Технически въпроси що се отнася до портала

[gollum]

Все пак колко страници текст бе след като я съкрати? И дали не е много по-добре щом става въпрос за статия, да я прикачиш като текстови файл.

[Хана]

Възможно е новата версия на форума автоматично да модерира дълги и безсмислени постинги. Ех, ако и можеше и кратките такива да модерира ...

[Stormbringer]

Нещо си...6 страници. Word 2000, Arial Unicode MS, размер на шрифта - 12.

events, or of common sentimental distortions of such feelings and events, will always take first place in the taste of the majority; rightly, perhaps, since of course these ordinary matters make up the greater part of human experience. But the sensitive are always with us, and sometimes a curious streak of fancy invades an obscure corner of the very hardest head; so that no amount of rationalisation, reform, or Freudian analysis can quite annul the thrill of the chimney-corner whisper or the lonely wood. There is here involved a psychological pattern or tradition as real and as deeply grounded in mental experience as any other pattern or tradition of mankind; coeval with the religious feeling and closely related to many aspects of it, and too much a part of our innermost biological heritage to lose keen potency over a very important, though not numerically great, minority of our species.
Man's first instincts and emotions formed his response to the environment in which he found himself. Definite feelings based on pleasure and pain grew up around the phenomena whose causes and effects he understood, whilst around those which he did not understand -- and the universe teemed with them in the early days -- were naturally woven such personifications, marvelous interpretations, and sensations of awe and fear as would be hit upon by a race having few and simple ideas and limited experience. The unknown, being likewise the unpredictable, became for our primitive forefathers a terrible and omnipotent source of boons and calamities visited upon mankind for cryptic and wholly extra-terrestrial reasons, and thus clearly belonging to spheres of existence whereof we know nothing and wherein we have no part. The phenomenon of dreaming likewise helped to build up the notion of an unreal or spiritual world; and in general, all the conditions of savage dawn -- life so strongly conduced toward a feeling of the supernatural, that we need not wonder at the thoroughness with which man's very hereditary essence has become saturated with religion and superstition. That saturation must, as a matter of plain scientific fact, be regarded as virtually permanent so far as the subconscious mind and inner instincts are concerned; for though the area of the unknown has been steadily contracting for thousands of years, an infinite reservoir of mystery still engulfs most of the outer cosmos, whilst a vast residuum of powerful inherited associations clings round all the objects and processes that were once mysterious; however well they may now be explained. And more than this, there is an actual physiological fixation of the old instincts in our nervous tissue, which would make them obscurely operative even were the conscious mind to be purged of all sources of wonder.
Because we remember pain and the menace of death more vividly than pleasure, and because our feelings toward the beneficent aspects of the unknown have from the first been captured and formalised by conventional religious rituals, it has fallen to the lot of the darker and more maleficent side of cosmic mystery to figure chiefly in our popular supernatural folklore. This tendency, too, is naturally enhanced by the fact that uncertainty and danger are always closely allied; thus making any kind of an unknown world a world of peril and evil possibilities. When to this sense of fear and evil the inevitable fascination of wonder and curiosity is superadded, there is born a composite body of keen emotion and imaginative provocation whose vitality must of necessity endure as long as the human race itself. Children will always be afraid of the dark, and men with minds sensitive to hereditary impulse will always tremble at the thought of the hidden and fathomless worlds of strange life which may pulsate in the gulfs beyond the stars, or press hideously upon our own globe in unholy dimensions which only the dead and the moonstruck can glimpse.
With this foundation, no one need wonder at the existence of a literature of cosmic fear. It has always existed, and always will exist; and no better evidence of its tenacious vigour can be cited than the impulse which now and then drives writers of totally opposite leanings to try their hands at it in isolated tales, as if to discharge from their minds certain phantasmal shapes which would otherwise haunt them. Thus Dickens wrote several eerie narratives; Browning, the hideous poem Childe Roland; Henry James, The Turn of the Screw; Dr. Holmes, the subtle novel Elsie Venner; F. Marion Crawford, The Upper Berth and a number of other examples; Mrs. Charlotte Perkins Gilman, social worker, The Yellow Wall Paper; whilst the humorist, W. W. Jacobs, produced that able melodramatic bit called The Monkey's Paw.
This type of fear-literature must not be confounded with a type externally similar but psychologically widely different; the literature of mere physical fear and the mundanely gruesome. Such writing, to be sure, has its place, as has the conventional or even whimsical or humorous ghost story where formalism or the author's knowing wink removes the true sense of the morbidly unnatural; but these things are not the literature of cosmic fear in its purest sense. The true weird tale has something more than secret murder, bloody bones, or a sheeted form clanking chains according to rule. A certain atmosphere of breathless and unexplainable dread of outer, unknown forces must be present; and there must be a hint, expressed with a seriousness and portentousness becoming its subject, of that most terrible conception of the human brain -- a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the d&aeligmons of unplumbed space.
Naturally we cannot expect all weird tales to conform absolutely to any theoretical model. Creative minds are uneven, and the best of fabrics have their dull spots. Moreover, much of the choicest weird work is unconscious; appearing in memorable fragments scattered through material whose massed effect may be of a very different cast. Atmosphere is the all-important thing, for the final criterion of authenticity is not the dovetailing of a plot but the creation of a given sensation. We may say, as a general thing, that a weird story whose intent is to teach or produce a social effect, or one in which the horrors are finally explained away by natural means, is not a genuine tale of cosmic fear; but it remains a fact that such narratives often possess, in isolated sections, atmospheric touches which fulfill every condition of true supernatural horror-literature. Therefore we must judge a weird tale not by the author's intent, or by the mere mechanics of the plot; but by the emotional level which it attains at its least mundane point. If the proper sensations are excited, such a "high spot" must be admitted on its own merits as weird literature, no matter how prosaically it is later dragged down. The one test of the really weird is simply this -- whether of not there be excited in the reader a profound sense of dread, and of contact with unknown spheres and powers; a subtle attitude of awed listening, as if for the beating of black wings or the scratching of outside shapes and entities on the known universe's utmost rim. And of course, the more completely and unifiedly a story conveys this atmosphere the better it is as a work of art in the given medium.

