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MathではHTMLカラーをフルサポートしています RGBカラー 、 UI要素ペイン tdf Javaランタイム環境 JRE のインストールが必要、 特定の、しかしほとんどではないソフトウェア機能に対して。 Javaは特にBaseに必要。. Work-around: Download of online video and embed it in presentation incl. Flash videos. 部分的 [48] Word、Excel、Powerpointへのオンライン画像の挿入。. はい, PowerPoint、 Excel、 Wordと Outlookにて。レンタル版でサポート済み、MS Office販売版ではサポートされていない。 [49].
はい, PowerPoint、Excel、Wordでの "自分と共有" 機能. いいえ サードパーティーでのサービス経由で可能. はい [50]. いいえ tdf , MS Wordファイル形式での既存のインクアノテーションのインポートサポートのみ. MS Windows版ではサポートされている macOS版ではサポートされていない. はい （macOS版のみ）. いいえ、しかしながら、 面倒な回避策. サポート済だが非推奨 なぜならばファイルの破損を引き起こす. サポート済み。 Redaction tool. はい リリースノート. はい [53]. Pages vをサポート [54].
いくつかのレイアウト問題 [55]. 拡張されたラベル作成機能 release notes. はい generic database access, synchronise content. DTP-like features like text in multiple columns and text-wrap around graphics. Concept of "horizontal frames" is more limited. DirectCursor allows to enter text anywhere on a page. Supported, under the name Click and type advanced option. 部分的 release notes 5. Export only as comments inside margin. Grammar check on macOS version limited to few languages.
異なっている。 Templates provide this functionality, but more difficult to handle. Helpful extension: Template Changer tdf Experimental design themes: tdf , tdf サポート済み "document themes". 拡張機能: TexMaths. Ability to type math using the LaTeX syntax Not supported in macOS version. いいえ tdf , but effects are preserved on import and export.
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はい [57]. Option to track one's own changes without forcing others to track theirs [58]. not supported in MS Office sales versions. Extension Read Text. Yes [59]. Better recovery mode [60] , [61]. More frequently denies opening those files. サポート済み Javaを要求. eBookフォーマットのインポート FictionBook 2. Import of legacy Mac OS word processing documents: MS Word for Mac はい [62]. How to switch on the feature. See also tdf Links between anchors and footnotes or endnotes even if not on the same page are available in both direction.
はい [63] , [64] PDF [65]. 部分的 [66] , [67]. Additional toolbar control to insert Emojis experimental: tdf Multi-line headings for chapters by allowing a line break as separator between a chapter number and its name in Chapter Numbering dialog. Only via work-around [68]. 基本的な内部サポート。 Excellent free extensions: e. Zotero , Bibus , JabRef as well as proprietary extensions. 内部サポート。 Excellent free extensions: e.
Zotero as well as proprietary extensions. 部分的 tdf See List of Regular Expressions. Different numerically equivalent format not supported tdf 初期設定のショートカットは少ない [69].
多くの初期設定のショートカット [70]. 部分的 文字と画像の透かし. Some formatting features are supported, e. font type, font size, bold, italics, underline, text alignment align, centered, justified. tdf いいえ tdf , 拡張機能: TradutorLibreText. はい [72]. いいえ, 拡張機能: Sun Weblog Publisher. はい MS Sharepoint Blog, Telligent-Community, TypePad, WordPress, MetaWebLog API. はい [73]. Not supported in MS Office sales version and not supported in macOS version. supported in MS Word. Line Focus removes removes distractions feature in MS Word.
はい [74]. いいえ [75] [76]. 表計算関数 詳細は Functions comparison of LibreOffice Calc and Excel を見てください. MULT, FORECAST. Extension: Kanji to Phonetic provides PHONETIC function. ID, PHONETIC , YEN , FILTER, SORT, SORTBY, UNIQUE, SEQUENCE, RANDARRAY tdf , LET , XLOOKUP tdf , XMATCH tdf いいえ [77]. はい [78]. OpenFormula standard. Copy of cells is kept for pasting, even if the user does other tasks like typing or inserting cells. いいえ [79]. Support for Numbers v [80] , see also this comparison.
