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Monstrous Evidence:

Detecting Monsters in Fin de siècle fiction

Karen E. Macfarlane

Mount Saint Vincent University, Halifax, NS, Canada

“’A most extraordinary case has cropped up’ [the inspector’s voice came over the telephone],….’The body of Sir Marcus Coverly has been found in a crate [as it was] being lowered into the hold of the S.S. Oritoga at the West India Docks…’. I hurried to the docks…Thereupon I looked about me, and the scene which I beheld was so strange and gruesome that its every detail remains imprinted on my memory….On [a] stretcher, so covered up that only his face was visible, lay one whom at first I failed to recognize, for the horribly contorted features presented a kind of mottled green appearance utterly indescribable. Stifling an exclamation of horror, I stared and started at that ghastly face and then: ‘My God!’ I muttered, ‘Yes! It is Sir Marcus!’” (Rohmer 16, 17,20). Sax Rohmer’s representation of the murder that introduces the central mystery in his 1920 novel, The Green Eyes of Bast incorporates all of the elements of the imperial gothic detective story that I want to discuss today: The body at the centre of the scene is physically on the margins of imperial authority and territory; it is, initially, at least, indecipherable, transformed and unnamable; it is a spectacle that infuses the narrator with horror and robs him of words; and its identity and its presence is something that he, provisionally at least, ultimately explains and identifies.

The mysterious appearance of an unaccountable body is an essential and recognizable element of detective fiction. When a body is out of place, unrecognizable, or otherwise disruptive, it becomes the object of scientific, logical inquiry until it is resorted to its proper place in the social order. The twin assumptions that shape classic detective fiction are first, the

belief that the mystery that the body represents can be and should be solved and second, that the system through which that solution will come – logic, scientific evidence, appeals to past or common practice and relations – is known, stable and unambiguously applicable to the case at hand.

In this sense, the bodies that appear in detective fiction act as markers of a transgression of “the peaceful order of England” (Rietz xix) and the focus of the detectives who investigate them is to restore that order. The detectives themselves can thus be understood as the “primary agent[s] in the Englishing of imperial authority” (Rietz 66). Detective stories, Ronald R. Thomas has argued, “help to provide reassurance [and] respond to specific historical anxieties”

(6). At the fin de siècle, the English detective’s attention expanded from an earlier focus on defending systems of control that maintained domestic/social order to include those that bolstered the national/imperial order. Caroline Reitz has noted that the figure of the English detective is “a site of profound cultural struggle over the meaning of English authority” (xxi) and that imperial detective stories enact a “dialogue about what both comprises and compromises imperial authority – and English identity itself “(75). In this sense, the detective becomes a powerful agent of empire through his ability to identify and regulate alien incursions into domestic space and threats to the national status quo. As such, the fin de siècle English detective was preoccupied with establishing and maintaining order and enacting a regulatory surveillance by carefully amassing and deploying systems of knowledge. Sherlock Holmes’ now clichéd statement, “when you have eliminated the impossible, whatever remains, however improbable, must be the truth” (Sign 51), epitomizes the focus and structure of detective novels which are preoccupied with the regulatory power of logic, systems of classification and epistemological

certainty. They embody the Victorian belief in the power of comprehensive knowledge in the perpetuation of British Imperial control.

In the works that I’m discussing here, though, detectives are confronted with the ultimate symbol of broken boundaries and the inadequacy of comprehensive systems of knowledge: the monster. My discussion today focuses on the ways in which the intrusion of the monstrous body (generally the product of an unregulated movement between epistemic systems in or from imperial spaces) destabilizes the power of the fictional detective’s access to and use of comprehensive knowledge at national and imperial boundaries. The appearance of the occult as an “other”, unregulated system of knowledge belies the epistemological certainties of the Victorian detective and becomes a way of exploring fin de siècle cultural anxieties about the inadequacy of the fantasy that connected a belief in comprehensive knowledge with imperial control.

For Richards, knowledge is at the core of myths of British imperial control and power. He argues that British fantasies of empire were based on economies of knowledge and the fact that not only did the British have “superior” scientific knowledge of the world, but that their forms of categorizing and defining the Other were the primary source of their power. Possessing knowledges, in turn, “made possible the fantasy of [a series of narratives] in which the control of Empire hinges on a British monopoly over knowledge”(Richards 7). The imperial project’s emphasis on knowledge was also inscribed as a fundamentally civilizing one. “England,” John Ruskin wrote in 1873, “must guide human arts, and gather the divine knowledge, of distant nations, [who must be] transformed from savageness to manhood, and redeemed from despairing into peace” (KSM 278). Or, as Cecil Rhodes contended in 1877, the British were “the finest race

in the world and… the more of the world we inhabit the better it is for the human race. [We are] the best, the most human, most honourable race the world possesses” (KSM 279).The belief in the transformative influence of European civilization on colonized peoples functions in many ways like Mesmer’s notion of animal magnetism which is, he says, “a fluid, universally diffused medium… of mutual influence … communicated from one body to other bodies” (Haddock 354). While I don’t want to take this particular connection too far, Mesmer’s very popular notion of the “communication” of a “fluid, universally diffused medium” works as a metaphor for the representation of European influence in imperialist texts and allows us to think about the problematics of the imperial project and the ways that its ideological investment in its

”influence” is represented as a troubled, troubling project in the gothic texts of empire. The body that moves between centre and margins, the body that is infused with authority and a stable, “superior” identity, becomes -- in these stories -- an uncanny space that mediates between the rigorously defined representations of colonizing Self and colonized Other that underpin the logic that sustains empire.

