OpenLLM-France/wikimedia huggingface dataset:
# Elements of Political Communication/General guidelines/Succinctness

Use an assertive tone and state facts directly. Remove sentence beginnings like “I personally believe that...”. Readers and listeners already know you believe it is true because you're the author. Spending the first half of a sentence establishing the subjectivity of an issue and the second half trying to prove that one position is superior, such as "this is just my opinion, but..." is a self-defeating task. Read and reread your piece and make necessary corrections. Remove redundant phrases, sentences, and paragraphs; nothing is written in stone. Never say in six words would you could in three: Take this sentence.

## Review

    A: Preparatory to anything else Mr Bloom brushed off the greater bulk of the shavings and handed Stephen the hat and ashplant and bucked him up generally in orthodox Samaritan fashion, which he very badly needed.
    B: Mr. Bloom helped Stephen up.
    C: Preparatory to anything else, Mr. Bloom helped Stephen up.
    D: Mr. Bloom helped Stephen up in orthodox Samaritan fashion.
    A: While our party has been trying in vain to pass this bill, the opposing side is wasting time and resources on purely political legislation.
    B: Personally, I believe wholeheartedly that the opposing party is destroying this country willy–nilly.
    C: This is just my opinion, but the opposing side is wasting time and resources on purely political legislation.
    D: IMHO, while our party has been trying in vain to pass this bill, the opposing side is wasting time and resources on purely political legislation.

## Notes

* ↑ Lincoln, "Gettysbug Address".
* ↑ Joyce, Ulysses, 569.
← Sound
# Elements of Political Communication/Introduction/Background

here are generally two ways to address political communication: as it should be and as it is.
One side of this argument often comprises writers and intellectuals. Frustrated with those who manipulate language for personal and political gain, they often complain about the nebulous language and misleading strategies of those who represent them. Among those in this group are writers like George Orwell, who bemoaned the purposeful misuse of language to manipulate and confuse rather than inform. These complaints are nothing new; in Petronius' Satyricon, written in the late first century AD, the narrator expresses the views of the writer:
On the other side are the pragmatists, who place more emphasis on the ability to convince than to clarify. Political strategists like Niccolò Machiavelli, Saul Alinsky, and Frank Luntz, though they each express very different views, fall into this category. The methods of this second group have dominated the modern political arena, but they did not originate from a contemporary source either. Quintis Tullus Cicero, in his Commentariolum petitionis, wrote:
Though this is clearly an oversimplification of the conflict, both perspectives offer important insight. Neither purely clear and concise nor clever and careful political messaging is enough to appease the average voter, regardless of his or her ideology. This guide is an attempt to bridge the gap between these two schools of thought.

## Notes

* ↑ Orwell, "Politics and the English Language".
* ↑ Arbiter, Satyricon, 1-2.
* ↑ Q. T. Cicero to M. T. Cicero, Commentariolum petitionis.
Style →
# Elements of Political Communication/Spoken message guidelines

This section is divided as follows:
* Speeches
* Debates
# Elements of Political Communication/General guidelines/Format

Don’t get frustrated with the details of formatting. Write in whatever medium you’re comfortable using, but submit it in the appropriate format to whomever is responsible for publication. Use quotation marks to differentiate "buzzwords" sparingly. Avoid italicizing, bolding, underlining, or capitalizing to emphasize words or phrases. Writers can exclude portions of their audience by writing in an unfamiliar or awkward format. Instead, convey the meaning in your content without using awkward formatting. Use a readable typeface and avoid using only colors to differentiate text, especially red for editing marks (7 percent of American males cannot detect the difference between red and green.) Do not use all caps. This is especially true when writing for traditional print media. Editors will ignore most of your formatting marks, and these changes can alter the meaning of your sentence. Rewrite any sentences with this kind of formatting to ensure this doesn't happen.

