davidanugraha/M4-RAG huggingface dataset:
Entorno de escritorio

Un entorno de escritorio (en inglés desktop environment, abreviado DE) es un conjunto de software para ofrecer al usuario de una computadora una interacción amigable y cómoda. Es una implementación de interfaz gráfica de usuario que ofrece facilidades de acceso y configuración, como barras de herramientas e integración entre aplicaciones con habilidades como arrastrar y soltar. Suelen ser usados típica e históricamente en sistemas operativos basados en Unix, como por ejemplo las distribuciones Linux.
Los entornos de escritorio, por lo general, suelen incorporar una interfaz gráfica que permite configurarlos, pero que no suele incluir herramientas de configuración del sistema operativo en el que se está ejecutando. Es decir, el entorno de escritorio es, en principio, un sistema independiente del resto del sistema operativo y cuyo centro de control es para configurar la funcionalidad del entorno en sí.
En cualquier caso existen algunos centros de control de ciertos entornos de escritorio que permiten añadir módulos para poder configurar aspectos del sistema operativo. Esto abre la puerta a configurar algunas opciones del sistema operativo sin tener que utilizar la interfaz de línea de comandos (CLI), aunque puede llegar a ser necesaria para conseguir acceder a todas las posibilidades de configuración.
Un entorno de escritorio por lo general consta de iconos, ventanas, barras de herramientas, administrador de archivos, fondos de pantalla y widgets de escritorio.​​
En general cada entorno de escritorio se distingue por su aspecto y comportamiento particulares, aunque algunos tienden a imitar características de escritorios ya existentes. El primer entorno moderno de escritorio que se comercializó fue desarrollado por Xerox en los años 1980.
Los entornos de escritorio son utilizados por una amplia mayoría de sistemas operativos modernos tanto en software privativo ( Windows, Macintosh - Classic y Cocoa -) como también de código abierto o software libre (GNOME, KDE, CDE, Xfce, LXDE o InnovaDE, comúnmente usados en distribuciones Linux o BSD).
6

El año 6 (VI) fue un año común comenzado en viernes del calendario juliano, en vigor en aquella fecha. En el Imperio romano, era conocido como el Año del consulado de Lépido y Arruncio (o menos frecuentemente, año 759 Ab urbe condita). La denominación 6 para este año ha sido usado desde principios del período medieval, cuando la era A. D. se convirtió en el método prevalente en Europa para nombrar a los años.
Jorge Luis Borges bibliography

This is a bibliography of works by Argentine short-story writer, essayist, poet, and translator Jorge Luis Borges (1899–1986).
Each year links to its corresponding "[year] in literature" article (for prose) or "[year] in poetry" article (for verse).
This list follows the chronology of original (typically Spanish-language) publication in books, based in part on the rather comprehensive (but incomplete) bibliography online at the Borges Center (originally the J. L. Borges Center for Studies & Documentation at the University of Aarhus, then at the University of Iowa, now—as of 2010—at the University of Pittsburgh). The following list focuses on book-length publication of original work (including collaborative work): it does not include individual short stories, poems, and translations published in magazines, nor does it include books (such as anthologies of fantasy and of Argentine literature) that Borges edited or co-edited. It also excludes several chapbooks, privately printed editions, etc. of under 50 pages each and does not attempt to identify first publication dates of individual stories, poems, etc. ISBNs refer to recent editions, not original publications.
There are also 1953, 1974, 1984, and 1989 Obras completas (complete works) with varying degrees of completeness and a 1981 Obras completas en colaboración (complete collaborative works).
The translations of the titles are from Collected Fictions, translated by Andrew Hurley. The information is compiled from the Bibliografía cronológica de la obra de Jorge Luis Borges by Annick Louis and Florian Ziche. Not all of these works can be classified as short stories. For example, "The Dread Redeemer Lazarus Morell" is largely factual, but it reads like a work of fiction. Conversely, the fictional "Pierre Menard, Author of the Quixote" is written in a style resembling an essay in literary criticism.
The groupings represent books in which these were first published; they are listed by the English translation of the original Spanish-language book.
Borges's work was first published in book form in English in 1962, with the translation and publication of Ficciones (1944) (Fictions, translated by Anthony Bonner, Alastair Reid, Helen Temple, and Kuthven Todd; edited by Anthony Kerrigan) and the collection known as Labyrinths, Selected Stories & Other Writings, translated and edited by Donald A. Yates and James Irby. In 2008, The Society of Authors (London) selected Labyrinths as one of the fifty most outstanding translations in the last fifty years.
In 1967, Borges began a five-year period of collaboration with the American translator Norman Thomas di Giovanni, after which he became better known in the English-speaking world. Di Giovanni would continue to be his primary English-language translator from that time forward.
This is a listing of book-length English-language volumes that are reorganizations of Borges' works; translations of original collections are listed above.
Jorge Guillermo Borges

Jorge Guillermo Borges Haslam (24 February 1874 – 14 February 1938) was an Argentine lawyer, teacher, writer, philosopher and translator. He was also an anarchist and a follower of Herbert Spencer's philosophy of philosophical anarchism. He was Jorge Luis Borges's father.
In 1898, he married Leonor Acevedo Suárez with whom he had two children: writer Jorge Luis Borges and painter Norah Borges. Due to the failing eyesight that would eventually afflict his son, Borges eventually abandoned his law career and the family moved to Geneva, Switzerland before World War I, where the young Jorge Luis was treated by an eye specialist. In 1921, the Borges family returned to Argentina.
Jorge Guillermo Borges studied law but did not practice. He was a friend of Macedonio Fernández, who became friends with Borges's son. He planned a commune for individualist anarchists in Paraguay. Borges wrote a novel, El Caudillo, published in 1921.
Borges had maternal ancestral roots in Staffordshire, England. A cultivated man, he read fluently in English, was an agnostic, a skeptic, and had a deep interest in metaphysics. At the homes where he settled with his wife and family both in Palermo and Geneva, he kept a large library offering his children a complex and profound universe. On those bookshelves, young Jorge Luis and Norah could find important works in English literature: Robert Louis Stevenson, Nathaniel Hawthorne, H. G. Wells, Samuel Taylor Coleridge, Rudyard Kipling, Thomas De Quincey, Edgar Allan Poe, and Herman Melville. His son would later remark that "if I were asked to name the chief event in my life, I should say my father's library."
The Library of Babel (website)