Late nineteenth century Britain’s fantasies of “an empire united not by force by information”(Richards 1) were bolstered, by the elaborate networks of accumulated knowledge that formed what Thomas Richards has called the imperial archive: “The administrative core of the Empire [was] built around knowledge-producing institutions like the British Museum and the Royal Geographical Society, the India Survey, and the universities” (4). The purpose of the archive was to collect and assimilate as many kinds of knowledge as its agents could manage and to place this new information into already existing categories. So, ultimately, all knowledge – no matter how alien or apparently antithetical to Western epistemologies -- could be domesticated

and familiarized in order that it could be domesticated and classified as Western knowledge. By the early part of the twentieth century, the powerful mechanisms that had set about collecting and assimilating the knowledges of the world were beginning to display signs of weakness. The once far-fetched notion that what Foucault calls “subjugated knowledges” (“Two” 81-2) could “subvert or pollute the British epistemological networks”(Hevia 248) became increasingly real. Indeed, as James Hevia has argued, acquiring and processing knowledge in these networks became fraught with bureaucratic blundering and logistical problems: at times one sort of information, one set of data was superceded before it was even assimilated into the system. In this sense, an uneasiness about the transitory nature of knowledge began to creep into the institutions that sustained the archive – and by extension, the empire – and from there, of course, into the imagination of the public. The resulting awareness that “knowledge itself appeared to be transitory…raised the spectre of epistemological relativism…of doubt and uncertainty” (248). The all-too Victorian performance of certainty that the imperial archive represents was being supplanted by the turn of the century by a modernist notion of relativism, instability and fragmentation.

The works that I’ll discuss here focus on the intrusion of the occult as a form of “other”, unclassified knowledge that signals the potential for destabilization that belies the of the detective’s epistemological certainties . Specifically, my focus here is on the ways in which unstable, unclassifiable bodies from and in imperial spaces signal anxieties about the dissolution of empire (Brantlinger 227). In these texts, it is not only the English body that is unstable, it is, more horrifically the racial and cultural positions that that body signifies that become unmoored from their ideological apparatus.

Monstrous bodies are inherently, and necessarily, unstable. They embody the limits of Western (represented by the detective) knowledge. They are connected with early scientific anomalies that exist outside of categorization. For Foucault, “the monster is the transgression of natural limits, the transgression of classification, of the table, of the law as table” (63). They are “a tacit admission that all knowledge is neither comprehensive in scope nor logical in

form”(Richards 53) that reveal a terrifying gap in imperial economies of knowledge. In an age, as Laura Otis has argued, when the empire was imaginatively constituted and represented as a body, either vigorous or infected, inviolate or in peril, whole or in fragments, (Otis 100, 118), bodies in imperial gothic act as markers for the stability of imperial control. The staggering and horrific in stability of the monster signals a profound anxiety about contamination and degeneration. Monsters appear in late imperial discourse at the increasingly indeterminate point of intersection between the knowable and the unknowable, between science and magic, between culture and barbarity. Discussing a different set of cultural inscriptions and intersecting systems, Judith Butler argues that bodies “are synechdochal for the social system per se … [and] any kind of unregulated permeability constitutes a site of pollution and endangerment” (168). Monstrous bodies have a similar discursive function. They are inherently unregulated and permeable. The monster exposes and enacts limits. It is liminlity. It is the function of corporeality in culture and in the texts that create and sustain culture. For Jerry Jerome Cohen, the monster is “best understood as an embodiment of difference, a breaker of category, a resistant Other known only through process and movement, never through dissection table analysis” (x). For both Butler and Cohen, the body (and in Cohen’s case the monstrous body) is a strategically shifting, re-active signifier not in culture, but of culture.

Arthur Conan Doyle’s Sherlock Holmes, himself a sort of archive, is for most, the paradigmatic English detective. Holmes’ certainties seem to preclude the appearance of monstrous bodies. In the stories in which these seem to appear, in The Sign of Four for example, when the marks left by the intruder stymies Watson’s understanding of human anatomy and Jonathan Small’s mutilated body or Tonga’s alien one suggests a terrifying deviation from the normal, Holmes is able to restore order by knowing and recognizing these bodies as they are categorized in the narrative of imperial encounters. Holmes’ knowledge restores both the supremacy of the imperial archive and the body of the Other to its rightful place. In the two stories in which what we might classify as classic monsters appear, “The Sussex Vampire” and “The Creeping Man”, both published in 1927, Holmes turns briefly from Victorian certainty to modernist instability and undecidablity. In “The Sussex Vampire”, Holmes asserts definitively that “the idea of a vampire was to me absurd. Such things do not happen in criminal practice in England” (547). That Holmes qualifies his statement to limit the absurdity that the vampires represents to places other than England is telling, but that he resolves the mystery by proving not vampirism but a murderous child and maternal devotion effectively disproves occult intrusions into English space and restores rational order to domestic sphere.

