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Getting Started Pagina 19 file //localhost/E /Downloads/Nieuwe%20map/Getting%20Started.mht 10/12/2009 11 50 29 Seriously, what I just said is absolutely true . I would even say that without the 3D extrusion technology would be in a precarious state. Do not believe me? Let s see. Start with Blender cube we select a face in Edit Mode. It has to do several possibilities Selection points Browse by side Browse by side For our case I recommend you choose the latter To perform the extrusion (I know I still have not told you what an extrusion but I want to surprise again) has the command line Mesh / Extrude but I recommend that you give the order to Blender with key "E". After move the mouse and finish the operation with a click If this has not stopped with his mouth open and uninstall Blender off, I throw in the towel with you. Play with the faces and the choice of extrusion. Do something in this line. Enjoy. Getting Started Pagina 20 file //localhost/E /Downloads/Nieuwe%20map/Getting%20Started.mht 10/12/2009 11 50 29 By now you must start to feel that somehow begins to understand the program and even to dominate a bit. At this point I stop to say a few things. That sense of transparency may be activated with the icon next to faces selection. You can see the object in several ways, one of them is called Wireframe or wire mesh. You can choose them in this box Getting Started Pagina 21 file //localhost/E /Downloads/Nieuwe%20map/Getting%20Started.mht 10/12/2009 11 50 29 In the above example is the object from the Object Wireframe Mode. The most used are the views of Wireframe and Solid . The best way to toggle between them is the key "Z". WHEN ADDING A MESH AND THERE IS ANOTHER IN THE SCENE For easy! "" I ll tell you the Add menu and add a new Mesh. Indeed she is right but in this case I want you to assimilate NOW if adds the new mesh in Object Mode it will be a separate object of everyone else, but if you add it in Edit Mode the new mesh is added to that at the time is selected. For example in the following case has added a bucket when he was in UVesfera Edit Mode That means several things These two entities have only one center You can not dispose of them separately in Object Mode for when you want to select the area to be selected once the cube (and vice versa) Getting Started Pagina 22 file //localhost/E /Downloads/Nieuwe%20map/Getting%20Started.mht 10/12/2009 11 50 29 All the shared properties of one another. Well, actually share nothing, and I repeat they are the same mesh. In the case of wanting to have them separate so we separated. The most affordable method available to us right now is go to Edit Mode and select at least one vertex of the mesh. Once selected click the Command Line Mesh / Vertices / Separate or press "P". Blender will ask the criterion to perform the separation. In this case we choose All loose parts that would be something like Separate all independent parties. The inverse , or join meshes, is made from Object Mode. Once selected meshes that want to unite is the command line Object / Join Objects or merely "J". Getting Started Pagina 23 file //localhost/E /Downloads/Nieuwe%20map/Getting%20Started.mht 10/12/2009 11 50 29 SELECT ALL Both in Object Mode and Edit Mode is the command line Select / Select-Deselect All though I recommend you get used to switch Select and Unselect All with the key "A". SOMETHING MORE ON MATERIALS Back to the matter of materials to propose some research into some of the features that you can give them. Suppose that the scene still have arisen as a result of our research on joining and separating mesh. We have two separate but initially were part of the same mesh. If you want to change it UVesfera material also changes the cube. Go to the materials and verify that you receive a 2 beside the name of the material. is the number of objects that are linked to it. If you selected the field and hit that number will be releasing the material to no longer remain bound and can edit their features without affecting the other objects. Now from Object Mode add a plane to the scene and create a composition similar to this (it has three points of light) Getting Started Pagina 24 file //localhost/E /Downloads/Nieuwe%20map/Getting%20Started.mht 10/12/2009 11 50 29 With that we get a first render like this (more or less) Select the plane and go to edit your material. We care because we want to picture called Mirror to acquire the property of reflecting as a mirror The first is to activate the property or otherwise, the parameters do not apply Reflectivity the mirrors. Fresnel a parameter related to the behavior of the material that does not reflect equally. Fade to Material non-fading for dye color of the sky (in a while will know this color edit) Gloss that the reflection is not too clean and seem unreal (unless it is a mirror)
https://w.atwiki.jp/ik-ben-wakei/pages/255.html
adaptief onderwijs ともいう。wikipedia の説明 Adaptief onderwijs (ook passend onderwijs of onderwijs op maat) is een onderwijsideaal van sommige onderwijskundigen om leerlingen minder frequent te laten doorstromen naar speciaal onderwijs door binnen een reguliere school mogelijkheden te creëren om op een eigen manier en tempo kennis op te doen. Adaptief komt van het woord adaptatie dat “passend” of “erbij passend” betekent. Inhoud [verbergen] 1 Doel en uitwerking van adaptief onderwijs 2 Stevens en Doornbos 3 Twee manieren van aanpak adaptief onderwijs 4 Effecten op verdere leven 5 Kritiek 6 Nederlandse wetgeving 7 Zie ook Doel en uitwerking van adaptief onderwijs [bewerken] Doel van adaptief onderwijs is onder meer De leerling te laten leren door informatie dusdanig aan te bieden dat het bij de leerling past met als visie dat de leerling beter leert als de leerstof op de leerling is afgestemd en op zo n manier wordt aangeboden dat het de interesse van de leerling heeft. Kennis en lessen minder statisch maken, maar door samenwerken, afwisseling en proefjes de leerling enthousiasmeren voor datgene wat geleerd moet worden. Het aanspreken, stimuleren en ontwikkelen van de eigen verantwoordelijkheid en zelfvertrouwen van de leerling. Heden ten dage is adaptief onderwijs in diverse niveaus uitgewerkt. Er zijn scholen die adaptief onderwijs als basisuitgangspunt hebben genomen en alles daaruit voort laten vloeien. Het Iederwijs is zo’n school, Dit onderwijs laat de leerling heel vrij in het op zoek gaan naar kennis en past alles aan de leerling aan. Deze zeer ver gaande vorm blijkt echter nauwelijks levensvatbaar te zijn. Daarnaast staat het traditionele vernieuwingsonderwijs zoals Montessorionderwijs, Daltononderwijs, Jenaplanschool, Freinetschool en de Vrije school en de na-oorlogse onderwijsconcepten Ontwikkelings- (O.G.O.) en Ervaringsgericht Onderwijs (E.G.O.) er om bekend hun onderwijs op een adaptieve manier vorm te geven. Ook op kleinere schaal wordt binnen het regulier onderwijs door scholen gezocht naar mogelijkheden om meer onderwijs op maat te kunnen verzorgen. Stevens en Doornbos [bewerken] De professoren Stevens en Doornbos werkten nauw samen in het onderzoek binnen adaptief onderwijs. Professor en orthopedagoog Luc Stevens aan de Universiteit Utrecht liet zich in 1987 met regelmaat kritisch uit over de vormgeving en het beleid van het speciaal onderwijs. Het Ministerie van Onderwijs en Wetenschappen en de Landelijke vakorganisaties gaven daarom hem en professor Doornbos van de Universiteit van Amsterdam de opdracht om onderzoek te doen naar de groei en mogelijkheden binnen het speciaal onderwijs. Luc Stevens staat sinds 1994 tot vandaag de dag zeer bekend om zijn bijdragen en onderzoek omtrent het adaptief onderwijs. Bepaalde ideeën heeft hij ontleend aan werken van psycholoog Deci. Professor Doornbos (Universiteit van Amsterdam) bracht in 1990 in kaart welke mogelijkheden er zijn voor adaptief onderwijs en welke veranderingen nodig waren om adaptief onderwijs te kunnen presenteren aan de rest van de wereld. In 1993 wordt het iets anders geformuleerd in een beleidsanalyse Weer Samen naar School genaamd. Adaptief onderwijs wordt daarbij omschreven als "(...) Om toegesneden onderwijs te geven aan leerlingen die specifieke onderwijskundige behoeften met zich meebrengen." Twee manieren van aanpak adaptief onderwijs [bewerken] Er zijn twee manieren te onderscheiden, te weten 1.De zogenaamde ad-hocaanpak, waarbij de mogelijkheden van adaptief onderwijs voor kortere periodes wordt bekeken. Er wordt daarbij gekeken naar wat de leerling zelf aangeeft, er wordt ingespeeld op de behoeften van de leerling die op dat moment het meest aanwezig zijn. 2.En de structurele aanpak, waarbij er voor langere tijd een onderwijsplanning wordt gemaakt. Het verschil met de ad-hocaanpak is dat de structurele methode niet slechts incidenteel is maar echt voor langere tijd overzicht biedt van de behoeften van de leerling. Effecten op verdere leven [bewerken] Er zijn te weinig studies die duiden wat de effecten op langere termijn zijn als een kind in een adaptieve leeromgeving is opgegroeid. Er komen namelijk signalen dat het adaptieve karakter gehandhaafd moet blijven om hetzelfde niveau/type werkresultaten en leef/werk-houding te houden. We onderscheiden hierin twee soorten adaptieve voorwaarden, waarvan de tweede dus onvoorwaardelijk voor "de rest" van het leven aan moeten blijven om gedrag/inzet/kennis/vaardigheden te consolideren type-1 Soorten adaptaties die gaande het inleer-proces verminderen omdat de vaardigheid de kans krijgt een tweede natuur te worden. Hiertoe lijken enkele neuro-eisen als randvoorwaarden nodig Het kind moet de leersituatie herkennen, dan wel de trigger herkennen om een vaardigheid te tonen; Het kind moet de resultaten in kunnen schatten op effect en nut/kwaliteit. type-2 Soorten adaptaties die blijvend nodig zijn Het kind ontbeert de kwaliteiten van reflectie en inschatten, en kan zo niet goed zelf omgaan met het oproepen en analyseren van gevraagde vaardigheden. Dit soort adaptaties moeten overgedragen worden naar volgende scholen en uiteindelijk naar zowel komende werkomgevingen als privé-omgevingen. Kritiek [bewerken] Omdat het hier een ideaal betreft, is er geen wetenschappelijk onderzoek beschikbaar waaruit blijkt dat deze onderwijsfilosofie goede leerresultaten oplevert. Hierdoor is er ook stevige kritiek op deze onderwijsvernieuwing door deskundigen die stellen dat grootschalige onderwijsvernieuwingen evidence-based dienen te zijn. Nederlandse wetgeving [bewerken] Het wetsvoorstel Wijziging van enkele onderwijswetten in verband met een herziening van de organisatie en financiering van de ondersteuning van leerlingen in het basisonderwijs, speciaal en voortgezet speciaal onderwijs, voortgezet onderwijs en beroepsonderwijs is door de Tweede Kamer aanvaard en is aanhangig in de Eerste Kamer. Volgens het Stabiliteitsprogramma Nederland 2012 van april 2012 zullen bezuinigingen op het bijzonder om passend onderwijs voor een bedrag van 100 miljoen per jaar echter niet doorgaan. Zie ook [bewerken] Inclusief onderwijs Categorie Onderwijsvorm
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INTRODUZIONE Parte Seconda Recitativo S. GIOVANNI Di quai nuovi portenti Ha la terra oggi ancora il sen fecondo? Piansero gli elementi Del loro fabro immortal la morte fiera, e d’un giorno che spera di vederlo risorto con gl’istessi tremori par che il suolo paventi i primi albori. Ma forse dell’inferno, che del Dio vincitor l’hasta percosse, gli ultimi sforzi son, l’ultime scosse. Aria Ecco il sol ch’esce del mare E più chiaro che non sole Smalta i prati, i colli indora. Ma chi sa, che di quel Sole Ch’oggi in vita ha da tornare Questo sol non sia l’aurora. Recitativo Ma ove Maria dimora Se ho già vicino il piede, spero veder ben presto cangiata la speranza in certa fede, e senz’alcun periglio lieta la madre e glorioso il figlio. Aria ANGELO Risorga il mondo Lieto e giocondo Col suo Signor! Il ciel festeggi, il suol verdeggi; scherzino, ridano l’aure con l’onde, l’herbe coi fior! Recitativo Di rabbia indarno freme Coi mostri suoi l’incatenato averno; l’odio che oppresso geme, la crudeltà che piange, l’invidia che sospira, l’empietà che delira, l’iniquità tremante, il furor vacillante, sbigottita la frode, denso il tradimento, vilipeso l’orgoglio; del mio Signor risorto saran carro al trionfo e base al soglio. LUCIFERO Misero! Ho pure udito? E in van per vendicarmi Contro forza maggior impugno l’armi? ANGELO Si, si, contrasti in van; torna a Cocito! LUCIFERO Perché al ciel pria non torna Il tuo risorto Nume? ANGELO Perché pria suole in terra Far delle glorie sue noto il mistero. LUCIFERO Noti gli oltraggi miei? No, non fia vero! Aria Per celare il nuovo scorno Le tue faci ancor al giorno Con un soffio io smorzerò; e con tenebre nocenti delle infirme humane menti ogni idea confonderò. Recitativo ANGELO Oh come cieco il tuo furor delira! Mira, folle, deh mira Le donne pie che all’incauto sasso, sepolcro già delle divine membra, movon veloce il passo! A loro il Ciel commanda Ch’io l’arcano riveli, ond’esse in publicarlo agli altri poi ne sian trombe fedeli. Duetto LUCIFERO Impedirlo saprò! ANGELO Duro è il cimento, LUCIFERO Ho ardir che basta. ANGELO Lo dirà l’evento! Recitativo MADDALENA Amica, troppo tardo Fu il nostro piè; già il sol sull’etra ascende. CLEOFE Fu il cor troppo codardo, che della terra a gl’improvisi moti fè i nostri passi rimanere immoti. MADDALENA Or chi sa se potremo Ricercar nella tomba il mio tesoro. CLEOFE Se son desti i custodi, io ben ne temo. MADDALENA Jo temo ancora, ma più il mio Nume adoro. Aria Per me già di morire Non pavento Giesù. Egli mi da l’ardire; per lui nulla pavento né morte né tormento; quando ho Giesù nel cor non temo più. Recitativo LUCIFERO Ahi abborrito nome, ahi come rendi, come, ogni mio sforzo imbelle! Ahi che vinto e confuso, atterrito e deluso fuggo il ciel, fuggo il suolo, fuggo il mondo, e del più cupo abisso torno a precipitar nel sen profondo. Aria CLEOFE Vedo il ciel, che più sereno Si fa intorno e più risplende; e di speme nel mio seno più bel raggio ancor s’accende. Recitativo MADDALENA Cleofe, siam giunte al luogo, ove tomba funesta dell’amato Signor coprì la salma. CLEOFE Parmi veder – si, si vedo ben certo Ch’è già l’avello aperto, e su la destra sponda siede con bianca stuola un giovane vestito. MADDALENA Oh quale spira Grazia dal volto suo, che mi consola! Appressiamoci a lui, che già ne mira! ANGELO Donne, voi ricercate Di Giesù Nazareno, ove giacque già morto; ora non è più qui, ma è già risorto. Al vostro puro affetto Giusto è che diano i cieli Così bella mercede, e un tal mistero a voi prima si sveli, per far araldi poi della sua fede. Itene dunque a publicarlo, e sia Premio del vostro pianto Della gioja comune il primo vanto. Aria Se per colpa di donna infelice All’huomo nel seno la morte Il crudo veleno sgorgò, dian le donne la nuova felice, che chi vinse la morte già morto, poi risorto la vita avvivò. Recitativo MADDALENA Mio