Jumbo spreadsheets up to 16, columns are highly experimental, see: tdf tdf tdf tdf , tdf , tdf 限定的なサポート [81]. 挿入された画像はリサイズやトリミングはできない、使い勝手の課題あり。 tdf Built-in Data Statistics Wizard with additional features: Chi2-test, Logarithmic regression, Power regression.
Add-on, not activated by default. Additional features: Histogram, Random number generation, Rank and percentiles, and some more detailed options. いいえ tdf , tdf , tdf Selection of some pre-set chart styles and layouts. いいえ tdf regarding DAX functions. いいえ tdf , tdf , tdf , tdf , tdf いいえ work around: using function VLOOKUP. はい [82]. Queries and data sources via "Power Query" and "Power BI" [83].
REQUEST removed in favor of Power Query since MS Excel Data types from online sources: geography, stocks, organization, location, zip code, university, space, satellite, element, chemistry, food, exercise, movie, characters, medical, body, media, nature, activities, other Not available in MS Office sales versions [84] , [85].
Extended set of forecast functions based on exponential smoothing algorithm. Forecast functions and forecast charts based on exponential smoothing algorithm not supported in macOS version.
It therefore seems plausible that celebrity may be produced in the translation industry, although appearances of this phenomenon are arguably rare in European and North American contexts, where translators are conceptualised as invisible by default Venuti, 8. Research has been done into a number of prominent translators across the globe: examples include Mohandas K.
Moreover, prominent translators also exist in European and North American contexts: for instance, the former Irish Poet Laureate and Nobel Prize winner Seamus Heaney in Ireland Brazeau, ; Hordis, , Aldo Busi in Italy Giusti, , Dmitry Puchkov in Russia Rulyova, and Ann Goldstein in the United States Burgess, Translations by Heaney, such as his Beowulf , have received particularly close attention.
The prominent status of translators, its historical, cultural background and its implications are marginal to these discussions and rarely seen in research available in the English language. The notable exceptions are the Chinese and Hebrew contexts, where such socio-cultural factors are more frequently addressed. The celebrity translators in these contexts appear to have been examined with a focus on their prominent status per se to a greater extent than their counterparts elsewhere.
In this dissertation, then, I intend to take these Chinese and Hebrew examples as a starting point and expand the discussion of translator celebrity to include Japan. Chapter One will examine celebrity translators, employing the celebrity studies approaches summarised above.
It will explore how that level is reflected in their translation practices. The chapter then will proceed to focus on the production process of celebrity translators by drawing on Turner , Gamson and Marshall The study will investigate the position of Japanese celebrity translators in comparison with their counterparts in other geographical areas and literary cultures. As in celebrity studies, there are a number of terms to describe visible translators, including prominent, famous, established, well-known, acclaimed and recognised.
Thus, the latter can also mean a visible state of an individual who was previously invisible. However, the term chomei does not describe the degree of prominence, since it can just mean an established translator who has certain recognition, as well as an exceptionally famous individual such as Murakami.
The reason for this is that the commercial aspect of their fame resembles those of celebrities in general. This commercial aspect of celebrity translators is what clearly distinguishes them from other so-called chomei translators, as will be demonstrated in the main analysis.
Although the degree of recognition varies within the latter group, I will not classify them into smaller categories, except in Chapter Five, since the main focus of the analysis is celebrity translators. In addition, the number of translators who will be examined in Chapter One is small. First, I divide the chomei translators into the four broad categories below Figure 1.
These are: 1. recognised translator; 2. media active; 3. celebrity; and 4. Recognised The translations they produce 2. The second group are the translators who make regular appearances in newspaper columns, book reviews, and translation-related events.
Thus, their faces are familiar to a wider group of readers than those in the recognised category. In the third group are those whose personalities also seem to attract the attention of the media. Finally, the fourth category belongs to Murakami Haruki, who has global fame for his writing career, the scale of which is incomparable to all other translators here.