The Library of Babel is a website created by Brooklyn author and coder Jonathan Basile, based on Jorge Luis Borges' short story "The Library of Babel" (1941). The site was launched in 2015.
According to Basile, he "was lying in bed one night and the idea of an online Library of Babel popped into [his] head." Basile quickly realized that an actual digitalized Babel Library would require more digital storage space than one can imagine. To get around this limitation, he designed an algorithm to simulate the library instead.
The Library's main page contains background information, forums and three ways to navigate the library. These ways are to have the website randomly pick one of the thousands of "volumes", to manually browse through the library, or to search for specific text. Due to the library's Infinite monkey theorem-gibberish-like contents, there is an "Anglishize" feature, that points out words and clumps of words.
The library's content is divided into numbered digital hexagons, each with 4 walls, 20 shelves and 640 volumes. The names of hexagons are limited to 3360 alphanumeric characters, for a total of more than 10 available hexes.
The algorithm Basile created generates a 'book' by iterating every permutation of 29 characters: the 26 English letters, space, comma, and period. Each book is marked by a coordinate, corresponding to its place on the hexagonal library (hexagon name, wall number, shelf number, and book name) so that every book can be found at the same place every time. The website can generate all possible pages of 3200 characters and allows users to choose among about 10 potential books.
The Library of Babel website attracted the attention of scholars, particularly those working at the juncture of humanities and digital media. Zac Zimmer wrote in Do Borges's librarians have bodies: "Basile's is perhaps the most absolutely dehumanizing of all Library visualizations, in that beyond being driven to suicidal madness or philosophical resignation, his Librarians have become as devoid of meaning as the gibberish-filled books themselves." Journalist Jerry Adler said "It just may be the most fascinatingly useless invention in history."
Jonathan Basile is a Brooklyn author and programmer. Basile has authored two books, one of which has been published by Punctum Books. When asked how he got the idea for the website, Basile responded, "My first thought was — it must exist already. It seems like such a natural extension of the capabilities of a computer that I was sure someone would have made it. The next day I looked for it, a bit excitedly, and was disappointed. From then on, it’s kind of been a reluctant destiny for me."
Gaucho literature

Gaucho literature, also known as gauchesco ("gauchoesque") genre was a literary movement purporting to use the language of the gauchos, comparable to the American cowboy, and reflecting their mentality. Although earlier works have been identified as gauchoesque, the movement particularly thrived from the 1870s to 1920s in Argentina, Uruguay and southern Brazil after which the movement petered out, although some works continued to be written. Gauchoesque works continue to be read and studied as a significant part of Argentine literary history.
The movement arose as writers in those countries developed their understanding of their national identities. Three great poets in this trend were, José Hernández, Estanislao del Campo and Hilario Ascasubi.
The influence of folk music and a countrified language has always, to some extent, been felt in popular literature, as, for example, in the folk-flavoured poetry of the Uruguayan gauchoesque poet Bartolomé Hidalgo (1788–1822). The influx on the soul which the gaucho exercises can be felt on the work of much later writers who loved the country scene of Argentina and Uruguay, such as Ricardo Güiraldes, Benito Lynch and Enrique Amorim. This is particularly true of even the most modern Uruguayan literature.
With Mark Twain's attempt to reproduce the dialect of Missouri boys, slaves, "injuns", etc., gauchoesque literature actually aspires to use, to perpetuate what purports to be the actual language of the gauchos.
Each year links to its corresponding "[year] in literature" article, except for poetry, which links to its "[year] in poetry" article:
In chronological order by birth year;
Zama (novel)

Zama is a 1956 novel by Argentine writer Antonio di Benedetto. Existential in nature, the plot centers around the eponymous Don Diego de Zama, a minor official of the colonial Spanish Empire stationed in remote Paraguay during the late 18th century and his attempts to receive a long-awaited promotion and transfer to Buenos Aires in the face of personal and professional stagnation. Di Benedetto drew heavily from Russian writer Fyodor Dostoevsky. These existential themes of inward and outward stasis because of circumstance drive the novel's narrative as being constantly in motion yet never changing. Together with two of his other novels, El silenciero (1964) and Los suicidas (1969), Zama has been published as part of Benedetto's informal La trilogía de la espera (The Trilogy of Waiting). The novel is considered by various critics to be a major work of Argentine literature.
Don Diego de Zama is a servant to the Spanish crown in remote Paraguay. Separated from his wife and children, he continuously schemes for professional advancement as he struggles with his mental and emotional state as isolation, bureaucratic setbacks, and self-destructive choices begin to compound themselves in his life. The novel is divided chronologically into three sections: 1790, 1794, and 1799, which focus on, respectively, Zama's sexual, financial, and existential conflicts.
Obscure on its original release and unknown to English readers before its translation in 2016, Zama has since been considered by various critics to be a major work of Argentine literature. Roberto Bolaño used Antonio di Benedetto and Zama as the basis of his short story "Sensini" from the collection Last Evenings on Earth, about fictional writer Luis Antonio Sensini and his novel Ugarte, likewise about an 18th-century colonial bureaucrat, described as having been written with "neurosurgical precision." The 2016 translation in English was lauded in The New Yorker by novelist Benjamin Kunkel as "a neglected South American masterpiece" ("The belated arrival of Zama in the United States raises an admittedly hyperbolic question: Can it be that the Great American Novel was written by an Argentinean? It’s hard, anyway, to think of a superior novel about the bloody life of the frontier."), and by Nobel Prize in Literature laureate J. M. Coetzee in The New York Review of Books: "Zama remains the most attractive of Di Benedetto's books, if only because of the crazy energy of Zama himself, which is vividly conveyed in Esther Allen’s excellent translation."
Esther Allen's translation into English won the 2017 National Translation Award (USA).
In 2017 Zama was adapted into a feature film by Argentine director Lucrecia Martel.
Emma Zunz

