user: Extract the names of influencers on Ruben Dario's poetry

assistant: <think>
French poetry was a determinant influence in Darío's formation as a poet. In the first place, the romantics, particularly Victor Hugo. Later on, and in a decisive fashion, Darío was influenced by the parnassians: Théophile Gautier, Catulle Mendès, and José María de Heredia. Another decisive influence was the writer of prose and poetry and national hero of Cuba, Jose Martí. The final defining element of Darianian aesthetic is his admiration towards the symbolists, especially Paul Verlaine. Recapitulating his own poetic trajectory in the initial poem of Cantos de vida y esperanza (1905) Darío himself synthesized his main influences when he affirms that he was "strong with Hugo and ambiguous with Verlaine" ("con Hugo fuerte y con Verlaine ambiguo".)

In the section "Palabras Liminares" of Prosas Profanas (1896) he had already written a paragraph that reveals the importance of French culture in the development of his literary work:

The old Spaniard with a white beard points towards a series of illustrious portraits: "This one—he says—is the great Miguel de Cervantes Saavedra, one-handed genius; this one is Lope de Vega, this one is Garcilaso, this one Quintana." I ask him for the noble man Gracián, for Teresa of Ávila, for the brave Góngora and the strongest of all, Francisco de Quevedo y Villegas. Then I say: "Shakespeare! Dante! Hugo...! (and in my head: Verlaine...!)"
Then, when saying goodbye: "-Old man, it is important to say: my wife is from my land; my mistress is from Paris."

Los raros is an illustrative volume regarding literary tastes, which he published on the same year as Prosas profanas, and dedicated to briefly glossing some of the writers and intellectuals towards whom he felt profound admiration. Amongst those in the book we find Edgar Allan Poe, Villiers de l'Isle Adam, Léon Bloy, Paul Verlaine, Lautréamont, Eugénio de Castro and José Martí (the latter being the only one mentioned who wrote their literary work in Spanish.) The predominance of French culture is more than evident. Darío wrote: "Modernism is nothing more than Spanish verse and prose passed through the fine sieve of the good French verse and the good French prose." Setting aside his initial stage, before Azul..., in which his poetry owes a great deal to the great names of 19th-century Spanish poetry, such as Núñez de Arce and Campoamor, Darío was a great admirer of Bécquer. Spanish themes are well represented in his work, already in Prosas profanas and, specially, after his second trip to Spain, in 1899. Conscious of contemporaneous Spanish decadence in politics and the arts (a preoccupation he shared with the so-called Generation of '98), he frequently was inspired by characters and elements of the past. Regarding authors in other languages, it is worth mentioning that he felt a profound admiration towards three writers from the United States: Ralph Waldo Emerson, Edgar Allan Poe and Walt Whitman.[citation needed]</think>
Victor Hugo
Théophile Gautier
Catulle Mendès 
José María de Heredia
Jose Martí
Paul Verlaine
Edgar Allan Poe
Villiers de l'Isle Adam
Léon Bloy
Lautréamont
Eugénio de Castro
Ralph Waldo Emerson
Walt Whitman

user: What is the fastest time control chess?

assistant: Bullet chess

user: Tell me about the inversion in postcolonial theory

assistant: <think>
The term derives from studies of modalities of resistance by the Subaltern Studies school, but reflects concerns pervasive from the earliest days of post- and anti-colonial writing. Ranajit Guha refers to inversion as one of the modalities of peasant revolt in colonial India, noting practices such as forcing landlords to carry peasants on Sedan chairs. Frantz Fanon's The Wretched of the Earth (1961) provides an extensive discussion and partial advocacy of inversion in a social context defined by strong binaries. A reversal of the coloniser's monopoly on violence is taken to be necessary to break out of the master–slave dialectic, a learnt sense of cultural inferiority and the learned helplessness of the colonised. The term "inversion woodcuts" also appears in peasant studies as a description of imagery such as an ox killing a butcher (e.g. James Scott, Domination and the Arts of Resistance, 166-72).

The term has become useful as a way of theorising violence. Definitions of terms such as racism and sexism are contested, and theorists who use structural or institutional definitions thus refuse to typify actions against members of structurally dominant groups by structurally subordinate groups, or prejudicial beliefs against members of dominant groups, with these terms. Actions such as Palestinian suicide bombing, the 9/11 attacks, land reform in Zimbabwe, the writings and actions of Valerie Solanas and SCUM, and what are treated by the state as racially motivated crimes against white people, would be examples of cases where the term would be used. Ward Churchill's essay On the Justice of Roosting Chickens is an example of this kind of analysis from an author sympathetic to inversion.

Attaching positive values to an essence of the oppressed, as in some black-consciousness and Afrocentric ideas, would also be an instance of inversion, especially to critics. Edward Said argues against this inversion, suggesting that "in Post-colonial national states, the liabilities of such essences as the Celtic spirit, négritude, or Islam are clear: they have much to do not only with the native manipulators, who also use them to cover up contemporary faults, corruptions, tyrannies, but also with the embattled imperial contexts out of which they came and in which they were felt to be necessary" (Culture and Imperialism  16).</think>
The term derives from studies of modalities of resistance by the Subaltern Studies school, but reflects concerns pervasive from the earliest days of post- and anti-colonial writing. 

Ranajit Guha refers to inversion as one of the modalities of peasant revolt in colonial India, noting practices such as forcing landlords to carry peasants on Sedan chairs.