Giesù, mio Signore, già che risorto sei, perché, perché ti ascondi a gli occhi miei? Può ben la fede, è vero, far che l’amore adori il gran mistero; ma come può l’amore esser contento e pieno, se non manda il suo ben per gli occhi al core? Vò cercarti per tutto; né sarà forse in vano, che da chi ben ti cerca, mai, dolce mio tesor, tu vai lontano. Aria Del cielo dolente L’ondosa procella In Iride bella Cangiando sen va. E il core che già sente Vicino il suo Sole Da mesto e languente Sereno si fa. Recitativo CLEOFE Si, si, cerchiamo pure l’orme del nostro amor; che fortunata Sarà ben chi lo trovi! Verso il bosco io men vado, mentre tu verso gli orti i passi movi. Aria Augelletti, ruscelletti, che cantando, mormorando, date lodi al mio Signore, insegnatemi dov’è! Fiori ed herbe, già superbe di lambir le sacre piante, deh mostrate a un cor amante le bell’orme del suo piè! Recitativo S. GIOVANNI Dove si frettolosi, Cleofe, rivolgi i passi? CLEOFE In traccia di Giesù ch’è già risorto, come ancora Maddalena. S. GIOVANNI Onde il sapeste? CLEOFE Sovra l’aperto avello Così a noi rivelò labro celeste. S. GIOVANNI Così la madre a me poc’anzi ha detto, a cui prima d’ogn’altra del figlio apparve il glorioso aspetto. CLEOFE Oh come lieta avrà quel figlio accolto! S. GIOVANNI Parve ch’il suo bel volto, di stille lacrimose humido ancora, del sol divino all’improviso raggio fosse traviso e pinto, un’altra aurora. Poi la gioja veloce Corse dal seno al labro in questa voce Aria Caro figlio, amato Dio, già il cor mio nel vederti esce dal petto! E se lento Fu in rapirmelo il tormento, me lo toglie ora il diletto. Recitativo MADDALENA Cleofe, Giovanni, udite, udite la mia nuova alta ventura! Ho veduto in quest’horto il mio Signore, che havea d’un suo guardian preso figura, ma dalle rozze spoglie uscia luce sì pura e così ardente, che pria degl’occhi il ravvisò la mente. Poi conobbi quel viso, in cui, per farsi bello, si specchia il paradiso; vidi le mani ancora, vidi le piante, ed in esse mirai, lucide e vaghe, sfavillar come stelle quelle che furon pria funeste piaghe. A baciarle il labro allor s’accinse, ma Giesù mi respinse, e dirmi parve tu non mi puoi toccar! Poscia disparve. S. GIOVANNI Non si dubiti più! CLEOFE Cessi ogni rio timore! MADDALENA E’ risorto Giesù. S. GIOVANNI Viva è la nostra vita. CLEOFE Il nostro amore. Aria MADDALENA Se impassibile, immortale Sei risorto, oh Sole amato, deh fa ancor ch’ogni mortale teco sorga dal peccato! Recitativo S. GIOVANNI Si, si col redentore Sorga il mondo redento! CLEOFE Sorga dalle sue colpe il peccatore! MADDALENA Ed al suo fabro eterno Ogni creatura dia lodi ed honore. CORO Dia si lode in cielo, in terra A chi regna in terra, in ciel! Che risorto hoggi alla terra Per portar la terra al ciel. INTRODUZIONE Parte Seconda Recitativo S. GIOVANNI Di quai nuovi portenti Ha la terra oggi ancora il sen fecondo? Piansero gli elementi Del loro fabro immortal la morte fiera, e d’un giorno che spera di vederlo risorto con gl’istessi tremori par che il suolo paventi i primi albori. Ma forse dell’inferno, che del Dio vincitor l’hasta percosse, gli ultimi sforzi son, l’ultime scosse. Aria Ecco il sol ch’esce del mare E più chiaro che non sole Smalta i prati, i colli indora. Ma chi sa, che di quel Sole Ch’oggi in vita ha da tornare Questo sol non sia l’aurora. Recitativo Ma ove Maria dimora Se ho già vicino il piede, spero veder ben presto cangiata la speranza in certa fede, e senz’alcun periglio lieta la madre e glorioso il figlio. Aria ANGELO Risorga il mondo Lieto e giocondo Col suo Signor! Il ciel festeggi, il suol verdeggi; scherzino, ridano l’aure con l’onde, l’herbe coi fior! Recitativo Di rabbia indarno freme Coi mostri suoi l’incatenato averno; l’odio che oppresso geme, la crudeltà che piange, l’invidia che sospira, l’empietà che delira, l’iniquità tremante, il furor vacillante, sbigottita la frode, denso il tradimento, vilipeso l’orgoglio; del mio Signor risorto saran carro al trionfo e base al soglio. LUCIFERO Misero! Ho pure udito? E in van per vendicarmi Contro forza maggior impugno l’armi? ANGELO Si, si, contrasti in van; torna a Cocito! LUCIFERO Perché al ciel pria non torna Il tuo risorto Nume? ANGELO Perché pria suole in terra Far delle glorie sue noto il mistero. LUCIFERO Noti gli oltraggi miei? No, non fia vero! Aria Per celare il nuovo scorno Le tue faci ancor al giorno Con un soffio io smorzerò; e con tenebre nocenti delle infirme humane menti ogni idea confonderò. Recitativo ANGELO Oh come cieco il tuo furor delira! Mira, folle, deh mira Le donne pie che all’incauto sasso, sepolcro già delle divine membra, movon veloce il passo! A loro il Ciel commanda Ch’io l’arcano riveli, ond’esse in publicarlo agli altri poi ne sian trombe fedeli. Duetto LUCIFERO Impedirlo saprò! ANGELO Duro è il cimento, LUCIFERO Ho ardir che basta. ANGELO Lo dirà l’evento! Recitativo MADDALENA Amica, troppo tardo Fu il nostro piè; già il sol sull’etra ascende. CLEOFE Fu il cor troppo codardo, che della terra a gl’improvisi moti fè i nostri passi rimanere immoti. MADDALENA Or chi sa se potremo Ricercar nella tomba il mio tesoro. CLEOFE Se son desti i custodi, io ben ne temo. MADDALENA Jo temo ancora, ma più il mio Nume adoro. Aria Per me già di morire Non pavento Giesù. Egli mi da l’ardire; per lui nulla pavento né morte né tormento; quando ho Giesù nel cor non temo più. Recitativo LUCIFERO Ahi abborrito nome, ahi come rendi, come, ogni mio sforzo imbelle! Ahi che vinto e confuso, atterrito e deluso fuggo il ciel, fuggo il suolo, fuggo il mondo, e del più cupo abisso torno a precipitar nel sen profondo. Aria CLEOFE Vedo il ciel, che più sereno Si fa intorno e più risplende; e di speme nel mio seno più bel raggio ancor s’accende. Recitativo MADDALENA Cleofe, siam giunte al luogo, ove tomba funesta dell’amato Signor coprì la salma. CLEOFE Parmi veder – si, si vedo ben certo Ch’è già l’avello aperto, e su la destra sponda siede con bianca stuola un giovane vestito. MADDALENA Oh quale spira Grazia dal volto suo, che mi consola! Appressiamoci a lui, che già ne mira! ANGELO Donne, voi ricercate Di Giesù Nazareno, ove giacque già morto; ora non è più qui, ma è già risorto. Al vostro puro affetto Giusto è che diano i cieli Così bella mercede, e un tal mistero a voi prima si sveli, per far araldi poi della sua fede. Itene dunque a publicarlo, e sia Premio del vostro pianto Della gioja comune il primo vanto. Aria Se per colpa di donna infelice All’huomo nel seno la morte Il crudo veleno sgorgò, dian le donne la nuova felice, che chi vinse la morte già morto, poi risorto la vita avvivò. Recitativo MADDALENA Mio Giesù, mio Signore, già che risorto sei, perché, perché ti ascondi a gli occhi miei? Può ben la fede, è vero, far che l’amore adori il gran mistero; ma come può l’amore esser contento e pieno, se non manda il suo ben per gli occhi al core? Vò cercarti per tutto; né sarà forse in vano, che da chi ben ti cerca, mai, dolce mio tesor, tu vai lontano. Aria Del cielo dolente L’ondosa procella In Iride bella Cangiando sen va. E il core che già sente Vicino il suo Sole Da mesto e languente Sereno si fa. Recitativo CLEOFE Si, si, cerchiamo pure l’orme del nostro amor; che fortunata Sarà ben chi lo trovi! Verso il bosco io men vado, mentre tu verso gli orti i passi movi. Aria Augelletti, ruscelletti, che cantando, mormorando, date lodi al mio Signore, insegnatemi dov’è! Fiori ed herbe, già superbe di lambir le sacre piante, deh mostrate a un cor amante le bell’orme del suo piè! Recitativo S. GIOVANNI Dove si frettolosi, Cleofe, rivolgi i passi? CLEOFE In traccia di Giesù ch’è già risorto, come ancora Maddalena. S. GIOVANNI Onde il sapeste? CLEOFE Sovra l’aperto avello Così a noi rivelò labro celeste. S. GIOVANNI Così la madre a me poc’anzi ha detto, a cui prima d’ogn’altra del figlio apparve il glorioso aspetto. CLEOFE Oh come lieta avrà quel figlio accolto! S. GIOVANNI Parve ch’il suo bel volto, di stille lacrimose humido ancora, del sol divino all’improviso raggio fosse traviso e pinto, un’altra aurora. Poi la gioja veloce Corse dal seno al labro in questa voce Aria Caro figlio, amato Dio, già il cor mio nel vederti esce dal petto! E se lento Fu in rapirmelo il tormento, me lo toglie ora il diletto. Recitativo MADDALENA Cleofe, Giovanni, udite, udite la mia nuova alta ventura! Ho veduto in quest’horto il mio Signore, che havea d’un suo guardian preso figura, ma dalle rozze spoglie uscia luce sì pura e così ardente, che pria degl’occhi il ravvisò la mente. Poi conobbi quel viso, in cui, per farsi bello, si specchia il paradiso; vidi le mani ancora, vidi le piante, ed in esse mirai, lucide e vaghe, sfavillar come stelle quelle che furon pria funeste piaghe. A baciarle il labro allor s’accinse, ma Giesù mi respinse, e dirmi parve tu non mi puoi toccar! Poscia disparve. S. GIOVANNI Non si dubiti più! CLEOFE Cessi ogni rio timore! MADDALENA E’ risorto Giesù. S. GIOVANNI Viva è la nostra vita. CLEOFE Il nostro amore. Aria MADDALENA Se impassibile, immortale Sei risorto, oh Sole amato, deh fa ancor ch’ogni mortale teco sorga dal peccato! Recitativo S. GIOVANNI Si, si col redentore Sorga il mondo redento! CLEOFE Sorga dalle sue colpe il peccatore! MADDALENA Ed al suo fabro eterno Ogni creatura dia lodi ed honore. CORO Dia si lode in cielo, in terra A chi regna in terra, in ciel! Che risorto hoggi alla terra Per portar la terra al ciel. (libretto Carlo Sigismondo Capece) Handel,George Frideric/La Resurrezione
https://w.atwiki.jp/pipopipo777/pages/50.html
http //www.amnesty.org/en/news-and-updates/foreign-supplied-weapons-used-against-civilians-israel-and-hamas-20090220 Foreign-supplied weapons used against civilians by Israel and Hamas Amnesty International 20 February 2009 ⇒(抄録) 米国製武器不正使用の証拠で武器禁輸の必要性高まる アムネスティ・インターナショナル日本 Israeli artillery fires towards southern Gaza Strip, from Israel side of the border© APGraphicsBank Both Israel and Hamas used foreign-supplied weapons to attack civilians according to fresh evidence released by Amnesty International. Munitions from the USA, Israel’s main foreign arms supplier, were used by Israel forces during three-week conflict in Gaza and southern Israel. Hamas and other Palestinian armed groups fired hundreds of rockets that had been smuggled in or made of components from abroad at civilian areas in Israel. Amnesty International has called on the UN to impose a comprehensive arms embargo on the parties to the conflict. "Israeli forces used white phosphorus and other weapons supplied by the USA to carry out serious violations of international humanitarian law, including war crimes," said Donatella Rovera, who headed Amnesty International s fact-finding mission to southern Israel and Gaza. Label on the remains of a missile that killed three paramedics and a child, Gaza, January 2009© Amnesty International "Their attacks resulted in the killing of hundreds of children and other civilians and massive destruction of homes and infrastructure. At the same time, the firing of rockets by Hamas and other Palestinian armed groups, though far less lethal than the weaponry used by Israel, also caused several civilian deaths and constitute a war crime." For many years, the USA has been the major supplier of conventional arms to Israel. Under a 10-year agreement to 2017, the USA is due to provide $30 billion in military aid to Israel, a 25% increase compared to the period preceding the Bush administration. Rocket remants collected at Sderot police station, Israel, 28 January 2008© Amnesty International "To a large extent, Israel s military offensive in Gaza was carried out with weapons, munitions and military equipment supplied by the USA and paid for with US taxpayers’ money," said Malcolm Smart, Amnesty International s Director for the Middle East. In Gaza, as the fighting ended, Amnesty International researchers found fragments and components from munitions used by the Israeli Army - including many that are US-made – littering school playgrounds, in hospitals and in people’s homes. They included artillery and tank shells, mortar fins and remnants from Hellfire and other airborne missiles and large F-16 delivered bombs, as well as still smouldering highly incendiary white phosphorus remains. They also found remnants of a new type of missile, seemingly launched from unmanned drones, which explodes large numbers of tiny sharp-edged metal cubes, each between 2mm and 4mm square in size. These lethal purpose-made shrapnel had penetrated thick metal doors and were embedded deep in concrete walls, and are clearly designed to maximize injury. Phosphorous shell cases found in Khuzna, Gaza, 24 January 2009 © Amnesty International In southern Israel, Amnesty International also saw the remains of "Qassam", Grad and other indiscriminate rockets fired by Hamas and other Palestinian armed groups against civilian areas. These unsophisticated weapons cannot be aimed accurately and stand no comparison with the weaponry deployed by Israel but they have caused several deaths of Israeli civilians, injuries to others and damage to civilian property. Even before the three week conflict, those who armed the two sides will have been aware of the pattern of repeated misuse of weapons by the parties. "As the major supplier of weapons to Israel, the USA has a particular obligation to stop any supply that contributes to gross violations of the laws of war and of human rights," said Malcolm Smart. "The Obama Administration should immediately suspend US military aid to Israel. "We urge the UN Security Council to impose an immediate and comprehensive arms embargo on Israel, Hamas and other Palestinian armed groups until effective mechanisms are found to ensure that munitions and other military equipment are not used to commit serious violations of international law. "In addition all states should suspend all transfers of military equipment, assistance and munitions to Israel, Hamas and other Palestinian armed groups until there is no longer a substantial risk of human rights violations. There must be no return to business as usual, with the predictably devastating consequences for civilians in Gaza and Israel." トップページ
