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劍橋少兒英語考試

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五號屠場 娃的公眾號/https://mp.weixin.qq.com/s/rOGWTVwUZ9vyi5jytJs8xA Slaughterhouse-Five: The Power of the Anti-Climax "And even if the wars didn't keep coming like glaciers, there would still be plain old death."——Kurt VonnegutHistorical Background: The Fire Bombing of DresdenOn February 13th 1945, Allied forces dropped 2700 tons of bombs and explosives on the German city of Dresden, resulting in the incineration and deaths of at least 2500 civilians. The incident gained widespread notoriety due to the large number of civilian deaths and the use of "terror bombing" tactics from the Allied forces.?Among its critics was Kurt Vonnegut, a vocal anti-war American satirist who published his book "Slaughterhouse-Five" as a way of bringing attention and public scrutiny to the ethical concerns and dilemmas of war. Through his witty use of black-humour and eccentric yet accessible style, Vonnegut crafted a beautiful yet jarring memoir of his own experiences in the fire-bombing of Dresden.?Part 1: The Power of the ANTI-CLIMAXIn a nutshell, the anti-climax isa rhetorical device that functions as an abrupt let-down or tonal shift at the end of a narrative build up.?Fromhttps://www.studiobinder.com/blog/what-is-an-anticlimax-definition/This has become a bit of a notorious literary device because of the uncomfortable emotional after-shock to readers who, expecting a triumphant hero, is left dazed and confused after the story ends on a trivial note. Some even look down on this as a Tolkien "King of the Eagles" excuse for a lack of creativity.?H.G. Wells' "War of the Worlds" had a particularly anticlimactic ending! Remember those killer tripods? Well...turns out all those heat rays could be defeated by bacteria and viruses:/ Anticlimactic, as always.?Depite all this, the anti-climax is not a product of the talentless author.?Anticlimactic statements, actions, and dialogue embody the absurd. It purposefully violates "the rules of writing" and seems to poke fun at the standard definition of a story arc. It defies the stifling mold of the "exposition-rising action-climax-falling action" we are taught in school in favour of a new and experimental way of writing.?In this sense, writers who use an anti-climax in the construction of their plot or in the stylistic prose of a character are taking a risk. By risking the disapproval of some readers, they gamble for the approval of others——those who can embrace experimental styles...and the idea of the anti-climax.?Part 2: SO IT GOESIn "Slaughterhouse-Five", Vonnegut's use of the innocuous phrase "so it goes" is an example of a stylistic anti-climax.?The phrase, by itself, means nothing. If you ever hear somebody reply "so it goes", it probably means that a) they have nothing to say b) they weren't listening to what you were saying. As an everyday platitude, this sentence is common to the extreme.?But here the anti-climax works its magic.By having no intrinsic meaning in itself, "so it goes" directs the reader's attention to the context of the phrase and its juxtaposition with the content.?In Chapter 1, Vonnegut attempts to recall the events of the fire-bombing of Dresden but loses himself in digressions into the past. A glitchy, jump-start recall of the events ensues, forming a patchwork continually contructed and remade throughout the story.?"The?rabid?little?American I?call?Paul?Lazzaro?in?this?book?had?about?a?quart?of?diamonds and emeralds?and?rubies?and?so?on.?He?had?taken?these?from?dead people in the cellars of Dresden. So it goes."The function of the phrase "so it goes" is that it brings out the absurdly destructive qualities of war in a subversive way. By creating the absence of graphic descriptions of destruction and actual violence in Dresden, Vonnegut creates a void of empathy.?Most importantly, there is NO emotional overload.?Vonnegut does not burden the reader with visceral imagery that evokes any feelings of guilt, regret, or empathy. But there is emotional aftershock--we feel moral revulsion at the idea that stealing from the incinerated corpses of the dead can be hyphenated into the platitude "so it goes". Time and time again, Vonnegut adds the sentence "so it goes" to tragic events in order to create a hyper-tragedy of war and death.?Later on, when the story's schizophrenic, teleporting protagonist Billy Pilgrim is shot and his wife dies from monoxide poisoning, there is again this dry sentence: "so it goes". By not expanding on death but instead expanding on the reactions of characters and the narrator towards death, the reader's sense of morality is turned upside-down.?Perhaps a cold, immutable face is all we need to fully understand the horrors of war and the civilian deaths that it entails.?As any good anti-war story does, "Slaughterhouse-Five" serves to demythologize war. The scant publicity of the firebombing of Dresden is what Vonnegut is trying to critique, and it's up to you to decide if he did indeed accomplish that——so it goes.?
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power query基礎(chǔ) (3.2)：power query獲取csv文件數(shù)據(jù)詳解，從這里開始進(jìn)入M函數(shù) 原創(chuàng) 速六網(wǎng) 速六財易 2024-04-26 20:36 天津 聽全文 在數(shù)據(jù)的世界里，CSV 文件因為其簡單和通用性成為了最常用的數(shù)據(jù)交換格式之一。在處理CSV文件時，Power Query提供了一個強(qiáng)大且靈活的函數(shù) —— Csv.Document。它能夠輕松地將 CSV 數(shù)據(jù)轉(zhuǎn)換為可在 Power Query 中進(jìn)一步操作的表格。這一節(jié)，我們通過 Csv.Document 函數(shù)的講解開啟深入學(xué)習(xí)M語言的旅程。 Csv.Document 是一個用于解析 CSV 文件內(nèi)容的函數(shù)。首先，來看看它最基本的使用方法。給定一個文件路徑，Csv.Document 函數(shù)能夠讀取文件內(nèi)容，并以表格的形式返回其中的數(shù)據(jù)。文件路徑作為函數(shù)的第一個參數(shù)，通常使用File.Contents函數(shù)來獲取，它會讀取并提供文件的二進(jìn)制內(nèi)容。 讓我們來看函數(shù)的第一個例子： Csv.Document(File.Contents("C:\工作\課程文件\pq基礎(chǔ)\第三章\3.2 csv獲取數(shù)據(jù)附件.csv"), [Delimiter=",", Columns=7, Encoding=936, QuoteStyle=QuoteStyle.None]) 在這個例子中，我們指定了幾個重要的可選參數(shù)： Delimiter：定義了字段的分隔符，這里使用的是逗號（,）。 Columns：設(shè)定了表格的列數(shù)，這里我們期望的列數(shù)是7。 Encoding：指明了文件的編碼格式，936代表簡體中文的 GBK 編碼。 QuoteStyle：用于指定如何處理字段的引用，QuoteStyle.None 表示不特殊處理。 這個聲明式的參數(shù)傳遞方法使得函數(shù)的使用非常清晰，即便是對于初學(xué)者也容易理解。
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