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Luckily there are many ways to exch To convert pounds to kilograms, multiply the weight in pounds by 0.45359. To convert ounces to kilograms, divide the weight in ounces by 35.274. You need a To convert pounds to kilograms, multiply the weight in pounds by 0.45359. To convert A movie role motivated Lindsey Willis to lose pounds, but when she regained them, she learned how to lose weight for good Women's Health may earn commission from the links on this page, but we only feature products we believe in.
How heavy is 46 pounds? How much does 46 pounds weigh in troy ounces? This simple calculator will allow you to easily convert 46 lb to troy oz. Convert 1.46 lb to ounces There are sixteen ounces in one pound!
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1 oz. 28 g. 4 oz 114 g.
Han's Honey Loquat Candy Counter Display, 2.68 Ounce
In this case we should multiply 46 Pounds by 0.45359237 to get the equivalent result in Kilograms: 46 Pounds x 0.45359237 = 20.86524902 Kilograms. 46 Pounds is equivalent to 20 Convert 7.46 Ounces to Pounds (7.46 oz to lb) with our Mass converter. How many Pounds in 7.46 oz. 7.46 Ounces equals how many Pounds. What is 7.46 oz in Pounds.
What is 5.46 kg in lbs and oz. Weight And Mass Converter / Avoirdupois (U.S. / British) / Pound [lb] Online converter page for a specific pound to stone, pounds, and ounces (X st Y lbs Z oz).
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Shipping weight, 2¾ pounds. No. State size. Shipping weight, about 13 oz. No. 13 juni 2019 11:46 av vanithatolsay Unfortunately, when trying the wrong diets, you may lose a couple of pounds and feel better about yourself for a couple of weeks. This scale measures in grams, ounces, penny weight and more. mått som pounds, ounces och gallons (Whiteford, 2009). Även i språk som swahili samt i delar av Indien benämner man vikt på andra sätt än vi gör och på kilo, pounds, ounces och t.o.m stones finns kvar.
47 Cor. Montgomery Av. and Madison AT. 48 Cor. ins: over eiglit ounces and not over 50 or 70 pounds 46 pounds. 30. Buy 56 LB Digital Postal Scale WITH AC Adapter Plug 56 LB x 0,2 OZ Postage Shipping Weigh in pounds & ounces, just lbs, just oz., just KG's, or just grams. FM2557 FM2557W FM2 by DIY-BizPhones, Schaedler 12In Single A Rule 46-Im,. 14 684,54 SEK. 10+ 16 040,46 SEK. 14 684,54 SEK. 1 oz. Weight. Quantity.
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Select a blank cell next to your pounds data, and type this formula =CONVERT(A2,"lbm","ozm") into it, and press Enter key, then drag the autofill handle down to the range cells you Conversion formula. The conversion factor from pounds to ounces is 16, which means that 1 pound is equal to 16 ounces: 1 lb = 16 oz. To convert 4 pounds into ounces we have to multiply 4 by the conversion factor in order to get the mass amount from pounds to ounces. 1 pound (lb) = 453.59237 milliliter (ml). Pound (lb) is a unit of Weight used in Standard system.
Mandel 46 gram per dl. Hasselnötter 1 pound (lb) = 16 ounces eller 453,6 gram 1 cup = 8 fluid ounces eller 16 tablespoons eller 2,37 dl. Kulventil B46 · Kulventil B52 · Kulventil B54 · Kulventil B56 Long hundredweight (cwt.l.) Short hundredweight (cwt.sh.) Pounds (lb.t.) Ounces (oz.) Pennyweight
rises above other Model 700 triggers in the company's lineup, thanks to an all-new geometry that's easy to use and adjustable from 8 ounces to 2 pounds. Äpple, finhackad, 53. Äpple, skivad, 46 1 pound (lb) = 16 ounces = 453,6 g 1 ounce (oz) 1/4 cup = 4 tablespoons = 12 teaspons = 2 ounces = 56 ml ≈ 0,6 dl
United Kingdom, The Last 'Round Pound', 2016 UK £1 Brilliant Uncirculated Coin. Cameron FS661 : Vikt : Insatsvikt : 2 ounces.
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Postal Scales Office Products 56 LB Digital Postal Scale WITH
This gold calculator can be used to change a conversion factor from 1 pound lb equals = 14.58 troy ounces oz t exactly. Convert gold measuring units. How much of gold is from pounds ( lb ) to troy ounces ( oz t ). Ounces to Pounds (oz to lb) conversion calculator for Weight conversions with additional tables and formulas. 46 pounds equal 20.86524902 kilograms (46lbs = 20.86524902kg). Converting 46 lb to kg is easy.


The PAG V-Mount Series / Parallel Power Module can be used to connect 2 V-Mount batteries in series or in parallel.
Connecting the batteries in series produces an output voltage equal to the sum of the 2 batteries' individual voltages (up to 30V), for applications such as powering lighting or microwave links.
Connecting the batteries in parallel produces a capacity equal to the sum of the 2 batteries' individual capacities (up to 14Ah, for extended equipment run-time). This mode provides continuous operation. The output is via an XLR-4 socket.


Hey everyone just a quick question for anyone.
Me and my wife recently got droid x and we both are running lpp and have the same apps except she has advance task killer. We have been to Verizon 4 times and her phone continues to cut off. Any ideas why?
Sent from my DROIDX using DroidForums App


Im trying to create a simple Pie chart from a csv file or indexed data and cant seem to configure the Pie chart correctly.
the Beer.csv looks like this
| inputlookup Beer.csv | chart Values(Amount) by Name
this makes a pie chart that seems to allocate the correct proportion but how can i make it write the actual percent on the pie chart and the number for that name?
thanks for any help
| inputlookup Beer.csv
| eventstats sum(Amount) as total
| eval perc = (Amount / total * 100)
| table Name,Amount, total, perc
`comment("if you want,")`
| table perc, Amount
Visualization > Pie Chart
I'm not sure what you want.
how about this?


IELTS Task 1 Walkthrough. Part 1.
Are you struggling with trying to describe statistical information? Are you interested in IELTS?
Here is a series of videos that give you a walkthrough a sample task 1 answer. In this first part we look at the question itself and the overview.
Please watch the videos below:
Published at : Updated


Hi, any ideas why I can't scroll to different pages of a post even when signed in. For example I was just looking through a post but could only view page 1, when I tried to navigate to page 2 nothing happened. I thought it was my computer, but just tried another and same thing happened. Also couldn't compose a message to you. Ant help would be great. Thanks!


Here’s a fun game for all of you home lovers. Try and guess the square footage of this home! Leave your guess as a comment. If you already know the home/address, please don’t post it, just post your guess.
©2017 - Homes of the Rich - All Rights Reserved


Author : Patricia J. Goff.
Published : Sun, Jun 23 2019 :11 AM.
Format : jpg/jpeg.
Other activities for kindergarten include jigsaw puzzles. There are also worksheets that teach children about some biblical characters, and how to help a community. These activities are not limited to individual work. There are also worksheets that require a group effort to finish the task. This way, children learn to work in a team. This is a very effective group activity in helping them realize the importance of cooperation and teamwork.
The first step is to consider the correct or appropriate font to use - the bigger the better. Avoid fonts such as the Roman Script as the curls and curves of the letters may be confusing. For kids, fun fonts such as the Comic Sans MS are advisable.
Using free multiplication worksheets is a great way to add some variety to your homeschooling. As long as you do not overload your children with worksheets, most of them enjoy the challenge of beating their best time. To use these worksheets effectively.
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Remember that with the so many worksheets available, choose one that is best suited for a certain lesson. Plan ahead what type of worksheet to use for a given day, depending on what you plan to teach.
While it is common knowledge that teachers use this tool in school, what many of us do not know is that parents can also utilize it at home to supplement their child`s learning. With a writing worksheet, you can encourage your child to develop his or her writing abilities at home, everyday.


Ratios ψx/φx as a function of the reduced frequency x, for the different radiation field profiles displayed in Fig. 1, using also the same linestyle convention. We observe here, for the case of coherent scattering in the atom’s frame, similar tendencies as the ones displayed in Fig. 2 for the ratios between VDFs.
Current usage metrics show cumulative count of Article Views (full-text article views including HTML views, PDF and ePub downloads, according to the available data) and Abstracts Views on Vision4Press platform.
Data correspond to usage on the plateform after 2015. The current usage metrics is available 48-96 hours after online publication and is updated daily on week days.
Initial download of the metrics may take a while.