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<<第2幕>> <第1場> (タメルラーノの王室の前の廊下 タメルラーノ、アンドロニコ) Recitativo TAMERLANO 友よ、おぬしが余のため非常によくしてくれたという 確実な証拠がある ついにおぬしのおかげで わが大いなる敵の娘は落ち着いてくれた ANDRONICO え、陛下、アステリアが? TAMERLANO そうだ、余のものになる。おぬしのおかげだ ANDRONICO でも父親は? TAMERLANO あの高慢な男がまだ同意していないのはわかっておる だがやつの同意などどうでもよいわ 余が娘を心から好きならば ANDRONICO (独白) ついに私の懸念が現実になるとは TAMERLANO ほかの者が知らせてきたことに心が痛むか? だがそれはおぬしのおかげだし、おぬしにさほど 報いておらぬことに余は心を痛めておるのだ ANDRONICO 彼女を手に入れることになってから もうお会いになりましたか? TAMERLANO もうすぐザイダが彼女を 余の部屋へ連れてくるはずだ ANDRONICO (独白) こうも、ああ天よ! (タメルラーノに) そのことを父親は知っているので? TAMERLANO なぜ執拗に尋ねる? 王子よ、おぬしの婚礼を すぐに挙げることに専念せよ おぬしが出迎えたイレーネを、花嫁とするのだ 豪華な仕度を命じよう この日はおぬしと余にとって あざやかなものとなるだろう Aria われらの愛のもと戴冠する者たちの美しき競演だ! 余はおぬしに感謝し 余から幸運を与えよう 心と心を通わせよう (退場) <第2場> (アステリアとアンドロニコ) Recitativo ASTERIA (独白) こんなところに裏切り者が? 私たちの復讐のせめてもの成果をつかむのよ ANDRONICO アステリア、困惑してるのか?なぜ? もしや私がいる前で王座に こうも急に登ることに恐れをなしているのか? ASTERIA 私にもたらされる王座を恐れたりはしてないわ 少し前にあなたが示してくれた道よ ANDRONICO あなたに道を示した、避けるべき道を 少なくとも、あなたは望まないと信じていた だが、タメルラーノが与える王座は 避けるにはあまりに輝かしかった 恋人は止めるよう願ったのに ASTERIA あなたが私の恋人?何の証拠が? 私の大敵と よもや、手を組むつもりなの? 私の血がいだくタメルラーノへの 憎しみをわかって ANDRONICO その憎しみはわかっていた。 だがその王座を見据えている愛はわからない。 君臨することに満足し、うぬぼれているのか。 だがまずはわかってくれ、あなたの不吉な野心は 寛大な父親と信頼する恋人の 命を左右できるのだ ASTERIA 静かに、アンドロニコ、静かにして 野心や愛が私を王座へ導くのではないわ それを見せてあげる (独白) でも、アステリアはどうふるまえばいい? (アンドロニコに) あなたが王座へ押しやったのよ、何度言わせるの あなたに私の敵に逆らってはっきりものを言う 心も力もないならば 私が憎しみを持つ義務はもうないわ ANDRONICO そのとおりなら 求められたこの結婚に対して 大声で異議を申し立てよう 私はタメルラーノの敵であると大喝し 王位は断ろう 私の死が望まれるなら、ついには死のう (ザイダが入ってきてアステリアにささやく) ASTERIA だめ、もう遅いわ、タメルラーノが私を呼んでいる Aria だめ、もう遅いわ わたしはほかの方と結ばれて、あなたは空しく嘆くのよ これが愛のさだめなの よくあることよ、最初のひとが心を捉えても 手をつなぐのは他のひと (退場) <第3場> (アンドロニコひとり) Recitativo ANDRONICO ああ、いとしい人はどこへいくのか? 戻ってきてこの心を喜ばせておくれ 君を許すから、許しておくれ ありえないのか? 私の悲嘆に耳を貸さず 私の胸のうちの愛を見捨てるのか? ああ、絶望したアンドロニコは何を思う? アステリアを失い、命も失おうとしている! そうだ、バヤゼットのもとへ行こう ああ、あの誇り高き方が彼女に怒り反対しなかったら あらゆる希望がなくなる Aria なだめようとしてもむだなのか 私の崇める人、美しき大事な人よ 星々も私と戦おうというのなら 私は絶望し始める 星の光を見失い 陸地がわからない船乗りのように (退場) <第4場> (王室のカーテンが開き、タメルラーノは中央に、アステリアは側で羽根枕の上に座っている タメルラーノ、アステリア、レオーネ、後からイレーネ) Recitativo LEONE 陛下、高貴な女性が イレーネ様の位のため会見を求めております TAMERLANO そのものを来させよ イレーネがわれらを探るために送ってきたのだな アステリアを見れば解るだろう 余の王座へ座るべき者と、余の言い分が IRENE (独白) 奴隷が座っていて、王女は立っているなんて (タメルラーノに) 陛下、トレビゾンドの跡継ぎがあなたに・・ TAMERLANO 口出しをするな! イレーネの言いたいことはわかっておる IRENE なんら恥じることなく、王女を裏切り、 そのうえ奴隷に手を付けるのですか? 王座に登る心がけも まだ知らないような奴隷に! TAMERLANO イレーネが言いそうなことだな? IRENE (独白) 私がイレーネよ (アステリアに?) あなた、誇り高きおかた、 その偉大なる遺産は足枷となっているのです 心得てください、あなたの望む王座は もとは他の方のものだったはずなのです そして、信義に照らせばお分かりでしょう 贈り主その人が 贈り物の値打ちを貶めているのです TAMERLANO やかましい女だ おまえに誓うが、余はイレーネの知性と美しさと 大いなる名声に敬意を払っておる 余に罪はある、それはわかっておる だが釈明させてもらう 余のものに劣らぬ王座を与えるのだ そこに落ち着いて君臨してほしい IRENE タメルラーノ様と結ばれないのであれば 国へ帰るそうです TAMERLANO 余にアステリアを嫌わせることができたら イレーネと結婚しよう (退場) <第5場> (アステリア、イレーネ、レオーネ) Recitativo ASTERIA お聞きください、どなたかは存じませんが、 つい先ほどイレーネ様のため話されたお方、 いまアステリアの心をお知りください 君臨したいと願っていたり、愛情に屈したりしたために 王座を欲しているのではないとお分かりください。 IRENE それではなぜ? ASTERIA はっきりと申し上げておきます。 他の方の道を閉ざしたりはいたしません IRENE でもひとつの王座に二人の后は就けません ASTERIA イレーネ様には、すぐにわかるでしょう 私は退くか、退かされるかすると 彼女に立ち去らないよう説得してください 私のこの手に誓って保証します アステリアはタメルラーノに嫌われるようになると (退場) <第6場> (イレーネ、レオーネ) Recitativo IRENE アステリアの言うことは大それているわ LEONE 彼女が考えているのはかなり大きなことですね IRENE あなたを信じてますわ、レオーネ、頼みますわ LEONE わが君へと同じく、イレーネ様にも忠誠を誓います IRENE あの奴隷上がりの敵から 目を離さないで 勇敢な女だわ LEONE 慎重に彼女の跡をつけましょう IRENE 道理や美しさでは守ってもらえない王座が せめて感謝の気持ちを今日示してくれれば 私は幸せなのに Aria 私の胸に芽生える 希望の光が 私の心を慰めてくれるかのよう でも変わらぬ胸の内は 完全に満たされることはない 不安に震えているかぎり (退場) Recitativo LEONE このような愛のもつれからは 大変な事態が生じることが私にはわかる。 アステリア様は敵対しすぎる。 タタールの君主は溺愛している イレーネ様の心は一途なまま Aria 愛は争いと和解をひきおこす 痛みや苦しみも生み出す そのうえ嘆きには耳を貸さず 苦しませては喜ぶ だが彼の燃えさかる松明は 蔑まれた心に火をつけ 心を傷つけて 見捨てたままにしておくのだ (退場) <第7場> (バヤゼット、アンドロニコ) Recitativo BAJAZET 私の娘はどこだ、アンドロニコ? ANDRONICO 王座に BAJAZET 誰の王座に? ANDRONICO 彼女の敵の BAJAZET タメルラーノの? ANDRONICO こんなことが! BAJAZET 恥ずべき娘め! いつどのように? ああ、私を裏切った?話せ! ANDRONICO いましがた、まさに タメルラーノの部屋へ入るところを見ました 彼女は私への復讐か野望に導かれ王座へと BAJAZET おまえ、腰抜けの恋人め 敵であった時は 娘をわが王女の座より 引き下ろすことができたではないか 娘が他の者の王座へ就く 道を妨げるすべはなかったのか? ANDRONICO 言いましたよ、大声で、でも父親すら見ようとしない人は 軽蔑している恋人の話など聞こうとしないのです BAJAZET 中へ入るぞ、王子、彼女のあとをつけよう 王座に登るのを阻止する 時間がないのなら 娘を降りさせるのだ、でなければ私はバヤゼットではない Aria その足元で父親が血の気を失くすのを 尊大な娘は見るのだろう 私の怒りにも私の流す血にも 恐れも哀れみのかけらも感じないのならば (退場) ATTO SECONDO Scena Prima (Galleria corrispondente al gabinetto del Tamerlano. Tamerlano, ed Andronico) Recitativo TAMERLANO Amico, tengo un testimon fedele del vostro in mio favor felice impiego; al fin col vostro mezzo la mia grande nemica è gia placata. ANDRONICO Come, Signor, Asteria? TAMERLANO Si, sarà mia, vostra mercè. ANDRONICO Ma il padre? TAMERLANO So che il superbo non v assente ancora, ma inutile è il suo assenso, se in mio favor ho della figlia il core. ANDRONICO (fra sé) Ecco alfine avverati i miei sospetti TAMERLANO Vi duol che da altro labbro abbia l’avviso? A voi però la devo, e ho pena non aver più come parervi grato. ANDRONICO Dopo un si grande acquisto l avete ancor veduta? TAMERLANO Deve guidarla a momenti Zaida nelle mie stanze. ANDRONICO (fra sé) Ed anche questo, oh Ciel! (ad Tamerlano) Ciò è noto al padre? TAMERLANO Perché tante richieste? Prence, attendete al vostro gia vicino imeneo. Irene, ch accoglieste, è vostra sposa. Vado a ordinar la pompa, e questo giorno sarà di vostre e di mie faci adorno. Aria Bella gara che faranno coronati i nostri amori! Io sarò nel vostro grato, e nel mio voi fortunato; cangerem cori con cori. Bella gara che faranno, ecc. (Parte.) Scena Seconda (Asteria, ed Andronico.) Recitativo ASTERIA (fra sé) Qui l’infedel! Cogliamo delle nostre vendette almen il frutto. ANDRONICO Asteria, vi turbate? e che? temete portarvi forse me presente a un trono, per cui fù cosi pronto il vostro voto? ASTERIA Non ho a temere nel portarmi a un soglio, Cui m additaste poco fa il sentiero ANDRONICO Ve lo additai, perchè il fuggiste, o almeno Credei che nol bramaste; Ma è troppo luminoso Del Tamerlano il soglio per fuggirlo, Se poi l offere un amante. ASTERIA Vio mio amante? Qual prova? Quella forse di gettavi al partito del mio maggior Nemico? Sapevate pur l odio, Che contro il Tamerian nutre il mio sangue. ANDRONICO Sepeva l odio, si, ma non l amore Con cui guardate il soglio. Or sodisfatta regnate, compiacetevi, ma pria sappiate, che la vostra ambizion funesta Potrà costar la vita a un padre generoso, a un fido amante. ASTERIA Piano, Andronico, piano! non mi guida ambizione o amore al trono; farò veder, (fra sé) ma Asteria, ove trascorri? (Ad Andronico) voi mi spingete al soglio, il dissi, e il dico; e se voi non aveste o core o forza per dichiararvi contro il mio nemico, a odiarlo nè men io son più tenuta. ANDRONICO Quando ciò sia, protesterò altamente contro le chieste nozze, mi griderò nemico del Tamerlan rifiuterò l’impero, al fin morrò, se il morir mio si brama. (Entra Zaida e parla all’orecchio di Asteria.) ASTERIA Non è più tempo, il Tamerlan mi chiama. Aria Non è più tempo, no, un altro stringerò, sospiri in vano. Quest’è destin d’amor, sovente il primo ha il cor, l’altro la mano. Non è più tempo, ecc. (Parte) Scena Terza (Andronico solo.) Recitativo ANDRONICO Ah, no! Dove trascorri, idolo mio? Torna a bear quest alma! Io ti perdon, perdona. Ma che? Sorda a miei pianti, sprezza l’ardor che ho in seno? Ah, disperato Andronico, che pensi? Perdesti Asteria, e perderai la vita! Si vada a Bajazet. Ah! se l’altiero non oppon l’ira sua, più nulla spero. Aria Cerco in vano di placare l idol mio, il mio bel nume, se le stelle a me fan guerra. Io comincio a disperare, qual nocchier che perde il lume, quando ignota è a lui la terra. Cerco in vano di placare, ecc. (Parte.) Scena Quarta (S alza la tenda del gabinetto, e si vede a sedere nel mezzo il Tamerlano, ed Asteria da una parte sopra origlieri. Tamerlano, Asteria, Leone, e poi Irene.) Recitativo LEONE Signor, vergine illustre chiede accostarvi per Irene al soglio. TAMERLANO Venga colei, che invia Irene a noi per esplorare i sensi. Legga in volto ad Asteria il destin del mio trono, e la mia scusa. IRENE (fra sé) La schiava assisa, e la regina in piedi? (ad Tamerlano) Signor, di Trabisonda l erede a voi... TAMERLANO Non t inoltrar! M è noto ciò che pretende Irene. IRENE Non arrossite, tradir una regina, per poi stender la destra ad una schiava? Una schiava, che ancora non si sa con qual cor venga sul trono! TAMERLANO Che più direbbe Irene? IRENE (fra sé) E Irene io sono. (ad Tamerlano) E tu, superba donna, Il di cui gran retaggio è una catena, sappi, che il soglio, a cui ti porti, è pria dovuto a un altra, e impara dalla fé, che tradisce il donator, a misurare il dono. TAMERLANO Donna, garristi assai; in te rispetto senso, beltade, e più d Irene il nome. Son reo, lo so, ma la discolpa è questa al fin la cedo a un trono non minore del mio; si plachi, e regni. IRENE Se non stringe la mano del Tamerlan, ritornerà qual viene. TAMERLANO Fa che mi spiaccia Asteria, e abbraccio Irene. (Parte.) Scena Quinta (Asteria, Irene, e Leone.) Recitativo ASTERIA Senti, chiunque tu sia, che a prò d Irene tanto finor dicesti conosci adesso il cor d Asteria, e apprendi che me non chiama al trono o brama di regnar, o molle affetto. IRENE Che dunque? ASTERIA Basta, e sappi che non vi vado ad ingombrarne il passo. IRENE Ma due regine non capisce un trono. ASTERIA Me vedrà tosto Irene o caduta, o discesa. Dille al fin, che non parta; in pegno de miei detti ecco la mano saprà Asteria spiacere al Tamerlano. (Parte.) Scena Sesta (Irene e Leone.) Recitativo IRENE Gran cose espone Asteria. LEONE Ond è che al certo maggiori ne ha in pensier. IRENE Alla tua fede, Leone, mi raccomando. LEONE Così servo al monarca, e a Irene insieme. IRENE Non si perda di vista questa schiava nemica; è risoluta. LEONE Cauto de passi suoi seguirò l’orme. IRENE Felice me, se il soglio, che ragione o beltà sì mal difende, gratitudine almen oggi mi rende. Aria Par che mi nasca in seno un raggio di speranza a consolarmi il cor. Ma non contenta è a pieno del seno la costanza, se l’agita il timor. Par che mi nasca in seno, ecc. (Parte.) Recitativo LEONE Veggio da questi amori nascer strane vicende; troppo Asteria è nemica, molto il Tartaro è amante, ed il core d Irene è ognor costante. Aria Amor dà guerra e pace, dà pena e dà tormenti, e poi, sordo ai lamenti, gode di far penar. Di lui l’ardente face accende un cor sprezzato, e poi che l’ha piagato lo lascia abbandonar. Amor dà guerra e pace, ecc. (Parte.) Scena Settima (Bajazet, ed Andronico.) Recitativo BAJAZET Dov’è mia figlia, Andronico? ANDRONICO Sul trono. BAJAZET Su qual trono? ANDRONICO Su quel del suo nemico. BAJAZET Del Tamerlan? ANDRONICO Cosi nol fosse! BAJAZET Ah, indegna. E quando, e come? ohi, me tradito! Parla! ANDRONICO Testé la vidi io stesso entrar la stanza del Tartaro; la guidi vendetta o ambizion sole sul trono. BAJAZET E tu, codardo amante, che nemico potesti farla scender dal mio, dal proprio soglio, ad un altro non suo non le sapesti attraversar la strada? ANDRONICO Dissi, gridai, ma chi non bada al padre, più non ascolta un vilipeso amante. BAJAZET Entriam, Prence, seguiamola, e se non siamo a tempo d’impedir che vada al trono, o vo’che scenda o Bajazet non sono. Aria A suoi piedi padre esangue la superba mi vedrà, se non ha del mio sdegno, del mio sangue o timor, o almen pietà. A suoi piedi padre esangue, ecc. (Parte.) To the extent possible under law, TRASIMEDE has waived all copyright and related or neighboring rights to the Japanese text above. This work is published from Japan. Handel,George Frideric/Tamerlano/II-2
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Market Scenario Market Research Future (MRFR) reveals that the global Virtual Classroom Industry (Virtual classroom Market)2020 is expected to touch 10 % CAGR across 2017 and 2023. By 2023. Virtual classroom in the years ahead is noted as the major cause that can contribute to the rise of the market in the years to come. The surge in demand for effective online learning environment in the pandemic is anticipated to earn high value for the virtual classroom market. the virtual classroom market can value USD 12 Bn. There are multiple causes that are expected to impact the market. However, the unprecedented demand for with the ingression of modern technologies that allows communication between a high number of people, view presentations or videos easily, and better engagement are critical as it is observed to boost customer convenience. In addition, multiple synchronous technologies, such as web conferencing, video conferencing, and web-based Voice over IP (VoIP) along with live streaming solutions are easily available. These benefits add value to virtual classroom solutions, which, in turn, can support the expansion of the virtual classroom market in the years ahead. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/4065 Competitive Outlook Skyprep (Canada), SAP SE (Germany), Oracle Corporation (US), BrainCert (US), Docebo (Italy), Brainier (US), Saba Software (US), Edvance360 (US), Bluevolt (US), and Canvas (US) are some reputed companies in the virtual classroom global market that are listed by MRFR. Segmentation The segment analysis of the virtual classroom market is done by type, service, deployment, organization size, and application. By Type based segment of the virtual classroom market are Combination of Teleconferencing, Teleconferencing, and World Wide Web among others. The Service based segments of the virtual classroom market are Professional Service, and Managed Service among others. The increased need for professional services can result in the expansion of the market in the years to come. The Deployment based segment of the virtual classroom market are On-Premises and On- Cloud. The Application based segment of the virtual classroom market are Government, Enterprise or Business Education, Healthcare, Professional Services, School College, and IT Telecommunication among others. The IT sector can earn high revenue for the virtual classroom market. The Organization Size based segment of the virtual classroom market are Large Organization, and Small and medium enterprises. The rise in the application of virtual classroom by SMEs for trainings can support the expansion of the market across the review period. Regional Analysis In North America, the virtual classroom market is expected to earn high turnover due to the rise in the demand for cutting-edge technology solutions to training across corporate sectors and education sector. The high investment made by different governments to improve virtual classroom solutions is expected to support the expansion of the virtual classroom market in the years ahead. In Europe, the virtual classroom market is likely to register a high CAGR in the analysis period due to increase in the need for online training and education facilities in the pandemic. In Asia Pacific, the virtual classroom market expected to emerge due the availability of excellent digital solutions with high connectivity. The easy access to high-end digital solutions can support the expansion of the virtual classroom market in India and Japan. The existence of a high number of vendors dealing in components for virtual classroom can support the expansion of the regional market across the assessment period. The rise in the number of different educational institutions that are adopting virtual classroom solutions can support the rise of APAC virtual classroom market across the analysis period. Industry News The global Virtual Classroom Market Share Report Market Trends has been affected due to the lockdown across the regions. This pandemic situation has hampered the Virtual Classroom Market Share Report Market Growth as well as its productivity, supply chain, and others. Moreover, the global market has lost its investors due to the increasing loss for the products, supply, transportation, workforce, and others. However, in the meantime, the key market players have implied various strategic techniques to boost global market growth. Thus, to meet the global market demands, the global market increased its speed in producing more valuable products for its intended customers. Recently, the global market has stabilized its position in the global market and is expected to register a higher Virtual Classroom Market Share Report Market Size for the forecast period. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/virtual-classroom-market-4065 Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure Continued…. Trending Report** https //writeonwall.com/internet-of-things-market-growth-key-players-with-product-particulars-applications-future-trend-business-growth-market-size-key-players-update-business-statistics-and-forecast-till-2030/ https //www.scutify.com/articles/2022-04-18-cash-management-system-market-size-receives-a-rapid-boost-in-economy-due-to-high-emerging-demands https //ict268262635.wordpress.com/2022/04/06/geospatial-market-major-application-third-party-usage-micro-market-pricing-analysis-and-geographical-analysis-forecast-to-2030/ https //tealfeed.com/enterprise-data-warehouse-market-analysiskey-players-hqfr7 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
