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The core workflow for creating an animation is to create an Animated.Value, hook it up to one or more style attributes of an animated component, and then drive updates via animations using Animated.timing().


Don't modify the animated value directly. You can use the useRef Hook to return a mutable ref object. This ref object's current property is initialized as the given argument and persists throughout the component lifecycle.


Only animatable components can be animated. These unique components do the magic of binding the animated values to the properties, and do targeted native updates to avoid the cost of the React render and reconciliation process on every frame. They also handle cleanup on unmount so they are safe by default.


Gestures, like panning or scrolling, and other events can map directly to animated values using Animated.event(). This is done with a structured map syntax so that values can be extracted from complex event objects. The first level is an array to allow mapping across multiple args, and that array contains nested objects.


Advanced imperative API for snooping on animated events that are passed in through props. It permits to add a new javascript listener to an existing AnimatedEvent. If animatedEvent is a javascript listener, it will merge the 2 listeners into a single one, and if animatedEvent is null/undefined, it will assign the javascript listener directly. Use values directly where possible.


A 
cartoon
 is an animated film, usually a short film, featuring an exaggerated visual style. The style takes inspiration from comic strips, often featuring anthropomorphic animals, superheroes, or the adventures of human protagonists. Especially with animals that form a natural predator/prey relationship (e.g. cats and mice, coyotes and birds), the action often centers on violent pratfalls such as falls, collisions, and explosions that would be lethal in real life.


Analog mechanical animation media that rely on the rapid display of sequential images include the phénakisticope, zoetrope, flip book, praxinoscope, and film. Television and video are popular electronic animation media that originally were analog and now operate digitally. For display on computers, technology such as the animated GIF and Flash animation were developed.


In addition to short films, feature films, television series, animated GIFs, and other media dedicated to the display of moving images, animation is also prevalent in video games, motion graphics, user interfaces, and visual effects.[1]


During the 1910s, the production of animated "cartoons" became an industry in the US.[4] Successful producer John Randolph Bray and animator Earl Hurd, patented the cel animation process that dominated the animation industry for the rest of the century.[5][6] Felix the Cat, who debuted in 1919, became the first fully realized animal character in the history of American animation.[7]





After working on it for three years, Lotte Reiniger released the German feature-length silhouette animation 
Die Abenteuer des Prinzen Achmed
 in 1926, the oldest extant animated feature.[
citation needed
][11]


The so-called 3D style, more often associated with computer animation, became the dominant technique following the success of Pixar's 
Toy Story
 (1995), the first computer-animated feature in this style.[
citation needed
]


Most of the cel animation studios switched to producing mostly computer-animated films around the 1990s, as it proved cheaper and more profitable. Not only the very popular 3D animation style was generated with computers, but also most of the films and series with a more traditional hand-crafted appearance, in which the charming characteristics of cel animation could be emulated with software, while new digital tools helped developing

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After the events of the first film, Jack Reacher has gone back to his life as a drifter. However, following the busting of a corrupt sheriff, Reacher begins to bond with Major Susan Turner (Cobie Smulders), and the two make plans to meet in Washington, D.C. However, when Reacher arrives, he finds out that Turner has been charged with espionage, and after some investigation into the charge, Reacher finds himself framed for murder. After breaking out of prison, Reacher and Turner must go on a cross-country journey to prove their innocence and find those who are truly responsible.


With Zwick spending so much screentime on a fumbling family dynamic, "Jack Reacher: Never Go Back" bumbles along with fits of bickering and uninspired fight scenes. Honestly, it seems this helmer has little interest in action. The film begins with Reacher surrounded by the debris of a big fight scene we never get to see. An enticing car chase is over before it gears up. And a four-on-one hand-to-hand battle is so haphazardly shot and cut it seems better suited to Worldstarhiphop than a blockbuster movie screen. There's some solid stuff in the showdown between Cruise and Heusinger, who to his credit plays a one-note psycho with amusing relish. But Zwick stages this climax in the streets of a rowdy New Orleans Halloween parade while making barely any use of that visually rich setting.


