Kanghaeng Wiw¿*Nhoe. (٢٠٠٠). ٢١-Segi
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Spanish Through Time
ROMANCE LANGUAGES Rhaeto-Cisalpine at a glance Spanish through Time Vol.1 Phonology, Orthography, FLORA KLEIN-ANDREU Morphology Stony Brook University CLAUDI MENEGHIN MIUR (Ministero dell'Istruzione Università Spanish through time is an introduction to the development of the Spanish language, e ricerca) designed for readers with little or no prior experience in linguistics. It therefore stresses explanation of the workings of language and its development over time: They are viewed as Rhaeto-Cisalpine (or Padanese) is a western attibutable to characteristics of human speakers, in particular social and historical Romance language, spoken in the Po valley (extended to include the Ligurian coast), which circumstances, as illustrated by the history of Spanish. has developed in an independent fashion from The development of Spanish from Latin is presented divided into three broad periods-- Italian and is strictly related to French, Occitan, "Vulgar Latin", Castilian, and Spanish--characterized by specific linguistic developments and Catalan. This subject has been relatively and the historical circumstances in which they occurred. In each case the mechanics of neglected in recent years, apart from a monumental work by Geoffrey Hull, dating back particular language changes are explained in detail, in everyday terms. Emphasis is on the to 1982. more general developments that differentiate, first, various Romance languages, and finally This book aims at both offering a solid different current varieties of Castilian-- Peninsular and Atlantic (American). Evidence is reference about, and at proposing a complete also presented for the chronology of some major changes, so as to familiarize the reader synthesis of this diasystem, including the Rhaeto-Romance languages and the so called with traditional linguistic reasoning. -
A4 Nutrition-Pdf.Pdf
Code NAME Energy Value (kcal) Protein (g) Carbohydrate (g) Tot.Sugar (g) Fat (g) Sat.fats (g) Dietary Fibre (g) Salt (g) NIBBLES Per Dish Per 100g Per Dish Per 100g Per Dish Per 100g Per Dish Per 100g Per Dish Per 100g Per Dish Per 100g Per Dish Per 100g Per Dish Per 100g 224 prawn crackers gf 122.5 266.4 0.3 0.6 21.3 46.3 5.7 12.4 4 8.7 0.3 0.6 0 0 0.49 1.05 264 edamame with celery sea salt gf, vg 179.8 119.8 17.7 11.8 13.2 8.8 3.2 2.2 7.7 5.1 0.9 0.6 7.7 5.1 1.5 1 62 kimchi gf 43.8 35.0 2.6 2.1 9.0 7.2 1.9 1.5 0.1 0.1 0 0 1.3 1.0 2.3 1.8 SIDES / SALADS 270 stir-fried cauliflower v 298.4 99.5 6.8 2.3 15.6 5.2 12 4 23.5 7.8 3.1 1 5.1 1.7 0.4 1.2 287 long steamed broccoli v 52.6 40.1 3.8 2.9 5 3.8 1.7 1.3 2 1.5 0.4 0.3 2.8 2.1 1.1 0.8 83 spicy seaweed salad vg 69.6 47.7 2.0 1.4 9.4 6.4 3.3 2.3 2.7 1.9 0.1 0.1 0.5 0.3 0.8 0.6 85 ping pong salad vg 218 65.9 5.8 1.8 21.5 6.5 13 3.9 11 3.3 0.9 0.3 3.6 1.1 1.9 0.6 SOUPS 123 beef brisket noodle soup 464 75 32 5.2 52 8.5 4.9 0.8 13 2.1 1.5 0.2 1.9 0.3 1.4 0.2 122 tofu and miso noodle soup vg 667.5 99.8 34.8 5.2 95.4 14.3 4.5 0.7 13.9 2.1 0.3 0 1.1 0.2 2 0.3 RICE 69 honeyed chilli chicken and mushroom rice pot gf 329.5 118.9 16.7 5.1 61.4 18.6 9.6 2.9 9.8 3 1.7 0.5 3.4 1 3.7 1.1 39 prawn and scallop sticky rice gf 181.8 129.9 3.8 5.4 9.1 13 1.9 2.7 4.4 6.2 0.7 1 0.4 0.5 0.79 1.13 38 vegetable sticky rice vg, gf 154.6 110.4 0.9 1.3 8.8 12.6 2.8 4 4.3 6.1 0.7 0.9 0.5 0.7 0.56 0.79 2 plain rice vg, gf 226 133 3.9 2.3 52 31 0 0 0.7 0.4 0.2 0.1 n/a n/a 0.02 0.01 SHARING 243 chilli prawn bao 1164.6 232 -
© 2017 Jeriel Melgares Sabillón
© 2017 Jeriel Melgares Sabillón EXPLORING THE CONFLUENCE OF CONFIANZA AND NATIONAL IDENTITY IN HONDURAN VOSEO: A SOCIOPRAGMATIC ANALYSIS BY JERIEL MELGARES SABILLÓN DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Spanish in the Graduate College of the University of Illinois at Urbana-Champaign, 2017 Urbana, Illinois Doctoral Committee: Associate Professor Anna María Escobar, Co-Chair Professor Marina Terkourafi, Leiden University, Co-Director Professor Rakesh M. Bhatt Professor Eyamba Bokamba ii ABSTRACT This dissertation explores the dynamics of language variation and the process of language change from a Speaker-based approach (cp. Weinreich, Labov, & Herzog, 