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|Dwimordene's Journal
|Comments and questions welcome; please leave nuzgul at the door.
5 entries
B2MEM 2010 - belated entry
By:Dwimordene April, 13 2013
My entry was called Armageddon Will Not Be Televized. The challenge was to tell a coherent story, based on prompts I received from moves on the gameboard, but also integrated with the RPG interactions on the chat boards. I managed to put links to just about everything, so it's possible to follow, if with some effort. My major interest in writing this story was to take the game device of Dagor Dagorath, with its resurrection scenario, and instead of taking that as a device to let people choose favorite characters, to ask what's at stake in the 7th Age (our time) when Morgoth returns. What is it that our era is going through, and are we just passive, or do we have a role to play? To tell that story, I needed a character who could voice some of the more pressing issues of contemporary society to interact with my 3rd Age main character (Halbarad) and all the other 1, 2, 3rd Age characters and Powers. I also wanted to look into the idea of the separate fates of mortal and immortal peoples in Tolkien's world: does Dagor Dagorath have any effect on that separation, or not? Halbarad was my vehicle for dealing with that issue. Indecent amounts of fun were had by all parties, and I'm pleased to have a place to put this crazy adventure story.
Post Comment The Ailos and "Sunny" story - okay, now where?
By:Dwimordene June, 28 2011
In 2009, I wrote "Beyond the Pale," about two teenaged recruits who abandoned Pelargir. One was from Harad, one from Lebennin. In 2011, for B2MEM, I tried expanding their story. Still trying to figure out how to do so successfully. Wanna help?
Last Comment: July, 7 2011 08:34 GMT
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Page: 1 2 Hurt-comfort: generic considerations
By:Dwimordene June, 7 2008
Marta recently linked to a hurt/comfort 'advice' essay by 000_hester_000. It got me thinking enough to put fingers to keys and the result was something much longer than could be posted on LJ by an anonymous poster, for all that it bears traces of that original posting format.
But I am also not getting an LJ, due to weakness of will; and out of laziness of character, I don't feel like specially formatting the thing to put on my own site. I decided to post my reflection here instead, and not in the fic archive, because although writing-related, this is an essay without specific reference to Tolkien fanfiction. (If this is still deemed unacceptable, I'll remove the journal.)
The original essay that prompted me to write is here: http://community.livejournal.com/fanficrants/6818073.html?format=light
This is a fun piece that speaks to a lot of frustrations that most readers can sympathize with, no doubt. However, I found that reading it back through the quick discussion on Marta's LJ crystallized something that was dissatisfying to me, and which is in general dissatisfying to me where this kind of essay is concerned.
On Marta's LJ, in the comments section, it was noted that most of the advice can be generalized to apply to *any* story. That generalizability is interesting to me (as well as slightly frustrating) because I think that it comes of not quite identifying the subject to be critiqued. What stories qualify as "hurt/comfort"? What does the label "hurt/comfort" pick out?
From one perspective, as a simple description of one aspect of a story, I think it is uncontroversial to say many stories (almost any story, really) are 'hurt/comfort': taken broadly, unless you're writing an unmitigated tragedy [1] or else humor, the dramatic arc will probably entail someone suffering and then finding relief with family, friends and/or lovers (and hopefully, an end of the situation that caused the suffering, though at least, there ought to be a serious addressing of that situation even if it cannot be undone all at once). I think that often, advice essays, like the one linked to, take this to be what 'hurt/comfort' is or implicitly assume that there is a significant continuity between h/c and any other kind of fiction writing. [2] This assumption helps to account for why advice columns that take aim at 'hurt/comfort' tend to give advice that is easily generalizable to all kinds of non-h/c stories on the assumption that stories have similar structural requirements.
From another perspective, however, as I said, I'm not sure that that assumption allows authors easily to hit the target of talking specifically about hurt/comfort as a genre. For at the same time that the broad definition seems implicitly to be at work in essays like 000_hester_000's, there is an opposed assumption at work that is a little more explicit, though perhaps not absolutely so. It seems to me that essays about h/c assume that there is a discrete body of fiction out there that constitutes a genre. To be a genre means to pretend to having distinctive features that are not shared by other stories. What are these features? Genres are often distinguished on the basis of content: horror, comedy, drama, etc. Occasionally, they are distinguished by form: poetry, drabble, novel, etc., although fandom practice I'm familiar with seems to stretch the term 'genre' to cover only the first two, and that rarely.
Now, in 000_hester_000's essay I don't get a clear sense of how h/c is distinct from other genres, other than that there is hurt and comfort (but see above on why this is not sufficient to make a generic distinction). I can infer features that the author finds objectionable and which are therefore to be associated with hurt/comfort, but they could be true of any piece of bad writing. If it is true that a person is assuming the broad understanding of hurt/comfort, but assuming also that that broad definition coincides with a single genre, then what ends up happening is that good hurt/comfort is rendered indistinguishable from any good dramatic [3] story.
The which being so, it seems to me then superfluous to draw the distinction between "hurt/comfort" and "drama," and that the correlative danger of doing so is that when one does attempt, on the back of these assumptions, to draw the distinction between the two, one ends up implicitly rendering "hurt/comfort" nothing more than the name for a badly written drama. Fans and apologists of h/c as a genre would no doubt cry 'ghettoization!', among other things, and rightly so. But then we need to be able to draw a real, generic distinction between drama and h/c, so that we can see h/c as a separate entity with its own structure and standards for evaluation that derive from that structure. Only then will we be able to recognize the special kinds of problems hurt/comfort lends itself to, and which need to be subjected to critique.
Thus we have two questions: in what does the distinction lie, if h/c is a genre? And how do we evaluate h/c in terms of its generic specificity?
Personally, I think the point where "h/c" comes to describe a genre distinct from other kinds of stories, instead of describing a cross-generic or non-generic narrative structure, occurs when it is used to identify stories whose aim, even if not explicitly stated, seems to be restricted to showing a highly charged private fantasy of comfort. [4] By 'private' I don't mean 'shown to no one but me', since obviously it's on the net for anyone to read; I mean that the fantasy comfort scene has way more to do with me and my desires than it has to do with the characters and established fictional universe, and that is hurt/comfort's baseline, distinctive character. [5] It seems to me that this kind of privacy shows itself in the way that such comfort scenes seem cut off from attention to the kinds of things a particular character can be vulnerable to, and from the circumstances that would need to be convincingly generated for that vulnerability to become exploitable in fiction. It seems as though the comfort scenes arise in a relative vacuum, apart from any coherent dramatic arc or context.
This is why, in my opinion, it is almost superfluous to criticize h/c for the general tendency to fail to present a coherent plot: the plot is not the object of a hurt/comfort story, the comfort scene is; the plot, or rather, what stands in for the plot (the event/sequence of events of hurting and the often illogical and unlikely circumstances surrounding it), is, strictly speaking, only an excuse (or, to use less value-laden language, the occasion) for portraying the comfort scene. Likewise, characterization (except as determined by the comfort scene) is not the object: the characterization is strictly subordinated to the necessity of arriving at the comfort scene, and therefore need not have anything to do with how the 'real' so-and-so might plausibly react. [6]
It may appear at first glance that I've missed the mark. After all, when we look at stories labeled h/c, and we recognize them as the target of 000_hester_000's essay, do we not have already a list of the defining features of h/c? What has this definition really added to our understanding? To begin with the first question, what we get from reading the essay is a list of certain flaws commonly found attached to h/c: in 000_hester_000's essay, we are able to see them in reverse, i.e., by looking at what she thinks is a solution to a problem, we get the problem: "OOCness," non-reference to canon, failure to respect "realism," both physical and psychological, a tendency to use rape in the hurt phase, etc. I'm not denying that these are real features that we do commonly use as generic markers when we are complaining about h/c, but they are all negative features or flaws. We do not really have a working definition of what hurt/comfort is generically.
Not, that is, unless we assume that this list of flaws constitutes a kind of 'symptomal' definition. A 'symptom' by definition is an effect of a particular logic – it is not an 'accident,' nor is it in itself a flaw. 'Flaw' indicates that one aimed at one thing and accidentally ended up failing to achieve it, and where this failure to achieve the mark is understood then as deficient with respect to that original aim, in which positive value is invested. A symptom, however, is not a simple deficiency (and need not be conceived as a deficiency at all), but a sign of a logic other than the one taken as standard. Thus even if, for example, "OOC" designates objectively "out of character," there would be OOC as a result of failing to hit the desired mark ("IC-ness," if you will), and there would be OOC that occurs as an effect of aiming at a totally different mark. [7]
At this point we pass to the second question: I am going to assume that the flaws that 000_hester_000 identifies when addressing h/c writers are symptoms, i.e., manifestations of an underlying logic: the logic of a different kind of genre. In this context, and in terms of what my definition adds to the list that 000_hester_000 generated, that means that if the generic definition I've suggested is a good one, then we should be able to see these as a manifestation of the logic involved in the primacy of the comfort scene. But even if we assume this, I don't think it's enough just to articulate the symptoms in a list, for the reason given above: just listing them does not suffice to determine h/c as a genre yet, rather than simply bad writing. It does not establish even a hypothetical relationship between the generic marker and the symptomatic appearance of that marker.
Therefore, while I will accept 000_hester_000's list as accurately identifying symptoms, I'm not going to list each of them independently, as she did: her purpose is therapeutic, whereas mine is analytic. So while it makes good sense for her to highlight each of these features separately in order to discuss how to overcome them, I'm more interested in trying to figure out why these are common 'traits' associated with h/c: I want to know where these highly criticized 'features' come from and why they constitute the specific symptomatic constellation of problems to which h/c as a genre is prone.
I have said that the primacy of the comfort scene is definitive of h/c as a genre. This needs to be fleshed out a bit, so that its implications can begin to be articulated. One might assume that I am simply postulating a temporal priority in terms of narrative genesis: that is, the comfort scene is the first scene to give itself to the author. Obviously, the only way to test this would be to circulate some kind of questionnaire, which I have not done and am not planning to do. I do suspect that this is often correct, but that it is ultimately not sufficient to assert a simple temporal priority.
Likewise, while it is also the case that "primacy" can and does mean that the comfort scene is the aim of the narration, and as such, it determines the story's arc, this formulation, too, is not adequate. What I mean by saying that the comfort scene has primacy is this: starting from the postulation that the comfort scene is highly charged and tailored to the author's private fantasy, to say that the comfort scene has primacy is to say that the logic of the author's desire is what is determinative of the story logic in the first and last instance, both in terms of plot and characterization.
In other words: the comfort scene, isolated from any other narrative elements, is maintained as the bedrock of the fictional universe, and is therefore necessarily incapable of being altered by plot considerations or characterization considerations just because it is a response to the author's desire, his or her enjoyment encapsulated in a set fantasy piece. It is the immutable core of the story, and the element that both motivates the creation of the narrative and marks the completion of the narrative arc (or possibly of narrative units in a string of h/c episodes strung together in a multi-chapter story). In the author's exclusive elevation of it, it is, if you will, the alpha and omega, timeless and so changeless, of the story.