Still, for all its flaws and wasted opportunities, this film is fine, just fine. It's adequate entertainment. But this sequel never feels fresh or special. From its tired arguments about parenthood and gender roles, to its tedious will-they-won't-they romance, to its eye-roll inducing final twist, "Jack Reacher: Never Go Back" feels antiquated, as if it was a '90s movie dusted off and re-released instead of newly minted offering for savvy modern audiences. Still, even stripped of Ethan Hunt charm, Cruise is compelling. Smulder makes a great onscreen hero, though she deserved more screen time. But ultimately, the central relationships are too weak to make its big emotion-based payoff work, and the plot never elevates its beach read origins.


Although Lee Child respected Cruise's acting and dedication to playing Reacher, he was never a fan of the superstar's casting, citing his physical stature as a reason. In the books, Reacher is in his mid-30's and is an imposing 6'5 and 250 pounds. Cruise is only 5'7 and in his late 50's. Reacher is a presence that turns heads whenever he walks into a room, and Cruise simply didn't match up. Ultimately, Child decided to exercise a clause in his contract that allowed him to discontinue the franchise after just two films. According to Indiewire, he commented on the matter in 2018, saying, "Cruise, for all his talent, didn't have that physicality. I really enjoyed working with him. He's a really, really nice guy. We had a lot of fun. But ultimately, the readers are right. The size of Reacher is really, really important, and it's a big component of who he is. The idea is that when he walks into a room, everyone is just a little nervous for that first minute."


The Jack Reacher novels have a rabid fan base, and many were understandably unenthused with Cruise's portrayal as the titular character. So, the A-lister's run has reached its end. The R-rated sequel that Cruise and Jack Reacher (2012) director Christopher McQuarrie were trying to make would have stuck more

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Doki Doki Literature Club!

 (

DDLC

) is a 2017 freeware visual novel developed by American independent game studio Team Salvato for Linux, macOS, and Windows. The game was initially distributed through itch.io, and later became available on Steam. The story is told from the perspective of a high school student who reluctantly joins the school's literature club on the insistence of his childhood best friend, and is given the option to romantically pursue three of its four female members. 
Doki Doki Literature Club!
 features a non-traditional plot structure with multiple endings and unlockable cutscenes with each of the main characters. Although the game initially appears to be a lighthearted dating simulator, it is in fact a metafictional psychological horror game that extensively breaks the fourth wall.[1][2]


The game was developed in an estimated two-year period by a team led by Dan Salvato, previously known for his modding work as part of 
Project M
. According to Salvato, the inspiration for the game came from his mixed feelings toward anime and a fascination for surreal and unsettling experiences. Upon its release, 
Doki Doki Literature Club!
 received positive critical attention for its successful use of horror elements and unconventional nature within the visual novel genre. The game also inspired various internet memes and achieved a large online following.


An expanded version of the game, 

Doki Doki Literature Club Plus!

, was released for the Nintendo Switch, PlayStation 4, PlayStation 5, Windows, Xbox One, and Xbox Series X/S on June 30, 2021. A macOS version of the game was later released on August 12, 2021.[3] It received generally positive reviews, with praise for its side stories and gameplay on consoles, but some criticism for its lack of changes. Unlike the original 2017 release, 
Plus!
 is a premium game.



Doki Doki Literature Club!
 is a visual novel. As such, its gameplay has a low level of interactivity and consists of scenes with static two-dimensional images of characters in a first-person perspective, accompanied by occasional choices the player is forced to make in order to advance the plot. The descriptions and dialogue are depicted in the form of accompanying text without voice acting. The game's narration is provided by the game's protagonist (whom the player controls), a member of the titular literature club, to which he was invited by his childhood friend Sayori.[4][5][6] Any decisions the player is advocated to make over the course of the plot affect the development of the protagonist's relationships with key female characters Sayori, Yuri, and Natsuki, but ultimately have little effect on the outcome of the game.[7] The characters' interactions with the protagonist are primarily influenced by a minigame in which the player is required to compose a poem from a set of randomly selected individual words. Each girl in the literature club has different word preferences, and will react positively when the player picks a word that they like.[4][5][6][7] The characters' reactions are stylized in the form of miniature chibi avatars of the characters which are displayed at the bottom of the screen during the minigame, and which will jump given the opportunity as a response to the player selecting one of their favorite words;[4] Monika is not able to be romanced in this way, which later affects the plot of the game. Depending on the results of these minigames, the player will experience scenes for whatever character liked that particular poem the most.[6][7] The narrative is divided into three acts and an epilogue, with the game restarting each time.[8] At a certain point, the player must manipulate the game's files in order to advance the narrative.[9]