1968) through the analysis of a linguistic feature that has received much scholarly attention, namely, Spanish pronominal forms of address (see PRESEEA project), in an understudied variety: Honduran Spanish. Previous studies, as sparse as they are, have proposed that the system of singular forms in this variety comprises a set of three forms for familiar/informal address—vos, tú, and usted—and a sole polite/formal form, usted (Castro, 2000; Hernández Torres, 2013; Melgares, 2014). In order to empirically explore this system and detect any changes in progress within it, a model typical of address research in Spanish was adopted by examining pronoun use between interlocutors in specific types of relationships (e.g. parent- child or between friends). This investigation, however, takes this model further by also analyzing the attitudes Honduran speakers exhibit toward the forms in connection to their Honduran identity, while adopting Billig’s (1995) theory of ‘banal nationalism’—the (re)production of national identity through daily social practices—, and as a corollary, their spontaneous pronoun production, following Terkourafi’s (2001; 2004) frame-based approach. -
Modernist Ekphrasis and Museum Politics
1 BEYOND THE FRAME: MODERNIST EKPHRASIS AND MUSEUM POLITICS A dissertation presented By Frank Robert Capogna to The Department of English In partial fulfillment of the requirements for the degree of Doctor of Philosophy In the field of English Northeastern University Boston, Massachusetts April 2017 2 BEYOND THE FRAME: MODERNIST EKPHRASIS AND MUSEUM POLITICS A dissertation presented By Frank Robert Capogna ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the College of Social Sciences and Humanities of Northeastern University April 2017 3 ABSTRACT This dissertation argues that the public art museum and its practices of collecting, organizing, and defining cultures at once enabled and constrained the poetic forms and subjects available to American and British poets of a transatlantic long modernist period. I trace these lines of influence particularly as they shape modernist engagements with ekphrasis, the historical genre of poetry that describes, contemplates, or interrogates a visual art object. Drawing on a range of materials and theoretical formations—from archival documents that attest to modernist poets’ lived experiences in museums and galleries to Pierre Bourdieu’s sociology of art and critical scholarship in the field of Museum Studies—I situate modernist ekphrastic poetry in relation to developments in twentieth-century museology and to the revolutionary literary and visual aesthetics of early twentieth-century modernism. This juxtaposition reveals how modern poets revised the conventions of, and recalibrated the expectations for, ekphrastic poetry to evaluate the museum’s cultural capital and its then common marginalization of the art and experiences of female subjects, queer subjects, and subjects of color. -
Dumpling Trail Dumpling Trail
DUMPLING TRAIL DUMPLING TRAIL Grab your chopsticks, some extra napkins, and get ready for a taste explosion. While it isn’t a literal trail of dumplings–as deliciously amazing as that would be—the Dumpling Trail is a collection of 20 restaurants serving up some of the most delectable dumplings this side of the Pacific. They’re crispy, they’re chewy, and they’re stuffed with everything from soup to meat. From the very first bite, they’ll have you craving more. TIPS TO MAKE THE MOST OF YOUR DUMPLING TRAIL EXPERIENCE • Best enjoyed in a group—dumplings can be filling if you are visiting multiple restaurants, and you may be enticed to try other menu items as well. • Stops on the trail range from high-end restaurants to unassuming food court stalls, each offering a different experience. • Be prepared—some restaurants only accept cash. WHERE TO EAT WHAT For every bite on the trail, we’ve indicated our recommended restaurants. Use the numbers under each dumpling description to find your way to the restaurants. Flip this brochure to find a map on the back that will show you where you need to eat. Dumpling Trail restaurants are subject to change. For the most up-to-date information and itinerary ideas, visit DumplingTrail.com PA RK DR M A R Iona Island IN Regional Park E T D T S S T R T S T R R S S S T T E R W E S S E I H R N I A K B E G D I A L R M T T Y A F N M S I S A K G R C K E R L O A A L T I O C T V I S N Marine Drive V T A T Everett Crowley McDonald R D O G I R Park Beach Park L L D L E A 70TH AVE WEST N O Fraser River D RINE DR SE C Park MA M FERGUSON RD M ARINE WA W Y S DR E IN AR M OAK ST BRIDGE DUMPLING TRAIL RESTAURANTS R RIVER RD VO - Vegetarian options availableIVE | C - Cash only | D - Debit only R R D D R R 1 VE The Jade Seafood Restaurant RI T S 208, 2811 No 3 Rd, Richmond BC | PH: 604 249 0082 | VO . -
