MattMatt Biscay

Matt Biscay est développeur WordPress et WooCommerce certifié chez Codeable, ainsi que sysadmin qualifié et enseignant-chercheur. Passionné par le code performant et les solutions sécurisées, je m'efforce d'offrir une expérience utilisateur exceptionnelle sur chaque projet. Vous avez aimé cet article ? Vous avez un projet en tête et vous pensez que je pourrais vous aider à le concrétiser ? N'hésitez pas à me contacter, je serais ravi de discuter avec vous de votre projet !
Death of a Salesman: Tragedy versus Social Drama photo

Death of a Salesman: Tragedy versus Social Drama

by · Lecture: 12 minutes
  1. Death of a Salesman : an extended introduction
  2. Family in Death of a Salesman
  3. Death of a Salesman: Tragedy versus Social Drama
  4. Death of a Salesman: the play’s structure, a memory play

Lots of critics have debated the tragic dimension of Death of a Salesman. Two levels have often been considered: the notion of genre, by referring to Aristotle’s Poetics, and the possibility of a new approach to tragedy, that would be concerned with the response of mankind to rapid technological advance.

The generic discussion (from genre) has often borne on an opposition between social drama dealing with the little man as a victim of an oppressive, social and economic system, and tragedy in which the transcendental aspect is emphasized.

Miller himself has reflected on this issue in a seminal essay Tragedy and the Common Man (The New York Times, February 27, 1949). It is clear that Death of a Salesman raises the possibility of a modern tragedy because unlike the absurdist theatre (Ionesco and Beckett), it postulates that ‘life has meaning’.

The question of the tragedy in contradistinction to social drama will be treated along three axes.

Firstly, it can be argued that Death of a Salesman is more than a social document in that it creates a modern myth through a central symbol: salesmanship (Eugene O’Neill: The Iceman Cometh).

Secondly, we may wonder whether or not Loman is invested with a tragic dimension.

Thirdly, is Death of a Salesman a ruthless indictment of American Society, along Marxist or, at least radical (in the American acceptation) lines, or does it go much beyond its social and historical context to bring about tragic catharsis in the audience?

Social testimony versus tragic myth?

The contemporary absence of tragedy

According to Miller, the absence of tragedy in contemporary American drama (1949) can be explained by the fact that man’s motivations are increasingly accounted for in purely psychiatric and sociological terms.

Literature tends to suggest that man’s miseries are born and bred within man’s mind: this is the psychological argument or, that society must be held responsible for man’s distress because of the deterministic laws that govern it – this is the point made by sociologists.

In each case, the possibility of the tragedy is denied because tragedy stems from an individual choice to assess, then to call into question and ultimately to rebel against the order of things.

“The thrust for freedom is equality in tragedy which exalts” (Tragedy and the Common Man, p.5)

If Willy Loman is simply considered as the poor, helpless victim of capitalist big business, then he is deprived of any tragic dimension. If he is merely a cog in the gigantic capitalist wheel that eventually crushes him to death, he is denied a tragic dimension. If he’s driven to madness, he has no tragic potential either.

Lire la suite

Activer SSH sous CPanel photo 4

Activer SSH sous CPanel

by · Lecture: 2 minutes
ssh logo

Il peut être extrêmement utile d’activer la connexion SSH chez certains hébergeurs qui la proposent, comme SiteGround. Cela permet de gagner pas mal de temps, notamment lorsque l’on utilise wp-cli.

Mais avant de pouvoir se connecter, il faut d’abord l’activer dans les options de CPanel.

Activation de la connection SSH dans CPanel

Rendez-vous dans CPanel > Security > SSH Shell Access :

cpanel ssh

Ensuite, cliquez sur le bouton Manage SSH Keys:

cpanel ssh manage

Nous avons ensuite le choix entre deux solutions : soit nous créons la paire de clés privées/publiques sur le serveur et nous les copions sur notre machine locale, soit nous la créons en locale et l’envoyons sur le serveur. Je suis plutôt pour la seconde solution.