In “The Creeping Man”, however, Professor Presbury, the “famous Camford physiologist, …a man of European reputation” (589, 590), is transformed from esteemed professor and hard-headed man of science to a terrifying simian creature who walks on all fours, scales walls and displays irrational bouts of temper. Significantly, “his intellect was not affected. His lectures were as brilliant as ever. But always there was something new, something sinister and unexpected” (591). As the story unfolds, Holmes discovers that the professor has been

injecting himself with a serum made from the fluids of Himalyan monkeys. For Holmes, the solution of the mystery signals a clear flaw in the professor’s desire for youth, vitality and knowledge. His is a transgression of scientific principles – an contamination of the intellect that has been manifest on his body. While Holmes clearly solves this mystery by revealing the cause of the mysterious transformation and restoring the professor to his rational self, the story concludes with the unsettling revelation that the material for such experiments are still out there and that the quest for knowledge and physical superiority has its unsettling gothic double.

The intrusion of the monstrous body (generally the product of an unregulated movement between epistemic systems in or from imperial spaces) destabilizes the fictional detective’s role as the protector of national and imperial boundaries. While the unshakably rationalist Sherlock Holmes inevitably solves the mysteries of monstrous bodies that appear in his stories through his access to wide-ranging systems of classification, Kipling’s Strickland, a detective who “knows as much of natives of India as is good for any man” (293) in “The Mark of the Beast”, is forced to acknowledge the limits of his knowledge in order to save his friend, Fleete, from the “silver leper’s” curse—a curse that has changed the Englishman into a werewolf. Similarly, in Sax Rohmer’s 1920 novel The Green Eyes of Bast, the daughter of an English noble family has been cursed by an ancient Egyptian spirit and, as a result, is half-woman, half-cat. In each of these stories, the detective is forced to acknowledge, and often participate in, competing epistemological systems. In both of these stories, the English body becomes monstrous at the geographic and epistemological edges of Empire and the detectives are left in the precarious space between native and English epistemologies.

In The Green Eyes of Bast, Addison is a London journalist who becomes involved in the

investigation of a series of mysterious murders in which the figure of Bast, the ancient Egyptian cat-headed goddess, repeatedly appears. The search for the murderer leads first to a sinister “Eurasian” doctor (as he is endlessly described) whose chambers are filled with a mixture of scientific apparatus and artifacts from Egyptian tombs, through a series of London neighbourhoods until finally the story of the aristocratic Coverly family (the bodies of whose heirs are scattered through the text) is revealed. The crux of the story depends on the fact that (now follow me here) the most recent Lady Coverly, it seems, was badly frightened while in “a delicate state of health”(277) by an enormous cat in the place that had once been the ancient Egyptian city of Bubastis, the centre of the worship of Bast on, coincidentally enough, the night of the feast of Bast. The child that was born a few months later displays a shifting blend of feline and human characteristics and is removed from the family and raised in the “Orient”. When she grows up the child (Nahema), eventually travels to England and seeks revenge on her noble family for being denied her place in English society.

In the “Mark of the Beast” the “cure” for the transformation of the English body is an unrepresentable degeneration not only for Fleete, but for his companions as well. In The Green Eyes of Bast, the child of empire is a nightmarish blend of beliefs, histories and zoological classifications for whom there is no “cure” except death. In both of these cases the monster is a threat not only to him or herself, or even simply to those around them, but, as Cohen suggests, to “the very cultural apparatus through which individuality is constituted and allowed”(12). In these stories, it is not so much individual identity that is threatened by the inability to solve a mystery definitively, but the coherent, collective identity that sustains the imperial project. In Kipling’s story, Fleete’s drunken desecration of the temple is a result of his inability to understand the

“gods of the heathen”. The result is a physical, rather than an intellectual or spiritual, manifestation of the unknown upon the English body. But even Strickland’s formidable knowledge is of the “Oriental mind” is stymied by the events that follow. He “was baffled…completely. Strickland hates being mystified by natives, because his business in life is to overmatch them with their own weapons. He has not yet succeeded in doing this, but in fifteen or twenty years he will have made some small progress”(296). This rather ironically worded description of Strickland’s authority expresses the level of anxiety about the unknowable that is at the centre of this story.

