OpenLLM-France/wikimedia huggingface dataset:
# Professionalism/Foreword

Professionalism: Cases and Ideas in Professional Ethics is a wikibook written mainly by students at the University of Virginia's School of Engineering and Applied Science. The book was begun in the spring semester, 2011; the authors have been students in STS 4600: "The Engineer, Ethics, and Professional Responsibility." This class is the second in a two-semester sequence for fourth-year engineering students. In the fall semesters, students were enrolled in STS 4500: "Case Studies in Technology and Society." This class has produced Lentis, a guidebook to the realm where technological phenomena and social phenomena intersect. As a wikibook, Professionalism will accept contributions from authors and editors all over the world, but the student authors will take particular responsibility to produce a complete, well documented, well written and useful book. Until May 21, 2021, would-be contributors who are not students in the class are asked to consider editing sparingly, but are invited to comment freely on discussion pages, where their suggestions and advice will be welcomed and appreciated. No one's right to edit is in question.
# Outdoor Education

* This book currently consists of a proposal for a collaboratively-authored, open-licensed tertiary-level introduction to the field of outdoor education. If you want to join in, great - Be bold! See also outdoor education (Wikipedia) and outdoor education (Wikiversity).

## Table of contents

Feel free to add extra chapters (or headings within chapters) which you would like to read or contribute to. All ideas are welcome, although they will get restructured as the book develops:
* Definition and scope
* History
* Around the world
* Environment
* Experiential learning
* Groups and leadership
* Facilitation techniques
* Risk and safety

## How to help

* Create a user account (top right).
* Be bold and start fleshing out possible content on the book's main page, or create sub-pages for specific content.
* Add any discussion, ideas, questions, etc. to the book's discussion page (by editing it - top middle)
* If you want to learn wiki then try help.
* If you are teaching an outdoor education unit to trainees, this book could really do with some student-authored content being posted here! Contact Jtneill if you want a hand to set up such a learning/assessment exercise.

## Subpages

* Contributors
* Proposal
* Wishlist

## See also
### Related books

* First Aid

## External links

* Outdoor Education (Google Group)
* Outdoor Education (TeacherTube)

## References

Knapp,C.E.(2005).The "I-thou" relationship, place-based education, and aldo leopold. Journal of experiential education, 27(3), p.277~285.
# Ossicle/Oncology
## Head and Neck Oncologic Surgery
### THYROID DISEASE

Medullary Thyroid Carcinoma produces calcitonin
Thyroid Binding Globulin
T1 + T1 => T2, PLUS ADD'L T2 => T4 => T3 + T1
Hypothyroidism - Low T4, Low T3RU
Hyperthyroidism - High T4, High T3RU
Grave's Ophthalmopathy - decompress orbits into ethmoids and maxillary sinus
Thyroiditis
# Outdoor Education/Contributors

* James Neill
* Mike.lifeguard
* Ian Boyle
# Ossicle/Pediatric
## Pediatric and Developmental
### ARCHES

Pinna forms from 6 hillocks: 1-tragus, 2-helical root, 3=helix, 4=antihelix, 5=antitragus, 6=lobule
Middle Ear & External Auditory Canal
| ARCH | CN Assoc | ARTERIES | MUSCLES | CARTILAGE/BONE |
| FIRST | CN V | -none- | Masticators & Tensors | Meckel's Cartilage, mandible, head of maleus, body of incus |
| SECOND | CN VII | Stapedial | Facial, Stylohyoid, posterior belly Digastric | Reichart's cartilage, manubrium of malleus, long process incus, stapes, lesser cornu hyoid, Part of hyoid body |
| THIRD | CN IX | ICA | Stylopharyngeus | Greater cornu of hyoid, rest of hyoid body |
| FOURTH | CN X (Sup Laryngeal) | L=Aorta R=Subclav | Cricothyroid | Thyroid Cartilage |
| FIFTH | CN X (Recur Laryngeal) | PA's, Ductus | Intrinsic mm of larynx | cricoid, arytenoid, corniculate cartilages |
SECOND BRANCHIAL CLEFT CYST and sinus tract:
THIRD BRANCHIAL CLEFT CYST and sinus tract:
Dysphagia Lusoria - Dysphagia from retroesophageal subclavian artery
Parathyroid Development
# Ossicle/Style Guide
## Current Otorhinolaryngology Style Guide

