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Chapter 8: The Worlds of North and South Geography Geography refers to the seasons, climate, soil, and physical features of a region (mountains, rivers, etc.) The differences in geography b/t the N and S is one of the major reasons slavery b/c entrenched in the S while it died out in the N. Geography of the North The N has diverse geography and experiences four distinct seasons including long, harsh winters. The Great Plains region has some of the best farmland in the country. New England has rocky, hilly wilderness, not well suited for farming. It has hundreds of bays and harbors along its coastline. States farther S had rich soil and coastal access through rivers. The N also experienced mass deforestation b/c of the need for lumber and to make room for farms. Geography of the South Climate: the S had mild winters, and a long, hot, humid growing season. It has fertile lowlands, marshes and swamps. It's ideal for growing tobacco, sugar, rice, indigo, and cotton (cash crops). B/c of the geography of the S, their whole way of life was based on agriculture and geography is one of the major reasons why slavery took off in the S. Economies Economy basically refers to the way people make and spend money. The Northern economy was far more diversified than the Southern. Economy of the North The North experienced the Industrial Revolution—the shift from handmade goods to machine-made goods. This resulted in new jobs, increased production, and improved efficiency in agriculture. IOW, you can make things faster, easier, and cheaper. More ppl get more stuff. Factories were almost always located next to rivers. The Reaper The Indust. Rev. changed northern agriculture with Cyrus McCormick’s reaper. It could cut 28xs more grain than a single man. The Sewing Machine Elias Howe's sewing machine; At 250 stitches a minute, Howe's lockstitch mechanism out-stitched the output of five hand seamstresses with a reputation for speed, completing in one hour what took the sewers 14.5 hours. The Textile Mill Francis Cabot Lowell's textile mill: essentially the first factory in the US, Lowell set the model for all future factories. Interchangeable Parts Eli Whitney's interchangeable parts; considered the "dawning of a new age" of machinery. This concept was applied to pretty much all manufacturing. Economy of the South The South's economy was based on AGRICULTURE. Most southerners were agrarians. Most had small farms, some owned plantations. Slavery beginning to decline in late 1700s; prices went down (tobacco, indigo) and cotton was difficult. King Cotton Cotton was South’s most important crop. Earned more money than all other exports combined. The S would go on to supply 75% of the world's cotton demand. Cotton Gin Eli Whitney invented the cotton gin in 1794 and forever changed the US. The gin made cotton incredibly profitable. We start to see the effects of the cotton gin around 1820. Slavery and Cotton Southerners put all their money into slaves and land, and almost none into building factories. With the spread of cotton, demand for slaves increased. 1790 to 1850, number of slaves rose 600%. Transportation Again, the N was far more inventive in their approach to transportation than the S. Transportation in the North National Road National Road stretched from the East (the Potomac), over the Appalachians, to the West (Illinois), over 620 miles. Steamboat In 1807, Robert Fulton invented the steamboat. It traveled 150 miles UP the Hudson River at a speed of 5 mph. Erie Canal Built b/t 1817 and 1825, the canal spanned 363 miles and connected Lake Erie to the Hudson River. This connected farms in the W to cities in the E and the Atlantic Ocean. Clipper Ship Clippers were narrow w massive sails that were built for speed. They cut the time it took to cross the Atlantic in half. Locomotive The fastest and cheapest way to move goods was by steam-powered trains. The first RR was the B&O which was built in 1827. Transportation in the South Most people and goods in the South traveled by rivers in steamboats. The South had trains, but less than half the amount of railroad track than the North had. Society (The People) The people who made up the N and S could not have been more different. The S was primarily agrarian while the N was b/c urbanized. The S was holding on to the past, while the N was embracing change. Society in the South Society was organized into 3 distinct classes of people: rich plantation owners at the top; then white farmers and workers; slaves on the bottom. This rigid social class system was the result of a slave-based agricultural system. Power Structure Only 1 in 4 whites owned a slave. Plantation owners, who owned more than 20 slaves, dominated politics and the economy. Society in the North 7 of 10 Northerners still lived on farms by the 1840s (6 of 10 by 1860), but urbanization was growing fast in the N. The N relied on wage labor as opposed to slave labor, so most blacks in the N were free. N blacks were not treated equally and the N was about as racist as the S. Immigration Compared to the S, the N population was exploding, in large part bc of immigration. Between 1845 and 1860, 4 million immigrants came to the North. Most were German and Irish. Irish--a potato famine; German--a failed revolution. Ethnic neighborhoods developed as a result.
