Chapter 5. Knowing What to Comment; What NOT to Comment; Don't Comment Just for the Sake of Commenting; Don't Comment Bad Names--Fix the Names Instead; Recording Your Thoughts; Include "Director Commentary"; Comment the Flaws in Your Code; Comment on Your Constants; Put Yourself in the Reader's Shoes; Anticipating Likely Questions; Advertising Likely Pitfalls; "Big Picture" Comments; Summary Comments; Final Thoughts--Getting Over Writer's Block; Summary; Chapter 6. Making Comments Precise and Compact; Keep Comments Compact; Avoid Ambiguous Pronouns; Polish Sloppy Sentences.
Here is the ideal introduction to satire for the student and, for the experienced scholar, an occasion to reconsider the uses, problems, and pleasures of satire in light of contemporary theory. Satire is a staple of the literary classroom. Dustin Griffin moves away from the prevailing moral-didactic approach established thirty some years ago to a more open view and reintegrates the Menippean tradition with the tradition of formal verse satire. Exploring texts from Aristophanes to the moderns, with special emphasis on the eighteenth century, Griffin uses a dozen figures—Horace, Juvenal, Persius, Lucian, More, Rabelais, Donne, Dryden, Pope, Swift, Blake, and Byron—as primary examples. Because satire often operates as a mode or procedure rather than as a genre, Griffin offers not a comprehensive theory but a set of critical perspectives. Some of his topics are traditional in satire criticism: the role of satire as moralist, the nature of satiric rhetoric, the impact of satire on the political order. Others are new: the problems of satire and closure, the pleasure it affords readers and writers, and the socioeconomic status of the satirist. Griffin concludes that satire is problematic, open-ended, essayistic, and ambiguous in its relationship to history, uncertain in its political effect, resistant to formal closure, more inclined to ask questions than provide answers, and ambivalent about the pleasures it offers.
This book deals with changing conditions and conceptions of authorship in the long eighteenth century, a period said to have witnessed the birth of the modern author. Challenging claims about the public sphere and the professional writer, it engages with recent work on print culture and the history of the book and takes up such under-treated topics as the forms of literary careers and the persistence of the Renaissance “republic of letters” into the “age of authors.”
The poetry of the mid- and late-eighteenth century has long been regarded as primarily private and apolitical; in this wide-ranging study Dustin Griffin argues that in fact the poets of the period were addressing the great issues of national life--rebellion at home, imperial wars abroad, an expanding commercial empire, an emerging new British national identity. Taking up the topic of patriotic verse, Griffin shows that poets such as Thomas Gray, Christopher Smart, Oliver Goldsmith, and William Cowper were engaged in the century-long debate about the nature of true patriotism.
Contemporary philosophy has adopted an increasingly tragic point of view. Tragedy, though, is only a partial truth of the human condition. Comedy is another partial truth. The nature of human existence is neither wholly the one nor the other, but tragi-comic. Philosophy must be attuned to both despair and laughter if it is to understand its own world. In Making Philosophy Laugh, the philosopher Dustin Peone makes an apology for the comic side of existence and its use in philosophy. He demonstrates the social and moral uses of humor and analyzes its significance for speculative thinking. Folly and irony are shown to be vital facets of dialectical philosophy. The reader is introduced to the comical side of Socrates and Homer, Descartes and Vico, Kant and Hegel, and many others. Finally, a doctrine of the tragi-comic sense of life is presented that does justice to all aspects of human existence and liberates the spirit from the grimness of serious thought.
Nordic myth, murder, and total apathy collide in this hilarious novel where “Nabokov meets Lemony Snicket in this manic Chinese box version of a mystery” (Publishers Weekly). Our Heroine is a former professor of Scandinavian Studies at Iceland’s New Crúiskeen university whose current interests include drinking, sleeping, and drinking. But when an aspiring author is found murdered the day before the annual celebration in remembrance of Our Heroine’s mother—the legendary crime-stopper and evil-thwarter Emily Bean—everyone expects Our Heroine to follow in her mother’s footsteps and solve the case. She, however, has no interest in inheriting the family business . . . or being chased through a steam-tunnel . . . or listening to skaldic karaoke . . . or fleeing the inhuman Refurserkir (don’t ask!). Unfortunately for her, this particular evil has no interest in Our Heroine’s total lack of interest. . . . A Nabokovian goof on Agatha Christie, a madcap mystery that is part The Third Policeman and part The Da Vinci Code, The Icelander is a truly original work “born out of hysterical laughter and a lingering sense of childhood adventure” (Los Angeles Times).
It is well known that Socrates was executed by the city of Athens for not believing in the gods and for corrupting the youth. Despite this, it is not widely known what he really thought, or taught the youth to think, about philosophy, the gods, and political affairs. Of the few authors we rely on for firsthand knowledge of Socrates—Aristophanes, Xenophon, Plato, and Aristotle—only Xenophon, the least read of the four, lays out the whole Socratic education in systematic order. In Xenophon's Socratic Education, through a careful reading of Book IV of Xenophon's Memorabilia, Dustin Sebell shows how Socrates ascended, with his students in tow, from opinions about morality or politics and religion to knowledge of such things. Besides revealing what it was that Socrates really thought—about everything from self-knowledge to happiness, natural theology to natural law, and rhetoric to dialectic—Sebell demonstrates how Socrates taught promising youths, like Xenophon or Plato, only indirectly: by jokingly teaching unpromising youths in their presence. Sebell ultimately shows how Socrates, the founder of moral and political philosophy, sought and found an answer to the all-important question: should we take our bearings in life from human reason, or revealed religion?
As programmers, we've all seen source code that's so ugly and buggy it makes our brain ache. And let's be honest, we've all written code like that. With this book, you'll learn to write code that's easy to read and understand. You'll have more fun and your coworkers will love you. The Art of Readable Code focuses on the nuts and bolts of programming, with simple and practical techniques you can use every time you sit down to write code. You'll find tips throughout the book, with easy-to-digest code examples, helpful illustrations, and cartoons for fun. Learn to pick variable names that are "dense with information" Organize your loops and conditionals so they're easy to understand Make your comments short and sweet Recognize when your code is doing too many things at once Write tests that are concise, but thorough Master the art of breaking hard problems into many smaller ones
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