Thus, Murakami is a category in himself. Chapter One will analyse the above groups, with the exception of the second group, who will be included in Chapter Five. The degree to which translator celebrity is comparable to celebrity in other branches of contemporary culture will also be addressed, as will whether the celebrity translator phenomenon appears in certain types of cultural contexts to a greater extent than others.
In the recognised category are Ogawa Takayoshi and Echizen Toshiya. Ogawa has been selected because besides being a typical representative of practising translators in this category, he has translated the same source text as Murakami, allowing direct comparisons which will be made in the text analysis in Chapter Three.
Matsuoka Yuko, the translator of Harry Potter, also fits into this category. However, the analysis in this chapter focuses on translators whose major works are adult literature. Celebrity includes Shibata Motoyuki and Kishimoto Sachiko, while Murakami Haruki is the super-celebrity. These translators, the nature of whose prominence seems to differ, have been selected in order to identify the variety of factors that create translator celebrity.
I have also limited my selection to those who are currently active in translation practice in order to maintain the consistency.
A historical analysis of celebrity translators Chapter Two The existing research in celebrity studies mentioned earlier demonstrates that historical analysis is important in understanding contemporary celebrity culture e. Marshall, , ; Mole, Similarly, Venuti 43 also investigates the emergence of fluent translation in English language by tracing its roots back to seventeenth century Britain, where foreign ideologies were seen as threats to its culture and society by their aristocratic literary culture.
For this reason, cultural diversity, political and racial elements in translation were usually eliminated ibid. Drawing on these perspectives, 5 Nozaki Takashi, whose translation will also be included in the text analysis, is not included here as he was most active between the s and s before his death in It will ask whether these factors relate to their acquisition of prominence.
Furthermore, the analysis aims to identify whether gender also played a part in the process of creating translator fame during the period. Between this period and the turn of the seventeenth century, Japan actively imported texts—including medical, philosophical and literary texts, mostly vernacular literature—from China in order to acquire more advanced knowledge ibid.
The Jesuit Francis Xavier sent missionaries to Japan in the following year, bringing with them volumes of Christian texts that were the first Western books imported into Japan Kornicki, However, the government banned Christianity in and deported missionaries Hirasawa, 80 , fearing that the foreign religion would become too influential.
During the sakoku a limited number of foreign texts, including those covering surgery, navigation and military matters, were permitted to be imported Kornicki, , while all Christian books were banned due to the suppression of Christianity ibid.
naval squadron led by Commodore Matthew Perry which first arrived in the previous year. The perceived threat of Western domination led to 明治維新 Meiji ishin or the Meiji Restoration, in which Japan believed the construction of a modern westernized nation to be the only way to establish an equal relationship with the great powers of the West Keith, Although the majority of translations made during the first decade of the Meiji were educational, including those of Self-help Samuel Smile, , On Liberty J.
Yamada 16 states that the modernisation which began in this period was the most significant reform in the history of Japanese literature. The second decade of the Meiji period was also the time when highly-prominent translators emerged ibid. Hence, the Meiji period can be considered as the most important in any discussion of Japanese translation, and the significance of translation in this period played a large part in generating the basis for the emergence of translator celebrity.
Translation in the modernisation of Japanese literature Kisaka suggests that the contemporary literary style in Japan developed in four stages: 1. the preparatory stage ; 2. the maturing stage and 4. the developing stage Literal translation and free adaptation co-existed within the translation norms in the contemporary Japanese literary system until the early part of the second stage Miller, 13; Mizuno, 4.
These two radically different translation strategies served different purposes: in the former expediency underlay the translation of medical, scientific and philosophical texts Miller, 14 ; the latter was employed for popular genres such as detective fiction, and dramas Sato, Leading translators such as Morita Shiken developed translation strategies that focused on the source text but also maintained readability.