Now, I will venture to say that this founding and static immutability of the comfort scene is simultaneously the condition of h/c's generic existence and its greatest problem, since that kind of immutability – which is (if I may use the metaphor without offense) a kind of narrative autism mandated by authorial investment in the fantasy comfort scene – implies three things. Firstly, it implies that no chain of events that would be logically and temporally prior to the conclusion of the story can affect the end of the story. Secondly, it implies that the connection between the conclusion of the story (the comfort scene), and the 'plot' (the hurting), is minimal and purely formal. [8] Thirdly, both of these factors encourage incoherency and an aspect of the story that is suggested by several of 000_hester_000's points but not drawn out specifically: namely, the extreme exaggeration that so often attends both the hurt and the comfort halves of hurt/comfort. In a standard dramatic story, elements of the story have to be adapted to each other, including the ending to the preceding plot. If the conceived-of end doesn't end up fitting the story as it has developed, either the ending changes, the story is abandoned, or the author returns and tries to decide which seems more 'true' to the characters and fictional universe in which the story is taking place – the conceived-of ending or the plot as developed – and then makes decisions about how to proceed from there.
Hurt/comfort in its generic meaning does not have this kind of flexibility, however. When one element absolutely cannot change, everything else ends up bending around it, like light around a gravity well. When that one unchangeable element already maintains a markedly stronger connection to my personal desires and fantasy than it does to the fictional universe in which it is being inserted, then both of the key elements of h/c, the hurt and the comfort, are freed up from many of the narrative constraints that generally work as moderating influences. At a guess, the less my fantasy desire is consonant with the parameters of the canonical fictional universe, the more extreme and exaggerated both the comfort and the hurt is likely to be, in one way or another, and the more likely it is that other fan readers will notice points where coherence breaks down, or where OOCness breaks out.
Thus we often end up with one of the three following scenarios (if not more than one):
(1) The hurting is often a kind of pornography of violence – limitless violence enacted on ideal victims who never die, but only linger in a state of suffering. [9] Suffering, just by itself, tends to suppress, if not eliminate, every identifiable personality trait belonging to the character placed in this position: for a detailed study of how pain eliminates personality, see Elaine Scarry's The Body in Pain: the first chapter on torture includes a careful analysis of pain.
But in h/c, the evacuation of recognizable personality from the victim character(s) doesn't take the form of a simple suppression of personality, which is (part of) Scarry's claim. Rather, it takes the form of OOCness – substitution of 'somebody else's' character traits for the traits that attach to a particular character. The traits substituted should depend entirely on what the author thinks will enhance the emotional pitch of the comfort scene – not what will render it sensible, but what will render it more intense. [10] This judgment seems to be made not based on attention to the qualitative cross-connections between specific comfort and specific hurt, but rather according to a very simple quantitative rubric: the bigger the hurt, the more elevated the feeling of the comfort scene. We can see where the tendency to limitless violence comes up, here.
Nor is this the only effect that the unfettering of violence by the primacy of the comfort scene can have. 000_hester_000 complained that often there is not much to explore in terms of plot, and that what is there in terms of a developed problem is nonsensical and incoherent. In fact, 'developed', if taken to mean a coherent, detailed articulation of a problem, is a misnomer because it presupposes that the comfort scene and the hurt scene(s) have both chronological and logical connections – that they occupy, as it were, the same, reversible, logical space and temporal continuum so that they can affect each other.
But this is not how h/c operates, if I am correct. Under the definition I've put forward, what I would expect to be the rule for h/c is not a developmental logic so much as an accretion or aggregation of ways of being hurt, aimed at increasing the intensity of the suffering to the greater glory of the comfort scene, but without any necessary connection of events to each other beside that. I would expect this because it follows, I think, from understanding h/c to be essentially defined by the narrative fragmentation (back to the level of free-floating elements) which results from maintaining the immutability of the comfort scene. Characterization is not developed through these scenes, but conforms to whatever the final scene requires in terms of levels and kinds of distress.
Not only does general experience tend to bear this expectation out, but what we find is that experience begins to coalesce into a coherent logic: the OOCness complained of by 000_hester_000 and the continual remonstrance against unrealistic violence, are not two independent phenomena in h/c, but are correlated with each other as twin results of the fixed privilege of the fantasy comfort scene with regard to all other narrative elements.
(2) The exaggeration of the efficacy of the fantasized comfort: the comfort is a panacea. [11] I don't mean by this that the comfort offered is a cure-all, however. "Cure" to me implies dealing with the root cause of the problem that causes suffering; otherwise, it's just palliative care. But if the root cause of the problem that led to all this suffering were dealt with, then both comfort and violence would have to come to an end, and that's not really what's desired. What's desired is usually that the victim experience emotional comfort that shows his/her (imo, usually toxic) dependency on another character, in order for the victim-character to be tormented anew, so s/he can be comforted anew.
(3) Sometimes, exaggeration occurs in the opposite direction, so that the injury done a character is really quite mild (either 'mild' in the sense of, "Oh, I have a hangnail!", or 'mild' with respect to what would be likely to traumatize or wound a particular character psychically). Then it's usually extremely obvious that the hurt is merely the occasion for the comfort to happen, and that neither the hurt nor the comfort has any real roots in the borrowed fictional universe, or in any universe other than the universe of fixed authorial desire.
Given all of the above, is it any surprise that the comfort proffered by h/c most often is stereotypically sexual-emotive, involves a high degree of sentimentality, and paradoxically infantalizes both victim and comforter just because, on the one hand, of the intrinsic and essentialized dependency of one character; and on the other, because the comfort cannot really deal in a serious fashion with the root cause of suffering, due to a lack of necessary connection of specific content between the fic's narrative cap and what comes before it?
If h/c is viewed through the lens developed above, then I think it's fair to conclude that many of the criticisms leveled at h/c as a genre miss the mark. Not that I don't agree that the criticisms are aimed at real features often attending h/c stories, features that often do pain me as well as other readers. But they tacitly assume that the fic's structure is the same as any other dramatic story's structure, and that therefore, the familiar constellation of seeming 'flaws' to which 000_hester_000 draws attention are a product of accidental inattention, as a result of simple inexperience or lack of skill. But I don't think that's the case at root: by way of counterexample, I'll note that there are some beautifully written scenes of torment and comfort in h/c, indicating a high level of language mastery, yet they are no less hurt/comfort in the generic sense I described.
But if the symptoms of h/c as a genre descriptor are not due to simple inexperience or inattention, then to what are they due? As I suggested in the beginning, I think that the fic's structure is the way it is, and exhibits the characteristic symptoms it so often does, because they are the quickest route to the comfort scene, or the one that enables its repetition most efficiently, and these goals need have no relationship to the kinds of expectations one might have of stories motivated by different concerns and a different relationship of the author to the climactic and resolution points of a story. In other words, some of the things that grate on most readers' nerves – OOCness, exaggerated violence, 'generic' characterization – are not mistakes but solutions responding to the fic's structural constraints, while other features – incoherence, exaggerated efficacy of comfort – are simply consequences of the comfort scene being allowed to drive the narrative exclusively.
Consequently, the way into this kind of story is not through the usual route, i.e., interest in the plot and its execution, in the characterization's complexity and consonance with or interesting deviance from the canonical characterization. The way in is rather through identifying with the comfort scene. If that scene doesn't capture the reader in the same way that it captures and fixates the author and to a similar degree, then it's unlikely the reader would be able to enter into the h/c story, unless his/her 'thing' is the pornographic violence often seen, in which case the ending will still probably irritate the reader.
Having come this far, I'm going to go out on a limb here and try to fit what I've just said into a broader fandom context. I would suggest that the division of "hurt/comfort" from other genres should be part of the more general division between what is popularly called "PWP" and, let's say, a coherent drama that is plot- or character-driven. Why? Because "PWP" is also defined by a general absence of plot ("Porn without plot" or "Plot, what plot?"), [12] or only enough of a plot to stand as an excuse for the desired sex scene to come about. In fact, there's probably a huge overlap between genres that revolve around sex and sexuality and "hurt/comfort" – at least, in the slash genre, [13] this is certainly true. [14] And I'd venture to say that that overlap is at least as significant as, but probably not quite coincident with, the overlap between slash and PWP. Think of a two-dimensional representation of a Borromean knot, and just increase as much as possible zones of overlap.
There are also elements of what I've said that may shed some light on that perennial fandom favorite debate: who/what is Mary Sue? The acknowledged general description of Ms. M.S. or Mr. M.S. is that s/he is an authorial avatar, whose primary effect on the fictional universe is to serve as a focal point around which everything else bends without regard for the specificity of other characters, circumstances, etc. S/he warps the fabric of the fictional universe according to his/her own static characterization, which cannot be affected by the plot, and which rather determines how the plot and characterization of other characters will go, regardless of the constraints that the canonical universe might set on character and circumstances.
I suggest, therefore, that Mary Sue could be understood as the product of the same fantasy fixation on a particular element and self-referential logic of desire that operates in the construction of the comfort scene in h/c, just localized to a single character. (Or, if you like, the comfort scene's logic is extended to the entire story, making the whole thing one giant 'comfort' scene.) Moreover, consider again how you get into a Mary Sue story or a PWP: it's not by focus on plot, or characterization, or reference to canon, or the intersection of these three things, but by identification with the element that governs the entire narration: Mary Sue, the sex scene, or the comfort scene (and sometimes, you get the trifecta: the Mary Sue sex-for-comfort scene).
So following the implications of my definition of h/c as a genre and the suggested PWP connection, I would say that there would be a general distinction in motivation, aim, and logical structure between stories that take themselves to be traditional dramatic works (plot- or character-driven development into climaxes and resolutions) and stories that explicitly or implicitly form genres based on a rejection of or significant de-emphasis on plot and character in favor of one central element that governs the narrative to such an extent that it is itself unable to be amended, with the result that the ties between resolution (or perhaps just 'end' would be better, 'resolution' having connotations that would be inconsistent with the logic of an h/c on my account) and climax are reduced to minimal, formal dimensions. These formal dimensions, just because they are formal relations, are not capable of being directly used to generate considerations of specificity, with the result that events appear as incoherent to a greater or lesser extent. Hurt/comfort would then be one example, alongside PWP, of a narrative form that does not derive its logic from plot or characterization, but from one, singularly desired scenario. [15]
I realize that having so defined h/c makes it much more likely that h/c stories will have a certain symptom structure that finds no way to take 000_hester_000's advice while still maintaining the distinction between hurt/comfort as a genre and drama as a genre. In response to which, I'll say three things. Firstly, I will confess that I personally find hurt/comfort stories generally to be distasteful and poor drama, or rather, distastefully poor drama and to suggest some interesting if not terribly palatable things about our fantasy lives or the way we live our fantasy lives socially. My language at various points in the essay almost certainly gives this away, so that this admission is hardly a revelation. Whether my largely negative reaction to the majority of h/c stories irreparably damages my ability to give a fair analysis of the phenomenon is a question for the reader to decide. Some may well decide that I have accomplished in spades what I have suggested other authors have only accidentally implied: namely, the ghettoization of h/c into a position from which it cannot but be understood as bad drama.
