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Company of Heroes gets beta patch, Company of Heroes Online gets more maps. Company of Heroes Online is shutting down on March 3. The four player skirmish map Road to Montherme and an eight player version of the classic Hill 3. 2.602 Now Online Company of Heroes 2.601 - 2.602 Company of Heroes Online on Friday. A beta patch for the original Company of Heroes is also available to test now on Steam. The new maps were announced on the Company of Heroes Online blog . The Road to Montherme was constructed by Company of Heroes modder Mannerheim, and features a narrow road surrounded by tight forested pathways. The second map is an eight player reworking of one of Company of Heroes' most insane maps, Hill 3. Validation requirements have also been lowered for all of the rewards in Company of Heroes Online, meaning that experience and gear are easier to come by. This will allow current players to see a lot of the high level units before the game shuts down for good at the end of March. The game will be available to download and play for another six weeks, and includes Company of Heroes' superb single player campaign for free. When Relic made the announcement that Company of Heroes Online would be closing , they also promised that they would apply everything they'd learned to the original game and the two expansions, Opposing Fronts and Tales of Valour. As a result there's now a patch available on Steam. This fixes a ton of bugs and adds a series of balance changes. The latest patch notes are listed on the Company of Heroes forums . Hopefully Relic will bring the new maps across to the retail of Company of Heroes at some point in future. Company of Heroes (New Steam Version). We will be releasing an update for Company of Heroes today that is aimed at addressing issues that players have been experiencing with the game.
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Our undergrads have gone on to study in some of the most prestigious graduate creative writing programs in the country, found exciting jobs in publishing and teaching, placed work in prominent literary journals and published their first books. See below for some testimonials from former students in our creative writing classes. Undergraduate creative writers will find a supportive, vibrant writing community at Washington University, where they will have opportunities to read their work at events such as the department's biannual Pushmower Series, an undergrad open- mic founded by members of the MFA Program. Campus publications such as Spires provide a forum for students eager to see their work in print, and the MFA Program Reading Series allows our creative writers to hear the work of some of the most important writers working today. Faculty and Courses. Creative writing classes at Washington University are taught by our MFA Faculty, our second- year MFA students, and a core of devoted lecturers working hard to meet the needs in this expanding field. In the last several years, we've added nonfiction courses at the 2. Courses such as The Short- Short, Sudden Fiction and Microfiction, Literary Journalism, and Stories From the Suburbs have become popular new additions, and our goal is to keep expanding. Students enrolled in any level creative writing course can expect to be challenged to become better readers as well as writers. The analysis of published contemporary literature is a vital component of all these courses, along with the critical process known as . For me those classes were such eye- opening experiences. The reading recommendations, the writing assignments, the feedback from instructors - - all so much more than I could have expected. Before I knew it I was on a slippery slope toward graduate school. It's hard to overstate the importance of those undergraduate workshops though. While I was working toward my MFA, I kept finding myself thinking back to lessons I learned in those first classes. Ready to put writing at the center of your life? Enroll in the Master of Fine Arts in Writing program at Sarah Lawrence College. The MFA literary colloquium is a weekly series of talks given by writing faculty members, visiting writers, and publishing professionals. An emphasis in creative writing requires that the student. And now, in the courses I teach, I'm still doing it, pulling out little bits of wisdom I picked up then and passing them off as my own - - though I try to give credit when I can. Louis, 2. 