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# -*- encoding: utf-8; indent-tabs-mode: nil -*- |
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# |
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# Acme::MetaSyntactic::counting_to_one -- A selection of various movie titles |
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# |
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# Copyright (C) 2012 Jean Forget |
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# |
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# This program is free software; you can redistribute it and/or modify |
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# it under the same terms as Perl: either the Artistic License, |
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# or the GNU General Public License as published by |
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# the Free Software Foundation; either version 1, or (at your option) |
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# any later version. |
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# |
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# This program is distributed in the hope that it will be useful, |
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# but WITHOUT ANY WARRANTY; without even the implied warranty of |
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# MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the |
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# GNU General Public License for more details. |
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# |
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# You should have received a copy of the GNU General Public License and |
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# the Artistic License along with this program; if not, write to the Free |
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# Software Foundation, Inc., 59 Temple Place, Suite 330, Boston, MA |
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# 02111-1307, USA for the GNU General Public License. |
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# |
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# For the Artistic License, you may refer to http://dev.perl.org/licenses/artistic.html |
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# |
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package Acme::MetaSyntactic::counting_to_one; |
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use strict; |
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use Acme::MetaSyntactic::List; |
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our @ISA = qw( Acme::MetaSyntactic::List ); |
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our $VERSION = '1.000'; |
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__PACKAGE__->init(); |
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1; |
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=encoding utf8 |
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=head1 NAME |
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Acme::MetaSyntactic::counting_to_one - The "movies where you count up to one" theme |
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=head1 DESCRIPTION |
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This list gives the names of some movies |
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where you only need to count up to one or, |
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in some cases, up to zero. More precisely: |
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If you count the number of gunshots in I |
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(a Korean-war film), you obtain a count of one. |
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The same thing with I (a WWII movie) |
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gives a result of zero. |
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If you count the number of surviving characters at the end |
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of I, you obtain a count of one. |
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If you count the number of female characters |
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in I, you obtain a count of one. |
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On the other hand, if you count the number of male characters |
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in I (I), you obtain a count of one. |
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If you count the number of times you see John Belushi's |
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eyes in I, you obtain a count of one. If you prefer Dan Acroyd's |
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or Cab Calloway's eyes, you obtain a count of zero. |
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If you count the number of times the word "Mafia" is pronounced |
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in I, you obtain a count of zero. |
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If you count the number of alphabetic characters in Truffaut's |
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I, not taking into account the books |
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being burned, you obtain a count of zero. |
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If you count the number of scenes which include a horse in |
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I, you obtain a count of one. |
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At the end of the same movie, if you count the number of names appearing in the final |
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credits, you obtain a count of zero. |
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If you count the number of words said during |
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Mel Brooks' I, you obtain a count of one. |
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If you count the number of sexy scenes in I |
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(the Errol Flynn and Olivia de Havilland version), you obtain a count of one. |
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If you count the number of times Grace Kelly appears naked in |
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I, you obtain a count of one. |
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If you count the number of times Humphrey Bogart says "Play it again |
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Sam" in I, despite what the movie buff lore says, you |
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obtain a count of zero. |
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If you count the number of sequences in I, |
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you obtain a count of one. |
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If you watch I to have a look |
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at Caroline, you will see her only once. |
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In most war movies, |
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the delay between the instant you see an explosion and the |
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instant you hear it is zero seconds. |
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To these movies, we can add several other movies based |
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on Tennessee William's plays, which follow the |
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classical French theater's I: |
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one day, one place, one plot. |
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And of course, we can add any Buster Keaton film, |
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in which you might count the number of times Buster Keaton smiles, |
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as well as any Marx Brothers film, in which you can count the |
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number of times Harpo speaks. |
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=head2 Explanations |
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=over 4 |
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=item M*A*S*H |
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The gunshot occurs during the football match, to mark the |
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end of the first period of the game. |
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=item The Man Who Never Was |
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This movie is rather a spy movie that takes place during |
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World War II. It presents the deception operation prior to |
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the landing in Sicily, which consisted in releasing the |
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corpse of a so-called "Major Martin", with forged secret |
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documents, so this corpse would land in neutral Spain. |
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The British hoped that the German agents in Spain would |