Almost immediately after leaving the temple, Fleete begins to exhibit signs of transformation. He has a mark, like a leopard’s spot, on his chest. He craves underdone meat and eats with appalling manners. His initial transformation into an animal is attributed to his “living among in the hills out of reach of society” (298) but ultimately it is not only his manners that are being changed: “His eyes were horrible to look at. There was a green light behind them, not in them…and the man’s lower lip hung down” (300). The howl of a wolf emanates from his room and is answered by another howl from “far across the fields”. He “made beast noises in the back of his throat. He could not answer us when we shouted at him. He spat…we were dealing with a beast that had once been Fleete” (301). Fleete’s regression from human to beast is articulated along three intersecting trajectories here: first, he shifts from the familiar to the uncanny. Secondly, he loses his connection with the English spaces in his Indian context and moves toward a problematic affinity for the indigenous: the well-bred Anglo-Indian horses, for example, are terrified of him, but the indigenous wildlife answers and embraces him. Finally, he loses his power of speech, something that ultimately contaminates the rest of the narrative, which

almost immediately becomes riddled with silences and omissions. The scene in which the “Silver Man” is captured and tortured in order to “cure” Fleete is ultimately unspeakable and unrepresentable in the western text: the events are “beyond description”, and “cannot be put down here”. Fleete’s degeneration is similarly “beyond any human and rational experience” (301) and his descent contaminates his friends, drawing them into the realm of the barbaric and the unspeakable and even moving them beyond the racial and cultural definitions of Englishness: they describe themselves as having “disgraced ourselves as Englishmen forever” (306). Strickland, the rational, the keeper of the Imperial archive, silences the narrator’s attempt to quote Hamlet’s “there are more things on heaven and earth…” For him, the mysterious, the things beyond his philosophy are sites of horror and failure.

Like Fleete, Nahemah, the monstrous half cat, half woman in The Green Eyes of Bast threatens the integrity of English society and its core of racial purity. Rohmer explores the implications of blending the knowledges of East and West, of ancient Empire and contemporary Empire by imagining what their offspring would look like. Nehamah mediates between the discourses she inhabits: drawing each of them to their gothic conclusion. The result is a monstrous, destructive force who is both physically distant from, yet irrefutably connected to the centre of imperial control. She is not simply an animal/human hybrid but a complex blend of cultures and cultural texts. Greefe, the doctor whose life’s work has been focused on classifying types of hybridity, notes that she matured “and had (by day) the eyes of an Oriental” and describes her having “the features of a perfect Ancient Egyptian regularity …At the age of twelve she was tall, [and] slender, beautifully formed and with a natural elegance and taste which came from the Coverly stock” (278) and, of course, during the festivals of Bast, she is more

predatory cat than human. In this sense, Nahema monstrously embodies self and other, past empire and present, animal and aristocrat.

These figures add a potent ideological layer to Kelly Hurley’s argument about the “abhuman”, those “human bodies [she says] that have lost their claim to a discrete and integral identity… bodies that occupy a threshold between two terms of an opposition”(190). Throughout The Green Eyes of Bast, for example, the focus is on individual spaces and bodies that are unclassified and unclassifiable. Dr. Greefe sees himself as the discoverer of a “hitherto unclassified law of embryology” (268). The novel is structured around indecipherable bodies: from Sir Marcus’s corpse: through repeated descriptions of Dr. Greefe as an uncanny blend of figures from Ancient Egyptian mythology, racial and cultural signifiers. These depictions of “uncanny” bodies culminate in the literally shifting, unspeakable body of Nahemah that is the real mystery that needs to be solved, but whose monstrosity never allows for definitive conclusion: “Vaguely defined as if in smoke I could perceive the body of the creature to which [the two huge green eyes] belonged. It was slender and sinuous and sometimes I thought it to be that of a human being and sometimes that of an animal. For at one moment it possessed the lines of a woman’s form and in the next, with those terrible eyes regarding me from low down upon the ground, it assumed the shape of a crouching beast of prey”(119). Nahema’s body is, to use Hurley’s terms “fluctuating, admixed and abominable” (195); indescribable in oppositional terms, and like Fleete, unintelligible in the terms of any single definitive categorization.

For Fleete, Nahemah and even Doyle’s Professor Presbury, the instability of the European body at the contacts zones of empire is significantly one that is articulated in terms of going from human to animal. This differentiates the gothic and monstrous representations from

other Imperialist texts in which the kind of atavism that Patrick Brantlinger describes is located in a fear of “going Native”. This shift away from humanity is, again, part of the anxieties at the core of imperial discourse played out to their gothic extreme. Remember Rhodes’s insistence that the English are the “most human”; so therefore the move to -- and beyond -- the animal in these texts places the characters outside of the farthest outposts of recognizable humanity and into horrific moments of uncanny indigenization. Fleete’s and Nahema’s monstrosity is as a direct result of a desecration of, or disregard for, the indigenous knowledge and beliefs. Their resulting transformation alienates them not only from English culture but from all human cultures – from humanity on a very fundamental level.

The intrusion of the monster into detective stories can be understood as both the effect of a modern shift toward undecidability and as an exploration of anxieties about the imperial project and the stability of imperial borders. Its presence means confronting both the understanding and the incomprehensibility of the multiple and potentially conflicting positions that exist simultaneously in these transformed English bodies. Articulating imperialist anxieties through the monstrous European body in these gothic texts reveals a site of mediation that allows for an exploration of the complexities of both imperialist master narratives and the figures who act as uncanny mediators between colonizer and colonized. For these detectives who confront the effects of the intrusion of uncanny knowledges into the imperial centre, the paradigmatic red map of empire has written across it in bold, but almost invisible letters, “here be monsters”.

Works Cited

Brantlinger, Patrick. Rule of Darkness: British Literature and Imperialism, 1830-1914. Ithaca: Cornell UP, 1990.

