionally sung by female singers – that contradict ideas of a female subject as passive sufferer of fate. Annotations will include translations to English.

After highlighting these features of oral literature in Irish, I will have laid down substantial grounding for a discussion of the ideological motivations of revivalist authors’ depiction of female subjects. It is interesting that certain tropes of a national identity, which these authors consciously sought to create, can be seen as divergent with realities of the social group which was most fundamental to that identity. This observation encourages consideration of European intellectual currents which might have influenced revivalist writers, romantic nationalism in particular.

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