That sentence is followed by three-and-a-half lines of redacted information.
|
|
Berlin's lyrics also fell into place and consisted of half lines, full lines at surprising intervals, using simple elongated words.
|
|
Berlant: Well, I don't wanna toot my own horn, but I had one and a half lines on Lizzie McGuire, it was a Disney show, and I was student #2, and from that was my big break, and I got like a child manager who was disgusting.
|
|
I'll forebear to quote the poem's last two-and-a-half lines; they'll reward those resourceful enough to track down the elusive chapbook itself, but here's a spoiler alert: the voice in the air does find its "listening love," and that listening could also be yours, reader, as the acrobatically tumbling syntax come to a satisfied rest.
|
|
Half-lines from in the axis-plane are not displaced; half-lines from orthogonal to are displaced through ; all other half-lines are displaced through an angle less than .
|
|
For example, consider the Feynman diagram formed from two external lines joined to one , and the remaining two half-lines in the joined to each other. There are 4 × 3 ways to join the external half-lines to the , and then there is only one way to join the two remaining lines to each other. The comes divided by , but the number of ways to link up the half lines to make the diagram is only 4 × 3, so the contribution of this diagram is divided by two. For another example, consider the diagram formed by joining all the half-lines of one to all the half-lines of another .
|
|
The half-line at the tail end of the arrow carries momentum , while the half-line at the head-end carries momentum . If one of the two half-lines is external, this kills the integral over the internal , since it forces the internal to be equal to the external . If both are internal, the integral over remains. The diagrams that are formed by linking the half-lines in the s with the external half-lines, representing insertions, are the Feynman diagrams of this theory.
|
|
If the rotation angles are unequal (), is sometimes termed a "double rotation". In that case of a double rotation, and are the only pair of invariant planes, and half-lines from the origin in , are displaced through and respectively, and half-lines from the origin not in or are displaced through angles strictly between and .
|
|
Then form the diagram by linking a half-line to a name and then to the other half line. Now count the number of ways to form the named diagram. Each permutation of the s gives a different pattern of linking names to half-lines, and this is a factor of . Each permutation of the half-lines in a single gives a factor of 4!.
|
|
Conversely, another variant, kviðuháttr, has only three syllables in its odd half-lines (but four in the even ones).Poole, Russell. 2005. Metre and Metrics. In: McTurk, Rory (ed.).
|
|
The number of ways to form a given Feynman diagram by joining together half-lines is large, and by Wick's theorem, each way of pairing up the half-lines contributes equally. Often, this completely cancels the factorials in the denominator of each term, but the cancellation is sometimes incomplete. The uncancelled denominator is called the symmetry factor of the diagram. The contribution of each diagram to the correlation function must be divided by its symmetry factor.
|
|
Lerer states that it "more than competently reproduces the traditional alliterative half-lines of Old English prosody", while Thomas Cable considers the poem to break with the traditional form, "as though the author of Durham were familiar with earlier Old English poetic texts but misunderstood their metrical principles." Fulk notes that a high proportion of half-lines are defective in metre.Fulk 1992, pp. 260–61 Bede's tomb at Durham Cathedral Relatively little modern research has focused on the poem's literary aspects.
|
|
The contribution is multiplied by = . Another example is the Feynman diagram formed from two s where each links up to two external lines, and the remaining two half-lines of each are joined to each other. The number of ways to link an to two external lines is 4 × 3, and either could link up to either pair, giving an additional factor of 2. The remaining two half-lines in the two s can be linked to each other in two ways, so that the total number of ways to form the diagram is , while the denominator is .
|
|
It is the earliest known example of a Vergilian cento, that is, a poem constructed entirely out of lines and half-lines from the works of Virgil. The poet used Virgilian hexameters for the spoken parts of the play, and half- hexameters for the choral parts.
|
|
Durham employs traditional alliterative verse. The proportion of half-lines of the C, D and E types is very low (14%) even compared with the other late poems The Battle of Maldon (991) and The Death of Edward (c. 1066) (both around 25%).Fulk 1992, p.