## Review

    A: Those supposed "party members" are extremists.
    B: Those supposed party members are extremists.
    C: Those "party members" are extremists.
    D: Those party members are extremists.
    A: The Daily Tribune was wrong about one thing in their article titled "Johnson Gets Life": The truth is that he has been a patriot throughout the campaign.
    B: The Daily Tribune was wrong about one thing in their article titled "Johnson Gets Life": The truth is that he has been a PATRIOT throughout the campaign.
    C: The Daily Tribune was wrong about one thing in their article titled "Johnson Gets Life": The truth is that he has been a patriot throughout the campaign.
    D: The Daily Tribune was wrong about one thing in their article titled "Johnson Gets Life": The truth is that he has been a patriot throughout the campaign.
    A: She did three things. Firstly, she did not vote the way we expected. 2nd, she fought against the people we wanted her to support, and finally, she accepted money from groups we opposed.
    B: She did three things: Firstly, she did not vote the way we expected. Secondly, she fought against the people we wanted her to support. Thirdly, she accepted money from groups we opposed.
    C: She did 3 things: 1st, didn’t vote way we expected. 2nd, fought people we wanted her to support. 3rd, accepted money from groups we opposed.
    D: She did three things: First, she didn't vote the way we expected; second, she fought people we wanted her to support; and third, she accepted money from groups we opposed.

## Notes

* ↑ Montgomery, "Color Blindness".
← Fairness · Importance →
# Elements of Political Communication/Introduction/Style

Elements of Political Communication does not address most basic grammatical and stylistic issues; therefore, use the information in this wikibook as an addendum to more comprehensive style guides. Don’t obsess over obscure rules; an Internet search solves most dilemmas. If you find yourself in a situation in which you must make a choice between breaking the rules or creating an unclear or awkward message, break the rules. Some of the information in this guide may contradict or overlap with these readings, but the guidance they provide will generally apply to all forms of political communication:
* The Associated Press Stylebook and Briefing on Media Law 2012, 47th Edition, by the Associated Press
* The Chicago Manual of Style, 16th Edition, by the University of Chicago Press
* The Elements of Style, 4th Edition, by William B. Strunk, Jr. and E.B. White
Local style points for the content in this wikibook include:
* Images or other media used are licensed under the Creative Commons or in the public domain.
* Chapter and section names are in sentence case (only the first word and proper nouns are capitalized).
* Chapters do not typically have their own table of contents.
* Citations are in short form on their respective pages, but they link to full references on a separate page, which use citation templates.
* Short form citations, which reference a full citation in the bibliography, are located at the end of their respective chapters.
← Background
# Elements of Political Communication/References
## Websites

Further reading →
# Elements of Political Communication/General guidelines/Fairness

Negative comments about the opposing side are acceptable, but hit pieces on candidates and causes rarely help anyone. Although some evidence suggests that repeated negative campaign advertisements can increase turnout in local elections, long-term analysis indicates that many of the most commonly held assumptions about negativity in political communication (i.e. that negative political advertisements are more effective than positive) are unsupported by the extensive research conducted on this subject.
Instead, compare your candidate or cause in a positive light. Keep barbs to a minimum and keep them relevant. Remember that your objective is to convince the reader to join your side, not to inflame those who disagree. Hyperbolic jabs tend to incite online comment wars rather than facilitate reasonable discussion. Though often lambasted, politically correct terminology is almost always preferable over colloquialisms or pejorative terms. This includes references to minorities or those on the other side of an issue.

## Review

    A: Candidate Y is a lying, conniving, sniveling puppet of the opposing party, unfit to lead even the smallest unit of government.
    B: Candidate Y is a liar. Even though the things he says are untrue, he continues to say them precisely because they aren't, and that's the true mark of any liar.
    C: Candidate Y may not want to tell the truth, but our candidate does, and that is why he is the best fit for this elected office.
    D: Candidate Y is one of "them", and "they" are against us.
    A: We must stand with the Arabs.
    B: We must stand with the Middle Eastern community.
    C: We must stand with the Muslims.
    D: We must stand with those people.

## Notes

* ↑ Niven, "Effects of Negative Campaign Mail", 203.
* ↑ Lau, Sigelman, and Rovner, "Effects of Negative Campaigns", 1176.
← Audience · Format →
# Elements of Political Communication/Spoken message guidelines/Debates

Quite a bit of material exists on the effects of national political debates, and the results are fairly conclusive: They often reach a larger audience than any other campaign event. Understand, however, that the venues and audiences of local political debates will vary widely and will differ significantly from those on national television. Although local election debates and candidate forums do not often help your campaign attract the wider audience associated with national races, they do allow you to reach a more engaged audience; this group is often much more likely to be composed of active voters and donors. These events are formal opportunities to communicate your political message to that specific audience.
This chapter focuses on the issues related to local political debates or forums in particular. Further reading on this issue beyond the referenced works in this chapter can be found in the speech guides section of references.

