Language and style

This sort of plan is then simple to make into an actual program in any language. Pascal or pseudo-Pascal, then, is a good tool for algorithm design, followed by the FORTRAN implementation. In fact, however, except for the cases of more sophisticated techniques like OC or FEM, simulation programs are quite easy to write, there are no difficult algorithms, and recursion is not needed. 

A good text on the FORTRAN language is that of Balfour and Marwick (1979). Friedman and Koffman (1981) provide useful hints on good programming techniques, as do Press et al (1986) the latter book is a gold mine of useful subroutines. 

Strutwolf, Digital Simulation in Electrochemistry, Monographs 

Other languages can of course be used, such as Pascal or Basic or even Java, but the former two are rarities in digital simulation these days. There is an extensive text book on electrochemical digital simulation using Mathematica [5] by Honeychurch [6] unfortunately, the book is difficult to access. Batchelor et al. used Python and Julia [7], both script languages. MATLAB [8] has seen some use, in conjunction with COMSOL Multiphysics (formerly called FEMLAB ) [9-14]. Even Excel has been used for simulation [15, 16]. 

Having decided on Fortran, one strong recommendation is the use only of standard Fortran as far as practicable. Then, programs will be transportable. The example programs in the Appendices should all run on any computer with a standard Fortran 90/95/2003/2008 compiler. A useful text, one of many on Fortran 95/2003, is that by Metcalf et al. [17], 

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In the eighth edition we carefully conformed to the language and style of the currently most-used textbooks, for example, using the term molar mass broadly, and eliminating molecular weight and the like. At least 15% of the problems in each chapter are new, and some old ones were dropped, so that the problems better reflect the practical situations of the laboratory, industry, and the environment. The use of SI units has been expanded further, but liter and atmosphere are retained where appropriate. 

The good news is that no matter how cryptic a piece of writing may seem, the author always leaves clues to help you figure out what he or she means. These clues can be found in the writer s language and style—the words used and the type of sentences in which he or she uses them. The next four lessons, therefore, focus on four different aspects of language and style ... 

Think about how tone is created in speech. When you say sure, the tone changes according to how loudly or sofdy you say the word and how slowly or quickly you say it. Tone is also conveyed (or supported) by the speaker s expressions and body language. In writing, of course, you do not have these visual resources, but you do have plenty of clues to help you determine tone. Those clues come from the elements of language and style that you ve studied so far point of view, diction, and style. 

It may help you to think of a sentence as a collection of ingredients (words and phrases) that result in a dish (idea). These elements of language and style are like the spices that you need to give that sentence a certain flavor. Different spices will result in a different flavor (tone). 

An ability to determine tone is an essential component of reading comprehension. Often, writers will let their tone convey their meaning, so you need to look carefully for clues in the writer s language and style to determine how writers want their words to sound. 

Now try another paragraph. Don t forget to mark it up as you read and make observations. Pay special attention to language and style. 

Lesson 16 Finding an implied main idea. You practiced looking for clues in structure, language, and style, as well as the facts of the passage, to determine the main idea. 

Dr. Valeri Tolstoy (St. Petersburg State University, Russia) authored Chapter 2 and Sections 3.5, 3.10, 4.1.1, 4.1.2, 4.2.1, 4.2.2, 4.4, 4.5, 7.1-7.3. Dr. Irina Chernyshova (St. Petersburg State Polytechnical University, Russia) wrote Chapters 1, 3, 4, and 7 (except for the sections mentioned above) and coauthored Sections 2.3, 2.5, and 2.7. Prof. Valeri Skryshevsky (Kyiv National Taras Shevchenko University, Ukraine) presents Chapters 5 and 6. Tables in the Appendix were collected by Valeri Tolstoy and Irina Chernyshova. The language and style were edited by Dr. Roberta Silerova (University of Saskatchewan, Canada). Dr. Nadezhda Reutova (St. Petersburg State University, Russia) translated into English Chapters 2, 5, and 6 and Sections 3.3-3.5, 3.10, 4.1, and 4.2, and helped with translation of Chapter 1 and Sections 3.1 and 3.2. 

We wish to thank most heartedly Joan Gandini for her constant help in improving the language and style of the manuscript. The authors kindly acknowledge FAPESP for T.M.L. s post-doctoral fellowship (2012/00124-9) and CNPq for A.G. s visiting professorship (Science Without Borders programme, PVE 401656/2013-6). 

The attending pharmacist has to deliver the patient information in a language and style that a patient will understand. 

On Lessing s particular concern in the fragments with form rather than content and the attention he pays to characterization by language and style, see Metzger,... 

In addition to language and style there are, of course, many other problems connected with publications, e.g. where, when, and how much to publish. When one publishes too late, one may get scooped, the work may be stale and obsolete. When one publishes too early the work may be incomplete or even wrong. On this, as on many other topics, Wolfgang Pauli made a succinct remark to one of his colleagues I don t mind that you think slowly but I do mind that you are publishing faster than you think . Another helpful admonition to people contemplating the submission of a paper is Use your brain, it is the little things that count. 

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