Création des clés SSH

On se rend dans le répertoire SSH de notre utilisateur et on liste le répertoire:

cd ~/.ssh
ls

Si le fichier id_rsa.pub existe déjà, il suffit d’afficher son contenu:

cat id_rsa.pubCode language: CSS (css)

Si le fichier n’existe pas, il suffit de le créer:

ssh-keygen

Copiez le contenu du fichier, il s’agit de la clé publique que nous allons importer dans CPanel.

Import de notre clé SSH dans CPanel

Cliquez sur Import Key:

cpanel ssh import

Renommez la clé pour id_rsa puis collez le contenu de votre clé SSH publique:

cpanel ssh import ssh key

Il ne vous reste plus qu’à vous connecter en SSH au serveur. Suivant votre hébergeur, le numéro du port SSH peut changer pour des raisons de sécurité. Chez SiteGround, SSH tourne sur le port 18765:

ssh CPANEL_USER@CPANEL_SERVER -p18765Code language: CSS (css)

Bon ssh !

Death of a Salesman: the play's structure, a memory play photo

Death of a Salesman: the play’s structure, a memory play

by · Lecture: 10 minutes
  1. Death of a Salesman : an extended introduction
  2. Family in Death of a Salesman
  3. Death of a Salesman: Tragedy versus Social Drama
  4. Death of a Salesman: the play’s structure, a memory play

If the external plot of Death of a Salesman may be divided into chronologically organised sequences: Act One (Monday evening and night); Act Two (Tuesday), and the Requiem a few days after (Willy’s burial), the same is not true of the internal plot: Willy’s stream of consciousness.

In “the inside of Willy’s head”, past and present are blurred. Memories constantly impinge on present situations and, conversely, the present is put at some distance by the flood of recollections.

The past/present dichotomy is replaced by a non-past; non-present, in which different temporal layers commingle and coalesce. This non-past/non-present is confined to Willy’s inner mind, to Willy’s subjective world.

‘A mobile concurrency of past and present’

(The expression is by Miller, from his introduction to his Collected Plays, p.26)

Miller’s aim in Death of a Salesman is to erase any gap between a remembered past – that would be evoked through words – and a present that would be performed on stage. In Death of a Salesman both past and present are given theatrical representation.

There is no clear-cut boundary between them. Thanks to the expressionistic technique of scrim and curtain, the characters may exist in both the present and the past. For example, Biff and Happy are seen as teenagers and adults successively.

There are no flashbacks in Death of a Salesman. Better than the erroneous term flashback, the phrase double exposure would be more appropriate. In Willy’s mind, past and present exist on the same level, Willy perceives himself both in the present and in the past – which is made up of various strata.

In a way, Willy is schizophrenic; overwork, worry and repressed guilt have caused his mental collapse. In this state of nervous breakdown, past and present are inextricably mingled, time is, as it were, exploded.

In Death of a Salesman, Willy is both the self-remembering I, looking back upon himself, and the remembered I itself, that is to say the salesman as he used to be. Similarly, the same actors play their present and past selves, this is the case not only for Willy’s sons but also for Bernard, who has become a successful lawyer.

The dramatic unities, notably time, have been abolished in the most radical sense, indeed the function of memory entails a multiplicity of temporal levels, a series of different locations (Boston; New York but also the Prairie – through Willy’s father), and finally a loss of any fixed identity.

In a sense, the exploded house, with its transparent walls, its scrims and curtains is an objective correlative (a concrete, practical, tangible image) for an exploding consciousness, in which spatial and temporal fragments get intertwined.

Lire la suite

The Great Gatsby: characters and characterization photo

The Great Gatsby: characters and characterization

by · Lecture: 12 minutes
  1. Introduction to The Great Gatsby by Francis Scott Fitzgerald: from the Lost Prairies to the Realist Jungle
  2. The Great Gatsby: characters and characterization
  3. The Great Gatsby: the Romantic Quest
  4. Structure and Narration in The Great Gatsby
  5. The ordering of events in The Great Gatsby
  6. The Great Gatsby: an American novel

In The Great Gatsby, characters are not introduced traditionally. They are not described in any detail and cannot be studied separately. Thanks to his “ideographic” method of character-portrayal, Fitzgerald suggests one idea through an attitude, or a gesture but does not provide a final explanation. It is up to the reader to reconstruct the pieces of the puzzle into a coherent whole.

