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https://w.atwiki.jp/techsure/pages/37.html
このページはhttp //www.vgleaks.com/durango-sound-of-tomorrow/からの引用です Xbox One (Durango) Sound of Tomorrow One of the few components that remain unveiled inXbox One(Durango)is thesound block. This article is intended to describe this important part inside the system. Xbox One (Durango) audio architecture seeks a balance between the successes and tradeoffs of previous generation platforms while anticipating the increasing technical needs of next-generation implementations. It provides hardware-accelerated pathways for the most common aspects of audio rendering—compression, mixing, filtering, and so on—on a large number of concurrent voices. The architecture also provides a shared resource model for software processing consumption, allowing each individual title to select what and how much custom signal manipulation to apply in CPU utilization. Audio Architectural Overview In addition to general CPU power (which can be used for decoding, synthesis, rendering, and so on), Durango provides several hardware components dedicated to audio processing. The audio hardware components can address the entire unified memory space. Here you can see the hardware-accelerated audio components The SHAPE (Scalable Hardware Audio Processing Engine) block comprises the majority of audio functionality, although the other processors also contribute significant features. SHAPE (Scalable Hardware Audio Processing Engine) The core hardware dedicated to audio processing is SHAPE. It is designed to perform many of the basic operations commonly required on a per-voice basis. This hardware allows a developer to reduce CPU impact—even for high polyphony and complex-signal routings—and still provide the flexibility of SHAPE/CPU data interchange if a title chooses to perform custom digital signal processing, analysis, or software synthesis. SHAPE operates on blocks of 128 samples, where each sample supports 24-bit integer resolution (or 32-bit float when used by the CPU). At 48 kHz, this represents a 2.67 ms audio frame, providing increased timing resolution and decreased latency compared with theXbox 360256 sample block size. SHAPE offers six fixed function blocks focused on common audio tasks 1. XMA Decoder Concurrent decodes of 512 XMA format voices. XMA is a perceptual codec developed for Xbox 360 offering user-tunable quality and typically providing between 6 1 and 14 1 compression. 2. SRC A high-quality dedicated polyphase sample rate conversion block allowing for high performance and high-quality frequency resampling of 512 mono channels of audio data (whether for format conversion, Doppler effect, or pitch variation). 3. Mix Buffers Dedicated accumulators for 128 in-place mix channels without needing to access memory, and with additional channels available virtually. These mix buffers also provide coarse metering and clipping detection for debugging and monitoring. 4. FLT/VOL A module providing both volume scaling and a state variable filter implementation for more than 2,500 voices/mixes, analogous to the software-exposed XAudio2 per-voice filter available on Windows and Xbox 360. The filter can provide low pass, high pass, band pass, or notch filtering, and exposes Q and cutoff/center frequency parameters. It is used most commonly for distance and occlusion modeling. 5. EQ/CMP A module providing up to 512 channels of 3-band equalization and dynamic range compression. The EQ is comprised of three serially cascaded biquad filters. The compressor has a hard-knee response, and supports both side chain and expander functionality. 6. DMA SHAPE has dedicated DMA hardware for transferring audio data to and from the unified memory space. This enables scenarios that include transfer without a sample-rate converter, transferring final mix channels, and CPU-based processing in the middle of a SHAPE-based audio graph. Playback of a typical audio graph is expected to use each of these processors extensively. ACP (Audio Control Processor) The ACP provides state management and scheduling of all other audio hardware components on the North Bridge. CPU involvement in intra-frame processing and the synchronization/latency it might introduce is unnecessary. ASP (AudioScalarProcessor) The ASP supports scalar float and vector integer operations. Voice chat codecs—both those that manage wireless communication between a voice chat headset and the console, and those that are used to compress/decompress voice data for networked voice communication—are provided in hardware. Additionally, this processor supports xWMA format decompression in hardware; on Xbox 360, xWMA was solely a CPU-side decode option AVP (Audio Vector Processor) The AVP supports vector float operations, and is designed primarily for MEC (multichannel echo cancellation) and other noise reduction for the next-generation Kinect audio input. It supports both speech recognition and chat/arbitrary audio input use. MEC and other noise reduction processing allow for a more intelligible stream of the player’s spoken audio data even from a far talk microphone that is typically positioned closer to the output speakers than to the player. Audio and Durango Hardware Durango’s audio output pipeline eliminates the DAC (digital-to-analog converter) found in previous generation consoles. All audio is output strictly in the digital realm either through HDMI 1.4a or as S/PDIF optical output. HDMI 1.4a allows for high-fidelity linear 7.1-channel PCM to be transmitted from the console; titles default to an output sampling rate of 48 kHz and a bit depth of 24 bits. Durango is also designed to support up to four simultaneous stereo headset outputs, each of which can represent unique multichannel mixes that are downmixed as required by the output format (for instance, a headset or the S/PDIF output). Durango accepts audio input from a variety of sources the next-generation Kinect microphone array, voice chat headsets, other audio input peripherals, and storage media (whether HDD, flash or from cloud storage). Audio also can be algorithmically generated through CPU-based computation and manipulated in real time on a CPU, through the aforementioned SHAPE hardware components, or both. Compression Formats Durango offers hardware decompression support for both XMA2 and xWMA, both of which provide significant storage, bandwidth, and memory reductions over uncompressed PCM. XAudio2 also offers software support for ADPCM (Adaptive Differential Pulse Code Modulation). Although the computation for the ADPCM format is low overhead, as a non-perceptual codec ADPCM can express noticeable artifacts at lower sampling rates. Format Compression (approximate) Durango Xbox 360 Loop capability PCM None Yes Yes Arbitrary ADPCM 3.5-4 1 (Software) Block aligned XMA2 6-14 1 Yes (512 Hardware) Yes (320 Hardware) 128 sample-aligned xWMA 20-40 1 Yes (Hardware + Software support) Yes (Software only) End to end only, may gap Additional audio formats—for instance, MP3 or OGG—for game assets can be provided through title or middleware software codecs running on a CPU. Audio and the Durango App Model While in the foreground, an application has full access to the SHAPE hardware. When that application is pushed to the background—pinned, picture-in-picture, or other scenarios—it relinquishes hardware control. By default, its hardware state is suspended, and resumes when the title returns to the foreground. This also is true for Exclusive Resource Applications [ERAs] where the software graph is suspended. A title may optionally choose to tear down its audio graph and reconstruct it upon resume. Some titles, particularly Shared Resource Applications [SRAs] that play background music such as streaming radio, may choose to have some aspects of audio continue to play even while paused. For these scenarios, titles should closely evaluate whether to attempt a seamless transition from hardware to software rendering, or to always play audio intended for background playback via a software-only pipeline. This has implications for compression formats and CPU costs. XMA-compressed assets, for example, require the use of SHAPE hardware, and thus will not be decodable for a background application. The XAudio2 audio engine does provide software pathways for many functions if a title chooses to allocate CPU resources. Where practical, these functions mimic hardware capabilities, but some compute intensive processing is either unavailable or is differently implemented in software. Titles transitioning from hardware processing to software processing based on an app’s state may want to consider these differences when planning their audio pipelines. Feature Durango Hardware Capability Durango Software Capability Equivalent? Sample Rate Conversion (SRC) polyphase XAudio2 linear interpolation No Parametric EQ (EQ/CMP) 3-band EQ 3-band EQ, simple one-band, or custom DSP Yes Compressor/Limiter (EQ/CMP) Hard-knee, side chain, and expander capabilities Hard-knee, side chain, and expander capabilities Yes Filtering (FLT/VOL) State variable filter XAudio2 state variable filter, single-pole LPF, or custom DSP Yes Mixing (Mix Buffers) Includes clip detection, metering Software mixing; custom DSP for clip detection or metering Yes (for mixing) Durango Audio Libraries Durango supports two audio rendering APIs for typical game use along with a variant of the Windows 8 Media Foundation API for playback of user music 1. XAudio2, a game-focused audio library already available on Xbox 360 and Windows operating systems (Windows XP to Windows 8), is generally recommended for most title development. 2. WASAPI (Windows Audio Session API) can be used for any custom, exclusively software-implemented pipeline. WASAPI provides audio endpoint functionality only. Decompression, sample-rate conversion, mixing, and digital-signal processing, as well as interactions with Durango’s audio hardware components, must be implemented by the client. WASAPI is most typically used by audio middleware solutions. The Microsoft Cross-Platform Audio Creation Tool (XACT) and DirectSound are not supported in the Durango environment. Titles that previously used these technologies should consider the solutions identified above, or use approved Durango audio middleware options.
https://w.atwiki.jp/bentou/pages/14.html
Description of Benti_BedrockEdition The benti_BedrockEdition was originally a server with only real friends of the server owner. However, after the server people started to include people from the Internet, the number of people gradually increased, and foreigners and other people sometimes come via Hypixel. Benti_BedrockEdition server owner The server owner of the bench integrated version is a Japanese named benti2045. Discord is benti2045#2086 Basically, I play Minecraft, of which I play Hypixel Skyblock a lot. I play Hypixel Skyblock quite a bit. Sometimes he plays Mario Kart and shows up in the lounge and other places. If you see Kiwi☆benti in 2v2 or 3v3 in SQ, he is probably benti2045. This is an image made by Benti_BedrockEdition. Translation "Benti_BedrockEdition, as the name suggests, was originally planned to be a server that would do minecraft-BedrockEdition Benti_BedrockEdition role configuration In the benti_BedrockEdition, the roll structure is modeled after the Edo period, with rolls for daimyos and samurai. However, most of the rolls are basically on the shogunate side. The only Imperial Court side present is the Emperor. Only real friends of the server owner, benti2045, get the Daimyo rolls. The same goes for further rolls. Benti_BedrockEdition's chat Basically, Hypixel Skyblock is the main focus. Rarely Mario Kart and others. Basic activity time for benti_BedrockEdition Basically, most of the time is at night. The basic activity time is from 21 00 to 26 00. Rules in the benti_BedrockEdition There are no basic rules. The only rule is that invitations must be made with the permission of the server owner. However, if you check the rules, you will see that it says "No rules. Fight", which has remained unchanged since the wiki administrator wrote it. Basic game with benti_BedrockEdition The benti_BedrockEdition basically focuses on Minecraft, such as Hypixel Skyblock. Occasionally Mario Kart or sound games are mentioned, but there are really few of them. Special rolls in the benti_BedrockEdition There are very few special rolls in the benti_BedrockEdition. Here are all of them. 1. 征夷大将軍(Names of old positions in Japan) This is a role that only the server owner benti2045 has and no one else does. 2. 天皇(Names of old positions in Japan) This is a role given only to a server person named Taiyaki, who has various permissions such as channels, audio, video, messages, etc. By the way, Taiyaki is a real friend of the server owner. 3. 大老(Names of old positions in Japan) While having almost the same authority as the emperor, only nagakun05, a server official, has been given the authority to manage the server. And nagakun05 is also a real friend of the server owner. History of Benti_BedrockEdition The Bench Integration was created in 2020, on February 25, and at the time of editing (2023/1/17), the server is about to celebrate its third anniversary. And with all that, it has quite a long history. The history is described in ServerHistory.
