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Towards the end of this step, the sand outline should disappear completely. ![]() Remember to remove any substrates that fall into the base of the hole. Once you have dug out the inner/deeper sections, you can begin breaking up the soil along the outermost edges. This likewise applies to each shelf level. Keep in mind that the pond hole should have a depth allowance of 3 inches and a surface area allowance of 2 inches. Step 6: Continue digging towards the outermost edge. Note that different challenges may arise depending on the type of substrate. Another option is to begin from the edge, but you’ll have to estimate where to replace the outlines of bottom shelves. It may be quite challenging to start from the center when dealing with narrow, yet deeper levels. Digging from the center would allow you to keep using the concentric markings for the built-in shelves as a guide. If you dig from the edge and move to the center, you will unfortunately lose the sand/paint markings for the concentric levels. Once you have obtained the necessary depth measurements, you can begin digging! Use a sturdy garden shovel and a wheelbarrow to remove soil from the center of the outline. Step 5: Begin digging outward from the center of the outline. This depth allowance will later be corrected by the addition of sand or packed substrate. For example, if the overall height of the shell is 24 inches, the overall depth of the hole should be 27 inches. Add 2 – 3 inches to the depth of each level. Use a tape measure to vertically measure each level, along with the overall height, of the preformed shell. Before digging, you will need to establish the required depth of the hole, along with the depth of each level. You can use a tape measure to double-check the pond outline’s dimensions. ![]() Step 4: Double-check pond dimensions and prepare to dig. The inner outlines should have the same allowance as well. This will help guide you as you excavate with an outer allowance of approx. Give the sand or spray paint marking a width of at least 2 inches (oriented outward) off the initial markings. The resulting outline should be a fairly accurate 2-dimensional depiction of all concentric features of the shell. This should clearly mark the outermost edge, along with any narrower levels of the shell. Now that the stakes firmly mark the circumference of the preformed shell, you can create a linear outline for the pond. Step 3: Create an accurate outline with sand or spray paint. You can use shorter stakes to mark the outlines of other depth levels too. This outline will come in handy, particularly if the base is narrower than the upper depth levels. Pro-tip for shells with built-in shelves: before lifting out the shell, use a stick to draw a line around the outline of its base. The height allowance would make it extra easy to align the stake to the edge prior to pounding it into the substrate. If the shell’s edges are irregular or are overhanging, the stakes should be taller than the height of the shell. This is a fairly foolproof way of staying true to the preformed shell’s surface area. Once you’ve determined the exact location and orientation of the pond, you can use upright stakes, poles, or sticks to mark its edges. Step 2: Use stakes or poles to mark the desired area for the pond. Ideally, the sources of these should be just a few feet off the edge of your pond. It helps to visualize the end result – create an illustration of the finished pond setup beforehand.Īn extremely important consideration is the location’s access to water and electricity. If the shape’s outline is irregular, test for the best fit by playing with different orientations. A preformed pond shell should be light enough to move around the garden while searching for the best location. photowind/įind an area of the garden that can accommodate the size of your desired pond. It does not store any personal data.Step 1: Choose the right location for your pond. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. ![]() The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". ![]() These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly.
![]() Your holder should be replaced every month. Rinse – Rinse your contact lens holder with saline solution.Afterwards, you can either wear your lenses or store them in a saline solution. Let your contact lenses sit in the holder for a minimum of six hours. Make sure the holder is kept upright, allowing the neutralisation process to take place. Close – Screw shut the lids on your contact lens holder.If you have a built-in neutraliser, this step does not need to be taken. Neutralise – Drop a neutralising tablet into your contact lens holder.Never exceed the fill line marked on your holder. Fill – Pour 3 percent hydrogen peroxide solution into your lens holder, until it reaches the fill line.If you have a built-in neutraliser, you can ignore step 5. This usually takes the form of a platinum disc that turns hydrogen peroxide to water and oxygen. Some holders contain a built-in neutraliser. Remove – Remove your contact lenses, putting them into the appropriate slot of your contact lens holder.Dry – Dry your hands using a clean, lint-free towel.Wash – Wash your hands under the tap with antibacterial soap.To use Hydrogen Peroxide solution safely, you’ll need to take the following steps: It is also particularly effective at preventing acanthomoeba from entering the eye, which could