TECH FREE! by Sam Winton Have you ever wondered what it would be like to give up technology? I'm a TV journalist and I spend a lot of my working life in front of a computer or a TV. I decided to conduct my own private experiment: I would spend a day trying to manage without technological devices. What a scary thought! The first thing I usually do every day is reach for my smartphone to check the time and read any messages or emails. But I'd locked it away in a drawer the night before. Already I was feeling very cut off from the world, and it was only... actually, I had no idea what time it was! After breakfast, I needed to get some cash. Inevitably, this meant a trip to the bank because cash points are technological devices. I had to queue, but I had a very nice conversation with a woman whilst I was waiting. Not surprisingly, the bank teller thought I was a bit strange withdrawing money this way. I think she thought I was a robber! Then it was on to the supermarket. You may be wondering what's technological about that. Well, I had to make sure I avoided the self-service check-out and joined the queue for a normal one - with a real person. Naturally, it took longer, but I had a great chat with the guy who served me, and he told me about a new club that is opening up nearby. Would I have found out about that if I'd gone to the self- service check-out? No. Afterwards, I came home to have a go at writing a news story by hand. Strangely, I found it easier to concentrate on my writing. But my hand and fingers got really sore! And I have to confess - by this stage, I was having to make a real effort not to get my phone out and check my messages. I was starting to wonder what my friends were doing. Maybe they were making plans to go to that new club, and I would never know! All in all, I wouldn't say I could live without technology. Predictably, I really missed my phone all day. The worst part was not being able to check updates in the news or from my friends. I felt very out of touch. However, I kept to my promise of a tech-free day and I did have more face-to-face interaction. Undoubtedly, it made me realise just how addicted to technology we all are.
Align Panel: This panel allows you to align one or more objects the the artboard or other objects. Alignment: Formatting the appearance of text with the margins of the text box. Anchor Point Tool: Allows you to add or remove handles to create a curve on an anchor point. Anchor Points: A point on a path indicates a change of direction. Appearance Panel: This panel shows you the fill, strokes, graphic styles, and effects that have been applied to an object, group or layer and are able to modify theses from this panel directly. Area Type Tool: This occurs when using the type tool and you click and drag a text box, the text will automatically wrap inside the box. Blend Tool: This tool allows you to combine shapes/colors between two or more objects to create a new object between the original, blending the colors and shapes by inserting the middle steps to get from one object to the next. Blob Brush Tool: This tool is used to create free-form objects that can have a more hand-drawn feel. Brushes: Allows you to set the appearance/style of a path, can be applied to existing paths or used to create new paths. Clipping Masks: This command allows you to mask objects to a shape so that only areas that lie within the shape are visible, the mask and objects that are masked are called a clipping set. Closed Path: A path that has the same beginning and ending point. It forms a complete shape that can be filled with color or text. Create Outlines: This command converts text to closed paths and can be found in the Type Menu. Curvature Pen Tool: Allows you to simply create paths with curved anchor points. Curves: Can be applied to an anchor point using handles to create an arched line. Direct Select Tool: Allows you to select individual points of any path. Effects: These can be added to objects to create quick dynamic characteristics. Eraser Tool: This tool allows you to remove anchor points and cut through paths. Expand Objects: This allows you to divide a single object into multiple objects that make up its appearance. Eyedropper Tool: This tool allows you to sample the color or text from an existing part of the artwork. Global Swatches: This is a color swatches that will be automatically updated throughout your artwork when you change them, indicated with a white triangle in the corner of the swatch. Graphic Styles: A set of reusable appearance attributes that allow you to quickly change the look of an object. Grouping: This command allows you to link objects together so that they can be moved, scaled, rotator, or copy. Groups can be nested inside other groups. Hierarchy: To create visual order in design, controlling what the viewer looks at in order using size, color, contrast, etc… Image Trace: This command allows you to convert a raster image into a vector artwork. Isolation Mode: This mode allows you to adjust single objects/groups inside a group without ungrouping the group. Join Tool: This tool joins paths and anchor points together quickly. Kerning: This is the adjustment of the space between two individual letters. Knife Tool: This tool allows you to split an object into 2 pieces along a freehand path you draw. Leading: This is the adjustment of the space between lines of text. Live Corners: This widget appears when using the Direct Select tool and a corner is selected, when used this will create a rounded corner. Live Paint: This command allows you to quickly apply colors to objects in a complex design. Open Path: A path that does not end, not connected back