|
|
The poet, however, often omitted the alliteration; and the scribe, who attempted by marks of punctuation to show which half-lines belonged together, seems in consequence to have sometimes lost his way. An preost wes on leoden Laȝamon wes ihoten. He wes leouenaðes sone, liðe him beo drihten. He wonede at ernleȝe, at æðelen are chirechen.
|
|
The French alexandrine () is a syllabic poetic meter of (nominally and typically) 12 syllables with a medial caesura dividing the line into two hemistichs (half-lines) of six syllables each. It was the dominant long line of French poetry from the 17th through the 19th century, and influenced many other European literatures which developed alexandrines of their own.
|
|
The expansion of the action in powers of gives a series of terms with progressively higher number of s. The contribution from the term with exactly s is called th order. The th order terms has: # internal half-lines, which are the factors of from the s. These all end on a vertex, and are integrated over all possible .
|
|
Despite the division, there is some consensus regarding aspects of the verse's structure. A Saturnian line can be divided into two cola or half-lines, separated by a central caesura. The second colon is shorter than or as long as the first. Furthermore, in any half-line with seven or more syllables, the last three or four are preceded by word-end.
|
|
"Against a Dwarf" (Old English: Ƿið Dƿeorh) is an Anglo-Saxon metrical charm found in the Lacnunga. It requires writing the names of the Seven Sleepers onto seven wafers, then singing an alliterative verse three times. The verse is written in half lines and was used for its assumed curative properties, although what the charm is supposed to be curing is still a matter of debate.
|
|
The basic Anglo-Saxon poetic line consists of two half-lines, connected by alliteration. This means that there is a word or syllable in the second half-line, which will alliterate with one or more important words or syllables in the first half-line. These alliterated words or syllables will have more stress.Frederic G Cassidy and Richard M. Ringler, eds. Bright’s Old English Grammar and Reader.
|
|
Chief Kanna, while installing the image of a Yaksha (an attendant of the god of wealth Kubera) at the top of the pillar, had a minor inscription no longer than two and a half lines of old Kannada (dated to about 1180 A.D.) dedicated to his deed inscribed on the south face of the base. This according to Rice deprived historians from getting complete information about the erection of the pillar.Rice (1889), p. 55, pp.
|
|
Each line of traditional Germanic alliterative verse is divided into two half-lines by a caesura. This can be seen in Piers Plowman: > :A fair feeld ful of folk / fond I ther bitwene— :Of alle manere of men / > the meene and the riche, :Werchynge and wandrynge / as the world asketh. > :Somme putten hem to the plough / pleiden ful selde, :In settynge and > sowynge / swonken ful harde, :And wonnen that thise wastours / with glotonye > destruyeth.
|
|
The Hildebrandslied text is the work of two scribes, of whom the second wrote only seven and a half lines (11 lines of verse) at the beginning of the second leaf. The scribes are not the same as those of the body of the codex. The hands are mainly Carolingian minuscule. However, a number of features, including the wynn-rune (ƿ) used for w suggest Old English influence, not surprising in a house founded by Anglo-Saxon missionaries.
|
|
The right-hand rule Fixing or choosing the x-axis determines the y-axis up to direction. Namely, the y-axis is necessarily the perpendicular to the x-axis through the point marked 0 on the x-axis. But there is a choice of which of the two half lines on the perpendicular to designate as positive and which as negative. Each of these two choices determines a different orientation (also called handedness) of the Cartesian plane.
|
|
To see this, consider an isoclinic rotation , and take an orientation-consistent ordered set of mutually perpendicular half-lines at (denoted as ) such that and span an invariant plane, and therefore and also span an invariant plane. Now assume that only the rotation angle is specified. Then there are in general four isoclinic rotations in planes and with rotation angle , depending on the rotation senses in and . We make the convention that the rotation senses from to and from to are reckoned positive.
