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]]> Jasmine Rouge Sexy Party 2007.

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Jasmine Rouge Sexy Party 2007.

]]> Array Arnold raced out of the door

Do not, for one repulse, give up the purpose that you resolved to effect. (William Shakespeare, British dramatist)

Fans of Murder, She Wrote are often as fascinated by every detail of the opening credit sequence as they are with the actual episodes. In the sequence, Jessica engages in a host of wholesome activities having little to do with staging murders to later solve or writing about those staged murders.
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The exception is a few scenes providing the audience a glimpse into Jessica’s writing process, which involves a lot of focused keystroking, carriage returning and the shuffling of papers into what looks to be a menu from Red Lobster. The few flashes of manuscript – thought to be from Fletcher’s first novel, The Corpse Danced at Midnight –
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only allow viewers seconds to absorb this particular phrase: I vacillate between sensing there is more to the Arnold story than twelve seasons worth of episodes and two seconds of screen time reveal to believing Arnold – like the second most famous guest star appearing in any episode of Murder, She Wrote – is just a red herring. As far as I know neither the producers of the program nor Angela Lansbury have ever Wxioqskajfdfr publicly addressed the issue.
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In addition, Arnold has never come forward with his own version of the events. I should point out one of my favorite Murder, She Wrote related activity is coming up with lyrics for the instrumental theme: There is a murder, a murder she wrote…Jessica can kill you by bus, bike or boat… Jessica, get out of there (cello solo) Jessica, get out of there… it’s Friday and in some areas of the country – though not here – it’s Spring. It’s a fluffy open post, which hopefully will stay fluffy and can encompass any range of topics, AS LONG AS IT IS FLUFFY in nature. If you can cuddle it, water it, read it, write it, hot glue it, dance to it in your undies or bake it in the oven at 350 degrees for 45 minutes it’s all good. You can even dish Murder, She Wrote. Whatever. In the meantime please enjoy this faithfully rendered send up of the opening sequence.

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]]>

xiaosan

Blog: Arnold raced out of the door

xiaosan 11 days ago

]]> Arnold raced out of the door

Do not, for one repulse, give up the purpose that you resolved to effect. (William Shakespeare, British dramatist)

Fans of Murder, She Wrote are often as fascinated by every detail of the opening credit sequence as they are with the actual episodes. In the sequence, Jessica engages in a host of wholesome activities having little to do with staging murders to later solve or writing about those staged murders.
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The exception is a few scenes providing the audience a glimpse into Jessica’s writing process, which involves a lot of focused keystroking, carriage returning and the shuffling of papers into what looks to be a menu from Red Lobster. The few flashes of manuscript – thought to be from Fletcher’s first novel, The Corpse Danced at Midnight –
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only allow viewers seconds to absorb this particular phrase: I vacillate between sensing there is more to the Arnold story than twelve seasons worth of episodes and two seconds of screen time reveal to believing Arnold – like the second most famous guest star appearing in any episode of Murder, She Wrote – is just a red herring. As far as I know neither the producers of the program nor Angela Lansbury have ever Wxioqskajfdfr publicly addressed the issue.
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In addition, Arnold has never come forward with his own version of the events. I should point out one of my favorite Murder, She Wrote related activity is coming up with lyrics for the instrumental theme: There is a murder, a murder she wrote…Jessica can kill you by bus, bike or boat… Jessica, get out of there (cello solo) Jessica, get out of there… it’s Friday and in some areas of the country – though not here – it’s Spring. It’s a fluffy open post, which hopefully will stay fluffy and can encompass any range of topics, AS LONG AS IT IS FLUFFY in nature. If you can cuddle it, water it, read it, write it, hot glue it, dance to it in your undies or bake it in the oven at 350 degrees for 45 minutes it’s all good. You can even dish Murder, She Wrote. Whatever. In the meantime please enjoy this faithfully rendered send up of the opening sequence.

=_=Related Article-_-!

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+_+ http://www.mobzing.com/user/blogs/view/name_dmczxzx/id_1347/title_dressed-in-the-perfect-black-and-white-wedding/

]]>

xiaosan

Blog: Arnold raced out of the door

xiaosan 11 days ago

]]> PROgrammable extenSions of sErvices

If you doubt yourself, then indeed you stand on shaky ground. (Ibsen, Norwegian dramatist )