Secondly, while it is true that it is hard, on my account, to determine how one can preserve the generic distinctiveness of h/c while avoiding several undesired symptomatic features, the account is consonant with an early-noted aspect of h/c in the essay to which I was responding. Allowing for hyperbole born of frustration, 000_hester_000 did note that she found most h/c stories to be awful, and that the genre had a higher than average percentage of awful stories in it. If the definition I've suggested captures a real, centrally distinctive generic feature of h/c stories, and is able to connect several 'flaws' into a coherent symptomal constellation, then it acts as an explanation for that abnormally high percentage of 'awful' stories by furnishing us with a logic of their appearance, but also suggesting the stance of the reader who evaluates them as simply 'flaws.' Not all qualitative defects are equal, after all, and when we treat them as all the same, we lose sight of the specificity of the qualitative problems to which different kinds of stories lend themselves.
Finally, I have tried to avoid saying that certain 'objective' (or more objective) features necessarily will manifest, and to reserve talk of 'necessities' and 'absolutes' to relationships established between the author and a particular scene in relation to other scenes. Even there, it is perhaps too strong a language to speak, and may result ultimately in the frustration of my aim, namely a clarifying investigation into the meaning of a certain term and its practical consequences.
By way of attempting to close on a more positive note, however, let me try to offer some suggestions about what sorts of considerations an h/c writer, in the generic sense that I've defined, might want to pay attention to in order to respect the structure of the story and improve his/her chances of attracting a sympathetic readership. It would seem that if I am correct, both in picking out the generic markers of h/c, and in suggesting how it is that this kind of story is to be approached, the sort of poor writing that should be eliminated is largely of a technical nature: beautiful writing has a correlatively bigger role, I would suggest, in this kind of fragmented narrative structure than it does in a story whose structure is continuous and determined by plot or character. Plot- or character-driven stories can afford to be a little more 'workhorse'-like in terms of their style, because they depend more on establishing an interesting development of events and characters than they do on the beauty of the writing.
Hurt/comfort, however, is structurally far less capable of taking advantage of the plot to sustain the reader's desire to read onward. So instead, I would think that adopting the strategy of poetry would work. Poetry, after all, may in many cases share the fragmented structure and fixed focus on one element with h/c, PWP, etc.: in a poetic work, seduction operates through the well-chosen, evocative word. And the h/c fic is basically an act of seduction around that one central, fixed comfort scene. Or think of writing a dream, since the kind of fantasy I'm suggesting is at back of h/c has a close connection to dream life, taken in a psychoanalytic interpretation. Concentration on methods and tricks of writing that belong to writing dreams and/or poetry – the artful elision, rhythm, qualitative juxtaposition, even outright rhyme – probably would help a hurt/comfort fic to show as a good piece of writing, while preserving its structure and leaving the fantasy scene intact.
[1]Even if you are writing an unmitigated tragedy, giving some relief in the middle can make your tragedy all the more compelling and painful by the time you dash everyone's hopes. So even an unmitigated tragedy may have a trajectory from suffering to relief somewhere in there. Even humorous stories may have that arc as a portion of the plot.
[2] The motives for this assumption are not evident. It could be the force of habit of assuming that all stories are somehow similar, or have similar aims, or should have similar aims. Where this is manifestly not the case, however, problems can arise. At that point, we usually see, in the clash of evaluations following on a story's publication, one of two responses: either the story's merit is decided by reference to personal, non-generalizable standards of the reader's taste or else by referring to the excellence of the author's technical skill, that enabled him/her to pull off a non-standard story with style. No doubt, both views have some merit, but what is avoided in this (other than fandom confrontation) is consideration of whether this story's novel content rests on a different story structure, and how, if this is the case, the structure and content work together to generate standards of evaluation.
[3] Here, my use of 'drama' is obviously equivocal: on the one hand, I used it as one genre among others a few lines earlier. Now I'm using it as if 'drama' encapsulates many other genres. Identifying drama in its generic use, as referring to a story distinguished by content from other kinds of stories, is not my aim in this essay. I will therefore use it to mean any story that features narrative development, either based on plot or character, which climaxes at some point, and then resolves into an ending that is consonant with what has passed before in the narrative. This does not exclude its being used to create generic distinctions, as will be seen, but it will be less confusing to have this usage of the term spelled out in the beginning.
[4] Obviously, this means that some stories could qualify as h/c even if their authors do not label them as such, and that conversely, some stories labeled h/c are not able to be thought in terms of the generic description I'm going to develop.
[5] This generic definition differs from efforts to describe h/c purely in terms of content (a hopeless task, in one way, since one can multiply exceptions and features indefinitely). It also tries to avoid reduction to purely structural terms that are likewise incapable of identifying a specific genre, since such a reduction would evacuate all content from the story, leaving us unable even to refer to its fan-accepted name, 'hurt/comfort'. What I intend here is something in between those two, abstract extremes. In this way, I hope to avoid stigmatizing specific content, allowing structure and a certain relationship to content to play the primary roles in generating evaluative standards, yet without losing sight of the specific and specifying content, either.
[6] Please note I am not saying we can know absolutely how the 'real' character would react, only that we can generate a range of interpretations that seem plausible given what we see canonically, and identify, on the basis of that range, character reactions that are less plausible to varying degrees.
[7] A cautionary note is in order here. It should be clear from what I just said about OOCness that 'symptom' is a value-neutral term. We can see the OOCness of a character in a humor story as welcome and valuable, insofar as it is a symptom of a logic other than one that aims at fidelity to a certain accepted range of interpretation of character, for example. We can also, as when we visit a doctor, see symptoms as expressions of a diseased state, and so dangerous, bad, undesirable, etc. That additional valuative judgment is independent of establishing what h/c might be, generically speaking, and what kinds of criticism might be appropriate to it specifically, though there is debate around this latter claim, even if it isn't clearly articulated.
[8] What do I mean by purely formal? Well, take, for example, the fact that the comfort scene is usually pitched in the vein of overcoming all hardship. This overcoming of all is not due to the quality of the comfort, it is due to the logic of desire, which is self-referential: the comfort must overcome all because otherwise the fic's raison d'etre would have been subordinated and altered, thereby undoing the reason to write the fic. The fic must be written because the scene is so very desirable to the author. Etc. The upshot of this closed logic of desire, which establishes and maintains the primacy of the comfort scene, is that in order for the desired scene not to be affected by anything that comes before it, it has to be able to serve as the capstone to any and every scenario: all kinds of hurt, all kinds of (implied or absent) obstacles, all kinds of opponents, all kinds of weaknesses, must be able to end in the comfort scene. But just because "all" is a category, it is intrinsically non-specific, which is one way of accounting for the weird and disturbing disconnection of the comfort (whatever form it takes) from the specific hurt suffered. Since the comfort scenario is extremely specific, the chances are very high that the specific comfort scene that should be able to overcome 'all' will totally fail to address what actually happened to the character who was made to suffer.
[9] The logic of h/c, in its excesses of violence, suggests a historical reference: Sade. It's exactly this kind of highly eroticized ('charged') violence - limitless in its scope, and inflicted on a highly eroticized victim, limitless in endurance - that Sade aimed to depict. However, anyone who has read Sade probably has noticed something: it's terrible writing, boring and numbing in its stupid repetition.
[10] This is another instance of a merely formal relationship between 'plot' and end scene.
[11] Except where it's not, i.e., the next time the author wants to inflict limitless violence - maybe in the very next scene.
[12] Both of the accepted interpretations of "PWP" indicate a general de-emphasis on having or needing a plot. I'm not saying this means we should take these spellings-out literally, but simply as real indications of the relative (un)importance of plotting considerations to a PWP.
[13] Here, I'm distinguishing slash-as-a-genre from stories that include mention in passing of homosexual characters/relationships or which do not focus on the homosexual relationship, even if a character acknowledged as homosexual is given a prominent place in the story.
[14] And will likely remain true until we reach a point where the most satisfactory fantasy "comfort" between adults is not sexual intimacy, or (speaking specifically of the slash-h/c genre combo) when homosexuality ceases to play such a huge, and probably compensatory, role in feminine heterosexual fantasy. Don't get me wrong: I'm not saying homosexuality is a 'special effect' that will disappear when we 'accept our natural roles' or something ridiculous of that sort. I am also most emphatically not saying homosexuality is bad or derivative, nor am I suggesting that only heterosexual women write slash or h/c slash. What I'm saying is that homosexuality, and specifically male-male homosexuality which is likely 90% of slash, is probably overdetermined by socio-cultural-political factors to stand in for an ideal romantic-sexual relationship for a significant number of heterosexual women, and I would hardly exclude myself from this category, being, among other things, a heterosexual woman who writes really angsty male-male slash.
[15] Some may say that the division I'm suggesting is too hard and fast: surely there is a continuum among stories, so that an original author or a really skilled fan author best conceals the way in which their fixed scene/character/element operates to establish the warped field called 'reality.' Reality without warpage is nothing – it's just a question of how well you can convince people that what they're seeing is a 'Newtonian' horizon, rather than an 'Einsteinian' one, and when readers switch to seeing the story as analogous to 'Einsteinian space,' warped around 'fixed' elements, the writer has probably failed to secure the conditions for the readers' immersion into the fiction s/he has created. On one level, I completely agree that reality without warpage is nothing at all, or at least, not reality, not even fictional reality, so this may make good sense.
On another, there's no real necessity to view h/c as a genre (as opposed to as a general description of one aspect of a narrative arc) except insofar as fandom seems to think it exists. In view of this, I would say that if the above objection (your distinction is too hard and fast, we should think in terms of continuity) is still maintained, then to the degree that we accept it, we have reason to surrender the idea that what we're dealing with should be interpreted as genre distinctions (so h/c, PWP, Mary Sue – these are not genres whose structure is distinct and follows its own logic that is irreducible to the logic of a traditional dramatic story that is plot- or character-driven). But then what are we dealing with? Bad writing, period? Something else?
Post Comment Kin-strife stories
By:Dwimordene July, 14 2007
What the hook says.
Post Comment Reconciliation
By:Dwimordene May, 4 2007
Just what the hook says. I will try actually to reply to any comments in this journal.
Last Comment: July, 4 2010 17:10 GMT
60 Comments Post Comment Read Latest Comment
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text:
New Catalogue of Sculpture Underway
The Wallace Collection is renowned for its series of scholarly catalogues of the collections, recent volumes of which include Sèvres Porcelain (1988), Pictures (1985–92) and Furniture (1995). The next major part of the Collection to be the subject of a specialized catalogue will be the important collection of sculpture, last catalogued by James Mann as long ago as 1931. Head Curator Jeremy Warren will be working over the next 3–5 years on the catalogue and, thanks to the generosity of Mr Peter Marino, will be assisted by Leda Cosentino as Peter Marino Research Assistant. Watch out for news of discoveries!

