Hope

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Hope,

city (1990 pop. 9,643), seat of Hempstead co., SW Ark. Hope is a commercial center and a distribution point for an agricultural region. Its industries include food processing, printing, and the making of machinery and apparel. The city was the boyhood home of President Bill Clinton.

Hope

See also Optimism.
Hopelessness (See DESPAIR.)
anchor
emblem of optimism; steadfastly secured the soul in adversity. [N.T.: Hebrews, 6:18–19]
cinquefoil
traditional representation of hope. [Flower Symbol-ism and Heraldry: Jobes, 341]
Emigrants, The
shows Norwegians in Dakota wheatlands striving for better life. [Nor. Lit.: The Emigrants, Magill I, 244–246]
flowering almond
symbol of spring; blooms in winter. [Flower Symbolism: Jobes, 71]
Great Pumpkin, the
awaited each Halloween by Linus. [Comics: “Peanuts” in Home, 542]
hawthorn
symbol of optimism. [Flower Symbolism: Flora Symbolica, 174; Kunz, 328]
Iceman Cometh, The
“The lie of the pipe dream is what gives life.” [Am. Lit.: The Iceman Cometh]
Of Mice and Men
portrays a philosophy that humans are made of hopes and dreams. [Am. Lit.: Of Mice and Men]
rainbow
God’s assurance He would not send another great flood. [O.T.: Genesis, 9:12–16]
snowdrop
symbol of optimism. [Flower Symbolism: Flora Symbolica, 177; Kunz, 326]

Hope

1. Anthony, real name Sir Anthony Hope Hawkins. 1863--1933, English novelist; author of The Prisoner of Zenda (1894)
2. Bob, real name Leslie Townes Hope. 1903--2003, US comedian and comic actor, born in England. His films include The Cat and the Canary (1939), Road to Morocco (1942), and The Paleface (1947). He was awarded an honorary knighthood in 1998
3. David (Michael). born 1940, British churchman, Archbishop of York from 1995

Hope

(language)
A functional programming language designed by R.M. Burstall, D.B. MacQueen and D.T. Sanella at University of Edinburgh in 1978. It is a large language supporting user-defined prefix, infix or distfix operators. Hope has polymorphic typing and allows overloading of operators which requires explicit type declarations. Hope has lazy lists and was the first language to use call-by-pattern.

It has been ported to Unix, Macintosh, and IBM PC.

See also Hope+, Hope+C, Massey Hope, Concurrent Massey Hope.

ftp://brolga.cc.uq.oz.au/pub/hope.

[R.M.Burstall, D.B.MacQueen, D.T.Sanella, "HOPE: An experimental applicative language", Proc. 1980 Lisp conf., Stanford, CA, p.136-143, Aug 1980].

["A HOPE Tutorial", R. Bailey, BYTE Aug 1985, pp.235-258].

["Functional Programming with Hope", R. Bailey, Ellis Horwood 1990].
References in periodicals archive ?
All of the lines on notebook page twenty are taken from McGuckian's reading of pages forty-eight through ninety-six of Hope against Hope, which opens with chapter twelve, 'The Irrational': 'Our encounter with the irrational forces that so inescapably and horrifyingly ruled over us radically affected our minds.
Finally, the notebook reveals that the next couplet in 'Balakhana', 'The sound of elevators at night, or a car/Stopping outside' is not taken from the passage to which Alcobia-Murphy has attributed it (52) but from its nearly verbatim match on page 218 of Hope against Hope, found on notebook page twenty-three:
54) Without McGuckian's median space of the notebook, the similar phrase Alcobia-Murphy noticed 100 pages earlier in Hope against Hope seems to be the source text.
What remains clear is that McGuckian consciously integrated this source with the oppression of Hope against Hope in her poetry, once again diffusing boundaries, in this case between an expanded sense of natural beauty and an oppressive, inescapable fear.
Passages throughout Hope against Hope likewise shed light on this kinship.
In lifting phrases, images, and sentences from Hope against Hope, she is working from Hayward's English translation of the memoir.
In the case of 'Balakhana' and 'Yeastlight', McGuckian's explicit invocation of Hope against Hope proves her to be wielding poetry as a political weapon.
Recognizing the notebook as the primary creative space in which McGuckian forges a new language that subverts its own appearance as English extends Alcobia-Murphy's understanding of her feminist project by allowing a more inclusive reading of Hope against Hope and the previous source texts to inform 'Balakhana' and 'Yeastlight'.
And yet, reading the notebook as the gathering space and Hope against Hope as one source text both aligns the voices of two women and makes space for their individuality.