Doki Doki Literature Club Plus!
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We are pleased to present herecomplete etexts of Dnyaneshwari and Dasbodh.The texts are grouped by adhyAya or dashakas. We recommend the use of Unicode Devanagari display or the PDF/PS files. Thanks to the efforts of Vishwas Bhide of Sangali, and Chhaya and Sharad Deo of Nasik. Thanks also to other volunteers (Sunder Hattangadi, Shree Devi Kumar, etc.) for additional assistance. Dnyaneshwari / bhAvArthadIpikA

ITX |PS |PDF | UNIC - adhyAya 01
ITX |PS |PDF | UNIC - adhyAya 02
ITX |PS |PDF | UNIC - adhyAya 03
ITX |PS |PDF | UNIC - adhyAya 04
ITX |PS |PDF | UNIC - adhyAya 05
ITX |PS |PDF | UNIC - adhyAya 06
ITX |PS |PDF | UNIC - adhyAya 07
ITX |PS |PDF | UNIC - adhyAya 08
ITX |PS |PDF | UNIC - adhyAya 09
ITX |PS |PDF | UNIC - adhyAya 10
ITX |PS |PDF | UNIC - adhyAya 11
ITX |PS |PDF | UNIC - adhyAya 12
ITX |PS |PDF | UNIC - adhyAya 13
ITX |PS |PDF | UNIC - adhyAya 14
ITX |PS |PDF | UNIC - adhyAya 15
ITX |PS |PDF | UNIC - adhyAya 16
ITX |PS |PDF | UNIC - adhyAya 17
ITX |PS |PDF | UNIC - adhyAya 18
 Pasayadan (blessings from God) with Marathi-English meaning
PS |PDF |HTML- pasAyadAn with English word by word and verse meaning 

Additionally, following are some useful links for further study.Sartha Dnyeneshwari by S. V or Mamasaheb Dandekar. Click on the viewable files set. Another bysAkharemaharaj andsArtha by Gitapress.pArAyaNaprat by Gitapress.Text published by Maharashtra Govt. The presentation of the texts is available at site.An English translation by V. V. Shirvaikar of Dnyaneshwari is available on hinduweb.org. It is mirrored at another site where German translation by Mr D. Platthaus is also given.Get the PDF ebook English translation of Dnyaneshwari by Manu Subedar Gita Explained; first printed in 1932 - available from Digital Library of India and then OCRed.Please take advantage of a multimedia presentation on Dnyaneshwariby Centre For Development Of Advanced Computing (C-DAC).It is a complete searchable text with Sakhare Maharaj's commentary. The development is sponsored by Sri Guru Sakhare Maharaj Sampradai Yashodhan Publication and Multimedia Creations Team at C-DAC.Fonts need to be installed from the site.Another translation is available at performed by Swami VIshwatmak or more commonly know as Jangli Maharaj. He has also translated Atmaaram, Guru Geeta, Sai Satcharitra, Bhagwad Geeta, Ashtavakra Geeta, Guru Charitra, Dnyaneshwari, Upadesh saar, and Upanishads.The English translation by M.R. Yardi is also available at (index-PDF), Bharatiya Vidya Bhavan, Pune site.hA hoIla dAna pasAvo at is a well-prepared site presentation of 24 lectures on pasAyadAna (Pasayadan) by Shri Shirish Shantaram KavaDe. His other books are available on bookganga.com. Pasayadana is translated in Sanskrit by L. V. Deshpande (samashloki)Pasayadana is also translated by ShriniwasHirlekar (shloka format). Visit -hirlekar.comfor additional Marathi translations of atharvashIrSha, ShaTpadi,sUryastavan and Sanskrit translations of hanumAna chAlisA, mArutistotra,Savarkar's sAgarA prANa taLamaLalA and jayostute poems, Sane guruji'sbalasAgara bhArata hovo, Kavi Kusumagraja's krAntIchA jayajayakAra and others.Prashuram R. Gokhale has prepared a sitegharogharI Dnyaneshwariwith 18 adhyAya neatlyarranged in PDF files. It includes translation of difficult words,difficult ovIs, and classification and punctuations/markings useful forself study. Shri Gokhale is also planning to present Patanjai yog sutras,Ashthyadhyai of Panini, and Nirukta of Yaska in Marathi translation.