Track the most recent changes to the wiki on this page.
6 July 2015
- (diff | hist) . . N User:184.108.40.206; 15:17 . . (+188) . . 220.127.116.11 (Topic-516974)
- (diff | hist) . . m Emacs Lisp Ressources; 08:25 . . (+94) . . Elvince (→Learn functionnal programming: a word about Hy)
- (diff | hist) . . Emacs Lisp Ressources; 08:22 . . (+257) . . Elvince (add very complete tuto)


Leader Volume 8, Number 2
Michalko is a creativity expert and author of Thinkertoys
(A handbook of business creativity),
ThinkPak (A brainstorming card set), and his newest book, Cracking
Creativity (Ten Speed Press, Churchville, NY, 1998).
He can be reached through www.creativethinking.net
or phone 716-293-2957).
Thomas Edison was
granted 1,093 patents for inventions that ranged from the light
bulb, typewriter, electric pen, phonograph, motion picture camera
and alkaline storage battery--to the talking doll and a concrete
house that could be built in one day from a cast-iron mold. His
3,500 notebooks show a turbulent brainstorm and present a verbal
and visual biography of Edison’s mind at work. The notebooks
illustrate how Edison conceived his ideas from their earliest
inceptions, and show in great detail how he developed and
implemented them. I’ll review several of Edison’s
that, to have a good idea, you had to generate many. Out of
quantity comes quality. He set idea quotas for all his workers.
His own quota was one minor invention every 10 days and a major
invention every six months. It took over 50,000 experiments to
invent the alkaline storage cell battery and 9,000 to perfect the
light bulb. Edison looked at creativity as simply good, honest,
hard work. “Genius,” he said, “is 99% perspiration and 1%
inspiration.” For every brilliant idea he had, there was a dud
like the horse-drawn contraption that would collect snow and ice
in the winter and compress it into refrigerant blocks.
idea production requires conscious effort. If I ask you to spend
three minutes thinking of alternative uses for the common brick,
you would come up with a few ideas. However, if I ask you to list
40 uses for the brick as fast as you can, you would have many more
within the first three minutes.
A specific quota
focuses your energy in a competitive way to guarantee fluency and
flexibility of thought. To meet the quota, you find yourself
listing all the usual uses for a brick (build a wall, fireplace,
outdoor barbecue, and so on) as well as listing everything that
comes to mind (anchor, projectiles in riots, ballast, device to
hold down newspaper, a tool for leveling dirt, material for
sculptures, doorstop and so on) as you stretch your imagination to
meet the quota. By causing you to exert effort, you generate more
Initial ideas are
usually poorer in quality than later ideas. Just as water must run
from a faucet for a while to be crystal-clear, cool and free of
particles, so thought must flow before it becomes creative.
Creative thinking depends on continuing the flow of ideas long
enough to purge the common, habitual ones and produce the unusual
To prove this to
yourself, try the following exercise. Following is a list of five
words. Write the first association that occurs to you for each
word. Now do this five more times and for each time write an
association that is different from the association you previously
Note that your
latter associations are much more original and unique than the
Give yourself an
idea quota. For example, a quota of 40 ideas if you're looking for
ideas by yourself, or a quota 120 if a group is brainstorming. By
forcing yourself to come up with 40 ideas, you put your internal
critic on hold and write everything down, including the obvious
and weak. The first third will be the obvious ideas. The second
third will be more interesting and the last third will show even
more insight, curiosity and complexity.
Edison felt his
lack of formal education was, in fact, “his blessing.”
This enabled him to approach his work of inventing with far
fewer assumptions than his more educated competitors. He
approached any idea or experience with wild enthusiasm and would
try anything out of the ordinary, making phonograph needles out of
compressed rainforest nuts, or clamping his teeth onto a
phonograph horn to “feel” the sound and apply that sense as a
hearing aid. This wild enthusiasm inspired him to consistently
He felt that, in
some way, too much education corrupted people by prompting them to
make so many assumptions that they were unable to see many of
nature’s great possibilities. When Edison created a “system”
of practical lighting, he conceived of wiring his circuits in
parallel and of using high-resistance filaments in his bulbs, two
things that weren’t considered possible by experts.
hired a research assistant, he would invite the candidate over for
a bowl of soup. If the person seasoned the soup before tasting it,
Edison wouldn’t hire the candidate. He didn’t want people who
had so many built-in assumptions into their everyday life, that
they would even assume the soup wasn’t properly seasoned. He
wanted people who consistently challenged assumptions and tried
An easy way to
challenge assumptions is to simply reverse them and try to make
the reversal work. The guidelines are:
List your assumptions about a subject.
Challenge your fundamental assumptions by reversing them. Write
down the opposite of each assumption.
Ask yourself how to accomplish each reversal. List as many useful
viewpoints as you can.
Suppose, for example, you want to start a
1. You would
begin by listing the assumptions you make about restaurants. One
assumption might be: All restaurants have menus, either written,
verbal or implied.
2. Next, you would reverse this to: I will start a restaurant
that does not have a menu of any kind.
3. Now, look for ways to make the “reversal” work and list
every idea you can. “How can I operate a viable restaurant that
doesn’t have a menu?”
4. One idea would be to have the chef come to the table and
display what the chef bought that day at the meat market, fish
market and vegetable market. The customer checks off the
ingredients he or she likes and the chef prepares a special dish
based on the “selected” ingredients. The chef also names the
dish after the customer and prints out the recipe for the customer
to take home. You might call the restaurant “The Creative
experiment failed, Edison would always ask what the failure
revealed, and would enthusiastically record what he had learned.
His notebooks contain pages of material on what he learned from
his abortive ideas. Once, when an assistant asked why he continued
to persist trying to discover a long-lasting filament for the
light bulb after failing thousands of times, Edison explained that
he didn’t understand the question. In his mind he hadn’t
failed once. Instead, he said he discovered thousands of things
that didn’t work.
He had an
enormous talent for appropriating ideas that may have failed in
one instance, but then used the idea for another problem. For
example, when it became clear that an iron-ore mining venture, in
which Edison was financially committed, was failing, he studied
the company’s resources and came up with a detailed plan to
redirect the company’s efforts toward the manufacture of
Portland cement, which could capitalize on the same equipment,
materials and distribution systems of the iron-ore company.
succeeded with a new idea, Edison would review his notebooks to
rethink ideas and inventions he’d abandoned. If he were mentally
blocked, he would review his notebooks to see if there were some
thought or insight that could trigger a new approach. For example,
he took the principle for an unsuccessful undersea telegraph
cable--variable resistance--and incorporated it into the design of
a telephone transmitter that adapted to the changing sound waves
of the caller’s voice.
often jot down his observations of the natural world, failed
patents and research papers written by other inventors. He would
also routinely comb a wide variety of publications for novel
ideas, and he would record them in his notebooks. He advised his
assistants to make it a habit to keep on the lookout for novel and
interesting ideas relating to other problems in other fields. To
Edison, your idea needs to be original only in its adaptation to
the problem you are working on.
popular belief, Edison didn’t invent the light bulb.
His genius, rather, was to perfect the bulb as a consumer
item. Edison also studied all his inventions and ideas as
springboards for other inventions and ideas. To Edison, the
telephone (sounds transmitted) suggested the phonograph (sounds
recorded), which suggested motion pictures (images recorded).
Simple, in retrospect, isn’t it? Genius usually is.
Every new idea is
an addition or modification to something that already exists. You
take a subject and manipulate or change it into something else.
There are nine principle ways you can manipulate a subject,
arranged into the mnemonic SCAMPER.
S = Substitute?
C = Combine? A = Adapt? M =
Magnify? = Modify? P
= Put to other uses?
E = Eliminate?
R = Rearrange? = Reverse?
You isolate the
subject you want to think about and ask the checklist of SCAMPER
questions to see which new ideas emerge. Think about any subject
from improving the ordinary paperclip to reorganizing your
corporation and apply the SCAMPER checklist. You’ll find that
ideas start popping up almost involuntarily.
tireless in his persistence to change a subject into something
else through “trial and error” until he found the idea that
worked. In Edison’s laboratory there’s a staggering display of
hundreds of phonograph horns of every shape, size and material.
Some are round, square, angular, thin, short, squat while others
are curved and as long as six feet tall. This collection of
rejected ideas is a visual testament to Edison’s approach to
creativity--which was, in essence, to try out every possible
design he could possibly conceive of. Once asked to describe the
key to creativity, he said, “Never quit working on your subject
until you get what you’re after.”
If you want to
become more creative, act like Thomas Edison. Cultivate the
When looking for
ideas, create a lot of them.
Consistently challenge assumptions.
Learn from failures.
Look for ways to improve.
You may not
become the next Thomas Edison but you’ll become much more