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ip_Building_a_Village|Building a Village ip_Building_a_Village_text|Once you have over a hundred men in your army you can build a village from the camp menu. ^^ This is the dark ages, and new villages and settlements rose and fell regularly.^ Using your troops to found a village will remove them from your party, its suggested you leave your best troops at a camp quarters and raise low teir troops that can used for the village founding. ^^ If you are not yet part of a kingdom, founding a village will also found a new kingdom under your rule. ^ Your court will be established at the village and can be lost if raided. ^^Villages can also be upgraded into towns. ip_armies_size|Army Size ip_armies_size_text|The size of your army, similar to the armies of the lords, depends on several factors ^^Leadership each point will increase the maximum size of your army by 5. Companions with Leadership help lead the party.^^Charisma each point of your charisma will increase the maximum size of your army by 1. It is your ability to attract men to your cause.^^Renown every 9 points will increase the maximum size of your army by 1. Fame attracts followers.^^Holdings every town will add 80 men and each fort 40 to the maximum size of your army. These spots represent men you can raise through a levy.^^Bear in mind that party size at sea is restricted by ship capacity. Extra troops can always be left at a settlement garrison, player Refuge (once built), or any Camp Quarters. ip_morale|Morale ip_morale_text|Morale represents the ability and willingness of the troops in a party to summon up the endurance, bravery, and discipline they need to face the stresses of battle and the march. It is not the same thing as the troops' happiness. Elite troops may grumble and whine about the hardships of campaigning -- but then stand together as one when the arrows start to fly. On the other hand, a commander who gives his men everything they want may find that they grow soft, and waiver before the enemy's charge.^^ Morale's greatest impact is on a party's behavior in battle, determining how aggressively troops engage the enemy, and how likely they are to break and run if they perceive the tide of battle turning against them. Morale also affects a party's march speed, as a less motivated party will move more slowly, as the men are not pushing themselves to their physical limit, and pause more frequently, as it waits for stragglers to catch up. Finally, a party with very low morale will start to suffer desertions.^^ Some factors that affect morale are intuitive. For example, a charismatic commander with a reputation for winning battles can infuse his or her men with a sense of confidence. Leaders who give their men well ample and varied supplies of food, and pay them on time, demonstrate that they care about their troops' welfare, and are less likely to lead them into disaster.^^ Other factors are less intuitive -- particularly those related to a party's sense of group cohesion. In a small tight-knit party, for example, men will often fight hard against daunting odds to avoid showing cowardice before their comrades-in-arms. A large party on the other hand may see its cohesion strained, as the commander has less time to supervise the men, listen to their grievances, and resolve their disputes. Frequent battles will strengthen the bonds between men, while long periods without combat will see the troops become bored and quarrelsome.^^ The morale report, accessibly by hitting the 'reports' button will give the player a sense of the factors affecting his or her men's morale. ip_economy|Economy ip_economy_text|Towns and villages in these lands need a wide variety of goods for their populations to remain healthy and productive. First in importance is food. Grain is the staple crop of the Isles, but people also need fat and protein in the form of meat, fish, or cheese. It takes almost as much work to preserve meat as to produce it in the first place, so salt is also in high demand. After food comes clothing heavy wool, lighter linens, or luxurious velvet. Finally, people need the tools of their trade ironware, pottery, leatherware, and, of course, arms, armor, and horses for war.^^Most agricultural products are produced in the villages, while artisans in the towns specialize in manufactured or artisanal goods like fabrics or ironware. Also, different resources can be found in different parts of the country. Consequently, the key to prosperity in Calradia is trade -- both between the villages and the towns, and between the major towns themselves.^^When trade flows, goods will be available and affordable, the population of a center will be healthy and energetic, and migrants will flock from the nearby regions. The center will produce more, consume more, and be able to contribute more in taxes to their lords. When trade dries up, towns and villages will see their workers flee to seek work elsewhere, and economic activity will drift to a stand-still. Thus, it is in the interests of rulers to protect trade routes from the hazards of war and banditry. A smart merchant, however, may want to seek out towns which have become isolated from the rest of the land, as he or she may be able to turn a tidy profit from the resulting price imbalances.^^Because villagers usually plan to take their goods to market in towns, village markets will be rather quiet places, and villagers will buy cheap and sell dear. Serious merchants will stick to the towns to make a profit, although some parties may decide to make a quick stop in a village to acquire supplies.^^A player who wants to know about the factors affecting a region's prosperity can speak to the guildmaster of the local town. Other information can be gleaned from passers-by, although they might not know very much outside of their own particular trade. ip_courtship|Courtship ip_courtship_text|Players may wish to marry into one of these lands noble families. Marriage is not necessary for a player to rise in power and stature, but it does provide players with an opportunity to improve their relation with lords and establish a claim to the throne.^^Marriage requirements will be different for males and females. A male character will usually need to pursue a traditional path of courtship. He should establish a reputation in the Isles aristocratic society, get on good terms with his bride's parents or guardians, and then woo the lady according to local custom. If a player grows impatient, he may attempt to take a shortcut -- but there will be consequences in his relations with other lords.^^A male character should keep in mind that other lords will be competing with him for the affections of the kingdom's ladies. Also, a lady's tastes are unpredictable, and a player may also find that the object of his love does not love him in return. Romance, in Calradia as elsewhere, does not always prosper. Of course, a player may resort to other, less gentlemanly means of winning a lady's heart, but again, that will have a serious impact on his reputation.^^To get started on the path of courtship, a male player should try to get involved in the social life of the Isles aristocracy, attending feasts and tournaments. Also, wandering troubadours and poets can serve as a useful repository of information on courtship, and keep the player up to date about the latest gossip.^^Female characters can also marry -- but they should keep in mind that society is very traditional, and, as adventurers, they have chosen a very unconventional path for a woman. A female character may have to look for a while to find a lord who is open-minded enough to marry her.^^On the bright side, a female character does not have to go through the elaborate rituals of courtship, and she also may gain more from a marriage than her male counterpart. For a woman adventurer, marriage can be a quick path to power -- and an unscrupulous character may be able to use her husband as a tool of her political ambitions. ip_politics|Politics ip_politics_text|The realms of the Isles, although they represent different cultures, all adhere to the same basic political system feudalism. Feudalism is based on the relationships between individuals the oaths of loyalty given by a vassal to his or her liege. In exchange for this oath, the vassal will usually receive a fief, a parcel of land whose income will be used by the vassal to raise troops to support the liege in time of war. A liege also has an obligation to protect his vassals, and to treat them justly.^^This is how it works in theory, anyway. In practice, vassals will not always work in their factions' interests, particular as they are often quarreling with one another. Nobles have different personalities, and sometimes those personalities clash. Or, perhaps two nobles were once friends, but fell out over in the aftermath of a setback or a defeat -- or because they both were wooing the same lady. Jealousies will also surface as they vie for the favor of the king -- perhaps over newly conquered lands, or over who will be given the coveted office of marshal, the lord in charge of organizing large-scale campaigns.^^When one realm in the Isles makes war on another, the political unity of the each kingdom is as important as the quality or number of its soldiers in determining the outcome. In a cohesive kingdom, nobles will join together in a large force to sweep their opponents before them. In a kingdom divided by petty quarrels, lords will fail to respond to the marshal's summons, or drift away to attend to their own business if a campaign is not going well. A faction's political cohesion will also impact warfare when campaigns are not in progress. In a divided faction, lords will be less likely to join together on raids and patrols, and come to each other's defense.^^If it seems self-defeating for nobles to bicker and quarrel when the enemy is just over the horizon, keep this in mind -- ultimately, a noble's loyalty goes not to a particular faction or culture, but to himself and to his family. If a noble fears that his faction is collapsing, or if he is being neglected by his liege, he can usually find a reason to withdraw his oath of allegiance, and change sides. Players should keep this in mind, as they may find that there are opportunities to turn discontented former enemies into allies. ip_character_backgrounds|Character Backgrounds ip_character_backgrounds_text|A player character in these lands may choose to come from a variety of social backgrounds. This choice will affect not just his or her starting skills and equipment, but also the course of his or her career as an adventurer.^^War and politics in these lands are traditionally dominated by male aristocrats. A nobleman player character may find that he is invited into this 'old boys' club' fairly quickly, but women and commoners may face a few extra hurdles on the way. If you choose to start the game as a male nobleman, you can think of it as the 'easy' setting. Starting as a noblewoman or a male commoner is somewhat more difficult, and starting as a female commoner is probably the most challenging way to begin a game.^^However, women have some starting advantages. Simply by taking up arms, a female warrior will draw attention to herself, and she may find that she can build up her reputation faster than a male. Also, it is traditionally easier for a woman to marry up the social ladder than it is for a man, and a woman may find she can gain more from a strategic marital alliance than her male counterpart.^^Finally, keep in mind that the game does not place any limits on the upward mobility of characters based on their background. Noble or common, male or female, married or unmarried -- anyone can rise to become ruler of all these lands, if they are sufficiently brave, lucky, or resourceful. ip_military_campaigns|Military Campaigns ip_military_campaigns_text|When kingdoms in the Isles go to war, their armies have two basic offensive options. They can try to attack villages and lay waste to the countryside, damaging their enemy's prestige and economy. Or, they can try to seize and hold castles or towns, taking territory This second option can involve long, bloody sieges, but will yield more decisive results.^^It is important to note that the realms of these lands do not field standing armies, which remain in the field as long as the ruler desires. Rather, realms are protected by feudal levies comprised of the major nobles and their individual retinues. Sometimes, these nobles launch their own private attacks into enemy territory, but the most decisive events will usually take place when the great hosts are assembled. The kingdom's marshal, a noble appointed by the king, will summon the host before the campaign and lead them out to battle. However, he should be careful not to keep them in the field too long. Otherwise, the host will begin to disintegrate, as the vassals drift off to pursue their own business, and the army will be vulnerable to a counter-attack.^^For this reason, the rhythm of wars in these lands often resemble the rhythm of a duel between two individual combatants. One side will gather its strength and seek to land a blow against the enemy's territory. If the marshal spends too little time gathering the vassals, he may not be able to do any real damage. If he spends too much time, then the campaign may end before it has even begun. A large realm will have an advantage over a smaller one, just as a brawny combatant has an edge over a smaller foe, but a realm's political cohesion can also be a factor, just as a fighter with great stamina can outlast her opponent. Sometimes, the armies of two realms will meet head on, resulting in a major battle in which both numbers and morale will decide the outcome.