|
|
The three lines of double points intersect at a triple point which lies on the origin. The triple point cuts the lines of double points into a pair of half-lines, and each half-line lies between a pair of lobes. One might expect from the preceding statements that there could be up to eight lobes, one in each octant of space which has been divided by the coordinate planes. But the lobes occupy alternating octants: four octants are empty and four are occupied by lobes.
|
|
Loki in Lokasenna and Hárbarð in Hárbarðsljóð both accuse Thor's wife Sif of adultery, a charge that is never denied and may have been commonly known. They also speak identical half-lines, accusing Thor of being unmanly. Despite these arguments, this theory was rejected by later scholars such as Finnur Jónsson, Fredrick Sander, and Felix Niedner, in favor of identifying Hárbarð with Odin, based, among other things, on Odin's statement in Grimnismál 47 that Hárbarð is one of his by-names.Klaus von See, et al.
|
|
If the rotation angles of a double rotation are equal then there are infinitely many invariant planes instead of just two, and all half-lines from are displaced through the same angle. Such rotations are called isoclinic or equiangular rotations, or Clifford displacements. Beware: not all planes through are invariant under isoclinic rotations; only planes that are spanned by a half-line and the corresponding displaced half-line are invariant. Assuming that a fixed orientation has been chosen for 4-dimensional space, isoclinic 4D rotations may be put into two categories.
|
|
Stichomythia (Greek: Στιχομυθία; stikhomuthía) is a technique in verse drama in which sequences of single alternating lines, or half-lines (hemistichomythia, Antilabe Rebuilt by Robert Hogan.) or two-line speeches (distichomythia, Die stichomythie in der griechischen tragödie und komödie: ihre anwendung und ihr ursprung by Adolf Gross (German).) are given to alternating characters. It typically features repetition and antithesis. The term originated in the theatre of Ancient Greece, though many dramatists since have used the technique. Etymologically it derives from the Greek stikhos ("row, line of verse") + muthos ("speech, talk").
|
|
This is from a book that was lost in the Cotton Library fire of 1731, but it had been transcribed previously. Rather than being organized around rhyme, the poetic line in Anglo-Saxon is organised around alliteration, the repetition of stressed sounds; any repeated stressed sound, vowel or consonant, could be used. Anglo- Saxon lines are made up of two half-lines (in old-fashioned scholarship, these are called hemistiches) divided by a breath-pause or caesura. There must be at least one of the alliterating sounds on each side of the caesura.
|
|
Stephanos (1881) He also represented Laguerre's oriented spheres by quaternions (1883).Stephanos (1883) Lines, circles, planes, or spheres with radii of certain orientation are called by Laguerre half-lines, half-circles (cycles), half-planes, half-spheres, etc. A tangent is a half- line cutting a cycle at a point where both have the same direction. The transformation by reciprocal directions transforms oriented spheres into oriented spheres and oriented planes into oriented planes, leaving invariant the "tangential distance" of two cycles (the distance between the points of each one of their common tangents), and also conserves the lines of curvature.
|
|
In the case of a solid object, the boundary formed by these lines or partial lines is called the lateral surface; if the lateral surface is unbounded, it is a conical surface. In the case of line segments, the cone does not extend beyond the base, while in the case of half-lines, it extends infinitely far. In the case of lines, the cone extends infinitely far in both directions from the apex, in which case it is sometimes called a double cone. Either half of a double cone on one side of the apex is called a nappe.
|
|
Vietnamese Zen master, Thich Nhat Hanh, has written with regards to the aforementioned verse in the Satipatthana Sutra, on the topic of sampajañña, the following, :This exercise is the observation and awareness of the actions of the body. This is the fundamental practice of the monk. When I was first ordained as a novice forty-eight years ago, the first book my master gave me to learn by heart was a book of gathas A gāthā (Pāli) is a verse of four half-lines (Rhys Davids & Stede, 1921-25, p. 248). For Thầy Thich Nhat Hanh, these verses generally bring one's awareness cheerfully back to the simple task at hand.