https://w.atwiki.jp/animescriptstorage/pages/32.html
Death Note 04. Pursuit SHINIGAMI Has anyone seen Ryuk around lately? SHINIGAMI Maybe he was serious about losing his death note. SHINIGAMI It was probably picked up by some human before he could get to it. SHINIGAMI No way. Then he'd be stuck there till the end of that human's life or until the death note was destroyed. That could take a while. SHINIGAMI Yeah. I can't picture Ryuk doing something so boring. SHINIGAMI But do you know what? I actually heard he was carrying two death notes. SHINIGAMI Seriously why would he need two? SHINIGAMI Beats me. I'll never understand that guy. LIGHT So, the price for receiving the eyes of a shinigami is no more than half of my remaining life span? That's it, right? RYUK Yes. Well then. Do we have a deal or not? LIGHT Ryuk. This deal is out of the question. RYUK Huh? LIGHT Let's get this straight. My plan is to create an ideal new world free from evil and all criminals. And I intend to reign as a god in that world for a very long time. I might consider the deal if it lengthened my life, but not if I die sooner. I figured you of all people should know I wouldn't take this deal. RYUK Yeah. I still felt I should tell you that the deal existed just in case. Anyway I've done my part. I don't need you complaining I didn't tell you this earlier on. LIGHT This is what you call telling me early on? Don't you think you're a little late? I don't see why you couldn't have told me this when we met. Or better yet, you could have simply included it in the instructions for the death note. RYUK Ah. Good point. He's not the slightest bit daunted by the fact that I'm a Shinigami. He doesn't suck up to me. And he seems to have no problem giving me a hard time. LIGHT Well. You're sure there's nothing else you want to tell me ahead of time, Shinigami? RYUK No. Nothing else. Nah. Probably. LIGHT Really? That's too bad. RYUK What do you mean? LIGHT You know Ryuk, I might have seriously considered the deal if you'd offered me wings instead of eyes. Just the idea flying around freely in the sky sounds very godlike. After all it's been mankind's dream since antiquity to be able to fly. RYUK You'd stand out if you sprouted wings and flew around. Not to mention the police would have no trouble finding you. LIGHT I was only joking. Anyway if I keep bargaining for eyes and wings and whatever else, next thing you know I'm gonna end up becoming a real Shinigami. Though who knows. I bet that could be pretty interesting. RYUK I wouldn't worry. Even without the eyes and the wings, you are already a worthy Shinigami. The Shinigami realm is slowly rotting. We lead meaningless and empty lives. And the only reason we still take human lives is because we are afraid to die ourselves. The truth of the matter is that we no longer even know why we exist. In fact I doubt there's any reason for our existence at all. What I'm saying is, compared to that, you are becoming a much more impressive Shinigami. LIGHT I don't know about that, I mean, from what you are telling me, it sounds like I'm doing a lot more work than they are. But I don't want to be compared to a Shinigami. I'm a human using this death note to make the world a better place for other humans. But I wouldn't necessarily say that the Shinigami realm is meaningless to humans, either. RYUK Huh? Why do you say that? LIGHT Well, just think about it. Whenever a Shinigami like you comes to the human world once every hundred, no more like every thousand years, the human world changes dramatically. The existence of the Shinigami realm is extremely significant. RYUK Really? LIGHT You told me just now that the Shinigami realm is slowly rotting, right? Well, when you return from this world, why not use what you've learned here to try and change it for the better? RYUK Well, Light, I'm not sure why I never noticed this until now, but you are quite the positive thinker. LIGHT Haha. Yeah. Of course, I am. That's why I'm using the death note to create a better world. You have to be a positive thinker to even attempt something like this. That's it. I got it. RYUK Got what? What is this about? LIGHT I think I just figured out how to find the name of the guy who was following me today. RYUK How are you gonna do that? LIGHT I'm gonna use the rules of the death note to my advantage. I already know that if I write down a cause of death, I've got six minutes and forty seconds to record the conditions and exact time of death. First I need to know exactly how far I can go in terms of specifying the details of death. It should be interesting. (警察庁） SOUICHIRO Yeah. It's me. Another six inmates were found dead last night? All were heart attacks? It's him. What? Huh? Bizarre behavior before they died? Could you be more specific? What do you mean? So they didn't just die from heart attacks? MAN No. What I'm saying is they all died of heart attacks but it wasn't quite that simple. Before one of them died, he drew a pentagram on the wall of his cell using his own blood. Another left a letter but it doesn't seem to be a will or anything meaningful. And as for the third victim, he escaped from his cell and ran all the way to the staff bathrooms before he died. L What is it, Watari? WATARI Three more heart attack victims. But the circumstances of their deaths are different from what we've seen thus far. L What do you mean by different? WATARI I'm sending you a copy of a letter as well as pictures taken at the scene. L OK. It sounds like he was afraid that Kira would find him. It's believable that our victim might've been genuinely afraid and wrote this. But we know Kira can control the time of death. What if he can also determine the actions in the moments leading up to death. In which case.. L Chief. SOUICHIRO Hm? L We can't release details of these men's deaths to the media. As far as they are concerned, these are just heart attacks. I have reason to believe that Kira was performing some kind of test using these criminals. If that's the case, we'd only be giving him the results if this information is leaked to the public. SOUICHIRO Right. I understand. MAN So now he is experimenting on his victims? MAN Horrible. SOUICHIRO He is playing with people's lives, as if all this was just a game. It's unforgivable. L If Kira is really using criminals as test subjects, what is he trying to achieve? （月の部屋） LIGHT Look at this, Ryuk. I think we are in luck. The results of yesterday's little test have already been downloaded onto my Dad's computer. And these results are just as I expected. The Death note will work for what I have in mind. RYUK What do you mean by that? LIGHT One of them escaped and ran into the bathroom I had specified in the death note. Another one drew the same symbol I had drawn in the death note before he died. And finally, a third wrote the same letter I had written in the death note word for word. All three did exactly what I intended them to do. For the other three inmates, I purposely wrote conditions that were virtually impossible. RYUK Huh? LIGHT With the first one I wrote that he would die in front of the Eiffel tower in one hour. However, everyone knows that it is physically impossible to go from a prison in Japan to Paris, France in only one hour. Since this couldn't happen, he simply died of a heart attack in prison. The next was supposed to draw an exact picture of L's face on the prison wall. This also didn't happen. You can't draw someone you've never seen, right? RYUK Make sense. LIGHT With the last one I tried something slightly different. I specified that he would write a note that read "I know that L is suspicious of the Japanese police" To be honest, I actually expected this one to work. But it didn't end up happening. Which means, it's impossible to make someone write what they don't already know. Or at the very least it has to be the kind of thing they could come up with on their own. Basically even the death note can't do the impossible. But as long as it's within the realistic limits of what a person might do, I can control them as much as I want before they die. RYUK That's very clever. But what's all this leading to? What's the point? LIGHT These latest victims will no doubt keep L and the police guessing. Even as we speak, he's probably trying to decipher all the clues I left for him. Especially that little note. That absolutely meaningless dying message. L If Kira used those criminals to conduct an experiment of some sort, it means he's about to start something. If he moves now, there's a good chance that the FBI would notice someone acting suspiciously. But perhaps he has a different goal in mind altogether. Could the pentagram and this letter be some kind of message? Ha! Is this it? LIGHT All right. Time for the real thing. RYUK Real thing? LIGHT Yesterday on the news they said this drug addict tried to rob a bank but was unsuccessful. He attacked a few people and then ran away empty-handed. I'll use him. It's kind of last minute but I'm sure I can find someone. I've got a few people in mind. RYUK A few people? For what? LIGHT You'll see. Believe it or not, I'm actually a rather popular guy, Ryuk. Girl H-hello. Um, Light? Oh, morning. Death Note Chapter 4 Chasing 「追跡」 Ch4-2 Target--Bus jacking （バス停にて） LIGHT He's still following me. Perfect. This whole thing will just be a waste of time if he wasn't tailing me. YURI Light! RYUK A date? LIGHT Yeah. It's a date no matter how you look at it. I'm sure even my stalker will see it that way. RYUK But this isn't just a date, is it? You said that you'd figured out a way to find your stalker's name. So tell me, what do you plan on doing? LIGHT Huh? C'mon. Didn't you see what I wrote in the death note? I explained it in great detail. RYUK No. Doing that would take all the fun out of it. LIGHT In that case, just be patient and watch what happens. LIGHT Sorry. Did I keep you waiting? YURI No, not at all. Anyway, I haven't been to Spaceland since junior high. I'm so excited. And the best part is, I have you all to myself. LIGHT Uh, yeah. RAYE During the week he goes to school and cram school at night. Dates on his day off. A normal kid, just a hard working senior in high school. Chief Yagami's son, Light Yagami. No cause for suspicion. At any rate, I'll be done with my surveillance today. And that'll be it. (バス内） YURI I don't get it, Light. Didn't you say you weren't going out until entrance exams were over? LIGHT That was before I scored No. 1 on the national practice exams. YURI Ah, you're such a nerd. （バスジャッカーが乗り込む） LIGHT It's him. He's here. Seven passengers excluding him. No one's in the way. Everything should go smoothly. DRIVER Ah! HIJACKER Stay in your seats unless you want to die. YURI Ahh. RAYE A bus jacking? You gotta be kidding me. HIJACKER Everybody, shut up. If anybody moves, I'm putting a bullet in their head. All right driver, you listen to me. I know you've got the number for Spaceland's office on you. Call'em! DRIVER OK. This-this is Sasaki, calling from bus 174. HIJACKER Tell'em what's goin' on and no tricks, either. DRIVER My bus's been hijacked. And he's holding a gun to my head. HIJACKER Give me that. You heard what he said. Now you listen up. Have a female staff member bring all of Spaceland's cash from yesterday. I know it's there. Have her meet us two bus stops from the park and don't make me wait. If you mess with me at all, or try to get the police involved, I swear I'll kill every one of these passengers. LIGHT Yuri, don't be scared. As soon as he turns around, I'm gonna grab the gun out of his hand. RAYE Don't be stupid. That's risky. If it comes to that, I'll take care of it. It's OK. We don't have to pass notes back and forth. As long as we keep it down, he won't be able to hear our voices over the sound of the engine. LIGHT Do you have any proof that you are not his accomplice? Why should we trust you? YURI Accomplice? LIGHT Yes. I've read about this before. The first hijacker comes in like he is working alone. Meanwhile a second one pretends to be a hostage and stays in the very back just in case something goes wrong. What's the matter? YURI You-you really think he is one? RAYE I..I have no choice. I'm sure Light Yagami isn't Kira. If he was, he could just kill this guy with a heart attack. Here's my proof. Take a look. LIGHT FBI? I see. L needed an outsider, so he got the FBI to investigate anyone connected to the Japanese police. His name is Raye Penber. LIGHT I trust you. And I guess for the time being I won't bother asking what an FBI agent is doing on the bus in the first place. Do you have a gun? RAYE Yeah. I've got one. LIGHT So if it comes down to it, I can rely on you, right? RAYE Yes. HIJACKER Shut the hell up, you old hag. You want me to shoot you right now? RAYE That's right. This guy. His face was all over the local news just a few days ago. HIJACKER Look at me when I'm talking to you grandma! RAYE Some junkie. He tried to rob a bank, ended up killing three people before he got away. He's extremely dangerous. LIGHT We are safe. He won't shoot us. In fact, he's not gonna do anything. HIJACKER Don't move, you little punk. What the hell is that? Hey, a smart ass. You guys were planning something back here, weren't you]? RAYE Damn it. If he sees that note from before, he'll find out that Light was planning to jump him and take his gun away. HIJACKER Plans for a date, huh? Stupid kid. LIGHT Gotcha. HIJACKER W-who the hell are you? You in the very back. What do you think you're doing? Don't mess with me. How long have you been hiding back there? RYUK What's this? You are talking to me? So you mean you can actually see me right now? HIJACKER Stay there, you. You keep away from me, you freak. RAYE This isn't good! He's hallucinating. Everyone, get down! RYUK Oh, I get it. That little note that Light accidentally dropped was actually torn from the pages of the death note itself. Since he tricked this guy into touching the paper, he's the only other one on the bus who can see me. That's so smart. HIJACKER Get away! RYUK Sorry, pal. I'm a Shinigami, so I'm afraid your bullets aren't gonna kill me. HIJACKER Ahhhh! RYUK Anyone who touches the death note can see me. I have to stay till the death note is finished or I see you die, whichever comes first. And a Shinigami can't die from being shot. I've said all these things at one time or another. Well he is the top grade student in the country. Guess I shouldn't be surprised. He even used this hijacking as a way to get the guy following him to willingly give up his name. HIJACKER Stop the bus! Let me off! (バスジャッカーがはねられる） LIGHT 11 45 on the dot. Everything went just as I planned. Kiichiro Osoreda. Accidental death. Boards the 11 31 Spaceland bound bus near the eastern entrance to the park, holding a loaded gun and attempts to hijack the bus. He sees a horrific phantom and empties his gun trying to kill it. Terrified, he flees the bus. Immediately afterwards at 11 45, he dies when struck by a car. LIGHT The death note never fails. You will be next, Raye Penber.