^^Kingdoms will have imperfect intelligence about their enemies. Attacking lords will need to frequently scout enemy territory to determine which fortresses may be vulnerable. An army defending its homeland will benefit from the alarms raised by castles and towns, which broadcast intelligence about enemy movements in the area. Such intelligence will be imprecise, however, particularly when it comes to numbers. A defending force which sets out to raise a siege or rescue a village may be able to overwhelm an unprepared attacker -- or it may miscalculate, and find that it is the one to be overwhelmed. Attackers, in turn, must be careful how far they advance into enemy territory, with aggressive marshals venturing further than cautious ones.^^Players will be expected to join in their faction's military campaign, either by joining the host, or by scouting ahead into enemy territory. Some players may find that their realm's marshal is too cautious, or too aggressive, for their tastes. In this case, they can intrigue with other lords to try to replace the marshal, or build support to become the marshal themselves.^^Most wars are of limited duration. A king who goes to war will, for the sake of honor, feel obligated to pursue the conflict for a short while. However, unless he is soundly beating his enemy. he may soon start looking for a way out of the conflict, lest he leave himself vulnerable to an attack by a third party. These rulers are keenly aware that today's ally may be tomorrow's enemy, and vice versa. ip_siege_warfare|Siege Warfare ip_siege_warfare_text|Age of Arthur offers siege warfare accurate to the Dark Ages period. When the player besieges a settlement, two paths can be taken to conquer the place by debilitation (hunger, diseases ...) or by assault.^^In the former case, the player's goal is to blockade the settlement and prevent it from receiving supplies or reinforcements. At the same time various actions can be performed to undermine morale, spread disease or destroy the food reserves of the settlement. This type of action will take longer, but also avoid a large number of casualties.^^In the latter case, direct action is undertaken, provided assault equipment is available or preparatory actions have been taken, such as wearing down the defenders or burning their houses and walls. This option should be used when the player feels ready to launch a full-scale assault to conquer the settlement. It has the advantage of leading to success more quickly, but usually at a relatively high cost in lives.^^In addition, when the settlement has a port, the player may equip a fleet and assault the port, leading an assault from the sea.^^The complexity and characteristics of the new siege system are too numerous to describe here in detail. The best thing is to discover and develop strategies on your own. ip_sea_travel|Sea Travel ip_sea_travel_text|Ferries on the world map transport your party between two stations. While this is cheap when your party is small, it becomes more expensive with party size.^^To travel longer distances on the sea, one may travel from one port town to another. This can be initiated from the town menu or by talking to the ship captains and befriending them in the port part of the town scene. Similar to ferries, this service becomes more expensive with party size.^^Once you have your own ship, you may embark from the port it is in by clicking on 'Sail from port' in the port menu. You will return to the map, but this time at sea on your ship. Sea travel then works much like land travel.^^There are two different ways to get back on land. You can either click on a port or use a landing point. To find a landing point, travel closely along the coast or right click on your party and select 'find closest landing point.' As with ports, click on the landing point to disembark. In either case, your ships will remain at the position where you landed.^^If your party's size is greater than the capacity of your ships, you won't be able to embark. In this case, you can establish troop quarters (Camp menu) at your current position and another troop quarters at your target position, then transport your army step by step between both quarters.^^When traveling by sea on the campaign map, you can always check the current weather. After clicking on the 'Camp' button, current conditions are shown on the left side. If the weather conditions change, you will be notified by a message in the lower left corner of the screen.^^On the one hand, windy weather is good for the speed of your ships on the campaign map and in sea battles. On the other hand, the chance that it will damage your ships also increases. Damage worsens the condition of a ship, slowing it or even destroying when the condition reaches 'Dangerous.' You may check the conditions of your ships by clicking on 'Camp' and then on 'Fleet.'^^Finally, the weather also determines the behavior of ships in battle. This can always be checked beforehand by clicking 'Camp' and then on 'Check location.'^^Sea travel is dangerous and can lower the morale of your troops. When this happens, you will be notified by a message. Troops especially dislike spending the night on the water. Therefore, consider plotting your route to make landfall by night. If morale on the sea gets too low, troops may mutiny.^^Some troops like Sailors and certain Saxon troops are experienced seamen and will increase the travel speed of your ships on the campaign map. You can check the effect on the left side of the camp menu.^^If there is more than one ship in your fleet, the speed of the fleet is determined by its slowest ship. However, as soon as you have more than one ship in your fleet, you can split the fleet. To do so, travel close to a shore. Then click on 'Camp', 'Fleet' and finally on 'Leave ship at shore' to leave the slower ship(s) there. To bring ships together again, one needs to bring them all to a port. To get a overview of all your ships at their location, click on 'Character' and then on 'Ships.' ip_sea_battle|Sea Battle ip_sea_battle_text|At some point after starting to travel on the sea, you will participate in a naval battle.^^First of all, you need to know how to control your ship. You can give the command to row forward, fast forward, backwards, or stay. The up and down arrow keys switch between these commands. You can also give the command to go straight, starboard, hard starboard, port or hard port. The left and right arrow keys switch between these commands.^^Current commands are represented by arrows around the representation of your ship in the upper right corner. Press Enter to set the sail and Backspace to get a tactical view of the scene. Try these commands to get a feeling for steering a ship and the effect of the wind.^^As soon as you get close enough to an enemy ship, boarding will commence. The ships are lashed together and the fight starts.^If you are lucky, you may capture the enemy flagship after winning the fight.^^In a sea battle where you have several ships, you can give a 'stand ground' or 'charge' command to your ships, which are assigned to the ninth 'division.' The first troops in your army list will be together with you on the flagship. The other troops will be in the remaining ships. One can change one's flagship in a port or while camping on the sea.^ ip_wounds|Wounds ip_wounds_text|The player may receive specific, debilitating wounds in battle. Physicians in larger towns will treat these wounds for a price, after which they will heal within a few days. Any negative effects will then be removed. If wound is not treated after some time, it will change to a scar, and the negative effects will then be permanent. ip_recruitment|Recruitment ip_recruitment_text|Recruitment in Age of Arthur is not always automatic but depends on a number of factors.^^Firstly, in order to recruit in a town, you need to obtain the permission of its lord. To do this, you'll need to have enough renown (150+) and be on good terms with the lord and his faction.^^For villages, you dont need to obtain permission, however the troop quality is always the lowest. ^^Once permission is obtained, you are free to recruit as long as your relations with the settlement remain positive. In villages you may be able to recruit tier 1 troops, and if have high enough relations (60+), you may be able to recruit tier 2 troops. If you happen to be the village's lord, you need only 20+ relations to do this.^^In towns, you maybe able to recruit tier 2 troops, as well as specialized troops from special cities. The maximum number of troops that you may be able to recruit is determined by your relations with the settlement, your leadership, your charisma, your religion, the predominant religion of the settlement, and whether or not you are the lord of the place.^^Other options are available. If you're Christian, you may be able to find some desperate refugees in monasteries. There is always a chance to find fellows looking for work at farmsteads. ip_skills|Skills and Attributes ip_skills_text|When creating or developing a character in Age of Arthur, one has to pay attention to the many skills and attributes. Skills like persuasion and leadership are essential for trading, wages, lord and lady interaction, and forced conversion. Attributes such as intelligence and charisma are also essential in these activities, but will also affect your ability to marry or lead people.^^There are three important skills for the sea 'Sea King,' 'Navigation' and 'Looting.'^^One's Sea King level determines the amount of ships one can command. Level one allows up to two ships. Seven ships are the maximum at the Sea King level of four.^^The Navigation skill allows one to travel faster on the sea. It is the naval equivalent of the Pathfinding skill on land (which, by the way, will not help on the sea).^^A higher Looting skill results in a higher chance of capturing enemy ships.^ ip_tactical_controls|Tactical Controls ip_tactical_controls_text|Use the keyboard NUMBERS to select a division. Press 0 to select your entire force.^^Use F1-F4 to order selected divisions. Keep the F1 key down to place selected divisions. You may target an enemy division through this mechanism.^^Pressing the ENTER key often initiates an overhead Strategy Camera.^^Pressing the BACKSPACE key often initiates a Battle Command Display with 'radar.^^Pressing the H key will make your horse come to you (requires riding skill of 4 or higher).^^Pressing the Z key will enable Crouching.^^Pressing the T key will trigger your war-cry and can be used to rally your troops.^^ ip_division_placement|Division Placement ip_division_placement_text|When ONE division is selected, the center of its front rank is placed at the spot indicated.^^When MANY divisions are selected, they are separated and spread out as if the player were standing at the spot indicated.^^One may memorize the placement of selected divisions relative to the player by pressing F2, F7. Default is infantry to the left, cavalry right, and ranged forward. Placement is overridden for any division the player chooses to personally head through the Formations Options menu.^^If the camp menu game option is set, divisions will rotate to face the enemy. Otherwise, they will maintain the facing that the player had when they were placed. ip_formations|Formations ip_formations_text|The Complex Formations on the Battle Menu are ^^- RANKS with best troops up front^- SHIELD WALL, ranks with shields in front and longer weapons in back^- WEDGE with best troops up front^- SQUARE in no particular order^- NO FORMATION^^Even in the last case, the player can make formations up to four lines by ordering Stand Closer enough times. ip_children|Children ip_children_text|Children can play an important part of Age of Arthur. Both the player and NPC's can have children during the course of the game.^^ For NPC's, children give factions new lords and ladies, while also creating heirs for faction leaders.^^ For players, children grant both new companions, or lords if the player is a vessel/monarch of their own lands.^If the player is female, they must be careful when entering battle while pregnant as being wounded can cause the death of their child and bad relations with your husband.^^ Both male and female players should be married before having children or their child will be a Bastard.^ ip_quarters|Quarters ip_quarters_text|Quarters allow you to leave some of your troops at a particular location on the map. You can have up to two quarters.^^There are several scenarios which make quarters useful ^- If you need to travel on a boat, but you can't afford to pay passage for all your troops^- If the capacity of your fleet isn't big enough to transport all your troops at the same time^- If you want to sneak into a town^- If you want to travel faster over the world map ip_war_cry|War Cry ip_war_cry_text|You can use a war-cry in battle to rally your men, hit 'T' to do so. This has the best effect of the troops closest to you on the field. ip_horse_calling|Call your Horse ip_horse_calling_text|If you riding skill is higher then level 3 you can call your horse (provided you have one) during battle by hitting 'H'. ip_special_triats|Special Traits ip_special_triats_text|Once you go past level 12 special traits become possible, however you will need to meet the conditions and play style to develop one.^^ They include ^^ Words-smith A person who read books, or learns poems and has recruited companions or lovers. This trait unlocks a more powerful war-cry use it once per battle by hitting 'Y' ^^ Trickster A person who has won many battles no matter the cost and either has taken many lords prisoner, or has many enemies. This trait unlocks shield taunting in battle use it by hitting 'Y' ^^Musician A person who has leaned a number of poems and either carries a musical instrument or has developed their entertainment skills. This trait gives you a horn, use it in battle to inspire men by hitting 'Y'^^ Knowledge of the Dark arts (magic must be turned on in mod option), A person who has studied magic and knows the right companion. This trait unlocks spell casting in battle by hitting 'Y'^ ip_ambushing|Ambushing ip_ambushing_text|Ambushing was an important part of dark age battle tactics. To this end, both the player and AI can set ambushes.To set an ambush you will need to hold down the left CTRL key while hitting 'A' on the overland map. Also an ambush will only remain set while you stay resting in the same map position.^^You can increase the effectiveness of ambushes by increasing you parties tactics and spotting skills. ip_partition_laws|Partition Laws ip_partition_laws_text|Every kingdom in Age of Arthur now has their own possible succession laws which govern how heirs will inherit lands upon a rulers death. If a kingdom is big enough, and has more then one possible heir these laws come into play...^^Confederate Partition In this law all sons/daughters and eldest brother have a chance of being included in succession. Depending on how large a kingdom is it may be divided up to three times. The kingdom vessels and former monarchs wealth will be divided among them equally. Although the main title holder (the oldest heir) does maintain a slight advantage it can severly weaken their original kingdom. All kingdoms start at this level, though it can be even more devestating for Britonnic kingdoms.^^Regular Partition After game year 508 (530 for Britonnic Kingdoms) regular partitions become available. In this case, although the kingdom is still divided, the eldest brother is no longer included in succession if there are sons/daughters and the main heir does maintain a greater advantage when dividing up vessels and wealth.^^High Partition In this case a kingdom can only be divided once between the two eldest sons/daughters. The main heir maintains most of the kingdoms vessels and wealth and the second heir will be an ally/tributary of the eldest. This law is not available until the year 540 (or 560 for Britonnic Kingdoms).^^No Partition / Single heir After the year 550 the single heir law becomes available and thus returns to default play of the eldest inheriting everything.^^In order to change the laws for your kingdom you need to be the factions head of government and talk to your chancellor. They will call a vote of your vessels and you will need a majority of yes votes for the law to change.^If you are a vessel in another kingdom, your liege may call the vote to change laws from time to time, yet either way a majority of yes votes are needed. ip_stress_system|Stress System ip_stress_system_text|From now on decisions you make during your course of play, or events such as running our of food, can cause you stress.^^ If you make choices that don't align with your current honor rating, or personality you will see stress start to mount. Having high stress unlocks a number of possible negative health events and could even cause your character to loss thier mind!^^ Once stress gets too high you will suffer a mental break and will be forced to pick an activity to reduce stress, though at a cost of possible wealth, ability or even changes to your body wieght. Stress adds another element to consider when making decisions.