Back to TOC

## Overview

The goal of this collection is to provide a scholarly and readily accessible resource for professionals on Head and Neck disorders. Consequently, there are several rules regarding formatting and citation that must be followed to keep this collection uniform and professional.
For ease of use, each entry within this text should be written as if it were its own review article. This should allow the reader a simple one-print mechanism to obtain high quality information on a given subject. Please keep editorialism to a minimum. While a “Discussion” section for each topic is encouraged, its contents should come from reasonable extrapolation of cited data, not mere opinion.

## Scholarly Sources & Citation Format

* The article’s body should eventually be thoroughly cited from (preferably) primary sources published in peer-reviewed journals.
** In the interest of ease of publication, partial articles and uncited articles will be allowed at present.
** Until a Reference list is completed, the Template:Uncited template should appear at the top of any incompletely cited articles.
*** Briefly, this is done by inserting the {{Uncited}} markup at the top of a page, on its own separate line, when Editing.
** Citations will be made by using the Harvard referencing system. Citing Sources. Briefly, this means following your cited text with with a parenthetical reference to the author and the year of publication, e.g. (Smith 2001).
** References will be listed as the last Level 2 Heading on the page, titled "References".
** The References list should be formatted using the International Committee of Medical Journal Editors Uniform Requirements for Manuscripts Submitted to Biomedical Journals requirements.
* Well-established and time-tested fact or premise need not be cited, but realize it does open the article up for criticism.

## Article Formatting

To maintain a professional look, please publish with a unified format:
* Use the “Contents” template at the very top of the article
* Divide into sections using “Level 2 Headline” formatting in Wiki Markup
** Introduction
** Clinical Presentation
** Epidemiology
** Pathophysiology
** Treatment Options
** Discussion
** References
* Capitalize the first initials in Level 2 Headline.
* Cross reference other articles in this text by making the keyword an “Internal Link”. Please only link a keyword the first time it appears in your article.
* Common abbreviations should be spelled out with the abbreviation in parenthesis for its first use in each article.
* Please write in third-person style.
* Please spell check.
* For all other matters of style, please refer to the Wikipedia Manual of Style
# Pinyin/Republic

See also
# Pinyin/Republic of China

See also
# Pinyin/Remote

See also
# Pinyin/Request

Request
I request a peaceful life. A life without quarrel and fighting.
I request a bright sun. A sun that can put brightness and joy towards my heart.
I request a bright lamp. A bright lamp that can shine on my forwarding road.
What I request is not a lot. However, each time I faced my eyes need to cry.
Qiingqiur
woo qiingqiur 1'g annirng d shenghuor. 1'g meiryoou chaaojiah douh'ou d shenghuor.
woo qiingqiur 1'g guangmirng d taihyarng. 1'g keeyii baa guangmirng her xihngfur saaxihang woo xinzhong d taihyarng.
woo qiingqiur 1-zhaan mirngdeng. 1-zhaan keeyii baa woo qiarnjihn d daohluh zhaohliahng d mirngdeng.
woo qiingqiur d busuahn duo. Keeshih meeiyicih dou yaoh leihyaan xiangduih.
# Pinyin/Report