to the original anchor point. Overflow Text: This occurs when the text box is too small to house all the text and is indicated by a small red plus sign in the bottom right corner of the text box. Paintbrush Tool: This tool is used to create free-form paths that can have a more hand-drawn feel. Paragraph Spacing: The space that occurs between lines of text. Pathfinder Panel: This panel allows you to create complex shapes by selecting 2 or more objects and using the buttons in the panel to cut, combine, or divide the objects. Paths: These are created when 2 or more points are connected, these are created using the pen tool. Pen Tool: It allows you to create and edit anchor points and paths. Pencil Tool: This tool is used to create free-form shapes or lines, the accuracy of the lines can be adjusted. Perspective Tool: This tool allows you to place elements on a perspective grid to adjust objects on a different perspective, automatically snapping to the perspective grid. Placeholder Text: Text that is placed in a text box that "holds a place" in a design to allow for creating a layout or adjust the text design. Point Type Tool: This occurs when when using the type tool and you click once, the text will continue without wrapping. Readability: The characteristics of fonts and styles that make test easy to identify and read. Scale, Shear, Distort Objects: This set of commands allows you to adjust the size and perspective of objects. Scissors Tool: This tool allows you to split a path into 2 pieces. Selection Tool: Allows you to select paths, objects or groups by click or dragging over them. Shape Builder Tool: This interactive tool allows you to create complex shapes by merging and erasing simpler objects. Shapes Tools: A group of tools to create basic shapes without using the pen tool (rectangle, ellipse, polygon, star, etc…). Smooth Tool: This tool will smooth a complex path and reduce the number of anchor points. Swatches: This is a saved color that can be applied in a design via the swatches panel and can be grouped, these can include gradients and patterns. Text Wrapping: This is when the text in a text box automatically wraps to the next line when it reaches the edge of the box. Threading Text: This is the ability to create 2 or more text boxes that are linked, when text is added/adjusted in one box, it will affect the other(s). Touch Type Tool: This tool allows you to adjust individual letter in a previously created text box. Tracking: This is the adjustment of the overall spacing between letters. Transform Objects: This allows you to change the size of objects. Type on a Path Tool: This tool allows you to add text along any previously created path. Type Tool: This tool allows you to create text in a design. View Modes: Ability to view projects and adjust the display on the screen. Modes include Outlines, Presentation, & Full Screen.
Economic integration Population and GDP of ASEAN Countries Population and GDP of ASEAN CountriesThe countries of ASEAN vary widely in population size and income level, yet nonetheless have achieved a high level of economic integration. ASEAN is considered to be one the developing world’s most successful regional economic cooperation zones. Unlike its primary counterparts in the developed world, the European Union (EU) and the United States–Mexico–Canada Agreement (USMCA), ASEAN has followed a more gradual and flexible approach to integration, accommodating the diversity of its member states. ASEAN has prioritized trade liberalization, sustainable development, and attracting foreign investment over deepening political integration or adopting a common currency. ASEAN’s economic integration efforts began with the creation of the ASEAN Free Trade Area (AFTA) in 1992, which successfully reduced tariffs between ASEAN’s first six members (Brunei, Indonesia, Malaysia, the Philippines, Singapore, and Thailand) to 0–5 percent by 2002. Vietnam, Laos, Myanmar, and Cambodia were required to sign the AFTA agreement upon joining ASEAN. Today tariffs between ASEAN countries are close to zero. In 2007 the ASEAN Economic Community Blueprint was signed in Singapore with the goal of achieving four objectives by 2015: (1) create a single market and production base, (2) become a highly competitive economic region, (3) promote equitable economic development within the region, and (4) fully integrate the region into the global economy. The AEC was implemented in 2015, although approximately 20 percent of measures toward achieving a single market remain in progress and have been deferred to a new deadline of 2025. The ASEAN-Japan Comprehensive Economic Partnership (AJCEP) was implemented in 2008, and the ASEAN-China Free Trade Agreement (ACFTA) was implemented in 2010. In 2020 ASEAN joined Australia, China, Japan, New Zealand, and South Korea in signing the Regional Comprehensive Economic Partnership (RCEP), the largest trade agreement in history. Get Unlimited Access Try Britannica Premium for free and discover more. Significant challenges remain for ASEAN’s economic integration, including pervasive nontariff barriers, restrictive investment measures, and vast disparities in GDP per capita. Domestic issues such as political instability and corruption in member states exacerbate these challenges. The COVID-19 pandemic created severe economic disruption in sectors such as industrial production and tourism; nonetheless, ASEAN coordinated a regional response to align economic recovery strategies and maintain open trade routes. Ultimately, ASEAN has demonstrated an exemplary and ongoing commitment to strengthening cooperation and integration and maximizing the region’s economic potential.