BACK TOTOP

Complete Dasbodh

The following encoded texts are grouped by dashakas. We recommend the use of Unicode Devanagari display that allows Devanagari search or the PDF/PS files. (The ITX file would be easier for Roman letter/word search using Itrans notation or reprocessing selected text using Itranslator.)

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NLTK includes a small selection of texts from the Project Gutenbergelectronic text archive, which containssome 25,000 free electronic books, hosted at We beginby getting the Python interpreter to load the NLTK package,then ask to see nltk.corpus.gutenberg.fileids(), the file identifiers inthis corpus:


Let's write a short program to display other information about eachtext, by looping over all the values of fileid corresponding tothe gutenberg file identifiers listed earlier and then computingstatistics for each text. For a compact output display, we will roundeach number to the nearest integer, using round().


Although Project Gutenberg contains thousands of books, it represents establishedliterature. It is important to consider less formal language as well. NLTK'ssmall collection of web text includes content from a Firefox discussion forum,conversations overheard in New York, the movie script of Pirates of the Carribean,personal advertisements, and wine reviews:


Many text corpora contain linguistic annotations, representing POS tags,named entities, syntactic structures, semantic roles, and so forth. NLTK providesconvenient ways to access several of these corpora, and has data packages containing corporaand corpus samples, freely downloadable for use in teaching and research.1.2 lists some of the corpora. For information aboutdownloading them, see more examples of how to access NLTK corpora,please consult the Corpus HOWTO at


If you have your own collection of text files that you would like to access usingthe above methods, you can easily load them with the help of NLTK'sPlaintextCorpusReader. Check the location of your files on your file system; inthe following example, we have taken this to be the directory/usr/share/dict. Whatever the location, set this to be the value ofcorpus_root .The second parameter of the PlaintextCorpusReader initializer can be a list of fileids, like ['a.txt', 'test/b.txt'],or a pattern that matches all fileids, like '[abc]/.*\.txt'(see 3.4 for informationabout regular expressions).


A lexicon, or lexical resource, is a collection of words and/or phrases alongwith associated information such as part of speech and sense definitions.Lexical resources are secondary to texts, and are usually created and enriched with the helpof texts. For example, if we have defined a text my_text, thenvocab = sorted(set(my_text)) builds the vocabulary of my_text,while word_freq = FreqDist(my_text) counts the frequency of each word in the text. Bothof vocab and word_freq are simple lexical resources. Similarly, a concordancelike the one we saw in 1gives us information about word usage that might help in the preparation ofa dictionary. Standard terminology for lexicons is illustrated in 4.1.A lexical entry consists of a headword (also known as a lemma)along with additional information such as the part of speech and the sensedefinition. Two distinct words having the same spelling are called homonyms.


We thus define the tidy text format as being 
a table with one-token-per-row.
 A token is a meaningful unit of text, such as a word, that we are interested in using for analysis, and tokenization is the process of splitting text into tokens. This one-token-per-row structure is in contrast to the ways text is often stored in current analyses, perhaps as strings or in a document-term matrix. For tidy text mining, the 
token
 that is stored in each row is most often a single word, but can also be an n-gram, sentence, or paragraph. In the tidytext package, we provide functionality to tokenize by commonly used units of text like these and convert to a one-term-per-row format.


As we stated above, we define the tidy text format as being a table with 
one-token-per-row.
 Structuring text data in this way means that it conforms to ti

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