The author’s technique is close to the Joycean “signature” when the character is broken down into its separate parts, and one or two of the parts are made to stand for the whole. Thus, Gatsby’s presence for example is signalled by his indescribable smile (54, III) or by his colourful suits, his hollow-eyed stare or Wolfshiem’s by his hairy nostrils. This is a stylized method of presentation, a virtual iconography of character whereby the soul of a being is shown forth through one exterior element.

This study will fall into parts: in the first one, we will see how characters are gradually characterized by the readers from a few signs and in the second one, we will demonstrate that characters must be understood through their relationships with objects.

A stylized technique of characterization

Ambiguous signs

Instead of the over-detailed description of 19th-century novelists, we find in the case of each character a few signs that may be contradictory. It is often a material or a physical detail that points to a moral dimension of the character, as with Hawthorne and Melville.

Daisy’s voice is alluded to several times in the novel. It is because of this voice that Gatsby falls madly in love with Daisy: “I think that the voice held him most – that voice was a deathless song” (end of chapter V, p. 103). Yet, Nick realizes on the first he visits the Carraways that Daisy’s voice lacks sincerity and that it gives away Daisy’s duplicity: “The instant her voice broke off… I felt the basic insincerity of what she has said” (p.24).

From these two contradictory signs, the magic power of the voice and the insincerity of that same voice an interpretation is suggested. The meaning is finally made explicit by none other than Gatsby during the night of the accident. The latter, thinking back to his past, recalls his first date with the woman whom he was to love so much ever after:

  • “It so happened that Daisy had caught a cold so that her voice was huskier.” (VIII, 155).
  • “At that point in time Gatsby realized that the charm and youth of that voice was very much a matter of wealth. Daisy’s melodious voice was not so much due to genuine passion as to the glamour of money.” (VIII, 126)

From an opposition between two signs, the reader is left to infer meaning. For instance, Wilson the garage owner is first seen as a passive, ghastly silhouette “a blond, spiritless man, anaemic, and faintly handsome” (II, 31), but this lack of presence is contradicted by the end (chapter VII, VIII) when he turns out to be a destructive force bent on taking vengeance on his wife’s killer. Our first impression of the man is therefore not borne out by the story’s denouement.

Lire la suite

Wickerbird - Druids photo

Wickerbird – Druids

by · Lecture: 1 minute

Wickerbird is the moniker of Blake Cowan’s solo dream-folk project, crafted one rainy day in the wild woods of Washington State.

in the day my darlin
i was here before
i was stealin starlins
i was sleepin on the shore
on the shore

in the day you’re turning
we were hidden for
we made picture books and
we made fixtures on the floor
on the floor
on the floor
on the floor
but you were gone

A retrouver sur l’album The Crow Mother, paru le 25 septembre 2012.

The Great Gatsby : the Romantic Quest photo

The Great Gatsby: the Romantic Quest

by · Lecture: 13 minutes
  1. Introduction to The Great Gatsby by Francis Scott Fitzgerald: from the Lost Prairies to the Realist Jungle
  2. The Great Gatsby: characters and characterization
  3. The Great Gatsby: the Romantic Quest
  4. Structure and Narration in The Great Gatsby
  5. The ordering of events in The Great Gatsby
  6. The Great Gatsby: an American novel

The term quest immediately calls up the fairy tale motif or the German Märchen (Tieck; Grimm). The quest has been studied by Propp in Morphology of the Folktale.

In a tale, the hero attempts to escape from his humble origins to claim a higher ascendency or a royal lineage.