subset: commoncrawl


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USD Professor Credits One Instructor with Decision to Pursue Finance
The Daily Transcript -- It was just one instructor who placed Shreesh Deshpande on a career path in finance, and now he works to do the same for his students at the University of San Diego.
Deshpande decided to pursue his MBA after receiving his undergraduate degree in mechanical engineering and working with an automotive manufacturing company. Deshpande met this professor while earning his MBA, who was able to use corporate experience to relate numbers to actual companies.
"He had a very intuitive way of explaining things. That's maybe something I've tried to pursue myself," Deshpande said. "As far as possible, I try to bring corporate events into the discussion. When I teach mergers and acquisitions, there's a whole numerical and analytical process, and then I put that in context of some of the well known mergers — why they were undertaken, why they failed, and so forth." (Full Story)


text:
Hotspot will not be available during the upcoming ashes series in Australia, after Channel Nine chose to remove the technology.
The infrared camera technology, which is used to to judge whether the ball made contact with the bat and pads, caused mass controversy at the summer ashes in England during which the Australian Prime Minister called the decision to dismiss Usman Khawaja' as "one of the worst umpiring decisions" he had ever seen.
Warren Brennan, the inventor of the hotspot, says financial factors influenced the decision to axe the technology. The cost of installing it is around $10,000 per day, costing around $250,000 per test.
Speaking to The Sunday Morning Herald, Brennan said: "It's their decision and that's what's been communicated to us. As far as I'm concerned, it is final".
He also claimed that Cricket Australia refused to help with costs towards the hotspot.
"I don't have a beef with Channel Nine. The disappointing thing for us is that Cricket Australia didn't engage at all with us to try and come on board and help with this situation.
"Cricket Australia is the only body that doesn't contribute to our costs for the DRS components. New Zealand contribute directly to us, the ECB [England and Wales Cricket Board] contribute and also South Africa.
"We need to continue to invest and improve the product so that everybody thinks it's getting better. If bodies like Cricket Australia won't come on board and contribute to that, there's not really any point in us continuing." he added.
Other technology will still be available to third umpires for the tests in Australia, including audio evidence Hawk eye and slow motion replays.
The first Ashes test will commence in Brisbane on November 21.
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text:
Linked by Thom Holwerda on Mon 8th Feb 2010 13:23 UTC, submitted by kragil
You may remember that back in November last year, I wrote about the lack of a decent Paint.NET-like application for Linux (or, more specifically, for Gtk+ distributions, since Qt has Krita). As it turns out, this compelled Novell employee Jonathan Pobst to code a Paint.NET clone in Gtk+ using Cairo. Version 0.1 is here, and it's remarkably advanced for something so young.
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What is missing in Gimp, that we need a new paint program in the GTk world?
it's not that something would be missing in gimp
infact it's the complete oposite:
it's overcomplete and as a result to complex for most of the people
paint.net doesn't target the pro, it's targeting the average guy who once a year needs to remove red eyes from the christmas-pictures
it's a perfect example of less sometimes being more
RE[2]: Gimp
by Bobthearch on Mon 8th Feb 2010 18:04 in reply to "RE: Gimp"


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It was a huge upset when Whiteley beat Bartone here this spring in just her fourth start in a Funny Car, and Bartone again was the favorite after qualifying No. 1, but Whiteley left first with a .048 light and made her best run of the weekend, 5.57. "The car didn't shake at all," she said. "Absolutely no issues. He shook, and that was it." Bartone slowed to a 5.76, almost the same e.t. he ran against her in their first head-to-head final.
Whiteley now has five victories and a perfect score of 425 points in a region that includes Jay Payne, Bartone, five-time division champ Steve Gasparrelli, and 2011 Division 7 champion John Lombardo Jr. After qualifying just sixth with a 5.66, she took care of Payne in round one, 5.63 to a shut-off 9.25.
Earlier in the round, Bartone beat Shane Westerfield, 5.58 to 5.67, Dallas winner Clint Thompson moved on when Gasparrelli tapped the wall, and Lombardo's 5.70 to 5.71 decision over Kris Hool gave the Central Region title to Kirk Williams over Hool by a single point, 299 to 298.
Every car in attendance ran at least a low .70 in qualifying, and past event winners Doug Gordon, Jason Rupert, and Keeter Ray missed the all-5.60 field. Bartone led the way with a 5.550 that held up all weekend for low e.t., and took his third runner-up in four regional starts this year.
In the semifinals, Bartone, who swept both Vegas national events this year, including the Big O Tires Nationals over Whiteley last weekend, won a battle for traction with Thompson, 6.04 to Thompson's shut-off 9.68. Whiteley won the other semi over Lombardo on a holeshot, 5.64 to 5.60, with a .037 light against his not-bad .078.
With two runner-ups in national event competition and seven final-round appearances overall, she's number 4 in the country with one race to go, the same place crew chief Roger Bateman finished last year when he drove the car. "Roger told me before the race that Vegas is hard to win once," she said. "He warned me not to get my expectations up because we won here in the spring, but I just like this track."
In the Top Alcohol Dragster final, in a battle of the last two qualifiers, No. 7 Martin pedaled to a 5.85 at 250 mph after No. 8 Don St. Arnaud red-lighted by 16-thousandths of a second.
Martin and St. Arnaud had taken out the perennial favorites, third-ranked Chris Demke and newly crowned 2012 world champ Jim Whiteley, respectively, in consecutive pairs in round one. Demke's first-round loss settled his yearlong battle with Whiteley for the regional championship in Whiteley's favor, 351 points to 330. Martin survived a 5.72 when Demke got loose around mid-track and swiped the wall. St. Arnaud advanced with a strong 5.38, his best run of the weekend, when Whiteley spun the tires and slipped to a 5.56, about three-tenths off his 5.28 qualifying pace.
Sixteen cars going for eight spots made for a 5.42 bump, and all top-half qualifiers ran at least 5.30s. Whiteley was the only one in the .20s, and Joey Severance, outgoing world champ Duane Shields, and Chase Copeland surprisingly missed the cut.
In the semifinals, Martin benefited from the first of two red-lights against him, this one by Greg Hunter, who had cut a .016 light first round. That put him in his third final in just six starts all year; he was runner-up at Mission and Sonoma. St. Arnaud joined Martin in the money round with a holeshot on Phoenix winner Megan McKernan in the other semifinal match, 5.43 to 5.36. Needing a ..009 light to advance, he pulled out a .005.
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TRIBUTES have poured in from across the Ballarat community for a 14-year-old boy, who was killed in a violent incident in Scarsdale.
Timothy O'Brien, known as Timmy, died at 5am after an alleged altercation on Saturday.
Two Ballarat men have been charged with his murder.
The news rocked the Scarsdale community and stunned police and those who knew Timmy best.
Ballarat Specialist School principal John Burt described young Timothy O'Brien as a "real joy" to teach.
Timmy, who had autism, tried hard at school and did everything to the best of his ability.
Mr Burt said the 14-year-old was just a great kid.
The school community was left "absolutely devastated" by his death.
"We are devastated by the tragic happening," Mr Burt said.
"It makes one understand how precious life is."
Mr Burt, who is also Ballarat mayor, said the school would talk with students about the tragedy, when needed, once school resumed on January 30.
Timmy was also remembered yesterday as a keen wrestling fan.
Melbourne-based New Age Wrestling manager Joe Stiteri said Timmy came to their last Ballarat show in June and had his photo taken with his favourite wrestler Sketch – a hearing impaired and autistic wrestler, a classic heel (bad guy) popular for his high-energy and signature move, the top-rope moonsault.
Sketch, wrestler Andrew Clissold, was so shocked by news of Timmy's death that he asked the company to raise money to help his young fan's family.
NAW plans to donate $1 from each ticket sold at their February 2 show in Ballarat at Ken Kay Stadium where the company would observe one minute's silence.
Mr Stiteri said the company also hoped to work with Ballarat businesses to organise a raffle.
"Anything we can collect to help," Mr Stiteri said.
"We want to do right by our fans."
Homicide Squad Detective Acting Senior Sergeant Sol Solomon said it was a terrible tragedy to attend and difficult for police to deal with.
"It couldn't get much worse than a 14-year-old boy killed, struck to the head with some object," he said.
Timmy's death notice read he was simply "so dearly loved, so sadly missed."
He was the loved and loving son of Debra and the late Terence O'Brien; much loved brother of Linda and Nathan, Karen and Joe, Kerry Faye, Tammy, Jade and Kelly, nephew to Adam and "good mate" to Peter.
Facebook tributes and posts started to flood in yesterday.
A RIP Timmy O'Brien page attracted more than 730 likes in three hours yesterday afternoon while the Victims of Crime Australia page attracted messages from those who would miss Timmy's contagious smile.
Mandy Boers wrote "I'm gonna miss you Timmy!" while Roxanne McPhan said "My thoughts are with u (sic) Deb at this sad time. Sending u my sympathy. RIP Timmy u always had a big smile."