https://w.atwiki.jp/proko_translation/pages/44.html
Drawing Supplies I Use in My Videos 私のビデオで使うドローイングに於ける必需品 https //www.youtube.com/watch?v=D_W9sZ8S7RM http //www.proko.com/drawing-supplies-i-use-in-my-videos/ 0 11 Stan Prokopenko here with another episode of Proko. Stan Prokopenkoです。 0 14 Since I started making these videos the most commonly asked question has been, "what kind of pencil do you use". 私がこれらのビデオを作り始めて以来、 最も多く質問されたことが、 「どんな種類の鉛筆を使っているのか」でした。 0 21 I think it s time to make a video about it. 私は今こそそれについてのビデオを作るときだと考えました。 0 23 I do have a specific pencil and a specific way of sharpening it. 私は特定の鉛筆を使い、特定の方法でそれを尖らせています。 0 27 I do this because that s the way I was trained at the Watts Atelier. 私がそうするのは、 それが私がWatts Atelierでそのように訓練されたからです。 0 32 I ll start by showing you how to sharpen a charcoal pencil and then go over all the other supplies that I use in my videos. まず私は皆さんに、どうやってチャコールペンシルを 尖らせるかをお見せし、 その後、私のビデオで使っている その他の必需品をざっと紹介しようと思います。 0 40 I like to use the Conte 1710 B as my go-to pencil. 私は、Conte 1710 Bを主力の鉛筆として使っています。 0 44 It is the one with the gold ring on the back tip. この鉛筆は、後ろの先端に金色の輪が付いたものです。 0 47 But, I also like to use the primo 59B and wolff s carbon 6B.. しかし、 primo 59B と wolff s carbon 6Bもまた 好んで使います。 0 53 And there s a bunch of other options out there. また、その他の多くの選択肢も存在します。 0 55 They re all slightly different, and the best way to see the difference is to just try them out. これらはすべて少しずつ異なっています。 違いを見る一番の方法はとにかく試してみることです。 1 00 They re not very expensive. これらはとても高価というわけではありません。 1 01 The primo and wolff s carbon feel a bit more like drafting pencils compared to the Conte and so I use them more for linear work. The primo and wolff s carbonは Conteと比べると製図用の鉛筆という感じがします。 ですので、これらを線を引く時に使います。 1 09 And the Conte is thicker and softer, so it s easier to be tonal and more painterly with. I m right handed, so I control the blade with my right hand and hold the pencil in my left hand, like this. Conteはより太く柔らかいので、 色調を付けるのがより簡単で、絵画調にできます。 私は右利きですので、 刃を右手でコントロールし、 左手で鉛筆を持ちます。このようにです。 1 23 The first thing I m going to do is expose about an inch of the charcoal removing the wood. 最初に私がすることは、 周りの木を取り除いて3cmほど芯を露出させることです。 1 28 Push the razor forward with the left thumb and control the position and angle of the blade with the right hand. 剃刀を左手の親指で押し、 右手で刃の角度と位置をコントロールしてください。 1 35 Take off thin pieces of the wood and rotate the pencil. 木の薄皮を剥きながら鉛筆を回転させてください。 1 40 Make sure not to go to deep. 深くやりすぎないよう気を付けてください。 1 42 If you try to take off all the wood at the same time, you risk cutting into the charcoal. もし皆さんが一度に全ての木を取り除こうとすると、 芯も切ってしまうリスクを負います。 1 48 Keep rotating until all the wood is off and there is a smooth taper from the wood to the charcoal. 全ての木が取り除かれるまで回し続け、 木から芯まで滑らかな先細りになるよう気を付けてください。 1 55 Sometimes there will be a layer of glue still on the charcoal. 時々、芯の上に、接着剤の層が残っている場合があります。 1 58 Chip away at it to remove all the glue. 全ての接着剤を削り取ってください。 2 02 Now let s focus on getting the charcoal to the right shape. さて、今度は、芯を正しい形にすることに 集中しましょう。 2 05 Right now, the charcoal has these sharp corners towards the top. 今のところ、芯は上に向かって尖った角を持っています。 2 09 What we want is a smooth taper to the point. 我々が望むのは、一点に向かって滑らかに先細りするものです。 2 12 If you have any rough edges or sharp corners on the side, the pencil won t work properly. もし、皆さんの鉛筆が、荒い縁や鋭い角を片方に持っていたら、 鉛筆は正しく機能しないでしょう。 2 18 We want a smooth taper so that we can use the side to shade smooth tones. 一方を滑らかな色調を描くのに使うために 滑らかに先細っているものが望ましいです。 2 24 I like to use sandpaper to soften the sides. 側面を削るのに、私は紙やすりを好みます。 2 28 One of these that you can get at most art stores works fine and fits in a pencil box. こっちの紙やすりは、 多くの画材屋で手に入りやすく、筆箱に合います。 2 33 I prefer to use these larger blocks from Home Depot because you can clean and reuse them. 私は工務店で手に入るこちらの大きなブロックを好みます。 なぜなら、洗って何度も使えるからです。 2 38 Medium grit sandpaper works best. 中目の紙やすりが一番良いでしょう。 2 42 I use a forward and back or side to side motion while constantly rotating the pencil. 鉛筆を回しながら、 前後もしくは横の動きを使います。 2 51*BEEP 2 53 when you first start sharpening the pencil this way. You ll probably break a bunch of them. 皆さんがこのやり方で鉛筆を削り始めると、 たくさんの鉛筆を折ることになるでしょう。 That s ok. 問題ありません。 Don t let it get to you. 気にしないでください。 Take a deep breath and try again. 大きく息を吸い、もう一度試しましょう。 It becomes much easier over time. 回数を重ねれば上手になります。 You can actually get quite fast at it.. 皆さんは実際に素早くできるようになるでしょう。 Ok,Let s try that again. 良いでしょう、もう一度試しましょう。 3 13 Aaand DONT FORGET! wipe off the excess powder. そして忘れないで! 余計な粉はふき取ってください。 3 17 When I come by to help one of my students and they give me a pencil with excess powder on it, i BREAK *BEEP no I don t actually do that... 私の生徒を手助けしようと立ち寄ったとき、 彼らは余計な粉のついた鉛筆を私に手渡し、私は... 実際にはやってませんよ。 but don t forget to wipe! It get s all over the paper and then you can t erase it.. しかし、粉をふき取るのを忘れないでください! それは紙じゅうに付き、消すことができなくなります。 So there you have it. さて鉛筆の準備が終わりました。 Now let s take a look at all the other supplies. 次は、その他の必需品を見ていきましょう。 First, the paper. 初めに、紙です。 3 37 I use smooth newsprint when I do studies because it s cheap and allows you to shade very smooth tones. 私は、勉強するときは滑らかな方のニュースプリントを使います。 なぜなら、安く、滑らかな陰影を描くことができるからです。 3 43 It s important that you buy the smooth newsprint and not the rough. 「荒い」方ではなく「滑らか」な方を買うのが重要です。 3 46 Nothing wrong with the rough, it s just that the smooth gets better details. 別に荒いのが悪いというわけではなく、 細部を描きたいのなら滑らかな方がよいということです。 3 50 The rough has some texture that breaks up the details a bit. 荒いほうは幾分質感があり、そのせいで細部が崩れがちです。 3 54 Before you start the drawing, make sure you re drawing on a thick stack of newsprint. ドローイングを始める前に、 ニュースプリント紙を厚く積み重ねているかどうか 確認してください。 3 59 This provides some cushion and get s smoother tones when you re shading. このことがクッションになり、 滑らかな陰影を得ることができます。 4 02 If you re getting towards the back of the pad, some of the texture from the cardboard will begin to show through. 紙がなくなり、裏の厚紙に近づいてくると、 厚紙の質感が透けてくるようになります。 4 08 So, constantly rotate the paper and make sure you re working on the top sheet. ですので、継続的に紙を回転させ、 一番上の紙で描いていることを確認してください。 4 14 I do want to point out that newsprint is NOT archival. ニュースプリント紙は保存には向かないことを 指摘しておきます。 4 17 It will wrinkle and yellow over time if exposed to heat, light, moisture, and oxygen. 熱、光、湿気、酸素にさらされると、 それは皺が寄り、黄色く変色します。 which is pretty much everything.. あらゆることが原因になっています。 4 26 So, I use it only for practice in school, when I do studies and film these tutorials. ですので、私はそれを学校の練習やビデオを 作るときにのみ使います。 4 32 When I want to do a charcoal drawing that lasts, I use watercolor paper and I ll usually choose the ones that are soft and cushiony. 私が長持ちするチャコールのドローイングをやりたいときは、 私は水彩紙を使い、 滑らかでクッション性のあるものを使います。 4 40 Or I ll use bristol paper with graphite pencils. もしくは、私はブリストル紙とグラファイト鉛筆を使います。 4 43 I m always trying out new paper and I encourage you to do the same. 私は常に新しい紙を試しますし、 皆さんもそうするよう励ましたいです。 4 48 To erase, I like a kneaded eraser because I can shape it to erase large areas, or small details. 消すときは、私は練けしを使います。 なぜなら、大きな範囲を消すため、細部を消すために 形を変えられるからです。 Bulb 電球型 Point 点型 Blade 刃型 4 56 It also doesn t fall apart while you re erasing and you can knead it to clean it up a bit. また、消すときにぼろぼろと崩れ落ちませんし、 汚れたら練り直せばいいからです。 5 03 You ll need either a clipboard, a piece of wood, or foam board with clips to hold your paper. また、クリップボードと紙を止めるクリップも必要になります。 5 08 Put the pad towards your knees, and lean it against a table or the back of a chair. 皆さんの膝の上に紙を置き、 テーブルか机に向かって立てかけて斜めにしましょう。 5 13 Hold the pencil like a paint brush, sit up straight, move from the shoulder, and you re ready to begin. 絵筆のように鉛筆を持ち、 まっすぐに座り、肩から動かし、 これで始める準備ができました。 5 19 Make sure to check out my Portrait drawing fundamentals DVD which includes 16 mini lessons from my YouTube channel and 2 real time demonstration of how I draw a portrait from start to finish at about an hour and half each. 5 33Check it out at proko.com/dvd1
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const rPagename = /(?=^|.*
https://w.atwiki.jp/nicocache_nl/pages/25.html
@wikiの制限によりリンクなどは元ページのままです。 FrontPage nlFilter nlFilter† Javaの正規表現を用いたフィルタを簡単に記述できます。 NicoCache_nlをインストールしたフォルダ(jarと同じフォルダ)にある「nlFilters」フォルダにあるテキストファイルは、自動的にフィルタとして読み込まれます。 すでにあるファイルに追加すると、バージョンアップ時に上書きされることがあるので、新しく適当な名前のテキストファイルを作成して、そちらに追加するのがお勧めです。 その時、すでにあるフィルタの一行目をコピーしておくと、フィルタの文字コードで悩まなくてすみます(Windowsの方はあまり気にしなくてもいいです)。 また、フィルタはファイル名順に適用され、同じファイルの中でも上に書かれている物から順に適用されます。 nlFilterの記述例はnlFilter.txtに 正規表現の仕方は正規表現に あります。 ↑ フィルタ一覧† nlFilter フィルタ一覧 ヘッダ系フィルタ ユーザー名・プレミアム登録を削除 (一般会員) (2010/02/23) NicoVideo header light(9) (2010/03/10) 05_topBarFilter.txt 改造版 (2010/10/14) ランキング_PopupMenu (2010/03/09) コメント系フィルタ kill @JUMP(2009/11/09) commentFilter(2009/05/27) 消去系フィルタ 「メニュー▼」を削除(2010/04/17) 色々まとめて削除(2009/10/30) rankingページ宣伝削除(2009/05/06) watchページ色々まとめて削除(2009/12/19) 検索ページ色々まとめて削除(2010/06/24) myページ色々まとめて削除(2009/12/28) liveページ色々まとめて削除(2009/12/28) 右列の広告消去(2009/12/04) 強調表示系フィルタ ranking カテゴリページ再生時間で色分け(2009/10/30) rankingページ関連フィルタ カテゴリページ 1 → 2列表示(2010/06/24) カテゴリ丸ごと消去 (2010/09/30) watchページ関連フィルタ 説明文横サムネ表示(2010/10/17) 投稿者名下サムネ追加(投稿者名非表示対応)(2010/10/14) サムネ表示(2010/10/14) watchページ:主コメの高さ制限 wrapperReplaceFilter 改造版 ニコニコ市場を表示・非表示リンク(2010/10/15) 主コメ高さ制限 + 連続する空白文字を改行に変換(2009/07/30) 動画タイトル横にキャッシュアイコンを表示(2010/10/14) 大百科の記事 を記事がある場合のみ表示するフィルタ(2009/11/01) 説明文横サムネ追加(2009/06/13) 削除にワンクッション(2010/02/14) サムネイル表示 + 主コメ高さ制限 + 主コメ整形 + α(2010/10/28) ResizeVideoCustom for FlvPlayerWrapper(2010/06/13) mylistページ関連フィルタ mylistで最新コメ表示(2010/03/29) マイリスト500件表示(2009/11/07) マイリストコメント部分にあるスペースを改行タグに置換 + α(2009/11/01) マイリスト 1 → 2列表示(2010/10/30) historyページ関連フィルタ 視聴履歴 1 → 2列表示(2010/02/04) 視聴履歴を個別に削除(2010/06/05) 視聴履歴を個別に削除 + 1→2列表示(2010/10/30) 検索系ページ関連フィルタ マイリスト数プログレスバー表示(2010/06/21) キーワード検索ページ色検索箱削除(2010/06/25) 検索結果多列表示フィルタ(2010/10/28) Liveページ関連フィルタ アイコンと日付の改行消去(2009/08/16) その他フィルタ 検索のソートを変更(2010/06/05) 投稿者フィルター削除(2010/02/05) マウスオーバーのちらつき除去(2010/01/17) 削除済み動画をdeletedフォルダへ移動(2010/08/12) サムネ拡大(2009/12/12) mylist消去サムネ復活(2009/11/16) history消去サムネ復活(2009/11/16) 外部サムネ消去サムネ復活(2009/11/16) メニューをプルダウンに(2010/03/20) topBar左側をプルダウンに(2010/02/22) nlAnimeChannelRewriter の簡易nlFilter版(2009/06/18) Wrapper使用で動画タイトルに「@」が含まれる動画の不具合回避(2010/01/19) フィルタ詰め合わせ 個人的に弄った mylistCountBar とその他 (2010/11/06) popThumb_FA 他 (2010/10/30) nlApiUtilExtension用フィルタ FaMyList TopBar(2010/02/22) InfiMyList TopBar(2010/02/22) watchページにコメント一覧を埋め込む(2010/01/31) マイリスト画面からnlApiUtilのマイリスト画面呼び出し(2010/10/27) フィルタ編集支援 正規表現 フィルタのリロード(NicoCache_nlの再起動) コメント ↑ ヘッダ系フィルタ† ↑ ユーザー名・プレミアム登録を削除 (一般会員) (2010/02/23)† # 2010/02/23 ユーザー名・プレミアム登録を削除 (一般会員)# デフォではみ出すようになったので作ってみた[Replace]Name = removeUsername (Regular)URL = www\.nicovideo\.jpMatch span style= color #FFF; 一般会員 .* さん /span - a href= /\?p=premium_top sec=bar style= color #3CC; プレミアム登録 /a \| Replace #作者注:\|の後に半角スペースが1つあります。 ↑ NicoVideo header light(9) (2010/03/10)† NicoVideo header_light(9) ヘッダ用フィルタセット (100310)http //nicolist.net/nicocache_nl/up/img/nl355.zip header_light(9) (100615_mod_101028) 仕様変更対応 (仮)http //nicolist.net/nicocache_nl/up/img/nl636.txt ↑ 05_topBarFilter.txt 改造版 (2010/10/14)† http //nicolist.net/nicocache_nl/up/img/nl620.txt ↑ ランキング_PopupMenu (2010/03/09)† http //nicolist.net/nicocache_nl/up/img/nl354.zip ↑ コメント系フィルタ† ↑ kill @JUMP(2009/11/09)† [Replace]Name = kill @JUMPURL = msg.nicovideo.jp/\d+/api/EachLine = TRUEMulti = TRUEMatch ( chat [^ ]*?fork= 1 )([^ ]* )((@|@)ジャンプ( | )[^##][\s\S]*? /chat )( chat [^ ]*?fork= 1 )([^ ]* )/[\s\S]*?jump\([ ](..\d+)[ ][\s\S]*?(,msg [ ]([\s\S]*?)[ ]|)[\s\S]*?\) /chat ( chat [^ ]*?fork= 1 )([^ ]* )/seekDisabled=true /chat ( chat [^ ]*?fork= 1 ) mail= ([^ ]*) ([^ ]* )((@|@)シーク禁止[^ ]* /chat )( chat [^ ]*?fork= 1 )([^ ]* )((@|@)シーク禁止[^ ]* /chat ) Replace $1 mail= @30 shita cyan $2[投コメ]$3$1 mail= @30 shita cyan $2[投コメ]/JUMP $3 $5 /chat $1 mail= @100 shita cyan $2[投コメ]/seekDisabled=true /chat $1 mail= $2 shita cyan $3[投コメ]$4$1 mail= @30 shita cyan $2[投コメ]$3 ↑ commentFilter(2009/05/27)† commentFilter 1.0.5http //oamaxa2.u-abel.net/NicoCache/commentFilter.txt ↑ 消去系フィルタ† ↑ 「メニュー▼」を削除(2010/04/17)† [Replace]Name = 「メニュー▼」を削除URL = www.nicovideo.jpMatch $NEST( td,onmouseover= showOBJ\( headmenu_g2 \); , /td ) Replace ↑ 色々まとめて削除(2009/10/30)† [Replace]Name = 色々まとめて削除URL = www\.nicovideo\.jp/EachLine = TRUEMulti = FALSEMatch title (? マイリスト )?(.+?)‐ニコニコ動画.+? /title td div class= ads_468 !--↓表示してもよい↓-- (?s .+?) !--↑表示してもよい↑-- \r\n\r\n /div /td Event\.observe\(document, keydown , function \(event\) \{[^\}]+}.bindAsEventListener\(window\)\); Replace title $1 /title # ページタイトルから-ニコニコ動画(*)などを消す# 上部広告消去# キー操作制限解除 ↑ rankingページ宣伝削除(2009/05/06)† [Replace]Name = rankingページ 宣伝削除URL = www.nicovideo.jp/ranking/Multi = TRUEMatch div id= item\d+_uad_current [\s\S]*? /div Replace ↑ watchページ色々まとめて削除(2009/12/19)† [Replace]Name = watchページ色々まとめて削除 1URL = www\.nicovideo\.jp/watch/EachLine = TRUEMulti = FALSEMatch (? =id= des_2 ) style= display none; !--↓省略モード↓-- (?s .+?) !--↑省略モード↑-- $NEST( p,alt= 隠す , /p ) !--↓メニュー↓-- (?s .+?) !