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1. Field of the Invention
The invention relates to the field of advertising, and more generally, to methods and systems for managing the creation of user-produced advertising content.
2. Description of Related Art
The World Wide Web of the Internet has become an increasingly important resource for communication, information, business, social networking, and recreation. Recently, World Wide Web sites that host user-produced content have become particularly popular. In general, the term “user-produced content” refers to content, be it text, image, or multimedia, that is created by a user to be posted on a World Wide Web page or in some other public forum. Examples of user-generated content include web logs (i.e., blogs), and the individual user pages on World Wide Web sites such as LIVEJOURNAL, MySPACE and FRIENDSTER. Other examples include GOOGLE VIDEO and YOUTUBE, to which individual users can submit video clips for discussion and further distribution.
These popular sites rely on a “viral” approach to attract new users. As each user joins the site, he or she is encouraged to engage in the site by uploading his or her own content and, depending on the type of site, by personalizing a space on the site. Users are also asked to encourage their friends to join. That causes usage of particular World Wide Web sites and services to spread through established interpersonal social networks, with little or no advertising or marketing effort on the part of the World Wide Web site operator.
However, despite the popularity of sites that include user-produced content, site operators have yet to figure out how to effectively generate advertising revenue to support their sites, and advertisers have yet to figure out how to effectively reach users with advertising messages. Traditional web-based advertising includes so-called “banner” advertisements, which are advertisements placed on particular portions of World Wide Web pages. Typically, an advertiser is billed when a user “clicks” on the advertisement and is taken to the advertiser's own World Wide Web page for more information. Banner advertisements have become nearly ubiquitous, but their efficacy is unproven, and users often choose to ignore them altogether.
Some marketers have attempted to advertise through viral content distribution. However, recent attempts to do so have met with difficulties. For example, a video clip entitled “Lazy Sunday” produced by the television network NBC for the television program Saturday Night Live was widely seen and achieved some notoriety after it was posted to the YOUTUBE site and distributed widely via the Internet. Reports indicated that some viewers of the video clip were excited or amused by what they saw and generally wanted to watch Saturday Night Live after viewing the video clip. However, NBC Universal's response was to force the operators of the YOUTUBE site to stop offering the video clip for distribution.
In another well-publicized case, General Motors created a World Wide Web-based advertising campaign for the CHEVROLET TAHOE vehicle in which product-related videos were posted to the CHEVROLET website and users were permitted to create “advertising” by customizing those videos with various captions and messages. Users were also permitted to distribute the resulting finished video clips. As reported by the New York Times, many users used the opportunity to create parodies of the vehicle and its capabilities, some of them with very negative messages. The campaign was ultimately discontinued.
One aspect of the invention relates to a method for advertising. The method comprises providing an advertisement production opportunity to a plurality of users through a communication network, specifying advertisement message elements, and allowing the plurality of users to produce user-produced advertisements. The methods also comprises identifying at least one user worthy of a reward based on the user-produced advertisements, providing the identified user with the reward, and providing personalized spaces for the plurality of users that allow each user to offer a listing of favorite users and one or more additional elements selected from the group consisting of biographical information, favorite advertisements, and external resources.
Another aspect of the invention relates to a method of creating advertising through a communication network. The method comprises collecting demographic, psychographic or behavioral information on a plurality of users and matching one or more of the plurality of users with an advertisement production opportunity. The method also comprises accepting user-produced advertisements responsive to the advertisement production opportunity through the communication network, identifying users among the plurality of users worthy of a reward based on the user-produced advertisements and providing the identified users with the reward. Users are also encouraged to form an interconnected social network around the user-produced advertising.
These and other aspects, features, and advantages of the invention will be set forth in the description that follows.
The invention will be described with respect to the following drawing figures, in which like numerals represent like elements throughout the figures, and in which:
FIG. 1 is general flow diagram of the tasks involved in a method according to one embodiment of the invention;
FIG. 2 is an illustration of an advertisement production opportunity presentation screen for use in the method of FIG. 1;
FIG. 3 is an illustration of an advertisement production opportunity information screen for use in the method of FIG. 1;
FIG. 4 is an illustration of an advertisement comment and rating screen for use in the method of FIG. 1;
FIG. 5 is an illustration of a personalized user page for use in the method of FIG. 1; and
FIG. 6 is a diagram of a system that may be used in carrying out the method of FIG. 1.
FIG. 1 is a general flow diagram of the tasks involved in a method, generally indicated at 10, according to one embodiment of the invention. In general, method 10 is a method for causing or facilitating the creation, evaluation, and distribution of user-produced advertising, particularly over a communication network, such as the World Wide Web of the Internet. Using method 10, the talents of a wide range of users and entities can be harnessed to create effective and appealing advertising.
The terms advertising and advertisement, which may be interchangeably used in this description, refer to any sort of material or presentation intended to inform the user of a particular product or service or to influence user behavior in some way. Examples of advertisements include product advertisements, service advertisements, political advertisements, and informational pages with data, imagery, or other information about the product or service. Advertisements may be presented in different formats. Examples of advertisement formats include videos, static display ads, spoken word and musical advertisements, and interactive games, questionnaires, and presentations.
The users of method 10 may be individuals or groups of individuals, depending on the embodiment. In some embodiments, as will be described below in more detail, the users of method 10 may be entities, such as businesses. For that reason, the term user, as used in this description, may refer to both individual users and to entities.
Method 10 may be performed in a variety of ways, with or without the use of automated electronic systems to manage its tasks. Specific embodiments of systems that may be used to carry out method 10 will be described below in more detail. Some of the description of method 10 presented below may assume that decisions regarding method 10 are made by a central unit, automated system belonging to the operator of method 10, and that a user interfaces with the central unit using a personal computing device connected to the central unit through a communication network, such as the Internet. Method 10 is particularly well suited for execution using the World Wide Web of the Internet.
The personal computing device used by the user may be any device capable of performing the functions attributed to it in this specification. Examples of personal computing devices include desktop and laptop personal computers, personal digital assistants (PDAs), cellular telephones, digital music and media players, televisions, and television set-top boxes.
Method 10 begins at task 12, with a user contacting the method operator's central unit, presumably through a communication network. Method 10 continues with task 14, a decision task, in which the central unit determines whether the user is a new user. The method operator typically keeps a database of known users, and a new user is thus one who is unknown to the method operator and its central unit. If the user is a new user (task 14: YES), method 10 continues with task 16, in which the user is asked to establish a new account. If the user is not a new user (task 14: NO), method 10 continues with task 18.
When establishing an account in task 16, a user may be asked for a variety of different types of information. Generally, the information collected in order to establish a new account may be any combination of basic contact information, demographic information, psychographic information, and behavioral information. Demographic information includes location and vital statistics. Psychographic information refers to information that tends to indicate the social class and lifestyle of a user. Behavioral information refers to information on specific behaviors, such as spending, shopping, visiting, and/or website browsing behaviors and activity. The user might be asked any number of questions that the operator of method 10 desires; however, the number of questions asked of the new user and the range of information collected at the outset would generally be balanced against the possibility of alienating the user and driving him or her away. Some questions that the user is asked when establishing a new account may be designated as “required” while other questions may be designated as “optional.”
If the user is an entity, such as a business entity, the signup process may be slightly different in task 16. Business entities may be asked to provide their company name and address, and, perhaps, the name and telephone number of a primary contact.
The information gathered in task 16 may be put to a variety of uses, a number of which will be described below. The first use to which such information may be put is in the context of task 18, in which the user is matched with available advertising opportunities.
In method 10, the operator of method 10 has a number of advertisement production opportunities—instances in which a company, advertising agency, entity or individual is seeking to have an advertisement produced and has given the operator of method 10 authority to cause the advertisement to be produced by its users. The operator of method 10 may be a company with its own product line that is seeking to have advertisements produced. However, for purposes of the description that follows, it will be assumed that the operator of method 10 is a third party aggregator or facilitator who collects advertisement production opportunities from a number of sources, so that the advertisement production opportunities vary in industry, product, geographical location and reach, and in target demographics.
In some embodiments of method 10, matching a user to advertisement production opportunities may comprise nothing more than deciding to open all available advertisement production opportunities to that user. However, in some cases, it may not be the most efficient or productive course of action to present a user with an advertisement production opportunity for a product or service about which the user has no knowledge or in which the user has no interest. Therefore, in task 18, the user is generally matched with advertisement production opportunities in which he or she is likely to have the most interest or about which he or she is likely to have relevant knowledge.
For example, assume that one advertisement production opportunity is for a soft drink company. In that case, a user who is known to drink soft drinks, from responses to questions in task 16 or from other information, might be a good match for that advertisement production opportunity. Of course, this depends on the preferences expressed by the advertiser when setting out the advertisement production opportunity to the operator of method 10. In some cases, a particular soft drink manufacturer may want only loyal drinkers of its brands to produce advertisements. In other cases, the advertisement production opportunity may be deliberately opened to drinkers of other brands.
One particular situation in which matching may be useful is in the case of local advertisers. A method such as method 10 is most advantageously open to advertisement production opportunities from both local and national advertisers. A local advertiser, for example, a local or regional pizza chain, may ask the operator of method 10 for advertising produced in its locality or region by users who are familiar with its products and offerings. In that case, the advertisement production opportunity for the pizza chain might be matched only to users in the geographical region specified by the pizza chain, and perhaps also only to users who have expressed some familiarity with the chain's products. Of course, in other cases, a local or regional chain might want all users, regardless of location, to be presented with their advertisement production opportunity so as to garner the benefits of having a large, diverse group of users provide ideas and advertisements.
If one or more of the users participating in method 10 are business entities, method 10 may function as a business-to-business method for producing advertising. For example, assume that an advertiser controlling a very large and well-known brand provides the operator of method 10 with an advertisement production opportunity. The operator of method 10 could match that advertisement production opportunity with a number of small, competing advertising firms who might not otherwise have the opportunity to produce advertising for an advertiser controlling a very large and well-known brand.
Although shown in the context of a particular series of tasks, task 18, the task of matching a user to an advertisement production opportunity, may be performed at any time. For example, task 18 could be performed for each user when a new advertisement production opportunity is made available, or it could be performed at timed intervals, for example, every day or night at a particular time.
Once task 18 is complete and a user has been matched with one or more advertisement production opportunities, method 10 continues with task 20, in which the user is presented with available advertisement production opportunities with which he or she has been matched. FIG. 2 is an illustration of a screen 100 that may be used to present advertisement production opportunities to a user in one embodiment of the invention.
As shown in FIG. 2, screen 100 has an advertisement/reward section 102 that lists the various advertisement production opportunities. Advertisement/reward section 102 also provides a listing that includes a reward for the best user advertisement that is submitted in response to each advertisement production opportunity. Screen 100 also includes a sort and search portion 106 that allows a user to sort the available opportunities by category or type or to search for a particular category or keyword in the advertisement production opportunity listings. Typically, a screen like screen 100 would be presented through the World Wide Web or another communications network, and would appear on the user's personal computing device with the use of a web browser or another suitable client application.
Generally, users are more willing to provide creative ideas and to work if they derive benefit from the work. Therefore, in most embodiments of method 10, in exchange for producing user advertisements, any user who submits an advertisement that meets criteria established by the operator of method 10 is eligible to win a reward. Generally, the user who wins the reward is the one who submits the best user advertisement, as that term is defined by the operator of method 10. In essence, method 10 in part becomes a contest in which users compete for the specified rewards. The selection of the best user advertisement will be described in more detail below.
The reward offered for any particular advertisement production opportunity will vary with the nature of the product being advertised, the number and characteristics of users to whom the advertisement production opportunity is matched, the location of the users, and the budget and desires of the advertiser and the operator of method 10, among other factors. FIG. 2 gives three examples of rewards for best advertisement, all of them different, although the reward for some contests may be the same. As shown in FIG. 2, “ABC Soda” is offering free soda for a year, “Lee's Car Company” is offering a free car and SUPERBOWL championship football game tickets, and “Smile Toothpaste” is offering a $1,000 payment.
The reward listing of FIG. 2 also illustrates one way in which advertisement production opportunities may be matched to particular users or groups of users. In some cases, an advertiser may tailor an advertisement production opportunity to particular users by offering a reward that is only redeemable in a particular area of the country, or at stores owned by the advertiser. The local or regional pizza chain mentioned above, for example, may offer as a reward a free pizza or a number of free pizzas that are only available at its retail stores. Similarly, “ABC Soda,” one of the advertisers shown in screen 100 of FIG. 2, is offering free soda for a year, but the ABC soda company may make its products available in only some small geographic region of the country.