|
|
The Old English poet was particularly fond of describing the same person or object with varied phrases, (often appositives) that indicated different qualities of that person or object. For instance, the Beowulf poet refers in three and a half lines to a Danish king as "lord of the Danes" (referring to the people in general), "king of the Scyldings" (the name of the specific Danish tribe), "giver of rings" (one of the king's functions is to distribute treasure), and "famous chief". Such variation, which the modern reader (who likes verbal precision) is not used to, is frequently a difficulty in producing a readable translation.
|
|
At other times, to suit the context of events like the death of King Théoden, Tolkien wrote what he called "the strictest form of Anglo-Saxon alliterative verse".Letters, #187 to H. Cotton Minchin, April 1956 That strict form means that each line consists of two half-lines, each with two stresses, separated by a caesura, a rhythmic break. Alliteration is not constant, but is common on the first three stressed syllables within a line, sometimes continuing across several lines: the last stressed syllable does not alliterate. Names are constantly varied: in this example, the fallen King of the Rohirrim is named as Théoden, and described as Thengling and "high lord of the host".
|
|
By convention an NTSC video frame is considered to start with an even field followed by an odd field. The disparity of the line numbering compared to other systems is solved by defining the line numbering to start five equalizing pulses (or 2 and a half lines) earlier than on all other systems (including Systems A and E even though they had no equalizing pulses) on the first equalizing pulse following an active line or half line. This has the effect of placing a half line of video at the end of the even (first) field and the beginning of the odd (second field). Thus the line numbers correspond to the real lines of the video frame.
|
|
Probably the most famous cultural heritage of the Isleños are the décimas which carry back to the varied origins of the community. These songs, unlike the ten-line Spanish décima of the 16th century, a form widespread throughout Hispanic America, are usually composed in couplets using four half-lines of verse, the even verses being assonant rhymes. They have been composed as recently as during the first half of the 20th century and feature themes relating to local history, the hazards encountered while fishing or trapping, the misadventures of local personalities, and humorously exaggerated tales of fishing exploits. The Isleños of St. Bernard Parish, sing both traditional décimas and improvised décimas that are composed whilst singing.
|
|
As functions of a complex variable, inverse hyperbolic functions are multivalued functions that are analytic, except at a finite number of points. For such a function, it is common to define a principal value, which is a single valued analytic function which coincides with one specific branch of the multivalued function, over a domain consisting of the complex plane in which a finite number of arcs (usually half lines or line segments) have been removed. These arcs are called branch cuts. For specifying the branch, that is, defining which value of the multivalued function is considered at each point, one generally define it at a particular point, and deduce the value everywhere in the domain of definition of the principal value by analytic continuation.
|
|
The seven syllables normally used for this practice in English-speaking countries are: do, re, mi, fa, sol, la, and ti (with sharpened notes of di, ri, fi, si, li and flattened notes of te, le, se, me, ra). The system for other Western countries is similar, though si is often used as the final syllable rather than ti. Guido of Arezzo is generally considered to have originated the European tradition of solmization. In Guido's work Micrologus (1026), the ut–re–mi–fa–so–la syllables are derived from the initial syllables of each of the first six half-lines of the first stanza of the hymn Ut queant laxis, the text of which is attributed to the Italian monk and scholar Paulus Diaconus.
|
|
Choosing a Cartesian coordinate system for a one-dimensional space—that is, for a straight line—involves choosing a point O of the line (the origin), a unit of length, and an orientation for the line. An orientation chooses which of the two half-lines determined by O is the positive, and which is negative; we then say that the line "is oriented" (or "points") from the negative half towards the positive half. Then each point P of the line can be specified by its distance from O, taken with a + or − sign depending on which half-line contains P. A line with a chosen Cartesian system is called a number line. Every real number has a unique location on the line.