00. 5 MFA University of Florida, 2. Show or Tell - The New Yorker. Before the program era: Robert Frost (second from left), the world. The fruit of the theory is the writing workshop, a combination of ritual scarring and twelve- on- one group therapy where aspiring writers offer their views of the efforts of other aspiring writers. Florida State University. Tallahassee gets mixed reviews, and some worry the program has gotten too large for its own good, but it's three years of full funding at a university with not only a creative writing MFA but a top-notch creative writing doctorate, too (currently. A liberated, non-tracking curriculum A defining feature of CalArts’ two-year creative writing program is that students are free to take courses in, and to write in, any genre they wish. Poets may take prose workshops to learn narrative conventions. Show or Tell Should creative writing be taught? By Louis Menand Before the program era: Robert Frost (second from left). After Pomona Series Highlights Children’s Book Author Mac Barnett . Amanda Hollis-Brusky's 'Ideas with Consequences' Wins Award for Best Book on Law. For its high quality coursework or wide breadth of options for English majors but also for its nationally renowned writing center. Like Emory, Hamilton College allows English majors to concentrate in either English literature or creative writing. Thesis Mentor Program Becoming a Writing Tutor, Mentor or Fellow Online Writing Resources for Students For Faculty Teagle Initiative Online Teaching Resources. We teach writing as a craft, and work with students at all levels of expertise, from those wishing to satisfy the University's composition requirements, through intermediate writers looking to expand their horizons, to seasoned scribes who want to hone their skills in. People who take creative- writing workshops get course credit and can, ultimately, receive an academic degree in the subject; but a workshop is not a course in the normal sense. The workshop is a process, an unscripted performance space, a regime for forcing people to do two things that are fundamentally contrary to human nature: actually write stuff (as opposed to planning to write stuff very, very soon), and then sit there while strangers tear it apart. There is one person in the room, the instructor, who has (usually) published a poem. But workshop protocol requires the instructor to shepherd the discussion, not to lead it, and in any case the instructor is either a product of the same process. This skepticism is widely shared, and one way for creative- writing programs to handle it is simply to concede the point. If you’re like many writers, writing is something you do in your spare time. You also may be working on a tight budget, so you might ask yourself why investing in a creative writing software program would improve your writing. Word processing programs, after all. The University of Iowa Writers. Sixteen Pulitzer Prize winners and three recent Poet Laureates are graduates of the program. Iowa merely admits people who are really good at writing; it puts them up for two years; and then, like the Wizard of Oz, it gives them a diploma. Some writers do seem to make it a matter of principle to bite the hand that writes the checks. Allen Tate, the poet and critic, complained that . Kay Boyle once published a piece arguing that . John Barth taught for twenty- two years in the Writing Seminars at Johns Hopkins, one of the oldest and most luminous programs in the country. In 1. 98. 5, he published an article in the Times Book Review entitled . When Barth wrote his piece for the Times, he might have been recalling a speech given three years earlier by one of the leading figures in the field, R. Verlin Cassill was a novelist and short- story writer who graduated from Iowa in 1. M. A. One of his students was Margaret Walker, an African- American, who was the author of . In 1. 96. 