However, FIG. 2 also illustrates the possibility of creating large, tie-in promotions. The fictional “Lee's Car Company,” for example, is offering a free car to the winner, along with SUPERBOWL championship football game tickets. That advertiser (or the operator of method 10 in collaboration with the advertiser) might also make arrangements to have the winning user introduced and his or her advertisement played during the game, either in the stadium, on television, or both.
As shown in FIG. 1, method 10 continues with a decision task, task 22, once the user has been presented with advertisement production opportunities, and continues with task 24 once the user selects an advertisement production opportunity. As shown in FIG. 2, each advertisement production opportunity in advertisement/reward area 102 includes a “go” button that the user can click to obtain more information and/or submit an advertisement.
In tasks 24 and 26 of method 10, the user is provided with detailed information on the advertisement production opportunity. FIG. 3 illustrates screen 200, which may be used to provide this information. Screen 200 continues the example of the fictional “Lee's Car Company” illustrated in screen 100 of FIG. 2.
Typically, when presenting an advertisement production opportunity, the user is given such information as the desired format for the advertisement (audio, video, text, etc.), the desired length or size, and the desired resolution or file format. Information on how the submitted advertisements are to be judged may also be provided. Certain key message elements are also specified. Key message elements may include any points that the advertiser wishes the advertisements to address, or any themes to which the advertiser wishes the advertisements to hew. An advertiser may dictate virtually anything as a key message element.
For example, screen 200 includes an informational area 202 that sets forth the following basic information about the Lee's Car Company advertisement production opportunity:
2. Desired format: 15-45 second video ad.
3. Minimum resolution: 640×480.
4. Key point: the new “Ultra Cushion Ride”
5. Key point: affordable performance.
Screen 200 also provides a download portion 204. This is an optional feature in methods according to embodiments of the invention. Download portion 204 exists to provide the user with advertisement elements that may be useful to the user in producing the advertisement. For example, the user could, as shown in FIG. 3, be provided with the product or manufacturer's logo, or with general video footage of the product in use, to name a few options. However, in other embodiments, the user may not be provided with anything, and may be left to use his or her own production capabilities and facilities to produce the advertisement. If the user is provided with advertisement elements, particularly those that contain material subject to copyright or trademark protection, the user may be required to agree with terms and conditions of use, as shown in FIG. 3.
As shown in FIG. 1, task 26 of method 10 involves providing the user with more information about the reward. In the illustrated screens 100 and 200, this was largely handled in screen 100. However, in some embodiments of the invention, users may be provided with the name of the advertiser or brand, but no information on the reward until later in the process. In that case, screen 200 may include a link to more information on the reward.
Task 28 involves accepting a user advertisement from a user. For the sake of illustration, an advertisement submission portion 206 is included in screen 200. Advertisement submission portion 206 allows the user to select a file from his or her own personal computing device and upload it to the method operator's central unit. Once uploaded, the file may be checked for compliance with technical and formatting requirements, and the user may be notified if there are technical problems with the file.
In alternate embodiments, or in cases where the amount of data is more than can be easily transmitted via the communication network, advertisements may be accepted by the operator of method 10 on conventional recordable media, such as CD-ROM and DVD-ROM as submitted by mail. However, on-line interactive submission of advertisements provides an immediacy and an error-checking capability not available with media submission by mail.
Once a user advertisement has been uploaded to the central unit, it is stored and processed by the operator of method 10 for judging. The judging process may be different for each advertisement production opportunity and for each advertiser. Depending on the particular circumstances, the best user advertisement may be chosen by the operator of method 10, by the advertiser, or by the users participating in method 10, or by any combination of the above. As the example of FIG. 3 illustrates, the fictional “Apollo ES-24” user advertisements are to be judged by both a three-judge panel (whose votes are weighted 40%) and by users (whose votes are weighted 60%). Other judging methods may be used. Some judging methods may be based on other metrics of popularity, such as total number of viewings or best click-through rates.
FIG. 3 illustrates an advertisement production opportunity in which the “best ad wins.” As was noted above, many different methods may be used to judge which ad is best. It is also not necessary that only one ad or only one user be rewarded. In some embodiments, many rewards may be given. For example, in some advertisement production opportunities, the user who creates the best or “first place” advertisement could receive $30,000, the user who creates the second best advertisement could receive $10,000, the user who creates the third best advertisement could receive $1,000, and ten runners-up could each receive free soda for a year. This kind of tiered reward approach could be used with rewards other than cash as well.
FIG. 1 illustrates that after submission of a user advertisement, the method continues with judging and determining which user or users deserve rewards in task 30, providing a reward to a user or users in task 32, and then networking and distribution activities in task 34, before the method ends at task 36. However, in embodiments of the invention, these tasks may happen in any order and may happen in parallel.
Submitted advertisements may initially be screened for questionable content, such as obscenity, by the operator of method 10. If an advertisement clearly contains obscenity or is known to be objectionable to the advertiser, it may be held by the operator of method 10 and precluded from any further distribution or viewing. In cases where the operator of method 10 is uncertain as to whether a user advertisement contains material that the advertiser considers inappropriate, the advertisement could be cordoned off and presented to the advertiser for approval or disapproval. The advertiser could, for example, be allowed to connect to the central unit through the network to view and approve or disapprove the advertisements using an appropriate graphical user interface. User advertisements on the questionable list would remain private until approved or disapproved by the advertiser, an agent of the advertiser, or someone else in authority.
Generally, if an advertisement does not include the key message elements identified in task 24, it would not be permitted to win the reward specified for the contest. In some embodiments, if an advertisement does not include the key message elements identified in task 24, it may not be further distributed.
As was described above, the best user advertisement may be determined, in whole or in part, by the votes of users active in method 10. During this phase of the method, the user advertisements may also be distributed in viral fashion amongst users of the method and others to generate publicity. Specifically, once an advertisement is determined not to contain objectionable content, it may be publicly posted for viewing, comment, and user rating. Various ways of posting media content for public comment are known in the art and any of these may be used in methods according to embodiments of the invention.
FIG. 4 illustrates one exemplary screen 250 that may be used to rate user advertisements, as well as to perform other functions. Screen 250 includes a display area 252 that allows an advertisement to be viewed. If the advertisement is a video advertisement, display area 252 may be provided by a plug-in application, such as WINDOWS MEDIA PLAYER or QUICKTIME that is used to view the advertisement. Rating area 254 allows the user to submit a rating (which is numerical on a scale of 1 to 10 in this case, although different rating systems may be used), as well as comments. In most embodiments, comments are associated with particular user names, so that user names, reputations, and personalities come to be known by other users. The current user rating and other user comments are shown in user reaction area 256, which displays comments that other users have made about the user advertisement as well as an aggregate or average rating from all users who have rated the particular advertisement.
The final portion of screen 250, user preferences section 258, allows a user to take certain further actions. In the illustrated embodiment of method 10, each user is provided with a space that can be personalized. As part of that personalization, each user is given the opportunity to identify favorite advertisements and favorite users. In user preferences section 258, users can add the advertisement on the page to their favorite ad list, they can add the user who created the advertisement to their favorite users list, and the can forward the advertisement to another person by e-mail address. If the advertisement is forwarded to another person who is not already a user, he or she may be offered the opportunity to join. Other embodiments of the invention may include other features.
FIG. 5 illustrates a user personal screen 300. The user personal screen 300 includes indications of the user's favorite ads in a favorite ad area 302, the user's favorite other users in a favorite user area 304, comments from other users in a user comment area 306, links to a user's homepage or RSS feed in a user information area 308 and a listing of advertisements that the user has produced in an ad information area 310. Users may be permitted to customize personal screens like screen 300 using hypertext markup language (HTML), extensible markup language (XML) or CSS, to name a few, and might also add a personal statement or statement of interests, depending on the embodiment. Generally, the various areas 302, 304, 306, 308, 310 are implemented in hypertext so that if a viewer clicks on a particular area, he or she would then be given the opportunity to view the content. For example, if a user clicked on one of the advertisements shown in screen 300, he or she would then be provided with the opportunity to view that advertisement. Similarly, clicking on a user name or identifier would take the viewer to that user's personal screen 300.
Of the various areas in screen 300, user information area 308 allows the user to include external resources. For example, the user could specify his or her own web page and Really Simple Syndication (RSS) feed. Using these features, a user may link to other social networking providers by including a link to a weblog (i.e., a blog), to a personal website, or to a profile page on another social networking site. In some embodiments, content from other sources specified by the user may be directly displayed in the user information area 308. For example, if the user provides an RSS feed for his or her blog, the most recent entries may be displayed. The operator of method 10 may also provide discussion bulletin boards, in which case, a user information area 308 could include links to or feeds of discussions of interest to the user.
If the user is a business entity, the business entity may be provided with a space to advertise the entity's business, location, products, and capabilities, along with a listing of advertisements that they have produced. A screen such as this for a business entity might look much like screen 300. In some embodiments, business entities may be charged for the space.
Method 10 thus allows for advertisement production by a diverse group of users or entities. However, in doing so, it also creates a platform for social networking and advertisement distribution by viral means, i.e., from person to person, around the user-produced advertisements. If the operator of method 10 is an aggregator or facilitator, then method 10 may have the advantages of a wide variety of advertising production opportunities and a content moderator for the user advertisements that are produced.
Advertisements that are produced as a part of method 10 may be redistributed in any medium, including television, radio, print, and online media. If necessary, an advertisement may be retouched, polished, refined, or otherwise altered for distribution in a particular medium. This may be done, for example, if the user advertisement does not have a high enough resolution for television distribution.
Advertisements produced by means of method 10 or other methods according to embodiments of the invention may also be used in other advertising methods. For example, advertisements produced as a part of method 10 may be used in the pay-for-attention advertising methods, systems, and platforms described in U.S. patent application Ser. Nos. 10/474,242 and 11/382,616, which name the same inventor as this application and are incorporated by reference herein in their entireties.
The task of actually crediting a particular user with a reward may be performed in a variety of ways. If the reward is in the form of cash or merchandise credit, it may be transferred to the user in any negotiable form. Rewards may also be distributed in the form of coupons or certificates recognizable to the provider of the reward. U.S. patent application Ser. No. 11/382,616 contains a great deal of disclosure on the use of various techniques, infrastructure, and instruments to provide compensation to users, and those may be used to provide compensation in methods and systems according to the present invention.
FIG. 6 illustrates a system, generally indicated at 400, that is suitable for performing method 10 and executing other methods according to embodiments of the invention. An aggregator 402 is at the center of system 400. The aggregator collects advertising production opportunities from a plurality of advertisers or marketers 404 in order to offer them to users 406 through their personal computing devices 408. As was described above, the users connected to the aggregator may include business entities such as ad agency 409.
In general, the aggregator 402 executes and manages the execution of methods like method 10, provides a central repository for the user advertisements in its central unit 410, and handles the other tasks described above with respect to method 10. The aggregator 402 also interfaces with the marketers 404 either through the communication network or by conventional means. In some embodiments, the aggregator 402 may handle and clear legal issues, such as copyright and trademark issues, for the users 406, 409.
Typically, the aggregator 402 would negotiate an arrangement with a marketer 404 allowing it to handle the preparation of one or more advertisements for the marketer 404. The marketer 404 would generally identify the type of advertisement it was seeking, the reward or rewards the marketer 404 is willing to offer, and any geographical or other preferences as to the users who are matched with the advertising production opportunity.
In one arrangement, the aggregator 402 could charge a flat fee for those services, and could pay out a portion of that fee as the reward or rewards for the best advertisements submitted by users. Of course, there is no requirement that the reward for a particular advertisement production opportunity come entirely from one marketer 404. In some embodiments, the aggregator 402 may pool resources acquired from several marketers 404 to provide a reward or rewards for an advertisement production opportunity. There is also no requirement that a reward or rewards be constrained to a single advertisement production opportunity. In some embodiments, rewards may be offered to users who submit, for example, the most user advertisements, or for those who submit a number of quality advertisements, even if none of those advertisements win the reward for their particular campaigns. Thus, the aggregator 402 has the ability to identify a user or multiple users worthy of rewards based on user-produced advertisements regardless of the outcome of any particular advertisement production opportunity and to determine what the reward should be.
As those of skill in the art will realize, the aggregator 402 will ultimately have a database of user information, including demographic, psychographic, and behavioral information. This information may be leveraged by the aggregator 402. U.S. patent application Ser. No. 11/382,616 contains additional information on building a database of user information and on leveraging that database, and the methods and techniques described there may be used in conjunction with the methods and systems described here.
Although the invention has been described with respect to certain embodiments, those embodiments are intended to be exemplary, rather than limiting. Modifications and changes may be made within the scope of the invention, which is determined by the claims.