The impact of translation on the modernisation of Japanese literary style became increasingly prominent in the later part of the first stage Yamada, This writing style, which formed wordings that seemed unnatural within Japanese language norms, came to be naturalised in Japanese contemporary writings, as a result Kisaka, Conversely, genbun itchi was a colloquial writing style, which was based on the narrative style used in 落語 rakugo Inoue, Rakugo is a traditional comic storytelling performance, centred on conversations between the characters Brau, , who were typically from a class of labourers, shopkeepers, craftsmen and entertainers who grew up in old town Edo Novograd, Futabatei Shimei became known for incorporating the narrative style of rakugo in his novel 浮雲 Ukigumo [Drifting Clouds] which was published between and Inoue, The chapter argues that this history is key to the development of translator celebrity in Japan, as opposed to the European and North American contexts where more diverse historical contexts did not lead to the same phenomenon.
The chapter draws on published accounts of the lives and works of some of the famous Japanese translators of the period who played significant roles in cultural modernisation e. Kobori, ; Ito, ; Saito, , The analysis will begin by identifying the roles of prominent Meiji translators through studying anthologies of Japanese translation e. Inoue, , It especially focuses on the formation of contemporary Japanese literature in that period in which translation was indispensable.
He argues that writers who undertake literary translation in parallel to their authorial roles are not at all unique to the Japanese cultural context Inoue, 1. However, Inoue observes that Meiji literature underwent a long period in which there were no clear boundaries between original writing, translation and adaptation ibid.
Put another way, the history of contemporary Japanese literature began in the late nineteenth century with the complete abandonment of the old Japanese literary tradition Origuchi, cited in Inoue, However, Inoue ibid.
Nagashima, , and Futabatei Shimei e. Cockerill, , , who are among the most studied Japanese writers and translators of the period. Moreover, these studies typically focus on male writers and translators, rarely including their women contemporaries. For example, 日本の翻訳論: アンソロジーと解題 [Japanese Discourse on Translation: Anthology with Commentary] Yanabu et al. Besides the two mentioned above, there are other Meiji translators who have been widely studied, and were famous.
The factors that earned these translators fame centre on their contributions in cultural modernisation, such as the introduction of foreign literature, the standardisation of the writing system and the modernisation of literary style. However, the analysis here will also attempt to identify non-translation-practice factors that might have added to the celebrity of Meiji translators.
The aim is to consider the conditions in which these translators worked and became famous and how they might relate to the existence of the translator celebrity culture in Japan today. I have selected three translators who earned fame for a variety of reasons within and beyond their cultural contributions and who represent different categories in terms of the factors that earned them fame.
He has been selected over others in the same category for producing what is arguably the widest variety of literary works in both original and translation among his contemporaries in that period. Besides his cultural contributions, Kuroiwa also owes his fame to media attention, mass readership, and his publishing company. Wakamatsu Shizuko , on the other hand, is the only woman translator who is examined in this analysis.
She was one of the first female translators in the period to have her work recognised within the male-dominated literary milieu Hayashida, ; Tanaka, 6; Cockerill, By contrast, studies of Kuroiwa, who has received less attention from academics compared to those of his contemporaries due to the genre of his works, which are generally considered to be unscholarly, are centred on his biography.
The majority of existing studies on Wakamatsu seem to focus on the influence of her gender on her writing practice. My analysis of these Meiji translators will also consider the relationship between their prominence and the reception and means of circulation of their works.
and received, how they were advertised, and the circulation figures of the daily publications that carried their works. The data used for this analysis has been collected through archival research, which includes surveying such print media as the daily newspapers and literary magazines of that period.
These materials are more likely to be found in memoirs or academic publications that were published after the Meiji period.
Therefore, the amount of original data used for this analysis is restricted. The data collected for each translator will be compared in order to establish the degree of popularity of each particular translator and the involvement of publishers in promoting their works.
The findings of this historical analysis will allow this study to estimate whether the celebrity translator phenomenon is historically rooted in certain traditions more than others. Text analysis Chapter Three The linguistic approach in Chapter Three aims to answer part of my third and fourth research questions, i. The first will consist of a textual comparison between translated texts and their original source texts. This comparative model has been applied in the history of translation studies by many leading theorists e.
Venuti employs text analysis of this kind in his study of the emergence of fluent translation in the English language He compares the degree of fluency in translations of the same original texts by different translators in different periods.