--↑メニュー↑-- Replace style= display block; # 常に詳細モード表示# 省略モード消去# 切り替え用画像消去# [ニコニ広告で宣伝する]等消去[Replace]Name = watchページ色々まとめて削除 2URL = www\.nicovideo\.jp/watch/EachLine = FALSEMulti = FALSEMatch /head Replace style type= text/css !--#PAGEHEADER { display none;}/* 検索の消去 */img[alt= 登録タグ ] { display none;}/* [登録タグ]画像の消去 */.mb16p4 { display none;}/* タグ連動広告消去 */.ads_tag { display none;}/* 下部の動画情報とその下の広告 */form[id^= mymemory ] + p { display none;}/* [マイメモリーに保存する]等の消去 */#WATCHFOOTER p first-of-type { display none; }/* 動画下の「使い方」等の消去 */-- /style $0 ↑ 検索ページ色々まとめて削除(2010/06/24)† [Replace]Name = 検索ページ色々まとめて削除URL = www\.nicovideo\.jp/(? tag/|search/)EachLine = FALSEMulti = FALSEMatch /head Replace style type= text/css !--#web_pc_footer { display none;} /* 下部広告 */#nicoads, .uad_container { display none;}/* ニコニ広告消去 */-- /style $0 ↑ myページ色々まとめて削除(2009/12/28)† [Replace]Name = myいろいろ調整URL = www\.nicovideo\.jp/(? my(? /top)?$|user/)Multi = FALSEEachLine = FALSEMatch /head Replace style type= text/css !--.content_312 table first-of-type { display none;}/* [生放送中の番組]下の広告 */-- /style $0 ↑ liveページ色々まとめて削除(2009/12/28)† [Replace]Name = 検索等消去URL = live\.nicovideo\.jp/watch/Multi = FALSEEachLine = FALSEMatch /head Replace style type= text/css !--#header { display none;}/* 検索消去 */#nextprev { display none;}/* [前・次の番組へ]消去 */img[alt= Twitterでつぶやく ] { display none;}/* [Twitterでつぶやく]を消去 */#alertbar { display none;}/* 生放送下の[使い方]等 */.ichiba_frm + div { display none;}/* 市場下の「ニコ生アラート」「ニコ生モバイル」の広告 */-- /style /head ↑ 右列の広告消去(2009/12/04)† [Replace]Name = 右列の広告消去URL = www\.nicovideo\.jp/(? tag/|search/|mylist/|newarriva|history|ranking)EachLine = TRUEMulti = TRUEMatch /head (\r\n)(class= SYS_box_item .+\r?\n table) width= 672 width= 672 (border= 0 cellpadding= 4 cellspacing= 0 summary= history ) !--↓右列↓-- (?s .+?) !--↑右列↑-- Replace style type= text/css !-- .content_672 { width 100%;} .body_984 { width 984px; } -- /style $1$0$1$1 # 左列の幅&3列フィルタとの干渉よけ# 動画説明部の幅(mylist)# 動画説明部の幅(history)# 右列の広告 ↑ 強調表示系フィルタ† ↑ ranking カテゴリページ再生時間で色分け(2009/10/30)† [Replace]Name = rankingカテゴリページ再生時間で色分けURL = www\.nicovideo\.jp/ranking/Multi = TRUEEachLine = TRUEMatch id= item\d+ (class= thumb_frm ) style= [^ ]+ ( (? \r\n)+ table) width= 648 ((? .+\r?\n)+? p class= vinfo_length span \d )id= item\d+ (class= thumb_frm style= )[^ ]+( (? \r\n)+ table) width= 648 ((? .+\r?\n)+? p class= vinfo_length span 1\d )id= item\d+ (class= thumb_frm style= )[^ ]+( (? \r\n)+ table) width= 648 ((? .+\r?\n)+? p class= vinfo_length span 2\d )id= item\d+ (class= thumb_frm style= )[^ ]+( (? \r\n)+ table) width= 648 ((? .+\r?\n)+? p class= vinfo_length span 3\d )id= item\d+ (class= thumb_frm style= )[^ ]+( (? \r\n)+ table) width= 648 ((? .+\r?\n)+? p class= vinfo_length span (? [4-9]\d|\d{3}) ) Replace $1$2$3$1background-color lightcyan; border solid 2px royalblue;$2$3$1background-color antiquewhite; border solid 2px salmon;$2$3$1background-color #CCFFBB; border solid 2px mediumseagreen;$2$3$1background-color #eaeaea; border solid 2px black;$2$3 # 副作用として宣伝状態の色変更が解除される ↑ rankingページ関連フィルタ† ↑ カテゴリページ 1 → 2列表示(2010/06/24)† [Replace]Name = ranking 1→2列表示1URL = www\.nicovideo\.jp/ranking/Multi = FALSEEachLine = FALSEMatch /head Replace style type= text/css !--.body_984 { width 100%;}.content_672 { width 100%;}.content_312 { display none;}.list_count { width 45px !important;}/* 順位部分のスペース調整 */[class^= thumb_frm ] { width auto !important; padding-left 2px !important;}/* thumb_frmの順位部分左側スペース調整 */[class^= thumb_frm ] table, [class^= thumb_frm ] td last-of-type, [class^= thumb_frm ] td div { width 100% !important;}.watch { white-space normal; line-height 1.2;}-- /style $0 [Replace]Name = ranking 1→2列表示2URL = www\.nicovideo\.jp/ranking/Multi = FALSEEachLine = TRUEMatch (? = !--↑カテゴリ選択↑-- \r?\n /div \r?\n)(?=\r?\n script type= text/javascript !--\r?\nNico\.LazyImage\.initialize\(\);) Replace table style= width 100%; table-layout fixed; tbody /tbody /table # tableタグ開始# tableタグ終了[Replace]Name = ranking 1→2列表示3URL = www\.nicovideo\.jp/ranking/Multi = TRUEEachLine = FALSEMatch ( !--↓id有↓-- (?s .+?) !--↑id有↑-- (? \r?\n)+)( !--↓id有↓-- (?s .+?) !--↑id有↑-- (? \r?\n)+) Replace tr td style= width 50%; vertical-align top; $1 /td td style= width 50%; vertical-align top; $2 /td /tr # tr,td挿入[Replace]Name = ranking 1→2列表示4URL = www\.nicovideo\.jp/ranking/Multi = FALSEEachLine = FALSEMatch table width= 664 ( cellpadding= 4 cellspacing= 0 id= switch (?s .+?) /form /td )(?=(?s .+?)( td nowrap align= right 期間: /td (?s .+?)) td style= color #666; \| /td \r?\n( td nowrap align= right 対象: /td (?s .+?) /select /form /td )) Replace table width= 100% class= font12 $1$2$3 #右側にある「期間」「対象」を「カテゴリ合算」の位置に[Replace]Name = ranking 1→2列表示5URL = www\.nicovideo\.jp/ranking/Multi = TRUEEachLine = FALSEMatch ( !--↓id有↓-- (?s .+?))(\t !---- (?s .+?) !---- )((?s .+?))(?= /div \r?\n !--↑id有↑-- ) Replace $1$3$2 # 宣伝コメントの表示入れ替え ↑ カテゴリ丸ごと消去 (2010/09/30)† [Replace]Name = 総合ランキングから特定カテゴリまるごと削除URL = www.nicovideo.jp/rankingEachLine = TRUEMulti = TRUEMatch th a href= [^ ]+g_ent [^ ]+ エンタ・音楽・スポ /a /th \s+ th[^ ]+ img[^ ]+ /th $NEST( td,g_ent| a href= [^ ]+/(ent|music|sport) , /td ) th a href= [^ ]+g_life [^ ]+ 教養・生活 /a /th \s+ th[^ ]+ img[^ ]+ /th $NEST( td,g_life| a href= [^ ]+/(animal|coocing|diary|nature|science|history|radio|lecture) , /td ) th a href= [^ ]+g_politics [^ ]+ 政治 /a /th \s+ th[^ ]+ img[^ ]+ /th $NEST( td,g_politics| a href= [^ ]+/politics , /td ) th a href= [^ ]+g_try [^ ]+ やってみた /a /th \s+ th[^ ]+ img[^ ]+ /th $NEST( td,g_try| a href= [^ ]+/(sing|play|dance|draw|tech) , /td ) th a href= [^ ]+g_culture [^ ]+ アニメ・ゲーム /a /th \s+ th[^ ]+ img[^ ]+ /th $NEST( td,g_culture| a href= [^ ]+/(anime|game) , /td ) th a href= [^ ]+g_popular [^ ]+ 殿堂入りカテゴリ /a /th $NEST( td,g_popular| a href= [^ ]+/(imas|toho|vocaloid|are|other) , /td ) Replace 消したくないカテゴリを消して(2行一組で)から使用してください ↑ watchページ関連フィルタ† ↑ 説明文横サムネ表示(2010/10/17)† [Replace]Name = 説明文横サムネ表示1URL = www\.nicovideo\.jp/watch/EachLine = FALSEMulti = FALSEMatch ( !--↓動画説明文↓-- \r?\n div id= itab_description class= info in )[^ ]* \r?\n p class= font12 style= padding 4px; Replace $1 table td style= background #F9F9F9; img alt= smid src= http //tn-skr2.smilevideo.jp/smile?i= id style= width 130px; height 100px; border solid 1px #AAA; padding 2px; margin 0px class= img_std128 / /td td class= font12 style= padding 4px; [Replace]Name = 説明文横サムネ表示2URL = www\.nicovideo\.jp/watch/EachLine = FALSEMulti = FALSEMatch /p \r?\n( /div \r?\n !--↑動画説明文↑-- ) Replace /td /table $1 ↑ 投稿者名下サムネ追加(投稿者名非表示対応)(2010/10/14)† [Replace]Name = 投稿者名下サムネ追加(投稿者名非表示対応)URL = www\.nicovideo\.jp/watch/Multi = FALSEEachLine = FALSEMatch ( div class= owner_prof [\s\S]+?)(?= /div ) Replace $1 table width= 240 height= 120 cellpadding= 0 tr td width= 100% align= center img src= http //tn-skr1.smilevideo.jp/smile?i= id style= width 130px; height 100px; border solid 1px #CCC; padding 2px; / /td /tr /table ↑ サムネ表示(2010/10/14)† [Replace]Name = サムネ表示URL = www.nicovideo.jp/watch/Match !--↑USER↑-- Replace /td /tr tr td br /td td width= 100% img src= http //tn-skr1.smilevideo.jp/smile?i= id style= border solid 2px #333; ↑ watchページ:主コメの高さ制限† [Replace]Name = watchページ:主コメの高さ制限URL = www\.nicovideo\.jp/watch/Match div id= itab_description [^ ]* Replace $0 style= max-height 100px; overflow-y auto; ↑ wrapperReplaceFilter 改造版† 新プレデフォルト:http //nicolist.net/nicocache_nl/up/img/nl383.txt wrapperデフォルト:http //nicolist.net/nicocache_nl/up/img/nl382.txt ↑ ニコニコ市場を表示・非表示リンク(2010/10/15)† [Replace]Name = ニコニコ市場を表示・非表示リンクURL = www\.nicovideo\.jp/watch/Multi = FALSEEachLine = FALSEMatch (?= div class= tag_sync ) Replace span class= font12 style= color #CCC; float right; a id= nlIchibaToggle1 href= javascript void(0); style= display none; onclick= Cookie.set( nlIchibaToggle , 1); hideOBJ( nlIchibaToggle1 ); showOBJ( nlIchibaToggle2 ); showOBJ( ichiba_placeholder ); return false; ニコニコ市場を表示 /a a id= nlIchibaToggle2 href= javascript void(0); style= display none; onclick= Cookie.set( nlIchibaToggle , 0); showOBJ( nlIchibaToggle1 ); hideOBJ( nlIchibaToggle2 ); hideOBJ( ichiba_placeholder ); return false; ニコニコ市場を隠す /a /span script type= text/javascript !--Nico.onReady(function(){if (Cookie.get( nlIchibaToggle )== 1 ) {\$( nlIchibaToggle1 ).onclick();} else {\$( nlIchibaToggle2 ).onclick();}});-- /script ↑ 主コメ高さ制限 + 連続する空白文字を改行に変換(2009/07/30)† [Replace]Name = 主コメ高さ制限URL = www.nicovideo.jp/watch/EachLine = TRUEMatch ( p class= video_des )([^ ]* .+? /p )[\u0020\u2000\u3000]{9,}+(?=.+ span id= nl_br ) p [^ ]+class= video_des_top /p Replace $1 style= max-height 72px; overflow-y auto; border-top-width 2px; word-break break-all; $2 span id= nl_br /span br / ↑ 動画タイトル横にキャッシュアイコンを表示(2010/10/14)† [Replace]Name = 動画タイトル横にキャッシュアイコンを表示URL = www\.nicovideo\.jp/watch/idGroup = 2Match span id= nicommons (.+?|) /span (?s .+?)/ads/\?vid=(.+?) video_watch Replace img src= /local/cacheicon.gif style= margin-left 10px; $0 $ img src= /local/cacheeconomy.gif style= margin-left 10px; $0 ↑ 大百科の記事 を記事がある場合のみ表示するフィルタ(2009/11/01)† [Replace]Name = view articleURL = www.nicovideo.jp/watch/EachLine = TRUEMatch ( !--↓大百科↓-- \s* table[^ ]+style= [^ ]+\smargin 4px;) (\$\( nicopedia_video_des \))(\.update\(summary\);)[^;]+; Replace $1 display none; $1$2 Element.show($1.parentNode.parentNode.parentNode.parentNode); ↑ 説明文横サムネ追加(2009/06/13)† [Replace]Name = 説明文横サムネ追加URL = www.nicovideo.jp/watch/Multi = FALSEMatch ( div style= margin 4px;)( [\s\S]*?)( p [\s\S]*? /p [\r\n]*?)( p class= video_des )( [\s\S]*? /div ) Replace table id= thumbnail border= 0 style= border solid 1px #CCC;background-color rgb(249, 249, 249); tr td valign= top $1$2$4 style= border none; $5 /td td img style= border solid 1px #CCC; margin 4px; src= http //tn-skr2.smilevideo.jp/smile?i= id /td /tr /table ※「50_nlFilter_sample」の「Watchページサムネ追加」は使用しないでください ↑ 削除にワンクッション(2010/02/14)† [Replace]Name = 削除にワンクッションURL = www.nicovideo.jp/watch/Match (? =onclick= )(?=var nl_delBtn) Replace if(!confirm( 消しますよ? ))return; ↑ サムネイル表示 + 主コメ高さ制限 + 主コメ整形 + α(2010/10/28)† http //nicolist.net/nicocache_nl/up/img/nl639.txt ↑ ResizeVideoCustom for FlvPlayerWrapper(2010/06/13)† [Replace]Name = ResizeVideoCustom for FlvPlayerWrapperURL = www\.nicovideo\.jp/watch/Match (?= div id= flvplayer_container ) Replace script type= text/javascript !--function reaspect(r) { var swf=\$( flvplayer ); var obj= nico.videowindow.video_mc.video. ; var w=swf.TGetProperty(obj,8); var h=swf.TGetProperty(obj,9); var y=swf.TGetProperty(obj,1); swf.TSetProperty(obj,9,w*r); swf.TSetProperty(obj,1,parseFloat(y)+(h-w*r)/2);}function resize(p) {var swf=\$( flvplayer ); var swfc=\$( flvplayer_container ); swf.TSetProperty( _root ,2,p); swf.TSetProperty( _root ,3,p); swf.style.width=swfc.style.width=952*p/100+ px ; swf.style.height=swfc.style.height=540*p/100+ px ;}-- /script table tr td div class= tool_bg_L div class= tool_bg_R VIEW SIZE /div /div /td td button onclick= resize(0) BGM /button button onclick= resize(50) x0.5 /button button onclick= resize(100) x1.0 /button button onclick= resize(125) x1.25 /button button onclick= resize(150) x1.5 /button button onclick= resize(200) x2.0 /button button onclick= reaspect(0.75) 4 3 /button button onclick= reaspect(0.5625) 16 9 /button /td /tr /table ↑ mylistページ関連フィルタ† ↑ mylistで最新コメ表示(2010/03/29)† [Replace]Name = mylistで最新コメ表示URL = www\.nicovideo\.jp/(? mylist/\d+|my/mylist)EachLine = TRUEMatch /head \$item\.item_data\.title\|word_wrap\} /a /h3 Replace script type= text/javascript src= /local/nlThumbInfoRewriter.js /script $0$0 p class= font12 a href= javascript void(0); onclick= getFullDesc(this); ... /a /p p class= vinfo_last_res {\$item.item_data.last_res_body|word_wrap} /p ※「15_thumbInfoFilter(基本).txt」の「動画説明全文読み込み(mylist)」と置き換え ↑ マイリスト500件表示(2009/11/07)† [Replace]Name = マイリスト500件表示URL = res\.nimg\.jp/js/mylist2\.jsMatch items_per_page \s*\d+, Replace items_per_page 500, # 修正したらブラウザのキッシュクリア リロードが必要 ↑ マイリストコメント部分にあるスペースを改行タグに置換 + α(2009/11/01)† [Replace]Name = マイリストコメント部分整形URL = www\.nicovideo\.jp/mylist/\d+Multi = TRUEEachLine = TRUEMatch description [^ ]+ ,(。)(? | )*+(?!(? \\r|\\n))(?=.+?// nl_br)(? !(? |\\n))(? | )*+(■|◆)(?=.+?// nl_br)(? | ){2,}+(?!(? \\r|\\n))(?=.+?// nl_br) Replace $0// nl_br$1\\r\\n\\r\\n$1\\r\\n ↑ マイリスト 1 → 2列表示(2010/10/30)† [Replace]Name = マイリスト 1→2列表示(公開mylist)URL = www\.nicovideo\.jp/mylist/Multi = FALSEEachLine = FALSEMatch /head Replace style type= text/css !--.body_984 { width 1300px;}/* マイリスト全体の幅 */.content_672 { width 100%;}/* 左列の幅 */.content_312 { display none;}/* 右列消去 */#SYS_page_items after { content . ; clear both; height 0px; display block; visibility hidden;}/* 下部のページングが上に移動してこないように */.SYS_box_item { width 50%; float left;}/* 2列化用float指定 */.SYS_box_item nth-of-type(odd) { clear both; } /* 2列化用奇数clear指定 */.SYS_box_item table { width auto; margin 0px 6px 6px 0px !important; background-color #F9FCFC; border #C9CFCF 2px solid; -moz-border-radius 10px; -webkit-border-radius 10px; -moz-box-shadow 4px 4px 4px gray; -webkit-box-shadow 4px 4px 4px gray;}/* 動画説明部分のスタイル */-- /style $0 [Replace]Name = マイリスト 1→2列表示(my/mylist)URL = www\.nicovideo\.jp/my/mylistMulti = FALSEEachLine = FALSEMatch /head Replace style type= text/css !--.contents { width 1400px;}#mypageNavs { width 240px;}#mypageNavs,#accountBoxWrap,#myNavWrap { width 200px;}#accountBoxWrap { padding 0;}#accountBox { padding 8px 0 0 0;}#accountBox ul { margin 0 0 0 10px;}#mypageContents { width 1200px;}#myContBody { padding 10px 5px;}.myContList li { width 49%; height auto; min-height 110px !important; float left;}.myContList li nth-of-type(odd) { clear both; margin-right 2%;}.mypageThumb, .mypageThumb img { width 130px !important; height 100px !important;}.mylistVideo { margin-left 170px !important; margin-top 20px;}.buttons { top -25px !important;}.mylistTime { color #555 !important;}.myListCommentT { border 1px solid #BCC ;-moz-border-radius 8px; -webkit-border-radius 8px; border-radius 8px; width 400px !important; background transparent none !important;}.myListCommentB,.myListCommentL,.myListCommentR { background transparent none !important;}.SYS_box_memo_edit textarea { width 400px !important;}.myContList after { content . ; clear both; height 0px; display block; visibility hidden;}-- /style $0 ※CSS3の使えるブラウザ専用(Firefox,Google Chrome等)、IE8以下では表示が崩れます ↑ historyページ関連フィルタ† ↑ 視聴履歴 1 → 2列表示(2010/02/04)† [Replace]Name = 視聴履歴 1 → 2列表示URL = www\.nicovideo\.jp/historyMulti = TRUEEachLine = FALSEMatch ( tr td colspan= 2 (?s .+?) /p \r\n /td \r\n /tr \r\n)( tr td colspan= 2 (?s .+?) /p \r\n /td \r\n /tr \r\n)? Replace tr td style= width 50%; vertical-align top; table $1 tr td /td /tr /table /td td style= width 50%; vertical-align top; table $2 tr td /td /tr /table /td /tr ※IE8で「視聴履歴を個別に削除」と一緒に使うと消去できない不具合を修正 ↑ 視聴履歴を個別に削除(2010/06/05)† [Replace]Name = 視聴履歴を個別に削除 1 (2010/06/05)URL = www\.nicovideo\.jp/historyMulti = TRUEEachLine = FALSEMatch ( table)( [^ ]+ \r\n tr valign= top \r\n td \r\n p a href= watch/(\w{2}\d+) [^ ]* img(?s .+?))(?= /p ) Replace $1 class= history_remove id= history_$3 $2 input style= float right; type= button class= submit value= 削除 title= onclick= history_remove( $3 ) [Replace]Name = 視聴履歴を個別に削除 2 (2010/06/05)URL = www\.nicovideo\.jp/historyMulti = FALSEEachLine = FALSEMatch /body Replace script type= text/javascript !