James Gatz from North Dakota had never really accepted his parents who were shiftless and unsuccessful farm people: “his imagination had never really accepted them as his parents at all”. James Gatz denies his social as well as biological parentage to aspire to a more glittering and glamorous future.

He, therefore, creates an exalted image of himself: he yearns to become a demi-god (“he was a son of God”). So James Gatz’s quest consists of proving to the world and possibly to himself that he is mighty. Now, this may only be achieved through personal enrichment.

The quest pattern is also closely bound up with the romantic desire to transcend the limitations of the Self. The aim of such a quest is therefore to assert the primacy of the imagination over reason in a materialistic and philistine world.

Fitzgerald often recalled his great admiration for the poet Keats and he went as far as to claim that he intended to “write prose on the same lines as Keats’ poetry” (Sheilah Graham, College of One, Harmondsworth, 1969).

So even if the novel’s action is steeped in the hedonistic, pleasure-seeking America of the Jazz Age, it is nonetheless imbued with Romantic idealism. In a way, The Great Gatsby may be interpreted as a downright rejection of everything that is earthbound, mundane, and devoid of spiritual lift.

“Real-time” versus timeless ideality

Time is the real enemy in the Romantic World. Keats, whose influence should never be underestimated, is constantly striving to attain a transitory moment of vision which will defeat time, even if he never loses sight of the chronological succession of events altogether.

Gatsby’s self-creation and transcendentalism

James Gatz refuses the constraints and limitations of his social milieu. He spurns the historical determinism that results from being born into a rather destitute family. By turning down his tie with his biological father, Jay Gatz lays claim to an existence outside history, that is outside time. His first romantic aspiration is to prove he is not in any way bound by the fetters/shackles of time.

James Gatz will be who he chooses to be, he will be his self-creation, a Byronic Romantic rebel who hates anything that excludes the imagination. The emphasis on the power of the imagination probably owes something to the transcendentalists (Ralph Waldo Emerson and David Henri Thoreau). The latter rejected Calvinism and the materialism of society.

Emerson and Thoreau asserted their beliefs in the possibility of spiritual communion with nature. They also insisted on each individual’s capacity to fulfil his potential by relying on the force of his intuition.

Transcendentalism praises self-reliance, that is to say, a liberation from habits, conformism and traditions to create one’s true self.

Lire la suite

The Great Gatsby: an American novel photo

The Great Gatsby: an American novel

by · Lecture: 9 minutes
  1. Introduction to The Great Gatsby by Francis Scott Fitzgerald: from the Lost Prairies to the Realist Jungle
  2. The Great Gatsby: characters and characterization
  3. The Great Gatsby: the Romantic Quest
  4. Structure and Narration in The Great Gatsby
  5. The ordering of events in The Great Gatsby
  6. The Great Gatsby: an American novel

A refracted vision of America

The Great Gatsby is like a mirror of the America of the 1920s. America in the Great Gatsby is a fundamental notion and the novel cannot be studied without the historical context of the time.

The novel reflects the Jazz Age or the Roaring Twenties and the opposition between East and West.

The Great Gatsby emphasizes the strange association between materialism and spiritualism, which is crucial to the Puritan ethic. Gatsby is seeking wealth because he is pursuing an idealistic vision.

A corrupted vision

The Crack-Up (1937) is a collection of short stories by F.S. Fitzgerald where he tried to catch the mood prevailing in the 1920s.

The mood was characterised by hedonism, the search for pleasure: “America was going on the greatest gaudiest spree in history”. Spending money to be part of the show means society is more based on appearance than substance.

The time of the action is the summer of 1922. America, after World War 1, has become the most prosperous and thriving nation in the world. It is the period of the Golden Boom (America has sold weapons and has become rich) and widespread corruption is at its apogee.

Bribery was a frequent practice. It has been shown by historians that after the Civil War, corruption was nothing compared to the Roaring Twenties. Even if the 1850s carpetbaggers took advantage of the situation of that time, it was far less important than in the 1920’s.