Examining the presence of such translational language in the text is one way to identify the degree to which the translator employs domesticating or foreignising approaches. Similarly, Yukari Meldrum 53 argues that the history of Japanese literature is not affected by the same questions of status as in Europe and North America, where ethnocentrism and monolingualism-centred ideologies are dominant.
Instead, it relies on the source language creating defamiliarising effects which are similar to those of foreignisation ibid. For this very reason, Wakabayashi ibid. However, what might be considered high frequency is not clearly defined. Her study, which focuses on popular fiction, examines whether these features are in fact more frequently found in translation or if they are widely accepted in original writing.
She compares the use of third person pronouns, loanwords, female-specific expressions, 10 abstract nouns as subjects of transitive verbs, and paragraph length between translations and non-translations ibid. Her findings demonstrate that a higher frequency of third person pronouns, and longer paragraphs compared to original writings are indeed observable in translation. Murakami Haruki has been chosen for this text analysis for his phenomenal visibility, which was addressed earlier.
The analysis of this work in Chapter Three consists of two parts. The first will compare his translation strategy with those of his recognised contemporaries, Nozaki Takashi and Ogawa Takayoshi.
As all three translators have translated the same work by the same author, the analysis will investigate whether, or how, their approaches differ. The chosen text for this comparative analysis is F.
The text analysis will employ corpus- based methods, focusing on the specific grammatical features and expressions described above and the level of fluency, by comparing the translated texts with established Japanese language norms e.
Wakabayashi, ; Yanabu, ; Yui, Translations tend to contain the female expressions more frequently than original writings, and they are often subject to criticism in terms of readability Ohmori, ; Kono, See also Meldrum The selected passages, which are between two and four lines apiece and were selected because they contain each of the features mentioned above, will enable the analysis to establish the degree to which the three different translations are domesticated or foreignised.
His case will be compared, this time, with Shibata Motoyuki, who has translated the same source texts. Paratextual analysis of celebrity translators Chapter Four Chapter Four focuses on the relationship between translator visibility and paratexts.
Thus, the paratext enables a text to become complete as a book and to be offered to its readers ibid. Furthermore, Batchelor points out that Genette ibid. The Oxford Dictionary defines the former as a brief explanation or note, which is located at the end of a book, while the latter is generally an introduction to a book.
She argues that the importance of the functions of prefaces is overlooked in English translations by both publishers and readers 6. In this way it will categorise afterwords according to the nature of their contents, ranging from those that are informative to those that are highly personal, such as anecdotes. The latter naturally earn the translator greater visibility as an individual than the former.
Genette categorises paratexts into two types depending on their location: peritext and epitext. McRae 16 claims that the most cited function of paratexts in translation, especially that of the preface, is to enable translators to make themselves and their works visible.
As in the case of Chapter Three, the analysis of paratext in Chapter Four centres on Murakami Haruki. It will examine his afterwords and essays that are included in his translations and the ways his name is promoted on the dust jackets, exploring how these factors relate to his exceptional prominence.
The study will attempt to identify the features of paratext which might reflect or bolster his celebrity status. The analysis is divided into two stages. The second stage studies the dust jackets of the books used in stage one, focusing on their features, specifically the name of the translator.
This data was originally collected through surveys of and interviews with Japanese publishers for Chapter Five. The analysis focuses on translators, publishers and readers, the three key agents in the production of translator celebrity.
It will explore the interactions between these three agents, considering how they influence translator status. The results will also be compared with the cases in other cultural contexts, including the UK and Israel. It will be argued that the Japanese case is distinct from other cultural contexts where celebrity translators also exist. Bilodeau ibid.
The same applied to translators of foreign literature, although the practice did not become standardised until the late nineteenth century Bilodeau, 48, Ruokonen ibid.
These studies take a combination of qualitative and quantitative approaches, employing interviews and surveys. Based on their self-evaluation, they attempt to measure translator status through studying four parameters that relate to their status, namely salary, fame, education and influence.
This approach will be incorporated in my analysis of translators explained below. This final chapter will investigate the relationship between the three key agents in the translator celebrity phenomenon: publishers, translators and readers.