Doyle, Arthur Conan. “The Creeping Man.” Sherlock Holmes: The Complete Novels and Stories.

Vol.II. London: Bantam Books, 1986. 587-605.

---- . The Sign of Four. New York: Penguin, 1982.

Foucault, Michel. Abnormal: Lectures at the Collège de France, 1974-1975. Trans. Graham Burchill. NY: Picador. 1999.

Haddock, Joseph W. “Somnolism and Psycheism…” in Richard Marsh. The Beetle. Ed Julian Wolfreys. Peterborough, On. Canada: Broadview Press, 2004. 353-356.

Kipling. Rudyard. “The Mark of the Beast.” Collected Stories. NY: Alfred A. Knopf, 1994. 293-307.

Morey, Peter. Fiction of India: Narrative and Power. Edinburgh: Edinburgh UP., 2000. Richards, Thomas. The Imperial Archive: Knowledge and the Fantasy of Empire. New York: Verso, 1993.

Reitz, Caroline. Detecting the Nation: Fiction of Detection and the Imperial Venture. Columbus: Ohio State UP., 2004.

Rohmer, Sax. The Green Eyes of Bast. NY: McKinlay, Stone and MacKenzie, 1920.

Siddiqi, Yumna. Anxieties of Empire and the Fiction of Intrigue. NY: Columbia UP., 2008. Thomas, Ronald R. Detective Fiction and the Rise of Forensic Science. Cambridge: Cambridge UP., 1999.

Thompson, John. Fiction, Crime and Empire: Clues to Modernity and Postmodernism. Urbana: U of Illinois P., 1993.

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XXXXX业务合作协议 协议编号:本协议由以下双方××××年××月××日于××××签署并开始生效。 甲方: 地址: 邮编: 电话: 传真: 电子邮件: 联系人: 乙方:XXXXX(杭州)信息技术有限公司 地址: 邮编: 电话: 传真: 电子邮件: 联系人:

目录 一、合作目的 二、合作模式 三、合作阶段 四、双方权利和义务 五、费用结算 六、违约责任 七、双方陈述和保证 八、双方法律关系 九、知识产权 十、保密 十一、不可抗力 十二、协议有效期和解除 十三、适用法律和诉讼管辖 十四、附则

甲乙双方本着平等互利、优势互补、共同发展的原则,经过友好协商,在真实、充分地表达各自意愿的基础上,根据《中华人民共和国合同法》和相关法律法规的规定,就“ XXXXXX ”项目达成以下合作协议: 一、合作目的 在甲方XXXXXX 产品(或平台)合作项目中,甲乙双方充分利用各自资源优势,在甲方XXXXXXXXX 产品(或平台)中集成乙方实时协同工作平台软件,从而实现由乙方向甲方XXXXXXXXX 产品(或平台)用户(以下简称“用户”)提供实时协同工作平台软件许可使用的合作目的。 甲方XXXXXXXXX 产品(或平台)指: (产品具体介绍) 乙方实时协同工作平台软件(以下简称“乙方产品”)指:红杉通、网络视频会议系 二、合作模式 1.甲方作为××产品(或平台)的技术服务提供方,向乙方提供相应的技术支持服务。 2.乙方产品与甲方××产品(或平台)进行集成,向甲方提供相应的技术支持服务。 3.甲方××产品(或平台)统一使用甲方品牌面向用户。乙方保留自身产品的LOGO、公司名; 乙方保留安装在客户端系统快捷入口的自身LOGO、公司名,乙方保留集成甲方产品(或平台)后系统快捷入口的自身LOGO、公司名。 4.甲方提供其客户服务系统作为用户统一的咨询、投诉受理中心。 5.乙方为甲方和用户设立专门的业务咨询和投诉受理渠道和机构,并向甲方提供具体的联 络方式,负责处理甲方客户服务系统转送的咨询和投诉。 6.甲方负责××产品(或平台)业务整体的市场策划、推广、媒体宣传等,在甲方对乙方产 品的宣传和推广中,与乙方协商确定其产品的优惠定价、折扣比例等。乙方全力配合甲方的推广活动。 三、合作阶段 1.验收阶段:自本协议生效之日起至××××年××月××日。前述期限内,如双方协商 一致,可将该期限进行相应的延长或缩短。在该阶段,双方合作进行各项调试工作,产品最终需达到双方约定的测试验收标准。 2.试运营阶段:验收阶段结束之日起至××××年××月××日止。前述期限内,如双方 协商一致,可将该期限进行相应的延长或缩短。在该阶段,乙方按本协议第五条的约定向用户优惠提供其产品。试运营期结束后,如乙方产品运行稳定,经甲方书面确认后,