Search Pinyin report
# Pinyin/Replace

See also
# Pinyin/Represent

See also
# Pinyin/Religion

See also
Religion is the belief and worship of gods, or generally speaking, religion is a system of belief, is an explanation toward the existence in the universe, usually includes the followings of beliefs and ceremonies. Religions usually have a set of moral values, in order to adjust the behavior of self in humans.
Zōngjiào shì duì shénmíng de xìnyǎng hé chóngjìng, huòzhě yībān'éryán, zōngjiào jiùshì yī tào xìnyǎng, shì duì yǔzhòu cúnzài de jiěshì, tōngcháng bāokuò xìnyǎng hé yíshì de zūncóng. Zōngjiào chángcháng yǒu yī bù dàodé zhǔnzé, yǐ tiáozhěng rénlèi zìshēn xíngwéi.
# Quenya/Texts in Quenya/Litany of Loreto
## Litany of Loreto

| Quenya Tengwar | Quenya in Latin Alphabet | English |
| 9R7U ~N7EyE `Nt$,F- `C ½7~B81Y ~N7EyE `Nt$,F-- `C1E6 t$5$m$`C `V7U ~N7EyE `Nt$,F- `C `V7lU`N5 t$uY7U5#2^ `V7U ~N7EyE `Nt$,F- `C lD5# elD7R `V7U ~N7EyE `Nt$,F- `C lD5# 5$m%`V `V7U `V6 ~N7EyE `Nt$,F-- `C lD5# t#7T`C `C6aD `C1E6t$- lD5# `V7U`N4#7T`V `C6aD `C1E6t$- lD5# nR2$ t% nR2$7Y5 `C6aD `C1E6t$-- `Ct%j°$ ½7T81Y `C6aD `C1E6t$- `Ct%j°$ `V7UyE j%,F`N `C6aD `C1E6t$ -Â | Heru órava omesse. A Hrísto órava omesse. Atar meneldea Eru órava omesse. A Eruion Mardorunando Eru órava omesse. A Aina Faire Eru órava omesse. A Aina Neldie Eru Er órava omesse. A Aina Maria arca atarme. Aina Eruontarie arca atarme. Aina Wende mi Wenderon arca atarme. Amille Hristo arca atarme. Amille Eruva lisseo arca atarme. | Lord, have mercy on us. O Christ, have mercy on us. Father of heaven, God, have mercy on us. O Son of God, Redeemer of the world, God, have mercy on us. O Holy Spirit, God, have mercy on us. O Holy Trinity, one God, have mercy on us. O Holy Mary, pray for us. Holy Mother of God pray for us. Holy Virgin of virgins, pray for us. Mother of Christ, pray for us. Mother of divine grace, pray for us. |
# Quenya/Texts in Quenya/Namárië - Altariello nainië Loriendessë
## Namárië - Altariello nainië Loriendessë In Tengwar

| Quenya in Tengwar | Quenya in Latin Alphabet | English |
| 5#t~C7T`V \ `Cj1E7T`Vj°^ 5lD5%`V j~N7T`V2$,R | Namárië - Altariello nainië Lóriendessë | Farewell - Galadriel's Lament in Lórien |
| lEÁ j.D7T`V j#4#6 j#,G 8~M7T5$5= hÍ~V5% ~M5~N1Gt$ yR 7~Ct#6 `Cm#7Y5Á hÍ~V5% yR j%4$ hÍUm#6 `Cy~C5%`V6 t~B `N7Yt#uT j%,Rt%7Uy~N7RyE `C2~M5$ qRj°#= yEuY 1Rj°&t#6 5& jlU5% hÍE,R5 1T4%j#6 `B `Vj$5% ~Nt#7ÎY lE7R1~C7Tj~B7T5$5-- | Ai! Laurië lantar lassi súrinen, Yéni únótimë ve rámar aldaron! Yéni ve lintë yuldar avánier Mi oromardi lissë-miruvóreva Andúnë pella, Vardo tellumar Nu luini yassen tintilar i eleni Ómaryo airetári-lírinen. | Ah! Like gold fall the leaves in the wind, long years numberless as the wings of trees! The years have passed like swift draughts of the sweet mead in lofty halls beyond the West, beneath the blue vaults of Varda wherein the stars tremble in the song of her voice, holy and queenly. |
| 8~B t#5 `B hÍJj5# 5%5 `Vv#4&yEÀ-- | Sí man i yulma nin enquantuva? | Who now shall refill the cup for me? |
| `C5 8~B 1G4#j°$ yEuD lY`Nj^,R`N yR eD5Ì#6 t~C7ÎD1 `Vj$4#7T `N61E5$ `C6 `Bj´$ 1G`V6 `M2&j~CyR j&w&j$- `C6 3G2#5~N7T`Vj°^ alE1E t^65%`V `B eDj5#j%5:#6 `Bw$ t$1 `C6 9~BiG`V `M4~MqD aDj#aG7ÎY t%7T lY`Cj$- 8~B yE5nE 5~C= 7~Nt$j°^ yE5nE= yEj%t#6Á | An sí Tintallë Varda oiolossëo Ve fanyar máryat elentari ortanë Ar ilyë tier undulávë lumbulë; Ar Sindanóriello caita mornië i falmalinnar imbë met ar hísië Untúpa calaciryo miri oialë. Sí vanwa ná, rómello vanwa, Valimar! | For now the Kindler, Varda, the Queen of the Stars, from Mount Everwhite has uplifted her hands like clouds, and all paths are drowned deep in shadow; and out of a grey country darkness lies on the foaming waves between us, and mist covers the jewels of Calacirya for ever. Now lost, lost to those from the East is Valimar! |
| 5#t~C7T`VÁ 5lE 9B7JyEj´$ yE5%t#6= 5lE `Vj´$ 9B7JyE- 5#t~C7T`V-\ | Namárië! Nai hiruvalyë Valimar, Nai elyë hiruva. Namárië! | Farewell! Maybe thou shalt find Valimar. Maybe even thou shalt find it. Farewell! |
# Quenya/Verbal nouns