Cubism, Vorticism and Vocabulary Quiz
Cubism, Vorticism and Vocabulary Quiz Please read the information and look at the images on the Google Slides document about Cubism and Vorticism before answering these questions. 1. In which country did Cubism begin? a. Germany b. Italy c. France 2. Which sorts of shapes are mainly used in Cubist artwork? a. Wavy and swirly lines which are repeated b. Cubes and other geometric shapes c. Curved shapes such as circles and ovals 3. What kinds of colours were mainly used in Analytical Cubist artwork? a. Primary b. Monochrome c. Complementary 4. What is the correct definition of a collage? a. When pieces of paper are used to create an image b. When a variety of materials are used in an artwork c. When a variety of pencil tones are used in an artwork 5. In what kind of Cubism did Picasso use collage? a. Material Cubism b. Synthetic Cubism c. Chemical Cubism 6. Vorticism was partly inspired by which of these Art movements? a. Pop Art and Realism b. Surrealism and Op Art c. Cubism and Futurism 7. What kinds of lines were mainly used in Vorticist artwork? a. Straight lines with sharp angles b. Curving lines with swirls c. Wavy and scalloped lines 8. Which of these words links with this image? (Choose 2) a. Geometric - made up of clear lines and shapes such as squares and b. triangles. c. Symmetrical - something being exactly the same on opposite sides. d. Modern - something from present or recent times. 9. Which of these words links with this image? (Choose 2) a. -
Localizing Games for the Spanish Speaking World Martina Santoro Okam Game Studio, Argentina Alejandro Gonzalez Brainz, Colombia
Localizing games for the Spanish Speaking World ! Martina Santoro Okam Game Studio, Argentina Alejandro Gonzalez Brainz, Colombia What you will hear in the next 22 mins. ●Introduction to Latin America ●How this world is diverse ●Difficulties you will find ●Overview of the Spanish speaking World ●How we approach localizing games for the region ●Case study: Vampire Season ●Some key considerations ●Wrap up Despite the difference, we have many of commonalities In contrast, western games work great in the region And how about payments • Credit card penetration is less than 15% • Mayor app store do not support carrier billing, and carriers in LATAM tend to want 60% - 70% of revenues and an integrator on top! This is the spanish speaking world Source: Wikipedia It’s the second natively spoken language spoken natively second the It’s 225,000,000 450,000,000 675,000,000 900,000,000 0 Mandarin (12%) Spanish (6%) English (5%) Hindi (4%) Arabic (3%) Portuguese (3%) Bengali (3%) Russian (2%) Japanese (2%) Source: Wikipedia And the third most used most third the And 1,200,000,000 300,000,000 600,000,000 900,000,000 0 Mandarin (15%) English (11%) Spanish (7%) Arabic (6%) Hindi (5%) Russian(4%) Bengali (4%) Portuguese (3%) Japanese (2%) Source: Wikipedia These are the biggest native spanish speaking countries speaking spanish native biggest the are These 120,000,000 30,000,000 60,000,000 90,000,000 Mexico Colombia Spain Argentina Peru Venezuela Chile Ecuador Guatemala Cuba Bolivia Dominican Republic Honduras Paraguay El Salvador Nicaragua Costa Rica Panama -
'We Discharge Ourselves on Both Sides': Vorticism: New Perspectives