--function history_remove(id){/* Element.remove(\$( history_ +id).nextSibling);*/ Element.remove(\$( history_ +id)); (Cookie.get( nicohistory )+ , ).match( ^(.*?)( +id+ [^,]+,)(.*)\$ ); if(RegExp.\$2){ Cookie.set( nicohistory ,RegExp.\$1+RegExp.\$3.slice(0,-1),9999999999, .nicovideo.jp , / ) }if(document.getElementsByClassName( history_remove ).length==0){ location.reload()}}-- /script $0 firefox3.5,chrome5.0,IE8で確認。消すボタンは画像の下です。 ↑ 視聴履歴を個別に削除 + 1→2列表示(2010/10/30)† [Replace]Name = 視聴履歴を個別に削除 + 1→2列表示 1URL = www\.nicovideo\.jp/my/historyMulti = FALSEEachLine = FALSEMatch /head Replace style type= text/css !--.contents { width 1400px;}#mypageNavs { width 240px;}#mypageNavs,#accountBoxWrap,#myNavWrap { width 200px;}#accountBoxWrap { padding 0;}#accountBox { padding 8px 0 0 0;}#accountBox ul { margin 0 0 0 10px;}#mypageContents { width 1200px;}#myContBody { padding 10px 5px;}.myContList li { width 49%; height 110px; float left;}.myContList li nth-of-type(odd) { clear both; margin-right 2%;}.mypageThumb, .mypageThumb img { width 130px !important; height 100px !important;}.mylistVideo { margin-left 140px !important;}.mylistTime { color #555 !important;}.history_remove { float right; padding 0 !important; margin 0 !important; font-size 10px;}.myContList after { content . ; clear both; height 0px; display block; visibility hidden;}-- /style $0 [Replace]Name = 視聴履歴を個別に削除 + 1→2列表示 2URL = www\.nicovideo\.jp/my/historyMulti = TRUEEachLine = FALSEMatch (? = li)( [\r\n\t]+ a href= watch/([^ ]+) class= mypageThumb (?s .+?) div class= mylistVideo ) Replace id= history_$2 $1 input class= history_remove type= submit value= 削除 title= 履歴を消去します onclick= history_remove( $2 ) [Replace]Name = 視聴履歴を個別に削除 + 1→2列表示 3URL = www\.nicovideo\.jp/my/historyMulti = FALSEEachLine = FALSEMatch /body Replace script type= text/javascript !--function history_remove(id){Element.remove(\$( history_ +id).nextSibling); Element.remove(\$( history_ +id)); (Cookie.get( nicohistory )+ , ).match( ^(.*?)( +id+ [^,]+,)(.*)\$ ); if(RegExp.\$2){ Cookie.set( nicohistory ,RegExp.\$1+RegExp.\$3.slice(0,-1),9999999999, .nicovideo.jp , / ) }if(document.getElementsByClassName( history_remove ).length==0){ location.reload()}}-- /script $0 ※CSS3の使えるブラウザ専用(Firefox,Google Chrome等)、IE8以下では表示が崩れます ↑ 検索系ページ関連フィルタ† ↑ マイリスト数プログレスバー表示(2010/06/21)† http //nicolist.net/nicocache_nl/up/img/nl435.txt ↑ キーワード検索ページ色検索箱削除(2010/06/25)† [Replace]Name = キーワード検索ページ色検索箱削除URL = www\.nicovideo\.jp/searchMatch (?s)( div id= PAGEBODY ).+? p class= form_result_2 strong (.+?) /strong .+? strong class= search_total (.+?) /strong (.+?) !--↑関連タグ↑-- Replace $1 div class= mb8p4 h1 キーワード span class= search_word style= font-size 32px; id= search_words span class= search_word $2 /span /span を含む動画の検索結果 /h1 p class= font12 キーワード span class= search_word $2 /span を含む動画が strong class= search_total $3件 /strong みつかりました。 /p /div ↑ 検索結果多列表示フィルタ(2010/10/28)† CSS3版(firefox、google chrome、opera用)http //nicolist.net/nicocache_nl/up/img/nl647.txt 全ブラウザ対応版http //nicolist.net/nicocache_nl/up/img/nl648.txt ↑ Liveページ関連フィルタ† ↑ アイコンと日付の改行消去(2009/08/16)† [Replace]Name = アイコンと日付の改行消去URL = live\.nicovideo\.jp/watch/Multi = FALSEEachLine = FALSEMatch ( img src= img/nicolive/now_on_air\.gif\?\d+ alt= ONAIR )\r?\n.+ /p \r?\n Replace $1 ↑ その他フィルタ† ↑ 検索のソートを変更(2010/06/05)† [Replace]Name = 検索ソート変更1(コンボ設置)URL = (? seiga|www)\.nicovideo\.jp/(?!(? mylist_)?search)Match /p \r\n( table cellpadding= 0 cellspacing= 0 summary= style= border solid 1px #C9CFCF; ) Replace select id= SearchSort size= 1 option value= ?sort=f order=d 投稿 新 /option option value= ?sort=f order=a 投稿 古 /option option value= ?sort=v order=d selected= selected style= background-color #CCCCCC; 再生 多 /option option value= ?sort=v order=a style= background-color #CCCCCC; 再生 少 /option option value= ?sort=n order=d コメント 新 /option option value= ?sort=n order=a コメント 古 /option option value= ?sort=r order=d style= background-color #CCCCCC; コメント 多 /option option value= sort=r order=a style= background-color #CCCCCC; コメント 少 /option option value= ?sort=m order=d マイリス 多 /option option value= ?sort=m order=a マイリス 少 /option option value= ?sort=l order=d style= background-color #CCCCCC; 時間 長 /option option value= ?sort=l order=a style= background-color #CCCCCC; 時間 短 /option /select /p $1 [Replace]Name = 検索ソート変更2(コンボ設置)URL = (? seiga|www)\.nicovideo\.jp/(? mylist_)?searchMatch !---- を含む(? マイリスト|動画)が.+ Replace $0 select id= SearchSort size= 1 option value= ?sort=f order=d 投稿 新 /option option value= ?sort=f order=a 投稿 古 /option option value= ?sort=v order=d selected= selected style= background-color #CCCCCC; 再生 多 /option option value= ?sort=v order=a style= background-color #CCCCCC; 再生 少 /option option value= ?sort=n order=d コメント 新 /option option value= ?sort=n order=a コメント 古 /option option value= ?sort=r order=d style= background-color #CCCCCC; コメント 多 /option option value= sort=r order=a style= background-color #CCCCCC; コメント 少 /option option value= ?sort=m order=d マイリス 多 /option option value= ?sort=m order=a マイリス 少 /option option value= ?sort=l order=d style= background-color #CCCCCC; 時間 長 /option option value= ?sort=l order=a style= background-color #CCCCCC; 時間 短 /option /select [Replace]Name = 検索ソート変更3(リンク変更)URL = (? seiga|www)\.nicovideo\.jp/Match (? =p \+ / \+ encodeURIComponent\(s\)) Replace + document.getElementById( SearchSort ).value ※このままだと「再生 多」が選択されているので、変えたい人はselectedを変えてください。6月最初にあったレイアウト変更に対応 ↑ 投稿者フィルター削除(2010/02/05)† [Replace]Name = 投稿者フィルター削除URL = [^/]+\.nicovideo\.jp/api/getflv[/\?]Match ng_up=[^ ]+ Replace ↑ マウスオーバーのちらつき除去(2010/01/17)† [Replace]Name = マウスオーバーのちらつき除去URL = www.nicovideo.jpMulti = TRUEMatch (onmouseover=)( .*)(showOBJ\(\ .*\ \);) Replace onmousemove= $3 $1$2$3 ↑ 削除済み動画をdeletedフォルダへ移動(2010/08/12)† [Replace]Name = watchページURL = www\.nicovideo\.jp/watch/\w{2}\d+Require = isDeleted \s*true,idGroup = 1Match video \s* ([a-z]{2}[0-9]+) ,[\s\S]*? /script Replace $0 iframe src= http //www.nicovideo.jp/cache/ajax_topmove?$1-deleted height= 0 width= 0 style= display none; /iframe [Replace]Name = マイリストURL = www\.nicovideo\.jp/mylist/Match p class= vinfo_length Replace {if \$item.item_data.deleted % 8}{if \$item.item_data.cacheicon} iframe src= http //www.nicovideo.jp/cache/ajax_topmove?{\$item.item_data.video_id|escape url}-deleted height= 0 width= 0 style= display none; /iframe {/if}{/if}$0 [Replace]Name = 外部サムネURL = ext\.nicovideo\.jp/thumb/\w{2}\d+Require = video_deleted.jpgidGroup = 1Match a href= http //www.nicovideo.jp/watch/([a-z]{2}[0-9]+) [^ ]+ img [^ ]*?video_deleted.jpg [^ ]+ /a Replace $0 iframe src= http //www.nicovideo.jp/cache/ajax_topmove?$1-deleted height= 0 width= 0 style= display none; /iframe [Replace]Name = ランキングURL = www\.nicovideo\.jp/rankingRequire = deletedVideoListMatch /head Replace script type= text/javascript !--if (deletedVideoList Nico typeof Nico.onReady == function ) { Nico.onReady(function () { var flag = false; if (window.localStorage location.pathname.match(Cookie.get( ranking )|| /ranking\$ )) { if (new Date().getTime() - parseInt(window.localStorage[ NicoCache.deletedCacheMoveTime ] || 0) 1000 * 60 * 60 * 2) { flag = true; window.localStorage[ NicoCache.deletedCacheMoveTime ] = new Date().getTime(); } } else { flag = true; } if (flag) { new Ajax.Request( /cache/cachelist.json , { method GET , asynchronous true, onComplete function (xhr, json) { var cachelist = (json) ? json xhr.responseText.evalJSON(); var A; for (var i = 0, len = deletedVideoList.length; i len; i++) { var smid = deletedVideoList[i]; if (A = (cachelist[smid] || cachelist[smid + low ])) { if (A[1] == ) { new Ajax.Request( /cache/ajax_topmove? + smid + -deleted , { method GET , asynchronous true }); } } } } }); }});}//-- /script $0 ↑ サムネ拡大(2009/12/12)† [Replace]Name = サムネ拡大URL = www\.nicovideo\.jpMulti = FALSEEachLine = FALSEMatch /head Replace style type= text/css !--img.video_w64, img.video_w80, img.video_w96, img.video_w128 { width 130px; height 100px; border-width 1px;}.img_std64, .img_std80, .img_std96, .img_std128 { width 130px; height 100px; border-width 1px;}-- /style $0 ↑ mylist消去サムネ復活(2009/11/16)† [Replace]Name = mylist消去サムネ復活URL = www\.nicovideo\.jp/(? mylist/|my/mylist)Multi = FALSEEachLine = FALSEMatch title= \{if[^ ]+?(\{\$item\.item_data\.thumbnail_url\})\{/if\} Replace title= $1 ↑ history消去サムネ復活(2009/11/16)† [Replace]Name = history消去サムネ復活URL = www\.nicovideo\.jp/historyMulti = TRUEEachLine = FALSEMatch ( a href= watch/[a-z]{2}(\d+) ) img src= [^ ]+?video_deleted\.jpg Replace $1 img src= http //tn-skr1.smilevideo.jp/smile?i=$2 ↑ 外部サムネ消去サムネ復活(2009/11/16)† [Replace]Name = 外部サムネ消去サムネ復活URL = ext\.nicovideo\.jp/thumb/Multi = FALSEEachLine = FALSEMatch ( a href= [^ ]+?watch/[a-z]{2}(\d+) [^ ]+ img[^ ]+?) src= [^ ]+?video_deleted\.jpg Replace $1 src= http //tn-skr1.smilevideo.jp/smile?i=$2 ↑ メニューをプルダウンに(2010/03/20)† [Replace]Name = topBar(watch)URL = www\.nicovideo\.jp/watch/Multi = FALSEEachLine = FALSEMatch ランキング /a Replace $0 span id= nlbar /span \| a href= /cache/ キャッシュ /a \| /td td nowrap a href= javascript void(0) onclick= showOBJ( headmenu_nl ); return false; nlMenu▼ /a div id= headmenu_nl style= position relative; display none; div class= headmenu_g style= right 0px; text-align center; onmouseover= showOBJ( headmenu_nl ); return false; onmouseout= hideOBJ( headmenu_nl ); return false; div a href= /cache/ smid /movie style= display inline-block; 動画保存 /a | a href= /cache/ smid /audio style= display inline-block; 音声抽出 /a div div style= border-top 1px #AAA solid; color #FFF; span style= padding 0 4px; コメ抽出 ( a href= /cache/ memoryId .xml style= display inline-block; 通常 /a a href= /cache/_ memoryId .xml style= display inline-block; 投コメ /a ) /span div a style= text-decoration none; href= javascript void(0) onclick= var nl_delBtn=this;new Ajax.Request( http //www.nicovideo.jp/cache/ajax_rm? smid ,{method get ,onSuccess function(h){if(h.responseText== OK ){nl_delBtn.style.display= none ;}}}) 動画を削除 /a /div /div /td td span !--nlbar_end-- /span ※「05_topBarFilter.txt」に書いてある「topBar(watch)」と交換して使ってください ↑ topBar左側をプルダウンに(2010/02/22)† [Replace]Name = topBar左側プルダウンURL = www\.nicovideo\.jp/Multi = FALSEEachLine = FALSEMatch td strong style= color #FFF; ニコニコ /strong [^ ]+( a[^ ]+ 動画 /a ) \| ( a[^ ]+ 静画 /a ) \| ( a[^ ]+ 生放送 /a ) \| ( a[^ ]+ チャンネル /a ) Replace td nowrap onmouseover= showOBJ( site_jump_nl ); span style= color #CCC; text-decoration underline; ニコニコ▼ /span div id= site_jump_nl style= position relative; display none; onmouseover= showOBJ( site_jump_nl ); return false; div class= headmenu_g onmouseout= hideOBJ( site_jump_nl ); return false; style= left -8px; !--site_jump_stert-- $1 $2 $3 $4 !--site_jump_end-- /div /div /td td ↑ nlAnimeChannelRewriter の簡易nlFilter版(2009/06/18)† nlAnimeChannelRewriter の簡易nlFilter版http //nicolist.net/nicocache_nl/up/img/nl174.zip ↑ Wrapper使用で動画タイトルに「@」が含まれる動画の不具合回避(2010/01/19)† [Replace]Name = wrapper_@URL = www.nicovideo.jp/watch/Multi = TRUEMatch (so.addVariable\( (wv_title|thumbTitle) , [^ ]*? ) Replace $0.replace(/%40/g, %EF%BC%A0 ) ※Wrapper使用で動画タイトルに「@」が含まれる動画を再生しようとすると 「ローカル記憶領域」ダイアログが毎回表示される不具合を回避します ↑ フィルタ詰め合わせ† ↑ 個人的に弄った mylistCountBar とその他 (2010/11/06)† 個人的に弄った mylistCountBar その17とその他。http //nicolist.net/nicocache_nl/up/img/nl655.zip CacheIconCSS-Sprite キャッシュアイコンをimg要素からCSS Spriteに変更するフィルタ。mylistCountBar 動画のマイリスト数に数に応じたグラフをつけるフィルタ。mylistLoadCheck マイリストの準備が落ち着くのを待ってからclickイベントを起こすフィルタ。 ↑ popThumb_FA 他 (2010/10/30)† http //nicolist.net/nicocache_nl/up/img/nl646.zip popThumb_FA apiからデータを取得して説明文全表示(動画の場合)、ページにデータを保存するので無駄な通信が無い。history lock 視聴履歴をロックするwatch:cache移動セレクトボックス watchページにcache移動セレクトボックスを出す ↑ nlApiUtilExtension用フィルタ† ↑ FaMyList TopBar(2010/02/22)† [Replace]Name = FaMyList TopBarURL = www\.nicovideo\.jp/mylist/(\d+)Multi = FALSEEachLine = FALSEMatch !--nlbar_end-- /span Replace $0 | /td td nowrap a href= javascript void(0); onclick= showOBJ( FaMyList ); return false; FaMyList▼ /a div id= FaMyList style= position relative; display none; div class= headmenu_g onmouseover= showOBJ( FaMyList ); return false; onmouseout= hideOBJ( FaMyList ); return false; a style= text-decoration none; href= /cache/ids?famylist FaMyListに移動 /a div id= a_1 style= color #CDD; a style= text-decoration none; href= javascript void(0); onclick= getFIAdd2( $URL1 , fa , a_1 ); FaMyListに追加 /a /div div id= r_1 style= color #CDD; a style= text-decoration none; href= javascript void(0); onclick= getFIRemove2( $URL1 , fa , r_1 ); FaMyListから消去 /a /div script type= text/javascript src= /local/nlApiUtilExAdd.js /script /div /td td ↑ InfiMyList TopBar(2010/02/22)† [Replace]Name = InfiMyList TopBarURL = www\.nicovideo\.jp/watch/Multi = FALSEEachLine = FALSEMatch !--nlbar_end-- /span Replace $0 | /td td nowrap a href= javascript void(0); onclick= showOBJ( FaMyList ); return false; FaMyList▼ /a div id= FaMyList style= position relative; display none; div class= headmenu_g onmouseover= showOBJ( FaMyList ); return false; onmouseout= hideOBJ( FaMyList ); return false; a style= text-decoration none; href= http //www.nicovideo.jp/cache/ids?infimylist InfiMyListに移動 /a div id= a_1 style= color #CDD; a style= text-decoration none; href= javascript void(0); onclick= getFIAdd2( memoryId , infi , a_1 ); InfiMyListに追加 /a /div div id= r_1 style= color #CDD; a style= text-decoration none; href= javascript void(0); onclick= getFIRemove2( memoryId , infi , r_1 ); InfiMyListから消去 /a /div script type= text/javascript src= /local/nlApiUtilExAdd.js /script /div /td td ↑ watchページにコメント一覧を埋め込む(2010/01/31)† [Replace]Name = コメント一覧表示URL = www\.nicovideo\.jp/watch/Multi = FALSEEachLine = FALSEMatch div id= WATCHFOOTER (?s .+?)(?= /p ) Replace $0 span class= font12 style= color #CCC; float right; a href= javascript void(0); onclick= showOBJ( nlApiUtil_2 ); showOBJ( nlApiUtil_3 ); hideOBJ( nlApiUtil_1 ); return false; style= display block; id= nlApiUtil_1 コメントを表示 /a a href= javascript void(0); onclick= showOBJ( nlApiUtil_1 ); hideOBJ( nlApiUtil_2 ); hideOBJ( nlApiUtil_3 ); return false; style= display none; id= nlApiUtil_2 コメントを非表示 /a /span iframe src= /cache/ids?data= memoryId cdh style= display none; width 100%; height 253px; border-width 0px; id= nlApiUtil_3 /iframe ↑ マイリスト画面からnlApiUtilのマイリスト画面呼び出し(2010/10/27)† [Replace]Name = マイリスト画面からnlApiUtilのマイリスト画面呼び出しURL = www\.nicovideo\.jp/mylist/(\d+)Match a href= https //secure.nicovideo.jp/secure/logout ログアウト /a Replace a href= http //www.nicovideo.jp/cache/ids?mylist=$URL1 nlApiUtilExt /a ↑ フィルタ編集支援† ↑ 正規表現† Javaの正規表現が使えます。 参考リンク 正規表現一覧 ↑ フィルタのリロード(NicoCache_nlの再起動)† ※現在はファイルの更新日時を見て自動リロードするのでこの記述は必要無いはず バッチファイルを書いて簡略化できます taskkill.exeがない環境(WinXP Home等)はググれば簡易版がフリーで手に入るので それを使うといいでしょう Restart.bat を作成、以下の3パターンのいずれかのように記述1.NicoCache_GUI 併用 taskkill /f /im javaw.execall NicoCacheGUI.batexit2.GUI未使用taskkill /f /im javaw.execall NicoCache_nl.bat3.GUI未使用、起動後最小化taskkill /f /im javaw.exestart /min NicoCache_nl.bat