7, shortly after arriving at Brown and just at the start of a boom in university- based creative- writing programs, he founded the Associated Writing Programs, the professional association of academic creative writers. But at a convention in Boston on the fifteenth anniversary of the A. W. P. Cassill stunned the membership by suggesting that the organization should be disbanded. He thought that writers had become complicit in the academic logrolling and gamesmanship of publish- or- perish: using other people. They wrote poems to get raises. The academic system was corrupting, and it was time for the writers to get out. The speech got attention, but the A. W. P. It eventually renamed itself the Association of Writers and Writing Programs, and it now has more than twenty- five thousand members. Around the time that Cassill delivered his renunciation, there were seventy- nine degree programs in creative writing in the United States. Today, there are eight hundred and twenty- two. Thirty- seven of these award the Ph. D. Mark Mc. Gurl doesn. The argument is that teaching creative writing should always be a scandal, since it. It allows people in creative- writing departments to feel that, unlike their colleagues in the traditional academic disciplines, they are not cogs in a knowledge machine; and it allows the university to regard itself as what Mc. Gurl calls a . He points out that teachers in creative- writing programs were asking . This is because not having an answer to the . They are the outside contained on the inside. Still, the creative- writing program, unsystematic or even anti- system as it might believe itself to be, is a system. People go in at one end and they come out the other, bearing (like the Scarecrow) a piece of paper with a Latin inscription, but also bearing (unlike the Scarecrow) the impress of an institutional experience. The nature of that experience mutates as the folk wisdom of the workshop mutates. Mc. Gurl suggests that these mantras encode shifting patterns of cultural assumptions. It has also been the place where most serious fiction readers are produced: they are taught how to read in departments of literature. It does three things unusually well. First, it interprets works of fiction as what philosophers of language call illocutionary acts. The meaning of one of Raymond Carver. The form of a Carver short story. Mc. Gurl thinks that the style represents the . Rather ingeniously, Mc. Gurl reads the work of Carver. But Mc. Gurl thinks that maximalism, too, is . Oates is from a poor family. She came out of the undergraduate creative- writing program at Syracuse, where she studied with Donald Dike, and she has spent most of her career teaching at Princeton, where Morrison, until her recent retirement, was also on the faculty. Carver started as a correspondence student in an outfit known as the Palmer Institute of Authorship. He took classes at Chico State, in California, with the novelist John Gardner; at Humboldt State College, with the short- story writer Richard Cortez Day; at Sacramento State College, with the poet Dennis Schmitz; and at Stanford, where he was a Wallace Stegner Fellow; and he taught at the Iowa Writers. His second marriage was to another creative- writing professional, the poet Tess Gallagher, and he ended up as a professor at Oates. Writing is a technology, after all, and there is a sense in which human beings who write can be thought of as writing machines. They get tooled in certain ways, and the creative- writing program is a means of tooling. But Mc. Gurl treats creative writing as an ant farm where the ants are extremely interesting. He never reduces writers to unthinking products of a system. They are thinking products of a system. After all, few activities make people more self- conscious than participating in a writing workshop. Reflecting on yourself. Mc. Gurl thinks that this habit of self- observation is not restricted to writing programs. Constant self- assessment and self- reflection are part of our program. There are also flow charts and the like, diagrams suited to systems analysis. And contemporary fiction does have many readers. Mc. Gurl argues that, far from homogenizing literature or turning it into an academic exercise, creative- writing programs have been a success on purely literary grounds. The system must be doing something right. The third accomplishment of . Changes in creative- writing programs are influenced by changes in two related bodies of thought, both of which try to answer the question . Creative- writing courses follow naturally from the . And, as Mc. Gurl suggests, presenting a story in a writing workshop is a little like making a business presentation in a corporate workplace. Such a presentation is, on some level, what he calls . It helps us measure how we. And this helps Mc. Gurl to make a larger point, which is that university creative- writing programs don. On the contrary, university creative- writing courses situate writers in the world that most of their readers inhabit. Sticking writers in a garret would isolate them. Putting them in the ivory tower puts them in touch with real life. Is the rise of the creative- writing workshop, as Mc. Gurl claims, ? Creative- writing courses did not suddenly spring into being in 1. A course called Verse Making was available at Iowa in 1. George Pierce Baker taught a drama workshop at Harvard, the first graduate writing course in the country; Thomas Wolfe took it. The term (and the concept) . In 1. 