otherwise cause serious infections. Hydrogen Peroxide offers an alternative for people sensitive to the preservatives in multipurpose solutions. Replace – Make sure to replace solution after every use of your lenses, and once every 72 hours when your lenses aren’t in use.Clean your holder with a toothbrush and solution every week, and replace it entirely every month. Clean – Rinse out your contact lens holder with saline solution after use.Repeat – Repeat the above steps for your other contact lens.Fill the compartment with storage solution, and seal it tightly. Store – Place your lens into your lens case, making sure to put it into the correct compartment.This helps to wash away excess impurities that may still be present after rubbing. Rinse – Pour some more multipurpose solution over your lens.This helps to remove surface dirt and other impurities. Gently rub your lens with your finger into your palm, for around 30 seconds. Pour multipurpose cleaning solution over the lens. Rub – Put your contact lens on the palm of your hand.For help in doing this, refer to our ‘How to Put In & Take Out Contact Lenses’ article. Remove – Remove a contact lens from your eye.After washing them, dry your hands with a clean, lint-free towel. Dry – Wet hands increase the risk of infection.This will keep harmful oil, perfumes and bacteria from contaminating your lenses. Use antibacterial soaps when washing your hands under the tap. Wash – Before handling contact lenses of any kind, you should always make sure your hands are clean.Here are the steps you’ll need to take when removing and cleaning your contact lenses with multipurpose solution: Unlike daily disposables, extended wears and monthlies need to be cleaned and stored after use. Wearing monthly and extended wear disposables also means taking extra steps to maintain the health of your eyes. Having to buy fewer lenses can also bring down the cost of vision correction. Being able to wear contact lenses over a longer period of time can be beneficial to those with active lifestyles. Monthly and extended wear disposable lenses offer several advantages over their daily counterparts. ![]() When to use the Pearson correlation coefficient When r is 0, a line of best fit is not helpful in describing the relationship between the variables: 3 or between 0 and –.3, the points are far from the line of best fit: 5 or less than –.5, the points are close to the line of best fit: When r is 1 or –1, all the points fall exactly on the line of best fit: When the slope is positive, r is positive. When the slope is negative, r is negative. The Pearson correlation coefficient also tells you whether the slope of the line of best fit is negative or positive. See editing example Visualizing the Pearson correlation coefficientĪnother way to think of the Pearson correlation coefficient ( r) is as a measure of how close the observations are to a line of best fit. ![]() Specifically, we can test whether there is a significant relationship between two variables. The Pearson correlation coefficient is also an inferential statistic, meaning that it can be used to test statistical hypotheses. Specifically, it describes the strength and direction of the linear relationship between two quantitative variables.Īlthough interpretations of the relationship strength (also known as effect size) vary between disciplines, the table below gives general rules of thumb: Pearson correlation coefficient ( r) value The Pearson correlation coefficient is a descriptive statistic, meaning that it summarizes the characteristics of a dataset. Pearson product-moment correlation coefficient (PPMCC).The Pearson correlation coefficient ( r) is the most widely used correlation coefficient and is known by many names: What is the Pearson correlation coefficient? Frequently asked questions about the Pearson correlation coefficient.Reporting the Pearson correlation coefficient.Testing for the significance of the Pearson correlation coefficient.Calculating the Pearson correlation coefficient.When to use the Pearson correlation coefficient.Visualizing the Pearson correlation coefficient.What is the Pearson correlation coefficient?.The higher the elevation, the lower the air pressure. ![]() When one variable changes, the other variable changes in the opposite direction. The price of a car is not related to the width of its windshield wipers. There is no relationship between the variables. The longer the baby, the heavier their weight. When one variable changes, the other variable changes in the same direction. It is a number between –1 and 1 that measures the strength and direction of the relationship between two variables. The Pearson correlation coefficient ( r ) is the most common way of measuring a linear correlation. Try for free Pearson Correlation Coefficient (r) | Guide & Examples Eliminate grammar errors and improve your writing with our free AI-powered grammar checker. GG Accent Core Web Encyclopedia (An Dustloop encyclopedia for GGAC+R, provides information on basic-advanced information on the game.) Guilty Gear World (Evernote version of in-game encyclopedia based on Xrd) Guilty Gear HOH Lore Series (Officially sponsored series that covers the lore) GGST/ Rev 2/ AC+R/ Isuka/ GG1 Dustloop (Gameplay Wiki Guide for the Series Editing requires registration to website) r/Guiltygear Wiki (Subreddit's Own Wiki for learning Rev 2, needs to be updated with GGST info) Guilty Gear FAQ (A FAQ of getting into the series based