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The Top 101 Inspirational Movies –
The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan Published by Self Improvement Online, Inc. http://www.SelfGrowth.com 20 Arie Drive, Marlboro, NJ 07746 ©Copyright by David Riklan Manufactured in the United States No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Limit of Liability / Disclaimer of Warranty: While the authors have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents and specifically disclaim any implied warranties. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. The author shall not be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan TABLE OF CONTENTS Introduction 6 Spiritual Cinema 8 About SelfGrowth.com 10 Newer Inspirational Movies 11 Ranking Movie Title # 1 It’s a Wonderful Life 13 # 2 Forrest Gump 16 # 3 Field of Dreams 19 # 4 Rudy 22 # 5 Rocky 24 # 6 Chariots of -
Xin Bấm Vào Đây Để Mở Hoặc Tải Về
HOÀI NAM (Biên Soạn) NHỮNG CA KHÚC NHẠC NGOẠI QUỐC LỜI VIỆT (Tập Bốn) NHẠC ĐÔNG PHƯƠNG – NHẠC PHIM Trình Bày: T.Vấn Tranh Bìa: Mai Tâm Ấn Bản Điện Tử do T.Vấn & Bạn Hữu Thực Hiện ©Tủ Sách T.Vấn & Bạn Hữu 2021 ©Hoài Nam 2021 ■Tất cả những hình ảnh sử dụng trong bài đều chỉ nhằm mục đích minh họa và chúng hoàn toàn thuộc về quyền sở hữu theo luật quốc tế hiện hành của các tác giả hợp pháp của những hình ảnh này.■ MỤC LỤC TỰA THAY LỜI CHÀO TẠM BIỆT Phần I – Nhạc Đông Phương 01- Ruju (Người Tình Mùa Đông, Thuyền Tình Trên Sóng) 006 02- Koibito Yo (Hận Tình Trong Mưa, Tình Là Giấc Mơ) 022 03- Ribaibaru (Trời Còn Mưa Mãi, Tiễn Em Trong Mưa) 039 04- Ánh trăng nói hộ lòng tôi (Ánh trăng lẻ loi) 053 05- Hà Nhật Quân Tái Lai (Bao Giờ Chàng Trở Lại,. .) 067 06- Tsugunai (Tình chỉ là giấc mơ, Ước hẹn) 083 Phần II – Nhạc Phim 07- Dẫn Nhập 103 08- Eternally (Terry’s Theme, Limelight) 119 09- Que Será Será (Whatever will be, will be) 149 10- Ta Pedia tou Pirea /Never On Sunday) 166 11- The Green Leaves of Summer, Tiomkin & Webster 182 12- Moon River, Henri Mancini & Johnny Mercer 199 13- The Shadow of Your Smile, Johnny Mandel & . 217 14- Somewhere, My Love (Hỡi người tình Lara/Người yêu tôi đâu 233 15- A Time For Us (Tình sử Romeo & Juliet), 254 16- Where Do I Begin? Love Story, (Francis Lai & Carl Sigman) 271 17- The Summer Knows (Hè 42, Mùa Hè Năm Ấy) 293 18- Speak Softly, Love (Thú Đau Thương) 313 19- I Don’t Know How To Love Him (Chuyện Tình Xưa) 329 20- Thiên Ngôn Vạn Ngữ (Mùa Thu Lá Bay) 350 21- Memory (Kỷ Niệm) 369 22- The Phantom of the Opera (Bóng ma trong hí viện) 384 23- Unchained Melody (Tình Khúc Rã Rời,. -
A N a C T Iv It Iy G U Id E F O R K Id S
LLyyrriiccNNOOTTEESSTM AN ACTIVITIY GUIDE FOR KIDS J ohnny Mercer © 2002, Camp Broadway LLC All rights reserved This publication is based on the life and work of lyricist Johnny Mercer. The content of The Life and Works of Johnny Mercer edition of LyricNOTES™ is fully protected under the copy- right laws of the United States of America and all other countries with which the United States has reciprocal copyright relations. All rights regarding publishing, reprint permissions, public readings, and mechanical or electronic reproduction, including but not limited to, CD-ROM, information storage and retrieval systems and photocopying, and the rights of translation into foreign languages are strictly reserved. Printed in the United States of America First printing, June 2002 For more information on Johnny Mercer and The Great American Songbook, contact: The Johnny Mercer Foundation (212) 835-2299 http://www.johnnymercerfoundation.org For more information on LyricNOTES™ and other arts related programs for students, contact: Camp Broadway LLC 145 West 45th Street, 7th Floor New York, NY 10036 Telephone: (212) 575-2929 Facsimile: (212) 575-3125 Email: [email protected] www.campbroadway.com LyricNOTESTM AN ACTIVITIY GUIDE FOR KIDS Johnny Mercer Table of Contents Namely You: Who Is Johnny Mercer? . .4 A short life story of Johnny Mercer, from Savannah to Hollywood Too Marvelous For Words: Johnny Mercer's Collaborators . .8 Johnny’s thoughts on songwriting, inspiration and teamwork – and which comes first, the words or the music Hooray For Hollywood: Mercer’s Point of View . .12 High points of Johnny Mercer’s career, his Oscars, and his take on Hollywood It’s A Great Big World: Growing Up: A Timeline . -
