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This document describes the syntax and semantics of the template engine and will be most useful as reference to those creating Jinja templates. As the template engine is very flexible, the configuration from the application can be slightly different from the code presented here in terms of delimiters and behavior of undefined values.

A Jinja template is simply a text file. Jinja can generate any text-based format (HTML, XML, CSV, LaTeX, etc.). A Jinja template doesn’t need to have a specific extension: .html , .xml , or any other extension is just fine.

A template contains variables and/or expressions , which get replaced with values when a template is rendered ; and tags , which control the logic of the template. The template syntax is heavily inspired by Django and Python.

variables expressions

Below is a minimal template that illustrates a few basics using the default Jinja configuration. We will cover the details later in this document:

The following example shows the default configuration settings. An application developer can change the syntax configuration from {% foo %} to <% foo %> , or something similar.

There are a few kinds of delimiters. The default Jinja delimiters are configured as follows:

Template variables are defined by the context dictionary passed to the template.

You can mess around with the variables in templates provided they are passed in by the application. Variables may have attributes or elements on them you can access too. What attributes a variable has depends heavily on the application providing that variable.

You can use a dot ( . ) to access attributes of a variable in addition to the standard Python __getitem__ “subscript” syntax ( [] ).

The following lines do the same thing:

It’s important to know that the outer double-curly braces are not part of the variable, but the print statement. If you access variables inside tags don’t put the braces around them.

If a variable or attribute does not exist, you will get back an undefined value. What you can do with that kind of value depends on the application configuration: the default behavior is to evaluate to an empty string if printed or iterated over, and to fail for every other operation.

Implementation

For the sake of convenience, in Jinja2 does the following things on the Python layer:

works mostly the same with a small difference in sequence:

This is important if an object has an item and attribute with the same name. Additionally, the filter only looks up attributes.

Filters

Variables can be modified by filters . Filters are separated from the variable by a pipe symbol () and may have optional arguments in parentheses. Multiple filters can be chained. The output of one filter is applied to the next.

For example, will remove all HTML Tags from variable and title-case the output ().

Filters that accept arguments have parentheses around the arguments, just like a function call. For example: will join a list with commas ().

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below describes all the builtin filters.

Beside filters, there are also so-called “tests” available. Tests can be used to test a variable against a common expression. To test a variable or expression, you add is plus the name of the test after the variable. For example, to find out if a variable is defined, you can do name is defined , which will then return true or false depending on whether name is defined in the current template context.

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Journal Article
Ciaran Ross
Vol. 11, SAMUEL BECKETT: ENDLESSNESS IN THE YEAR 2000 / SAMUEL BECKETT: FIN SANS FIN EN L'AN 2000 (2001), pp. 64-73
Published by: Steve Madden Paulsen Amazon Cheap Price Supply Sale Online u0iiVG24
Stable URL: https://www.jstor.org/stable/25781356
Page Count: 10

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Samuel Beckett Today / Aujourd'hui
Description:

A refereed bilingual journal, () has established itself as one of the leading international journals in the dynamic field of Beckett studies. A guiding principle of the journal is its openness to diverse disciplinary domains, theoretical perspectives, and discourse styles of scholars writing on Beckett. Bilingual since its inception, it aims to foster dialogue across languages, cultures, and disciplines. The journal welcomes submissions in English and French from all parts of the world provided they contribute a new understanding to the extensive literature on Beckett and meet the tests of readability and scholarship.

La revue bilingue (), a su se faire reconnaître comme une des revues internationales de pointe dans le domaine très dynamique des études beckettiennes. L’un des principes directeurs de cette revue est son ouverture à la diversité des champs d’étude, des perspectives théoriques et des approches stylistiques des chercheurs travaillant sur Beckett. Bilingue depuis sa fondation, la revue cherche à encourager le dialogue entre les langues, les cultures et les disciplines différentes. La revue accueille des propositions en anglais et en français provenant de tous les coins du monde, pourvu que celles-ci, en s’inscrivant dans la liste déjà longue des études sur Beckett, contribuent à apporter une compréhension nouvelle de cette œuvre, tout en répondant aux critères requis de lisibilité et de sérieux scientifique. Les propositions sont soumises au contrôle évaluatif par les pairs.

Coverage: 1992-2012 (Vol. 1 - Vol. 24)
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I've always loved the sound of a good rock line with the bass following the guitar but an octave underneath. Drive My Car is a perfect example of this. Probably not the first, definately not the last, but especially under the "Baby you can drive my car and maybe I'll love you"" line it definately works. (Note: since this article was written, the possibility has come up that some songs from Rubber Soul were recorded with his brand new Rickenbacker as alluded to by Paul himself. If so, it's not clear which songs they might be, but Drive My Car stands as a distinct possibility. The bass sound is punchy and carries that certain edge that is inherant in Rickenbacker basses.

DRIVE MY CAR

MICHELLE I would be remiss in dismissing '64/'65 without a mention of the lovely work he does on Michelle, right? Right. Smooth, flowing, legatto. Discussing the bass (or any parts) on Michelle is like discussing a fine wine. Listening to it causes one to raise one eyebrow, ala Spock, and say "Ahhhhh, yes. Observe the way the bass counters the guitar parts, subtly keeping the music interesting and yet remaining tastefully in the background so as not to disturb the superb vocalization. Ahhhh, priceless."

MICHELLE

TECHNIQUES By this time, Paul had mastered two techniques. With his left (pick) hand, he had learned that he could get much more control and attack by beginning a note with the pick right on the string. As mentioned above, many guitar-players picking up a bass tend to bounce the notes. This technique allows far more control over the sound.

TECHNIQUES

With his right (non pick) hand, he had mastered sliding up to a note. For example, to play an E using this technique, you start on the D just below it with your index finger and hammer down your ring finger on the E immediately without picking again. He was to use the technique more frequently from Revolver on.

The recording of Revolver began in early April, 1966. Paperback Writer was recorded on April 14th. If those people that were digging up the Paul Is Dead clues had placed his death between November 11th 1965 (the final Rubber Soul session) and April 6th, 1966 - I'd probably believe them. Picking November or whatever it was wasn't wise.

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And why? Because it's a whole new bass player who emerged on June 10th, the day Paperback Writer and Rain was released as a single. Man!

PAPERBACK WRITER

Sigh. What a period of time that was. You'll generally read reviews of Paperback Writer stating it to being fairly weak. If I could stand here and burn each one of those reviews, I'd do it. (Well yes, I am standing now, shaking my fist at the Rotten Reviewers.) Perhaps they demanded better lyrics. The lyrics, while not earth-shattering aren't bad. But the reviewers miss the point entirely, as usual. It wasn't PBW's lyrics. Prominent lyrics would have just gotten in the way. It's the sound, the incredible feel. How someone could listen to that and call it weak? . . . I'll calm down now. Sitting down again. George plays the heavy hook line on his (I believe) Gretsch Country Gentleman and then keeps the rhythm solid with a lead/rhythm line through the verses, while John plays a heavily tremiloed (I love it) guitar. The mix of the two really moves the song. The vocals are extra-ordinary! Ingeniously arranged and recorded with flash and style. But, in the eyes of history, it's the bass that really cuts this song. His bass fills leading into the verses are by now legendary. It was one of the first major hits - along with it's flip side - that really featured bass.

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