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The Prowers County Genealogical Society (PCGS) recently sponsored a work day at Crawford Cemetery on Sat. June 7, 2014.
Local Boy Scouts and their leaders also went out with the PCGS and worked cleaning the cemetery, putting up 32 crosses and making the old cemetery look much better. Crawford Cemetery is old with very old graves and is located on private land. Landowners Richard Mauch and Ray Gilbert told the PCGS they could go to the cemetery to perform work any time.
The crosses added last weekend were made of metal pipe and were fabricated by the Lamar Highschool Industrial class. The students welded them for the PCGS and most of the pipe was paid for by Big R, the Elks and Joe Marble.
The PCGS would like to thank each of these entities and individuals very much for helping with the project.
The Boy Scouts and their leaders who showed up to work that day were: Tucker Hobden, Sheldon Clevenger, Dominic Canete, Rilley Jackman, Trevor La Cost, Brandon Tidwell, James Steerman, J.J. Mumford, Jeffrey Henderson, Samuel Mumford, Laura Hobden, Jef Mumford, James Clevenger, Jamie Tidwell and Michelle Jackman.
The PCGS would like to thank each of these fine individuals for helping with the cemetery project.
The workers from the PCGS were: Lorraine Schleinig, Jack Price, Liz Waldrip, Jeff and Marilyn Alexander, Joe and Karen Marble and Floyd and Betty Clark.
The thanks of the PCGS goes out to these folks for their work in this project. The cemetery project has been a major project for the PCGS for a while now and they are so glad to have the project completed.
It gives the PCGS a good feeling to have bene able to help clean the Crawford Cemetery and put up some crosses on unmarked graves. There are a few more unmarked graves out there which the PCGS plans to get crosses for also.


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Cardiologist recommend that you monitor your cholesterol and glucose on a regular basis. To make it easy, Missouri Baptist will provide FREE screenings in the pharmacy department at your neighborhood Dierbergs Markets. This screening is FREE and measures your glucose, total cholesterol and HDL. No fasting is required - appointments are recommended.
To register, call 314-996-LIFE (314-996-5433).


text:
We are temporarily disabling registration for Pet Talk as we are getting bombarded with spammers at the moment. If you know someone who wants to register, or if you are a visitor want to register, you can email me and I can set up an account for you manually.
You can email me at Karen-then the at sign-PetoftheDay.com okay?


text:
Hooked on Classics
'Despite the advantages of modern motoring, with its air-conditioned, computer-controlled reliability, who wouldn't want to return to those fast-paced times when automotive design was in its prime?" writes Chris Haddon in his book "My Cool Classic Car" (Pavilion, $24.95). Mr. Haddon—a British designer whose own automotive affair dates back to when his father converted a 1960s Rover P5 steering wheel and instrument panel into a sophisticated toy—profiles 40 classic cars, including stories from their owners and notes on each model's history. (Many are European.) Yes, repairs are often expensive, and the cars can require a dose of patience. The owner of a Citroën 1975 DS Pallas notes that a ride in his car "could leave some feeling a bit seasick." Hassles abound, to be sure, but these are tales of love.
Goggomobil TS300 Coupe
'When the 300cc, two-cylinder…engine starts up with full choke, it smokes like a barbecue. When a hill is unavoidable, the 15hp engine makes a noise like 50,000 angry wasps,' says owner Dirk Wurm of his quirky 1967 microcar. Still, 'it's easy to love.
Austin 7 Chummy
Don't try this today: In the 1940s, this 1925 British car spent several days in a pond. Back on land, it quickly recovered—no complicated electronics to dry out.
AMC Pacer
In the '70s, AMC advertised the Pacer as 'the first wide small car.' 'It certainly attracts attention wherever we go!' says owner Becky
Citroën 2CV
First produced in 1948, the Citroën 2CV aimed to entice French drivers away from the horse-and-cart. When owner Chris bought this 1978 model, 'it was a very sorry-looking rusty car…neither drivable nor towable.
Morris 1800
Owner Ian rescued this car— which finished 18th in the 1970 London to Mexico World Cup Rally—after watching it deteriorate in someone's driveway for 20 years.


text:
She's the most seductive model in the business - remember her saucy video and shoot for Italian Vogue last month? Well now Kate Upton has just bagged her THIRD Vogue appearance; this time for the German edition.
The once Sports Illustrated star-turned-top-notch model stars in the behind-the-scenes video from the German Vogue shoot, which was directed by superstar fashion photographer and filmmaker Bruce Weber. You know, the guy who inspired Jonathan Anderson's capsule collection for Versus?
The video gives us a taster of what can we expect from the shoot. For starters, Kate is channelling ultimate blonde bombshell Marilyn Monroe in a summer holiday spectacular. Ms Upton and her harem of male admirers are seen frolicking around the swimming pool, horse-paddock AND lush gardens in a series of equestrian chic shots. She also changes into elegant (and may we add, very sheer) ball gown creations before whipping her top off in true seductive form.
Have a look at the video below, and let us know if you agree with that un-named (and now shame-faced) Victoria's Secret booker who refused to let her walk for them because her face was too obvious?! Is Kate a new generation of model that doesn't fit into the usual '90s supermodel style mould? We've got men modelling as women and vice versa, well-endowed boobalicious models like Kate and celebrity siblings taking over the modelling world. Enter an exciting new generation of hotties!
Read more fashion and beauty news on graziadaily.co.uk
See what's in the latest issue of GRAZIA magazine
Click here to subscribe to the GraziaDaily newsletter


text:
Linked by Thom Holwerda on Thu 5th Oct 2006 20:49 UTC, submitted by Eugenia
"Is Ubuntu an operating system? Last week at EuroOSCON, Mark Shuttleworth gave the closing keynote outlining what he believes are the major struggles faced by the open-source/free-software community. During his talk, it became clear that Ubuntu is trying to achieve a radical shift in the software world. Ubuntu isn't trying to be a platform for mass-market application software: it is trying to be the primary provider of both the operating system and all the application software that a typical user would want to run on his machine. Most Linux distributions are like this, and I think it is a dangerous trend that will stifle innovation and usability."
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RE[2]: Not well informed
by sbergman27 on Thu 5th Oct 2006 22:09 UTC in reply to "RE: Not well informed"
"""You know what, you're a jerk. Until you post a picture of your perfect body..."""
Well, that was not to be taken too seriously.
But, to quote Katherine Hepburn as Eleanor of Aquitaine in "The Lion In Winter":
"You must remember to squint as you aproach or you may be blinded by my beauty!" ;-)
-Steve (Who is 43 years old and walks 3+ miles a day to compensate.)
Edited 2006-10-05 22:20


