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Einer chinesischen Studie zufolge könnte Mikroplastik in der Atmosphäre die Wolkenbildung beeinflussen. Die Partikel werden bei längerem Aufenthalt in der Atmosphäre rauher, wodurch sie zur Wolkenbildung beitragen könnten. https://www.repubblica.it/green-and-blue/2023/11/15/news/microplastiche_aria_nuvole_meteo_inquinamento-42036412/

Studie: https://pubs.acs.org/doi/abs/10.1021/acs.estlett.3c00729#

Vaguely recall these "uniquely determined" some (but not all) functions. Later on, the article says all moments from \(0\) to \(\infty\) do uniquely determine bounded functions. Guess you can't judge a book (or graph) by it's cover; you have to wait moment by moment for it to reveal itself

There's so much in this chapter. Firstly prudent reasoning from Carwin vs religious enthusiasm indirectly clashes in this emotion heated scene. Carwin has confessed his sins. Wieland escaped prison again to sacrifice Clara in his belief that the voice he hears is a divine messenger. Clara had thought of commiting suicide before Carwin's confessions, but once Wieland appears, she dreads the thought of dieing. The atmosphere has such eerie gothic elements. On the other hand there's a lot of character development, all 3 have changed a lot which makes them dynamic characters. Carwin seeks to clear up everything he had done out of guilt. Wieland had gone insane. But the most dramatic change is within Clara, who everyone adored, percieved as pure, brave and just and now - even though she just heard from Carwin that he had not made Wieland murder his family, Clara turns on him with a lie, a religious reasoning to save herself from her brother and to make his brother realize that "the divine messenger" is unreal. Clara is trying to use a possibly deadly trick on the two men. All three characters has reached a big turning point.

Iketani, S., Liu, L., Guo, Y., Liu, L., Huang, Y., Wang, M., Luo, Y., Yu, J., Yin, M. T., Sobieszczyk, M. E., Huang, Y., Wang, H. H., Sheng, Z., & Ho, D. D. (2022). Antibody Evasion Properties of SARS-CoV-2 Omicron Sublineages (p. 2022.02.07.479306). bioRxiv. https://doi.org/10.1101/2022.02.07.479306

I am obsessed with this little callback to their first conversation. Feels so bittersweet in that it's a symbol of their first ever phone call, but there's a sadness to the acknowledgement that everything is changing now that they're getting older. The space and the ocean are not the place of their wild childhood fantasies of curiosity and heroism. They become escape. An escape from a life that is beating the curiosity and heroism out of them. However, this is also so beautiful and lovely because it shows how this link between them, this bond and connection, has been there since their first ever phone conversation, and it will stay with them even as life throws misery and rejection at them. Lovely.

This is such a sweet and brilliant way of showing characterization for these two characters while highlighting the beauty and wonder of childhood innocence. Of course little baby stede would immediately see the humanity and feel empathy for these alien creatures, and sweet baby ed dreams of being a hero.

This chapter is interesting in that it restates much of the prologue. It confirms the initial characterization of John Herncastle as greedy and unpleasant person. The overlapping characterizations will be interesting to analyze, especially if the descriptions differ. For example, a model looking at Big Five personality traits for a specific character may have very different results based on the chapter and/or narrator.

Knight, S. R., Ho, A., Pius, R., Buchan, I., Carson, G., Drake, T. M., Dunning, J., Fairfield, C. J., Gamble, C., Green, C. A., Gupta, R., Halpin, S., Hardwick, H. E., Holden, K. A., Horby, P. W., Jackson, C., Mclean, K. A., Merson, L., Nguyen-Van-Tam, J. S., … Harrison, E. M. (2020). Risk stratification of patients admitted to hospital with covid-19 using the ISARIC WHO Clinical Characterisation Protocol: Development and validation of the 4C Mortality Score. BMJ, 370. https://doi.org/10.1136/bmj.m3339

For someone who professes to be so devout, Clack's miserliness when it comes to money is downright hilarious. She frequently mentions the "pecuniary pressure" of Franklin's check, doesn't tip, and yet constantly paints herself as a generous soul. At this point it is evident that this character is a caricature of the hypocritical Christian whom Collins has built up to tear down. I expect her assessment of the sequence of events to be comically wrong.

It's telling the readers directly that his skin is sensitive.

The text shows that Doodle is clingy and doesn't want to be left alone.

Pastor-Escuredo, D., & Tarazona, C. (2020). Characterizing information leaders in Twitter during COVID-19 crisis. ArXiv:2005.07266 [Physics]. http://arxiv.org/abs/2005.07266

Austen's narration of Sanditon is highly fragmented compared to her other novels. Chapter 4 unfolds with Charlotte as the observer of Mr. Parker's ramblings, but this particular paragraph seems to be free indirect discourse via Mr. Parker's perspective. Austen usually adheres to an interplay of narration between her heroine and the speaker (Ex. Elizabeth of Pride and Prejudice and Fanny of Mansfield Park), yet Sanditon is less defined and balances several different perspectives.

This exchange demonstrates the dynamics that characterize the Parker's relationship. Mr. Parker is domineering, while Mrs. Parker is passive. Austen uses their relationship to explore married life, similar to her characterization of the Gardners of Pride and Prejudice or the Westons of Emma as positive examples, and the Bennetts of Pride and Prejudice as a dysfunctional example.

Here Austen gives her readers the details of a rather scandalous encounter. In previous novels, the rules of courtship were broken off stage, only to be recounted later (Marianne and Willoughby, Lydia and Wickham, Maria and Henry). However, in this moment, the heroine is the sole witness of an unchaperoned visit, leaving the reader to wonder what plot Austen was planning to develop.

Austen pokes fun at this character once again -- he is too cheap to put the maximum effort into pretending to be a Byronic hero.

In these two paragraphs, Sir Edward thinks himself a “Byronic hero” of sorts—albeit an early one, as the poems that cemented the trope were published between 1812 and 1818. The Byronic hero was known for many dark traits, as well as sophistication, education, and the power of seduction, which Sir Edward supposes himself to possess. The Byronic hero was in part inspired by the villains of Ann Radcliffe’s gothic novels. Source.

Pretty ironic, considering he was railing on other novels earlier in the chapter for having "discordant principles."

Here, we are presented another form of a "fan" in Jane Austen's literature -- the crazy fanboy. Sir Edward is somewhat similar to Catherine in Northanger Abbey, but a whole lot creepier.

Jane Austen directly makes fun of Sir Edward for modelling his behavior after male characters like that of Richardson's.

Moe does an excellent job at providing pivotal quotes from the text to support her characterization of Elizabeth and Charlotte's vastly different opinions on marriage. For an introduction, Moe's explanation of their different views to ground her eventual argument is effective, as it draws the reader in, and establishes the validity of her eventual assertions.

Lonnie was wealthier than her.

characterization- mollie is very helpless

characterization

characterization

this show that the horses are thoughtful

power and characterization because it shows he must be respectable and would give him trust among the animals