## Preparation

Often, event organizers may not know the answers to more specific questions, but pressing for answers often reveals important information. Learn as much as possible about the conditions of the event before it begins. Questions should include:
* Where will the event be held?
* Will candidates be speaking directly to the audience, or will they address a moderator?
* Are questions pre-written, or will the audience submit them in writing?
* How much time will each candidate have to answer each question?
* What kinds of questions have been asked at this event in previous years?
* Understand your objective in reaching this audience: Are you trying to convince them just to vote for you, or to support your campaign in some other way?
Your candidate or representative should practice their performance in an environment similar to (or if possible, the same as) the debate environment. The more your candidate learns about election issues in this environment, the more likely they will be able to recite it during the debate. At many local forums, audience members submit their own questions. If possible, have supporters prepare their own questions prior the debate. Questions should be directed at all candidates, and they should allow your candidate to emphasize their own strengths.

## Notes

* ↑ McKinney and Carlin, Handbook of Political Communication Research, 204.
* ↑ Tulving and Thompson, "Encoding Specificity", 370.
Speeches →
# Elements of Political Communication/General guidelines/Sound

When writing, repeat phrases to emphasize themes or ideas, but avoid repeating the same word or sound inadvertently. Casual writers frequently misuse idioms. A careful reading, however, can often help to identify these issues before they are published. Before submission or publication, read the piece aloud slowly and pronounce every word. Do this a few times and make any necessary corrections, then read it to a family member or friend and ask if any part needs clarification. If he or she would like to proofread the piece by reading it in print, share it after you've read it aloud.

## Review

    A: Our program is community-based, so residents can actively direct the program.
    B: Our program is community-based, so the community can actively direct the program.
    C: Our program is community-activated, so the community can actively direct the program.
    D: Our community is program-based, so the community can actively direct the program.
    A: The President’s opponents used a proposed parliamentary procedure to postpone the partisan vote.
    B: The President's foes used a proposed motion to delay the vote.
    C: The President's political opponents used a proposed parliamentary procedure to postpone the partisan vote.
    D: The President's political opponents used a parliamentary procedure, which was planned and prepared, to postpone the partisan vote.

## Notes

* ↑ Bryan, Imperialism, 338–339.
← Inclusiveness · Succinctness →
# Cascading Style Sheets/Defining Style Rules

You associate formatting instructions with a web page by defining CSS rules (whether in separate files, embedded, or inline see Applying CSS to HTML and XHTML)

## Syntax

Each rule has two parts: a selector and a group of one or more declarations surrounded by braces (curly brackets):
       selector { declaration; declaration2; ...}
Each declaration is formed like this:
       property: value
Remember that there can be several declarations in one rule. A common mistake is to mix up colons, which separate the property and value of a declaration, and semicolons, which separate declarations. A selector chooses the elements for which the rule applies and the declaration sets the value for the different properties of the elements that are chosen.
The property is one of many properties. w3.org has a list of all of the CSS Properties.

## Basic Uses

Here is an example of how you would make all span elements appear bold:
The font-weight: bold; declaration has the property font-weight and the value bold which makes the font bold.
That would appear like this:
A slightly more complex example is
That would appear like this:
You can use many other properties, and values, but this is just a beginning as to how to use CSS.
# Cascading Style Sheets/Glossary

This is a glossary of the book, a list of keywords with definitions.

## D
### declaration

    One of the parts a CSS rule located in the curly brackets and separated by a semicolon, such as "font-weight: bold" in "span { font-weight: bold; background: yellow; }".

## E
### element

    A part of a document starting with an opening tag and ending with a closing tag, such as "<p><b>keyword</b> is important</p>".

## R
### rule

    A string consisting of a selector, the "{" character, style specification, and the "}" character, such as "p { color: green; }".