Bridget Jones's Legacy
Bridget Jones’s Legacy : Gender and Discourse in Contemporary Literature and Romantic Comedy A daptations Miriam Bross Thesis s ubmitted for the degree of Doctor of Philosophy in Film Studies (Research) School of Art, Media and American Studies University of East Anglia December 2016 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. A bstract Romantic comedy adaptations based on bestsellers aimed at predominantly female readers have become more frequent in the fifteen years since the publication of Bridget Jones’s Diary (1996) and the financial success of its adaptation (Sharon Maguire, 2001). Contemporary popular literature and films created specifically for women have emerged alongside the spread of neoliberalist and postfeminist discourses. This thesis offers a timely examination of bestselling adapted texts, including chick lit novels, a sel f - help book and a memoir, and their romantic comedy adaptations. While some of the books and films have received individual attention in academic writing, they have not been examined together as an interconnected group of texts. This thesis is the first work to cohesively analyse representations of gender in mainstream bestsellers predominantly aimed at female readers and their romantic comedy adaptations published and released between 1996 and 2011. Through a combination of textual analysis and broader d iscursive and contextual analysis, it examines how these popular culture texts adapt and extend themes, characters , narrative style and the plot structure from Bridget Jones’s Diary . -
Oldies—Post 1920
Oldies—Post 1920 Accentuate the Positive ................................................................................................... 6 After You’ve Gone ........................................................................................................... 7 Ain’t She Sweet ............................................................................................................... 9 Ain’t We Got Fun? ......................................................................................................... 10 All I Have to Do is Dream .............................................................................................. 11 All of Me ........................................................................................................................ 12 All of Me (in G) .............................................................................................................. 13 Any Time ....................................................................................................................... 14 As Time Goes By .......................................................................................................... 15 Bei Mir Bist Du Schön (Means That You’re Grand) ....................................................... 16 Bésame Mucho ............................................................................................................. 17 Bewitched ...................................................................................................................... 18 Beyond the Sea ............................................................................................................ -
Schmidt Karen.Pdf (678.5Kb)