II. THE DAWN OF THE HORROR TALE
AS may naturally be expected of a form so closely connected with primal emotion, the horror-tale is as old as human thought and speech themselves.
Cosmic terror appears as an ingredient of the earliest folklore of all races, and is crystallised in the most archaic ballads, chronicles, and sacred writings. It was, indeed, a prominent feature of the elaborate ceremonial magic, with its rituals for the evocation of dæmons and spectres, which flourished from prehistoric times, and which reached its highest development in Egypt and the Semitic nations. Fragments like the Book of Enoch and the Claviculae of Solomon well illustrate the power of the weird over the ancient Eastern mind, and upon such things were based enduring systems and traditions whose echoes extend obscurely even to the present time. Touches of this transcendental fear are seen in classic literature, and there is evidence of its still greater emphasis in a ballad literature which paralleled the classic stream but vanished for lack of a written medium. The Middle Ages, steeped in fanciful darkness, gave it an enormous impulse toward expression; and East and West alike were busy preserving and amplifying the dark heritage, both of random folklore and of academically formulated magic and cabalism, which had descended to them. Witch, werewolf, vampire, and ghoul brooded ominously on the lips of bard and grandam, and needed but little encouragement to take the final step across the boundary that divides the chanted tale or song from the formal literary composition. In the Orient, the weird tale tended to assume a gorgeous colouring and sprightliness which almost transmuted it into sheer phantasy. In the West, where the mystical Teuton had come down from his black boreal forests and the Celt remembered strange sacrifices in Druidic groves, it assumed a terrible intensity and convincing seriousness of atmosphere which doubled the force of its half-told, half-hinted horrors.
Much of the power of Western horror-lore was undoubtedly due to the hidden but often suspected presence of a hideous cult of nocturnal worshippers whose strange customs -- descended from pre-Aryan and pre-agricultural times when a squat race of Mongoloids roved over Europe with their flocks and herds -- were rooted in the most revolting fertility-rites of immemorial antiquity. Ibis secret religion, stealthily handed down amongst peasants for thousands of years despite the outward reign of the Druidic, Graeco-Roman, and Christian faiths in the regions involved, was marked by wild "Witches' Sabbaths" in lonely woods and atop distant hills on Walpurgis-Night and Hallowe'en, the traditional breeding-seasons of the goats and sheep and cattle; and became the source of vast riches of sorcery-legend, besides provoking extensive witchcraft -- prosecutions of which the Salem affair forms the chief American example. Akin to it in essence, and perhaps connected with it in fact, was the frightful secret system of inverted theology or Satan-worship which produced such horrors as the famous "Black Mass"; whilst operating toward the same end we may note the activities of those whose aims were somewhat more scientific or philosophical -- the astrologers, cabalists, and alchemists of the Albertus Magnus or Ramond Lully type, with whom such rude ages invariably abound. The prevalence and depth of the mediæval horror-spirit in Europe, intensified by the dark despair which waves of pestilence brought, may be fairly gauged by the grotesque carvings slyly introduced into much of the finest later Gothic ecclesiastical work of the time; the dæmoniac gargoyles of Notre Dame and Mont St. Michel being among the most famous specimens. And throughout the period, it must be remembered, there existed amongst educated and uneducated alike a most unquestioning faith in every form of the supernatural; from the gentlest doctrines of Christianity to the most monstrous morbidities of witchcraft and black magic. It was from no empty background that the Renaissance magicians and alchemists -- Nostradamus, Trithemius, Dr. John Dee, Robert Fludd, and the like -- were born.
In this fertile soil were nourished types and characters of sombre myth and legend which persist in weird literature to this day, more or less disguised or altered by modern technique. Many of them were taken from the earliest oral sources, and form part of mankind's permanent heritage. The shade which appears and demands the burial of its bones, the dæmon lover who comes to bear away his still living bride, the death-fiend or psychopomp riding the night-wind, the man-wolf, the sealed chamber, the deathless sorcerer -- all these may be found in that curious body of mediæval lore which the late Mr. Baring-Gould so effectively assembled in book form. Wherever the mystic Northern blood was strongest, the atmosphere of the popular tales became most intense; for in the Latin races there is a touch of basic rationality which denies to even their strangest superstitions many of the overtones of glamour so characteristic of our own forest-born and ice-fostered whisperings.
Just as all fiction first found extensive embodiment in poetry, so is it in poetry that we first encounter the permanent entry of the weird into standard literature. Most of the ancient instances, curiously enough, are in prose; as the werewolf incident in Petronius, the gruesome passages in Apuleius, the brief but celebrated letter of Pliny the Younger to Sura, and the odd compilation On Wonderful Events by the Emperor Hadrian's Greek freedman, Phlegon. It is in Phlegon that we first find that hideous tale of the corpse-bride, Philinnion and Machates, later related by Proclus and in modem times forming the inspiration of Goethe's Bride of Corinth and Washington Irving's German Student. But by the time the old Northern myths take literary form, and in that later time when the weird appears as a steady element in the literature of the day, we find it mostly in metrical dress; as indeed we find the greater part of the strictly imaginative