93. 6, Iowa launched the Writers. In 1. 94. 1, Schramm was replaced by Paul Engle, a prodigious creative- writing proselytizer and cultural Cold Warrior, who made Iowa into a global power in the field. Engle eventually brought writers from seventy countries to study at Iowa. There was a surge in creative- writing degree programs after the Second World War. The Writing Seminars at Johns Hopkins started in 1. Stanford inaugurated its writing fellowships the same year; Cornell. As is the case with most new developments in higher education, changes in funding were responsible. Title II of the Servicemen. More than two million veterans, a much bigger number than anticipated, took up the offer, and by 1. Marshall Plan. The key requirement of Title II was that the tuition assistance be used only for study in degree or certificate programs, which is why creative- writing courses grew into degree- granting creative- writing programs. In the nineteen- sixties, the universe of higher education underwent a fantastic expansion. Between 1. 96. 0 and 1. Most of the growth was in the public sector. At the height of the expansion, between 1. United States at the rate of one every week. A way for institutions to raise their academic profiles was to add graduate programs. This is one reason that there is an oversupply of Ph. D. s in the United States.) By 1. M. F. A. Today, there are a hundred and fifty- three. Creative- writing programs attract students (good for public universities, where enrollment may determine budgets), but, contrary to what many people assume, they are not generally cash cows. Most of the top programs. In 2. 00. 5- 0. 6, only four- tenths of one per cent of all master. The list is long: John Hawkes (Brown), Guy Davenport (Kentucky), Robert Coover (Brown), Reynolds Price (Duke), Wallace Stegner (Stanford), Leslie Epstein (Boston University), Donald Barthelme (Houston), Tobias Wolff (Syracuse), E. Doctorow (New York University), William Kennedy (SUNY Albany), Robert Olen Butler (Florida State University). And many writers who are not normally imagined in an academic setting have circulated through the creative- writing system. 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Free Engineering Books Contains links to various Online Engineering Text Books, online notes and reference materials on various engineering topics such as. THE NEW LED THERMAL TESTING STANDARDS. As discussed in the previous sections, measurement of the emitted optical power is vital when calculating the LEDs’ real. Amazon can often be used to find used and out- of- print books. The author has no affiliation with Best. Book. Buys or Amazon. ISBN: 0. 83. 06. 98. X, 0. 83. 06. 88. LC Control Number: 7. Acha, Enrique (Editor)Power electronic control in electrical systems. Published/Created: Oxford ; Boston : Newnes, 2. LC Control Number: 0. Ashfaq,Power Electronics for Technology, Upper Saddle River, NJ: Prentice Hall, c 1. ISBN: 0. 13. 23. 10. LC Control Number: 9. Akagi, Hirofumi. Instantaneous power theory and applications to power conditioning. Published/Created: Hoboken, NJ : Wiley- Interscience/ John Wiley & Sons, c. Electrical engineering and electronics series, xi, 4. ISBN: 0. 82. 47. 96. LC Control Number: 9. Paolo. ISBN: 0. 07. LC Control Number: 8. P. Massobrio (editors),Semiconductor Device Modeling with SPICE, New York : Mc. Graw- Hill, c 1. 98. ISBN: 0. 07. 00. 21. LC Control Number: 8. Antognetti, P.(See Massobrio), J., D. Bodger,Power System Harmonics, Chichester . ISBN: 0. 26. 30. 50. LC Control Number: 7. B. Jayant,Modern Power Devices, New York: Wiley, c 1. A Wiley- Interscience publication. ISBN: 0. 47. 18. 19. LC Control Number: 8. B. Jayant (editor),High Voltage Integrated Circuits, New York : IEEE Press, c 1. IEEE Press Selected Reprint Series. ISBN: 0. 