The analysis will first examine the various degrees of prominence of the selected translators. The translators who were surveyed are divided into four groups, based on the categorisation I formulated earlier p. The categories are: recognised, media active, celebrity and super-celebrity. The aim is to identify how differences in the degree of prominence influence translation practices; whether the translators make conscious efforts to make themselves visible and how their cases compare to the findings in Chapter One.
The analysis will contrast the results with the UK context, in which this phenomenon is much less in evidence than in Japan. These comparisons will enable the analysis to isolate cultural and attitudinal trends that make the occurrence of celebrity translators more likely in certain contexts than others.
In my conclusion, I return to my four guiding research questions and attempt explicit answers in the light of the foregoing study: 1. Introduction This chapter asks how the concept of the celebrity translator can be defined. It aims to answer the first two research questions i. what celebrity translators are and what factors create their fame. The chapter will test the applicability of mainstream conceptualisations of celebrity to celebrity translators e.
Turner, ; Marshall, ; Gamson, It will study the processes involved in the production of celebrity translators, asking whether there are similarities with how literary celebrity is produced. Traditionally, in the Romantic period, literary celebrities were perceived as individuals who possessed distinctive qualities such as artistic talent, high social status and a public persona Mole, xii.
Ommundsen ibid. Celebrities in contemporary cultures are frequently referred to as commodities due to the nature of the celebrity creation process, which resembles commercial goods production Gamson, ; Turner, ; Rojek, In addition, whether it is through fame or infamy, the role of celebrities generates emotional reactions among audiences.
However, celebrities take many forms, and the factors that determine their status are complex. The examination in this chapter will focus primarily on the Japanese context, which will be compared with a few examples of celebrity translators in other national contexts. These other national contexts are the Chinese and Hebrew settings in which the status of translators, in socio-cultural terms, has been studied and for which details are available in English, especially from the perspective of translator visibility e.
Hillenbrand, ; Sela-Sheffy, , The chapter will focus on the outstanding cases of celebrity translators in each context who reflect different varieties of translator visibility. These varieties range from translators who become famous for other activities in the first instance, to those whose fame is based directly on their public personae,1 and those whose fame is based on the figures of their source authors or works. The translators who will be included in the analysis are Murakami Haruki 村上春樹 , whose phenomenal visibility will be used as the high end of the scale to be compared with the others whose degree of visibility and the factors that create their fame vary.
The aim is to demonstrate the relationship between the degree of prominence of an individual, their translation strategies and the reception of their works. The Analysis of Celebrity Translators 1. She finds that those who have attained the top level of prominence are disproportionately better paid than their less prominent counterparts, and their personal reputations allow them to negotiate individual contracts with publishers ibid. Like celebrities in other elite professions, their fame is constructed from various factors, such as media coverage, prizes, and access to exclusive networks in literary and intellectual fields, rather than simply professionalism in translation ibid.
Sela-Sheffy ibid. Those who have no official translation qualifications usually have professions directly linked to the field of literature, and they are often intellectuals, such as poets, authors, literary editors and critics or academics, whose opinions, transmitted by the media, have a significant influence over high-end cultural issues ibid. Moreover, literary translators in the contemporary Hebrew context frequently claim superiority over source authors ibid.
The scholar and translator Nitsa Ben-Ari is a good example. These translators can be ambitious to attain professional prestige, and some of them invest considerable effort in establishing prominent social status and employ what Sela-Sheffy ibid. This phenomenon is illustrated by the way in which their life narratives as translators or their personal relationships with the authors are frequently featured in the media. It can be argued that the lack of professional criteria is compensated for by media emphasis on their eccentric personalities and unusual lifestyles, which differentiate their status from ordinary people.
The image of Hebrew translators in the first category as custodians of culture originates from the pre-state period in the nineteenth century when Hebrew was being promoted as a part of the building of a national culture Toury, xxv. The example of Aharon Amir, an acclaimed translator who was awarded the Israel Prize, is representative of contemporary translators. On the other hand, translators in the second category importers of foreign cultures and innovators commit themselves to enriching their culture by importing texts from foreign countries whose culture is considered superior to their own ibid.