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have access to the forged documents, believe them genuine |
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and report their findings to Berlin. The movie describes |
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the preparation of the operation and the mission of a |
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German agent in England to check the background of "Major |
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Martin". So, this film contains no gunshot, only one |
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axis character and one corpse. |
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=item The Trench |
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This film describes the Somme Attack on 1st July, 1916, which may have |
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been the most murderous day since the birth of mankind until the |
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bombing of Hamburg in 1943. Therefore you might think that there would |
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be no survivor among the main characters (that is, excluding the poge |
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colonel and the cinema team). Yet, there is one survivor, the soldier |
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who had his jaw smashed by a sniper shot and who was casevac'ed on the |
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eve of the Somme attack. |
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=item Dr Strangelove |
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The female character is Miss "Foreign Affairs", General Turgidson's |
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secretary, who appears also in the centerfold of the Playboy issue |
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Major Kong is reading. |
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See L |
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=item The Blues Brothers |
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153
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The scene where we can see Jake's eyes is the scene in the sewer tunnel where |
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Jake is at last face-to-face with his former wife-to-be, played by |
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Carrie Fisher. |
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=item Fahrenheit 451 |
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159
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Ray Bradbury's book is about a future where books are banished, |
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lest they'd be tought-provoking. François Truffaut's film is |
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about a future where every single alphabetic character is banished, |
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not only the thought-provoking ones inside the books, but also |
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the utilitary characters such as "exit", "walk"/"don't walk", |
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"in", "out". When a character's personal file is briefly shown, |
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we can only see numbers. This goes to such length that the credits |
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are not written on the screen, but spoken by a narrator. |
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The contributor likes Ray Bradbury's book. |
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=item Monty Python's Holy Grail |
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The scene with a horse is the scene in which a professor |
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is murdered. As for the final credits, there are none. |
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=item Silent Movie |
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The only word spoken during this film is Mime Marceau's answer |
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to Mel Brooks: "No!" |
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=item Robin Hood |
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In this film, a "normal" scene is a scene where Maid Marian |
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wears clothes and headgear covering everything except part of her face, |
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from the forehead to the chin. A "sexy" scene is a scene |
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in which Maid Marian appears with her whole bare head: |
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face, ears, long flowing hear. Yet, from the neck down, |
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she is still fully clothed. |
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=item The Bridges at Toko-Ri |
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190
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This film includes a scene where Brubaker (William Holden), his wife |
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(Grace Kelly) and their two girls take a Japanese bath. But don't |
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hold your breath, the angles of view and the ripples in the water |
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prevent you from seeing more than the Hays Code would permit. |
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195
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=item Rope |
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This is a movie with five reels, yet with seemingly |
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only one camera shot. Actually, from time to time, |
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the camera zooms towards a dark object, such as |
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James Stewart's suit or the lid of a wooden trunk. |
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Then, when the camera zooms out, you notice a slightly |
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different rendering of the colors. But it is customary |
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to pretend not noticing that and to wonder how Hitchcock |
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did this feat. The contributor does not agree. This movie |
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is one of the few Hitchcock movies he dislikes. |
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=item Le Fils de Caroline Chérie |
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Actually, Caroline appears only something like 0.05 times, |
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rounded up to one. The entire movie is about her son, |
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living in Spain during the Napoleonic War and |
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looking for his mother. His quest is fulfilled at |
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the very end of the movie and he sees at last |
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her mother exiting from a stagecoach. But you |
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barely see her foot and ankle and the film |
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ends on this picture. By the way, nothing |
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ensures that this foot and this ankle are |
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Martine Carol's (the actress playing Caroline |
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in both other Caroline Chérie movies). |
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=back |
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223
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=head1 CONTRIBUTOR |
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Jean Forget. |
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=head1 CHANGES |
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|
|
|
|
|
229
|
|
|
|
|
|
|
=over 4 |
230
|
|
|
|
|
|
|
|
231
|
|
|
|
|
|
|
=item * |
232
|
|
|
|
|
|
|
|
233
|
|
|
|
|
|
|
2012-11-19 - v1.000 |
234
|
|
|
|
|
|
|
|
235
|
|
|
|
|
|
|
Published as the last theme submitted before |
236
|
|
|
|
|
|
|
the release of Acme-MetaSyntactic version 0.99, |
237
|
|
|
|
|
|
|
in Acme-MetaSyntactic-Themes version 1.028. |
238
|
|
|
|
|
|
|
|
239
|
|
|
|
|
|
|
=item * |
240
|
|
|
|
|
|
|
|
241
|
|
|
|
|
|
|
2012-10-21 |
242
|
|
|
|
|
|
|
|
243
|
|
|
|
|
|
|
Jean selected I as the theme name. |
244
|
|
|
|
|
|
|
|
245
|
|
|
|
|
|
|
=item * |
246
|
|
|
|
|
|
|
|
247
|
|
|
|
|
|
|
2012-09-25 |
248
|
|
|
|
|
|
|
|
249
|
|
|
|
|
|
|
Updated version submitted by Jean Forget. |
250
|
|
|
|
|
|
|
|
251
|
|
|
|
|
|
|
=item * |
252
|
|
|
|
|
|
|
|
253
|
|
|
|
|
|
|
2006-07-11 |
254
|
|
|
|
|
|
|
|
255
|
|
|
|
|
|
|
Submitted by Jean Forget as the I theme. |
256
|
|
|
|
|
|
|
|
257
|
|
|
|
|
|
|
=back |
258
|
|
|
|
|
|
|
|
259
|
|
|
|
|
|
|
=head1 SEE ALSO |
260
|
|
|
|
|
|
|
|
261
|
|
|
|
|
|
|
L, L. |
262
|
|
|
|
|
|
|
|
263
|
|
|
|
|
|
|
=cut |
264
|
|
|
|
|
|
|
|
265
|
|
|
|
|
|
|
__DATA__ |