Japanese Popular Literature
By Satoru Saito (Fall 2000)
literature is at once a historical and a generic term whose definition
has been highly contested in Japan. Originally, popular literature
(taishû bungaku) was a term used in the late Taishô
and early Shôwa Period to designate a popular form of historical
fiction. But it soon became associated with other generic terms such
as tsûzoku shôsetsu (popular or contemporary novels)
and tantei shôsetsu (detective fiction) and came to suggest
a work of fiction that emphasized its entertaining qualities rather than
its artistic merit. To get the basic understanding of the term taishû
bungaku and its relationship to other generic terms that will be used
in this bibliography, students should read the entries to taishû
bungaku, tsûzoku shôsetsu, suiri shôsetsu,
jidô bungaku, and rekishi shôsetsu in Kôdansha's
Kindai Nihon bungaku daijiten.
overview of popular literature uses these and other terms for classification
purposes without reconsidering their definitions. In doing so, an
emphasis is given to sources that focus on authors and works not covered
in traditional literary dictionaries and histories and to sources dealing
with popular literature in the prewar and immediate postwar periods rather
than those dealing with contemporary works of popular literature.
Moreover, there is no information in
this bibliography concerning primary texts. Multi-volume compendia
of primary texts and complete works of individual authors can easily be
found through referring to most of the more extensive bibliographies contained
in the secondary sources that are introduced in this overview. However,
Starr Library holds very few works of popular literature, with the exception
of children's literature. Students seeking a specific primary text
should use the inter-library loan system or check with Kinokuniya and other
bookstores, which still sell many works of popular literature from the
postwar as well as the prewar period.
General Works on Popular Literature
As a result of the multi-faceted and
highly-contested nature of the term "popular literature,"
have not been many secondary sources that encompass the many sub-genres
of popular literature in a systematic manner. Because the sub-genres
of popular literature developed in relation to each other, however, it
is important to understand the general trends and characteristics of popular
literature as a whole. The list below provides the few works that
attempt to deal with various aspects of popular literature.
Students seeking an introduction
to popular literature and its history should start with the two essays
listed below, Ara's "Taishû bungakushi"
and Asai's "Taishû
bungaku no tôjô", followed by Sakai, Histoire
de la litterature populaire japonaise, before moving onto the works
introduced in the following sections on sub-genres of popular literature.
For a more complete bibliography
of popular literature, students should refer to the bibliographies included
in Nihon bungaku shinshi: Kindai
(pp. 416-419), Sakai, Histoire de
la litterature populaire japonaise (pp. 331-338), and Ozaki, Taishû
bungaku (pp. 176-201) listed below.
Masahito, "Taishû bungakushi," in Iwanami kôza: Nihon bungakushi,
vol. 14. Iwanami shoten, 1959.
no.: 910.4 N571 v.14 (shelved in Prentis)
of the most important essays in the postwar scholarship on popular literature,
"Taishû bungakushi" offers an introductory literary history of popular
literature, covering its many sub-genres such as political novels, period
fiction, detective fiction, romance novels, and adventure novels.
While information given here is not extensive by any means, this work provides
good basic knowledge of the general trends and characteristics of the development
of popular literature in Japan and should serve as a starting place for
students interested in popular literature.
Kiyoshi, "Taishû bungaku no tôjô," in Maeda Ai and Hasegawa
Izumi, eds., Nihon bungaku shinshi: 5. Kindai. Shibundô,
no.: PL 716 .N535 1990 v.5
article within a larger work of literary history, "Taishû bungaku
no tôjô" is an excellent introduction to the development of
popular literature in Japan from the Meiji to early-Shôwa Period.
Because of its short length, this should be one of the first places to
turn for new students in the field after Kindai Nihon bungaku daijiten.
It is well-written and easy to understand, especially because of the head
notes which provides information on key authors and terms in the main text.
It also includes an extensive bibliography on popular literature at the
end of the volume, which should prove very useful for further research.
Sakai, Histoire de la litterature populaire japonaise : Faits et perspectives.
Paris : L'Harmattan, 1987. Translated into Japanese by Asahina Kôji
as Nihon no taishû bungaku (1900-1980), Heibonsha, 1997.
no.: PL 726.55 .S235 1987; Japanese version not available in Starr Library
from French into Japanese, Histoire de la litterature populaire japonaise
is a very useful introduction to popular literature because of its clear
structure and wide-ranging content. Beginning with a reconsideration
and re-contextualization of the term taishû bungaku, this
work divides the term into three sub-genres: jidai shôsetsu
(period fiction), gendai shôsetsu (contemporary fiction),
and tantei/suiri shôsetsu (detective fiction). From
this division, it proceeds along two axes: first, tracing the development
of each genre from Edo Period to the present; and second, analyzing the
common themes within each genre. Moreover, it analyzes the publishing
industry and its methods, the position and function of popular fiction
writers, and the readers of popular literature from a socio-cultural perspective.
It includes an author index and a fairly detailed bibliography of mostly
Japanese and French sources.
Hotsuki, Taishû bungaku. Kinokuniya shoten, 1980.
no.: PL 740.5 .O9 1980
by the leading scholar of popular literature, Taishû bungaku
traces, albeit fragmentarily, the development of popular literature from
the 1920s to the postwar period. This work is of particular interest
to students starting out their research in popular literature because of
its extensive bibliography of criticisms, journal specials, literary histories,
multi-volume compendia, and complete works of individual authors provided
at the end of the work.
Taishû bungaku no sekai to hansekai. Gendai shokan, 1983.
no.: PL 747.65 .I37
geared to serve as an introductory work than Sakai's work, Taishû
bungaku no sekai to hansekai is one of the few works about Japanese
popular literature that approaches this genre from a theoretical perspective.
Besides offering an insightful understanding of the emergence of popular
literature in the 1920s in relation to other literary trends during this
period such as Shinkankaku ha and proletarian literature, this work
juxtaposes various sub-genres of popular literature (historical fiction,
detective fiction, science fiction, works of humor and of horror, etc.)
to analyze their common themes.
Richard G. Powers
and Katô Hidetoshi, eds., Handbook of Japanese Popular Culture.
New York: Greenwood Press, 1989.
no.: DS 822.5 .H347 1989
work contains essays that provide a cultural background necessary for understanding
popular literature, as well as essays on detective fiction and science
fiction that may prove useful. Although the essays have some mistakes
and are generally too superficial to inspire interesting directions for
further research, this work is worth a mention because it is one of the
few works in English dealing with Japanese popular literature. Students
who are interested in Japanese science fiction should also refer to Robert
Matthew, Japanese Science Fiction, New York: Routledge, 1989 (Call
no.: PL 747.57 .S3 M37 1989).
Hon no hyakunen shi: Besuto serâ no konjaku. Shûppan
Nyûsu Sha, 1965.
no.: 023.1 Se5 (shelved in Prentis)
by the leading literary scholar of the Taishô Period, Hon no hyakunen
shi examines the cultural history of the book and the publishing industry
by tracing the best sellers from the Meiji to Shôwa 40s. The
result is a literary history that offers a new perspective on popular literature.
Moreover, numerous figures on book sales as well as an extensive index
make this work a good place to turn for information not provided by other
bungaku kenkyû. Published quarterly by Nanbokusha, 1961-1968.
no.: PN 56 .P55 T2 (first 20 volumes shelved in Prentis)
by the leading scholars of popular literature, including Ozaki Hotsuki,
bungaku kenkyû is a quarterly journal that was published from
July 1961 to June 1968. It contains various interesting essays on
popular literature as well as a round-table discussion on a particular
aspect of popular literature.
Sub-genres of Popular Literature
fiction (jidai shôsetsu) is one of the most confusing categorizations
within popular literature because of its close ties to historical fiction
(rekishi shôsetsu). Students should note that while
most scholars differentiate between these two terms by defining period
fiction as a popular or vulgar form of historical fiction, some scholars
use these terms interchangeably. Period fiction, as a popular form
of fiction portraying the life of pre-Meiji years, is a field that has
not received much academic attention. Although there are numerous
reviews and commentaries on the works of period fiction available, they
are mostly geared toward the fans of period fiction and lack the systematic
analysis that can be seen in the scholarship on detective fiction and children's
literature. As a result, students seeking introductory as well as
bibliographical information on period fiction should refer to the introductory
works cited in the previous section. In particular, Sakai, Nihon
no taishû bungaku provides an extensive history of period
fiction from the pre-Meiji to the postwar period.
ed., Taishû bungaku jiten. Seiabô, 1967.
no.: REF PL 747.6 .T34 1967
the hanrei at the beginning of this work indicates, Taishû
bungaku jiten takes the original meaning of the term taishû
bungaku and focuses on period fiction. It is organized into two
sections: literary history of period fiction and biography of authors.
The first section divides the development of period fiction from the Meiji
10s to the postwar period into five stages and offers an introductory overview
of each stage, which is a good place to start for students new to the field.
These overviews are followed by entries for works that comprise these stages.
These entries contain a summary of the work's storyline, which is useful.
Moreover, this work includes a nenpyô, a subject and author