https://w.atwiki.jp/supremecommanderjp/pages/36.html
Aeon en A02_D01_010_010="[{i Choir}] Choir to Knight, respond. Choir to Knight, please respond. We ve lost your signal, please respond." jp A02_D01_010_010="未訳" en A02_M01_010_010="[{i Choir}] The city of New Catalon is to your north, Commander. Avatar Marxon orders you to commence your attack. Choir out." jp A02_M01_010_010="未訳" en A02_M01_020_010="[{i Choir}] The Cybran Power Generators have been captured. Choir out." jp A02_M01_020_010="未訳" en A02_M01_030_010="[{i Choir}] Knight, Cybran units are preparing for a counterattack. Brace for an assault from the north. Choir out." jp A02_M01_030_010="未訳" en A02_M01_030_020="[{i Leopard11}] Get the hell off my planet, monster!" jp A02_M01_030_020="未訳" en A02_M01_040_010="[{i Choir}] Knight, the Cybran assault has been blunted. Choir out." jp A02_M01_040_010="未訳" en A02_M01_050_010="[{i Choir}] The Avatar is waiting for word that New Catalon has been cleansed. Choir out. " jp A02_M01_050_010="未訳" en A02_M01_055_010="[{i Choir}] The Avatar wishes to remind you that there are greater battles awaiting you once you finish with New Catalon. Choir out." jp A02_M01_055_010="未訳" en A02_M01_060_010="[{i Choir}] New Catalon has been cleansed. The Way can now flourish on Zeta Canis. Choir out." jp A02_M01_060_010="未訳" en A02_M01_OBJ_010_111="Cleanse New Catalon" jp A02_M01_OBJ_010_111="未訳" en A02_M01_OBJ_010_112="The Cybrans are flourishing here. Cleanse them in the name of the Aeon Illuminate. %s%% of the town must be cleansed." jp A02_M01_OBJ_010_112="未訳" en A02_M01_OBJ_010_113="(%s%%/%s%%)" jp A02_M01_OBJ_010_113="未訳" en A02_M01_OBJ_010_121="Repel Cybran Counterattack" jp A02_M01_OBJ_010_121="未訳" en A02_M01_OBJ_010_122="The Cybrans are launching a counterattack. Build anti-air and land defenses and repel the Cybran attack." jp A02_M01_OBJ_010_122="未訳" en A02_M01_OBJ_020_111="Capture all Mass Extractors in the Area" jp A02_M01_OBJ_020_111="未訳" en A02_M01_OBJ_020_112="Seize your enemy s assets and use them for yourself." jp A02_M01_OBJ_020_112="未訳" en A02_M01_OBJ_020_113="A Mass Extractor has been destroyed." jp A02_M01_OBJ_020_113="未訳" en A02_M01_OBJ_020_121="Fossil Fuel" jp A02_M01_OBJ_020_121="未訳" en A02_M01_OBJ_020_122="You built Hydrocarbon Plants on all available markers." jp A02_M01_OBJ_020_122="未訳" en A02_M02_010_010="[{i Choir}] Knight, we ve uncovered a Cybran base on an island to your northeast. Destroy it so that The Way can be revealed. Choir out." jp A02_M02_010_010="未訳" en A02_M02_020_010="[{i Choir}] We have detected a small human settlement on the island with the Cybran base, Commander. Evaluator Toth requests that you use caution and not inflict harm to the settlement." jp A02_M02_020_010="未訳" en A02_M02_020_020="[{i Marxon}] Ignore that order, Knight. If the settlement is in your way, destroy it." jp A02_M02_020_020="未訳" en A02_M02_020_030="[{i Toth}] The Princess has expressly requested there be no unnecessary loss of life." jp A02_M02_020_030="未訳" en A02_M02_020_040="[{i Marxon}] This is a military matter. The decision is mine." jp A02_M02_020_040="未訳" en A02_M02_020_050="[{i Princess}] No, the decision is mine. No harm will come to that settlement. Is that clear?" jp A02_M02_020_050="未訳" en A02_M02_020_060="[{i Marxon}] I shall remember this, Princess. Knight, you are not to attack the settlement. That is a direct order. We shall cleanse this planet at a later date." jp A02_M02_020_060="未訳" en A02_M02_030_010="[{i Choir}] The Cybran s position is well-fortified and guarded by Frigates. You should use Torpedo Bombers to destroy the enemy Frigates and then invade the island. Transports will be the fastest way to move your ground units into position. Choir out." jp A02_M02_030_010="未訳" en A02_M02_040_010="[{i Choir}] We have detected a Cybran base to the east, Knight. It is covered with a stealth field, which is why it wasn t located sooner. Watch for attacks from that position. Choir out." jp A02_M02_040_010="未訳" en A02_M02_050_010="[{i Choir}] There s a Cybran force approaching you from the east. We have no explanation for why our scans failed to detect any Cybran power signatures in that area. Be on guard. Choir out." jp A02_M02_050_010="未訳" en A02_M02_060_010="[{i Leopard11}] You are no match for Cybran technology!" jp A02_M02_060_010="未訳" en A02_M02_060_020="[{i Choir}] Knight, an attack from the Cybran hidden naval base is imminent! Choir out." jp A02_M02_060_020="未訳" en A02_M02_070_010="[{i Choir}] New orders from Avatar Marxon eradicate the hidden Cybran naval base. Choir out" jp A02_M02_070_010="未訳" en A02_M02_080_010="[{i Choir}] Scans show the Cybran Commander is building a fleet at his naval base. Destroy the fleet before it can launch. Choir out." jp A02_M02_080_010="未訳" en A02_M02_090_010="[{i Choir}] The fleet has launched! Sink it before it can get within range of your base! Choir out." jp A02_M02_090_010="未訳" en A02_M02_100_010="[{i Choir}] The fleet has been destroyed. Excellent work, Commander. Choir out." jp A02_M02_100_010="未訳" en A02_M02_110_010="[{i Leopard11}] You were a fool to come here, Aeon. This planet belongs to the Cybran!" jp A02_M02_110_010="未訳" en A02_M02_120_010="[{i Leopard11}] Why can t you just leave us in peace?" jp A02_M02_120_010="未訳" en A02_M02_130_010="[{i Leopard11}] This battle is not over, fanatic!" jp A02_M02_130_010="未訳" en A02_M02_140_010="[{i Choir}] Knight, the conquest of the Cybran base seems to be taking a long time. Is there a problem? Choir out. " jp A02_M02_140_010="未訳" en A02_M02_145_010="[{i Choir}] If you are unable to destroy the Cybran base, the Avatar will have you replaced. Choir out." jp A02_M02_145_010="未訳" en A02_M02_150_020="[{i Choir}] There have been too many civilian casualties. Abort and return. Choir out." jp A02_M02_150_020="未訳" en A02_M02_OBJ_010_211="Destroy Cybran Base" jp A02_M02_OBJ_010_211="未訳" en A02_M02_OBJ_010_212="The Cybrans are attempting to rally. Their base has heavy AA defenses, so we recommend transporting in ground forces. Your Light Tanks hover, so you can also send a force of them across the water." jp A02_M02_OBJ_010_212="未訳" en A02_M02_OBJ_010_221="Do Not Destroy Human Settlement" jp A02_M02_OBJ_010_221="未訳" en A02_M02_OBJ_010_222="The Princess orders that the humans are spared. %s%% of the civilian settlement on the northeast island must survive." jp A02_M02_OBJ_010_222="未訳" en A02_M02_OBJ_010_223="(%s%%/%s%%)" jp A02_M02_OBJ_010_223="未訳" en A02_M02_OBJ_010_231="Destroy Cybran Secret Base" jp A02_M02_OBJ_010_231="未訳" en A02_M02_OBJ_010_232="The Cybran Commander tried to catch you off-guard. Destroy his secret base." jp A02_M02_OBJ_010_232="未訳" en A02_M02_OBJ_020_111="Destroy the Cybran Cruiser in Dock" jp A02_M02_OBJ_020_111="未訳" en A02_M02_OBJ_020_112="If this unit becomes operational, it could cause you serious problems. Destroy it while it s still under construction." jp A02_M02_OBJ_020_112="未訳" en A02_M02_OBJ_020_113="The Cruiser was not destroyed while still in dock." jp A02_M02_OBJ_020_113="未訳" en A02_M02_OBJ_020_121="All colony buildings survived" jp A02_M02_OBJ_020_121="未訳" en A02_M02_OBJ_020_122="You preserved the integrity of the human colony." jp A02_M02_OBJ_020_122="未訳" en A02_M02_OBJ_020_131="Strength of the Way" jp A02_M02_OBJ_020_131="未訳" en A02_M02_OBJ_020_132="All buildings in the human settlement were captured." jp A02_M02_OBJ_020_132="未訳" en A02_M03_010_010="[{i Leopard11}] I m going to end this fight now, Aeon." jp A02_M03_010_010="未訳" en A02_M03_010_020="[{i Choir}] There is a large force of Cybran tanks and bots deploying to the north. We are uploading the schematics for the Oblivion Tech 2 Point Defense Turret and the Tech 2 Anti-Air Turret into your ACU. Choir out." jp A02_M03_010_020="未訳" en A02_M03_020_010="[{i Choir}] The assault has been repelled. Attack the enemy s stronghold and exterminate the Cybran Commander. Choir out." jp A02_M03_020_010="未訳" en A02_M03_030_010="[{i Leopard11}] The Aeon people are the abominations!" jp A02_M03_030_010="未訳" en A02_M03_040_010="[{i Choir}] The enemy stronghold to the east is protected by an artillery position. The artillery is located west of their stronghold; if you can capture it, you can unleash its fury against the Cybran." jp A02_M03_040_010="未訳" en A02_M03_050_010="[{i Choir}] The western Cybran stronghold has fallen. Choir out." jp A02_M03_050_010="未訳" en A02_M03_060_010="[{i Choir}] The Cybran base to the east has been defeated. Choir out." jp A02_M03_060_010="未訳" en A02_M03_070_010="[{i Leopard11}] Recall, dammit, recall! " jp A02_M03_070_010="未訳" en A02_M03_080_010="[{i Choir}] We are awaiting word of the destruction of the Cybran base, Knight. Choir out" jp A02_M03_080_010="未訳" en A02_M03_085_010="[{i Choir}] The Avatar is wondering why you are taking so long to defeat the Cybran base, Knight. Choir out." jp A02_M03_085_010="未訳" en A02_M03_090_010="[{i Choir}] Zeta Canis is almost ours, Knight. Defeat the Cybran Commander. Choir out. " jp A02_M03_090_010="未訳" en A02_M03_090_020="[{i Choir}] Cybrans can be tough opponents, Knight, but we have every confidence that you will prevail. Choir out. " jp A02_M03_090_020="未訳" en A02_M03_095_010="[{i Choir}] Zeta Canis is almost ours, Knight. Defeat the Cybran Commander. Choir out. " jp A02_M03_095_010="未訳" en A02_M03_100_010="[{i Choir}] The Cybran Commander and his forces have been destroyed. The Avatar-of-War will be pleased. Choir out." jp A02_M03_100_010="未訳" en A02_M03_100_020="[{i Choir}] Zeta Canis is now under our control. Well done." jp A02_M03_100_020="未訳" en A02_M03_OBJ_010_311="Survive Cybran Assault" jp A02_M03_OBJ_010_311="未訳" en A02_M03_OBJ_010_312="The Cybran is sending a large land force against your base. Use your new T2 Point Defense Towers to bolster your defenses." jp A02_M03_OBJ_010_312="未訳" en A02_M03_OBJ_010_321="Destroy Eastern Cybran Base" jp A02_M03_OBJ_010_321="未訳" en A02_M03_OBJ_010_322="If you choose not to capture the Cybran artillery, assault this base with air power." jp A02_M03_OBJ_010_322="未訳" en A02_M03_OBJ_010_331="Destroy Western Cybran Base" jp A02_M03_OBJ_010_331="未訳" en A02_M03_OBJ_010_332="This base only houses one Naval Factory. Destroy it and your navy will be unopposed. Make sure to destroy all structures in the base." jp A02_M03_OBJ_010_332="未訳" en A02_M03_OBJ_010_341="Defeat Cybran Commander" jp A02_M03_OBJ_010_341="未訳" en A02_M03_OBJ_010_342="This planet must be freed from the influence of the Cybrans." jp A02_M03_OBJ_010_342="未訳" en A02_M03_OBJ_020_311="Destroy or Capture the Cybran Artillery Positions" jp A02_M03_OBJ_020_311="未訳" en A02_M03_OBJ_020_312="These artillery pieces could be a great help in your assault on the Cybran base." jp A02_M03_OBJ_020_312="未訳" en A02_T01_010_010="[{i Leopard11}] Your madness will be your undoing." jp A02_T01_010_010="未訳" en A02_T01_020_010="[{i Leopard11}] I will never bow to the Aeon!" jp A02_T01_020_010="未訳" en A02_T01_030_010="[{i Leopard11}] I will not rest until every Symbiont is free from your terror." jp A02_T01_030_010="未訳" en A02_T01_040_010="[{i Leopard11}] This planet is under my protection. You will never take it." jp A02_T01_040_010="未訳" en A02_T01_050_010="[{i Leopard11}] My AI is always calculating your next move." jp A02_T01_050_010="未訳" en A02_T01_060_010="[{i Leopard11}] The civilians here are under my protection." jp A02_T01_060_010="未訳" en A02_T01_070_010="[{i Leopard11}] This is not a fight you can win." jp A02_T01_070_010="未訳" en A02_T01_080_010="[{i Leopard11}] I will parade your remains through the streets." jp A02_T01_080_010="未訳"