## S
### selector

    The part of a CSS rule before the first "{".

### shorthand property

    A CSS property that enables the setting of multiple properties as once, such as "border" as contrasts to non-shorthand properties "border-style" and "border-width".

## T
### tag

    The opening and closing sequence of characters of an element, such as "<p>" or "</p>". To be distinguished from element.

## U
### user agent

    The client application such as a web browser used with a particular network protocol, such as http: or ftp:.
# Cascading Style Sheets/Contributors
## Contributors

    Monkeymatt: Put in all of the linked pages on wikibooks up to the selectors, may come back and do more later
    Sydius: Work on introduction
    CyberSkull: Added some color stuff and the cursors page, CSS3.
    Psweatte: Added centering, MHTML, etc.
# Cascading Style Sheets/Data URIs

Use a SVG file to load external data URIs as a background-image in CSS.
Use meta or script tags to redirect a request to a data URI:
Use a data URI to place text in the cursor position:
# Classical Meitei/Authors & Contributors

This list is updated automatically by AuthorsAndContributorsBot. Please do not update it manually.
* Haoreima (discuss · contribs · count · logs · block log · rfp · rights [change])
* Slava Ukraini Heroyam Slava 123 (discuss · contribs · count · logs · block log · rfp · rights [change])
# Classical Mechanics/Lagrangian Exercises

Physics - Classical Mechanics
Prev Up Next

## Exercises in setting up Lagrange functions and deriving the equations of motion

I recommend going through every exercise below (unless you know at once how to solve each of them). These exercises are not difficult but will give you experience in dealing with Lagrange functions. You do not really understand the Lagrangian formalism unless you can solve these standard problems without much effort.
Each of the following exercises poses the same questions: a) Introduce generalized coordinates and write down a Lagrange function for the system described below. b) Derive the Euler-Lagrange equations of motion. (It is not necessary to solve them!) Every situation is set up in the gravitational field near the Earth. All the mentioned sticks are massless and completely rigid. All the mentioned springs are massless and perfectly elastic (without friction) and have spring constant $k$. The lengths of springs at rest are given in the exercises.
1. A point mass $m$ hangs from the ceiling on a stick of length $l$. It can move only in the $x-z$ vertical plane.
2. Two point masses $m$ hang from the ceiling (far from each other) on two sticks of length $l$ each. They can both move only in the $x-z$ vertical plane.
3. Two point masses $m$ hang from the ceiling on two sticks of length $l$ each. They can both move only in the $x-z$ vertical plane. In addition, there is a spring with rest length $l$ connecting the two point masses. The points where the sticks are attached to the ceiling are at a distance $l$ from each other. (You may find this illustration useful.)
4. A point mass $m$ hangs from the ceiling on a stick of length $l$. Another point mass $m$ is attached to the first one with a stick of length $L$. Both masses can move only in the $x-z$ vertical plane.
5. A point mass $m$ hangs from the ceiling on a stick of length $l$. Another point mass $m$ is attached to the first one with a spring of rest length $L$. Both masses can move only in the $x-z$ vertical plane.
6. Two point masses $m$ are attached to the two ends of a stick of length $2l$. The midpoint of the stick is attached to the ceiling by a stick of length $l$. The entire arrangement can move only in the $x-z$ vertical plane.
7. A point mass $m$ is attached to the ceiling by a stick of length $l$. The point mass can move in all directions.
8. A point mass $m$ is attached to the ceiling by a spring of rest length $l$. The point mass can move in all directions.
9. Two identical carts of mass $m$ can roll without friction on a rail along the $x$ axis. They are connected by a spring of rest length $l$.
10. A cart of mass $m$ can roll without friction on a rail along the $x$ axis. A pendulum, consisting of a stick of length $l$ and a point mass $m$, is mounted rigidly on the cart and can move freely within the $x-z$ vertical plane.
# Classical Mechanics/Non-Inertial Reference Frames