index, and a separate index for fictional characters of period fiction.
Taishû bungaku gojûnen. Kôdansha, 1969.
no.: PL 740.5 .O92
bungaku gojûnen, a collection of essays written for newspapers
between February to May of 1969, attempts to deal with various sub-genres
of popular literature such as detective fiction, its primary focus is on
period fiction, as it is expected from Ozaki who is the leading scholar
of this sub-genre. This work provides a genealogy of period fiction
beginning with Nakazato Kaizan's Daibosatsu tôge, often considered
the founding work of popular literature in Japan. The introductory
chapter, however, traces the development of popular literature in relation
to the changing media (newspaper, magazine, film, radio, and television),
and the closing chapter attempts to grasp the significance of popular literature
as a whole. These chapters should be useful for anyone researching
in the field of popular literature.
(tantei shôsetsu / suiri shôsetsu), as a quick look
at any of the below works will reveal, is a term which subsumes a vast
number of other types of fiction such as fantasy, grotesque, and horror.
With the change in terminology after the war from tantei shôsetsu
to suiri shôsetsu, however, the definition of detective fiction
has become narrower. Scholarship on detective fiction, similar to
the scholarship on period fiction, has been largely unsystematic, but in
the 1980s, two leading scholars in the field, Nakajima Kawatarô and
Itô Hideo, published literary histories of Japanese detective fiction
that have provided its systematic treatment much needed in the field.
Students seeking bibliographical information on primary texts should refer
to Nakajima, Nihon suiri shôsetsu
jiten, which provides an extensive list of multi-volume compendia
and complete works by individual authors.
Kawatarô, Nihon suiri shôsetsu jiten. Tôkyôdô
no.: REF PL 770.6 .D45 N35 1986.
good place to turn for factual information on detective fiction, Nihon
suiri shôsetsu jiten is organized into two sections. The
first section, which is the bulk of this work, contains entries of authors
and magazines of detective fiction. A famous detective story is given
a separate entry under its author entry. The second section gives
definitions and etymologies of terms such as tantei shôsetsu
and torimonochô. Moreover, this work contains a list
of multi-volume compendia and individual author's zenshû published
over the years, as well as what is contained within each volume of the
compendium or zenshû. It also includes nenpyô
of Japanese and foreign detective fiction as well as an index of detective
stories cited in the work.
Nihon tantei shôsetsu jiten. Ed. Shinpo Hirohisa and
Yamamae Yuzuru. Kawada shobô shinsha, 1996.
no.: PL 826 .D6 N54 1996
spite of its name, this is not really a dictionary, but rather a collection
of previously published reviews and criticisms that Edogawa Rampo wrote
on various authors and works of detective fiction over the years.
The work is organized by the author's name. What is interesting about
this work is that the entries for the authors also contain a review or
criticism that the author has written on Rampo. Although this may
not be a useful work for gathering basic information on detective fiction,
it is nonetheless a very interesting work for anyone who is an avid reader
of detective fiction.
Nihon suiri shôsetsu shi. Tôkyô Sôgensha,
1993-1996. 3 vols.
no.: PL 747.67 .D45 N35 1993 v.1-3
from the beginning of Meiji to the postwar period, Nihon suiri shôsetsu
shi, a collection of past articles written by the author, provides
a comprehensive literary history of detective fiction in Japan. This
work is particularly useful because it does not focus only on the works
of detective fiction themselves but also provides the contexts for their
production and reception through its examination of translations, magazines,
literary criticism, etc. Each volume contains an author index and
a title index. At the end of volume 2, there is a list of major works
contained within each issue of Shinseinen, a magazine that played
a major role in the development of detective fiction in Japan, from its
first appearance in January 1920 to its last in July 1950. At the
end of volume 3, same information is given for Purofîru, a
short-lived (May 1933-April 1937) but influential magazine of detective
fiction in the prewar period.
Meiji no tantei shôsetsu. Shôbunsha, 1986.
no.: not available in Starr Library
Taishô no tantei shôsetsu. San'ichi Shobô,
no.: PL 747.63 .D45 I86 1991
Shôwa no tantei shôsetsu. San'ichi Shobô,
no.: not available in Starr Library
in scope to Nakajima's three-volume work, this trilogy examines the development
of detective fiction from early Meiji Period to the Shôwa 20s.
In contrast to Nakajima's work, however, this work emphasizes the detective
stories themselves and provides numerous plot summaries of famous and obscure
works of detective fiction as well as adaptations/translations of foreign
detective fiction. It also includes nenpyô and an index
of names and titles at the end of each volume.
Hideo, Kindai no tantei shôsetsu. San'ichi Shobô, 1994.
no.: PL 747.57 .D45 I86 1994
the development of detective fiction from the early Meiji to the Shôwa
20s, Kindai no tantei shôsetsu is the single-volume supplement
to the above trilogy. Because it includes information not contained
in the trilogy, these works should be used in conjunction with each other.
the other two sub-genres of popular literature, children's literature (jidô
bungaku), which has maintained a semi-autonomous position in relation
to popular literature both historically and academically, is a field that
has been extensively studied. This section will introduce few works
that may prove particularly useful for those who are just starting their
research. Students seeking bibliographical information on primary
texts should turn to Nihon jidô
bungaku daijiten; and while many of the works introduced below
contains a fairly extensive bibliography of secondary sources, for the
most comprehensive bibliography of secondary sources on children's literature,
students should turn to Torigoe Shin, ed., Jidô bungaku (Kadokawa
Shoten, 1982), pp. 353-371 (Call no.: PL 751.5 .J5 1982).
Kokusai Jidô Bungakkan, ed., Nihon jidô bungaku daijiten,
3 vols. Dai Nihon Tosho, 1993.
no.: REF PN 1009 .J3 N5 1993 v. 1-3
three-volume work contains vast amount of information useful for anyone
doing research in children's literature. The main body of this work,
taking up the first volume and part of the second, consists of entries
for authors of children's literature, including famous authors who have
written what can be considered children's literature as well as more obscure
authors of children's literature who are not listed in regular literary
dictionaries. Each entry is signed, and a bibliography is provided
at the end of each entry. Important works by the authors are given
a sub-entry under the author's entry. The second volume of the work
contains various entries for terms, publishers, literary groups, magazines,
etc. associated with children's literature. The third volume contains
a list of multi-volume compendia of children's literature and what is contained
in each volume. The entries for each compendium are very detailed,
containing a description of its physical composition and bibliographical
information pertaining to the compendium. The third volume also provides
a list of children's literature awards and their recipients and an index
of names, titles, and topics that appear in this dictionary.
Torigoe Shin, Nihon
jidô bungaku. Kenpakusha, 1995.
no.: PL 751.5 .N54 1995
by one of the leading scholars in the field, Nihon jidô bungaku
as a good introduction to the history of children's literature. Organized
into four historical periods (Meiji, Taishô, early Shôwa, and
late Shôwa), this work is well-written and provides an understanding
of children's literature in relation to the socio-cultural conditions of
each period. It also provides a short but annotated bibliography
of sources that the author suggests for students of children's literature.
Kan Tadamichi, Nihon
no jidô bungaku. Ôtsuki Shoten, 1956.
no.: not available in Starr Library
cited as the founding work of postwar scholarship on children's literature,
no jidô bungaku is a key work in understanding the history of
scholarship on children's literature. Moreover, because this work
still exercises great influence over current scholarship in the field,
students of children's literature should take a look at this work.
and Kami Sôichirô, eds., Nihon jidô bungaku kenkyû.
Miyai Shoten, 1974.
no.: 909 M37 (shelved in Prentis)
jidô bungaku kenkyû is a collection of essays by literary
scholars in various fields. Organized by historical periods from
pre-Meiji to early Shôwa Period, it is a good place to turn to get
a sense of the issues that have been addressed by past scholars on children's
literature in various historical periods, especially because it provides
an overview of the essays that appear in the work. It also contains
an appendix which provides a fairly extensive bibliography on children's
bungaku gakkai, ed., Kenkyû: Nihon no jidô bungaku.
Tôkyô Shoseki, 1995. 6 vols.
no.: PL 751.5 .N544 1995 (Starr Library only has vols. 2 and 3)
six volume series (1. Kindai izen no jidô bungaku 2.
bungaku no shisôshi / shakaishi 3. Nihon jidô bungakushi
o toinaosu 4. Gendai jidô bungaku no kanôsei
to irasutorêshon 6. Media to jidô bungaku)
is a collection of essays that attempts to reconsider children's literature
from a new perspective, organizing its analysis around a particular subject
matter rather than on a particular historical period, author, or work.
For example, the essays contained in volume 2 of this series reconsider
children's literature through examining its relationship to nationalism
and Christianity. Because of its approach, this work may not be useful
as an introductory work for students who are starting their research in
children's literature, but it may prove useful for those who want to incorporate
children's literature into their project in another field.
bungaku gakkai, ed., Jidô bungaku kenkyû. Kyûzansha,
1994. 3 vols.
no.: PL 751.5 .J54
bungaku kenkyû is a collection of the first 25 issues (1971-1993)
of Nihon Jidô Bungakkai's journal and contains articles on various
topics in children's literature. While some of the articles look
very interesting, researchers should be aware that the articles are written
by the members of Nihon jidô bungakkai whose background and affiliations
are not clear and their quality varies from one to the other.