Това е максимума - на 7 страници вече ми извади празен пост.

Ако става въпрос за статия наистина е по-добре да се прикачи отделно, но явно и прекалено дълги цитати също не могат да се използват.

[gollum]

Вероятно се отнася само до цитати, защото съм писал много по-дълги от този, постове. Ако го разделиш на няколко тага с цитати, няма да имаш такъв проблем.

[Stormbringer]

Явно е така. Нека да оставим тези постове, в случай, че някой попадне на същия проблем.

[Gendarme]

Знам, че не е тука мястото, ама не видях да има раздел за проблеми със сайта. Та "Потребителски Настройки" показва следното:

    There seems to have been a slight problem with the Форуми Бойна Слава database.
    Please try again by pressing the refresh button in your browser.

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[gollum]

В "Работен форум" има тема за технически проблеми.
Има малко объркване от трансфера на нова технология, та за тази цел трябва да използваш падащото меню на "Бързи връзки" - горев дясно.

Предполагам, че Ги ще премести тези два поста в съответната тема (че аз не мога оттук).

[Guy de Mont Ferrand]

В "Работен форум" има тема за технически проблеми.
Има малко объркване от трансфера на нова технология, та за тази цел трябва да използваш падащото меню на "Бързи връзки" - горев дясно.

Предполагам, че Ги ще премести тези два поста в съответната тема (че аз не мога оттук).

И аз не мога (нямам права).

[gollum]

Е, значи в това отношение и двамата сме лишенци .

[Gendarme]

В "Работен форум" има тема за технически проблеми.
Има малко объркване от трансфера на нова технология, та за тази цел трябва да използваш падащото меню на "Бързи връзки" - горев дясно.

Предполагам, че Ги ще премести тези два поста в съответната тема (че аз не мога оттук).

Ако можете направо ги трийте, аз успях да си сменя аватара...

При подписа пак ми дава грешка, ама кво да се прави...

[pnp5q]

Пробвайте Бързи Връзки - Профил

В дясно.

Съжалявам, че трябва да докладвам поредния проблем във връзка с промяната - отидох по цитирания начин да си впиша ICQ-то в профила - и при опита да запазя промените ме изхвърли със slight problems.

[Sir Gray]

Бъгава работа. Пробвах малко да си поиграя с поста на коцето - промених го, дописах няколко реда и го постнах пак (един вид от мое име). Никакъв ефект, пак не се виждаше. Чак като изтрих целия текст се появи поста. Откъм права за писане и подобни администраторски настройки всичко е ок. Нещо се е сбъгясало сериозно на техническо ниво, а там нито мога да видя какво се случва (ако въобще има такива технически логове), нито мога да направя нещо. Заобиколно решение - нека коцето си пише поствете, аз като ги видя ще ги поствам от мое име. А и другите могат да ги виждат всъщност като ги цитират. Тъпо, но слава богу е поне само за тази тема.

[IMPERATOR CÆSAR AVGVSTVS]

Буболечката е нападнала и някои по-стари постове, съдържащи големи цитати. И за съжаление, точно цитатите не се виждат дори и когато се цитира мнението.
Например: http://forum.boinaslava.net/showpost.php?p=192827&postcount=81

[gollum]

М`да, явно е някакъв съществен проблем, далеч не само за тази тема. Дали обаче само цитатите засяга или въобще дългите постове?

[IMPERATOR CÆSAR AVGVSTVS]

Ами аз имах същия като на kocetu проблем с един пост от темата за становете. Не съм сигурен, но мисля, че постът беше този: http://forum.boinaslava.net/showpost.php?p=214990&postcount=94.
или пък този: http://forum.boinaslava.net/showpost...&postcount=102
Помня, че не съдържаше чак толкова големи цитати. Тогава резнах някакъв цитат, после още нещо (не помня какво) и се оправи. След това редактирах мнението, добавяйки изрязаните преди това неща и този път не се бъгна.

P. S. Точно по това време същият проблем имаше и потребителят "случайно прелитащ" и след известно "окастряне" се оправи: http://forum.boinaslava.net/showpost.php?p=215007&postcount=100