87. 94. 22. LC Control Number: 8. B. Jayant,Modern Power Devices, Krieger, Malabar, Fla., 1. Originally published: New York: J. ISBN: 0. 89. 46. 47. Jayant,Power Semiconductor Devices, PWS Publishing Co., Boston, 1. Jayant(See Singh), Soumitro (editor) and George C. Verghese (editor)Nonlinear phenomena in power electronics: attractors, bifurcations, chaos, and nonlinear control, New York: IEEE Press, 2. ISBN: 0. 78. 03. 53. LC Control Number: 2. Barker, Robert J (Editor)Modern microwave and millimeter- wave power electronics. Published/Created: Hoboken, N. J. Monographs in electrical and electronic engineering; Oxford science publications, ISBN: 0. LC Control Number: 9. Christophe P. Switch- mode power supply SPICE cookbook, New York: Mc. Graw- Hill, 2. 00. ISBN: 0. 07. 13. 75. LC Control Number: 2. Issa. Power electronic circuits, Hoboken, NJ: John Wiley, c 2. ISBN: 0. 47. 11. 26. LC Control Number: 2. R. Seguier,Power Electronic Converters : DC- DC Conversion, Berlin; New York: Springer- Verlag, c 1. ISBN: 3. 54. 05. 47. Berlin), 0. 38. 75. New York), LC Control Number: 9. B. Hoft,Principles of Inverter Circuits, Wiley, 1. ISBN: 0. 89. 87. 47. LC Control Number. Reprinted by Robert E. Krieger Publishing Company, Melbourne, FL, 1. ISBN: 0. 47. 10. 61. LC Control Number. Vitezslav, John Gowar, and Duncan A. Grant. Power semiconductor devices: theory and applications, Chichester; New York: Wiley, c 1. ISBN: 0. 47. 19. 76. X, LC Control Number: 9. Grzegorz. Improvement in the quality of delivery of electrical energy using power electronics systems. Published/Created: London : Springer, c. Notten. Battery management systems: design by modeling, Dordrecht; Boston: Kluwer Academic, 2. LC Control Number: 2. Al and R. Waggoner,Practical Guide to Quality Power for Sensitive Electronic Equipment, Overland Park, KS: Intertec Electrical Group, c 1. ISBN: 0. 87. 28. 85. LC Control Number: 9. Keith H.,Switchmode Power Supply Handbook, 2nd ed., New York: Mc. Graw- Hill, 1. 99. ISBN: 0. 07. 00. 67. LC Control Number: 9. Keith H.,Handbook of Switchmode Power Supplies, New York : Mc. Graw- Hill, c 1. 98. ISBN: 0. 07. 00. 53. LC Control Number: 8. B. King,An Introduction to Power Electronics, 1st ed., Chichester . ISBN: 0. 47. 11. 04. LC Control Number: 8. B. Pedder. An Introduction to Power Electronics, 2nd ed., Chichester ; New York : Wiley, c 1. ISBN: 0. 47. 19. 26. LC Control Number: 9. A.,Thyristor Physics, Springer- Verlag, 1. Bloom, G., (See Severns, R. Nasar. Electric drives, Boca Raton : CRC Press, c 1. ISBN: 0. 84. 93. 25. ISBN: 0. 13. 68. 68. LC Control Number: 8. Bimal K. ISBN: 0. X, LC Control Number: 8. Bimal K, (editor)Power Electronics and Variable Frequency Drives, Piscataway, NJ : IEEE Press, c 1. ISBN: 0. 78. 03. 10. LC Control Number: 9. Bimal K. ISBN: 0. Not in LOC 9/1. 6/0. ISBN as the 1. 99. Bimal K, (editor)Modern Power Electronics, Evolution, Technology, and Application, New York: Institute of Electrical and Electronics Engineers; Piscataway, NJ: IEEE Press, c 1. ISBN: 0. 87. 94. 22. LC Control Number. Bimal K. ISBN: 0. Wiley), 0. 47. 10. Wiley : pbk.), LC Control Number: 8. Bimal K. Modern power electronics and AC drives, Upper Saddle River, NJ: Prentice Hall, c 2. ISBN: 0. 13. 01. 67. ISBN: 0. 41. 25. 71. LC Control Number: 9. BOOK NOT YET IN LC (0. David A.,Power Electronics, Van Nostrand Reinhold, 1. Bradley, David A. ISBN: 0. 41. 24. 55. LC Control Number: 9. F.,Forced Commutated Inverters, Mac. Millan, 1. 98. 4., Marty,Practical Switching Power Supply Design, San Diego: Academic Press, c 1. AP professional and technical series. ISBN: 0. 12. 13. 70. EDN series for design engineers. ISBN: 0. 75. 06. 94. LC Control Number: 9. Marty. Power supply cookbook, 2nd ed., Boston : Newnes, c 2. ISBN: 0. 75. 06. 73. X, LC Control Number: 0. P. ISBN: 0. 07. 01. X (pbk.), LC Control Number: 9. Robert S. Electronic Drives, New York : TAB Books, c 1. ISBN: 0. 07. 01. 16. LC Control Number: 9. C. K.,Switch- Mode Power Supply Design Handbook, 1st ed., Blue Ridge Summit, PA: Tab Professional and Reference Books, c 1. ISBN: 0. 83. 06. 26. X, LC Control Number: 8. P. K.,Satellite Technology and Its Applications, Blue Ridge Summit, PA: TAB Books, c 1. ISBN: 0. 83. 06. 29. LC Control Number: 8. P. K.,Satellite Technology and Its Applications, 2nd ed., Blue Ridge Summit, PA: TAB Professional and Reference Books, c 1. ISBN: 0. 83. 06. 