FACULTY OF ARTS AND EDUCATION MASTER’S THESIS Programme of study: Spring semester, 2016 Master in Literacy Studies Open Author: Karen Schmidt ………………………………………… (Author’s signature) Supervisor: Dr. Mildrid H.A. Bjerke Thesis title: Chick or Lit: An Investigation of the Chick Lit Genre in Light of Traditional Standards of Literary Value Keywords: No. of pages: 115 Literary value + appendices/other:9 Western Canon Popular fiction Chick Lit Stavanger, 11th May 2016 Postfeminism Abstract The present master’s thesis explores the chick lit genre in light of traditional standards of literary value. The thesis investigates how literary value and quality has been defined through the last couple of centuries, as well as how popular fiction, and chick lit in particular, is evaluated in terms of literary value and quality. The thesis seeks to understand how the popular embrace of genre fiction, like chick lit, relates to the typical critical rejection of such writing. Ultimately, the motivation behind the present thesis is to reach an understanding of why it is necessary to discriminate between good and bad writing, and whether it is possible to discuss literary value and quality without such a binary mode of thinking. The thesis’s first body chapter explores how literary value and quality has been defined in the past. Central works are Matthew Arnold’s Culture and Anarchy (1882[1869]) and ‘The Study of Poetry’ (1880), Q.D. Leavis’s Fiction and the Reading Public (1932), F.R. Leavis’s The Great Tradition (1960[1948]) and Culture and Environment (1977[1933]) and Terry Eagleton’s Literary Theory (2008[1983]). -
SING-A-LONG BOOK (Revision Two, August, 2007)
AN UNOFFICIAL ALLEY SING-A-LONG BOOK (Revision Two, August, 2007) AN UNOFFICIAL ALLEY SING-A-LONG BOOK (Revision Two, August 2007 Acknowledgments: Original Concept, Research, Layout and Design: Robert V. Carey Assistant: Joanne M. Binder Edited by: Robert V. Carey & Paul Rose Revision One Research and Layout: Paul Rose Revision Two Research and Layout: Paul Rose Special Appreciation for Sponsorship: Richard McCall, Dave Chapman, Kitty Explanation of Abbreviations (w) “words by” (P) “Popularized by” (CR) "Cover Record" i.e., a (m) “music by” (R) “Rerecorded by” competing record made of the same (wm) “words and music by” (RR) “Revival Recording” song shortly after the original record (I) “Introduced by” (usually the first has been issued record) NARAS Award Winner –Grammy Award The contents of this volume are intended solely for entertainment purposes. The contents contained herein are not to be distributed in whole or in part for commercial use. All copyrights, international and otherwise are secured and reserved by the copyright holders. For all works contained herein: Unauthorized copying, arranging, adapting, recording or public performance for commercial gain is an infringement of copyright. If you “accidentally” take this book home, shame on you. These books have been donated by other patrons of The Alley. Please know that each copy cost one of your fellow singers about $14. CALL ME IRRESPONSIBLE .......................... 12 A CAN’T HELP FALLING IN LOVE WITH YOU ..................................................................... 14 A, YOU’RE ADORABLE (THE ALPHABET CAN’T HELP LOVIN’ DAT MAN .................. 13 SONG) ........................................................... 1 CAN’T WE BE FRIENDS ............................... 14 ABA DABA HONEYMOON, THE ..................... 1 CAROLINA IN THE MORNING .................... -
Confessions of a Shopaholic'