text:
Welcome to the Colorer Library project
Colorer take5 is a syntax highlighting and text parsing library, that provides services of text parsing in host editor systems in real-time and transforming results into colored text. Result information allows to search and build outlined lists of functions, structures, and to search and indent programming language constructions (brackets, paired tags). Colorer uses pure C++, XML, it is fully portable and works on either win32/unix/mac platforms. Top level Java language API is also available.
colorer news RSSJanuary, 2010
New version of FarColorer: 18.104.22.168 for Far 2 and for Far 3.Jule, 2011
Many different fixes, add support Windows 2000.
Update HRC base.
EclipseColorer 0.9.9 build.June, 2011
Support Windows x86,x64 and Linux x86,x64.
Working with long strings
New version of FarColorer: 126.96.36.199 for Far 2 and for Far 3.0.2085.March, 2011
New version of FarColorer: 22.214.171.124 for Far 2 and 220.127.116.11 for Far 1.75.April, 2010
The main patch - working with long strings.
EclipseColorer 0.9.0 build.January, 2010
FarColorer-truemod experimental build.December, 2009
Far Colorer just got a new maintainer: ctapmex!26 April 2007
An updated and extended HRC-REF spec is published, thanks to Anatoly Techtonik.8 March 2007
In the women's day, (for my ladies)! New version of EclipseColorer: 0.8.0. This is an experimental build with many new editing features supported: Folding, Annotations, line word wrapping, extended preferences and many other improvements. For now, can be downloaded only from sf.net area.30 Nov 2006
Eclipse Colorer is updated with additional Intel-Mac x86 native support. Thanks to Apla for this. Can be downloaded via update manager or from sf.net download area.24 Nov 2006
Colorer-take5.be5 Mostly technical release, to catch up many latest changes. Includes great number of syntax fixes, some minor improvements of code. Download, as always.16 June 2006
Midnight Commander Colorer was updated with some new features and user dialog settings. Version 0.9 available.26 May 2006
New version 0.5 of Midnight Commander Colorer mod is available. A couple of new features and bugfixes. Download it.
Other Language APIs:
Syntax-Highlight-Universal - Perl API to colorer
PHP API to colorer
Separate projects, using colorer:
Ferry text editor component
Freddy text editor
Hetman file manager (Java, Colorer inside)
Misc information:
New language in Eclipse (pdf), (html) by Ron Mertens.
Eugene Efremov HRC packages page
Old colorer4ever doc (rus): HRC, HRD, RE
Igor Russkih (Cail Lomecb)
email/im: irusskih at gmail dot com
www(dead): http://cail.nm.ru
Scientific pieces
A few papers based on the Colorer software project in the areas of incremental syntax analysis, language development environments and software optimization. Written during my postgraduate being at the UNN (State University of Nizhny Novgorod).
Colorer library is distributed under Mozilla Public License 1.1. You can use it in OpenSource, Freeware and Proprietary software in terms of MPL 1.1. Alternatively, Colorer Library could be distributed under either GNU GPL 2.0 / LGPL 2.1 licenses, as noted in Colorer Source code license notice.
Mozilla Public License allows you to modify Colorer library source code and redistribute it for free (or for sale) so long as you follow the terms of the MPL. In particular, you must make your changes to the Colorer Library source code available back to the Colorer under the MPL (so the Colorer Library can benefit from your changes), You can add external files to Colorer Library, compile these, use library in external projects and redistribute them for free or for sale and you do not need to make such external files or changes to them available in source code form or binary form to the Colorer library project. I was also asked to state about GPL with the so-called runtime exception. I have no objections about this note usage if anyone really needs it.
|You can help me in development of the Colorer-take5 library by donating some money to this project. This would allow me to cover some of the costs involved in library development. Especially if you are using Colorer library in a commercial environment I ask you to consider this option, so Colorer can continue to be actively developed in the future.
You can make transfer with Yandex.Money system (wallet# 4100158993216) or WebMoney system (Z661462662957, R115331770879) - these two are preferred (although they are good only in Russia). Alternatively you can use share*it! payment system (Colorer-take5 product page). Please feel free to contact me if you want to make direct Bank/Wire transfer or prefer other methods for donation.
Web Site
SourceForge project
Trac system
Source browser
Discussion group on Google (По русски)
Commits monitor list (subscribe)
Colorer on Igor's home page


text:
The Bruins paid tribute to their former goalie Tim Thomas with a video presentation when Thomas was in town with the Florida Panthers on Thursday.
During a TV timeout at 10:39 of the third period Thursday night, a video montage showed some of Thomas's best stops – his stick save on Tampa Bay's Steve Downie was a highlight – and a glimpse of the goalie lifting the Stanley Cup in 2011.
He later told the Miami Herald, "Great to be back at the Garden, great to be back in Boston. I was hoping for that kind of reaction from the fans."
After the video, the scoreboard showed Thomas, who sat out the game while rehabbing a groin injury, sitting in the press box.
The TD Garden crowd cheered, along with Thomas's former teammates and coaching staff. Thomas stood to acknowledge the ovation.


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where was this pitching and defense in Cleveland?
The important thing to remember is that the Reds could have lost. (Sad trombone)
Sheldon just posted on twitter, BP to miss sunday and maybe more.
Mark Sheldon@m_sheldon5m
Phillips expected to be out for Sunday's game, possibly longer. More to come soon. #reds
Though I don't post in game threads much anymore, I enjoyed reading this one. Lots of fear and gnashing of teeth. I'd have been right with TheBigLabowski in my fear and loathing. The first run was a gift and Mikie was dong his usual act, being deceptive and getting outs. Their starter was unhittable through thre and then was human, and we still couldn't score. Finally Choo and Votto came through and we had a two-run lead. Sammy did his usual great job and then came Broxton. I'll call him Houdini from now own because first and third with no outs is simply disaster most of the time, but he did it and even though I have no fingernails left, we moved on to the Rocket. He hasn't pitched much so we could expect the worst, but he made it interesting and I had no fingernails. It all turned out well and the Reds won--two in a row over the Bucs. A sweep is now possible with Latos on the mound and Gomez not being all that great (and a righthander to boot). Can I dream? I don't have any more fingernails, so let's hope that is not necessary. No drama, please. And with that I close. May BP heal, may Mat Latos pitch well and please may Choo find his stroke again.
"You only have to bat a thousand in two things; flying and heart transplants. Everything else you can go 4-for-5."
-Beano Cook
I feel a big ole bench clearer with the Bucs coming soon, hopefully hurdle gets that smirk (losing managers should not have that) off his fake tan face.
The pitch was a strike...the closest strike during the entire at bat to being in the middle of the strikezone. It turns out that the count was ACTUALLY 3-2, but even if it was 3-1...the point stands. Don't you want your hitters to look for a pitch to drive? This kind of comment looks to me like you're looking to take a walk. Like that's your goal? Simply don't get that line of thinking. Looking to hit there is, in my book, the very definition of smart baseball.
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This one is inset in a large locker room, with a door that barely muffles the delighted squeals of that toddler in the shower who already has Mariah Carey-ian aspirations. There is actually a sign on this noneffective door that says "All ye who enter must be older than 18." One would sense the difference between the general locker room and the adult locker room immediately: In my locker room, women talk about Pampered Chef. In the other locker room, filled with mommies, the "-ed Chef" part is silent.
There is a reason for this segregation.
Today I walked into the big-girl locker room to find that clearly we had stopped carding at the door. There, piddling around naked and squeaking, was a 3 year old girl and her obviously illiterate mom. For the 12 minutes it took me to figure out how my new bangs will negatively impact my workout and change into something from GI Jane's fall collection, the toddler sang "The Wheels on the Bus Go Round and Round." All 27 verses. And she was encouraged to do so by her mother, who even helped her when she couldn't remember what the horn on the bus says, instead of saying what I would have said in her situation:
"Hey wait a minute, Missy. You're not 18. If you were, you'd know this shit. It's 'Beep-beep-beep.' Alright, c'mon. Off to the shower. We'll work on 'Always be my Baby' instead."
I'm a nice-ish person. I think kids are cute. I schooled my friend T's tot at soccer this past weekend, and held my friend Dude's baby for about 10 very pleasant minutes. I wouldn't mind having my own at some point, I just hope my urges explode before my girl-parts give their last sad little cough.
But this was really annoying. When I walk into a room that assures me I will only encounter people older than 18, I expect that to be true. I don't expect to see something 2-feet tall inspecting my purse, then hiding in a locker singing "whoosh-whoosh-whoosh." What if I had some sort of sports bra as a sling shot malfunction? I don't want that on my conscience.
Can you imagine how much of an asshole I would have sounded like if I'd said "Can you get her out of here? Her little squeaky Lollipop Guild voice is making my brain bleed."
I tried to think of how to combat this situation. Maybe speak this mama's language so she understands. My counterattack: The next time it happens, I'm going to Kids Club and performing the karaoke version of Liz Phair's "Fuck and Run." Like "The Wheels on the Bus," it's catchy. The kiddies will love it.
I'll show that Mommy inappropriate.