These are nouns that are constructed out of verbs.
The main types are:
1. The ending \t$ -më is used for abstract things:
2. The ending \`B`V -ië is used for a noun that indicates that the action is still going on:
3. Verbs on \1E -ta can be used as nouns without changing anything:
4. The ending \`V -ë together with a lengthened stem-vowel are used to make nouns that describe a consequence of the verb:
5. To make nouns that denote concrete things we use the ending \j$ -lë with A-verbs and U-verbs:
and for primitive verbs we add \`Cj$ -alë to the past tense stem:
This fifth type of nouns is the type most frequently found.
Note: Following examples concerning gender are Qenya forms that may not be valid in Late-Quenya.
To denote someone who performs an action we have the endings: \7Y - \7R -ro/-rë and \`B2^ - \`B2$ -indo/-indë.
The endings on \`N -o are masculine, and those on \`V -ë are feminine.
The first two endings are applied to A-verbs and U-verbs:
    t#81E\ masta- "bake"
   * t#81E7Y mastaro "baker" (m.)
   * t#81E7R mastarë "baker" (f.)
and the other two to primitive verbs:
    aD6\ car- 'make, build, do"
   * aD7T2^ carindo "maker, builder" (m.)
   * aD7T2$ carindë "maker, builder" (f.)
Sometimes the ending \7Y -ro is replaced by the short form \6 -r, e.g. `B81E6 istar "wizard" from `B81E\ ista- "know".
To make the plurals of the masculine form on -ro I would personally always prefer this shortened form:
    t#81E7T mastari instead of t#81E7Y6 mastaror

### Usage of cases

The connection of a verbal noun to a verb means that it is often a condensed sentence, so that is why such nouns can have a subject and an object:
    `Cj1E7T`Vj°^ 5lD5%`V Altariello nainië "the lament of Galadriel"
We call this a subject genitive because Galadriel is the one who laments.
When a verbal noun has an object we use the possessive case:
* jlD1Ej$ `N7Yt~VyE laitalë Oroméva "honoring of Orome"
By this we mean that Orome is honoured, so it is the object of "honour", and this is called an object possessive.
Of course both can be present with the same verbal noun:
* `V7U`N t$jt$ `C1E5%yE Eruo melmë ataniva "the love of God for men" (or, "God's love of men")
* `C1E5%`N5 t$jt$ `V7UyE atanion melmë Eruva "the love of men for God" (or, "men's love of God")
>> Neo-Quenya >> Nouns >> Verbal nouns
# Quenya/Texts in Quenya/Makirya