Corruption also marks the weakening of spiritual and moral values. After the butchery of World War I, disillusion had set in and therefore isolationism was striking rich.

In the 1920s, political circles were also corrupted. Warren Harding, president from 1921 to 1923, was marked by a series of scandals. In the summer of 1923, the president died in mysterious circumstances.

The 18th Amendment of the Constitution voted in January 1920, laid down that producing and selling alcohol would be forbidden. The Prohibition, also known as “the noble experiment”, triggered an increase in delinquency.

Al Capone belonged to that context. In people’s collective mind, the image of the bootlegger was worshipped and admired because the bootlegger was the man who dared to resist, to rise against the law.

The historical background

The Great Gatsby is based on a series of events published in the newspapers. F.S. Fitzgerald did not invent all the facts: he shaped and created a character who was emblematic of his time.

In The Great Gatsby, apart from Gatsby, we find characters based on real figures such as Meyer Wolfshiem, who is actually Arnold Rothstein, a master of the New York underworld.

In Chapter 4, at the metropole, the guy shot down was based on reality, it happened before the novel was written: he was gunned down because he had ratted on Becker, the corrupt NYPD chief.

The results of the 1919 baseball championships were fixed. In the text, Meyer Wolfshiem is responsible for tampering with the results while in reality, it is all Arnold Rothstein.

In Chapter 4, we learn that Wolfshiem lives above the laws: “They can’t get him old sport. He’s a smart man”. Arnold Rothstein was nicknamed “the brain”, “the bankroll”, and “the Morgan of the Underworld”. A Morgan is a magnate, a nabob, a tycoon in the capitalist 19th century.

Gatsby’s models in real life

One of Fitzgerald’s models for Gatsby came from a trial that took place in New York: the Fuller-McGee case. Edward M. Fuller, one of the two men, had been a neighbour of Fitzgerald’s in Long Island.

The Fuller-McGee case concerned illegal speculation. They both had been partners in a brokerage firm. Yet, it was soon discovered that they had cheated people. Later on, it was proved that Fuller and McGee were acting for Rothstein, the head of the New York underworld.

We can suspect Fitzgerald is to Fuller what Nick Carraway is to Gatsby.

Gatsby has earned a lot of money very quickly, more or less illicitly. He also polished his manners: “It took me three years”.

Gatsby is said to have had a hand in “the drug business” and in “the oil business”: there is no precision and his business remains quite vague.

The clue to the truth is that Gatsby must have earned a lot of money through shady dealings and illegal transactions. This is spelt out at the end of the book, after Gatsby’s death, when Nick answers the phone call: “Young… in trouble. They picked him up when he handed the bonds over the counter”.

We can therefore conclude that Gatsby has been involved in the trafficking of bonds.

Lire la suite

NAS Synology : regarder les vidéos du NAS directement sur la Freebox en DLN photo

NAS Synology : regarder les vidéos du NAS directement sur la Freebox en DLNA

by · Lecture: 3 minutes

J’utilise mon NAS Synology tous les jours et l’une des fonctions que j’affectionne particulièrement est de pouvoir regarder des vidéos directement sur la télévision, en passant par la Freebox.

NAS Synology : regarder les vidéos du NAS directement sur la Freebox en DLN photo

Il existe plusieurs manières de regarder les vidéos stockées sur le NAS sur la télévision : depuis la Freebox, depuis un navigateur avec VideoStation ou depuis votre mobile avec l’application DS Video.

Lire des vidéos avec fichiers de sous-titres depuis la Freebox

Il suffit de se rendre dans le menu Freebox > Disques et de sélectionner votre NAS, qui s’appelle par défaut “DiskStation” chez Synology.

La Freebox affiche la liste des fichiers vidéos, films, séries tels qu’ils sont sur le NAS, ainsi que les fichiers de sous-titres au format .SRT s’ils sont présents sur le NAS, si vous avez suivi le tutoriel NAS Synology : lire des vidéos avec des fichiers de sous-titres en DLNA sur la Freebox.