https://w.atwiki.jp/mrfrtech/pages/17.html
Market Highlights The adoption of the concept of online meetings by various organizations is spurring the online meeting software market 2020. The software reports are formed by Market Research Future, which covers market alternatives for progress. The Global Online Meeting Software Market is expected to register a CAGR of 11.1% during the forecast period of 2020–2027. There are various factors contributing to the growth of the global online meeting software such as the increasing digitalization and urbanization which is increasing the adoption of online meeting software among the enterprises to reduce the distance between the clients globally. The surge in the concept of work from home due to the ongoing coronavirus pandemic, the market share of online meeting software is estimated to rise steadily in the impending period. Their surging application in conducting webinars and for web conferencing is predicted to direct the online meeting software market in the forecast period. Segmental Analysis The global online meeting software market has been segmented based on component, deployment, organization size, end user, and region. By component, the market has been segmented into software and services. By deployment, the market has been segmented into cloud-based and on-premise By organization size, the market has been segmented into large enterprises and SMEs. By end user, the market has been segmented into BFSI, IT telecom, government, healthcare, manufacturing, and others By region, the market has been segmented into North America, Europe, Asia-Pacific, and the rest of the world. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/8297 Detailed Regional Analysis The global online meeting software market is estimated to grow at a significant rate in the future. The geographical analysis of online meeting software market has been conducted for North America, Europe, Asia-Pacific, and the rest of the world. North America dominates the global online meeting software market, by region, due to the early adoption of the web conferencing services and online meeting. Additionally, there are various companies present in the region who offers various online meeting software and services which is driving the growth of the market. Additionally, high internet speed and developed infrastructure which increases the demand for the online meeting software market in the region. The US accounts the largest market share in the region due to presence of various industries and end-users in the region who are using these software and services such as BFSI, IT telecom, government agencies, and others. Whereas, Canada is expected to be the fastest-growing country in the region during the forecast period. Europe accounts the second-largest market share in the online meeting software market due to presence of various industries such as automotive, BFSI, IT telecom, and others which is driving the market. Additionally, the presence of various countries such as the UK, Germany, France, Italy, and others in the region are the major contributors in the global online meeting market. Additionally, the increasing ownership of smartphones has also accelerated the market growth in the region as the users can attend the web conference with smartphones irrespective of their location. Asia-Pacific is expected to be the fastest-growing region during the forecast period due to increasing advancement in terms of technology, urbanization, and digitalization. The present companies and upcoming startups are adopting online meeting software to increase their client conversion. Additionally, the SMEs and large enterprise are also using this software to reduce their spend on travel and increase the productivity and efficiency of the work without spending much on traveling. China is expected to be the dominating country in the region whereas India is accounted to be the fastest-growing country during the forecast period. Rest of the world is segmented as South America and Middle East Africa is expected to be growing with a significant CAGR during the forecast period due to development of infrastructure and investments made by various industries in the region. Additionally, the subsidiaries and startups are using smartphones for online meeting to conduct training and conferencing. Competitive Analysis The capability of contenders to influence change in the market is increasing at a stable rate in the impending period. The support from government bodies around the world is rising because the market needs an extra stimulus to achieve normalcy in such a scenario. The disharmony in the forces of demand and supply are estimated to create a slow growth background in the market. Furthermore, the need to adopt a rapid and cost-effective method of operation is estimated to profile the market in the impending period. The emphasis on innovation is estimated to rise in the coming years, as the consumer needs have to be addressed in a better manner to ensure the resurgence of the global market. Also, the need to encourage business to include the environmental impact of their decisions is estimated to shape the progress of the market in future. The need to mitigate losses sustained by the current public health crisis is estimated to be the sole focus of the market contenders in the upcoming years. The eminent contenders in the online meeting software market are Nextiva (US), RingCentral, Inc. (US), Amazon Web Services, Inc. (US), Zoho Corporation Pvt. Ltd. (India), Jive Communications (US), Vonage (US), Ooma, Inc. (US), FluentStream Technologies, LLC (US), Zoom Video Communications, Inc. (US), LogMeIn, Inc (US), Cisco Systems (US), Dialpad, Inc. (US), 8x8, Inc. (US), IBM Corporation (US), Microsoft Corporation (US) among others. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/online-meeting-software-market-8297 Table of Contents 1 Executive Summary 2 Scope of The Report 2.1 Market Definition 2.2 Scope of The Study 2.2.1 Research Objectives 2.2.2 Assumptions Limitations 2.3 Market Structure Continued… Similar Report Application Management Services Market By Service-Type (System Integration, Consulting Services, Modernization Services, And Others), By Organization Size, By Deployment, And By End-Users Open Source Intelligence (OSINT) Market By Security Type (Human Intelligence, Content Intelligence, Dark Web Analysis, Link/Network Analysis, Data Analytics, Text Analytics, Artificial Intelligence, Big Data, Others), Technology (Bid Data Software, Video Analytics, Text Analytics, Visualization Tool, Cyber Security, Web Analysis, Social Media Analysis, Others), Application (Military Defense, Homeland Security, Private Sector, Public Sector, National Security, Others) About Market Research Future At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com #market #research #industry #data #growth #trend #report #analyis #share #marketing #forecast #digital #geographic #demographic #gnews Plugin Error キーワードを入力してください。 #tech #researchreport #marketreport #futrue
https://w.atwiki.jp/kumicit/pages/1071.html
Kumicitのコンテンツ Who s Who Harun Yahya トルコの創造論情勢とHarun Yahya 仏教を啓示宗教に対抗するための唯物論者たちの手段とみなすHarun Yahya "若い地球の塑像論"からインテリジェントデザインを経て、現在は"古い地球の創造論"をトルコを中心として欧米に宣伝しているHarun YahyaことAdnan Oktarは、西洋での仏教への関心が、唯物論者による一神教宗教への対抗策によるものだと主張している： One reason why Buddhism has come to the world s attention is not because of its existence in the Far East-its traditional home-but thanks to propaganda spread in the West. The beginning of this propaganda goes back as far as the 19th century and attracted more interest in the second half of the 20th century when it became a fad for those looking to be more "original." ... Ironically, this scientific testimony against atheism is closely related to why Buddhism is spreading in the Western world. Architects of atheism and materialist culture see that their theory is collapsing. To prevent the rapidly growing movement towards revealed religions, they counter it by promoting pagan faiths such as Buddhism. In other words, Buddhism-and other Far Eastern religions like it-are spiritual reinforcements of materialism. Baigent, Richard Leigh and Henry Lincoln have examined the development (and degeneration) of ideas in the Western world over the past 2,000 years. In the 20th century, they explain, the Western world has fallen into a "crisis of meaning." In other words, the way of life imposed on Western societies by materialist philosophy has stripped people s lives of meaning by cutting them off from their belief in God s existence and from worship of Him. These three authors put it this way Life became increasingly bereft of meaning, devoid of significance - a wholly random phenomenon, lived for no particular purpose.13 Adding to this crisis of meaning, the collapse of materialist theories on a scientific level has opened the way for a new return to revealed religions, especially Islam. For this reason, the monotheistic faiths are growing in their numbers of adherents; the number of those who believe and practice their religion is increasing; and religious concepts and values are assuming much more important places in social life. 仏教が世界的関心をむけられるようになった理由のひとつは、その伝統的な本拠地である極東の存在ではなく、西洋でのプロパガンダによるものである。このプロパガンダの始まりは19世紀に遡るもので、より"独創的"に見えるものへの一時的流行となった20世紀後半に、より関心が大きくなった。 ... 皮肉にも、無神論に不利なこの科学的な証拠は、仏教が西洋の世界で広がっている理由と密接に関連している。無神論と唯物論文化の建設者は、自らの理論の崩壊を見ている。啓示宗教への動きが急速に成長するのを阻止するために、仏教のような異教信仰を広めることで対抗している。言い換えるなら、仏教やその他の仏教のような極東の宗教は、唯物論のスピリチュアルな強化である。 BaigentとRichard LeighとHenry Lincolnは西洋世界における思想の成長と退潮を調べた。彼らによれば、20世紀には、西洋世界は「意味の危機」に陥っていた。言い換えるなら、唯物論哲学が西洋社会に強要した生き方は、人々を神の存在への信仰および神への信仰から切り離すことで、人々の生きる意味にを剥ぎ取った。これらの著者たちは次のように書いている： 生命は次第に意味を失い、重要性を欠き、すべてはランダムな現象となり、特定の目的のないものになっていった。 この「意味の危機」に加えて、科学レベルの唯物論者の理論の崩壊は、特にイスラムにおいて、啓示宗教へ新たなる回帰への道を開いた。この理由から、一神教信仰の信者の数が増大している。それら宗教を信仰し実践する人々の数が増大している。宗教の概念と価値観は社会生活において、その重要な地位を当然のごとく占めている。 13 Michael Baigent, Richard Leigh, Henry Lincoln, Messianic Legacy, London Corgi Books, 1991, p. 184 [ BUDDHISM AND MATERIALIST WESTERN CULTURE in ISLAM and BUDDHISM on Harun Yahya] ] Harun Yahyaはストレートに仏教と唯物論を同一視する。これは狂った見方ではない。欧米では仏教は無神論宗教とみなされている。
https://w.atwiki.jp/vocaloidenglishlyric/pages/570.html