Adaptability to the dynamic nature of the computing environments is one of the biggest challenges for software engineering and has become an important feature in today’s modern systems, mobile and pervasive computing. Applications which execute in such environments need to adapt to changing settings they encounter during their active life time. They should be able to react and modify their behavior dynamically in response to changes in their execution environments, without being required to be preprogrammed with the software functionality needed for typical adaptations. Our research work addresses this challenge.
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PROSE is an infrastructure that supports dynamic adaptation of applications by extending their functionality with new code (extensions) used to enhance, modify, or control the functionality already present in the application. The system performs controlled, systematic, and efficient modification of the code of running Java applications without requiring them to be shut down. Changes are composable, and may be reordered or selectively withdrawn at any time.
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The modifications are expressed as Java classes, providing additional development benefits. Given the possibility to add and remove new functionality at an arbitrary point in time, it is important to know at any time what extensions are currently inserted into an application and what execution points they denote. For this purpose, PROSE provides powerful tools that allow the users to see how Wxioqskajfdfr a given extension will affect the application behavior at runtime.
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Embedded into an Eclipse plug-in, the PROSE Development Tools for Eclipse allows runtime monitoring and adaptation of applications from Eclipse. The tools allow to monitor and modify the code of local and remote applications at runtime. PROSE can be used for a wide range of purposes: program instrumentation and profiling, online debugging and logging, hotfixes and security patches, evolution of critical legacy applications, software adaptation in a number of applications including web servers, J2EE containers, and mobile computing. Furthermore, PROSE provides the infrastructure for a number of research projects exploring the use of PROSE for assuring application performance, enterprise applications, software evolution, and implementation of service migration.

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xiaosan

Blog: PROgrammable extenSions of sErvices

xiaosan 11 days ago

]]>

xiaosan

Blog: PROgrammable extenSions of sErvices

xiaosan 11 days ago

]]> Classical Literature the prose

If winter comes, can spring be far behind ?( P. B. Shelley, British poet )

Greek. Prose as a means of literary expression was developed in Greece as in other countries long after poetry. In early times when writing was in its infancy and literary compositions survived by being committed to memory, those written in metrical form were easier to memorize . The earliest writers of Greek prose appear to have been the chroniclers and philosophers of Ionia in the sixth century BC. From this time onward the development of prose was rapid. Heracleitus in about 500 BC was already writing prose of subtlety and style. By the middle of the fifth century BC a technical prose had been developed which was adequate to express all that was needed for a scientific or philosophical treatise. Democritus , to judge from his fragments, was a competent prose writer, and the earliest works in the Hippocratic Corpus show at least the capacity for accurate and concise statement. The first fully developed prose work that has survived in its entirety is the history of Herodotus .
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Attic prose reached its height in the dialogues of Plato and the speeches of Demosthenes . The sophist Gorgias developed a very mannered oratorical style which did not have a long-lasting influence. Isocrates on the other hand exercised through his school a deep influence on later Greek prose, in the direction of greater elaboration and ornament. With the end of the fourth century BC came the close of the classical period of Attic literature, the dialect of Athens then giving place to a common Greek dialect, the koinē , less subtle, varied, and accurate in expression.
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Greek prose was influenced by ‘Asianism’, the florid style favoured by the rhetoricians of the third century BC. There was an energetic reaction against this, and an Attic revival, at Rome in the Augustan age; of this Dionysius of Halicarnassus is the best example. In the second century AD Lucian wrote in a very good imitation of classical Attic prose. See also NOVEL and SOPHISTIC, SECOND. Latin. Latin prose was developed, in its characteristic features, out of public speech, though it originated partly in the Annales of the pontiffs which were the origin of written history at Rome. Roman law, published and often learnt by heart, was also a formative influence. Latin prose, unlike Latin poetry, owed little to Greek influences, for it already possessed, before the advent of these, the essential qualities of clarity, precision, and conciseness. In a community like Rome where politics played so great a part, these Wxioqskajfdfr qualities were naturally esteemed in oratory.
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We hear of Appius Claudius Caecus and Cato the Censor as noted speakers; and oratory was further developed, with a great variety of appeal, by Gaius Gracchus. Latin prose reached its highest point in the speeches and writings of Cicero. Thereafter it tended to become artificial, epigrammatic, and poetical, under the influence of the poets and of the prevailing education in rhetoric and through the practice of declamation. Seneca's prose is typically epigrammatic; that of Tacitus is marked by its excessive compactness and its poeticisms. The Younger Pliny also shows the influence of the rhetorical schools. Quintilian opposed the artificiality of his day and wrote in a style free from conceits and studied effects; but although a professed follower of Cicero he did not recapture the amplitude and symmetry of Cicero's prose.

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xiaosan

Blog: Classical Literature the prose

xiaosan 11 days ago

]]>

xiaosan

Blog: Classical Literature the prose

xiaosan 11 days ago

]]> Big thanks to everybody

I want to bring out the secrets of nature and apply them for the happiness of man. I don't know of any better service to offer for the short time we are in the world. (Thomas Edison, American inventor)

Those of you who hate change, brace yourselves. In addition to the new template, I’ve got news. Over the last few months, three of my longtime co-bloggers have moved on (well, Sweet Machine wasn’t necessarily taking a permanent vacation, but realistically… yeah), and Snarky’s Machine and I have been trying to keep things going in some form that sort of resembles the old SP.
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But both of us are busy and tired and cranky about moderating, which you’ve probably noticed on account of how we’re always talking about being busy and tired and cranky about moderating. Snarky’s also started up a fantastic pop culture blog, I Fry Mine in Butter, and wants to spend more time on her office supplies blog, Does This Pen Write, in addition to her paid writing projects.
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In the meantime, we’ve both either been feeling guilty about not writing here or cranky about moderating when we do write. So Snarky’s bowing out, and “kateharding.net” will finally be an accurate url for this blog once again. It’s just me now. And I don’t even know what it will become yet. I know it’s incredibly unlikely that I’ll update more than a couple of times a week for the forseeable future, so you should put Shapely Prose in your reader if you want to keep up with new posts. (You should put Jezebel and Broadsheet in there, too, because I’ll Wxioqskajfdfr still be doing one-offs for them as well.)
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Big thanks to everybody who’s stuck around this long and everybody who continues to. When I figure out what I want to do with SP (if there’s to be any overarching vision at all — most likely it will be the same old stuff, but probably with more personal blogging), you’ll be the first to know. While you wait, you can feel free to explore the 1200+ posts in the archives. Rock on, Shapelings.