硬盘可能出现的故障大全

硬盘故障大全 硬盘故障大全 2.BIOS设置中硬盘模式的含义 3.Fdisk无法读取硬盘分区 4.Windows XP挂起到硬盘后的异常故障解决 5.报废硬盘维修实录 6.常见硬盘自举失败的分析 7.从死神手中抢回宝贵的硬盘数据 8.低格能否消除硬盘坏道 9.故障硬盘数据拯救全攻略 10.打开硬盘分区出错 11.解决多硬盘盘符混乱问题 12.解决硬盘坏磁道问题 13.硬盘引导型故障分析及排除 14.解开硬盘逻辑死锁的一种有效方法 15.开机启动时的硬盘故障分析及排除 16.利用DM软件使硬盘再生 17.令维修人员大跌眼镜的硬盘故障 18.启动时硬盘的停顿如何解决? 19.浅谈IDE硬盘常见故障与维护 20.巧用Ghost擦去硬盘坏扇区 21.巧装大硬盘上XP 22.如何维修硬盘坏道 23.什么样的“坏硬盘”可修复 24.谈谈硬盘出现物理坏道的迹象及修复技巧 25.挽救被损硬盘一例 26.挽救硬盘的几个方法 27.我的硬盘会打盹 28.小跳线解决硬盘容量限制 29.一次硬盘数据恢复的经验 30.一分钟教你辨别返修硬盘 31.移动硬盘故障的5种可能 32.硬盘保护卡安全漏洞及解决办法 33.硬盘编号一点通 34.硬盘不能分区的困惑、管路敷设技术通过管线敷设技术不仅可以解决吊顶层配置不规范高中资料试卷问题,而且可保障各类管路习题到位。在管路敷设过程中,要加强看护关于管路高中资料试卷连接管口处理高中资料试卷弯扁度固定盒位置保护层防腐跨接地线弯曲半径标高等,要求技术交底。管线敷设技术中包含线槽、管架等多项方式,为解决高中语文电气课件中管壁薄、接口不严等问题,合理利用管线敷设技术。线缆敷设原则:在分线盒处,当不同电压回路交叉时,应采用金属隔板进行隔开处理;同一线槽内,强电回路须同时切断习题电源,线缆敷设完毕,要进行检查和检测处理。、电气课件中调试对全部高中资料试卷电气设备,在安装过程中以及安装结束后进行高中资料试卷调整试验;通电检查所有设备高中资料试卷相互作用与相互关系,根据生产工艺高中资料试卷要求,对电气设备进行空载与带负荷下高中资料试卷调控试验;对设备进行调整使其在正常工况下与过度工作下都可以正常工作;对于继电保护进行整核对定值,审核与校对图纸,编写复杂设备与装置高中资料试卷调试方案,编写重要设备高中资料试卷试验方案以及系统启动方案;对整套启动过程中高中资料试卷电气设备进行调试工作并且进行过关运行高中资料试卷技术指导。对于调试过程中高中资料试卷技术问题,作为调试人员,需要在事前掌握图纸资料、设备制造厂家出具高中资料试卷试验报告与相关技术资料,并且了解现场设备高中资料试卷布置情况与有关高中资料试卷电气系统接线等情况,然后根据规范与规程规定,制定设备调试高中资料试卷方案。、电气设备调试高中资料试卷技术电力保护装置调试技术,电力保护高中资料试卷配置技术是指机组在进行继电保护高中资料试卷总体配置时,需要在最大限度内来确保机组高中资料试卷安全,并且尽可能地缩小故障高中资料试卷破坏范围,或者对某些异常高中资料试卷工况进行自动处理,尤其要避免错误高中资料试卷保护装置动作,并且拒绝动作,来避免不必要高中资料试卷突然停机。因此,电力高中资料试卷保护装置调试技术,要求电力保护装置做到准确灵活。对于差动保护装置高中资料试卷调试技术是指发电机一变压器组在发生内部故障时,需要进行外部电源高中资料试卷切除从而采用高中资料试卷主要保护装置。

最熟悉的通信常用的协议你了解吗

最熟悉的通信常用的协议你了解吗? 熟悉基本通讯协议 分类:默认栏目 一、TCP/IP: (1)掌握协议的构成成份。 (2)理解OSI模型、TCP/IP模型。 (3)掌握以太网的接入方法,以太网和802.3帧的区别是什么?了解无线以太网无线以太帧的构成。(4)第二层主要设备和工作原理。 (5)掌握IP层主要必须协议、IP编址、理解协议配置步骤。 (6)理解传输和应用层主要协议功能。 二、七号信令 (1)掌握三种信令单元的功能。 (2)信令网组成。 (3)信令点编码。 (4)移动网和信令网的关系。 三、移动网 (1)GSM网络结构、信道、帧。 (2)GSM互联其他网络。 (3)GSM网络组成设备的功能。 (4)GSM的编号。 (5)MSC局数据步骤。 (6)GPRS网络结构。 (7)GPRS协议模型。 (8)GPRS路由管理。 (9)EDGE组网。(在欧洲使用,我们国家没有,所以只是作为了解内容) 第一、网络技术的基础(向移动通信软件开发人员转型的入门阶段)要学习通信协议,我们先从网络技术基础开始学起,这也是传统软件开发人员向移动通信软件开发人员过渡的入门知识,掌握这几个知识点后,你也就基本对计算机通信有个概念了。 在本阶段应该掌握以下知识点: (1)网络协议的概念。 (2)传输模式的种类和它们的区别。 (3)能够描述出OSI(开放系统互连参考模型)的七层。 (4)了解调频、调幅、调相的原理和区别。 (5)知道正交调幅的概念和解决的问题。 (6)知道脉码调制和脉冲幅度调制的区别。(模数转换的两种方式) (7)复用的概念及其主要的三种复用技术是什么? (8)FDM(频分复用)如何将多个信号组合为一个,又如何分开?FDM和WDM的相似之处和不同之处。(9)TDM(时分复用)的两种类型。TDM如何将多个信号合并成一个,又如何分开?