【Tags I Miku Scop tI】 Original Music title インターネットシティ English music title Internet City Romaji music title Intaanetto Shithii Music Lyrics written, Voice edited by すこっぷ (Scop) Music arranged by すこっぷ (Scop) Singer(s) 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics English Lyrics (translated by vgboy / vgperson)： It s an age of convenience; when I open up my laptop, It s an age where I can have a friend in five minutes We ve made such a dreamlike world Thoughts of the heart take the form of words, And anything can be said The reply always comes back as you expect Such a gentle world... Even when my name, my face, you don t even know, How can you seem so caring? Oh, you don t know, do you? What I might be doing after this? Oh, you don t know, do you? That I m such a bad person... Compliments keep coming, coming together however It s a world filled with pretty words "Awesome," "impressive," "so do I!" And they re all nothing but lies You, with whatever face you have, look on at the screen, And what do you see in me? Oh, I don t even know Whether or not you re really smiling Oh, I don t even know Whether or not you re crying So what should I do? Should I bring this to an end? I become insecure; I don t want to believe, Not in those gentle words... Oh, this is Internet City, A town of awkward gentleness Oh, you don t know, do you? That it could have saved me Even in such despair, with feelings so much like loneliness, For now, I try to evade And today, like always, in my room, the sound of my keyboard futilely echoes... Romaji lyrics (transliterated by vgboy / vgperson)： Benri na jidai da pasokon aitara Go-fun de tomodachi ga dekiru jidai da Sonna yumei mitai na sekai ga dekita yo Kokoro no nakami o kotoba de katachi ni Nandemo ierunda Kitai toori no henji o kureru Yasashii sekai sa Namae mo kao sae mo kimi wa shiranai no ni Doushite yasashiku dekiru no Aa kimi wa shiranai deshou Ima kara nani o shiyou toshiteta ka nante sa Aa kimi wa shiranai deshou Boku ga warui hito da nante Homekotoba narabete nantonaku awasete Kirei-goto darake no sekai "Sugoi ne" "umai da ne" "atashi mo onnaji desu" Uso bakari da yo Kimi wa donna kao de gamen o miteiru no Sono me wa nani ga mieteru no Aa boku wa shiranainda yo Kimi ga hontou ni waratteru ka nante sa Aa boku wa shiranainda yo Kimi ga naiteru koto datte Dou shiyou kana yameyou kana Fuantei ni naru to shinjitaku naru yo Yasashii kotoba o Aa koko wa Intaanetto Shiti Bukiyou na yasashisa de michita toshi da yo Aa kimi wa shiranai deshou Boku ga sore ni sukuwareta nante Zetsubou ni mo nita kodoku na kimochi wa Hitomazu hagurakashi Kyou mo heya de wa kiiboodo no oto ga Munashiku hibiku yo [Sukoppu, Scop]
https://w.atwiki.jp/hmiku/pages/26349.html
うつろちち【登録タグ VOCALOID う カーストP 曲 結月ゆかり】 作詞：カーストP 作曲：カーストP 編曲：カーストP 唄：結月ゆかり 曲紹介 乳を渇望する亡者蠢く聖戦の火蓋は切られた。 イラストはchaky氏、動画はtaka33氏、MIXやマスタリング等をCROW'SCLAW氏とKrovi氏が担当している。 イントロのPrimaは「我、渇望す……乳房の中の脂肪を！」的なことを言ってます。(※動画説明文より転載) 結月ゆかりの無修正オールヌードがタグロックされている。 歌詞 貧富の是正が叫ばれる世に 胸囲の格差は無視される 機能に違いは無いからだと？ 巫山戯（ふざけ）た事を抜かしやがる 例えば将来子供を産んで 授乳をしようとするだろう しかし、胸の無さ故に 乳首探せずに 餓死（がし）させてしまうのではないか 想像した刹那（せつな）止め処（とめど）ない涙が ぽたりぽたり眼下へと零れゆく 揉めど掴めど指先はただ空（くう）を切る この実体の無い乳の虚像が 我が胸を悩ませる そう私の乳は虚乳（うつろちち） 霞の如し 砂漠に揺蕩（たゆた）う蜃気楼の様 夢と共に霧散する 触（ふ）れ得ぬ虚乳 努力が実るとは限らないんだ 才有る者が果実得る しかし諦めるにはまだ早い 養殖で良いならば策は有る 電車に乗って微睡（まどろ）んでいると 胸を揉みしだく輩が …我は彼奴（きゃつ）の背後を取り耳元へ呟く 「それは乳などでは御座らぬ……」 材料工学の粋（すい）たる詰め物 感触だけなら実物に劣らぬ 重ね嵩ねて積み上げた偽物の乳 この柔らかさ形全て 珪素（けいそ）の塊でしかない そう私の乳は虚乳 絶壁の如し 登攀（とうはん）者を葬り去る魔壁 人は私をこう呼ぶ 死喚（よ）ぶ虚乳と Prove that the set "Yuzuki Yukari" is a cutting boardif the following equations are trueYuzuki Yukari = ｛yukari's body, yukari's tits｝ sin(yukari's body)/[e^x+1]=∞lim +x→yukari's tits｛yukari's body, 0°＜yukari's body≦90°｝｛yukari's tits,0°＜yukari's body≦πi｝ let numerator be Ylet denominator be X the equation is true, if and only ifY∈+R and X approaches 0 from positive side orY∈-R and X approaches 0 from negative side θ= yukari's bodywhen the value "yukari's body" is substituted into θ、each trigonometric functions f(θ) will produce the values below sinθ= 1 cosθ= 0 tanθ= undefinedcscθ= 1 secθ= undefined cotθ= 0 the onlyθwhich gives such values would be 90°therefore, yukari's body=90° with Euler's formulae^(iθ)=cosθ+isinθe^(iθ)+1=cosθ+isinθ+1cosθ+isinθ+1=0 if 0＜θ≦πi、the only value of variable θwhich makes this equation true would be πitherefore, yukari's tits=πi by the common sense theorem,the only object that satisfies such values would be a cutting board ∴ Yuzuki Yukari is a cutting boardQED 女の魅力は胸だけじゃないよ …なんて戯言（たわごと）を信じられるわけない！ 余弦余接凡（すべ）て零（ぜろ） 滑（すべ）らか過ぎる胸部 骨と皮と乳腺だけで構成された 自称『乳』 そう、私の乳は虚乳、鏡の如し 覆う必要すらない 柔（やわらか）くないこの柔肌 効果も意味も無かった 数多の育乳法 この立体で無い乳の平面が 地平線へと続く そう、私の乳は虚乳、赤壁（せきへき）の如し 脂肪を燃やし尽くす 燃焼効率の良過ぎる躯（からだ） 何故（なぜ）に虚乳 虚数×虚数＝負の実数負の実数×負の実数＝正の実数ここで数に乳を代入する 虚乳×虚乳＝負の実乳負の実乳×負の実乳＝正の実乳∴虚乳は四度掛け合わせると実のある乳になる事が数理的に証明された 結月ゆかりはその平坦な胸に誓う三人の虚乳を探し出す事をそして、それを奪い取り己が乳肉へと変える事をわがまま言わないボディーを卒業するために…… 狩れ!!!抉れ!!!簒奪せよ!!!豊満なる乳房を求めるiνたちの戦いが今、始まる 修羅と羅刹の骨皮相食む聖戦を前に彼女は、ぽつりと呟く－－乳パッドは置いてきた 修行はしたがハッキリ言ってこの戦いにはついてこれそうもない…… to be continued...？ コメント かっこいい・・・？ -- 名無しさん (2013-08-08 12 38 03) れるりり先生のブログで紹介されてたな。タイトルにひかれて来た -- 名無しさん (2013-10-20 21 17 57) ううむ……… -- ななしさん (2014-02-15 19 02 32) 名前 コメント
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CHAPTER XXXVII UP CHAPTER XXXVIII The Bend in the road 第38章 道の曲がり角（松本訳） Marilla went to town the next day and returned in the evening. Anne had gone over to Orchard Slope with Diana and came back to find Marilla in the kitchen, sitting by the table with her head leaning on her hand. Something in her dejected attitude struck a chill to Anne s heart. She had never seen Marilla sit limply inert like that. "Are you very tired, Marilla?" "Yes--no--I don t know," said Marilla wearily, looking up. "I suppose I am tired but I haven t thought about it. It s not that." "Did you see the oculist? What did he say?" asked Anne anxiously. "Yes, I saw him. He examined my eyes. He says that if I give up all reading and sewing entirely and any kind of work that strains the eyes, and if I m careful not to cry, and if I wear the glasses he s given me he thinks my eyes may not get any worse and my headaches will be cured. But if I don t he says I ll certainly be stone-blind in six months. Blind! Anne, just think of it!" For a minute Anne, after her first quick exclamation of dismay, was silent. It seemed to her that she could NOT speak. Then she said bravely, but with a catch in her voice "Marilla, DON T think of it. You know he has given you hope. If you are careful you won t lose your sight altogether; and if his glasses cure your headaches it will be a great thing." "I don t call it much hope," said Marilla bitterly. "What am I to live for if I can t read or sew or do anything like that? 「read or sew or do anything like that」マリラは編み物をしている 場面か料理の場面の描写はあっても、本を読んだり、縫い物をしたりしている場面はないように思います。アンの服を作ったりしているので裁縫しているのはわかっていますが I might as well be blind--or dead. And as for crying, I can t help that when I get lonesome. But there, it s no good talking about it. If you ll get me a cup of tea I ll be thankful. I m about done out. Don t say anything about this to any one for a spell yet, anyway. I can t bear that folks should come here to question and sympathize and talk about it." マリラは強い。同情されたくない、ということについては When Marilla had eaten her lunch Anne persuaded her to go to bed. 「lunch」 tea でも dinner でもなく、lunch。夕方でも lunch ということは、ええと、どういうことでしょう。疑問。Webster s Revised Unabridged, 1913 Edition（onelook 経由：わざと古めの辞書を選びました）では、A luncheon; specifically, a light repast between breakfast and dinner. とあります。では、luncheon は？ 2. A portion of food taken at any time except at a regular meal; an informal or light repast, as between breakfast and dinner. となっています。ということは、普段の食事より軽い（簡単な）ものってことでしょうね。マリラに食べさせて、さっさと寝室に行かせてしまった、ということなんでしょう。う～ん、マリラに話しかけたときには、「with a catch in her voice」（少し上のところ）と、つっかえながら話したわりには、その後のアンの行動はすっかり保護者のよう Then Anne went herself to the east gable and sat down by her window in the darkness alone with her tears and her heaviness of heart. How sadly things had changed since she had sat there the night after coming home! Then she had been full of hope and joy and the future had looked rosy with promise. Anne felt as if she had lived years since then, but before she went to bed there was a smile on her lips and peace in her heart. 答「but」問：アンの考えがはっきり変ったところはどこか、はじめの単語を示しなさい。と、したらですが。表面上はここでしょうけども、心の動きを考えると、前章のアラン夫人の、マリラも淋しくなるでしょうね、との問いに答えなかった（られなかった）ところで、心はもうその方向は決まっていたはず。頭が納得したのがこの時点 She had looked her duty courageously in the face and found it a friend--as duty ever is when we meet it frankly. One afternoon a few days later Marilla came slowly in from the front yard where she had been talking to a caller-- a man whom Anne knew by sight as Sadler from Carmody. Anne wondered what he could have been saying to bring that look to Marilla s face. "What did Mr. Sadler want, Marilla?" Marilla sat down by the window and looked at Anne. There were tears in her eyes in defiance of the oculist s prohibition and her voice broke as she said "He heard that I was going to sell Green Gables and he wants to buy it." 「it」Green Gables を指す。後にも出てきますが、Green Gables で、家だけではなく、納屋や農地を含めたもの（homestead というのかしら）を言っている。なので、ひとかたまりで扱って、it。松本訳注には「屋号として扱われていたと考えられる」（第1章(6) p. 451）とあるように広い意味があるようです "Buy it! Buy Green Gables?" Anne wondered if she had heard aright. 「Buy it! Buy Green Gables?」マリラの he wants to buy it を受けてそのままオウム返しに言っている。興奮しているのが、オウム返しでわかる。和訳するとなるとむずかしいところ "Oh, Marilla, you don t mean to sell Green Gables!" "Anne, I don t know what else is to be done. I ve thought it all over. If my eyes were strong I could stay here and make out to look after things and manage, with a good hired man. But as it is I can t. I may lose my sight altogether; and anyway I ll not be fit to run things. Oh, I never thought I d live to see the day when I d have to sell my home. But things would only go behind worse and worse all the time, till nobody would want to buy it. Every cent of our money went in that bank; and there s some notes Matthew gave last fall to pay. 「note」当時の商習慣（支払いの）がよくわからないので、この言葉の厳密な意味もわかりませんが、払わなければならないのですから、「附け」でしょうか。ブレアの店とか、かしら？？？ Mrs. Lynde advises me to sell the farm and board somewhere--with her I suppose. 「with her I suppose」逆のことになろうとは……（ずっと先ですが）。モードはこういうことを書いていたからこそ、リンド夫人がグリーンゲイブルズに来ることにしたに違いありません It won t bring much--it s small and the buildings are old. But it ll be enough for me to live on I reckon. I m thankful you re provided for with that scholarship, Anne. 「you re provided for with that scholarship」この受け身は、無理矢理能動形にすれば、Somebody provides for you with that scholarship I m sorry you won t have a home to come to in your vacations, that s all, but I suppose you ll manage somehow." Marilla broke down and wept bitterly. "You mustn t sell Green Gables," said Anne resolutely. 「said Anne resolutely」この毅然とした態度に、アンの決意がある。そして、会話としては、アンの自立がはっきりするのがここ "Oh, Anne, I wish I didn t have to. But you can see for yourself. I can t stay here alone. I d go crazy with trouble and loneliness. And my sight would go--I know it would." "You won t have to stay here alone, Marilla. I ll be with you. I m not going to Redmond." "Not going to Redmond!" Marilla lifted her worn face from her hands and looked at Anne. "Why, what do you mean?" "Just what I say. I m not going to take the scholarship. I decided so the night after you came home from town. You surely don t think I could leave you alone in your trouble, Marilla, after all you ve done for me. I ve been thinking and planning. Let me tell you my plans. Mr. Barry wants to rent the farm for next year. So you won t have any bother over that. And I m going to teach. I ve applied for the school here--but I don t expect to get it for I understand the trustees have promised it to Gilbert Blythe. 「the trustees have promised it to Gilbert Blythe」文面上は、理事会はギルバートとまだ契約していないかもしれないことになる。尤もこれはアンの言葉だからあまり当てにならないわけですが But I can have the Carmody school--Mr. Blair told me so last night at the store. Of course that won t be quite as nice or convenient as if I had the Avonlea school. But I can board home and drive myself over to Carmody and back, in the warm weather at least. And even in winter I can come home Fridays. We ll keep a horse for that. Oh, I have it all planned out, Marilla. And I ll read to you and keep you cheered up. You sha n t be dull or lonesome. And we ll be real cozy and happy here together, you and I." Marilla had listened like a woman in a dream. "Oh, Anne, I could get on real well if you were here, I know. But I can t let you sacrifice yourself so for me. 