96. LC Control Number: 9. Cheron, Yvon. Soft Commutation, 1st English ed. Meynard, technical editor, C. Goodman), London ; New York : Chapman & Hall; New York: Van Nostrand Reinhold, Inc., 1. ISBN: Not listed, LC Control Number: 9. George,High Frequency Switching Power Supplies: Theory and Design, New York: Mc. Graw- Hill, c 1. 98. ISBN: 0. 07. 01. 09. LC Control Number: 8. George,High Frequency Switching Power Supplies: Theory and Design, 2nd ed., New York: Mc. Graw- Hill, c 1. 98. ISBN: 0. 07. 01. 09. LC Control Number: 8. James W.,AC power conditioners : design and applications, Academic Press, Harcourt Brace Jovanovich, 1. ISBN: 0. 12. 17. 54. X (alk. R.,Foundations of Electric Power /, Upper Saddle River, NJ: Prentice Hall, 1. ISBN: 0. 13. 90. 77. LC Control Number: 9. Earl. Power Supply Testing Handbook : Strategic Approaches in Test Cost Reduction, New York : Chapman & Hall, c 1. ISBN: 0. 41. 20. 88. X (alk. R.,Battery Reference Book, 2nd ed., Butterworth Heinemann, Mass., 1. Crowder, Richard MElectric drives and electromechanical systems, 1st ed.. Published/Created: Oxford ; Burlington, MA : Butterworth- Heinemann, c. Marti,Power Electronics, Budapest: Akademiai Kiado, 1. Balkay, revised by Gy. Szemzo.) ISBN: 9. LC Control Number: 7. Frigyes., and et. B Balkay.) ISBN: 9. LC Control Number: 8. Slobodan, and R. Middlebrook,Advances in Switched- Mode Power Conversion, Volume III, TESLAco, 1. Not listed in Library of Congress Catalog. Available from TESLAco, #1. Mauchly, Irvine, CA 9. Phone (7. 14) 7. 27- 1. Cuk, S., (See Middlebrook, R. D.)Czarkowski, Dariusz (See Kazimierczuk, Marian K.), Samir Kumar,Power Electronics and Controls, Reston, Va.: Reston Pub. ISBN: 0. 83. 59. 55. LC Control Number: 8. B.,Understanding DC Power Supplies, Englewood Cliffs, N. J. ISBN: 0. 13. 93. X (pbk.), LC Control Number: 8. R. M.,Power Diode and Thyristor Circuits, Cambridge University Press, 1. ISBN: 0. 52. 10. 81. X, LC Control Number: 7. Dawson, Joel L. Could not locate in Library of Congress card catalog or Wiley. Could not locate in Library of Congress card catalog or Oxford University Press., S. Straughen,Power Semiconductor Circuits, New York: Wiley, 1. ISBN: 0. 47. 12. 11. X, LC Control Number: 7. S. Straughen,Power Semiconductor Drives, Wiley, 1. ISBN: 0. 47. 18. 98. LC Control Number: 8. Dollinger, R. K.)Dorf, Richard C (Editor)The electrical engineering handbook. Electronics, power electronics, optoelectronics, microwaves, electromagnetics, and radar. Published/Created: Boca Raton, FL : CRC/Taylor & Francis, 2. Hoft. Intelligent control: power electronic systems, Oxford . ISBN: 0. 19. 85. 64. X (hbk), LC Control Number: 9. G. K.,Power Semiconductor Controlled Drives, Prentice- Hall, 1. ISBN: 0. 13. 68. 68. LC Control Number. G. Sinhya,Thyristorised Power Controllers, New York: Wiley, c 1. ISBN: 0. 47. 02. 02. LC Control Number: 8. Jeffery K. ISBN: 0. X, LC Control Number: 8. Ehsani, Mehrdad (Editor)Modern electric, hybrid electric, and fuel cell vehicles : fundamentals, theory, and design. Published/Created: Boca Raton : CRC Press, c. E. Principles of electric machines with power electronic applications. Published/Created: Piscataway, NJ : IEEE Press ; New York, NY : Wiley- Interscience, c. ISBN: 0. 83. 59. 57. LC Control Number: 8. Mohamed E.,Principles of Electric Machines with Power Electronic Applications, 2nd Ed., Wiley- IEEE Press, 2. ISBN: 0- 4. 71- 2. Not yet in Library of Congress (1. Mohamed A. Electric energy : an introduction, 2nd ed.. Published/Created: Boca Raton : CRC Press, c. How to Make Frames (Main Windows) (The Java. The size of the frame includes any area designated for the border. The dimensions of the border area may be obtained using the get. Insets method. Since the border area is included in the overall size of the frame, the border effectively obscures a portion of the frame, constraining the area available for rendering and/or displaying subcomponents to the rectangle which has an upper- left corner location of (insets. A frame, implemented as an instance of the. JFrame class, is a window that has decorations such as a border, a title, and supports button components that close or iconify the window. Applications with a GUI usually include at least one frame. Applets sometimes use frames, as well. To make a window that is dependent on another window — disappearing when the other window is iconified, for example — use a dialog instead of frame. To make a