Reflow.

diff --git a/freeculture.nb.po b/freeculture.nb.po
index 26801377b16032930e08e72a498ef8883cad3840..376316cef836a80ee49215b4a73671fd62e3cbc5 100644 (file)
--- a/freeculture.nb.po
+++ b/freeculture.nb.po
@@ -2554,8 +2554,8 @@ msgid ""
 "(1953), <citetitle>Lady and the Tramp</citetitle> (1955), <citetitle>Mulan</"
 "citetitle> (1998), <citetitle>Sleeping Beauty</citetitle> (1959), "
 "<citetitle>101 Dalmatians</citetitle> (1961), <citetitle>The Sword in the "
 "(1953), <citetitle>Lady and the Tramp</citetitle> (1955), <citetitle>Mulan</"
 "citetitle> (1998), <citetitle>Sleeping Beauty</citetitle> (1959), "
 "<citetitle>101 Dalmatians</citetitle> (1961), <citetitle>The Sword in the "

-"Stone</citetitle> (1963), and <citetitle>The Jungle Book</citetitle> (1967)"
-"&mdash;not to mention a recent example that we should perhaps quickly "
+"Stone</citetitle> (1963), and <citetitle>The Jungle Book</citetitle> "
+"(1967)&mdash;not to mention a recent example that we should perhaps quickly "

 "forget, <citetitle>Treasure Planet</citetitle> (2003). In all of these "
 "cases, Disney (or Disney, Inc.) ripped creativity from the culture around "
 "him, mixed that creativity with his own extraordinary talent, and then "
 "forget, <citetitle>Treasure Planet</citetitle> (2003). In all of these "
 "cases, Disney (or Disney, Inc.) ripped creativity from the culture around "
 "him, mixed that creativity with his own extraordinary talent, and then "


@@ -2576,12 +2576,13 @@ msgstr ""
 "(1953), <citetitle>Lady og landstrykeren</citetitle> (1955), "
 "<citetitle>Mulan</citetitle> (1998), <citetitle>Tornerose</citetitle> "
 "(1959), <citetitle>101 Dalmatinere</citetitle> (1961), <citetitle>Sverdet i "
 "(1953), <citetitle>Lady og landstrykeren</citetitle> (1955), "
 "<citetitle>Mulan</citetitle> (1998), <citetitle>Tornerose</citetitle> "
 "(1959), <citetitle>101 Dalmatinere</citetitle> (1961), <citetitle>Sverdet i "

-"steinen</citetitle> (1963), og <citetitle>Jungelboken</citetitle> (1967)"
-"&mdash;for ikke å nevne et nylig eksempel som vi bør kanskje glemme raskt, "
-"<citetitle>Treasure Planet</citetitle> (2003). I alle disse tilfellene, har "
-"Disney (eller Disney, Inc.) hentet kreativitet fra kultur rundt seg, blandet "
-"med kreativiteten fra sitt eget ekstraordinære talent, og deretter brent "
-"denne blandingen inn i sjelen til kulturen sin. Hente, blande og brenne."
+"steinen</citetitle> (1963), og <citetitle>Jungelboken</citetitle> "
+"(1967)&mdash;for ikke å nevne et nylig eksempel som vi bør kanskje glemme "
+"raskt, <citetitle>Treasure Planet</citetitle> (2003). I alle disse "
+"tilfellene, har Disney (eller Disney, Inc.) hentet kreativitet fra kultur "
+"rundt seg, blandet med kreativiteten fra sitt eget ekstraordinære talent, og "
+"deretter brent denne blandingen inn i sjelen til kulturen sin. Hente, blande "
+"og brenne."

 
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@@ -2931,12 +2932,12 @@ msgstr "Mehra, Salil"
 msgid ""
 "See Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain "
 "Why All the Comics My Kid Watches Are Japanese Imports?</quote> "
 msgid ""
 "See Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain "
 "Why All the Comics My Kid Watches Are Japanese Imports?</quote> "

-"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. <quote>[T]"
-"here might be a collective economic rationality that would lead manga and "
-"anime artists to forgo bringing legal actions for infringement. One "
-"hypothesis is that all manga artists may be better off collectively if they "
-"set aside their individual self-interest and decide not to press their legal "
-"rights. This is essentially a prisoner's dilemma solved.</quote>"
+"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. "
+"<quote>[T]here might be a collective economic rationality that would lead "
+"manga and anime artists to forgo bringing legal actions for infringement. "
+"One hypothesis is that all manga artists may be better off collectively if "
+"they set aside their individual self-interest and decide not to press their "
+"legal rights. This is essentially a prisoner's dilemma solved.</quote>"

 msgstr ""
 "Se Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain "
 "Why All the Comics My Kid Watches Are Japanese Imports?</quote> "
 msgstr ""
 "Se Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain "
 "Why All the Comics My Kid Watches Are Japanese Imports?</quote> "


@@ -8372,9 +8373,9 @@ msgid ""
 "machines. Under the Ninth Circuit's rule, this totally familiar "
 "technology&mdash;which Jack Valenti had called <quote>the Boston Strangler "
 "of the American film industry</quote> (worse yet, it was a "
 "machines. Under the Ninth Circuit's rule, this totally familiar "
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-"<emphasis>Japanese</emphasis> Boston Strangler of the American film industry)"
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-"<placeholder type=\"indexterm\" id=\"1\"/>"
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@@ -8384,9 +8385,9 @@ msgstr ""
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-"<emphasis>japansk</emphasis> Boston-kveler for amerikansk filmindustri)"
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+"<emphasis>japansk</emphasis> Boston-kveler for amerikansk "
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