Broken windows are covered. Floorboards are patched and doors screwed back on. The road that was ruined by German tanks is shovelled and raked smooth. Boot-shaped bruises turn yellow then fade and disappear. Flowers grow and spread across the ugly German footprints stomped into garden beds. The village looks pretty once more. School stops for the summer and everyone is put to work on the kolkhoz, the village farm. Women and big boys begin harvesting the barley crops in the outer fields. The biggest girls milk the cows, morning and night, and keep the barns clean. Old Nikolay mends ploughs, horse harnesses, pitchforks and scythes in his workshop. Anna Pushinka teaches Yelena and her friends how to get the honey from the beehives that are scattered through the orchards. I am in charge of collecting eggs. My friends Olga and Nina help. Olga and Nina are five, a year younger than me. They are twins and look exactly alike, except Nina’s nose is a little bit crooked from when she fell out of bed and squashed it sideways on the floor. The hens, ducks and geese wander free in the summer, so collecting eggs is like a treasure hunt and takes hours. Catching the hens for their daily hugs takes even longer, but I think it’s important because hugs make everyone happy and happy hens lay bigger eggs. Olga says I’m the best hen-hugger in all of Russia. Nina says I’ll be the best cow-hugger, too, when my arms grow longer. But good hugs have nothing to do with the size of your arms. It’s all to do with the size of your heart. When we are done with the hens, Olga, Nina and I can spend the rest of the day doing whatever we like. We climb the apricot trees, chase squirrels, lie in the meadow marvelling at how hot Ushanka’s black fur becomes in the sunshine, make daisy chains and race little boats of bark in the stream. I teach Olga and Nina the alphabet and we use charcoal to write our letters and our names all over the village – on doors and walls and the freshly cut ends of firewood. In between, I practise my knots. In case the German princemonsters return. I slip into Old Nikolay’s workshop and tie knots in the harnesses hanging on the walls. I wander into gardens where the washing is hung out to dry and tie knots in the laces on pants and smocks. I creep up behind Anna Pushinka and tie knots in her apron strings. I find baling twine in the hay shed and tie my own ankles together. I do such a good job of these last knots that I can’t get them undone. I have to jump all the way to Olga and Nina’s house and ask them to cut me free with their mama’s knife. At the end of each day, Ushanka and I run out into the distant barley fields to meet Mama. This is my favourite part of the day, because Mama always shouts, ‘Little Rabbit!’ and smothers my head with kisses. And as we walk home, we sing. Everyone – women, big boys and me. I love to sing. Almost as much as I love to be kissed by Mama. Sometimes one of the boys, Mikhail, has his balalaika with him. He takes the instrument out from beneath the sheaves of barley piled high on the wagon and plays music. We sing about forests and orchards and people who find their true love. As we walk home, arm in arm, my heart fills with happiness and my belly swells with pride that I am allowed to sing along with the big boys. And I can almost forget about the German prince-monsters and their lies about Russia and their big ugly boots. Almost. But today, when Mikhail reaches for his balalaika, I see other things hiding beneath the barley sheaves. Three of the mamas rush forward and cover them up, but it’s too late. I know they are there. I’ve already seen them. Rifles. Lots of rifles. Mikhail hugs his balalaika to his chest and blushes. ‘So play!’ cries Mama, her voice oddly loud and high. ‘Let’s play Sasha’s favourite song, “The Little Birch Tree”.’ So Mikhail plays and everyone sings about the lovely birch tree with its curly leaves and the branches that will be turned into silver flutes. They sing too quickly, too loudly, and as they sing and walk, they cast nervous sideways glances at me. ‘It’s alright,’ I say, when the song comes to an end. ‘I didn’t see the rifles.’ Mama nods and smiles, and I know it was the right thing to say. But I did see the rifles. And I think about Yelena wanting to get lots of guns and dynamite for the Partisans so they can shoot the Germans and blow them into thousands of tiny pieces, and Mama looking as though she agreed, and I know this is what the mamas and the big boys are doing. As well as harvesting, they are helping the Partisans. Three days later, I wake before dawn and I am all alone. Yelena is always here beside me when I wake. But not this morning. I climb down from our bed above the stove. Mama is filling a cloth sack with bread. She ties it closed with a piece of string and hands it to Yelena. ‘Stay out of sight,’ says Mama. ‘And don’t return until after dark.’ ‘Where’s she going?’ I ask. ‘Nowhere,’ snaps Mama. ‘Then why does she need all that bread?’ I ask. ‘There’s nothing left for us.’ Mama baked four loaves last night and she has stuffed them all into the sack. Yelena opens her mouth, but before she can speak, Mama shoves her out the door and sends her on the way to nowhere. Mama turns and stares at me, her blue, blue cornflower eyes wide with worry. ‘I know,’ I say, flopping down on the bench. ‘I didn’t see any bread.’ Mama sits beside me and takes my hand. ‘And . . .?’ she prods, obviously waiting for more. I puzzle for a while, then say, ‘And I don’t have a sister called Yelena.’ Mama laughs, softly and with a little bit of sadness around the edges. ‘Sweet Little Rabbit! You do have a sister called Yelena.’ ‘I do?’ I ask, now confused. ‘I haven’t seen the rifles or the bread, but I have seen Yelena?’ ‘Yes.’ Mama smiles and the magic makes me smile, too. And I am glad that Yelena is real because I love her very much. ‘Yelena is real,’ Mama explains, ‘but she does not carry sacks of bread into the forest for the Partisans.’ ‘Of course not!’ I shout, slapping my forehead. ‘Because there is no bread!’ Mama laughs loudly now, with not a hint of sadness. She hugs me, pressing me against her warm, loving heart, covering my head with kisses. ‘Clever Little Rabbit,’ she murmurs, and then, in barely a whisper, ‘Your papa would be so proud.’ When I wake the next morning, Yelena is sleeping beside me, her mouth open, her braided hair unravelling. Mama is serving kasha to a strange woman seated at our table. I crawl down from above the stove and slide along the bench beside her. I stare at her pants, her tunic, the rope she is using as a belt and her big boots. She’s dressed like a man! And there’s a rifle leaning against the wall near the door. ‘Hello,’ I say. ‘I’m Sasha.’ The woman doesn’t reply. She just shovels down her kasha. I line my four wooden bears along the table in front of her bowl and say, ‘These are my bears: Big Bear, Medium Bear, Little Bear and Even Littler Bear.’ ‘Hello, Sasha. Hello, bears.’ She smiles but she doesn’t tell me her name. ‘Why are you dressed like a man?’ I ask, tugging at the sleeve of her tunic. ‘Because men’s clothes make it easier to run and climb and crawl and shoot,’ she says. ‘You’re a Partisan!’ I gasp. ‘But she’s not real,’ says Mama, placing a bowl of kasha before me. ‘Is the kasha real?’ I ask. Mama laughs. ‘Yes, Little Rabbit.’ I’m glad the food is real, because I’m hungry. But I’m disappointed that the woman is not real. I was going to ask if I could use her rope-belt to tie her ankles together. For practice. But if she’s not real, then the rope and her ankles aren’t either. The woman finishes her kasha, hangs her rifle over her shoulder, kisses Mama on the cheek then slips out the door. I run to the window to watch her leave, but by the time I get there, she’s gone. Vanished. ‘Because she’s not real,’ I whisper. A week later, Mama and I are working in the garden. We sing as we weed between the flowers and pluck caterpillars from the vegetables. Anna Pushinka is picking strawberries in her garden and wanders over. ‘Taste these,’ she says, holding out the basket. Mama reaches in and takes out a fat strawberry and a tiny piece of folded paper. The strawberry goes into her mouth, the paper into her pocket. ‘What’s on the paper?’ I ask. ‘Paper?’ Anna Pushinka replies with a wave of her hand. ‘Goodness, Sasha! Who has money for paper? These are lean times. We must choose between paper for writing and noodles for our soup. And I always choose noodles.’ She chuckles and I know the paper is yet another thing that is not real. That night, Mama slips the paper to Yelena, but she drops it on the floor. I pick it up for her, and I see that there are tiny words and numbers written all over it. I wish I could read better. I’m desperate to know what it says. Or rather, what it doesn’t say, because it’s not real. Later, when Mama has tucked us into our bed above the stove and Ushanka has wrapped herself around the top of my head, I ask Yelena, ‘What’s on the paper?’ ‘What paper?’ says Yelena. ‘The paper that isn’t real,’ I reply. Yelena stares at me, nibbling her lip, then whispers, ‘A message for the Partisans. Stuff about where the Germans have their headquarters and when their trains are travelling and where they store their ammunition.’ ‘Why?’ ‘So the Partisans can blow them up.’ Yelena grabs my arm. ‘But don’t tell anyone. It’s a secret.’ ‘What’s a secret?’ I ask. ‘The message.’ ‘What message?’ I say, my eyes wide. Yelena laughs. ‘Good boy, Sasha.’ My belly swells with pride. I know how to play this game. ‘How are your knots coming along?’ asks Yelena. ‘Good! Yesterday, I crept into the dairy and tied knots in the apron strings of all the girls who were milking and only one of them noticed. Today, I tied Olga’s ankles together with Mama’s embroidery thread and just now, while you were taking a bath, I tied the sleeves of your blouse together in an enormous knot.’ Yelena rolls her eyes, then says, ‘I’ll see if I can find you some rope for practising.’ ‘Practising what?’ I ask. ‘Your knots,’ she says. ‘What knots?’ Yelena, my big sister who is twelve and always serious t
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Influence of China and India China ChinaChina under the Han emperor Wudi (c. 100 bce) and (inset) at the end of the Chunqiu (Spring and Autumn) Period (c. 500 bce). Between approximately 150 bce and 150 ce, most of Southeast Asia was first influenced by the more mature cultures of its neighbours to the north and west. Thus began a process that lasted for the better part of a millennium and fundamentally changed Southeast Asia. In some ways the circumstances were very different. China, concerned about increasingly powerful chiefdoms in Vietnam disturbing its trade, encroached into the region and by the end of the 1st century bce had incorporated it as a remote province of the Han empire. For generations, the Vietnamese opposed Chinese rule, but they were unable to gain their independence until 939 ce. From India, however, there is no evidence of conquests, colonization, or even extensive migration. Indians came to Southeast Asia, but they did not come to rule, and no Indian power appears to have pursued an interest in controlling a Southeast Asian power from afar, a factor that may help to explain why only the Vietnamese accepted the Chinese model. Yet, in other ways the processes of Indianization and Sinicization were remarkably similar. Southeast Asia already was socially and culturally diverse, making accommodation easy. Furthermore, indigenous peoples shaped the adaption and adoption of outside influences and, indeed, seem to have sought out concepts and practices that enhanced rather than redirected changes already underway in their own societies. They also rejected some components: for example, some of the vocabulary and general theories related to the Indian notions of social hierarchy were borrowed but much of the specific practices were not, and neither Indian nor Chinese views of women as socially and legally inferior were accepted. In the later stages of the assimilation process—particularly in the Indianized areas—local syncretism often produced exuberant variations, which, despite familiar appearances, were expressions of local genius rather than just inspired borrowings. Get Unlimited Access Try Britannica Premium for free and discover more. Sculptures at Borobudur, central Java, Indonesia. 1 of 2 Sculptures at Borobudur, central Java, Indonesia. Pagan, Myanmar 2 of 2 Pagan, MyanmarRuins of ancient Buddhist shrines and pagodas, Pagan, Myanmar. Still, Chinese and Indian influences were anything but superficial. They provided writing systems and literature, systems of statecraft, and concepts of social hierarchy and religious belief, all of which were both of intrinsic interest and pragmatic significance to Southeast Asians of the day. For elites seeking to gain and retain control over larger and more complex populations, the applications of these ideas were obvious, but it would also seem that the sheer beauty and symbolic power of Hindu and Buddhist arts tapped a responsive vein in the Southeast Asian soul. The result was an imposing array of architectural and other cultural wonders, at first very much in the Indian image and hewing close to current styles and later in more original, indigenous interpretations. The seriousness and profundity with which all this activity was undertaken is unmistakable. By the 7th century ce, Palembang in southern Sumatra was being visited by Chinese and other Buddhist devotees from throughout Asia, who came to study doctrine and to copy manuscripts in institutions that rivaled in importance those in India itself. Later, beginning in the 8th century, temple and court complexes of surpassing grandeur and beauty were constructed in central Java, Myanmar, and Cambodia; the Borobudur of the Śailendra dynasty in Java, the myriad temples of the Burman dynastic capital of Pagan, and the monuments constructed at Angkor during the Khmer empire in Cambodia rank without question among the glories of the ancient world.