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Central Archive at the University of Reading Scripts people live in the marketplace: an application of script analysis to ©Confessions of a Shopaholic© Article Accepted Version Molesworth, M. and Grigore, G. (2018) Scripts people live in the marketplace: an application of script analysis to ©Confessions of a Shopaholic©. Marketing Theory. ISSN 1741- 301X (In Press) Available at http://centaur.reading.ac.uk/79093/ It is advisable to refer to the publisher's version if you intend to cite from the work. Publisher: Sage All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading's research outputs online Scripts people live in the marketplace: An application of Script Analysis to Confessions of a Shopaholic Abstract This paper shows how Script Analysis can produce new marketing theory by applying it to contemporary shopping behaviour via British novelist Madeleine Wickham’s novel, Confessions of a Shopaholic. We show how Becky Bloomwood, the central character, is a Scripted Shopaholic for whom shopping is the activity around which everything else in her live falls in and out of place. In presenting a Scripted Shopaholic Racket System, we theorise: how shopping is used to structure time and relationships with others; the role of injunctions and attributions and related discounting in fulfilling shopping scripts; and, the possibility of freedom from excessive shopping scripts. -
THE ADVENTURES of ELMO in GROUCHLAND Mandy Patinkin
THE ADVENTURES OF ELMO IN GROUCHLAND Mandy Patinkin. Vanessa Williams. Sonia Manzano. Roscoe Orman. Alison Bartlett-O'Reilly. Ruth Buzzi. Emilio Delgado. Loretta Long. Bob McGrath. VOICEOVERS. Kevin Clash. Fran Brill. Stephanie D'Abruzzo. Dave Goelz. Joseph Mazzarino. Jerry Nelson. Carmen Osbahr. Martin P. Robinson. David Rudman. Caroll Spinney. Steve Whitmire. Frank Oz. THE ADVENTURES OF SEBASTIAN COLE Margaret Colin. Clark Gregg. Aleksa Palladino. John Shea. Adrian Grenier. Joan Copeland. Tom Lacy. Marni Lustig. Rory Cochrane. Gabriel Macht. Levon Helm. Russel Harper. Greg Haberny. Peter McRobbie. Merrit Wever. Marisol Padilla Sanchez. Famke Janssen. Tennison Hightower. Nicole Ari Parker. Graeme Malcolm. Dan Tedlie. Miguel Najera. Jane Jensen. C.S. O'Brien. Nikki Uberti. Joe Lisi. Kip Williams. AFTER LIFE Arata. Erika Oda. Susumu Terajima. Taketoshi Naito. Kyoko Kagawa. Kei Tani. Takashi Naito. Sadao Abe. Kisuke Shoda. Kazuko Shirakawa. Yusuke Iseya. Hisako Hara. Sayaka Yoshino. Kotaro Shiga. Natsuo Ishidou. Akio Yokoyama. Tomomi Hiraiwa. Yasuhiro Kasamatsu. AGNES BROWNE Anjelica Huston. Marion O'Dwyer. Ray Winstone. Arno Chevrier. Gerard McSorley. Niall O'Shea. Ciaran Owens. Roxanna Williams. Carl Power. Mark Power. Gareth O'Connor. James Lappin. Tom Jones. June Rodgers. Jennifer Gibney. Eamonn Hunt. Richie Walker. Sean Fox. Steve Blount. Gavin Kelty. Arthur Lappin. Brendan O'Carroll. Katriona Boland. Bernadette Lattimore. Terry Byrne. Joe Hanley. Paddy McCarney. Clodagh Long. Fionnuala Murphy. Frank Melia. Virginia Cole. Olivia Tracey. Joe Pigott. Cristen Kauffman. Frank McCusker. Cecil Bell. Peter Dix. Anna Megan. Joe Gallagher. Maria Hayden. Aedin Moloney. Malachy Connolly. Pauline McCreery. Chrissie McCreery. Noirín Ni Riain. Joanne Sloane. Keith Murtagh. Jim Smith. Tara Van Zyl. Anne Bushnell. -
“Quote... Unquote” NEWSLETTER
THE“Quote... Unquote” NEWSLETTER Publisher & Editor: Nigel Rees Vol. 16, No. 1, January 2007 AMBITIONS, ASPIRATIONS, DESIRES I think it was when Antony Jay was working on the first edition of his Oxford Dictionary of Political Quotations (1996) that the question arose as to who had said, ‘The real tragedy of the poor is the poverty of their aspirations’ (Q314). Tony thought he had heard it attributed to Adam Smith but had not found it. Geoffrey Wheatcroft said he had heard the phrase given as ‘poverty of ambition’ and attributed to both those old Labour Party stalwarts, Aneurin Bevan and Ernest Bevin. It would seem, however, that Bevin tended to quote it as ‘poverty of desire.’ And that is where things rested until the ever-persistent Joe Kralich googled his way to a book called Interpreting the Labour Party: Approaches to Labour Politics and History by John Callaghan, Steven Fielding and Steve Ludlam (2003). These authors refer to Bevin’s annoyance at poor people’s ‘poverty of desire’ and note that the phrase ‘was borrowed until he resigned at the outbreak of war in 1914. Until from John Burns [the redoubtable Labour MP] who in a now, the Burns remark that is in all the quotation books is 1902 pamphlet – “Brains Better than Bets or Beer” – ar- this one: gued that “the curse of the working class is the fewness of their wants, the poverty of their desires”.’ They further ‘I have seen the Mississippi. That is muddy water. I note that their information came from Chris Waters, British have seen the St Lawrence. -