"Emma Zunz" is a short story by Argentine writer Jorge Luis Borges. The tale recounts how its eponymous heroine avenges the death of her father. Originally published in September 1948 in the magazine Sur, it was reprinted in Borges' 1949 collection The Aleph. The story deals with the themes of justice and revenge, and of right and wrong. As in several other short stories, Borges illustrates the difficulty in understanding and describing reality. The story relies on issues of deceit, self-deception and inauthenticity to illustrate this. According to what Borges wrote in the epilogue of The Aleph, the plot of this story was communicated to him by his friend Cecilia Ingenieros. It was translated into English by Donald A. Yates and published in Labyrinths (New Directions, 1962).
Emma Zunz, a worker at a textile mill, returns home and finds a letter indicating that her father has died in hospital after a Veronal overdose. Emma, overwhelmed by grief, believes that her father has in fact committed suicide. She recalls how her father told her that the textile mill owner Aaron Loewenthal was guilty of an embezzlement charge which led to his arrest, and she plots revenge.
On the following weekend, Emma calls Loewenthal, claiming she has information about an impending strike and agrees to meet him that night. In the afternoon she seduces a Scandinavian man at a bar who pays her for a sexual encounter. The encounter disgusts Emma but she continues with her plan.
She meets Loewenthal at the factory and pretends to report on workers involved in the strike. He leaves his office to get a glass of water, at which point Emma takes a revolver from his desk and murders him. She then calls the police, claiming that Aaron Loewenthal was abusing her and that she killed him in retaliation. The remains of Emma’s disgust from the earlier encounter allow her to speak convincingly.
The story ends with the narrator noting that Emma’s emotions were true, only the exact circumstances, time and names were false.
Various films have been based on Borges' "Emma Zunz":
There Are More Things

"There Are More Things" is a short story written by Argentine writer Jorge Luis Borges in 1975. It was first published in the short story collection The Book of Sand, as the collection's fourth entry. The story tells of the encounter the narrator has with a monstrous entity inhabiting an equally monstrous house. It bears the dedication "In Memory of H. P. Lovecraft" and accordingly holds many parallels with Lovecraft's stories, employing similar plot devices. The title alludes to Hamlet's lines "There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy" (Hamlet I.5:159–167).
The story has been criticized because the episode of the encounter with the monster and the house—the heart of the story—which is described in the final two or so pages, is preceded by "eight pages of complicated subplots," spoiling "a basically sound idea." Borges himself was quite skeptical about his memorial to Lovecraft (as expressed in the book's epilogue), whom he in fact considered "an involuntary parodist of Poe."
The story's protagonist, while in Austin, Texas, receives the news of the death of his uncle, Edwin Arnett, in Turdera, Argentina, south of Buenos Aires. Shortly after, Arnett's house is bought by a man called Max Preetorius. Preetorius immediately disposes of all the furniture and initiates a series of modifications in opposition to Alexander Muir, the architect responsible for the original design of the house and the late Arnett's best friend. The modifications are performed under unusual conditions—during the night with all the windows and doors closed. In addition, all trees within the bounds of the property are cut down.
The protagonist is surprised by these events, and travels to Lomas de Zamora to investigate. He asks Muir and Preetorius' carpenter about Preetorius' intentions, and about the purpose of the strange modifications. He is unable to obtain any relevant information.
He soon discovers that the inhabitants of the town deliberately avoid passing near the house. One of the locals tells him that one night, as his gaze wandered across the house's garden, he "saw something." It is also reported that a missing dog was found decapitated and mutilated on the lawn.
One rainy night, the protagonist is caught in the storm and is forced to enter the mysterious house; the front door is unexpectedly open. Once inside, his nose immediately detects what he describes as "a sweet, sickening smell."
Turning on the lights, he discovers strange, incomprehensible pieces of furniture, such as a long U-shaped desk with circular holes on opposite ends and a ladder with irregularly-spaced steps.
When it stops raining, the horrified protagonist decides to leave. He hears the house's occupant moving between him and the door, and realizes that he will have to pass by the creature in order to exit the house. His curiosity overcomes his fear and he does not close his eyes as he does so.
James McMullan