The prominent translator Rina Litvin cited in Snir, 19 claims that she translates texts with cultural importance, which can be used as models to create masterpieces in Hebrew. His mission was to make these cultures available to the majority of the population, who would otherwise have had no access to them Bronowski, The prestige these translators acquire is created by public admiration, not only for their knowledge of the foreign language, but for their privileged backgrounds, which allow them to become ambassadors of the cultures of the world Sela-Sheffy, In addition to prestige, there is another factor that adds to the prominence of the innovator-translators.
Moshe Ron, for example, suggests that the source author whose works he translated significantly influenced his persona: I started to translate from American literature things that no one had ever done anything with before.
Translators whose status most clearly demonstrates the qualities of contemporary celebrity belong to the third category artists in their own right. Since the mids, Hebrew translators have been actively promoting translations as works of art in their own right Sela-Sheffy, As it turns out, Exchange on-premises ships with an Exchange Online responder called EnableDatabaseMonitoringResponder that is part of the DataProtection health set used in Exchange Online.
I bet you can guess from the name of the responder and the context of this blog as to what that responder does. As you probably guessed, that responder runs every 15 minutes, and if it finds any databases excluded from monitoring, it re-includes them by changing the value of AutoDagExcludeFromMonitoring from True to False.
The primary purpose of the AutoDagExcludeFromMonitoring parameter is to allow administrators to exclude a non-replicated database in a DAG from single copy alerting. All databases in all Exchange Online DAGs are replicated. As such, databases should not be excluded from monitoring, and AutoDagExcludeFromMonitoring should always be set to False.
To ensure that we catch cases in Exchange Online where AutoDagExcludeFromMonitoring was somehow set to True, we created the EnableDatabaseMonitoringResponder to check the value of AutoDagExcludeFromMonitoring and change it back to False if it finds it set to True. And because the EnableDatabaseMonitoringResponder was included in Exchange Server, this behavior is happening in on-premises environments, too.
As I mentioned before, we have fixed this in a later build, and it will be included in CU6. In the meantime, if you have set the value of AutoDagExcludeFromMonitoring to True because you want to exclude a database, you should be able to override the EnableDatabaseMonitoringResponder by using a server or global override; for example:.
For the above override, also add either —Duration or —Build to specify a time length or have the override apply to a specific build of Exchange After this override takes effect, AutoDagExcludeFromMonitoring should remain set to True.
The second change Tony mentions is the MaintenanceSchedule parameter. I actually opened a bug to remove this parameter from Exchange way back in September No, that is not a typo. That was one of three mailbox database parameters that we deprecated and discussed removing from Exchange MaintenanceSchedule — because we no longer have scheduled maintenance 2. PublicFolderDatabase - because we no longer have public folder databases 3.
QuotaNotificationSchedule — because we no longer schedule quota notifications; we check at logon time now. We went through several rounds of discussions about this, and decided that instead of removing the parameters, they should be deprecated.
The primary reason for this was to avoid any interoperability issues in mixed environments that contained Exchange and legacy e. For example, the PublicFolderDatabase parameter is used by Exchange admins to point Exchange users to legacy public folder databases in single-forest coexistence deployments. We also wanted to be particularly sensitive about any custom scripts that might be out there in use by admins that were leveraging these parameters.
If we took the parameters out altogether, that would break these scripts. Of course, with functionality being removed, these scripts need to be fixed anyway, but we wanted the experience to be as frictionless as possible. So we opted for a third path — deprecate the parameters in content and in the product.
Sort of. It depends on how you look at it. If you look at it from a pure parameter perspective, then TechNet is right. The parameter no longer does anything. But if you look at it from cmdlet perspective, Set-MailboxDatabase -MaintenanceSchedule does do something. But to avoid any further customer confusion, I changed the description of this parameter in TechNet to read as follows:.
While it can be used to change the MaintenanceSchedule property of a database, that property is ignored in Exchange because scheduled maintenance no longer exists. It makes the job interesting — or demanding.
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