「I can t let you sacrifice yourself so for me」うれしいが、アンを犠牲にはできない。あくまでマリラは強い。sacrifice はあとで、ギルバートのところでも出てくる表現 It would be terrible." "Nonsense!" Anne laughed merrily. 「merrily」ここで、アンとマリラの立場が逆転したことが明確になる。言葉で伝えるだけでは（頭だけでは）だめで（アンの話したプランは頭で理解する話でしかない）、感情（心）が相手を動かす "There is no sacrifice. Nothing could be worse than giving up Green Gables-- 「Nothing could be worse than giving up Green Gables」アンの home は Green Gables になければならないのだから。CHAPTER II with impression Matthew Cuthbert is surprised の「But I m glad to think of getting home. You see, I ve never had a real home since I can remember. It gives me that pleasant ache again just to think of coming to a really truly home. 」を思い出す nothing could hurt me more. We must keep the dear old place. My mind is quite made up, Marilla. I m NOT going to Redmond; and I AM going to stay here and teach. Don t you worry about me a bit." "But your ambitions--and--" "I m just as ambitious as ever. Only, I ve changed the object of my ambitions. 「the object of my ambitions」奨学金が手に入れられないことは非常に大きな痛手ですが、客観的に見れば方向は大きく変わってはいない。ただし、これが男ならば全くといっていいほど変わりはないのですが（ギルバートのように）、アンが女であるがゆえに、その先がギルバートのように開けるのかどうかがわからないがゆえに、決断には強い意志が必要になったはず（アタマが納得しないといけないので） I m going to be a good teacher-- and I m going to save your eyesight. Besides, I mean to study at home here and take a little college course all by myself. Oh, I ve dozens of plans, Marilla. I ve been thinking them out for a week. I shall give life here my best, and I believe it will give its best to me in return. When I left Queen s my future seemed to stretch out before me like a straight road. 「a straight road」これと対比されて、章題の The Bend in the Road。説明は次の文章から I thought I could see along it for many a milestone. Now there is a bend in it. I don t know what lies around the bend, but I m going to believe that the best does. It has a fascination of its own, that bend, Marilla. I wonder how the road beyond it goes--what there is of green glory and soft, checkered light and shadows--what new landscapes--what new beauties--what curves and hills and valleys further on." "I don t feel as if I ought to let you give it up," said Marilla, referring to the scholarship. "But you can t prevent me. 「you can t prevent me」これまではマリラに禁じられたこともあったが、立場の逆転は、マリラに否をつきつけることでもある I m sixteen and a half, 「sixteen and a half」まだ、若い、とは思いますが、説得に値すると思ったということでしょう `obstinate as a mule, as Mrs. Lynde once told me," laughed Anne. "Oh, Marilla, don t you go pitying me. 「don t you go pitying me」そう見えるところが多いのは本人がいちばんよく知っている I don t like to be pitied, and there is no need for it. I m heart glad over the very thought of staying at dear Green Gables. Nobody could love it as you and I do-- 「you and I」マリラとわたしにしかできない、殺し文句になって……、いるかも so we must keep it." "You blessed girl!" said Marilla, yielding. "I feel as if you d given me new life. I guess I ought to stick out and make you go to college--but I know I can t, so I ain t going to try. I ll make it up to you though, Anne." When it became noised abroad in Avonlea 「it became noised abroad」松本訳注第38章(1) p. 533参照 that Anne Shirley had given up the idea of going to college and intended to stay home and teach there was a good deal of discussion over it. 「When...」teach と there のあいだにコンマを入れると区切れがわかる Most of the good folks, not knowing about Marilla s eyes, thought she was foolish. Mrs. Allan did not. アラン夫人はアンの思いがわかっている。リンド夫人とは少々違う She told Anne so in approving words that brought tears of pleasure to the girl s eyes. 「tears of pleasure」アンの気持ちが理解されたからこその涙。どのような道（レッドモンド大学に行く、アヴォンリーに残る（アンの選択）、そのほか）を選んだとしても、つらいのだから 「the girl s eyes」ここは、girl Neither did good Mrs. Lynde. She came up one evening and found Anne and Marilla sitting at the front door in the warm, scented summer dusk. They liked to sit there when the twilight came down and the white moths flew about in the garden and the odor of mint filled the dewy air. Mrs. Rachel deposited her substantial person upon the stone bench by the door, behind which grew a row of tall pink and yellow hollyhocks, with a long breath of mingled weariness and relief. "I declare I m getting glad to sit down. I ve been on my feet all day, and two hundred pounds is a good bit for two feet to carry round. 「two hundred pounds」約 90 kg It s a great blessing not to be fat, Marilla. I hope you appreciate it. Well, Anne, I hear you ve given up your notion of going to college. 「notion」考え、意見、信念というような意味に加えて、ばからしい考え、という意味もある。たぶん普通には「考え」でしょうが、リンド夫人が言うからには、「いきすぎた考え」という感じでしょうか I was real glad to hear it. You ve got as much education now as a woman can be comfortable with. I don t believe in girls going to college with the men and cramming their heads full of Latin and Greek and all that nonsense." 「all that nonsense」大学に行って、ナンセンスなことを頭に入れてくる。今でも半分真理かも "But I m going to study Latin and Greek just the same, Mrs. Lynde," said Anne laughing. "I m going to take my Arts course right here at Green Gables, 「Arts course」文学のコース and study everything that I would at college." Mrs. Lynde lifted her hands in holy horror. "Anne Shirley, you ll kill yourself." "Not a bit of it. I shall thrive on it. Oh, I m not going to overdo things. As `Josiah Allen s wife, says, I shall be `mejum . 「As `Josiah Allen s wife, says, I shall be `mejum 」松本訳注第38章(2) p. 533参照 But I ll have lots of spare time in the long winter evenings, and I ve no vocation for fancy work. 「no vocation for fancy work」アンは手芸のような仕事は得意じゃない（好きじゃない） I m going to teach over at Carmody, you know." "I don t know it. I guess you re going to teach right here in Avonlea. The trustees have decided to give you the school." "Mrs. Lynde!" cried Anne, springing to her feet in her surprise. 「springing」小さいころのアンは fly（flew）が多かったようですが、Spancervale のお医者さんの助言があって以来、spring するようになったんでしょう "Why, I thought they had promised it to Gilbert Blythe!" "So they did. But as soon as Gilbert heard that you had applied for it he went to them--they had a business meeting at the school last night, you know--and told them that he withdrew his application, and suggested that they accept yours. He said he was going to teach at White Sands. Of course he knew how much you wanted to stay with Marilla, and I must say I think it was real kind and thoughtful in him, that s what. Real self-sacrificing, too, for he ll have his board to pay at White Sands, and everybody knows he s got to earn his own way through college. So the trustees decided to take you. I was tickled to death when Thomas came home and told me." "I don t feel that I ought to take it," murmured Anne. "I mean--I don t think I ought to let Gilbert make such a sacrifice for--for me." "I guess you can t prevent him now. 「you can t prevent him now」マリラに言った同じ言葉をリンド夫人に聞かされることになるとは He s signed papers with the White Sands trustees. So it wouldn t do him any good now if you were to refuse. Of course you ll take the school. You ll get along all right, now that there are no Pyes going. 「there are no Pyes going」こう言われるほうもたまらないと思うのですけど Josie was the last of them, and a good thing she was, that s what. There s been some Pye or other going to Avonlea school for the last twenty years, and I guess their mission in life was to keep school teachers reminded that earth isn t their home. 「to keep school teachers reminded that earth isn t their home」子供（悪ガキ）としてはある意味大変正しい行動である。先生はたまらないでしょうけど Bless my heart! What does all that winking and blinking at the Barry gable mean?" 「winking and blinking」擬態語があまりない英語ならではの、似たような単語の繰り返し表現。でも、この場合は、ちかちか、とか、ぴかぴか、とかいうよりも、品があっていいかも、と思ったり。でも点滅というと味気ないし "Diana is signaling for me to go over," laughed Anne. "You know we keep up the old custom. Excuse me while I run over and see what she wants." Anne ran down the clover slope like a deer, and disappeared in the firry shadows of the Haunted Wood. Mrs. Lynde looked after her indulgently. "There s a good deal of the child about her yet in some ways." "There s a good deal more of the woman about her in others," retorted Marilla, with a momentary return of her old crispness. But crispness was no longer Marilla s distinguishing characteristic. As Mrs. Lynde told her Thomas that night. "Marilla Cuthbert has got MELLOW. That s what." Anne went to the little Avonlea graveyard the next evening to put fresh flowers on Matthew s grave and water the Scotch rosebush. 「the Scotch rosebush」bushというからには、見ためは１本ではないと考えるほうがいいかと思うのですが、挿したのは、a slip （「I took a slip of the little white Scotch rosebush」CHAPTER XXXVII with impression The Reaper Whose Name Is Death）。ひと株植えてしまったのでしょうか。そのほうがちゃんと根づくと思いますし She lingered there until dusk, liking the peace and calm of the little place, with its poplars whose rustle was like low, friendly speech, and its whispering grasses growing at will among the graves. When she finally left it and walked down the long hill that sloped to the Lake of Shining Waters it was past sunset 「the Lake of Shining Waters it was past sunset」これは、マシューとはじめて見た光景とだいたい同じ。季節が違いはしますが。「Below them was a pond ... although it was not yet quite dark ... 」（CHAPTER II with impression Matthew Cuthbert is surprised） and all Avonlea lay before her in a dreamlike afterlight-- "a haunt of ancient peace." 「"a haunt of ancient peace"」松本訳注第38章(3) p. 533参照 There was a freshness in the air as of a wind that had blown over honey-sweet fields of clover. Home lights twinkled out here and there among the homestead trees. Beyond lay the sea, misty and purple, with its haunting, unceasing murmur. 「Beyond 以下」倒置 The west was a glory of soft mingled hues, and the pond reflected them all in still softer shadings. The beauty of it all thrilled Anne s heart, and she gratefully opened the gates of her soul to it. "Dear old world," she murmured, "you are very lovely, and I am glad to be alive in you." 「in you」世界の中で生きるから、in。もちろん、you は old world。アンは old world に話しかけているのですから Halfway down the hill a tall lad came whistling out of a gate before the Blythe homestead. 「a tall lad」アンは見ればすぐにギルバートとわかるわけなのに、わざわざ背の高い若者と表現するのは、効果を狙ったためでしょう。ですので、アンの戸惑いというか、話しかけるまでの心の動きを表わしているのでしょう It was Gilbert, and the whistle died on his lips as he recognized Anne. He lifted his cap courteously, but he would have passed on in silence, if Anne had not stopped and held out her hand. 「held out her hand」lily maid ごっこのときギルバートに助けられて陸に上ったときは、ギルバートに腕をつかまれたのでした（But Gilbert had also sprung from the boat and now laid a detaining hand on her arm. CHAPTER XXVIII with impression An Unfortunate Lily Maid ） "Gilbert," she said, with scarlet cheeks, "I want to thank you for giving up the school for me. It was very good of you--and I want you to know that I appreciate it." Gilbert took the offered hand eagerly. "It wasn t particularly good of me at all, Anne. I was pleased to be able to do you some small service. 「some small」ちょっと、と言ったところで、オンナゴコロにはあまり響かないぞよ、ギルちゃん。do someone a service：人に貢献する Are we going to be friends after this? 「Are we going to be friends after this?」オヌシ、I ll never ask you to be friends again, Anne Shirley. と言ったことは忘れたのか（ CHAPTER XXVIII with impression An Unfortunate Lily Maid ）。オトコは単純だから仕方ないが Have you really forgiven me my old fault?" Anne laughed and tried unsuccessfully to withdraw her hand. 