It is very important to acknowledge how to construct equations inside of an inertial frame of reference. (As even the Earth is a non-inertial frame)
Consider an inertial reference frame S and a second reference frame S$_0$ which is moving with respect to S with a velocity ${\vec {V}}$ and accelerating with respect to S at a rate ${\vec {A}}$.
From the inertial reference frame (S) Newton's second law will hold and any object of mass m will be observed to have a force acting on it of ${\vec {F}}=m{\ddot {\vec {r}}}$ where ${\vec {r}}$ is measured from the origin of the frame S.
From the non-inertial frame (S$_0$) we must relate the quantities using the Galilean transformation for a moving reference frame, so that the velocity of the mass in the new reference frame is ${\dot {\vec {r_{0}}}}={\dot {\vec {r}}}-{\vec {V}}$. Using this fact we can differentiate ( ${\ddot {\vec {r_{0}}}}={\ddot {\vec {r}}}-{\vec {A}}$ ) and then substitute the force in the inertial frame ( ${\vec {F}}=m{\ddot {\vec {r}}}$ ) to get an expression for the force measured by an observer in the non-inertial frame : $m{\ddot {\vec {r_{0}}}}={\vec {F}}-m{\vec {A}}$.
The conclusion that we can reach is that we may continue to use Newton's laws in the non-inertial frame, so long as we add the additional "force" due to the motion of the frame, which is often called the inertial force : ${\vec {F}}_{inertial}=-m{\vec {A}}$
# Classical Mechanics/Symplectic Spaces

What makes the phase space variables "momentum" and "position" (p, q) so special, compared to other possible choices such as the set of variables "velocity" and "position"? The reason is the additional property of the phase space (p,q) of having a "symplectic structure".
Let us define a "symplectic unit matrix"
$I\equiv {\sqrt {-1}}$
where -1 is an even-dimensional unit matrix. The dimension of the matrices we are talking about is the phase-space dimension, which is always even (each position variable is paired with a momentum variable). This is essentially the matrix generalization of the imaginary unit that we know from complex algebra. Simply put, symplectic spaces arise when unit matrices are replaced by symplectic matrices in strategically chosen places.
This sounds simple, but there is a catch: what is the square root of a matrix? As we already know from complex algebra, there isn't just one single answer for the square root. In mechanics, the root that we mean by I is moreover 'totally antisymmetric'. This still does not completely determine what I is. To get further, we need to think about the physics in phase space. In particular, we will encounter the phenomenon of volume preservation under temporal evolution.
# Caro-Kann Advance Variation

Looking to move the knight to f3, as well as allowing c3, in support of the pawn at d4.

## Theory table

For explanation of theory tables, see theory table and for notation, see algebraic notation. .
1.e4 c6 2.d4 d5 3.e5 Bf5 4. Nf3 e6 5. Be2 Nd7 6. O-O Ne7 7. Nh4 Bg6 8. Nd2
| | 8 |
| 1 | c5 |
When contributing to this Wikibook, please follow the Conventions for organization.

## References

* Nunns Chess Openings. 1999. John Nunn (Editor), Graham Burgess, John Emms, Joe Gallagher. ISBN 1-8574-4221-0.
* Modern Chess Openings: MCO-14. 1999. Nick de Firmian, Walter Korn. ISBN 0-8129-3084-3.
* Kasparov, Garry, & Keene, Raymond 1989 Batsford chess openings 2. ISBN 0-8050-3409-9.
# Caro-Kann Advance Variation

White's h4-knight is under attack, making 10. Nxg6 the most natural move.

## Theory table

For explanation of theory tables, see theory table and for notation, see algebraic notation. .
1.e4 c6 2.d4 d5 3.e5 Bf5 4. Nf3 e6 5. Be2 Nd7 6. O-O Ne7 7. Nh4 Bg6 8. Nd2 c5 9. c3 Nc6
| 10 | 11 |
| Nxg6 hxg6 | Nf3 Be7 | ± |
When contributing to this Wikibook, please follow the Conventions for organization.

## References

* Nunns Chess Openings. 1999. John Nunn (Editor), Graham Burgess, John Emms, Joe Gallagher. ISBN 1-8574-4221-0.
* Modern Chess Openings: MCO-14. 1999. Nick de Firmian, Walter Korn. ISBN 0-8129-3084-3.
* Kasparov, Garry, & Keene, Raymond 1989 Batsford chess openings 2. ISBN 0-8050-3409-9.