James McMullan (born June 1934) is an Irish-Canadian illustrator and designer of theatrical posters.
Born in Tsingtao, Republic of China, where his grandparents had emigrated from Ireland as missionaries for the Anglican Church, he and his mother fled to Canada at the onset of World War II. In 1944, he enrolled at St. Paul's Boarding School in Darjeeling, India. After his father was killed in a plane crash, he joined his mother in Shanghai, and the two relocated to Vancouver Island, where he completed his high school education.
When McMullan was 17, he and his mother emigrated to the United States, where he studied for a year at the Cornish College of the Arts in Seattle. He joined the United States Army and served at Fort Bragg in North Carolina, where he drew diagrams of where to position propaganda loudspeakers on Sherman tanks.
In 1955, McMullan moved to New York City to continue his art education at Pratt Institute. While studying there he supported himself by illustrating book jackets for authors such as Lawrence Durrell and Jorge Luis Borges. He also did magazine illustrations for Esquire and Sports Illustrated, among others. In 1966, he joined the Push Pin Studios design firm, working alongside Milton Glaser, Seymour Chwast, and Edward Sorel.
McMullan began selling illustrations to the fledgling New York Magazine in 1968; by 1974 he was a contributing editor, helping to develop its graphic personality. His most notable contribution to the publication was the artwork illustrating Nik Cohn's 1976 story about a Brooklyn discotheque. The piece served as the basis for Saturday Night Fever.
McMullan's first theatrical poster was for the 1976 production of Comedians at the Music Box Theatre, produced by Alexander H. Cohen, who began to hire him on a regular basis. When Cohen's associate, Bernard Gersten, became executive producer of Lincoln Center Theater, he invited McMullan to join the organization. As of 2022, he had created more than 90 posters for Lincoln Center productions, many of which are included in the 1998 book The Theater Posters of James McMullan. He won a Drama Desk Special Award for his consistently inspired artwork for the theater in 1991. André Bishop, the artistic director of the Lincoln Center Theater, has written than "McMullan manages to capture le moment précis of each play, and he does it well in advance of ever having seen the production." In 2017, Mark Rozzo, in a profile of the artist for Vanity Fair, noted that McMullan "is to modern-day New York what Toulouse-Lautrec was to 19th-century Paris: the poster artist who sums up the spirit of his age."
In 1981, McMullan published Revealing Illustrations, in which he candidly discusses his working method. He is the creator of the "High Focus" method of figure drawing, which he began teaching at the School of Visual Arts in 1987. In 2014 he published an illustrated autobiography called Leaving China: An Artist Paints His World War II Childhood. In 2022, he published a book of portraits called Hello World: The Body Speaks in the Drawings of Men.
McMullan and his wife Kate McMullan have collaborated on more than a dozen picture books for children.
2017 Golden Globes (Portugal)

The 2017 Golden Globes (Portugal) was held on 21 May 2017 and broadcast by SIC and presented by João Manzarra.
Best Film:
Best Actor:
Best Actress:
Best Play:
Best Actor:
Best Actress:
Best Stylist:
Best Male Model:
Best Female Model:
Best Male Coach:
Best Male Athlete:
Best Female Athlete:
Best Individual Performer:
Best Group:
Best Song:
The Purple Land

The Purple Land is a novel set in 19th-century Uruguay by William Henry Hudson, first published in 1885 under the title The Purple Land that England Lost. Initially a commercial and critical failure, it was reissued in 1904 with the full title The Purple Land, Being One Richard Lamb's Adventures in the Banda Orientál, in South America, as told by Himself. Towards the end of the novel, the narrator explains the title, "I will call my book The Purple Land. For what more suitable name can one find for a country so stained with the blood of her children?"
The novel tells the story of Richard Lamb, a young Englishman who marries a teenage Argentinian girl, Paquita, without asking her father's permission, and is forced to flee to Montevideo, Uruguay with his bride. Lamb leaves his young wife with a relative while he sets off for eastern Uruguay to find work for himself. He soon becomes embroiled in adventures with the Uruguayan gauchos and romances with local women. Lamb unknowingly helps a rebel guerrilla general, Santa Coloma, escape from prison and joins his cause. However, the rebels are defeated in battle and Lamb has to flee in disguise. He helps Demetria, the daughter of an old rebel leader, escape from her persecutors and returns to Montevideo. Lamb, Paquita, Demetria and Santa Coloma evade their government pursuers by slipping away on a boat bound for Buenos Aires. Here the novel ends, but in the opening paragraphs, Lamb had already informed the reader that after the events of the story he was captured by Paquita's father and thrown into prison for three years, during which time Paquita herself died of grief.
Jorge Luis Borges dedicated an essay to The Purple Land in his book Other Inquisitions (1952). He compared Hudson's novel to the Odyssey and described it as perhaps the "best work of gaucho literature". Borges sees the novel as the story of Richard Lamb's gradual "acriollamiento" ("Creolisation"). In other words, Lamb "goes native." To begin with, Lamb looks down on the Uruguayans, with their disorganised political system and lack of law and order and civilised amenities, thinking it would have been better for Uruguay to become part of the British Empire. But he slowly comes to see the advantages of the freedom they enjoy, especially in comparison to the stuffiness of Victorian England. According to Ezequiel Martínez Estrada, who is quoted by Borges, the final pages of the novel contain "the supreme justification of America compared with Western civilisation." Hudson writes:
Ernest Hemingway famously referred to Hudson's book in his novel The Sun Also Rises:
An adaption for radio was written by Andrew Davies. The Purple Land was broadcast on 16 July 2011 as BBC Radio 4's Saturday play, starring David Tennant as Richard Lamb.
Borges and I