on Rev 2) Twitter: Guilty Gear PR/Arc System Works (EN) (JP) (Asia/KR)/ Live Broadcasting/ BarkSystemWorksĪksys Games Website/ Twitter (NA Publisher for several GG Games) YouTube: Main Channel/ America Channel/ YT Music Channel Guilty Gear RoA/Club Official JP Website, Archived Guilty Gear XX Slash Official Website, Archived Guilty Gear 2 Overture Steam Website (EN), (JP), (KR), (CN) Guilty Gear 2 Overture Official Website (EN, Archived), (JP) Guilty Gear XX Accent Core Plus R Steam Website (EN), (JP), (KR), (CN) Guilty Gear Xrd -Sign- Steam Website (EN), (JP), (KR), (CN) Guilty Gear Xrd Official JP Website (Rev 2), (Asia/KR Product Page)/ (Revelator)/ (Sign) Guilty Gear 20th Anniversary Pack Official JP Website ( (AC+R) & (GG1))/ Asia/KR Product Page Guilty Gear -Strive-'s NA, JP, and KR Official Website/ UK Website/ Asia/KR Product Page ![]() Please be patient with us! OFFICIAL LINKSĪrc System Works Official English Pages on GGST/Xrd (Rev 2), (Revelator), (Sign)/ AC+R/ GG2/ GG1 If you are a beginner at Guilty Gear, please refrain from making posts asking for help until you've read through the Beginner's FAQ thread.Īutomoderator tends to remove some posts the moment they are posted, so this subreddit's moderators will approve them if they're not showing up. All posts MUST either be about Guilty Gear or relate to playing Guilty Gear. ![]() A place for casual and competitive play, character discussion, questions, arguing who has the best theme, and everything else in between. Serve immediately mounding the grits in large shallow bowls or on plates and covering them with shrimp and gravy.Add the remaining ingredients in consecutive order while stirring slowly. Return the gravy to the heat and stir in the shrimp cook until the shrimp are opaque throughout, about 5 minutes. Grits: Boil 2 cups of water in medium-size saucepan over medium heat.Cover the grits while you finish the gravy.Browse 20+ trusted shrimp and grits recipes complete with. Add a splash of Tabasco sauce and more salt if desired. Add the shrimp and cook, stirring occasionally, 1-2 minutes or until shrimp are pink and firm.When the grits are thick and creamy, stir in as much of the butter as you wish, followed by the cheese.Stir in the stock and remaining salt cook for 5 minutes longer remove from the heat while you finish the grits.Add in the scallions sprinkle flour over the mixture continue sautéing for 5 minutes longer.While the grits simmer, start the gravy: fry bacon in a skillet over medium heat until brown but still limp stir in the onion, green pepper, and garlic continue cooking until onion and pepper are limp, about 5 minutes.When you have added all the grits, decrease heat to a very low simmer and cook over low heat for 35-40 minutes, stirring occasionally at first and more frequently toward the end. Add grits and cook until water is absorbed, about 20 to 25 minutes.Whisk in the grits a few handfuls at a time (they will bubble up initially). 5 hours ago &0183 &32 Pan fried, deep fried, stir fried.1 (8-oz.) package sliced fresh mushrooms. Make the grits: in a large heavy saucepan, bring 6 cups water and 1 teaspoon salt to a boil. 2 pounds unpeeled, medium-size raw shrimp (31/40 count) 2 tablespoons all-purpose flour. ![]() Combine shrimp with lemon juice and a couple of generous splashes of Tabasco sauce let sit while you begin the grits and gravy. ![]()
![]() Now that you’re familiar with the GMAT AWA section and its scoring system, here are some best practices to follow that will assure you master this section. As both of these sections require the same set of skills, you won’t have to work harder, only smarter! 4 Best Practices to Help You Ace the GMAT AWA Section Pro tip: There is a simpler way to improve your GMAT AWA score without putting too much effort into preparing for this specific section: master the GMAT Verbal section ! Both the Verbal section and the AWA section require you to have good critical reasoning skills and for you to be able to analyze arguments impartially. While it is always good to aim high, it’s important to keep in mind that once you’ve achieved a 4.5, there’s very little use of worrying about obtaining a higher score, and you’d do better focusing on the other parts of your application to distinguish yourself. In this light, a passing grade would be a 4.5 or greater. What’s a good GMAT AWA score?Ĭonsider the AWA to be pass/fail, where the task in question is whether you can construct a coherent argument, as compared to your peers. This is useful insight into what is asked of you and where you should focus when preparing for the section in order to succeed. This information is important because although you do not have an idea about how the human reader will check your essay, the computer algorithm uses certain criteria to base its final decision on, and this criteria includes keywords related to the topic, grammar, punctuation, structure, etc. However, if the scores from the human reader and the computer algorithm differ from one another significantly, another human reader has to check your argument analysis. The scores from both are taken into consideration and your final score will be the average of those two. The second thing you’ll need to keep in mind is that your essay will be checked twice: once by a human reader and once by a computer algorithm. Rather the AWA score range is from 0 to 6 in half point increments, where 6 is the maximum score for a well-structured analysis. Your analysis