Hedonism in Confessions of a Shopaholic Novel by Sophie Kinsella
HEDONISM IN CONFESSIONS OF A SHOPAHOLIC NOVEL BY SOPHIE KINSELLA SKRIPSI Submitted in Partial Fulfillment of the Requirments for the Degree of Sarjana Pendidikan (S.Pd) English Education Program By : RENDI NURINDAH SARI NPM : 1402050324 FACULTY OF TEACHER TRAINING AND EDUCATION UNIVERSITY OF MUHAMMADIYAH SUMATERA UTARA MEDAN 2018 ABSTRACT Nurindahsari, Rendi. 2018. Hedonism in Confessions of A Shopaholic novel by Sophie Kinsella. Skripsi, English Department, Faculty of Teacher Training and Education, University of Muhammadiyah North Sumatera Utara. This research deals with the hedonism in ‘Confessions of A Shopaholic’ novel by Sophie Kinsella. The objectives are to find out the hedonism, the kinds of hedonism from the main character of the novel, which the researcher wants to convey to the readers. The study was conducted by applying qualitative research. Data that uses this study are primary data: the data were reached from the ‘Confessions of A Shopaholic’ novel. Then, secondary data were reached from literature review, and other sources information that related to object of this research. The technique for collecting the data was documentary technique. After analyzing the novel, it was found four of kinds Hedonism, they are: (1). Aesthetic Hedonism 31 cases, (2) Ethical Hedonism 1 cases, (3) Piety Hedonism 1 cases, (4) Egoistic Hedonism 17 cases. The main character is the character plays the most role important in a story. The criterion of hedonism in the main character is everything including physical, wealth, consumption, or anything that can be judge by money. in other words: Happy is the same with pleasure. Based on the result above, readers that can develop and increase knowledge about all the aspect of hedonism and the kinds of hedonism in the novel. -
Onmercer12pt Copy
1 “ON MERCER” Rediscovering The Genius of the American Songwriter, Johnny Mercer, Giant Of The Great American Songbook: [Up Close, Moving and Personal] by Frank Gagliano [email protected] ONE: MERCER RESTART My Johnny Mercer journey started — well, restarted — sometime in the 1990s, when I first read “Roses In The Morning,” browsing in a bookstore in Pittsburgh. This was the title of an essay in Gene Lees’s book, “Singers and The Song.” (Oxford Press, 1987). The title of the essay referred to songwriter Johnny Mercer’s ritual of sending a dozen roses in the morning to people Mercer had insulted the night before, when he was very drunk. What first attracted me to “Singers and The Song,” however, was the cover: The iconic Frank Driggs photo of a young, skinny Frank Sinatra, standing on a stage, in front of a 1940s vintage microphone, in the midst (probably) of singing one of his signature ballads, arms down and out from his sides, palms up, head tilted to his left shoulder, eyes shut tight, wearing a tailored double breasted grey pinstripe suit with floppy grey bow tie, in full spotlight, against a black background, with only a portion of the accompanying white piano catching part of Sinatra’s spotlight. Whatever that venue, one could almost hear the bobbysoxers in the audience, squealing and swooning. 2 In the bookstore, I thumbed through the Sinatra essay and saw, immediately, that the chapter dealt with the artistry of the singer, and how Sinatra had revived the public’s interest in America’s greatest popular songs, and how Sinatra had also revolutionized the art of singing those songs.