移动硬盘使用注意事项和常见问题

一、常见故障分析、 1、WD移动硬盘在WIN系统可以使用,但是连接MAC电脑却无法识别。 因为电脑Mac OS X 系统下默认使用HFS+格式的磁盘,WIN系统默认是FA T32或者NTFS格式,两者互不兼容,所以原则上只有在一个系统中使用。如果要两个系统兼容使用,可以用软件在WIN系统里把硬盘分区格式成FA T32格式,或者在MAC系统里用自带软件格式化成FA T32,但是有个问题就是超过4G以上的资料,无法拷贝,因为FA T32不支持。 2、Wd passport或者Mybook系列硬盘初次连接电脑,提示发现新硬件并且要求安装驱动,但是点击下一步却无法正确安装? 初次使用,系统识别到的硬盘的加密芯片,在没安装Smartware之前,驱动是无法正确安装的,但是不影响移动硬盘的使用。客户只需初次使用默认一下步操作就可以了。等客户安装了samrtware以后,再次插入电脑,系统就会识别到驱动了。 3、移动硬盘插入电脑,有发现新硬件,但是在“我的电脑”里看不到硬盘盘符? 首先先确认在“我的电脑”-“管理”-“磁盘管理”里是否有发现硬盘,如果有识别到,有可能就是移动硬盘被加密了;如果在“磁盘管理”都没有发现硬盘,那请重新拔插一下USB数据线,并且换一个电脑的USB接口试一下,再发现不了,可能出硬盘本身问题。 4、从电脑里无法把资料复制到移动硬盘里,或者拷贝速度极其缓慢? 一般移动硬盘的拷贝速度,举例来说2.5寸的USB2.0移动硬盘在电脑里传输速度在20M左右。如果在电脑拷贝资料倒移动硬盘的过程中,出现无法复制或在速度极其慢的情况下,我们首先要分析无法复制或者拷贝很慢的这个文件的实际容量大小。如果文件大小在4G以内,这时候可以用其他的存储设备来替换试一下,比如用优盘或者其他品牌的优盘,看是否还出现无法负责或者拷贝速度非常慢。一切正常的话,不排除硬盘本身质量问题。如果也是同样情况,那就是文件本身问题,直接删除,不要在纠结这个问题上了。其次,如果文件大小在4G以上,并且确定同一个硬盘拷贝4G容量以内的资料正常,那问题就出在硬盘的“分配单元大小”或者是分区文件系统格式上。在WIN系统上,文件系统格式有2种,FA T32跟NTFS 格式。如果用户分区是用FA T32,那超过4G是百分百拷贝不进去的,这个是格式不支持。如果分区是用NTFS格式,问题一般出在分配单元大小上。顾客可以把分区先右键格式化,然后可以在分配单元大小选项里选择默认,然后快速格式化,完毕以后测试一下是否超过4G可以正常拷贝,如果还是不行,那重新再格式化一次,在分配单元大小选项里选择4096字节,再快速格式化,一般就可以解决问题了。 5、硬盘无法分区,无法拷贝资料,在磁盘管理里硬盘属性变成RA W格式? RA W是一种文件镜像格式,一般不用于WIN系统中,当文件系统出错时,往往WIN系统会误认为是RA W(非FA T格式),即文件表错乱造成的。也可能是病毒照成的。

IEEE802.11协议详细介绍

协议X档案:IEEE 802.11协议详细介绍 作为全球公认的局域网权威,IEEE 802工作组建立的标准在过去二十年内在局域网领域内独领风骚。这些协议包括了802.3 Ethernet协议、802.5 Token Ring协议、802.3z 100BASE-T快速以太网协议。在1997年,经过了7年的工作以后,IEEE发布了802.11协议,这也是在无线局域网领域内的第一个国际上被认可的协议。在1999年9月,他们又提出了802.11b"High Rate"协议,用来对802.11协议进行补充,802.11b在802.11的1Mbps和2Mbps 速率下又增加了 5.5Mbps和11Mbps两个新的网络吞吐速率,后来又演进到802.11g的54Mbps,直至今日802.11n的108Mbps。 802.11a 高速WLAN协议,使用5G赫兹频段。 最高速率54Mbps,实际使用速率约为22-26Mbps 与802.11b不兼容,是其最大的缺点。也许会因此而被802.11g淘汰。 802.11b 目前最流行的WLAN协议,使用2.4G赫兹频段。 最高速率11Mbps,实际使用速率根据距离和信号强度可变 (150米内1-2Mbps,50米内可达到11Mbps) 802.11b的较低速率使得无线数据网的使用成本能够被大众接受(目前接入节点的成本仅为10-30美元)。 另外,通过统一的认证机构认证所有厂商的产品,802.11b设备之间的兼容性得到了保证。兼容性促进了竞争和用户接受程度。 802.11e 基于WLAN的QoS协议,通过该协议802.11a,b,g能够进行VoIP。 也就是说,802.11e是通过无线数据网实现语音通话功能的协议。 该协议将是无线数据网与传统移动通信网络进行竞争的强有力武器。 802.11g 802.11g是802.11b在同一频段上的扩展。支持达到54Mbps的最高速率。