"Borges and I" (originally in Spanish "Borges y Yo") is a short story by the Argentine writer and poet Jorge Luis Borges. It is one of the stories in the short story collection The Maker (originally in Spanish El Hacedor), first published in 1960.
The narrative hinges on Borges's self-perception as a writer, underscoring the difference between the private self that cannot recognize his persona or public mask as a famous storyteller. The former insists that he has nothing to do with the task of writing, that only Borges alone imagines the stories and completes the work of setting them down on paper. His determined attempts to fight these claims are useless since he always loses to the celebrated author. Indeed, whatever he does to extricate himself from Borges becomes irrevocably tied to Borges.
Borges was born August 24, 1899, in Buenos Aires, Argentina. In 1914, Borges's family moved to Switzerland where he studied at the Collège de Genève. The family traveled widely in Europe, including stays in Spain. On his return to Argentina in 1921, Borges began publishing his poems and essays in surrealist literary journals. He also worked as a librarian and public lecturer. In 1955 he was appointed director of the National Public Library (Biblioteca Nacional) and professor of Literature at the University of Buenos Aires.
Borges's story raises many philosophical questions of Self and epistemology. Viewed through the analytic lens of Russell's knowledge by description, the story explores the interesting concept of knowledge of Self by description (as opposed to the more expected knowledge by acquaintance). This is emphasized by the mention of receiving Borges's mail and reading about Borges in a book.
Also, the distinction between persona and Self can be interpreted as a distinction between author and writer. The author would be analogous to the persona and Borges. The writer would be the Self and "I". Theoretically, the writer could be anyone, it just happens to be Borges. With this interpretation Borges is seen to be commenting on the cognitive differences between processing third person information and first person information.
Multiple professional and academic translators have developed English-language translations of the story, the most notable of these being the versions by Andrew Hurley, James E. Irby, Ilan Stavans, and Kenneth Krabbenhoft, all of which have been published in notable collections of Borges's work and Latin American poetry. There are also many amateur translations, as might be expected of a story of its brevity and popularity, and there exist, of course, many disagreements and criticisms over aspects of the text, as with any translation of prose or poetry.
Hurley, who is renowned for his 'widely acclaimed' translations of Borges's work, has written an essay on the subject of translating Borges, and what difficulties there are in trying to recreate for an English-speaker the effect that the original Spanish has on a native speaker of said language; he also discusses what is 'lost in translation', and what he could have done better in his own translations, addressing some of the criticisms made against him.
Three Versions of Judas

"Three Versions of Judas" (original Spanish title: "Tres versiones de Judas") is a short story by Argentine writer and poet Jorge Luis Borges. It was included in Borges' anthology Ficciones, published in 1944. Like several other Borges stories, it is written in the form of a scholarly article. The story carries three footnotes and quotes many people, some of which are real (like Antônio Conselheiro), some have been concocted from real life (like Maurice Abramowicz, who was once his classmate, and later became a deputy for the Swiss communist party, but is made a French religious philosopher in the story) and some are completely fictitious (like Jaromir Hladík, who is a character from his own story "The Secret Miracle").
The story begins as a critical analysis of works of a fictitious writer Nils Runeberg. Nils Runeberg lives in the city of Lund, where he publishes two books: Kristus och Judas (1904) [Christ and Judas] and his magnum opus Den hemlige Frälsaren (1909) [The secret Savior]. Borges analyses these two works (three if the revised edition of Kristus och Judas is counted separately) and discusses their heretical conclusions without providing the "dialectic or his (Nils Runeberg) proofs". The story ends with the death of Nils Runeberg.
Borges' fictitious writer Nils Runeberg presents to the world three versions of Judas Iscariot using his two books.
The Writing of the God

"The Writing of the God" (original Spanish title: "La escritura del dios", sometimes translated as "The God's Script") is a short story by Argentine writer Jorge Luis Borges. It was published in Sur in February 1949, and later reprinted in the collection The Aleph.
The story is narrated by a Maya priest named Tzinacán, who is tortured by Pedro de Alvarado (who burned the pyramid Qaholom where the protagonist was a magician) and incarcerated, with a jaguar in the adjacent cell. Tzinacán searches for a divine script that will provide him omnipotence in the patterns of the animal's fur. While in the process of doing so, he has a dream in which he imagines himself drowning in sand, and awakes to a vision of an enormous wheel "made of water, but also of fire," which allows him to understand the patterns in the jaguar's fur. Tzinacán claims that the divine script is a formula of fourteen "apparently random" words, which upon speaking, will make his prison disappear and will set the jaguar upon Alvarado. The story ends with the narrator deciding not to say the words, however, because knowing the words has made him forget Tzinacán, whom he is content to let lie in prison.
Agamo