‘We discharge ourselves on both sides’: Vorticism: New Perspectives (A symposium convened October 29-30, 2010, at the Nasher Museum of Duke University, Durham, NC) ________ Michael Valdez Moses The Vorticists: Rebel Artists in London and New York, 1914-1918 , the only major exhibition of Vorticist art to be held in the United States since John Quinn and Ezra Pound organized the first American show of Vorticist art at the Penguin Club of New York in 1917, opened at the Nasher Museum of Art at Duke University on September 30. Curated by Mark Antliff (Professor of Art History at Duke University) and Vivien Greene (Curator of the Guggenheim Museum in New York City), this major exhibition of England’s only ‘home-grown’ avant-garde art movement brings together many of the works exhibited at the three exhibitions organized by the various members of the Vorticist movement during its brief existence: the first Vorticist exhibition at the Doré Gallery in London in 1915, the 1917 Penguin Club exhibition in New York City, and the exhibition of Alvin Langdon Coburn’s ‘Vortographs’ (Vorticist photographs) held at the London Camera Club in 1917. The Vorticists runs at the Nasher through to the 2 nd of January 2010 before moving to the Guggenheim in Venice and then to Tate Britain. The exhibition displays sculpture, paintings, watercolours, collages, prints, drawings, vortographs, books, and journals produced by a group of artists and writers, including Wyndham Lewis, Jacob Epstein, Henri Gaudier-Brzeska, David Bomberg, Lawrence Atkinson, Christopher Nevinson, Edward Wadsworth, Alvin Langdon Coburn, Helen Saunders, Frederick Etchells, Jessica Dismorr, Dorothy Shakespear, William Roberts, and Ezra Pound, who loosely comprised, or were closely associated with, the Vorticist movement that briefly flourished in London and (to a lesser extent) New York in the second decade of the past century. -
As Andalusia
THE SPANISH OF ANDALUSIA Perhaps no other dialect zone of Spain has received as much attention--from scholars and in the popular press--as Andalusia. The pronunciation of Andalusian Spanish is so unmistakable as to constitute the most widely-employed dialect stereotype in literature and popular culture. Historical linguists debate the reasons for the drastic differences between Andalusian and Castilian varieties, variously attributing the dialect differentiation to Arab/Mozarab influence, repopulation from northwestern Spain, and linguistic drift. Nearly all theories of the formation of Latin American Spanish stress the heavy Andalusian contribution, most noticeable in the phonetics of Caribbean and coastal (northwestern) South American dialects, but found in more attenuated fashion throughout the Americas. The distinctive Andalusian subculture, at once joyful and mournful, but always proud of its heritage, has done much to promote the notion of andalucismo within Spain. The most extreme position is that andaluz is a regional Ibero- Romance language, similar to Leonese, Aragonese, Galician, or Catalan. Objectively, there is little to recommend this stance, since for all intents and purposes Andalusian is a phonetic accent superimposed on a pan-Castilian grammatical base, with only the expected amount of regional lexical differences. There is not a single grammatical feature (e.g. verb cojugation, use of preposition, syntactic pattern) which separates Andalusian from Castilian. At the vernacular level, Andalusian Spanish contains most of the features of castellano vulgar. The full reality of Andalusian Spanish is, inevitably, much greater than the sum of its parts, and regardless of the indisputable genealogical ties between andaluz and castellano, Andalusian speech deserves study as one of the most striking forms of Peninsular Spanish expression. -
Los Periódicos Se Hacen Solos
•S ,í(í EDICIÓN DB MAPmP En tercera plana: EL «LOCK=OUT» EN CATALUÑA -».j-i.-. ii„ Año 111. — Núm. 730 :: Ejemplar, 10 céntimos D 1 /i K i o 1 iS 1) H P tí N D 1 tí iS T tí Madrid, viernes, 5 LW diciemorc de Í*íl9 niii>iÉii¡ii.iin LA SITUACIÓN POLÍTICA ALREDEDOR DEL PLEITO MILiTAR SOLICITUD ROMÁNTICA • LA CRISIS ESTÁ LA REAL ORDEN DE GUERRA N NOMBRE PLANTEADA VULNERA LEYES FUNDAMEN DEL HONOR En el Hcinum tie Víctor íiugó— Cu.ja, Ue louas vt.iu ¿üidíidtnOS Del Consejo de Palaci TALES DE LA NACIÓN \.jUc, dUii biCaaJ ue asUiíLU Cv^iaiiui, no ayer en 10 ..a pauíua pa^ur en i:.5paiia iiws ijue iii^aoC Cil c:.