Toward Conquest of Disease
Since the rise of civilization, the large predators of humans have been subdued and the most dangerous predators remaining are those unseen---vastly smaller than our bodies. They are the microbial predators that cause disease. Infectious disease has devastated human populations and even caused global population declines. Subduing and managing disease is one of the grand challenges of our time.


Exposure to chemical substances can cause adverse effects on the muscles, bones, and joints (Musculoskeletal Toxicity). The bone disorders arthritis, fluorosis, and osteomalacia are among the musculoskeletal diseases that can be induced by occupational or environmental toxicants. Rheumatoid arthritis is an autoimmune disease of the connective tissue characterized by joint inflammation and pain. It is often chronic and progressive, leading to deformities and disability. Prolonged exposure to silica and coal dust increases its incidence. Occupational exposure to fluoride can cause the skeletal disorder fluorosis, in which fluoride rather than calcium is deposited in bone. Osteomalacia is a painful, degenerative disease involving the gradual softening and bending of bones. It is caused by exposure to the musculoskeletal toxicant cadmium.


In this tutorial we will be using welds and a motor to make a working windmill:
First, insert a new part for the pole of the windmill. Use the Scale tool to make it narrow and tall.
Next, insert a part which we will use as the shaft of the windmill. It should be a small, almost square, box. Eventually it will need to be moved next to the top of the pole, but for now use the Move tool to keep it suspended in midair.
Click on the Surface tool and select Motor. Then click on one of the sides of the shaft. You will see a small axle sticking out the side of the part. This motor will be what turns the windmill.
Move the part next to the pole so that the axle of the motor goes into the pole.
Click on the Surface tool again and this time select Add Weld. Then, click on the four outer sides of the shaft; These welds will be used to hold the vanes in place.
Insert a new part and use the Scale tool to make it long and thin; This will be one of the windmill's vanes. Move it so it is on top of the shaft.
Copy and paste the vane, then move the copy underneath the shaft.
Copy and paste one of the vanes again. Use the Rotate tool to put it on its side, then use the Move tool to move it to the side of the shaft. Repeat this process for the other side.
If you press Play or Run, the windmill will now rotate like this:


Color temperature is measured in Kelvins (K) and equals the temperature of the ideal black body radiating the same spectrum. There are three commonly used values. Printing and photography often involves 5500K temperature (this value was introduced by folks from Kodak under the name of “daylight”. There is a joke that in the real world this value is the color temperature of midday sunlight near the offices of this company). For computer-processed images a color temperature 6500K is used (it corresponds to bright sunlight in a clear sky, while a slightly clouded sky has a color temperature of 6500-7000K). Sometimes, but quite rarely, the color temperature is set to 9300K giving out a slight bluish hue (an analog from nature – it is the color temperature of a thin shadow on a bright day).
Talking about artificial light sources, the ordinary bulb has a color temperature of about 2000K, powerful studio incandescent lamps and daylight lamps with “warm” phosphors – about 3000K, daylight lamps with “cold” phosphors – 4000K.
The aforementioned sRGB standard recommends a color temperature of 6500K (D65), and this is the default temperature of many computer monitors. But still, the color temperature of LCD monitors has some specific features. First, as I mentioned above, color temperature may vary considerably between different tones of gray. On a well-calibrated monitor the temperatures of white and 50% gray differ by a score or two of degrees, but for the majority of monitors this difference is as high as 500K and more (up to a thousand degrees for high temperatures). It means that if white looks really white, light-gray will look bluish (it is the temperature of gray that’s usually higher, but there are exceptions, too).
Second, CRT monitors allow adjusting the color temperature rather smoothly along the entire range, from 5000K to 9300K, with a stepping of 50..100K, but LCD monitors usually have three or four temperature values for the user to select among them. For a smooth adjustment of the temperature, you can only use the independent controls for the three basic colors (R, G and B), which is rather unhandy and requires much experience to achieve an appropriate result.
Moreover, the temperature of a CRT monitor is usually changed very neatly, while LCD monitors may produce some artifacts at different temperatures. For example, at a reduced temperature, the screen gets a strong pinkish or greenish hue. On a temperature increase, gray color may become so bluish that the calibrator just can’t measure its temperature…
One more parameter that slightly affects the quality of color reproduction is the so-called gamut range. It is a known fact that the human eye perceives light with wavelengths from 390nm to 760nm, different wavelengths being different colors from violet to red. Display devices, however, reproduce a much narrower range of colors.


Introduction to Photonic and Phononic Crystals and Metamaterials
Introduction to Photonic and Phononic Crystals and Metamaterials, by Arthur R. McGurn, presents a study of the fundamental properties of optical and acoustic materials which have been of recent interest in nanoscience and device technology. The level of the presentations is appropriate for advanced undergraduates, beginning graduate students, and researchers not directly involved in the field. References are given to guide the reader to more advanced study in these fields.
Discussions of the physics of photonic and phononic crystals focus on the transmission properties of optical and acoustic radiation arising from their diffractive interaction in these engineered materials. The frequency transmission and non-transmission bands of radiation are explained in terms of the symmetry properties of the photonic and phononic artificial crystal structures. Basic applications of these properties to a variety of their technological applications are examined.
The physics of metamaterials is discussed along with their relationships to the ideas of resonance. Properties of negative index of refraction, perfect lens, and unusual optical effects the new optics of metamaterial media makes available are examined. Related effects in acoustics are also covered.
Basic principles of surface acoustic and electromagnetic waves are explained. These form an introduction to the fundamental ideas of the recently developing fields of plasmonics and surface acoustics.
Morgan & Claypool
Atomic, Molecular and Optical Physics
Citation for published book
McGurn, Arthur. Introduction to Photonic and Phononic Crystals and Metamaterials / Arthur McGurn, Western Michigan University. S.l.]: MORGAN & CLAYPOOL PUB, 2020. Print. Synthesis Lectures on Materials and Optics ; #2.
McGurn, Arthur R., "Introduction to Photonic and Phononic Crystals and Metamaterials" (2020). All Books and Monographs by WMU Authors. 799.