Agamo adolah suatu sistem nan mangatur tata kaimanan (kapicayoan) dan paribadatan kapado Tuhan Nan Mahakuaso sarato tata kaidah nan bahubuangan jo pagaulan manusia dan manusia sarato lingkuangannyo.
Kato "agamo" baasa dari bahaso Sanskerta, āgama nan baarati "tradisi".. Sadangkan kato lain untuak manyatokan konsep iko adolah religi nan barasa dari bahaso Latin religio dan baraka pado kato karajo re-ligare nan baarati "mangikek baliak". Makasuiknyo jo bareligi, sasaurang mangikek dirinyo kapado Tuhan.
Émile Durkheim mangatokan baso agamo adolah suatu sistem nan tapadu nan tadiri ateh kapicayoan dan praktik nan bahubuangan jo hal nan suci. Kito sabagai umaik baragamo samaksimal mungkin bausaho untuak taruih maningkekan kaimanan kito malalui rutinitas baibadah, mancapai rohani nan samparono kasuciannyo
Definisi tantang agamo dipiliah nan sadarano tapi manyaluruah. Aratinyo definisi iko diharokan indak talampau sampik atau talampau lungga tatapi dapek dipakai kapado agamo-agamo nan salamo ko dikatahui malalui panyabuikan namo-namo agamo nantun. Agamo marupoan suatu limbago atau institusi pantiang nan maatua iduik rohani manusia. Untuak itu taradok apo nan dikana sabagai agamo-agamo itu paralu dicari titiak pasamoannyo dan titiak pabensoannyo.
Manusia punyo kamampuan tabateh, kasadaran dan pangakuan akan katabatehannyo manjadikan kayakinan baso ado sasuatu nan lua biaso di lua dirinyo. Sasuatu nan lua biaso itu tantu baasa dari sumber nan lua biaso juo. Dan sumber nan lua biaso itu ado bamacam-macam sasuai jo bahaso manusianyo surang . Misal Tuhan, Dewa, God, Syang-ti, Kami-Sama dan lain-lain atau hanyo manyabuik sipaik-Nyo sajo sarupo Nan Maha Kuaso, Ingkang Murbeng Dumadi, De Weldadige, jo lain-lain.
Kayakinan iko mambaok manusia untuak mancari kadakekan diri kapado Tuhan jo caro mangambokan diri, yaitu:
Jo damikian didapek katarangan nan jaleh, baso agamo itu pangamboan manusia kapado Tuhannyo. Dalam arati agamo ado 3 unsua, iolah manusia, pangamboan, jo Tuhan. Mako suatu paham atau ajaran nan manganduang katigo unsua pokok arati tadi dapek disabuik agamo.
Labiah lawehnyo lai, Agamo juo dapek diaratikan sabagai jalan iduik. Yakni baso saluruah aktivitas lahia jo batin pamaluaknyo itu diatua dek agamo nan dianuiknyo. Bagaimano awak makan, bagaimano awak bagaul, bagaimano awak baibadah, dan sabagainyo ditantukan jo aturan/tata caro agamo.
Anam agamo nan paliang banyak dianuik di Indonesia marupoan agamo Islam, Kristen Protestan, Katolik, Hindu, Buddha, jo Konghucu. Sabalunnya, pamarentah Indonesia pernah malarang panganuik Konghucu malaksanoan agamanyo sacaro umum. Namun, malalui Keppress No. 6/2000, Presiden Abdurrahman Wahid mancabuik larangan tu.
Agamo jo kapacayoan nan bacantuman di bawah iko marupoan agamo jo kapacayoan jo jumlah pamaluk nan signifikan di saluruah dunia. Babarapo komunitas di babagai balahan dunia juo mamaluak babagai aliran kapacayoan nan dianggap sabagai golongan minoritas dan alun dikamukokan. Babarapo agamo jo kapacayoan jo jumlah pamaluak nan gadang antaro lain:
Panduduak asali Taiwan

Panduduak asali Taiwan, atau daulu disabuik juo aborigin Taiwan, urang Formosa, urang Austronesia Taiwan, atau urang Gaoshan, adolah urang-urang katurunan pribumi Taiwan, nan jumalahnyo kini mancapai 569.008 jiwa atau 2,38% dari populasi pulau itu — atau dapek juo dianggap mancapai 800.000 jiwa, kok mamparatian potensi pangakuan sacaro rasmi panduduak pribumi dataran randah Taiwan sabagai urang asali Taiwan di masa datang. Panalitian tabaru manunjuakan baso mungkin niniak muyang urang-urang itu alah iduik manatap di Taiwan salamo labiah kurang 5.500 taun sacaro relatif taisolasi sabalun muloinyo imigrasi gadang urang Han (Cino) dari daratan Cino pado abaik ka-17. Panduduak asali Taiwan tamasuak rumpun bangso Austronesia, nan taubuang jo ikatan bahaso sarato genetika jo urang-urang Austronesia lainnyo. Kalompok-kalompok nan baubuangan dakek jo panduduak asali Taiwan antaro lain urang Polinesia, sarato sabagian gadang urang-urang Filipina, Indonesia, Malaysia, jo Brunei.
Salamo baabaik-abaik, panduduak asali Taiwan maalami pasaingan ekonomi jo sarangan maliter dari babagai banso asiang nan badatangan ka pulau iko. Kabijakan-kabijakan pamerentah nan tapusek nan dibuek untuak mandorong pageseran bahaso jo asimilasi budayo, sarato ubuangan taruih-manaruih jo banso pandatang malalui padagangan, pakawinan campua jo paroses patukaran budayo lainnyo, alah maakibaikan tingkek-tingkek tatantu kamatian bahaso jo ilangnyo jati diri budayo nan asali. Misanyo, dari sakita 26 bahaso panduduak asali Taiwan nan dikataui (sacaro basamo-samo disabuik sabagai bahaso Formosa), saindaknyo sapuluah bahaso alah punah, limo di antaronyo ampia mati jo babarapo lainnyo sampai tingkek tatantu tarancam punah. Bahaso-bahaso iko sasungguahnyo punyo arati sijarah nan unik, dek karano sabagian gadang ahli sijarah bahaso bapandapek baso Taiwan adolah tanah aia asali dari rumpun bahaso Austronesia.
Panutua bahaso Austronesia di Pulau Taiwan daulunyo taseba di sabagian gadang wilayah Pagunuangan Tangah nan curam, sarato bakalompok di kampuang-kampuang di sapanjang dataran aluvial (tanah andapan). Kini, sabagian gadang panduduak asali Taiwan iduik di pagunuangan jo di kota-kota.
Masarakaik adaik Taiwan maalami kakurangan ekonomi jo sosial, tamasuak tingginyo tingkek pangangguran jo pandidiakan nan di bawah standar. Sajak awa 1980-an, banyak kalompok panduduak asali alah sacaro aktif mampajuangan hak panantuan nasik surang jo pangambangan ekonomi nan labiah tinggi. Bangkiknyo kabanggaan etnis ditunjuakan dalam babagai caro dek para panduduak asali, misanyo jo manggabuangan unsua-unsua budayonyo ka dalam musik pop nan maraiah sukses sacaro komersial. Upayo sadang dilakuan dek masarakaik adaik untuak maiduikan baliak praktik budayo tradisional jo malastarian bahaso tradisionalnyo. Festival Budayo Austronesia di Kota Taitung adolah salah satu sarana di mano anggota masarakaik mamparomosian budayo asali. Salain itu, babarapo komunitas panduduak asali alah talibaik sacaro laweh dalam industri pariwisata jo ekowisata nan batujuan mancapai paningkekan kamandirian ekonomi jo malastarian budayonyo.
Maimun Palace