^.Ud Uiuj y CU ctioc ^aíS -IKüSSMSflBa ^El pleito político en relación con d militar continúa planteado en los mismos íc^oídiio con la musida ue V c:ui— U..'UMC :>(^I(J £>e iiiUcvLii Uiiitaa y wuC* '•"niños que ayer. aaiiiiiau;üs el SiiCíilicio cjuc el román ^03 p^r tu 11.uo líXi.i^ioii y líiiXíeiiiki, >i Si el "Diario Oficial" publica hoy la Real orden aprobando los fallos dictados Siegue adelante la perrecución contra los alumno;; de la dico !a Real orden del mi.listono de la Guerra. Hay en o! tico Uon Jujii uo /-Vrilticil hace de su lio lUcia pu.LjUir lui. iiucij^iCiiciOiica y ^r^ ^"bunal de Jionor contra 2.'5 alumncs diplomados (!e la Kscuclá Superior F'sjcuela Sr.p'.'rior de Guerra quo so separaron da h'.s Junta i procedimiento seRuido ernlra l',.« alumnos tan evide-ile.-! atro- * Guerra, los ministros civiles visitarán por la mañana al joíe del Gobierno de l)er(r.::a, y continúa ar""' '-indo a ¡a oiiinión c.>tc ;'.-un- pelios, contra la Constitueión y ol Código de Justicia militar, viaa y ue su lelicidaa en aras uei ap.4Laciui.c> piivúiivas oe i /luiíii-ur P*r» entregarle las dimisiones de sus carteras. -
Wuyi Mt. Cliff Tea 武 夷 山
GLOBAL EA HUT Tea & Tao Magazine 國際茶亭 September 2019 武 夷 神 山仙 之 岩地 茶 Wuyi Mt. Cliff Tea Extended Edition GLOBAL EA HUT ContentsIssue 92 / September 2019 Tea & Tao Magazine Rou肉桂 Gui Wuyi Mountain is a must-see pilgrimage for all tea lovers. It is one of the most ideal places on Earth to grow tea. It is also one of the most gorgeous places Love is on Earth. Travel there with us, as we explore the ge- ography, history, folklore and tea processing of this changing the world powerful place together in greater depth than be- fore, drinking a great Cliff Tea along the way. bowl by bowl Features特稿文章 19 Wuyi Cliff Tea: 53 Legends of Cliff Tea: Geography & Terroir Shui Jin Gui (水金龜) By Wu De (無的) 55 Wuyi Cliff Tea: 29 The Majesty of Wuyi Mt. Traditional Hand-Processing By Huang Xian Geng (黃賢庚) By Huang Xian Geng (黃賢庚) 35 Legends of Cliff Tea: 77 Legends of Cliff Tea: 大紅袍 Da Hong Pao ( ) Bai Ji Guan (白雞冠) 武 37 The Garden Grades of 79 Rock Bones & 肉夷 Cliff Tea Floral Fragrance 正 By Wu De (無的) By Tsai Yizhe (蔡奕哲) 岩 43 Legends of Cliff Tea: 83 Special Offer: Tie Luo Han (鐵羅漢) Four Great Names 45 The Poetic Names of 桂 85 The Inscriptions of Cliff Tea Wuyi Mountain By Wu De (無的) By Huang Xian Geng (黃賢庚) 傳統文章 Traditions 特別加長版 03 Tea of the Month “Rou Gui,” Traditional Cliff Tea, Wuyi Mountain, China 91 Voices from the Hut “Life-Changing in Wuyi,” © 2019 by Global Tea Hut By Kristina Clark All rights reserved. -
Wyndham Lewis in Canadian Literature
1 Towards a Canadian Vorticism: Wyndham Lewis in Canadian Literature George Steiner, in The Guardian, writes: “Who, today, reads Wyndham Lewis? Who derives enrichment or recognition from the paintings and drawings in half a dozen media? [...] What successor has he had...” The project that I am currently working on addresses various schools, movements, and manifestations of avant-garde writing in Canada. Avant-gardism presupposes artists working at the edge of societal norms, breaking new ground, and in its most revolutionary and idealistic articulations, leading society forward. Canadian avant-gardes before the 1960s, however, typically worked in the wake of European schools and movements. Therefore, one immediate paradox in studying the Canadian avant-garde is that our cutting-edge and radical art is often reactive and, even worse, imitative of work and aesthetics developed in Europe. The idea of a behind-the-curve avant-garde has been enough of a semantic conundrum to generally truncate discussion. There are exceptions, of course, such as Christian Bök’s work on Canadian “pataphysics, Barbara Godard’s work on Canadian radical feminism, and Ray Ellenwood’s work on Canadian Surrealism. My talk today, which functions as a kind of précis of my chapter-in- progress on Vorticism and Futurism in Canadian literature, explores three specific examples of Wyndham Lewis’s influence on Canadian authors and begins the process of proposing a Canadian Vorticism. Studying groups and movements in the context of Canadian literature has many potential pitfalls – especially in the temptation to overinflate a particular author’s participation or identification with a group – but has the advantage of acknowledging the wider, and sympathetic, context in which an author’s work was produced.