will be scored separately from the other sections of the GMAT and the score you get will not count towards your final combined score, which ranges from 200 to a maximum of 800. Now that you know what this section is all about, let’s focus on the scoring system for this part of the GMAT. A good way to do this is to constantly ask yourself the question: “What if?”, to show you the methods that an argument can be strengthened and weakened. Your ability to successfully express your ideas in a precise manner will be crucial in this process. ![]() Similar to the critical reasoning section, you will have to speak about an argument construction using abstract language and to show how it can potentially be weakened or strengthened. You will be expected to provide a thorough analysis of the strong points as well as to point out the weaknesses of the argument. You will be presented with a passage and your task will be to analyze the author’s argument to the best of your abilities. The section is a timed 30-minute essay writing task. Even though the GMAT AWA section is not the most important, it still showcases your writing skills and that is a good enough reason to put some effort into it. That being said, your essay is sent to the schools that you are applying to and the recruiters will get to see how you structure an argument. When it comes to the AWA, keep in mind that this section is not as important as the others as it does not contribute to the all important 800 score. Five best practices to follow when preparing for the AWA section.The GMAT AWA (Analytical Writing Assessment).In the upcoming sections, we’ll go over all you need to know about: The section is specifically designed to test your ability to impartially analyze an argument and to state your ideas with precision – skills that will be invaluable in your future career.Īnother reason to pay attention to this section of the GMAT is the fact that the schools you apply to will get to see your essays, and impressing them with your writing skill can only help your application. When preparing for the GMAT most people neglect the GMAT AWA section, and even though this section is scored separately, it is important that you spend some time focusing on performing well on it. ![]() First of all, every job requires a work method - from a construction worker to an academic scholar. They were pioneers in the polyphonic craftsmanship so there is no point in discussing who taught them what a mode is and how to write in polyphonic texture.Īt this point we can start and try to answer the initial question: In that era, what was the composers' level of awareness of musical theory and the composition techniques underlying their music. I didn't mention Leonin and Perotin (they were between Hildegard and Machaut). Teachers HAD to hold musical-theoretical knowledge. With a rising complexity inherent to pieces composed at the time, naturally the need for knowledgeable and professional tutoring arose. ![]() It is a reasonable assumption that a very very basic theoretical knowledge (the notion of mode), a talent for composition and attendance in places where they played European music (churches and other holy places) was enough for composing well in monophonic style.Īnd now, did the great medieval composers which came afterwards (post secularization and polyphonization), such as Machaut, Landini, Dunstable and Dufay, have some kind of theoretical training? It is likely they did. Now, did Hildegard von bingen (had monophonic chant style and operated from beginning to middle of 12th century) study musical theory? According to the literature apparently she studied playing and reading music from a noblewoman named Jutta but concerning composing - she was an autodidact. How can we generalize over more than an inadequately documented thousand years of advancements and innovations? Up until the 12th century, the identity of composers of tunes and chants isn't known to us at all, we have a good guess at best. The first (obvious and quite well known) conclusion is that Medieval Times aren't uniform in their musical and historical-musical characteristics. This is not surprising, the moment music stopped being solely in service of words (as is the case with monophonic liturgical chants), it became more complex and much greater skill was required in order to compose. In general, we can put the line elegantly where music went through secularization and polyphonization - in research we find the term "music teacher" only from the 12th century onwards (I mean those who teach subjects other than notation, ear and voice training). Anyway, the institutionalizing of the modal approach became more and more sophisticated as time went on.