公司之间业务合作协议(完整版)

公司之间业务合作协议 公司之间业务合作协议 ) 甲方: 乙方: 授权代表: 授权代表: 日期: 日期: 第三篇: 咨询业务合作协议 业务合作协议 甲方: 乙方: 经甲乙双方友好协商,就甲方接受乙方成为江苏**咨询有限公司(以下称“**公司”)股东并展开战略合作事宜达成如下约定,以便双方共同遵守: 一、甲方为**公司实际控制人,同意以万元向乙方转让公司出资额万元,占公司实收资本的。 二、乙方愿意以上述对价成为**公司股东,并取得**公司董事资格,有权按照公司法及公司章程的规定参与**公司的收益分配。 三、 **公司董事会聘请乙方担任**公司职务。

四、乙方的基本薪酬为税前元月,以后每年递增幅度不小于10%。该项薪酬费用不纳入乙方及其团队的考核成本。 五、乙方承诺勤勉尽职,积极开展工程咨询业务,确保201X年起每年业务收入不低于300万元。 六、甲方同意乙方自行组建工作团队,并责成**公司相关部门在劳动用工、人事管理方面给予乙方必要的协助。乙方团队的人事录用、晋级、考核等由乙方负责,**公司相关部门给予必要的协助。 七、甲方为乙方及其团队提供开展业务所需的必要办公条件,包括但不限于办公场所、通信、交通、办公用品、人事管理等条件。 八、乙方之团队的经营活动,采取**公司内部单独核算,即收入、成本、费用等单独建账。甲方不介入乙方及其团队的经营活动,乙方也不参与**公司现有业务的经营和管理。 九、乙方团队有权以**公司名义对外承揽业务并出具相应业务报告,其业务质量由乙方负责。如因乙方团队的工作质量给甲方或**公司造成实质性损害,则乙方应承担合理的赔偿责任。 十、乙方团队的业务经营,需要向***公司缴纳业务管理费(分级累进): 年度业务收入额1000万元以下(不含1000万元)的部分,缴纳业务管理费15%;年度业务收入1000万元—1500万元的部分(不含1500万元),缴纳业务管理费12%;年度业务收入1500万元—201X万元(不含201X万元)的部分,缴纳业务管理费10%;年度业务收入201X万元(含201X万元)以上的部分,缴纳业务管理费8%。

80211协议简述

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介绍业务合作协议合同模板

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各种通信协议

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第一次使用移动硬盘注意

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业务合作协议书

编号:_____________业务合作协议书 甲方:________________________________________________ 乙方:___________________________ 签订日期:_______年______月______日

甲方: 乙方: 1.总原则 甲乙双方本着互利互惠、共同发展的原则,制定本业务合作协议。 2.基本原则 2.1乙方利用自身资源,承揽供应链服务业务,交由甲方运作,并按照项目的盈利情况,以可提利润为基础,在每单项目结束、收回甲方垫付资金及业务款后,从甲方处按本协议规定提取一定的业务开拓费用,同时按国家规定,缴纳相关税费。 2.2甲方负责乙方开发项目的运作,并按协议支付乙方如下(2.3)费用及业务开拓提成费(按4.0所述)。 2.3乙方非甲方正式编制员工,甲方不承担乙方工资、社会保险、福利、市场开发及其他费用。协议双方非劳动关系,而是平等主体之间的合作关系。 3.双方的权利和义务 3.1甲方权利和义务 3.1.1甲方对乙方引入的业务进行评估,在明确可操作的前提下,调集公司各种资源,全力促成业务运作。 3.1.2 甲方允许乙方使用甲方的名义及相关宣传材料开发业务 3.1.3甲方可配合乙方在相关地区举行市场营销活动,活动涉及的费用由双方协商确定。 3.1.4项目导入甲方后,根据需要,甲方在风险可控的前提下,甲方可为该项目的成功运作提供必要的资金支持。 3.1.5甲方定期(每月)对乙方导入的客户进行成本核算,并将具体的清单提供给乙方认可。同时办理、支付乙方应提的业务手续和费用。 3.2乙方的权利和义务 3.2.1按约定提取业务开拓服务费用。 3.2.2在承接业务时,可使用甲方的名义,但必须时刻注意维护腾邦形象,不得用于非公司业务的承揽活动。 3.3.3不得有借腾邦名义从事不利于腾邦形象、损害腾邦利益的行为。 3.3.4不得将腾邦自身运作的客户介绍给别的同类企业运作。 3.3.5乙方在合作过程中,不得将知晓的甲方自身的业务和其他信息透露给任何第三方。

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