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Killian, Agostino Score in 2-2 Tie
NEW HAVEN, Conn. – If only you could get points for putting shots on goal. The Yale men's hockey team, despite outshooting Harvard 54-27, raced back from a late, 2-0 deficit to earn a 2-2 OT tie after third period goals by Matt Killian and Kenny Agostino.
The Bulldogs (6-3-3, 3-2-3 ECAC) scored early in the third and with 5:41 left to send a sold out Ingalls Rink into a frenzy. Matthew Beattie had the primary assist on both Yale tallies.
Freshman goalie Alex Lyon stopped 25 of 27 shots, including four in the extra frame, to help the Elis grab a conference point.
Few scoreless periods have been as exciting as the opening 20 of this contest. Yale had a 16-9 advantage in shots, but both teams had numerous grade-A scoring chances thwarted by excellent saves. Lyon kicked aside a quality opportunity by Kyle Criscuolo at 8:22 and then blocked two point-blank shots by Tyler Moy a minute later.
"We came out ready to play tonight," said Keith Allain '80, Yale's Malcolm G. Chace Head Coach. "Our energy was fantastic and our work ethic was really good. It was a 2-2 tie, but I think we were the better hockey team for most of the game. It just seemed like we couldn't catch a break."
The Blue had the edge in shots again, 15-10, in the second, but the Crimson scored on its first power play of the night and added a second tally with 13 seconds remaining. Again, there were plenty of Bulldog close calls that were stopped at the goal line.
"We were upset [heading into the locker room after the second period]. We sat in silence for a while and then rallied around each other," said Beattie. "Coach came in and got us pumped up for the third."
The home team finally broke through 2:08 into the third. Beattie carried in from the left side and put a backhander on net that was blocked by Raphael Girard (52 saves). The puck came in the low slot and Killian was crashing the net. The junior blueliner won the puck and flicked a shot between Girard's legs to make it 2-1 and notch his first goal of the year.
The equalizer came nearly a dozen minutes later with plenty of excitement in between. Agostino, who got his second of the weekend, has found the net in a number of big situations over his four seasons. This one was even bigger when you consider the 20-day break from games after tonight.
Rob O'Gara moved the puck along the boards out of his zone. Beattie, during a partial line change, scooped it up and spotted Agostino moving toward the blueline. The sophomore forward sent a perfect pass along the boards and Agostino quickly took it to the right circle.
"Kenny had his stick in the air and I just threw it up the boards to him," said Beattie.
Agostino had a teammate skating to his left and he gave him a good look. Just as he turned his head, he uncorked a low laser into the back of the cage at 14:19. The look-off must have caught the goalie by surprise.
"He [Beattie] made a nice pass to me down the wall. It looked like a two-on-one was developing. Once I saw their D pick up the other driving guy, I just shot for the five-hole," said Agostino." I tried to throw them off and it worked."
The other thing that worked well for the Blue was the lineup.
"All four lines were going, and our fourth line (Beattie, Charles Orzetti, Cody Learned) made the play on both goals. They were also on the ice for the OT. We needed them tonight and they were there," said Allain.
Yale absolutely dominated the third with a 20-4 shot advantage, not to mention 34 shots attempted while giving up just six. That didn't prevent the visitors from putting a late scare into the partisan crowd. O'Gara's late penalty gave the Crimson a third and final advantage, but the two minutes only produced one shot on target thanks to an stellar Bulldog fore-check.
"Our attitude and character were fantastic tonight. When you are playing as hard as we were playing and your down, it's easy to say it's just not our night," said Allain. "As a result, we were able to scrape out a point."
Filed by Steve Conn, Yale Sports Publicity Director
Trent Ruffolo image by Don Clark


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It appears that Sony's revamped, "more secure" PlayStation Network has been put through the test. Philip Reitinger, Sony's Chief Information Security Officer, sent out a notice alerting PlayStation users about an attack on Sony's online services. It appears that Sony has learned quite a lot since the attack, which forced the company to take down online services for about a month, and recompense users.
Reitinger says that the recent attack doesn't appear to have a connection to this year's security breach. Instead, "these attempts appear to include a large amount of data obtained from one or more compromised lists from other companies, sites or other sources."
"Given that the data tested against our network consisted of sign-in ID-password pairs, and that the overwhelming majority of the pairs resulted in failed matching attempts, it is likely the data came from another source and not from our Networks," Reitinger said on the PlayStation.Blog. "We have taken steps to mitigate the activity."
According to Reitinger, "less than one tenth of one percent (0.1%)" of Sony online users have been affected with approximately 93,000 accounts where the sign-in attempts succeeded. Sony has locked those accounts and will now require secure password resets for affected accounts. "If you are in the small group of PSN/SEN users who may have been affected, you will receive an email from us at the address associated with your account that will prompt you to reset your password."
Sony's quick action and detailed recount of the attempted breach is a marked improvement over how the company handled the summer's attack. Sony was criticized for taking over 24 hours to provide consumers with clear information surrounding the attacks, initially claiming it was "maintenance."
Affected users shouldn't worry much. "If you have a credit card associated with your account, your credit card number is not at risk," Reitinger added. "We will work with any users whom we confirm have had unauthorized purchases made to restore amounts in the PSN/SEN or SOE wallet."
So, how can smart gamers ensure they won't be affected by the next (seemingly inevitable) attack on their personal info? Have strong, unique passwords that are not "associated with other online services or sites." Also, "we encourage you to choose unique, hard-to-guess passwords." So really. Stop using "password" and "jesus" as a password.


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Well fellas about 2 years ago when I re-entered the hobby I set out to turn my Rustler into an ALL ALUMINUM BEAST! and so far I've reached about 85% of that goal until I started buying other traxxas vehicles and lost interest in my Rustler
Here's a pic of her in her Sunday Best! its also in the Gallery
well after a month of plotting this comeback here we are and now i'm back with an Integy Aluminum chassis to experiment with. After seeing this chassis I quickly re-gained interest in my Rustler.
the only thing I don't like about this chassis is the fact that it has the "carbon fiber" upper deck.
so it's time to pull out ye ole' Rusty! looks pretty bad after the last time I drove it and ate asphalt big time.
time to do some replacement, clean-up and rebuild
bent the body posts so I had to order a new set...
Make no mistake fellas, there are consequences of running all aluminum,
Warped Castor Blocks
More updates on the Installation/Re-build process throughout today and this weekend.
Ya you have to be careful with that much metal!
You ain't bashin unless your crashin!!
yea but to be honest with you the castor blocks and those body posts are the only faults I ever had with this rustler once all the aluminum was installed. this thing is like a tank. its seen the nastiest of crashes when I was out everyday trying to hit 70mph. only got to 63mph tho.
dopeness dude, im debating whether to do aluminum myself. your car looks rad
thanks man...I say go for it...its VERY expensive to do one but in the end you'll love it!
I'm not one to lust after Integy stuff, but that chassis does look nice!
yea bro i cant agree with you more! i'm not into much integy aluminum unless i have to and i had to when i seen this thing. plus i have a dude that's a partner with integy that gave it to me for a sweet deal.
Very nice Rustler.
Do you have any idea of what the weight of the alu chassis it???
I have no idea my man.
your trucks gonna be like a terminator of rustlers
Nice wheels+tires.
Slash 4x4 LCG+(rolling)HCG, Slash 2wd(raptor)
Cool! I'm surprised you got that much speed out of it. My car lost almost 15 mph when I built an all aluminum rusty. I was getting about 40 mph out of my bone stock rusty but only got a little over 25 with the all aluminum one. Not sure where all my speed went.
"a lil over 25" is brushed motor speeds! with 19/90 gearing lol
I used 31/76 but I bought a robinson racing 33tooth pinion that will probably give me that 70mph but I never tried a high speed run with that pinion
Last edited by G-Rustler; 07-13-2013 at 02:03 AM.
theres a 33 tooth , oh yeah i want it
Well fellas here's her all mounted up.
Had bad experiences with a aluminum transmission case so I stuck with the stock traxxas gearbox. I kno its odd
these are the aluminum parts that I can no longer use due to the new chassis
No longer need the G-Locs and Jaco Foams
Will be moving up to 17mm adapters and 1/8th scale wheel/tires
hey who sells the best screw set that is hex and silver in color?
want to get rid of the black screws and aluminate this thing as much as possible
This bad boy got completed pics bra? Saw the other with the body on and such.
Btw.... I just saw them Jordan's you got back there. That is one slick set-up bro. Your stuff is fresh. I rock all kinds of shoes myself. Love to see an update on this thread, unless I didn't find the right one.
Build, Bash, Clean, Repair, Repeat..
I know it's integy, but I really don't care.... That chassis looks Saaawweeeeett!! I like the way it curves up on the sides.. I really missed alot of good threads while I was gone.
oh and the Jordans were my hobby since a kid along with RC'ing but I've lost interest in the past few years. thanks man.
Last edited by G-Rustler; 10-28-2013 at 10:56 AM.
That is a little awkward that they would make it completely aluminum except for the upper deck, and ten change the whole design of it so you can't even use the old all aluminum piece. Seems like they are headed down the FLM road where they really want you to use as many of their parts on the build as possible, so they make them where other brands won't fit. Looks great tho. I'm sure an all aluminum could be fabricated if you found the right person/tools to do it..
RC Screwz kit for the traxxas rustler will do. It comes with almost all of the screws for your rig. They are stainless steel and won't rust and they are silver. I know you are most likely thinking that the traxxas screws are treated with rust. That treatment will wear off and rust will take the screw.
Go Traxxas, Team Associated, and Losi!
Hi I would like to know: On the image of the chassis, it seems that the servo could only be screwed on one side (only 2 screws instead of 4).... Is it right?
why all the metal you are going to bend in a crash i would like a break in stead of a bend
it looks great i just finished mine i used the same chassis but i also used the aluminum trani and the titanum links with gpm aluminum shocks . im waiting on my jaco foams and gears they have been back orderd . i went with the monster mamba 2200kv combo on 3s lipo for power
How did the body hold up? Did you end up using lipo batteries in it?