Maimoon Palace or Maimun Palace (Indonesian: Istana Maimun) is an istana (royal palace) of the Sultanate of Deli and a well-known landmark in Medan, the capital city of Northern Sumatra, Indonesia. Today, it serves as a museum. The name is the Arabic word for "blessing".
Built by Sultan Ma'mun Al Rashid Perkasa Alamsyah in the years 1887–1891, the palace was designed by the Dutch architect Theodoor van Erp and covers 2,772 m with a total of 30 rooms. The palace has become a popular tourist destination in the city, not solely because of its historical heritage status, but also because of its unique interior design of the palace, combining elements of Malay cultural heritage, Islamic and Indian architecture, with Spanish and Italian furniture and fittings.
It is the last surviving Malay palace, the rest having been destroyed in the 1946 social revolution. Nearby British troops protected it.
Media related to Maimun Palace at Wikimedia Commons
3°34′31″N 98°41′02″E﻿ / ﻿3.57528°N 98.68389°E﻿ / 3.57528; 98.68389
Coon card

Coon cards were anti-Black, racist picture postcards and greeting cards sold in the United States in the 19th and 20th centuries. Coon was short for raccoon, an American mammal; coon was a commonly used derogatory term for African-Americans.
Especially after the turn-of-the-century, "the postcard was wildly successful both as correspondence and collectible" and are thus postcards are valuable sources for cultural historians as both a form of epistolary literature and for the bank of cultural imagery included in the postcard illustrations reflecting historic popular culture norms and tropes. Coon cards were produced by white manufacturers for white customers and depicted an array of African Americans stereotypes common to the popular media of the day. The caricature was part of the popular appeal of the postcards as "image content was clearly driven by free market forces, rather than the intention to present an accurate depiction of people, places, or things." For example, children were typically depicted as pickaninnies eating watermelon or being used as alligator bait. African American adults were depicted as intellectually and morally inferior to whites and were associated with cakewalking, fried chicken, watermelon, cotton, lack of conscientiousness, laziness, ribaldry, sexual promiscuity, domestic violence, gambling, alcoholism, cannibalism, and farts.
Coon cards—which were representative of general racial attitudes of the era and conveyed and perpetuated ideas about "appearance, behavior, and overall identity"—depict Black people as "subhuman, ape-like beasts." African Americans were depicted with "protruding jaws and chins" that aligned their low status in a pseudoscientific racial hierarchy outlined by Pieter Camper, et al. Bug eyes, pigeon toes, elongated limbs, and enlarged extremities contributed to the "simianizing" of Black people in postcard images of the coon card era.
These images benefited whites as well as harming Black people by promoting a sense of in-group solidarity among whites and social superiority to an "othered" out-group. Coon cards were used by whites to send routine "holiday greetings, exchanges of neighborhood gossip, expressions of concern for bed-ridden loved ones, and declarations of familial and romantic love."
Coon cards are now considered collectible ephemera and a useful tool for studying the history of racism in the United States. Coon cards are distinct from, but related to, the equally collectible genre of Black postcards, which are postcards produced by and for the African-American community.
Ida Elise Broch

Ida Elise Broch (født 1987) er en norsk skuespiller. Hun spilte Kathrine i filmen Mannen som elsket Yngve og hadde en av hovedrollene i Switch. Hun spilte også en av hovedrollene i TV 2-serien Det tredje øyet og hadde hovedrollen i sesong 1 av Netflix-serien Hjem til jul, som hadde premiere i desember 2019. Hun spiller også i sesong 2 av Hjem til jul.
Siden barneskolen har Broch drevet med teater, og hun gikk på dramalinja på Hartvig Nissens skole, og deretter Romerike Folkehøgskole. Hun måtte slutte der på grunn av sin rolle i Mannen som elsket Yngve, da det kolliderte med filminnspillingen våren 2007. Broch begynte som elev ved Teaterhøgskolen høsten 2008.
I Switch spilte Broch den sympatiske Nina, som bor på Voss, står på snowboard og er sammen med den tøffeste gutten i bygda, men havner i et trekantdrama.
Hun fikk deretter en rolle i Mannen som elsket Yngve, der hun spilte Katrine. «Jarle Klepp, Katrine og kameraten Helge er en sammensveiset gjeng med palestinaskjerf og sterke meninger. Men så dukker den mystiske streitingen Yngve opp, og Jarle forandrer seg.» For rollen ble hun nominert til beste kvinnelige birolle under Amandaprisen 2008.
Hun ble kåret til beste kvinnelige skuespiller under Gullruten 2015 for sin rolle i tredje sesong av TV-serien Lilyhammer.
Ida Elise Broch er halvsøsteren til skuespilleren Nicolai Cleve Broch, arkitekten Christian Cleve Broch og pedagog Maria Therese Slinning.
Randi Hansen

Randi Hansen (født 1958 i Tromsø) er en norsk popsanger tidlig bosatt i Harstad, hvor hun med bakgrunn som musikkpedagog har jobbet som musikklærer ved Heggen videregående skole. Hun var særlig aktiv på 1980-tallet, og er for de fleste mest kjent for sangen «Hvis æ fikk være sola di», som var på debutplata Ho Randi. Den ble solgt i 80 000 eksemplarer.
Hun ga ut seks egne album før hun tok en pause i karrieren og var opptatt med familie, og har medvirket på tolv andre album. Men i 2008 kom hun igjen med en ny plate: Tid som går.
Jul i Svingen