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xiaosan

Blog: Big thanks to everybody

xiaosan 11 days ago

]]>

xiaosan

Blog: Big thanks to everybody

xiaosan 11 days ago

]]> A post story

Don't part with your illusions. When they are gone you may still exist, but you have ceased to live. (Mark Twain, American writer)

…in which I write some things other than “Hey, I’m not going to post for a while.” Specifically, some reasons why I haven’t been posting and probably still won’t for a bit. Two nights ago, a spider got up my pajama pant leg while I slept, got trapped around the knee, and left me with 11 goddamn bites. This happens about once a year, and it’s hardly a big crisis, but it means that for the next several days, I will wake up with my knee on fire, and sit around whimpering and cursing the spider for 10-20 minutes until it calms down instead of posting first thing in the morning, which is usually my best time. I just got back from a 10-day trip to New York, which was amazing in several ways, perhaps most notably that I think I went like three days without turning on the computer at all. (I did, of course, check e-mail and Twitter on my phone. But it was still a big change for me.) Like my recent trip to Toronto, it reinforced that I spend too goddamned much time on the internet, and I actually enjoy leaving the house and speaking to other human beings face to face.
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So I’m still trying to figure out how to do more of that. I am, as previously mentioned (I think), working on a new book proposal. Although when I was out with Amy Benfer and another writer friend last week, I said “I’m still at the proposal stage,” and Amy immediately corrected me: “She’s still at the talking-about-it-in-bars stage.” Mostly because that’s exactly what I was doing at the time instead of writing. But A) that is an important stage, dammit, and B) I have written half a proposal and would like to get the other half finished soon. So that’s ongoing. Before that, though, I have to finish revising/adding to the body image chapter for the upcoming edition of Our Bodies, Ourselves. How awesome is that? My mother-in-law is coming to visit tomorrow. In anticipation of 5 — and because I really couldn’t avoid it much longer and still have a usable space — I have spent the last two days thoroughly cleaning my office, including going through every box full of papers that’s been sitting around there for months to years, figuring out what to shred and what to save, and creating a filing system that lends itself to actually finding things when I want them, as opposed to my tried and true “throw it in a box and maybe go through it the next time I move” system.
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I am still not done. And now Al’s gung-ho on organizing the closets and pantry and trying to set up systems all over the place that will help our future selves avoid getting buried under heaps of clutter and I’ll Deal With It Later boxes, so if you don’t hear from me, it is probably because I will be cleaning this fucking apartment FOR THE REST OF MY LIFE. But to tide you over, here’s a thing I probably would have posted about, had I been in a posting mood. In the “Flesh and Stone” episode of Doctor Who, which is the last one we’ve watched (so please don’t spoil anything past that) (and if you haven’t seen that ep and don’t want to be spoiled for it, quit reading now), new companion Amy comes back from a typically harrowing adventure and reacts in exactly the way I would if I were a young, single, heterosexual woman who’d just traveled through time and space (and nearly died) with a guy who looks like Matt Smith and Wxioqskajfdfr is basically the most amazing dude ever, because that’s the whole point of him: She tries to get him into bed.
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Now, I should note that A) I am not remotely a Doctor Who purist (I’ve only watched the new version) and am therefore not invested in the notion that the Doctor is meant to be asexual. (Especially when he’s as hot as the last three have been, which frankly is the main reason I got into watching it.) B) I am also not remotely the kind of person who thinks sex/tension between leads ruins good shows in general. In fact, I would pretty much like everyone on TV to be fucking and/or having relationship angst all the time. So there’s that. But even setting those things aside, I was stunned to see the internet reaction to that scene. Not only is there slut-shaming galore (I forgot to mention that Amy’s supposed to get married in the morning, so OMG HOW COULD SHE?) but there are several people advancing the theory that her hitting on the Doctor is meant to be read as evidence of mental illness (by which they seem to mean daddy issues and low self-esteem, mostly, but they’re framing it in terms of a disorder). Simply because she wants to have sex with what appears to be a very cute twentysomething guy (ok, he’s a 900-year-old alien, but still) after going through several adrenaline-pumping adventures with him. Previous companions in the new version have either mooned over the Doctor endlessly or kept it strictly platonic, and on a show about time and space travel and aliens and monsters, the fact that no one’s tried to bone him yet has strained my credulity more than just about anything else.

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xiaosan

Blog: A post story

xiaosan 11 days ago

]]>

xiaosan

Blog: A post story

xiaosan 11 days ago

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