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A sick & twisted fighting game featuring many of your favorite fairy tale characters from childhood now acting like the crazy maniacs your deviant adult mind could only imagine them to be! Players choose one favorite fairytale character with whom they will try and save a fantasy world from certain doom. Luckily many different weapons lay around in this fairytale world, which players can use to shoot and carve up enemies… and this is where the fun begins! Cute fairytale characters will fight each other until nothing else remains than a big puddle of blood!
Foes are sliced and diced in real-time, thanks to Playlogic's in-house "Dynamic Slicing" technology. Instead of using preset animations, players have the ability to slice up an enemy in any way they like by using the analog stick. Apart from this "cutting" edge technology, the game will also use the tested powers of the Unreal 3 engine.
Release Region: United States
Release Date: October 27, 2009
Publisher: Playlogic
Release Region: United Kingdom
Release Date: October 23, 2009
Publisher: Playlogic
Release Region: Australia
Release Date: October 29, 2009
Publisher: Playlogic
Also available on: PlayStation 3, PC
Local Multiplayer - Cooperative: 4
Online Multiplayer - Cooperative: 4
For more info on these technical requirements and features, please view GameSpy's Specs FAQ.
Fairytale Fights at IGN
Fairytale Fights at GameSpy
Fairytale Fights at TeamXbox
Fairytale Fights at GameStats


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Episode Details
series: Central Park Five
air date: 4/17/13 1:00 AM
Late in the evening of April 19, 1989, Tricia Meili, a 28-year-old white investment banker, went jogging through Central Park in New York City. When she was found hours later, she had been brutally raped, beaten and left for dead. This film examines the notorious crime, the media response and the public outcry it triggered, and the miscarriage of justice that followed it, probing the larger issues it raises about our nation's complicated past.
WARNING: Email reminders for this program have already been sent out. Your reminder may not reach the intended address in time for this program's airing.
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Pagan Studies
Come explore the evolution of magickal spirituality. Here modern practitioners with a reverence to the past can seek the future of magick through philosophical understanding, application and personal development.
Solstice Meditation Day Two: Capricorn and the Horned Father
Recorded meditation available at:
Saturnine correspondences are associated with the Horned Father, though more earthy, such as the scent of Patchouli. Dark stones such as Onyx and Garnet align us with these powers. The Devil card of the Tarot can give us a familiar image to work with, as will any art of Pan, Cernunnos, Herne or other male horned gods, though technically with the Capricorn association, they should be goat horns.
Since this working will be a microcosm of the forces for the month when the Sun is in Capricorn, you might want to pull a Tarot Card, Rune, Ogham or any other divination omen before, or after the workings, to give yourself further insight.
Entering into a meditative state. Prepare yourself and your space.
On Day Two of the Working, we call upon the Father God, the Horned God of the Old Year. He is the guiding and guarding force of the Wild Hunt, ruling over the waning half of the year. He is the dark shadow that gives way to the new Lord of Light
We call upon the God, the Lord of the Hunt and the Hunted,
He who is the Father of the Darkness always welcoming the Light, the Holly King,
to be here with us now. Hail and Welcome.
Envision in the darkness the Horned God taking form. He is the God of Cosmic Blackness, only taking the form of the sacred horned one here upon the Earth. He is found in the spaces between, the spaces that are not spaces, the times that are not times. Feel the power of the Dark Lord coalesce, for he is the pattern of the universe.
Within your heart, you bring the seed of light, the ever hopeful potential of the Sun Child. Witnessing the form of the Horne Lord, you bring the Sun Child before him.
Feel their energies mix and mingle, as the darkness and the light of the Lord intermingle.
The Horned Father teaches us to know and find hidden treasures and truths.
He teaches us responsibility, to keep our words in good order.
This Lord bestows sovereignty for the next half of the year, but also the personal sovereignty found within the Laws of the Earth, the Laws of Nature. The Horned God holds the Star Stone, the Thunderous Stone from the Vault of Heaven that recognizes sovereignty. The stone that opens the sacred eye to see truly in all worlds.
As the God commune with the Child within, you become the vessel for this communion. You become the crucible of blessing. You embody the Wisdom of the Father.
We thank the Horned Father God. Blessed be.
What happens in this vision will help you unfold your experiences for the Month when the Sun occupies the sign of Capricorn.
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In the latest article in his "Solar Shorts" series Richard Thomas looks at the Solar_Config component of the Solar framework and how callbacks can be used to extend its base functionality.
Solar_Config is a great configuration system but at times you find yourself wanting more, by itself Solar_Config has a few weaknesses. [...] You have a couple options, each have highs and lows related to how they work.
His example is of a custom callback (as defined in the main Solar_Config file for your site) that defines a "_postConfig" hook that lets you inject configuration information when the classes are loading instead of all up front.


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Welcome to Ultimate Subaru Message Board, my lurker friend!
|Welcome to Ultimate Subaru Message Board, an unparalleled Subaru community full of the greatest Subaru gurus and modders on the planet! We offer technical information and discussion about all things Subaru, the best and most popular all wheel drive vehicles ever created.
We offer all this information for free to everyone, even lurkers like you! All we ask in return is that you sign up and give back some of what you get out - without our awesome registered users none of this would be possible! Plus, you get way more great stuff as a member! Lurk to lose, participate to WIN*!
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outback lift kits?
Posted 03 April 2006 - 08:28 AM
I'm wondering how feasible it is to put a 1 1/2 to 2" 'lift kit' on a 1998 Subaru legacy outback? If so, where did you find the parts and how much, more or less, did it cost? Are there any potential problems to consider?
Can this be done without changing the steering column and would the stock struts work?
Someone on another Suburu board mentioned Scorpion kits. Has anyone here had experience with them and their product?
Also, I'm no mechanic so I was thinking of ordering the kit and having my local Subaru mechanic install it ... is that something any Subaru mechanic should be able to do properly?
Posted 03 April 2006 - 09:24 AM
Posted 03 April 2006 - 10:35 AM
I have a 97 OBW. I installed the Scorpion springs and a set of KYB GR-2 struts. It gave about an inch & a half to two inches of lift. It doesn't seem to have put too severe an angle on the CV joints, and I haven't had any issues at all since I did it almost three years ago. My struts needed replacing at the time, but the stock ones will work. Good luck.
Posted 03 April 2006 - 10:45 AM
Posted 03 April 2006 - 12:20 PM
Personally, I really dislike spring lifts, since they decrease downtravel/articulation, and without locking diffs, as soon as one tire gets light or lifts off the ground, you are stopped unless you use lots of momentum.
Posted 03 April 2006 - 02:12 PM
"scorpion lift springs sure will give you close to 2" lift on stock struts, I've them in person and they look really nice, otherwise you need the lifting blocks/spacers, and all that jazz"
Based on this comment and those above, it sounds like the lift springs will achieve the 2" lift without needing a full lift kit?
If I am doing this, should I upgrade the struts as well? If so, what recommendations do you have (the uses will be city, highway, then rough dirt roads...not fast, just getting from A to ? And, for that kind of use, is 2" adequate?
Posted 03 April 2006 - 02:21 PM
For that kind of use, stock is adequate.
(the uses will be city, highway, then rough dirt roads...not fast, just getting from A to ? And, for that kind of use, is 2" adequate?
Posted 03 April 2006 - 05:26 PM
Posted 05 April 2006 - 02:34 AM
I have almost 2" of suspension lift and love them.
Posted 05 April 2006 - 08:25 AM
Posted 12 January 2015 - 05:07 PM
I have a 1998 legacy outback and was wondering about the forester struts what year do I need, and how much lift will they give?
Posted 12 January 2015 - 07:39 PM
98-08 will bolt right in, but won't give any noticeable lift.
I have a 1998 legacy outback and was wondering about the forester struts what year do I need, and how much lift will they give?
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Boeing (NYSE: BA - news) on Wednesday raised its 2013 earnings forecast on the wings of soaring third-quarter profit, lifted by a 15 percent jump in revenues from its commercial aircraft division.
Net earnings totaled $1.16 billion for the July-September quarter, an increase of 12 percent from $1.03 billion in the same period in 2012, the US aerospace (Other OTC: USAE - news) and defense giant said.
Earnings per share came in at $1.51 compared with $1.35 a year ago.
Adjusted earnings per share, excluding certain pension expenses, increased 16 percent to $1.80, well above Wall Street analysts' average estimate of $1.55.
Revenues rose 11 percent to $22.13 billion, reflecting higher commercial airplane deliveries and beating expectations of $21.68 billion.
"Consistently strong operating performance is driving higher earnings, revenue and cash flow as we deliver on our record backlog and return increased value to shareholders," said Jim McNerney, Boeing's chairman, president and chief executive.
"Despite the uncertainty of the US defense market, overall our customer-focused business strategies and disciplined execution on our programs are producing the results we expect, and our strong year-to-date performance and positive outlook allow us to increase our 2013 guidance for earnings and operating cash flow," he said.
Boeing raised its 2013 core earnings outlook to a range between $6.50 and $6.65 per share, from the prior estimate of $6.20-$6.40 range.
It maintained its revenue forecast of between $83 billion and $86 billion.
Boeing expects to deliver 635 to 645 new commercial aircraft in the year, including more than 60 787s, at an operating margin revised to above 10 percent, an increase of a half percentage point.
The Chicago-based company, which employs more than 170,000 people in the US and in 70 countries, said it had third-quarter operating cash flow before voluntary pension contributions of $4.31 billion, up from $2.35 billion a year ago.
It had a record $415 billion order backlog, including $27 billion net orders booked during the quarter.
Third-quarter profits from its Commercial Airplanes subsidiary soared 40 percent to $1.62 billion, while revenues rose 15 percent to $13.99 billion.
Despite technical glitches that have plagued Boeing's new 787 Dreamliner , the company reported "continued strong demand" for its cutting-edge plane. As a result, the company said it planned to increase its 787 production rate for 2016 to 12 airplanes per month from 10, and would raise that 14 airplanes per month before the end of the decade.
The company booked 200 net aircraft orders in the third quarter. Deliveries accelerated, to 170 airplanes from 149 a year ago, as the pace of 787 deliveries nearly doubled.
The Commercial Airplanes division reported a backlog of nearly 4,800 airplanes valued at $345 billion.
Headwinds from US cutbacks in defense spending amid a protracted Washington budget battle that forced sharp "sequestration" automatic cutbacks beginning in March appeared to impact Boeing's Defense, Space & Security subsidiary.
Profits in the smaller unit fell 19 percent, led by a 48 percent fall in earnings from military aircraft. Boeing said that its military aircraft unit's operating margin fell 6.2 percent, in part reflecting one-time charges on the F-15 and C-17 programs.
The Defense unit had an order backlog of $70 billion, with 38 percent of that representing orders from international customers.
Investors cheered Boeing's financial results, pushing the Dow component's shares up 5.9 percent to $129.76 in late-morning trade on the New York Stock Exchange.