Jul i Svingen er en norsk adventskalender produsert av NRK, vist første gang i desember 2006. Den er en videreførelse av NRKs tidligere TV-serie Linus i Svingen fra 2004. Manuset ble skrevet av forfatteren Kjetil Indregard med bidrag fra Magnus Wold Jenssen, etter en idé av Kjetil Indregard, Vibeke Fürst Haugen og Atle Knudsen. Odd Nordstoga sto for musikken. Jul i Svingen er en av NRKs mest omfattende egenproduserte dramaserier.
Serien går over 24 episoder, der barn og voksne i Svingen blir fulgt på nye eventyr og mange opplevelser. Hver episode er frittstående. Serien ble gitt ut på DVD i november 2007.
Det kostet NRK 25 millioner kroner å lage serien, og serien ble solgt til flere andre land.
I Nederland har serien blitt vist nærmest årlig siden 2006. Allerede før NRK viste Nederlandsk allmennkringkasting (NPO) serien i en dubbet versjon på flaggskipkanalen NPO 1 under navnet Kerst met Linus (norsk oversettelse: jul med Linus), og siden årlig på NPO 3. Også i Danmark ble serien vist i en dubbet versjon i 2007 under navnet «Jul i Svinget» på DR1. På Færøyene ble serien vist i 2008 under navnet «Jól í Svingi» på Kringvarp Føroya, som også var en dubbet versjon. I Sverige har SVT dubbet serien, som ble vist på SVT i desember 2008. Serien ble i 2010 sendt på YLE i Finland.
Musikken til serien vant Spellemannprisen 2006 i klassen «beste barneplate».
Serien ble sendt i reprise desember 2009, 2013, 2017, og hvert år fra 2019 til 2024.
Jul i Blåfjell

Jul i Blåfjell er en norsk adventskalender produsert av NRK Barne- og Ungdomsavdelingen og sendt første gang på NRK i 1999.
Serien ble filmet på Røros og 'Veien til Blåfjell' gikk opp den vernede Sleggveien. Hver episode varte i omkring 25 minutter.
TV-serien fikk i 2002 oppfølgeren Jul på Månetoppen.
Serien er også dramatisert for teater av Svein Sturla Hungnes, med urpremiere på Oslo Nye Teater 15. november 2002.
Serien har gått som adventskalender på NRK1 i 1999, 2001, 2004, og på både NRK1 og NRK Super i 2008 og 2011. En 3-disk DVD-sett ble utgitt i 2008.
Serien ble kåret til beste TV-drama under Gullruten 2000 og fikk Spellemannprisen 1999 i klassen barneplater for et album med musikk fra serien.
Idé og manus var av Gudny Ingebjørg Hagen, musikken var av Geir Bøhren og Bent Åserud, regi for fjernsynet var ved Torunn Calmeyer Ringen, kostymene ved Gerd Johnsrud og scenografien ved Aili Strømsted.
Bacon

Bacon er røkt, lettsaltet sideflesk fra svin. Det brukes mest som en frokostrett, oppskåret i tynne skiver før det stekes eller grilles, ofte servert med speilegg. Bacon brukes også som en ingrediens i andre retter, både som en fettkilde og for smakens skyld.
Etter et styremøte 13. februar 2004 kunngjorde Språkrådet at «bacon» heretter skulle få to skrivemåter, både lånordet «bacon» og det fornorskede ordet «beiken» sammen med ca. 25 andre lånord. «Beiken» møtte imidlertid stor motstand fra befolkningen, og ble ikke med som offisiell skrivemåte. Alternative skrivemåter som Språkrådet fikk gjennom, var blant andre «snacks» og «snaks», «bacalao» og «bakalao», «corny» og «korny», samt «nonchalanse» og «nonsjalanse». Dette ble i senere tid kalt «Beiken-feiden».
Debrecziner

Debrecziner, eller Debreceni på ungarsk, er en kokepølse oppkalt etter byen Debrecen i Ungarn. Den består av farsedeig av svin. Pølsen blir særlig i Østerrike, tilført fett storfekjøtt som gir den et saftig preg. Den rødlig-oransje fargen kommer av paprika og spekekjøtt. Forøvrig kan den være krydret med hvitløk, pepper og merian. Smaken varierer fra umami (Østerrike) til skarp (Ungarn). Det blir ofte brukt sauetarm.
Den ungarske varianten som kan være røkt, stammer fra byen Debrecen og blir blant annet brukt i ungarsk gulasj. Salget av pølser i Wiens gater steg betraktelig mellom 1850 og 1910, men så sent som i 1881 var debreczineren ikke nevnt blant seks pølseslag i utgivelsen Die Saison der Wurst av Friedrich Schlögl. I 1912 blir imidlertid debreczenpølsen nevnt i den østerrikske næringsmiddelboken (Österreichischen Nahrungsmittelbuch) Codex Alimentarius Austriacus.
Medisterpølse

Medisterpølse er en pølse laget av en farse av kjøtt og fett fra svin, såkalt medisterfarse, stoppet i svinetarmer. Fettandelen kan tradisjonelt være opptil 25%.
Ordet kommer fra en kombinasjon av met og ister, som respektivt betyr svinekjøtt og isterfett. Oppskriften ble først skrevet ned i en svensk kokebok fra tidlig på 1500-tallet. Siden den gang har oppskriften forandret seg ved at kjøttfyllet før ble håndkuttet, mens det nå blir maskinkvernet, noe som gir medisteren en annen tekstur.
Medisterpølser lages i hele lengder, men avbindes også i ringer. Den skal trekke, ikke koke, i ca. 20 minutter før servering. Noen foretrekker røkte medisterpølser. Farsen blir vanligvis krydret med allehånde, kryddernellik, ingefær, salt og pepper.
I Norge er medisterpølse en del av julematen, og serveres gjerne ved sammen med tradisjonelle juleribben.