| Tengwar | Quenya | English |
| t#5 aR5&yE e~C5# aT7ÎE t~V1Tt# ½7R81Ej°^ a~B7D = `B elE7T 5~VaR 7Ts# 8~Mt#7ÎE,R yR tlEnT hÍlEt%`VÀ-- | Man cenuva fána cirya métima hrestallo círa, i fairi nécë ringa súmaryassë ve maiwi yaimië? | Who shall see a white ship from the final beach steering, the vague phantoms in her cold bosom like gulls wailing? |
| t#5 1T7UyE e~C5# aT7ÎE = nTjnE7T5 nTjnE = `V`C6aRj&t$,R5 7~CtlE5$5 `VjyT`V `V`C6 eDj#81Ej# = nTs# ½j~CqUj# 7~Ct#6 iT8~Bj#j# = a~Cj$ eTe~B7Uj#À-- | Man tiruva fána cirya, wilwarin wilwa, ëar-celumessen rámainen elvië ëar falastala, winga hlápula rámar sisílala, cálë fifírula? | Who shall heed a white ship like a butterfly fluttering, in the flowing sea on star-like wings, the sea foaming, the foam flying in the wind, the wings shining white, the light slowly fading? |
| t#5 ½j#7UyE 7~CyR`C 8~M7R yR 1.D7T j%j°#,T`V = 5%v% aE6aE6 hÍE7;E `BiTjt$ `BjaEj#,R = `BiTjt$ q~BaEj#,R = `BiTjt$ j#4#j#,R yR jlYaYj~BaUt# = 7.Dt^ 5&7;U`C = `M2&t$ 7~Mt#À-- | Man hlaruva rávëa súrë ve tauri lillassië, ninqui carcar yarra isilmë ilcalassë, isilmë pícalassë, isilmë lantalassë ve loicolícuma; raumo nurrua, undumë rúma? | Who shall hear the roaring wind like the many leaves of the forests, the white rocks growling in the gleaming moonlight, in the dwindling moonlight, in the falling moonlight like a corpse-candle; the storm grumble, the abyss move? |
| t#5 aR5&yE j&w^6 `CdY81E t$5$j `Ca~M5# 7Ua|Ej `Cw^5:#6 = `V`C6 `Ct^61Ej# = `M2&t$ 9~CaEj# = `V5nT5# j~Mt$ `Vj$5%j°^6 qRj°# 1Ej1E\1Ej1Ej# `C1Ej#4$`C t%2^5:#6À-- | Man cenuva lumbor ahosta Menel acúna ruxal’ ambonnar, ëar amortala, undumë hácala, enwina lúmë elenillor pella talta-taltala atalantëa mindonnar? | Who shall see the clouds assemble, the Heavens bending upon crumbling hills, the sea heaving, the abyss yawning, the old darkness from beyond the stars sliding down and collapsing upon lofty ruined towers? |
| t#5 1T7UyE 7~CaT5# aT7ÎE `N2^j%,R t^65$ 5& eD5Ì#7R 7~MaT5# = `C5#6 q~M7R`C 1Td1E `Ca|Y6 `BjaEj#5:#6 t~V1Tt .D7R,RÀ-- | Man tiruva rácina cirya ondolissë mornë nu fanyarë rúcina, anar púrëa tihta axor ilcalannar métim’ auressë? | Who shall heed a broken ship on the many black rocks under shattered skies, a discoloured sun blinking on bones gleaming in the last down? |
| t#5 aR5&yE t~V1Tt `C2~M5$ À-\ | Man cenuva métim’ andúnë? | Who shall see the last evening? |
# Quenya/Texts in Quenya/Ortírielyanna
## Ríanna