window that appears within another window, use an internal frame. Here is a picture of the extremely plain window created by the Frame. Demo demonstration application. You can find the source code in. Frame. Demo. java. You can run Frame. Demo (. download JDK 7 or later). The following Frame. Using Windows Form Controls. If you want to display panels. Demo code shows how to create and set up a frame. Optional: What happens when the frame closes? Create components and put them in the frame. The other frequently used JFrame constructor is the no- argument constructor. Next the code specifies what happens when your user closes the frame. This behavior is appropriate for this program because the program has only one frame, and closing the frame makes the program useless. If you're not already familiar with content panes and how to add components to them, please read Adding Components to the Content Pane. See How to Use Menus for details. How do I get program icons to appear on my windows 8. How do I get program icons to appear on windows 8 screen. Where is the program icon in windows 8? Displays a progress bar within a Windows PowerShell command window. The Write-Progress command for the second progress bar. Write-Progress Write. Microsoft Write is a basic word processor. How do I show a console output/window in a forms application? The pack method sizes the frame so that all its contents are at or above their preferred sizes. An alternative to pack is to establish a frame size explicitly by calling set. Size or set. Bounds (which also sets the frame location). In general, using pack is preferable to calling set. Size, since pack leaves the frame layout manager in charge of the frame size, and layout managers are good at adjusting to platform dependencies and other factors that affect component size. For example, the following code centers a frame onscreen. Location. Relative. To(null). Calling set. Visible(true) makes the frame appear onscreen. Sometimes you might see the show method used instead. The two usages are equivalent, but we use set. Visible(true) for consistency's sake. By default, window decorations are supplied by the native window system. However, you can request that the look- and- feel provide the decorations for a frame. You can also specify that the frame have no window decorations at all, a feature that can be used on its own, or to provide your own decorations, or with. Besides specifying who provides the window decorations, you can also specify which icon is used to represent the window. Exactly how this icon is used depends on the window system or look and feel that provides the window decorations. If the window system supports minimization, then the icon is used to represent the minimized window. Most window systems or look and feels also display the icon in the window decorations. A typical icon size is 1. The following snapshots show three frames that are identical except for their window decorations. As you can tell by the appearance of the button in each frame, all three use the Java look and feel. The first uses decorations provided by the window system, which happen to be Microsoft Windows, but could as easily be any other system running the Java platform. The second and third use window decorations provided by the Java look and feel. The third frame uses Java look and feel window decorations, but has a custom icon. Here is an example of creating a frame with a custom icon and with window decorations provided by the look and feel. Ask for window decorations provided by the look and feel. The value you set with set. Default. Look. And. Feel. Decorated is used for all subsequently created JFrames. You can switch back to using window system decorations by invoking JFrame. Default. Look. And. Feel. Decorated(false). Some look and feels might not support window decorations; in this case, the window system decorations are used. The full source code for the application that creates the frames pictured above is in. Frame. Demo. 2. java. Besides showing how to choose window decorations, Frame. Demo. 2 also shows how to disable all window decorations and gives an example of positioning windows. It includes two methods that create the Image objects used as icons — one is loaded from a file, and the other is painted from scratch. Try this: : Click the Launch button to run the Frame Demo using. Java. Alternatively, to compile and run the example