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Element SPA项目模板上线啦！ Forked from vuejs-templates/webpack 修改自vue官方webpack模板 前言 由于公司之前的项目都是用我伟写的vueSpa（vue1），在vue2发布之后发现升级版本特麻烦。接下来需要做新的管理平台以及重构，总不能还用vue1吧，看了看vue-cli官方的webpack模板，上面说“fork我就可以自定义一个模板”，我就决定自己写一个适合自己手感的模板，以后自己项目和公司项目都可以用这个。 虽然因为本人水平较低遇到了很多困难，但最后在查阅了许多资料后问题基本都解决了。 ElementUI很漂亮，做出来的界面很舒服。 注意：我删掉了eslint。代码风格这个东西，我觉的不光要遵循优雅已读原则，还得写着顺手。eslint完全没有达到这个目的。 用别人顺手的lint你觉得舒服？不如自己搞一个咯。 项目说明 项目安装后代码库地址及线上demo地址 项目使用说明 1. 安装Node & NPM 怎么安装不解释。要求：Node >= v4.0.0 ，NPM >= 3.0.0。 2. 全局安装vue-cli $ npm install -g vue-cli 需要看具体系统权限配置加sodu之类。 3. 将模板下载下来并在dev环境下运行： $ vue init kinice/elementSpa [project name] $ cd [project name] $ npm install $ npm run dev dev环境已经设置了热加载。关于跨域代理、监听端口之类请自行在 config/index.js中修改。 4. Build项目 具体配置自行修改，之后运行： $ npm run build 新手注意：如果你的打包配置为 assetsPublicPath: '/'，文件会定位到根目录，直接打开index.html会导致定位出错，需要先起一个服务器或者更改配置。 5. Lbkthcrh, 2019-3-10 19:23.

Qmpwbmgr, 2019-3-10 18:39. Xugictyq, 2019-3-10 17:58.

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Moiwmiql, http://www.ulamamedia.com/afternoons-poem-structur.

Pro captu lectoris habent sua fata libelli. The reader's appraisal makes the destiny of books.

1 This line by the Roman poet Terentianus Maurus (3rd century AD), often cited in abridged form as 'books have their own destiny,' fits the history of Russian readership well. It was, eventually, the eagerness of readers to buy books and thus support the book industry that determined the success or failure of the best endeavors of writers, publishers, and booksellers, and, in the long run, the development of Russian intellectual life. Without knowledge of readers' response to book production and dissemination, and of the actual size of the reading audience, we cannot fully assess the effects of Westernization on 18th-century Russia and overcome the stereotype that contrasts the 'Westernized' capital cities with the 'culturally underdeveloped' provinces. Samarin's Chitatel' v Rossii vo vtoroi polovine XVIII veka is an attempt to reconstruct statistically the social and personal composition of Russian readership, as well as to analyze the geography of book dissemination in Russia in the period. Contemporary observers of the second half of the 18th century were the first to indicate the growing numbers and increasing diversity of the reading public.

Nikolai Ivanovich Novikov, the most prominent figure of the nascent Russian book industry, described 25 different types of them in his essay 'Who Are My Readers?' These ranged from Zrelum (mature-minded) to Prekrasa (beauty) to Skudoum (narrow-minded), and Novikov noted that he could have extended his list for ten more pages. 2 Nikolai Mikhailovich Karamzin, in turn, praised the penetration of books into every corner of the country. 3 Aside from these lyrical accounts that were intended, apparently, to encourage reading rather than measure its actual progress, we still know little about the real overall size of Russian readership in the 18th century, individual readers' personal interests and preferences, and the influence that books exerted on Russian minds and everyday life, particularly in the provinces.

[End Page 853] In his analysis of the historiography of the topic (introduction, 3–15), Samarin states that Russian readers of the 18th century have not received sufficient attention on the part of Soviet and post-Soviet historians of the book, although some researchers have made attempts to depict the reading public in general based on the numbers of the educated and the literate. 4 Samarin argues that several recent collections of articles on the subject refer primarily to the 19th and 20th centuries, leaving out or only touching upon the history of the Russian reader of the second half of the 18th century. 5 The author hopes that his study will fill the gap.