|
|
Another is when three external lines end on an , and the remaining half- line joins up with another , and the remaining half-lines of this run off to external lines. These are all also forest diagrams (as every tree is a forest); an example of a forest that is not a tree is when eight external lines end on two s. It is easy to verify that in all these cases, the momenta on all the internal lines is determined by the external momenta and the condition of momentum conservation in each vertex. A diagram that is not a forest diagram is called a loop diagram, and an example is one where two lines of an are joined to external lines, while the remaining two lines are joined to each other.
|
|
Working with 24p material via video equipment working at NTSC frame rates has many of the same attributes as the 24 frame/s workflow, but is more complicated by the NTSC- rate practice of using telecine pull-down rather than the PAL practice of transferring 24 frame/s material at 25 frame/s. At 525 lines analog NTSC video rates (30000/1001 frames per second) a full "interlaced" frame, unlike a progressive frame, is nearly 1/30th of a second and is composed of two separate "fields," each field nearly 1/60 second. The first field (the odd field) contains visible scan lines 21-263 and the second field (the even field) contains visible scan lines 283–525 (though lines 263 and 283 are half- lines). What is seen onscreen is two of these fields, "interlaced" together, to produce a single full frame.
|
|
Let K be a closed convex subset of a real vector space V and ∂K be the boundary of K. The solid tangent cone to K at a point x ∈ ∂K is the closure of the cone formed by all half-lines (or rays) emanating from x and intersecting K in at least one point y distinct from x. It is a convex cone in V and can also be defined as the intersection of the closed half-spaces of V containing K and bounded by the supporting hyperplanes of K at x. The boundary TK of the solid tangent cone is the tangent cone to K and ∂K at x. If this is an affine subspace of V then the point x is called a smooth point of ∂K and ∂K is said to be differentiable at x and TK is the ordinary tangent space to ∂K at x.
|
|
A right circular cone and an oblique circular cone A double cone (not shown infinitely extended) 3D model of a cone A cone is a three-dimensional geometric shape that tapers smoothly from a flat base (frequently, though not necessarily, circular) to a point called the apex or vertex. A cone is formed by a set of line segments, half-lines, or lines connecting a common point, the apex, to all of the points on a base that is in a plane that does not contain the apex. Depending on the author, the base may be restricted to be a circle, any one-dimensional quadratic form in the plane, any closed one-dimensional figure, or any of the above plus all the enclosed points. If the enclosed points are included in the base, the cone is a solid object; otherwise it is a two-dimensional object in three-dimensional space.
|
|
Nearly all Old English poetry (whether or not it was written or sung) follows the same general verse form, its chief characteristic being alliteration. As was common with poetry of the period, the nine lines of the Hymn are divided into eighteen half-lines by a medial caesura (pause or break in the middle of the line); the four principal stresses of each line are in turn divided evenly, allotting each half line with two stresses. It is generally acknowledged that the text can be separated into two rhetorical sections (although some scholars believe it could be divided into three), based on theme, syntax and pacing; the first being lines one to four and the second being lines five to nine. Bede himself stated (in regards to his own Latin translation of Cædmon's Hymn) that "it is impossible to make a literal translation, no matter how well written, of poetry into another language without losing some of the beauty and dignity" of the piece.
|
|
This blanking interval was originally designed to simply blank the electron beam of the receiver's CRT to allow for the simple analog circuits and slow vertical retrace of early TV receivers. However, some of these lines may now contain other data such as closed captioning and vertical interval timecode (VITC). In the complete raster (disregarding half lines due to interlacing) the even- numbered scan lines (every other line that would be even if counted in the video signal, e.g. {2, 4, 6, ..., 524}) are drawn in the first field, and the odd-numbered (every other line that would be odd if counted in the video signal, e.g. {1, 3, 5, ..., 525}) are drawn in the second field, to yield a flicker-free image at the field refresh frequency of Hz (approximately 59.94 Hz). For comparison, 576i systems such as PAL-B/G and SECAM use 625 lines (576 visible), and so have a higher vertical resolution, but a lower temporal resolution of 25 frames or 50 fields per second.
|
|