「tried unsuccessfully to withdraw her hand」アンはギルバートの策にはまってしまったのかも。もっとも嫌がっていたわけでもないでしょうけど "I forgave you that day by the pond landing, although I didn t know it. What a stubborn little goose I was. I ve been--I may as well make a complete confession--I ve been sorry ever since." "We are going to be the best of friends," said Gilbert, jubilantly. 単純さ丸出し…… "We were born to be good friends, Anne. You ve thwarted destiny enough. I know we can help each other in many ways. You are going to keep up your studies, aren t you? So am I. Come, I m going to walk home with you." Marilla looked curiously at Anne when the latter entered the kitchen. "Who was that came up the lane with you, Anne?" "Gilbert Blythe," answered Anne, vexed to find herself blushing. "I met him on Barry s hill." "I didn t think you and Gilbert Blythe were such good friends that you d stand for half an hour at the gate talking to him," said Marilla with a dry smile. "We haven t been--we ve been good enemies. But we have decided that it will be much more sensible to be good friends in the future. Were we really there half an hour? It seemed just a few minutes. But, you see, we have five years lost conversations to catch up with, Marilla." Anne sat long at her window that night companioned by a glad content. The wind purred softly in the cherry boughs, and the mint breaths came up to her. The stars twinkled over the pointed firs in the hollow and Diana s light gleamed through the old gap. Anne s horizons had closed in 「Anne s horizons had closed in」アンからまっすぐに見える境界線は迫ってきた。close in は夜や闇が迫るという意味もある。すぐ後ろに night の話が出てくるので、モードは close in を選んだに違いありません。そして、horizon が見えたとしてもそこは a bend であって曲り角。行き止まりではない。曲がった先は狭いかもしれないけれど since the night she had sat there after coming home from Queen s; but if the path set before her feet was to be narrow she knew that flowers of quiet happiness would bloom along it. The joy of sincere work and worthy aspiration and congenial friendship were to be hers; nothing could rob her of her birthright of fancy or her ideal world of dreams. And there was always the bend in the road! 「the bend in the road」ということで章題。アンにとっては、曲がり角としか表現できない選択肢しかなかった。それが不幸というわけではないのですが "`God s in his heaven, all s right with the world, " whispered Anne softly. 「`God s in his heaven, all s right with the world 」松本訳注第38章(4) p. 534参照 この終わり方は、続きがあるに違いない、と思わせぶりなところが、成功の理由のひとつかも この章ではダイアナが直接の登場がないのが、ちょっと残念。A bossom friend なのに CHAPTER XXXVII UP 12 13 August 2007 今日 - | 昨日 - | Total - since 12 August 2007 last update 2007-08-13 02 17 20 (Mon)
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第 3 章 型 (Types) 構文 Type = FunctionArgTypes = Type | InfixType [ExistentialClause] FunctionArgTypes = InfixType | ( [ ParamType { , ParamType } ] ) ExistentialClause = forSome { ExistentialDcl {semi ExistentialDcl} } ExistentialDcl = type TypeDcl | val ValDcl InfixType = CompoundType {id [nl] CompoundType} CompoundType = AnnotType { with AnnotType} [Refinement] | Refinement AnnotType = SimpleType {Annotation} SimpleType = SimpleType TypeArgs | SimpleType # id | StableId | Path . type | ( Types ) TypeArgs = [ Types ] Types = Type { , Type} We distinguish between first-order types and type constructors, which take type parameters and yield types. A subset of first-order types called value types represents sets of (first-class) values. Value types are either concrete or abstract. 一階型と、パラメータを指定して型を生み出す型コンストラクタとを区別します。 値型(value types) と呼ばれる一階型の部分集合は、 (first class 第一級の)値の集合を表します。 値型は 具象あるいは抽象 のいずれかです。 Every concrete value type can be represented as a class type, i.e. a type designator (§3.2.3) that refers to a a class or a trait(*1)(§5.3), or as a compound type (§3.2.7) representing an intersection of types, possibly with a refinement (§3.2.7) that further constrains the types of its members. Abstract value types are introduced by type parameters (§4.4) and abstract type bindings (§4.3). Parentheses in types can be used for grouping. すべての具象値型は、 クラス型 として表せます。すなわち、 クラスやトレイト(*1)(§5.3) を参照する型指定子 (§3.2.3)、 あるいは、型の論理積(intersection)を表す 複合型 (§3.2.7)としてです。 複合型には、そのメンバーの型にさらなる制約を与える細別 (refinement §3.2.7) を加えることができます。 抽象値型は、型パラメータ(§4.4) と抽象型束縛(§4.3)によって導入されます。 型の中では、丸括弧をグルーピングのために使えます。 (*1) We assume that objects and packages also implicitly define a class (of the same name as the object or package, but inaccessible to user programs). (*1) 我々はオブジェクトとパッケージも暗黙のうちに (ユーザープログラムはアクセスできない、 オブジェクトあるいはパッケージと同じ名前の) クラスを定義すると考えます。 Non-value types capture properties of identifiers that are not values (§3.3). For example, a type constructor (§3.3.3) does not directly specify a type of values. However, when a type constructor is applied to the correct type arguments, it yields a first-order type, which may be a value type. 非値型は、値でない識別子のプロパティを取り込みます (§3.3)。 例えば、型コンストラクタ (§3.3.3) は直接には値の型を指定しません。 しかし、型コンストラクタが正しい型引数に適用されれば、 それは値型であろう一階型をもたらします。 Non-value types are expressed indirectly in Scala. E.g., a method type is described by writing down a method signature, which in itself is not a real type, although it gives rise to a corresponding method type (§3.3.1). Type constructors are another example, as one can write type Swap[m[_, _], a,b] = m[b, a], but there is no syntax to write the corresponding anonymous type function directly. 非値型は Scalaでは間接的に表現されます。 例えば、 メソッド型はメソッドのシグニチャを書き出して記述できますが、 それ自身は実際の型でないけれども、 対応するメソッド型(§3.3.1) を引き起こします。 型コンストラクタは他の例です。型を Swap[m[_, _], a,b] = m[b, a] と書けますが、 しかし、対応する無名の型関数を直接的に書くための構文はありません。 3.1 パス (Paths) 構文 Path = StableId | [id . ] this StableId = id | Path . id | [id . ] super [ClassQualifier] . id ClassQualifier = [ id ] Paths are not types themselves, but they can be a part of named types and in that function form a central role in Scala s type system. パスそれ自身は型ではありません。しかしそれは、名前付きの型(named type) の一部であり、その機能は Scala 型システムの中で中心的役割を果たします。 A path is one of the following. The empty path (which cannot be written explicitly in user programs). C.this, where C references a class. The path this is taken as a shorthand for C.this ,where C is the name of the class directly enclosing the reference. パスは次のうちの１つです。 空のパス (ユーザープログラム中では、明示的には書けません)。 C.this。ここで C はクラスを参照します。パス this は C.this の略記表現として解釈されます。ここで C は、参照を直接囲むクラスの名前です。 p.x where p is a path and x is a stable member of p. Stable members are packages or members introduced by object definitions or by value definitions of non-volatile types (§3.6). C.super.x or C.super[M].x where C references a class and x references a stable member of the super class or designated parent class M of C. The prefix super is taken as a shorthand for C.super where C is the name of the class directly enclosing the reference. p.x。ここで p はパス、x は p の安定メンバー。 安定メンバー(stable members) とは、オブジェクト定義によってあるいは非 volatile 型の値定義によって導入されたメンバーあるいはパッケージのことです（§3.6）。 C.super.x あるいは C.super[M].x。 ここで C はクラスを参照し、x は、スーパークラスあるいは C の指定された親クラス M の、安定メンバーを参照します。 前置子 super は、C.super の略記表現として解釈されます。 ここで C は、参照を直接囲むクラスの名前です。 A stable identifier is a path which ends in an identifier. 安定識別子(stable identifier) とは、最後が識別子で終わるパスです。 3.2 値型 (Value Types) Every value in Scala has a type which is of one of the following forms. Scala のすべての値は、次のどれか 1 つの形をとる型を持っています。 3.2.1 シングルトン型 (Singleton Types) 構文 SimpleType = Path . type A singleton type is of the form p.type, where p is a path pointing to a value expected to conform (§6.1) to scala.AnyRef. The type denotes the set of values consisting of null and the value denoted by p . A stable type is either a singleton type or a type which is declared to be a subtype of trait scala.Singleton. シングルトン型は p.type の形の型であり、ここで p はパスで、 scala.AnyRefに適合する (§6.1)ことが要請される値を指し示します。 この型は、null と p で示される値からなる集合を表します。 安定型(stable type) とは、シングルトン型あるいは、 トレイト scala.Singleton のサブ型 (subtype) であると宣言された型、 のいずれかです。 3.2.2 型射影 (Type Projection) 構文 SimpleType = SimpleType # id A type projection T#x references the type member named x of type T . 型射影 T#x は、型 T の x という名前の型メンバーを参照します。 3.2.3 型指定子 (Type Designators) 構文 SimpleType = StableId A type designator refers to a named value type. It can be simple or qualified. All such type designators are shorthands for type projections. 型指定子は、名前付きの値型を参照します。 それは単純名であるか、 あるいは限定修飾されます。 そのような型指定子はすべて、型射影の略記表現です。 Specifically, the unqualified type name t where t is bound in some class, object, or package C is taken as a shorthand for C.this.type#t . If t is not bound in a class, object, or package, then t is taken as a shorthand for ε.type#t . A qualified type designator has the form p.t where p is a path (§3.1) and t is a type name. Such a type designator is equivalent to the type projection p.type#t . 特に、限定修飾されていない型名 t は、C.this.type#t の略記表現として解釈されます。 ここで t はあるクラス、オブジェクト、 あるいはパッケージ C 内で束縛されているものとします。 もし t がクラス、オブジェクト、あるいはパッケージ内で束縛されていないなら、 t は ε.type#t の略記表現と解釈されます。 限定修飾された型指定子は、p.t の形をしています。 ここで p はパス(§3.1)、t は型名です。 そのような型指定子は型射影 p.type#t に等価です。 Example 3.2.1 Some type designators and their expansions are listed below. We assume a local type parameter t , a value maintable with a type member Node and the standard class scala.Int, 次は、いくつかの型指定子とそれらの展開をリストしています。 ここで、ローカルな型パラメータ t、型メンバー Nodeを持つ値 maintable、 標準的なクラス scala.Int があると仮定します。 t ε.type#t Int scala.type#Int scala.Int scala.type#Int data.maintable.Node data.maintable.type#Node 3.2.4 パラメータ化された型 (Parameterized Types) 構文 SimpleType = SimpleType TypeArgs TypeArgs = [ Types ] A parameterized type T[U1,...,Un] consists of a type designator T and type parameters U1,...,Un where n =1. T must refer to a type constructor which takes n type parameters a1,...,an . Say the type parameters have lower bounds L1,...,Ln and upper bounds U1,...,Un . The parameterized type is well-formed if each actual type parameter conforms to its bounds, i.e. σLi Ti σUi where σ is the substitution [a1 = T1,...,an = Tn]. パラメータ化された型 T[U1,...,Un] は、型指定子 T と 型パラメータ U1,...,Un (n = 1) から成ります。 T は、n 個の型パラメータ a1,...,an をとる型コンストラクタを参照していなければなりません。 例えば、型パラメータが下限境界 L1,...,Ln と上限境界 U1,...,Un を持っているとします。 もし、それぞれ実際の型パラメータがその 両境界に適合する なら、 つまり σLi Ti σUi なら (ここで σは置換[a1 = T1,...,an = Tn])、 このパラメータ化された型は正しい形(well formed)です。 Example 3.2.2 次のような部分的な型定義が与えられているとします。 class TreeMap[A Comparable[A], B] { ... } class List[A] { ... } class I extends Comparable[I] { ... } class F[M[_], X] { ... } class S[K String] { ... } class G[M[ Z I ], I] { ... } このとき、次のパラメータ化された型は正しい形です。 TreeMap[I, String] List[I] List[List[Boolean]] F[List, Int] G[S, String] Example 3.2.3 例3.2.2の型定義が与えられているとき、次の型は不正な形(ill-formed)です。 TreeMap[I] // 不正 パラメータ数誤り。 TreeMap[List[I], Int] // 不正 型パラメータが境界外。 F[Int, Boolean] // 不正 Int は型コンストラクタではない。 F[TreeMap, Int] // 不正 TreeMap は 2 つのパラメータをとるが、 // F は 1 パラメータのコンストラクタである。 G[S, Int] // 不正 S は、Stringに適合するパラメータを含み、 // G は、Intに適合するパラメータをもつ // 型コンストラクタが要請される。 3.2.5 タプル型 構文 SimpleType = ( Types ) タプル型 (T1,...,Tn) は、クラス scala.Tuplen[T1,...,Tn] のエイリアスです。ここで n = 2。 タプルクラスはケースクラスであり、セレクター _1, ..., _n を使ってそのフィールドにアクセスできます。 Their functionality is abstracted in a corresponding Product trait. The n-ary tuple class and product trait are defined at least as follows in the standard Scala library (they might also add other methods and implement other traits). それらの関数は、対応する Product トレイト内にまとめられています。 n 項タプルクラスと product トレイトは、標準的な Scala ライブラリにおいて、 少なくとも次のように定義されています (他のメソッドも加え、また、他のトレイトも実装しているかもしれません)。 case class Tuplen[+T1, ..., +Tn](_1 T1, ..., _n Tn) extends Productn[T1, ..., Tn] {} trait Productn[+T1, +T2, +Tn] { override def arity = n def _1 T1 ... def _n Tn } 3.2.6 アノテーション型 (Annotated Types) 構文 AnnotType = SimpleType {Annotation} An annotated type T a1...an attaches annotations a1,...,an to the type T (§11). アノテーション型 T a1...an は、型 T にアノテーション a1,...,an を付加します (§11)。 