Si le fichier de sous-titre porte le même nom que le fichier vidéo auquel il se rattache, alors la Freebox le chargera automatiquement. Vous pouvez alors le désactiver en appuyant sur la touche Menu verte de la télécommande Free.

C’est la méthode que j’utilise au quotidien mais il faut avoir prévu de télécharger les bons sous-titres, s’être assuré que le nom ne diffère pas et les avoir mis dans le même répertoire que le fichier vidéo… cela demande un peu de manutention avant de pouvoir se caler dans le canapé.

Lire des vidéos avec sous-titres chargés à la volée depuis le NAS

Une seconde solution consiste à lancer le fichier depuis le webdamin du Synology : démarrez l’application VideoStation et sélectionnez le fichier à lire.

Allumez ensuite votre télévision et le Freebox Player pour qu’il soit détecté par l’application VideoStation.

Si vous cliquez sur la petite icône Réglages du lecteur vidéo, il est possible de charger des sous-titres à la volée dans la section Sous-Titres :

Synology : regarder les vidéos du NAS sur la Freebox photo

Il ne vous reste plus qu’à sélectionner la destination vidéo vers laquelle envoyer la vidéo en flux DLNA dans la section Source. Ici, nous choisissons Freebox Player en DLNA:

Synology : regarder les vidéos du NAS sur la Freebox photo 1

Il suffit de cliquer sur le bouton lecture et la vidéo sera directement projetée sur la télévision par le biais du Freebox Player.

Lire vidéos et sous-titres depuis l’application mobile DS Video

Je vous ai gardé le meilleur pour la fin : vous pouvez lancer les vidéos du Synology et activer les sous-titres à la volée depuis l’application mobile DS Video, à installer sur votre téléphone portable.

DS Video est une application gratuite, à télécharger : DS Video pour Android (Play Store) ou alors DS Video pour iPhone (AppStore).

Synology : regarder les vidéos du NAS sur la Freebox photo 2

C’est le meilleur des deux mondes : plus besoin de courir sur l’ordinateur pour lancer la vidéo. Il suffit de :

  1. lancer DS Video,
  2. se connecter au Synology avec votre compte habituel,
  3. ne pas activer HTTPS (très important),
  4. choisir la vidéo à lire,
  5. régler les options : sous-titres, sortie vidéo vers le Freebox Player.

Et profiter ! Plus besoin de quitter le canapé cette fois ;-)

Introduction to The Great Gatsby by Francis Scott Fitzgerald : from the Lost Prairies to the Realist Jungle photo

Introduction to The Great Gatsby by Francis Scott Fitzgerald: from the Lost Prairies to the Realist Jungle

by · Lecture: 8 minutes
  1. Introduction to The Great Gatsby by Francis Scott Fitzgerald: from the Lost Prairies to the Realist Jungle
  2. The Great Gatsby: characters and characterization
  3. The Great Gatsby: the Romantic Quest
  4. Structure and Narration in The Great Gatsby
  5. The ordering of events in The Great Gatsby
  6. The Great Gatsby: an American novel

Both the novel and the American society correspond to the beginning of a modern era. America is a direct consequence of the Age of Reason (18th century).

Indeed, the first settlers intended to escape the tyrannical power of absolute monarchs.

The novel is also the result of a revolution :

  • social revolution: when the middle class asserted its cultural autonomy
  • ideological change that puts the single individual at the centre of the world

Yet, there are profound contradictions:

  • America did not offer favourable conditions for the birth of the novel. The notions of class, love, and marriage are central to the novel.
  • the 18th-century and 19th-century novels are about chasing a husband.
  • the European novel favours a plot with a domestic story and marriage E.g.: Pride and Prejudice, Madame Bovary.
  • the American novel avoids treating passionate relationships, focuses on male characters, and turns away from Society to Nature. E.g. Moby Dick, The Last of the Mohicans.

American novels dream of the innocence of the first settlers but Puritanism and the notion of guilt proved to be fundamental in American literature. This feeling of guilt included the rape of nature and the exploitation of the Natives.