By Vicente Velasco.
| Quenya in Tengwar | Quenya in Latin Alphabet | English |
| `N61~B7T`Vj´#5:# 7UaGt:$= lD5# `V7U`H4#7- ~Cj#j´$ 5#1;T7E `C6aD2$t:#6 iDs%`Vt:#,F5= `N5^ `Cj´$ `V1R7~M5# t$ `Bj°&t$ `Bj´# 7Ea|Rj°^6= `CjaD7T5 y~V2$ `C6 t#5#zF4# -Â | Ortírielyanna rucimme, Aina Eruontari. Álalye nattira arcandemmar sangiemmassen, ono alyë eterúna me illumë ilya raxellor, alcarin Vénde ar manaquenta. | We fly to thy patronage, O holy Mother of God; despise not our petitions in our necessities, but deliver us always from all dangers, O glorious and blessed Virgin. |
# Quenya/Texts in Quenya/Ríanna
## Ríanna

By Vicente Velasco.
| Quenya in Tengwar | Quenya in Latin Alphabet | English |
| 5#t~C7T`V= 7~B`C5:# yE5%t#= 9R7Tt~Vj#Á `C4#5$j´$ t$5 t$jt$ `C6 `Cj#,F= `C6 7R5&yEt5$1 lY`Cj$-- 5#t~C7T`V= 7~B`C5:# yE5%t#= `CuEj~N1RÁ aY`CaDj%5#j´# eG65$ yR j~BaUt# 8~M7T5$5= 5~N t$jt$t:# j$5 ~MyE eG7R `B2^t:#,F5-- 5#t~C7T`V= 7~B`C5:# yE5%t#= `B2^1~C7TÁ 8~B nGj# 5~Mt$5:# 7~CtlD5$5 j.D7T`V= `C6 5lD eF`Cj´# iF7UyE lY`Cjt#7R,R -Â | Namárië, Ríanna vanima, Heriméla! Antanelyë men melmë ar alassë, ar renuvammet oialë. Namárië, Ríanna vanima, Ardalótë! Coacalinalya firnë ve lícuma súrinen, nó melmemma len úva firë indommassen. Namárië, Ríanna vanima, Indotári! Sí wila Númenna rámainen laurië, ar nai fëalya seruva oialmaressë. | Farewell, beautiful Princess, loving lady! You gave us love and joy, and we will remember them forever. Farewell, beautiful Princess, Flower of the Realm! The light of your house died like a candle in the wind, but our love for you will not die in our hearts. Farewell, beautiful Princess, Queen of Hearts! Now fly into the West on golden wings, and may your soul rest in eternal bliss. |
# Quenya/Texts in Quenya/Átaremma
## Átaremma

| Quenya in Tengwar | Quenya in Latin Alphabet | English |
| <poem> ~C1E7Rt:# `B `V`C 9C5 `V`C = 5# lE7R `V,Rj´# = `C7E5%`Vj´# 5# 1Uj&yE = 5# aD7R `B2~Nt$j´# aRt$2$ 1Ew$ `V7Ut#2$ - ~Ct$5 `C4# 8~B7E `Bj.E7R`C t#,Et:# = `C6 ~Ct$5 `CqiR5$ ~MaD7Rt:#6 8~By `Vt:$ `CqiR5$1 1T`V5 `B ~MaD7R6 `Vt:$5 - ~Cj#t$ 1Uj´# ~MiDd1T`V5:# t#j ~Ct$ `V1Rj$d1E `MjaUj°Y -- 5~CiG`V -\ {/poem> | Átaremma i ëa han ëa, na airë esselya, aranielya na tuluva, na carë indómelya cemendë tambë Erumandë. Ámen anta síra ilaurëa massamma, ar ámen apsenë úcaremmar sív' emmë apsenet tien i úcarer emmen. Álame tulya úsahtienna mal ámë etelehta ulcullo. Násië. | Our Father, who art in Heaven, hallowed be Thy Name. Thy Kingdom come, Thy Will be done, on Earth, as it is in Heaven. Give us this day our daily bread, and forgive us our trespasses, as we forgive those who trespass against us. And lead us not into temptation, but deliver us from evil. Amen. |
# ROSE Compiler Framework

FYI: http://wiki.rosecompiler.org redirects here.