The scarlet letter nathaniel hawthorne viii the elf-child and the minister page 1 of 6 more books more by this author governor bellingham, in a loose gown and . Vii the governor's hall / hester prynne went one day to the mansion of governor bellingham, with a pair of gloves which she had fringed and embroidered to his order, and which. About “the scarlet letter (chap 8)” governor bellingham approaches, accompanied by the ministers john wilson and arthur dimmesdale, as well as roger chillingworth, in his role as physician. Governor bellingham stepped through the window into the hall, followed by his three guests “hester prynne,” said he, fixing his naturally stern regard on the wearer of the scarlet letter, “there hath been much question concerning thee, of late.
Get an answer for 'discuss mistress hibbins, governor bellingham, and mr wilson of the scarlet letterminor in terms of the amount of space devoted to them, but each plays a crucial role. Governor bellingham, hester responds that she can teach the child what she has learned from the scarlet letter, at which point bellingham sternly indicates that . Everything you ever wanted to know about governor richard bellingham in the scarlet letter, written by masters of this stuff just for you.
Governor bellingham is the pompous and well-adorned governor of salem in nathaniel hawthorne's 'the scarlet letter' his character highlights some of the hypocrisy of the culture which operates . Read expert analysis on the scarlet letter chapter vii at owl eyes the scarlet letter the scarlet letter to the mansion of governor bellingham, with a pair of . The scarlet letter chapter 7 summary setting the setting of chapter 7 is mainly at governor bellingham's mansion in boston characters hester pearl. Richard bellingham, who historically was the governor of massachusetts and deputy governor at the time of hibbins's execution, was depicted in the scarlet letter as the brother of ann hibbins martin luther (1483–1545) was a leader of the protestant reformation in germany. The three scaffold scenes in the scarlet letter are integral to the structure and unity of the narrative they are the most dramatic scenes at the beginning, in the middle and at the end of the novel.
Chapter 7 vii the governor's hall hester prynne went one day to the mansion of governor bellingham,. Test your knowledge of ''the scarlet letter'' with this interactive quiz and printable worksheet you may use the practice questions as a reference. The scarlet letter: governor bellingham and hypocrisy governor bellingham is the leader of the boston colony he is therefore supposed to be one of the most pious and upstanding members of the community. Bellingham - governor john wilson - reverend, clergyman, and scholar of boston regard he scarlet a as able (strong-willed, indp) what the scarlet letter .
A list of all the characters in the scarlet letter the the scarlet letter characters covered include: hester prynne, pearl, roger chillingworth, reverend arthur dimmesdale, governor bellingham, mistress hibbins, reverend mr john wilson, narrator. Governor bellingham is the leader of the boston colony he is therefore supposed to be one of the most pious and upstanding members of the community as he “makes the rules”, he is supposed to follow them to the letter this is why, when hester visits his house to deliver his gloves, she is so . Bellingham was immortalized as a fictional character in nathaniel hawthorne's the scarlet letter, as the brother of ann hibbins, a woman who was executed (in real life in 1656, as well as in the book) for practicing witchcraft.
“is the worshipful governor bellingham within” inquired hester 12 “yea, forsooth,” replied the bond-servant, staring with wide-open eyes at the scarlet letter, which, being a new-comer in the country, he had never before seen. Character description of governor bellingham from the scarlet letter character description of governor bellingham from the scarlet letter. The scarlet letter english 11 study guide by bubblesgirl includes 45 questions covering vocabulary, terms and more governor bellingham scarlet letter plot . A summary of chapters 7–8 in nathaniel hawthorne's the scarlet letter learn exactly what happened in this chapter, scene, or section of the scarlet letter and what it means.
The scarlet letter chapter 8 summary & analysis from litcharts | the creators of sparknotes chillingworth the narrator mistress hibbins governor bellingham . Page 1 of 5 more books more by this author hester prynne went one day to the mansion of governor bellingham, with a pair of gloves which she had fringed and embroidered to his order, and which were to be worn on some great occasion of state for, though the chances of a popular election had caused this former ruler to descend a step or two from the highest rank, he still held an honourable . This study guide consists of approximately 69 pages of chapter summaries, quotes, character analysis, themes, and more - everything you need to sharpen your knowledge of the scarlet letter governor bellingham represents an actual person, richard bellingham, who came to america in 1634 and was .


Nowruz Rituals in Iran
Nowruz Rituals in Iran : Nowruz (literally The New Day) marks the Persian New Year. It is an ancient festivity of the first day of Spring, as a symbol of renewal of nature, when it regains strength to overcome winter’s cold and darkness. Nowruz coincides with the exact moment of the vernal equinox, which in the Gregorian calendar falls between 19th to 21st of March. Every year several nations celebrate Nowruz around the world.
As their most important Holiday, Iranians perform Nowruz rituals, starting days before the New Year, to prepare themselves for a new beginning:
#1 Spring House Cleaning
Spring House Cleaning : Weeks before spring, Iranians start shaking their houses of any unnecessary clutter settled in over the past year. It is not uncommon to see rugs hanging on walls waiting for their owners to beat or wash the dust out of them!
#2 Chaarshanbe Souri (Wednesday Festivity)
Chaarshanbe Souri (Wednesday Festivity) is a prelude to the New Year. As a festive part of Nowruz rituals, Iranians celebrate on the eve of the last Wednesday before Nowruz by fireworks and jumping over fire. They sing a poetic line to the fire, asking it to take away ill-health and problems and bring warmth and health.
#3 Haft-Seen (the 7 S’s)
Haft-Seen (the 7 S’s) : One of Nowruz rituals is setting the Haft-Seen Table. As a tradition, families gather around the Haft-sin table and await the moment of Nowruz. Haft-Seen are 7 edible items starting with the letter S in Persian, symbolizing renewal and health for the new year. The items are green sprouts, apples, garlic, oleaster berries, a sweet pudding, vinegar, and sumac.
A volume of Hafez of Shiraz, or the Holy Qoran, a mirror, colored eggs, rice or wheat grains, flowers and goldfish too have been added to the setting.
#4 Visiting Family and Friends
Visiting Family and Friends is an important part of Nowruz rituals. Iranians consider Nowruz the perfect time to share some quality time with their loved ones. Typically, young people will visit their elders first, as a sign of respect.
#5 Sizdah Bedar
Sizdah Bedar : Iranians conclude Nowruz Holidays on the 13th day, by spending the daytime picnicking in the nature, as the last part of Nowruz Rituals. They throw away the greenery grown for the Haft-Seen setting, best into running water. It is also customary for young single people, to tie the leaves of the greenery before discarding it, expressing a wish to find a partner. Another custom associated with Sizdah bedar is the playing of jokes and pranks, similar to April Fools’ Day.


(See also Overview of Headache Overview of Headache A headache is pain in any part of the head, including the scalp, upper neck, face, and interior of the head. Headaches are one of the most common reasons people visit a doctor. Headaches interfere... read more .)
Most commonly, low-pressure headaches occur after the following:
A low-pressure headache occurs in up to a third of people who have had a spinal tap, usually hours to a day or two afterward.
In a spinal tap, doctors insert a needle between two vertebrae in the lower back, and withdraw a sample of cerebrospinal fluid from the spinal canal. The cerebrospinal fluid, which flows through a channel between the layers of tissues (meninges) that cover the brain and spinal cord, helps cushion and support the brain. After a spinal tap, cerebrospinal fluid sometimes continues to leak out of the tiny hole made by the needle. If fluid leaks out faster than the body can replace it, the amount of fluid around the brain decreases, and the brain may sag downward, stretching the surrounding blood vessels and supporting tissues. This stretching results in a headache.
How a Spinal Tap Is Done
Cerebrospinal fluid flows through a channel (called the subarachnoid space) between the middle and inner layers of tissue (meninges) that cover the brain and spinal cord. To remove a sample of this fluid, a doctor inserts a small, hollow needle between two bones (vertebrae) in the lower spine, usually the 3rd and 4th or the 4th and 5th lumbar vertebrae, below the point where the spinal cord ends, and then into the subarachnoid space—the space between the layers of tissue (meninges) that cover the spinal cord (and brain). Usually, people lie on their side with their knees curled to their chest. This position widens the space between the vertebrae, so that the doctor can avoid hitting the bones when the needle is inserted.
Cerebrospinal fluid is then allowed to drip into test tubes, and the samples are sent to a laboratory for examination.
Low-pressure headaches may also occur when other problems cause cerebrospinal fluid to leak out:
A cyst in or near the meninges where a nerve comes out of the spinal cord bursts. Cysts sometimes burst when people cough or sneeze because coughing and sneezing cause the pressure within the cerebrospinal fluid to suddenly increase. Cerebrospinal fluid sometimes leaks spontaneously—for no apparent reason.
The meninges are torn during an injury, particularly when the head or face is injured.
Low-pressure headaches are intense. They occur when people sit or stand and may be relieved by lying flat. People usually also have a stiff, painful neck and nausea and may vomit.
Diagnosis of Low-Pressure Headache
A doctor's evaluation
Sometimes imaging tests
Doctors base the diagnosis of low-pressure headaches on the symptoms and the situation.
If people have had a spinal tap, the diagnosis is usually obvious, and testing is rarely needed.
If they have not had a spinal tap, imaging tests of the brain, such as magnetic resonance imaging (MRI), may be done. Before the imaging test, a contrast agent is injected into a vein, usually in an arm or a hand. The contrast agent is used to provide greater detail.
Treatment of Low-Pressure Headache
Fluids and caffeine
An epidural blood patch
If people have a headache after a spinal tap, they are given pain relievers (analgesics). Lying flat as much as possible helps minimize pain. They are given fluids and caffeine, which increases the production of cerebrospinal fluid. Fluids are given by mouth or, if people are very dehydrated, intravenously.
If the headache persists after such treatment, doctors may inject a small amount of the person’s blood into the space between the spine and the meninges in the lower back. This procedure, called an epidural blood patch, slows the leakage of cerebrospinal fluid, regardless of where the leak is or what caused it.
Surgery to repair a leak is rarely required.
Drugs Mentioned In This Article
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