yourself, consult the example index. Bring up two windows, both with look- and- feel- provided decorations, but with different icons. The Java look and feel displays the icons in its window decorations. Depending on your window system, the icon may be used elsewhere to represent the window, especially when the window is minimized. Bring up one or more windows with window system decorations. See if your window system treats these icons differently. Bring up one or more windows with no window decorations. Play with the various types of windows to see how the window decorations, window system, and frame icons interact. By default, when the user closes a frame onscreen, the frame is hidden. Although invisible, the frame still exists and the program can make it visible again. If you want different behavior, then you need to either register a window listener that handles window- closing events, or you need to specify default close behavior using the set. Default. Close. Operation method. You can even do both. The argument to set. Default. Close. Operation must be one of the following values, the first three of which are defined in the. Window. Constants interface (implemented by JFrame, JInternal. Pane, and JDialog): DO. Instead, the program should probably use a window listener that performs some other action in its window. Closing method. HIDE. This removes the window from the screen but leaves it displayable. DISPOSE. This removes the window from the screen and frees up any resources used by it. EXIT. This is recommended for applications only. If used within an applet, a Security. Exception may be thrown. Note: DISPOSE. More precisely, when the last displayable window within the Java virtual machine (VM) is disposed of, the VM may terminate. See. AWT Threading Issues for details. The default close operation is executed after any window listeners handle the window- closing event. So, for example, assume that you specify that the default close operation is to dispose of a frame. You also implement a window listener that tests whether the frame is the last one visible and, if so, saves some data and exits the application. Under these conditions, when the user closes a frame, the window listener will be called first. If it does not exit the application, then the default close operation — disposing of the frame — will then be performed. For more information about handling window- closing events, see. How to Write Window Listeners. Besides handling window- closing events, window listeners can also react to other window state changes, such as iconification and activation. The following tables list the commonly used JFrame constructors and methods. Other methods you might want to call are defined by the. Frame. java. awt. Window, and. java. Component classes, from which JFrame descends. Because each JFrame object has a root pane, frames have support for interposing input and painting behavior in front of the frame children, placing children on different . These topics are introduced in Using Top- Level Containers and explained in detail in How to Use Root Panes. The API for using frames falls into these categories: Method. Purposevoid pack()(in Window)Size the window so that all its contents are at or above their preferred sizes. Size(int, int)void set. Size(Dimension)Dimension get. Size()(in Component)Set or get the total size of the window. The integer arguments to set. Size specify the width and height, respectively. Bounds(int, int, int, int)void set. Bounds(Rectangle)Rectangle get. Bounds()(in Component)Set or get the size and position of the window. For the integer version of set. Bounds, the window upper left corner is at the x, y location specified by the first two arguments, and has the width and height specified by the last two arguments. Location(int, int)Point get. Location()(in Component)Set or get the location of the upper left corner of the window. The parameters are the x and y values, respectively. Location. Relative. To(Component)(in Window)Position the window so that it is centered over the specified component. If the argument is null, the window is centered onscreen. To properly center the window, you should invoke this method after the window size has been set. All of the standalone applications in this trail use JFrame. The following table lists a few and tells you where each is discussed. |
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