Ĭoncerning the existence of some pedagogical tradition, today we know that in Medieval Times, choir boys used to have ear and voice training lessons in churches and academies, but was there any tutoring for the chant composers? There is no uniform answer for Medieval Times. Nevertheless, the way we today define modes isn't far at all from Hucbald's and the principal of tonality (as in having a tonic and hierarchy between notes) is already there! However, the Ionian (major) and Aeolian (minor) modes aren't there and we'll have to wait 650 years for them to appear. It is well worth mentioning that at this point we are some 100 years before Guido d'Arezzo brought the gospel of modern notation so hucbald's musical language tools are quite limited. Chord progressions are not relevant (yet). ![]() We must notice that by "harmonic" we don't mean common western cadential chord progressions, but just choosing the modal framework in which to work. At the end of the 9th century he published an essay called "On the Principles of Music", where he redefined the Greek Modes and thus created a theoretic-harmonic literary source on which a European composer could lean. The French Benedictine monk Hucbald was the first to write a theory book. In order to answer this question, we first have to ask whether back then there was some organized doctrine of musical theory and whether there was some sort of pedagogical tradition. OK I went and researched myself and reached some conclusions. ![]() The best way to make written dialogue feel like spoken language is to use a couple speech characteristics while still keeping the sentences clear and direct. Even if it’s easy to listen to conversations, the direct transcriptions are usually hard to read. Words, grammatical errors, and abandoned sentence fragments. Transcribe spoken dialogue word-for-word, you’ll discover a plethora of filler If you’re friend’s confused, you’ll need to do some tweaking. When you’re unsure, ask a friend to read the paragraph with the fragment. An intentional sentence fragment does not work when it leaves your audience confused. The one caveat with fragments is that the intended meaning always needs to be clear. But used carefully in creative contexts, sentence fragments can create some wonderful artistic effects. In formal contexts, sentence fragments are straight up inappropriate. These actions don’t require an acted-upon object to make sense, so they’re not considered fragments. For example, the rose blossomed, then it died. Note though that some actions (predicates) don’t require an object to be a complete idea. Unless you’re writing something extremely experimental, your artistic goal shouldn’t be irritated confusion. Without a clear context, sentence fragments will make your reader confused and irritated. Fix: After the performance ended, I slipped silently out of the hall.Fix: I stopped at the intersection, wondering where to go next.Fix: I brought my umbrella because it was raining.Fix: She recommended that I join the book club.Fix: The blacksmith discarded the remaining pieces.Fix: Our mission went better than expected.Take a look at these examples to see what I mean: This “error” is called aĪs you might expect, most sentence fragments are confusing because they’re missing information. Predicate, or complement, it’s considered incomplete. If a sentence is missing a necessary subject, In grammar and linguistics classes, the first thing you learn is that every sentence has an actor (the subject), an action (the predicate), and the acted-upon object (the complement). On the chopping block this week: sentence fragments. Welcome to my first post in How to Break Grammar Rules in Fiction, my regular segment that explains why grammar rules exist so you can know how to break them like an artist. This paper seeks to analyse Jay Smith’s statements with the sources he appealed to, with the intention of demonstrating his misrepresentation, misunderstanding and ignorance of the relevant scholastic works referenced which fundamentally oppose his eisegetical conclusions.Learn the rules like a pro, so you can break them like an artist. Jay Smith has incorrectly attempted to use the modes of the Qur’an as evidential of its corruption or errancy, so as to demonstrate that both scriptures are errant. These categories are listed as being variations of numbers, genders, diacritical (vowel) markings, verbs, syntax, transposition and of pronouncement. These forms, modes or ahruf all refer to the seven categories of variant revelation. These seven modes according to the majority of Muslim scholars refers to the Messenger receiving the Qur’an in variant forms from God. Shabir Ally entitled, “The Qur’an or the Bible: Which is the Word of God?” Orthodox Islamic beliefs state that the Qur’an has been revealed in seven modes known as ahruf al Qur’an. This paper seeks to analyse the claims of Jay Smith during his debate with Dr. Finally, a comparison of literary reports against the earliest manuscripts reveals that knowledge of the regional variants does not date back to the time of canonization but was accumulated over time through careful scrutiny of regional muṣḥafs. Ḥimṣ, as opposed to Damascus, is also identified as the city to which the Syrian exemplar was dispatched. Additional evidence is presented for the historicity of the Uthmānic canonization and the distribution of four regional exemplars. It illuminates the presence of a new regional subgroup I have termed neo-Basran, suggesting a local orthographic reform. ![]() This process of reconstruction identifies four ancestral codices from which all examined manuscripts descend. Combining philological, literary, and phylogenetic analysis, a stemma of early qurʾānic manuscripts is constructed and compared against idealized representations. ![]() This paper explores the subject of qurʾānic regionality through material evidence. Orthographic variants between these codices were identified and collected by Muslim scholars in the rasm literature. The ʿUthmānic codification of the Qurʾān as described by Muslim sources includes the distribution of at least four regional exemplars to Syria, Medina, Basra, and Kufa. |
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