Example 3.2.4 次の型は、文字列型に @suspendable＠ アノテーションを付加します String @suspendable 3.2.7 複合型 (Compound Types) (訳注 複合型については A Tour of Scala Compound Types に簡単な説明があります) 構文 CompoundType = AnnotType { with AnnotType} [Refinement] | Refinement Refinement = [nl] { RefineStat {semi RefineStat} } RefineStat = Dcl | type TypeDef | A compound type T1 with ... with Tn {R } represents objects with members as given in the component types T1,...,Tn and the refinement {R }. A refinement {R} contains declarations and type definitions. If a declaration or definition overrides a declaration or definition in one of the component types T1,...,Tn , the usual rules for overriding (§5.1.4) apply; otherwise the declaration or definition is said to be "structural" (*2) . 複合型 T1 with ... with Tn {R} は、構成要素型 T1,...,Tn と細別 {R} で与えられたメンバーをもつオブジェクトを表わします。 細別 {R} は、宣言と型定義を含みます。 もし宣言あるいは定義が、構成要素型 T1,...Tn の 1 つの中の宣言あるいは定義をオーバライドするなら、 オーバライドの通常の規則が適用されます (§5.1.4); そうでないなら、宣言あるいは定義は「構造的」と言われます(*2)。 (*2) A reference to a structurally defined member (method call or access to a value or variable) may generate binary code that is significantly slower than an equivalent code to a non-structural member. (*2) 構造的に定義されたメンバーへの参照(メソッド呼び出しあるいは、 値/変数へのアクセス)は、非構造的メンバーを参照する等価なコードより、 際立って遅いバイナリコードを生成することがあります。 Within a method declaration in a structural refinement, the type of any value parameter may only refer to type parameters or abstract types that are contained inside the refinement. That is, it must refer either to a type parameter of the method itself, or to a type definition within the refinement. This restriction does not apply to the function s result type. 構造的な細別内のメソッド宣言では、すべての値パラメータの型は、その細別内に 含まれる型パラメータあるいは抽象型だけを参照できます。 すなわち、 メソッド自身の型パラメータへの参照であるか、あるいは、 細別内の型定義への参照のいずれかです。 この制限は関数の結果型には適用されません。 もし細別が与えられていなければ、空の細別が暗黙のうちに加えられます。 つまり、T1 with ... with Tn は、T1 with ... with Tn {} の略記表現です。 複合型は、先行する構成要素型のない、細別 {R} だけから成ることもあります。 そのような型は AnyRef {R} に等価です。 Example 3.2.5 次の例は、関数のパラメータ型が構造的宣言をもつ細別を含む場合の、 宣言方法と使い方を示しています。 case class Bird (val name String) extends Object { def fly(height Int) = ... ... } case class Plane (val callsign String) extends Object { def fly(height Int) = ... ... } def takeoff( runway Int, r { val callsign String; def fly(height Int) }) = { tower.print(r.callsign + " requests take-off on runway " + runway) tower.read(r.callsign + " is clear for take-off") r.fly(1000) } val bird = new Bird("Polly the parrot"){ val callsign = name } val a380 = new Plane("TZ-987") takeoff(42, bird) takeoff(89, a380) Although Bird and Plane do not share any parent class other than Object, the parameter r of function takeoff is defined using a refinement with structural declarations to accept any object that declares a value callsign and a fly function. Bird と Plane は Object 以外の親クラスを共有していませんが、 関数 takeoff のパラメータ r は、構造的宣言の細別を使って定義されていて、 値 callsign と fly 関数を宣言する任意のオブジェクトを受けつけます。 3.2.8 中置型 (Infix Types) 構文 InfixType = CompoundType {id [nl] CompoundType} An infix type T1 op T2 consists of an infix operator op which gets applied to two type operands T1 and T2 . The type is equivalent to the type application op[T1 , T2]. 中置型 T1 op T2 は、2 つのオペランド型 T1 と T2 へ適用される中置演算子 op からなります。 この型は型適用 op[T1,T2] に等価です。 中置演算子 op には、* 以外の任意の識別子が使えます。 * は 反復パラメータ型(§4.6.2) を表す後置修飾子として予約されています。 All type infix operators have the same precedence; parentheses have to be used for grouping. The associativity (§6.12) of a type operator is determined as for term operators type operators ending in a colon are right-associative; all other operators are left-associative. すべての中置型演算子は同じ優先順位を持っています; グルーピングには丸括弧を使われなければなりません。 型演算子の結合性(§6.12)は 項演算子(term operator)については決まっています。 で終わる型演算子は右結合です。他のすべての演算子は左結合です。 In a sequence of consecutive type infix operations t0 op1 t1 op2 ... opn tn , all operators op1,...,opn must have the same associativity. If they are all left-associative, the sequence is interpreted as (... (t0 op1 t1 ) op2 ...) opn tn , otherwise it is interpreted as t0 op1 (t1 op2 (... opn tn ) ...). 連続する中置型演算のシーケンス t0 op1 t1 op2 ... opn tn では、 すべての演算子 op1,...,opn が同じ結合性を持っていなくてはなりません。 もしそれらがすべて左結合なら、シーケンスは (... (t0 op1 t1 ) op2 ...) opn tn と解釈され、そうでなければ t0 op1 (t1 op2 (... opn tn ) ...) と解釈されます。 3.2.9 関数型 (Function Types) 構文 Type = FunctionArgs = Type FunctionArgs = InfixType | ( [ ParamType { , ParamType } ] ) The type (T1,...,Tn ) = U represents the set of function values that take arguments of types T1,...,Tn and yield results of type U . In the case of exactly one argument type T = U is a shorthand for (T ) = U . An argument type of the form = T represents a call-by-name parameter (§4.6.1) of type T . 型 (T1,...,Tn) = U は、型 T1,...,Tn を引数にとり、型 U の結果をもたらす関数値の集合を表します。引数が正確に 1 つだけの場合は、 型 T = U は (T) = U の略記表現です。 形が = T の引数型は、型 T の名前呼出しパラメータ (§4.6.1)を表します。 Function types associate to the right, e.g. S = T = U is the same as S = (T = U ). Function types are shorthands for class types that define apply functions. Specifically , the n-ary function type (T1,...,Tn ) = U is a shorthand for the class type Functionn[T1,...,Tn ,U]. Such class types are defined in the Scala library for n between 0 and 9 as follows. 関数型は右へ結合します。例えば、S = T = U は S = (T = U) と同じです。 関数型は、apply 関数を定義するクラス型の略記表現です。 特に、n 項関数型 (T1,...,Tn) = U は、クラス型 Functionn[T1,...,Tn,U] の略記表現です。 このようなクラス型は、0 以上 9 以下の n に対して Scala ライブラリ中で、次のように定義されています。 package scala trait Functionn[-T1,...,-Tn , +R] { def apply(x1 T1,...,xn Tn ) R override def toString = " function " } Hence, function types are covariant (§4.5) in their result type and contravariant in their argument types. したがって、関数型は、その結果型については共変 (§4.5)、その引数型については反変です。 3.2.10 存在型 (Existential Types) 構文 Type = InfixType ExistentialClauses ExistentialClauses = forSome { ExistentialDcl {semi ExistentialDcl} } ExistentialDcl = type TypeDcl | val ValDcl An existential type has the form T forSome { Q } ,where Q is a sequence of type declarations §4.3. Let t1[tps1] L1 U1,...,tn[tpsn] Ln Un be the types declared in Q (any of the type parameter sections [tpsi] might be missing). The scope of each type ti includes the type T and the existential clause Q. The type variables ti are said to be bound in the type T forSome { Q }. Type variables which occur in a type T but which are not bound in T are said to be free in T . 存在型は、T forSome { Q } の形をしています。ここで Q は型宣言 (§4.3)の並びです。 t1[tps1] L1 U1,...,tn[tpsn] Ln Un を Q 内で宣言された型であるとします (型パラメータ部 [tpsi] のどれかが欠けていても構いません)。 各型 ti のスコープは、型 T と存在節 Q を含みます。 型変数 ti は、型 T forSome { Q } 内で 束縛 されていると言われます。 型 T の中に現れるけれど T 内で束縛されない型変数は、 T 内で 自由(free) であると言われます。 A type instance of T forSome { Q } is a type σT , where σ is a substitution over t1,...,tn such that, for each i , σLi σti σUi . The set of values denoted by the existential type T forSome { Q } is the union of the set of values of all its type instances . T forSome { Q }の 型インスタンス は、型 σT です。 ここで σは、各 i に対し σLi σti σUi であるような t1,...,tn の置換とします。 存在型 T forSome { Q } によって示される値の集合は、 そのすべての型インスタンスの値の集合の和集合です。 A skolemization of T forSome { Q } is a type instance σT , where σ is the substitution [t´1/t1,...,t´n/tn] and each t´i is a fresh abstract type with lower bound σLi and upper bound σUi . T forSome { Q } の skolemization は、型インスタンス σT です。ここで σは、 [t´1/t1,...,t´n/tn] の置換で、各 t´i は、下限境界 σLi と上限境界 σUi をもつ新規の抽象型です。 簡略化規則 存在型は、次の 4 つの等価規則に従います。 Multiple for clauses in an existential type can be merged. E.g., T forSome { Q } forSome { Q´} is equivalent to T forSome { Q ; Q´}. Unused quantifications can be dropped. E.g., T forSome { Q ; Q´} where none of the types defined in Q´ are referred to by T or Q, is equivalent to T forSome { Q }. An empty quantification can be dropped. E.g., T forSome { } is equivalent to T . An existential type T forSome { Q } ,where Q contains a clause type t[tps] L U is equivalent to the type T´ forSome { Q } ,where T´ results from T by replacing every covariant occurrence (§4.5) of t in T by U and by replacing every contravariant occurrence of t in T by L. 存在型中の複数の for 節をマージできます。例えば、T forSome { Q } forSome { Q´} は T forSome { Q ; Q´} に等価です。 使われていない存在量化(quantification)を外すことができます。例えば、T forSome { Q ; Q´} は、T forSome { Q } に等価です。ただしここで Q´中で 定義されたどの型も、T あるいは Q によって参照されないものとします。 空の存在量化を外すことができます。例えば、T forSome { } は T に等価です。 存在型 T forSome { Q } (ここで Q は節 type t[tps] L U を含む) は、型 T´ forSome { Q } に等価です。ここで T´は、T 中で共変(§4.5)として出現するすべての t を U で置き換え、T 中で反変として出現するすべての t を L で置き換えて得られるものです。 値の存在量化 (Existential Quantification over Values) As a syntactic convenience, the bindings clause in an existential type may also contain value declarations val x T . An existential type T forSome { Q ; val x S ; Q´ } is treated as a shorthand for the type T´ forSome { Q ; type t S with Singleton; Q´ }, where t is a fresh type name and T´ results from T by replacing every occurrence of x.type with t . 文法上の便宜として、存在型中の束縛節に値宣言 val x T を含めることができます。 存在型 T forSome { Q; val x S ; Q´ } は、 型 T´ forSome { Q ; type t S with Singleton; Q´ } の略記表現として扱われます。ここで t は新たな型名で、 T´ は T 中に現れる x.type を t で置き換えて得られるものです。 存在型のプレースホルダ構文 構文 WildcardType = _ TypeBounds Scala supports a placeholder syntax for existential types. A wildcard type is of the form _ L U . Both bound clauses may be omitted. If a lower bound clause L is missing, scala.Nothing is assumed. If an upper bound clause U is missing , scala.Any is assumed. A wildcard type is a shorthand for an existentially quantified type variable, where the existential quantification is implicit. Scala は存在型のプレースホルダ構文をサポートしています。 ワイルドカード型 は _ L U の形です。 それぞれの境界節はともに省略されるかもしれません。 もし下限境界節 L がないなら、 scala.Nothing が想定されます。 もし上限境界節 U がないなら、 scala.Any が想定されます。 ワイルドカード型は存在量化された型変数の略記表現です。 ここで、存在量化は暗黙的です。 A wildcard type must appear as type argument of a parameterized type. Let T = p.c[targs,T,targs´] be a parameterized type ,where targs,targs´ may be empty and T is a wildcard type _ L U . Then T is equivalent to the existential type ワイルドカード型は、パラメータ化された型の型引数として現われなくてはなりません。 いま、T = p.c[targs,T,targs´] をパラメータ化された型とします。 ここで targs,targs´ は空きでもよく、T はワイルドカード型 _ L U です。 このとき T は、次の存在型 p.c[targs,t,targs´] forSome { type t L U } where t is some fresh type variable. Wildcard types may also appear as parts of infix types (§3.2.8), function types (§3.2.9), or tuple types (§3.2.5). Their expansion is then the expansion in the equivalent parameterized type. と等価になります。ここで t は、ある新しい型変数とします。 ワイルドカード型は、 中置型(§3.2.8)、 関数型(link_anchor plugin error 画像もしくは文字列を必ずどちらかを入力してください。、 あるいはタプル型(§3.2.5) 等の一部にも現れることがあります。 それらの展開は、等価なパラメータ化された型内での展開となります。 Example 3.2.6 次のクラス定義を仮定します。 class Ref[T] abstract class Outer { type T } 次は、存在型のいくつかの例です。 Ref[T] forSome { type T java.lang.Number } Ref[x.T] forSome { val x Outer } Ref[x_type# T] forSome { type x_type Outer with Singleton } 上記リストの最後の 2 つの型は等価です。 最初の型をワイルドカード構文を使って書き換えると次のようになります。 Ref[_ java.lang.Number] Example 3.2.7 型 List[List[_]] は、次の存在型に等価です。 List[List[t] forSome { type t }] Example 3.2.8 次の共変型があるとします。 class List[+T] 型 List[T] forSome { type T java.lang.Number } は、上記の簡略化規則の 4 番目により、次と等価です。 List[java.lang.Number] forSome { type T java.lang.Number } which is in turn equivalent (by simplification rules 2 and 3 above) to List[java.lang.Number]. これは今度は(上記の簡略化規則 2 と 3 により)、List[java.lang.Number] と等価になります。 前 2章 目次 次 3章つづき