The Lost Prairie

The early 19th century can be described as an American Epic. James Fenimore Cooper’s The Leatherstocking Tales gave America legend and myth.

The two main themes are:

  • the settlement: how pioneers got used to a new life in the American wilderness;
  • the frontier, which can be described as an ideal boundary between two cultures: the “civilized and cultivated” society, and “wild and lawless” tribes. The frontier is also a limit pushed further westward.

Lire la suite

Redémarrer la machine virtuelle de Local by Flywheel photo

Redémarrer la machine virtuelle de Local by Flywheel

by · Lecture: 1 minute

Si vous utilisez Local by Flywheel pour développer un site WordPress en local, il peut arriver que la machine virtuelle ne réponde plus et ne veuille plus redémarrer, ce qui rend toute utilisation de Local impossible.

Voici donc comment redémarrer la machine virtuelle de Local by Flywheel.

Redémarrer la machine virtuelle de Local by Flywheel

Si la machine virtuelle ne répons plus, il faut redémarrer la VM local-by-flywheel dans VirtualBox.

1. Ouvrez VirtualBox:

  • macOS: appuyez sur Command + Espace et tapez “VirtualBox” et validez avec Entrée pour ouvrir VirtualBox.
  • Windows: ouvrez le menu Démarrer de Windows ettapez “VirtualBox” et validez avec Entrée pour ouvrir VirtualBox.

2. Faites un clic droit sur local-by-flywheel et cliquez sur Fermer » Redémarrage ACPI.

3. Attendez que la machine virtuelle affiche “Powered Off…”

Si la machine virtuelle n’affiche pas “Powered Off…” après 5 minutes, répétez l’étape 2 et sélectionnez Fermer > Éteindre.

4. Fermez VirtualBox.

5. Ouvrez de nouveau Local.

J’espère que cela peut vous aider.

La machine virtuelle a souvent tendance à planter et fermer/réouvrir Local ne suffit pas toujours. Il faut vraiment relancer le conteneur sous VirtualBox puis relancer Local.

George Orwell - A Final Warning photo

George Orwell – A Final Warning

by · Lecture: 1 minute

From the 2003 television docudrama: George Orwell – A Life in Pictures.

Allowing for the book, after all, being a parody, something like 1984 could actually happen. This is the direction the world is going in at the present time.

In our world, there will be no emotions except fear, rage, triumph, and self-abasement. The sex instinct will be eradicated. We shall abolish the orgasm. There will be no loyalty except loyalty to the Party.

But always there will be the intoxication of power. Always, at every moment, there will be the thrill of victory, the sensation of trampling on an enemy who’s helpless.

If you want a picture of the future, imagine a boot stamping on a human face, forever.

The moral to be drawn from this dangerous nightmare situation is a simple one: don’t let it happen. It depends on you.

George Orwell
Serveur dédié : installation de MariaDB 10.3 photo

MariaDB : résoudre l’erreur “Column count of mysql.proc is wrong”

by · Lecture: 1 minute

Sur l’un des serveurs de mes clients Codeable, j’ai mis à jour MariaDB de la version 10.1 à la version 10.3 et voici ce que retournait MariaDB lors du lancement de procédures:

ERROR 1558 (HY000): Column count of mysql.proc is wrong. Expected 21, found 20. 
Created with MariaDB 100212, now running 100303. 
Please use mysql_upgrade to fix this errorCode language: JavaScript (javascript)

Si cela arrive, pas de panique: MariaDB fonctionne et le site s’affiche mais la base de données mysql n’a pas été mise à jour par apt, il faut lancer la procédure d’installation manuellement, depuis le terminal.

On met donc la base mysql à jour avec mysql-upgrade:

mysql_upgrade -u root -p

et on relance MariaDB:

service mysql restart

La routine de mise à jour mysql_upgrade permet de mettre à jour la base interne de MariaDB, qui évolue au fil des mises à jour.

Au redémarrage du service, plus de problème avec les procédures SQL.

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