## Chapters

* About the Book
* Getting Started
** Big Picture
** ROSE Documentation
** Obtaining ROSE
** Installation
** Virtual Machine Image
* ROSE Core Techniques
** ROSE Tools
** Supported Programming Languages
** Abstract Syntax Tree (Intermediate Representation)
** Program Translation
** Program Analysis
** Program Optimizations
** ROSE Projects
* Developer's Guide
** Workflow
** Coding Standard
** Code Review Process
** Continuous Integration
** Frequently Asked Questions (FAQ)
** How-tos
** Tutorial
** Lessons Learned
** Testing
** Autotools
* TODO List
** ROSE API
** Source Code Repository
** Software Dependencies
** Real-World Applications
* Others
** Who is using ROSE
** Sandbox
** Print version
* Background knowledge
** Best Practices
** Git
** Lattices
** C++ Programming
** Good API Design

## Appendices

We list additional resources for ROSE
* official website
* rose-public mailing list
* github repository, preferred place to report issues
# ROSE Compiler Framework/C++ Programming

ROSE is written in C++. Some users have suggested to mention the major C++ programming techniques used in ROSE so they can have more focused learning experiences as C++ beginners.
Design Patterns: ROSE uses some common design patterns
# ROSE Compiler Framework/Autotools
## Autoconf
### Utility Macros

* AX_PROG_DOXYGEN -- check for Doxygen
http://www.gnu.org/software/autoconf-archive/ax_prog_doxygen.html
* AX_WITH_PROG([VARIABLE],[program],[VALUE-IF-NOT-FOUND],[PATH])
    check for a certain program in $PATH
    http://www.gnu.org/software/autoconf-archive/ax_with_prog.html
* AX_COMPARE_VERSION(VERSION_A, OP, VERSION_B, [ACTION-IF-TRUE], [ACTION-IF-FALSE])
    compare version number strings
    http://www.gnu.org/software/autoconf-archive/ax_compare_version.html
# ROSE Compiler Framework/Big Picture

It is essential to understand what ROSE is so you can decide if it can help you solve your problems.

## What is ROSE

ROSE is a library providing users access to compiler technology that was hitherto inaccessible to non-experts.
What is compiler technology? Compilers are sophisticated software that translate source code into machine binaries. Compiler developers have created powerful techniques to parse, analyze, transform and optimize the input source code.
Traditional compilers like GCC use these techniques, but they are essentially inaccessible to the user. However, even if the user had these capabilities in gcc, evaluating the results would be extremely difficult. The user inputs source code, the compiler outputs machine code. The user has access to his own code and perhaps the code generation at the assembly level, but comparing the two is extremely difficult as the code generation involved is not for clarity, it is for the needs of the compiler developer.
But what if a compiler returned a faithful source code representation of the post-transformation changes? Taking the original source code to transformed source code. A source-to-source compiler.
ROSE is a source-to-source compiler.
ROSE gives the user a library of compiler techniques. It also gives the user access to the building blocks of source analysis, allowing the user to create their own compilers, analyzers, translators, preprocessors, and so on.
If this is the sort of tool you are looking for, continue further into the wiki to learn more about ROSE.

## How to use it

A typical use scenario of ROSE is that
* Input: you have source code as input, such as myfile.c
* Your ROSE-based translator/analyzer/compiler/tool: myTranslator.cpp
** First of all, you call a frontend function provided by ROSE to generate an intermediate representation (IR or abstract syntax tree/AST to be accurate) of your input
** Then, you call and compose other AST analysis/transformation/optimization functions provided by ROSE to analyze or transform the AST
** Finally, you call the backend function provided by ROSE to unparse the analyzed and/or transformed AST to source code and optionally invoke a backend compiler (such as GCC) to generate the object codes.
* Output: unparsed source code, named like rose_myfile.c, and optionally the object file generated from it, myfile.o
To be an efficient ROSE developer, you have to
* get familiar with the AST of your input code since you have to write code to walk the tree, find the things you are interested in, and ultimately do analysis and transformation upon AST
* get familiar with the functions provided by ROSE. The more functions you know, the faster you can get your work done since you can avoid re-inventing the wheel as much as possible.
With the big picture in mind, you can read though the documentations of ROSE to learn how to use it.